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Stax and Records
Motown Records had its first million-selling single in 1960 with The Miracles ' " Shop Around ", and in 1961, Stax Records had its first hit with Carla Thomas ' " Gee Whiz!
Stax Records created a classic 60's soul music, much grittier and horn-based than Motown.
The Stax Museum is a museum located at 926 McLemore Avenue, the former location of Stax Records.
The search committee considered several cities, including Memphis ( home of Sun Studios and Stax Records ), Detroit ( home of Motown Records ), Cincinnati ( home of King Records ), New York City, and Cleveland.
The song's success brought Cannon himself back into the Stax Records studios in Memphis for his last recording that same year at age 79.
Fame Studios ( often referred to as Muscle Shoals after a nearby town ) enjoyed a close relationship with the Memphis label Stax Records, and many of the musicians and producers who worked in Memphis contributed to recordings in Alabama.
Mitchell's Hi Records continued the Stax tradition in that decade, releasing many hits by Green, Ann Peebles, Otis Clay, O. V.
Memphis, Tennessee label Stax Records nurtured a distinctive sound, which included putting vocals further back in the mix than most contemporary R & B records, using vibrant horn parts in place of background vocals, and a focus on the low end of the frequency spectrum.
Memphis soul is a shimmering, sultry style of soul music produced in the 1960s and 1970s at Stax Records and Hi Records in Memphis, Tennessee.
Originally the term was associated with mid-1960s white artists who performed soul and R & B that was similar to the music released by Motown Records and Stax Records.
The album, entitled Soulsville, is a Stax Records tribute album recorded at the legendary Ardent Studios.
* Mildred Pulliam Whitehorn, singer who recorded for Stax Records in the 1970s under the name Veda Brown
Estelle Axton, the co-founder of Stax Records, was born in Middleton, before moving to Memphis.
These tracks bridged the gap between the more mannered mainstream rhythm and blues of the Jerry Leiber and Mike Stoller songwriting team of the 1950s, as exemplified by the Coasters and Drifters, and the gruffer Southern styles of the later ' 60s, as heard on the Stax Records sides of Otis Redding and Sam & Dave.
After failing to crack the top ten for a couple of years, by the beginning of 1968 Burke was no longer a major artist at Atlantic Records, who were producing hit records for other performers on their label including Wilson Pickett and Aretha Franklin, and were also reaping the rewards of their distribution deal with Stax on artists like Otis Redding and Eddie Floyd.
Atlantic Records was happy to let them fade away, while sucking up the back-catalogues and talents of regional hit factories such as Stax.
It was released on DVD as Soul Comes Home: A Celebration of Stax Records and Memphis Soul Music by Shout!
In 1968, the Staple Singers signed to Stax Records and released two albums with Steve Cropper and Booker T & the MG's — Soul Folk in Action and We'll Get Over.
In the 1960s, as members of the house band of Stax Records, they played on hundreds of recordings by artists such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla and Rufus Thomas and Johnnie Taylor.

Stax and primary
A similar product was introduced in the late 1960s under the Munchos brand ( the current incarnation of Munchos is a much different product ), the primary difference being the packaging ( Munchos was packaged in bags while Lay's Stax is packaged in plastic tubes ).

Stax and distributor
After this album failed to achieve commercial success ( partially due to confusion by its soul-oriented distributor Stax in marketing the album ), Bell left the band in 1972.
With the death of Leonard Chess the same year, Milton's distributor, Checker Records fell into disarray, and Milton joined the Stax label two years later.

Stax and for
Stax's next major hit, the Mar-Keys ' instrumental " Last Night " ( also released in 1961 ) introduced the rawer Memphis soul sound for which Stax became known.
's were the label's backing band for most of the classic hits that came out of Stax, by Sam and Dave, Otis Redding, Wilson Pickett, and many more.
They covered blues, R & B, soul, country and rock ' n ' roll songs, but with their own particular, fresh and raw style of interpretation, a successful blend of the Memphis Stax sound provided by MGs band members Steve Cropper and Donald " Duck " Dunn, and the New York City sound from the horn section ( Alan Rubin and Lou Marini, for example ).
He was the brother of singer Mable John, who recorded for Motown and Stax, and the father of Keith John, a long time backing vocalist for Stevie Wonder.
In 1976, they collaborated with The Band for their film The Last Waltz, performing on the song " The Weight " ( which The Staple Singers had previously covered on their first Stax album ).
The band was formed as the house band of Stax Records, providing backing music for a variety of singers such as Wilson Pickett and Otis Redding.
Stax writer / producer Isaac Hayes usually stepped in on the occasions when Jones was unavailable for session work, and on several sessions Jones and Hayes played together with one on organ, the other on piano.
Individual session credits notwithstanding, what's indisputable is that the Stax house band ( Cropper, Jackson, Jones, and Steinberg, along with Cropper's Mar-Keys bandmate, bassist Donald “ Duck ” Dunn ; keyboardist Isaac Hayes ; and various horn players, most frequently Floyd Newman, Wayne Jackson and Andrew Love ) would set a standard for soul music.
In 1970, Lennon's wish was granted, in a manner of speaking, as Jones, Dunn, and Jackson recorded McLemore Avenue, named for the street where Stax was located.
Bringing in drummer Willie Hall, a Stax session musician who played on many Stax hits ( such as Isaac Hayes's “ Theme from Shaft ”) as an official member, the group recorded the album Universal Language for Asylum Records in 1977.
Musician and record producer Chips Moman, active in Stax Records when the band was formed, for many years claimed that the band was named after his MG sports car, and only after he left the label did Stax's publicity department declare that “ M. G .” stood for “ Memphis Group ”.
In March 1967, Sam and Dave were co-headliners for the Stax / Volt Revue in Europe, which included Booker T & the MGs, The Mar-Keys, Eddie Floyd, Carla Thomas, Arthur Conley and headliner Otis Redding.
In 2003, the Stax Museum of American Soul Music opened in Memphis and Sam & Dave are in the film made for the Museum, titled Soulsville, and have a permanent wall and video display.
* 1984: I Can't Stand Up for Falling Down ( Edsel ED 133 UK: Atlantic & Stax singles not previously released )
" The logo was a parody of the " Snapping Fingers " logo for Stax Records, but the hand in this case is holding up a peace sign.
During this period and for several subsequent tours, the Doobies were often supported on-stage by Stax Records legends The Memphis Horns.

Stax and band's
) An interesting recording in this period is the collaboration of Payne, Gradney, Barrere, Clayton and George ( credited as George Lowell ) with jazz drummer Chico Hamilton on the Stax album " Chico the Master ", which is a strong showcase for the band's leanings toward funk and R & B.
The opening drum break from " Down on the Avenue ", from the band's first album, Feel It ( Stax 1977 ), has been sampled by many hip hop artists, including N. W. A ( Straight Outta Compton ), Ice-T, Jungle Brothers and Run-D. M. C.

Stax and Ardent
For the first time, many of the label's acts began frequently recording at outside studios ( such as Ardent Studios in Memphis and at recording studios in Muscle Shoals, Alabama ) and working with outside producers, signaling an end of the signature Stax sound.
Ardent of the 1960s and 1970s featured pop music acts and was distributed by Stax Records from 1972 until 1975.
Don Nix came from a musical family, including his brother, Larry Nix, who became a mastering engineer for Stax and later, Ardent Recording Studios in Memphis, TN.

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