Otis Redding’s death was also a huge hit to the label, depriving it of its biggest remaining star. Wexler tells it “We (Atlantic) mastered, pressed, fabricated the saxophonist/bandleader Floyd Newman, with whom he landed his first Sammy Coleman, trumpet; Charles Axton, tenor sax; Floyd Newman, baritone sax; Booker T. Jones, piano; Steve Cropper, guitar; Donald "Duck" Dunn, electric bass; Al Jackson, drums; Otis Redding, vocals. do? [14], As a result of this turn of events, Stewart did not renew his distribution deal with Atlantic,[15] and instead sold Stax a week after it expired in May 1968 to Paramount Pictures (who also owned Dot Records), a unit of Gulf+Western. With the success of Booker T. and the MG's, Carla Thomas, The Mar-Keys, Bar-Kays and Otis Redding, Stax studios became a magnet for other acts. Along with some of Bell’s other releases, including the newly signed Staple Singers, a new era was ushered in both for Stax and for soul music. This release earned Grammy Award nominations for boxed-set producer Steve Greenberg in the Best Historical Album category and for writer Rob Bowman in the Best Album Notes category. Stax 700 series (12 inch LP) LP 701 Booker T. And The MG's - Green Onions 1962 LP 702 Gus Cannon - Walk Right In 1962 LP 702 (alt.) 's, Eddie Floyd, the Bar-Kays, Albert King, and the Mad Lads. Booker T. Jones described Estelle as "an inspirer": She just loved music, loved people. The last big chart hit for Stax was "Woman to Woman" from Shirley Brown in 1974, and the single's success helped delay the inevitable demise of the company for several months. 's, and Carla Thomas, 1965 saw the chart debuts of Stax artists the Astors and Sam & Dave plus Volt artists the Mad Lads. Concord is also home to many historical labels such as Fania, Independiente, Milestone, Nitro, Prestige, Riverside, Specialty Records, Sygar Hill, Musart and more. By this time, the Stax recording studio was accepting outside work again.

Although the trip was a huge success for the artists and their label, it also marked another significant change in the political landscape at Stax. Mar-Keys member Steve Cropper replaced Moman as Stewart's assistant and official A&R director. 's regularly backed virtually all of the artists who recorded at Stax.
[1] Estelle Axton disagreed with Bell's visions for the company, and disputes between the two executives led to an impasse where Bell made plans to leave the company. [1] Stewart was furious at what he felt was Atlantic's—and Wexler's—betrayal of his trust, although Wexler continued to insist for years the he also had not read the contract and had nothing to do with the ownership clause. Between 1977 and 1979, Porter and Fantasy executive Bill Belmont reissued past Stax recordings and released new music under the Stax banner. The sale of Atlantic to Warner activated a "key man" clause (which Jim Stewart had insisted upon) in the distribution contract between Stax and Atlantic. From t-shirts, totes, keychains or your favorite records, we’ve got a little bit of soul for everyone. In 1972, seven years after fierce rioting in L.A.’s Watts ghetto signaled that not all African Americans were happy to just sit back and wait for justice to happen, Bell organized the Wattstax concert. tribute to gospel truth records with first-ever digital release of 25 albums from the stax imprint’s catalog Running through Gospel Heritage Month in September, the campaign includes the digital release of 25 albums, plus special playlists, videos and a forthcoming compilation on vinyl and CD.

Though the original studio was torn down, the Stax Museum of American Soul Music was constructed at the site and opened in 2003. Wexler continued to work in the industry, scoring several notable successes until he retired in the 1990s. Learn how your comment data is processed. Virtually all of Sam & Dave's Stax material was written and produced by Hayes and Porter. Stax Stax Catalog and Reappearance of the Label . On every record Cassandra Wilson & the Neo-Soul Connection, Miles Davis/The Cellar Door Sessions 1970. The floor of the theatre was not leveled, in part to save money, which ended up giving the studio space unique acoustics that contributed to Stax’s distinctive Memphis sound. Because Atlantic owned (and still owns) most of the Atlantic-era Stax master recordings released up to May 1968, the Atlantic-controlled material has been reissued by co-owned Rhino Records or licensed to Collectables Records. In his 2013 book on Stax, writer Robert Gordon highlighted the previously undervalued importance of Estelle Axton to Stax. In 1970, Stewart and Bell purchased the label back, and Stax subsisted on its own for the next two years. Beginning in 1978, Stax (now owned by Fantasy) began signing new acts and issuing new material, as well as re-issuing previously recorded Stax material. A second volume was released by Fantasy in 1991. Stax produced the actual recordings in the studio, 's, and a racially integrated team of staff and artists unheard of in that time of racial strife and tension in Memphis and the South. The label also enjoyed great success when it had the Staple Singers shift from Gospel music to mainstream R&B. Gus Cannon, banjo, vocals; unknown, washboard; Will Shade, jug. Stax/Volt Records was forced into involuntary Chapter 11 bankruptcy on December 19, 1975[26] and was closed by order of a bankruptcy judge on January 12, 1976. Through 1966 and 1967, Stax and its subsidiaries hit their stride, regularly scoring hits with artists such as Otis Redding, Sam and Dave, Carla Thomas, William Bell, Booker T. & the M.G. With Stax forced into involuntary bankruptcy, the building shuttered and Al Bell mired in lawsuits, the master tapes and the rights to release new records under the Stax name were sold at auction to Fantasy Records. In July and December 1973, Elvis Presley recorded three albums at Stax: Raised on Rock, Good Times, and Promised Land, which produced four top 20 hits for RCA, to which label Elvis had been signed since 1955. The Soulsville Charter School is a tuition-free public charter school founded in 2005 that prepares students for success in college and beyond in an academically rigorous, music-rich environment. The idea was to get records into the marketplace and build a new catalog. In the riots that followed King's murder, many properties in the vicinity of the Stax studio were attacked by rioters, but Stax was left untouched.

Hayes, as to the entire world: “I could not create properly,”

grew less interested in sharing it with artists who were not directly Wayne Jackson, trumpet; Gene Parker, tenor sax #1; Andrew Love, tenor sax #2; Floyd Newman, baritone sax; Isaac Hayes, organ; Steve Cropper, guitar; Donald "Duck" Dunn, electric bass; Al Jackson, drums.
Wayne Jackson, trumpet; 2 unknown, tenor sax; Booker T. Jones, piano; Albert King, guitar, vocals; Steve Cropper, rhythm guitar; Donald "Duck" Dunn, electric bass; Al Jackson, drums. After Concord Records acquired Fantasy in 2004, the Stax label was reactivated, and is today used to issue both the 1968–1975 catalog material and new recordings by current R&B/soul performers. Dowd had the equipment fixed within two days, and on the Sunday he was able to act as engineer during the creation of a new Rufus Thomas track. The 700 series was issued in both monaural and stereo (or rechanneled stereo) with a few exceptions. Al Bell attempted to stave off bankruptcy with bank loans from Memphis' Union Planters Bank. Around the same time, and at the urging of Chips Moman, Stewart moved his company back to Memphis and into an old movie theater, the former Capitol Theatre, at 926 East McLemore Avenue in South Memphis. Wayne Jackson, Gene "Bowlegs" Miller, trumpet; Andrew Love, tenor sax; Floyd Newman, baritone sax; Isaac Hayes, piano; Booker T. Jones, organ; Steve Cropper, guitar; Donald "Duck" Dunn, electric bass; Al Jackson, drums; Otis Redding, vocals. After the Atlantic distribution deal expired in May 1968, Atlantic briefly marketed Stax/Volt recordings made after the split. The 700 series was also issued with white labels as promotional Stax All those not listed with an S were issued in monaural only. This marked the first time an album was issued with both Atlantic-owned and Fantasy-owned Stax material; it was issued by arrangement with Atlantic Records. Wayne Jackson, trumpet; Andrew Love, tenor sax; Floyd Newman, baritone sax; Isaac Hayes, piano; Steve Cropper, guitar; Donald "Duck" Dunn, electric bass; Al Jackson, drums; Otis Redding, vocals. Not having really known anything about the R&B genre prior to having recorded acts such as the Veltones and Rufus & Carla, Stewart likened the situation to that of "a blind man who suddenly gained his sight." Just last month, Concord Music Group announced that it was developing a Broadway musical about the iconic music label Stax Records, which … [20] Gulf+Western-owned Stax/Volt releases used new label designs, new logos (including the recognizable finger snapping logo) and new catalogue numbering systems to avoid confusion among the record distributors. The pair were forced to change the label’s name because of an L.A. label that already owned the name Satellite. Wayne Jackson, trumpet; Joe Arnold, Andrew Love, tenor sax; Booker T. Jones, organ; Steve Cropper, guitar; Donald "Duck" Dunn, electric bass; Al Jackson, drums; Carla Thomas, vocals. On August 28, 2007, a 3 CD Deluxe Edition box set of the 1972 music event Wattstax was released, simply titled "WATTSTAX". distribution agreement with Atlantic Records, where Wexler had become The Stax team were appalled at the idea, fearing that the distinctive "Stax sound" would be destroyed.