History Creator / StaxRecords

!!Stax Records performers, past and present, with Wiki/TVTropes pages:

Bell's determination to achieve economic empowerment within the African-American community through Stax saw the label expanding its involvement in civil rights activism, contributing to education programmes and social justice activities and working closely with unions throughout the south. Bell's Pan-African views led him to organise Stax shows and recordings in the Caribbean and Africa, achieving great acclaim in the process, but often costing the label more than it was able to make. The pinnacle of Stax's success in this period came in 1972 with Isaac Hayes's receipt of an UsefulNotes/AcademyAward for his "Theme from ''Shaft''" (becoming the first black artist to receive the award) and the Wattstax benefit concert in UsefulNotes/LosAngeles, which drew an audience of nearly 100,000 to the Los Angeles Memorial Coliseum.

Stax Records was launched in [[TheFifties 1957]] in Memphis, UsefulNotes/{{Tennessee}}, by Jim Stewart, a bank clerk by day and country fiddle player by night, in partnership with his sister, schoolteacher Estelle Axton, under the name Satellite Records (it would change its name in 1961 to avoid legal trouble with another local label of the same name). Stax - a portmanteau of '''St'''ewart and '''Ax'''ton's names - was originally a vehicle by which Stewart would record and produce country records, but after striking up a friendship with local disc jockey Rufus Thomas, who had recorded R&B for Sam Phillips at Sun Records in the 1950s, quickly became best known for releasing many essential southern soul records. Throughout its life, it also had a number of sub-labels including Volt (R&B records) Ardent (rock music) and Partee (comedy albums), often founded to get around post-payola restrictions enforced informally by radio stations.

The arrival of a local student and musical prodigy named Booker T. Jones led to the formation of the Stax house band, Booker T. & the MG's, comprising Jones on organ and piano, Cropper on guitar, Al Jackson Jr. on drums and Lewie Steinberg (later replaced by Duck Dunn) on bass. Together with the Memphis Horns (a revolving cast of brass players but mainly focused around mainstays Wayne Jackson and saxophonist Andrew Love), Booker T. & the MG's became the southern equivalent to rival label Creator/Motown's famous Funk Brothers band, playing on literally hundreds of R&B records, most famously their own instrumental hit "Green Onions", and forging the "Stax Sound". Stax's unique sound derived partly from the unusual layout of its studio, which was based in a former theatre with a cambered floor, creating an acoustic anomaly which created a big, deep, raw sound. Adjoining the studio was a record shop operated by Estelle Axton, who promoted the label's music through the store and used her access to the latest records to identify what would make a hit; the store became a popular hangout for local teens, some of whom would later become Stax signees.

Bell's determination to achieve economic empowerment within the African-American community through Stax saw the label expanding its involvement in civil rights activism, contributing to education programmes and social justice activities and working closely with unions throughout the south. Bell's Pan-African views led him to organise Stax shows and recordings in the Caribbean and Africa, achieving great acclaim in the process, but often costing the label more than it was able to make. The pinnacle of Stax's success in this period came in 1972 with Isaac Hayes's receipt of an UsefulNotes/AcademyAward for his "Theme from ''Shaft''" (becoming the first black artist to receive the award) and the Wattstax benefit concert in Los Angeles, which drew an audience of nearly 100,000 to the Los Angeles Memorial Coliseum.

Stax Records was launched in 1957 in Memphis, Tennessee, by Jim Stewart, a bank clerk by day and country fiddle player by night, in partnership with his sister, schoolteacher Estelle Axton, under the name Satellite Records (it would change its name in 1961 to avoid legal trouble with another local label of the same name). Stax - a portmanteau of '''St'''ewart and '''Ax'''ton's names - was originally a vehicle by which Stewart would record and produce country records, but after striking up a friendship with local disc jockey Rufus Thomas, who had recorded R&B for Sam Phillips at Sun Records in the 1950s, quickly became best known for releasing many essential southern soul records. Throughout its life, it also had a number of sub-labels including Volt (R&B records) Ardent (rock music) and Partee (comedy albums), often founded to get around post-payola restrictions enforced informally by radio stations.

* Music/IsaacHayes

Stax was subsequently purchased by Gulf+Western Industries, which put it under the same umbrella as Creator/{{Paramount}} Pictures, who evidently had little idea of what to do with their new acquisition, compounding the decline in the label's fortunes. Despite their setbacks, Stewart and Al Bell retaliated with an initiative called the "soul explosion" beginning in 1968, which aimed to flood the marketplace with new singles and albums to rebuild the label's catalogue and cultivate new stars quickly. One of these albums was a major success and made a star out of its artist: ''Hot Buttered Soul'' by Isaac Hayes. Hayes had attempted to record without much success some years earlier, but now Stax was desperate and allowed him free reign in the studio. The result was a series of expansive recordings combining funky rhythms with lush orchestrations and Hayes's stretched-out free-wheeling raps and smooth, deep vocals. Also in 1968 came the release of "Who's Makin' Love" by Johnny Taylor, the company's highest-selling single to date. Invigorated, in July of 1970, the label was re-purchased by Al Bell and Jim Stewart, beginning a second golden age centred around Hayes, Taylor and others including the Staple Singers, the Soul Children and a reformed Bar-Keys.

In its first period of success, Stax's biggest star was Music/OtisRedding, who was their first major album-seller and a powerful live performer who headlined the label's groundbreaking European package tours in 1967, becoming a globally famous star. Through Atlantic, the Stax studio also played host to the dynamic soul duo Sam & Dave, who became a vehicle for one of the label's most productive and talented songwriting and production teams, the partnership of Isaac Hayes and David Porter, who together produced hugely successful crossover hits including "Hold On! I'm Coming!", "Soul Man", "Soothe Me", "I Thank You" and more. Wilson Pickett was also brought to Memphis by Wexler and recorded several major hits co-written with Steve Cropper, but his bad behaviour in the studio culminated in his banning by Jim Stewart, which in turn led to a cooling of Stewart's relationship with Jerry Wexler.

By 1967, Stax was riding high on the strength of its crossover success, with Otis Redding gaining steady popularity with white audiences after a well-received performance at the Monterey Pop Festival. Unfortunately, it would be Otis's last major live performance, as he died in a plane crash later that year along with all but one member of the Bar-Kays, another Stax instrumental group being groomed as successors to Booker T. & the MG's. Exacerbating this disaster was the severing of Stax's distribution deal with Atlantic, which came to an end when the latter was sold to Creator/WarnerBros in 1968, activating a clause Stewart had insisted upon nearly 10 years earlier which stipulated that the agreement would terminate in such circumstances. Unfortunately, Stewart had not realised that the deal gave Atlantic exclusive rights to all of Stax's recordings produced during their partnership, which wiped out the label's back catalogue almost overnight. Since they were technically signed to Atlantic, Sam & Dave (the biggest stars associated with the label after Otis) were withdrawn from Memphis to record at Atlantic's headquarters in New York.

Bell's determination to achieve economic empowerment within the African-American community through Stax saw the label expanding its involvement in civil rights activism, contributing to education programmes and social justice activities and working closely with unions throughout the south. Bell's Pan-African views led him to organise Stax shows and recordings in the Caribbean and Africa, achieving great acclaim in the process, but often costing the label more than it was able to make. The pinnacle of Stax's success in this period came in 1972 with Isaac Hayes's receipt of an Academy Award for his "Theme from ''Shaft''" (becoming the first black artist to receive the award) and the Wattstax benefit concert in Los Angeles, which drew an audience of nearly 100,000 to the Los Angeles Memorial Coliseum.

Stax Records was launched in 1957 by country fiddler Jim Stewart and his sister Estekke Axton; it was originally called Satellite until it changed its name in 1961 to avoid legal trouble with another label of the same name. Stax was based in Memphis, Tennessee and originally released country records though it became best known for releasing many essential southern soul records. It also had a number of sub labels like Volt (R&B records) Ardent (rock music) and Partee (Comedy Albums). It is often considered to be a rival of the northern soul record label Creator/{{Motown}} Records.

After releasing a couple of hit singles during the Satellite years and beginning of a distribution partnership with Creator/AtlanticRecords, Stewart meet Booker T. Jones who would form the Stax house band Booker T. and MG’s and act the backbone of the “Stax Sound” as well as providing huge hits for the label like “Green Onions”. The Stax Sound involved a big deep and raw sound provided from acoustic anomaly which came from the imbalance room the studio was located in. Axton ran a record store for the label that helped to promote their records and became a popular hangout for teens, some of whom would later become Stax signees. The payola scandals of the late 50s meant that radio stations were unwilling to play more than a couple of records from one label to avoid showing favoritism. Stax responding by opening sister labels like Volt Records which in 1962 would sign Stax’s biggest star, Music/OtisRedding. Atlantic would also bring in the soul duo Same and Dave as well as soul musician Wilson Pickett to record at the Stax studio, both ending up achieving commercial success. Stax would also hired the duo Isaac Hayes and David Porter to serve as important songwriters and producers for the label. In 1967, Otis Redding gain popularity with white audiences after a well received performance at the Monterey Pop Festival. It would be Otis' last major live performance, as he died in a plane crash later that year.

Stax’s distribution deal with Atlantic ended after the latter was sold to Creator/WarnerBros in 1968. The deal had given Atlantic the rights to the recordings from Stax up till the split this leaving Stax without much of a back catalogue. Stax was subsequently purchased by Gulf+Western Industries, which put it under the same umbrella as Creator/{{Paramount}} Pictures. This triggered a slight decline in sales.

In July of 1970, the label was re-purchased by Al Bell and Jim Stewart. The company's first few years under their ownership were marked some commercial success, as the company began to rival Creator/MotownRecords for the lead in black album sales during this time. In 1972, Stax signed a distribution deal with [[Creator/ColumbiaRecords CBS Records]]. Under the deal, CBS would pay Stax for every record it delivered, regardless of whether or not it sold, which was not tested previously. However, after the agreement was signed, the head of CBS, Creator/CliveDavis, was fired. This resulted in CBS altering the original deal which ended up lowering the income of Stax would receive on their records by as much as 40%. The loss of income led to a bankruptcy judge declaring its bankruptcy on January 12, 1976. In 1977, the label was sold to Creator/FantasyRecords, who have since reactivated Stax; the reincarnated label reissues albums made between 1968 and 1975 as well as releasing new material.

After releasing a couple of hit singles during the Satellite years and beginning of a distribution partnership with Creator/AtlanticRecords, Stewart meet Booker T. Jones who would form the Stax house band Booker T. and MG’s and act the backbone of the “Stax Sound” as well as providing huge hits for the label like “Green Onions”. The Stax Sound involved a big deep and raw sound provided from acoustic anomaly which came from the imbalance room the studio was located in. Axton ran a record store for the label that help promote their records and became a popular hangout for teens, some of whom would later become Stax signees. The payola scandals of the late 50s meant that radio stations were unwilling to play more than a couple of records from one label to avoid showing favoritism. Stax responding by opening sister labels like Volt Records which in 1962 would sign Stax’s biggest star, Music/OtisRedding. Atlantic would also bring in the soul duo Same and Dave as well as soul musician Wilson Pickett to record at the Stax studio, both ending up achieving commercial success. Stax would also hired the duo Isaac Hayes and David Porter to serve as important songwriters and producers for the label. In 1967, Otis Redding gain popularity with white audiences after a well received performance at the Monterey Pop Festival. It would be Otis' last major live performance, as he died in a plane crash later that year.

Stax’s distribution deal with Atlantic ended after the latter was sold to Creator/WarnerBros in 1968. The deal had given Atlantic the rights to the recordings from Stax up till the split this leaving Stax without much of a back catalogue. Stax was subsequently purchased by Gulf+Western Industries, which put it under the same umbrella as [[Creator/Paramount Paramount Pictures[[. This triggered a slight decline in sales.

* Main/IssacHayes (Enterprise)

* Music/TheEmotions
* Music/TheStapleSingers

Stax’s distribution deal with Atlantic ended after the latter was sold to Creator/WarnerBros in 1968. The deal had given Atlantic the rights to the recordings from Stax up till the split this leaving Stax without much of a back catalogue. Stax was subsequently purchased by Gulf+Western Industries, which put it under the same umbrella as Creator/ParamountPictures. This triggered a slight decline in sales.

* Creator/IssacHayes (Enterprise)

* Music/Sam&Dave (Technically signed to Atlantic; their releases were on Stax, however.)

In July of 1970, the label was re-purchased by Al Bell and Jim Stewart. The company's first few years under their ownership were marked some commercial success, as the company began to rival Creator/Motown for the lead in black album sales during this time. In 1972, Stax signed a distribution deal with [[Creator/ColumbiaRecords CBS Records]]. Under the deal, CBS would pay Stax for every record it delivered, regardless of whether or not it sold, which was not tested previously. However, after the agreement was signed, the head of CBS, Creator/CliveDavis, was fired. This resulted in CBS altering the original deal which ended up lowering the income of Stax would receive on their records by as much as 40%. The loss of income led to a bankruptcy judge declaring its bankruptcy on January 12, 1976. In 1977, the label was sold to Creator/FantasyRecords, who have since reactivated Stax; the reincarnated label reissues albums made between 1968 and 1975 as well as releasing new material.

Stax’s distribution deal with Atlantic ended after the latter was sold to Creator/WarnerBros in 1968. The deal had given Atlantic the rights to the recordings from Stax up till the split this leaving Stax without much of a back catalogue. Stax went independent for a while, with some commercial success until 1972 when they signed a distribution deal with [[Creator/ColumbiaRecords CBS Records]]. CBS would alter the original deal which ended up lowering the income of Stax would receive on their records. The lost of income forced Stax to close in 1976 due to bankruptcy. It has since been reactivated and reissues old albums as well as releasing new material.

* Creator/RichardPryor (Partee)

Stax’s distribution deal with Atlantic ended after the latter was sold to Creator/WarnerBros in 1968. The deal had given Atlantic the rights to the recordings from Stax up till the split this leaving Stax without much of a back catalogue. Stax went independent for a while, with some commercial success until 1972 when they signed a distribution deal with [[Creator/ColumbiaRecords CBS Records]]. CBS would alter the original deal which ended up lowering the income of Stax would receive on their records. The lost of income forced Stax to close in 1976 due to bankruptcy. It has since been reactivated and reissues old albums as well as release new material.

[[/index]]

After releasing a couple of hit singles during the Satellite years and beginning of a distribution partnership with Creator/AtlanticRecords, Stewart meet Booker T. Jones who would form the Stax house band Booker T. and MG’s and act the backbone of the “Stax Sound” as well as providing huge hits for the label like “Green Onions”. The Stax Sound involved a big deep and raw sound provided from acoustic anomaly which came from the imbalance room the studio was located in. Axton ran a record store for the label that help promote their records and became a popular hangout for teens, some of whom would later become Stax signees. The payola scandals of the late 50s meant that radio stations were unwilling to play more than a couple of records from one label to avoid showing favoritism. Stax responding by opening sister labels like Volt Records which in 1962 would sign Stax’s biggest star, Music/OtisRedding. Atlantic would also bring in the soul duo Same and Dave as well as soul musician Wilson Piciett to record at Stax studio, both ending up achieving commercial success. Stax would also hired the duo Isaac Hayes and David Porter to serve as important songwriters and producers for the label. In 1967, Otis Redding gain popularity with white audiences after a well received performance at the Monterey Pop Festival. It would be Otis' last major live performance, as he died in a plane crash later that year.

After releasing a couple of hit singles during the Satellite years and beginning of a distribution partnership with Creator/AtlanticRecords, Stewart meet Booker T. Jones who would form the Stax house band Booker T. and MG’s and act the backbone of the “Stax Sound” as well as providing huge hits for the label like “Green Onions”. The Stax Sound involved a big deep and raw sound provided from acoustic anomaly which came from the imbalance room the studio was located in. Axton ran a record store for the label that help promote their records and became a popular hangout for teens, some of whom would later become Stax signees. The Payolla scandals of the late 50s meant that radio stations were unwilling to play more than a couple of records from one label to avoid showing favoritism. Stax responding by opening sister labels like Volt Records which in 1962 would sign Stax’s biggest star, Music/OtisRedding. Atlantic would also bring in the soul duo Same and Dave as well as soul musician Wilson Picikett to record at Stax studio, both ending up achieving commercial success. Stax would also hired the duo Isaac Hayes and David Porter to serve as important songwriters and producers for the label. In 1967, Otis Redding gain popularity with white audiences after a well received performance at the Monterey Pop Festival. It would be Otis last major live performance as died in plane crash later that year.

Stax’s distribution deal with Atlantic ended after the latter was sold to the Warner Brothers in 1968. The deal had given Atlantic the rights to the recordings from Stax up till the split this leaving Stax without much of a back catalogue. Stax went independent for a while, with some commercial success until 1972 when they signed a distribution deal with CBS records. CBS would alter the original deal which ended up lowering the income of Stax would receive on their records. The lost of income forced Stax to close in 1976 due to bankruptcy. It has since been reactivated and reissues old albums as well as release new material.

* Creator/RichardPryor (Partee)

Stax Records was launched in 1957 by country fiddler Jim Stewart and his sister Estekke Axton though it was originally called Satellite until it changed its name in 1961 to avoid legal trouble with another label of the same name. Stax was based in Memphis, Tenessance and originally released country records though it became best known for releasing many essential southern soul records. It also had a number of sub labels like Volt (R&B records) Ardent (Rock music) and Partee (Comedy Albums). It is often considered to be a rival of the northern soul record label Motown Records.

* Creator/BillCosby (Partee

Stax Records was launched in 1957 by country fiddler Jim Stewart and his sister Estekke Axton though it was originally called Satellite until it changed its name in 1961 to avoid legal trouble with another label of the same name. Stax was based in Memphis, Tenessance and originally released country records though it became best known for releasing many essential southern soul records. It also had a number of sub labels like Volt (R&B records) and Ardent (Rock music). It is often considered to be a rival of the northern soul record label Motown Records.

Stax’s distribution deal with Atlantic ended after the latter was sold to the Warner Brothers in 1968. The deal had given Atlantic the rights to the recordings from Stax up till the split this leaving Stax without much of a back catalogue. Stax went independent for a while, with some commercial success until 1972 when they signed a distribution deal with CBS records. CBS would alter the original deal which ended up lowering the income of Stax would receive on their records. The lost of income forced Stax to close in 1976 due to bankruptcy. It has since been reactivated and reissues old albums as well as release new material.