It’s 1957. It’s Memphis, Tennessee and a small record label specializing in country and pop music, but which would become a giant in the world of soul music, is born. This was Stax Records, established by country fiddler Jim Stewart. Originally called Satellite Records, it was soon to attract interest from Stewart’s sister Estelle Axton, a banker with an ear for music.
In 1961 the small label was rebranded. Using the first two letters from each of their surnames, STewart and AXton, here was Stax. Operating from an old movie theatre transformed into a recording studio, its church-like acoustics enabled Stax to find its unmistakable sound that stole hearts worldwide.
It wasn’t just the acoustics that defined Stax; it was the raw, authentic emotion in its music. Generated by Stax’s in-house band, Booker T. and the M.G.’s, and known as the ‘Memphis Sound,’ this fusion of gospel, country, jazz, and blues left a lasting impact on the soul genre. At Stax Records, racial lines blurred as artists and staff of all backgrounds collaborated, creating a music oasis in a time of segregation.
By embodying a progressive model in music production, Stax Records became more than just a label. It was a stand against societal norms. It was a home where musicians could express themselves freely, an element that remains influential in today’s industry.
Stax Records All-Stars: Artists Who Defined a Generation
Stax Records became a beacon in the music industry by housing a family of artists who weren’t just performers; they were trailblazers of the soul genre. Each artist brought their unique sound and helped shape the ‘Memphis Sound’ that would captivate the world.
At the forefront was Otis Redding, a Georgia native whose impassioned voice and stage charisma earned him the title The King of Soul. His recordings at Stax, including These Arms of Mine, resonated with raw emotion, leaving an indelible mark on soul music.
Another giant was Isaac Hayes, who initially joined Stax as a session player and songwriter. Hayes redefined soul music with his innovative style, represented strongly by his landmark album Hot Buttered Soul, which forged new paths for the genre.
Among the ensemble were The Staple Singers, a family group from Chicago who seamlessly blended gospel music with soul, creating hits like I’ll Take You There. Their music carried messages of social change during a turbulent period in American history.
It’s essential to honour the unsung heroes of Stax as well, such as Carla Thomas, often referred to as the ‘Queen of Memphis Soul,’ and her father Rufus Thomas, with timeless hits like Walking the Dog. Many other talented individuals played instrumental roles and deserve recognition for their contributions to the Stax legacy.
On the Turntable: Celebrating Stax’s Greatest Hits
In total, Stax Records released more than eight hundred singles and more than three hundred albums. In all, they had a total of 167 songs on the Billboard Hot 100 with 243 hits on the Billboard R&B chart. It is true then, that Stax Records can only be regarded as a towering presence. The label pressed some of the most influential tracks to ever hit the airwaves. This collection of singles means that the ‘Stax Sound’ resonates through the ages.
Whilst we acknowledge the vast number of singles that found their way to the hearts and feet of listeners, certain tunes stand head and shoulders above the rest. I give you, in no particular order, a small selection:
Green Onions by Booker T. & the M.G.’s. (1962)
This is more than just an instrumental track; it’s a cultural beacon that sent ripples across genres, influencing rock, soul, and blues alike. Like the weight of matter in a black hole, Green Onions is as if the totality of the group’s work were condensed into one 7-inch diameter disc of black vinyl.
NB, Booker T. and the M.G.’s were so much more just than this track.
Next, Otis Redding’s Sittin’ on the Dock of the Bay (1968)
A song that carries the weight of Redding’s enormous talent and serves as a poignant reminder of his untimely passing. Released posthumously, it soared to the top of the charts, cementing his place in music history and Stax’s role in carrying his legacy.
It was written by Redding and M.G.’s guitarist Steve Cropper. First on a houseboat in California and later polished as he toured in support of his King and Queen album with Carla Thomas.
1963’s Walking the Dog by Rufus Thomas
Stax and Motown all play the same stuff. Oh really? Do you imagine, for one single second that Berry Gordy would ever have allowed this to have been jammed, never mind recorded by his squeaky-clean stars?
Rufus Thomas was, of course, Carla Thomas’s father. Now, you see where the Queen of Memphis Soul got it from.
Carla Thomas’s Gee Whiz, Look At His Eyes (1961)
And here she is, daughter of the aforesaid, Rufus. This was possibly the track which properly launched Stax onto the national, and ultimately international, stage. It made the top ten of the Billboard Hot 100 and number 5 in the R&B singles chart. Just fifteen when she wrote and recorded this track, Thomas featured on American Bandstand, which may have influenced the track’s success.
I’ll Take You There, by the Staple Singers from 1972
A late Stax classic, this was produced just four years after the assassination of Dr Martin Luther King, Jr. A track with a message that was a major hit, reaching number one on both the Hot 100 and the R&B singles charts.
Isaac Hayes, Theme From Shaft (1971)
An incredible piece of music. With a groove that just oozes sex, and the implication, yes, the implication of profanity, this was censored until the early 1990s… at least by Fox Network. There’s a surprise.
Just a Pair of Albums… of Hundreds
Albums such as Isaac Hayes’s Hot Buttered Soul and the Staple Singers’ Be Altitude: Respect Yourself expanded the boundaries of what soul music could be, combining majestic orchestration with raw emotional honesty. These collections weren’t just music; they were narratives set to a beat, telling stories of love, loss, and the pursuit of justice.
Hot Buttered Soul (1969)
These things are easily said, but Hot Buttered Soul is a bonafide, classic soul album. Of course, it’s the music that makes it so, but also the fact that it revolutionized the soul music genre when it was released. It also played a hand in rescuing Stax Records which was on a slippery slope after the death of Otis Redding the year before. Not only that but Sam and Dave had just returned to Atlantic after the release of Soul Sister, Brown Sugar – they were only ever on loan at Stax.
The album consists of just four tracks, coming in at bang on 12 minutes, nine minutes plus, 5 minutes plus and an epic eighteen, nearly minutes. Each one gives us Hayes’ at his best, demonstrating his unparalleled musical prowess and innovative approach to soul music.
The first track is a transformation of Bacharach and David’s soul standard Walk On By into an epic exploration of emotions and musical landscapes. Next comes Hyperbolicsyllabicsesquedalymistic, which will blow your mind.
Surprisingly, One Woman doesn’t leave you feeling short-changed coming in at only 5 minutes and nine seconds. The last track By the Time I Get to Phoenix is a cover of the Jimmy Webb song taken to number 2 on the Billboard Country singles chart by Glen Campbell. Of course, Hayes gives it the treatment, building it from a 2:42 single to an 18:42 exploration of the song as a theme. For the first 8 minutes and forty, it’s as if Hayes is introducing us to proto-rap. Then the song ‘proper’ comes in, with Hayes’ velvet voice and the instrumentation from, especially, Willie Hall and James Alexander.
The album’s fusion of soul, jazz, and orchestral elements paved the way for future artists and genres, making it a landmark album in the history of soul music. It’s a timeless work of art that continues to captivate listeners with its innovative sound and emotional depth.
Be Altitude: Respect Yourself (1972)
1972’s offering from the Staples Singers is a powerful yet soulful album. Its significance lies in its combination of gospel, R&B, and funk influences from which the Muscle Shoals Rhythm Section helps imbue the record with a unique and uplifting sound. With Mavis Staples’ lead vocals, the album’s standout tracks include the title track Respect Yourself along with I’ll Take You There.
With vocals from Mavis and Pops Staples, Respect Yourself takes its inspiration from a comment by writer Luther Ingram to Mack Rice that ‘black people ought to respect themselves,’ which Rice took and built a soul-funk groove around it. Its message is unremitting tough love – respect yourself and don’t blame others for your problems.
I’ll Take You There, written by producer Alvis Isbell (Al Bell), was a huge hit, spending 15 weeks on the Billboard Hot 100, including a week at number 1. Musically, it demonstrates the vibes and influences of the whole album.
Its lyrics offer a utopian optimism, starting with the phrase,
‘… I know a place
Ain’t nobody cryin’
Ain’t nobody worried…’
Before using Bell’s call and response lyrics which echo the title – ‘I’ll take you there’ – to build to a crescendo of Mavis offering to take us all there, egged on by the rest of the group. Whatever you do though, don’t compare the opening riff, or the baseline, to the Harry J Allstars’ 1969 single The Liquidator… shh.
The group’s signature blend of spirituality and social commentary shines through in the lyrics throughout, making Be Altitude: Respect Yourself not only a musical gem but also a relevant and impactful statement of its time. The album’s fusion of genres, infectious grooves, and the soul-stirring vocals of Mavis Staples contribute to its enduring appeal.
How Important Is Stax?
The body of work laid down by Stax Records in the 1960s and 1970s is one of the yardsticks by which future soul music is measured. As we prepare to explore the legacy these artists left behind, we can’t help but acknowledge the indelible imprint they’ve stamped on the soundscape of soul music, an impact reverberating even into today’s diverse musical milieu.
The Stax Legacy: From Historic Decline to Resurgence and Future
Stax Records’ tale is more than just a chronicle of hits and icons. Moving into the seventies, we see another facet – as it becomes a story of resilience and rebirth. We’ve seen some of the heights reached by Stax in its golden years, but even the best of us are not immune to setbacks. In 1975, due in whole or in part to politics – either Bell buying out Stewart or problems with a proposed CBS Records distribution deal, Stax faced bankruptcy.
The essence of Stax could not be extinguished, though. The Stax Museum of American Soul Music today stands in Memphis not only as a testament to the label’s indomitable spirit but also as a detailed archive of its contributions to music and culture. Here, the roots of soul music are displayed with the respect and reverence they deserve.
The Stax Music Academy goes a step further, breathing life into the future of music. Serving after-school and summer school classes, it represents a beacon of inspiration and learning for young musicians. Hopefully, it will ensure that the ‘Stax sound’ continues to resonate through the halls of music history. Every beat and note played by these students is a nod to the label’s legacy.
When we consider the influence of Stax Records on today’s music, it becomes clear that the ‘Stax sound’ is as important as any other thread in the fabric of soul and other patterns. Artists across genres indeed draw inspiration from the raw emotion and authenticity that Stax championed. Thus, the story of Stax Records is far from over; it continues to unfold, influencing artists and audiences alike and ensuring that the soul — the real soul — never dies.