Sam & Dave were technically a duo act on the Atlantic roster, but were " leased " to Stax by Atlantic — Stax oversaw their music and put it out on the Stax label.

After Sam & Dave moved from Stax to Atlantic Records ; Porter and his songwriting and production partner Isaac Hayes decided to put together a new vocal group of two men and two women.

After returning to Sydney, Merritt put together a new lineup, hoping to better emulate this new wave of soul epitomised by the artists on the artists of the Atlantic Records and Stax labels.

'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.

The Warren Haynes Band " Live at The Moody Theater " 2CD / 1DVD package came out in April 2012 on Stax Records with the lineup of Warren Haynes ( Vocals & Guitar ), Ron Holloway ( Sax ), Ron Johnson ( Bass ), Terence Higgins ( Drums ), Nigel Hall ( Keys ) & Alecia Chakour ( Vocals ).

The result was neither as pop-infected as Motown, nor as funky and blues-inflected as Stax.

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.

Recorded primarily at Stax Records in Memphis, Tennessee, from 1965 through 1968, these included " Soul Man ", " Hold On, I'm Comin ", " I Thank You ", " When Something is Wrong with My Baby ", " Wrap It Up ", and many other Southern Soul classics.

Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists.

In the 1960s, Atlanta native Gladys Knight proved one of the most popular Motown recording artists, while Otis Redding, born in the small town of Dawson but raised in Macon, defined the grittier Southern soul sound of Memphis-based Stax Records. R & B singer Ray Charles was born in Albany, GA.

He reunited with Cropper as a member of Levon Helm's RCO All Stars and also displayed his quirky Southern humor making two movies with Cropper, former Stax drummer Willie Hall, and Dan Aykroyd, as a member of The Blues Brothers band.

The Best of The Gants, with liner notes by Mike Stax ; their single " Little Boy Sad " was included on Oxford American magazine's Southern Sampler music CD.

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.

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.

Sam & Dave's Stax records also benefited from the musicians and engineering at Stax.

Stax author Rob Bowman called this " One of the most sublime records in soul music's history ", and Mar-Keys trumpet player Wayne Jackson called it the greatest song he has ever heard.

) The record shop sold records from a wide variety of labels, which gave the Stax staff first-hand knowledge of what kind of music was selling — and was subsequently reflected in the music that Stax recorded.

Reports came in to Stax of stores in cities such as Chicago and Detroit being unable to get new Stax records despite consumer demands, and the company attempted to annul its distribution deal with CBS.

Atlantic Records artists Sam & Dave's records were released on the Stax label and featured the MGs.

They never really produced records to compete with the hot new sounds of soul on Atlantic, Stax or Motown.

At Stax, Dunn played on thousands of records including hits by Otis Redding, Sam & Dave, Rufus Thomas, Carla Thomas, William Bell, Eddie Floyd, Johnnie Taylor, Albert King, and many others.

The Memphis Horns appeared on nearly every recording for Stax that included a horn section — with Isaac Hayes, Otis Redding, Rufus Thomas, Sam and Dave and others — as well as on other releases, including The Doobie Brothers ' What Were Once Vices Are Now Habits and U2's Rattle and Hum, as well as a few solo records.

Another type of potato chip, notably the Pringles and Lay's Stax brands, is made by extruding or pressing a dough made from ground potatoes into the desired shape before frying.

It is operated by Soulsville USA, which also operates the adjacent Stax Music Academy.

Mitchell's Hi Records continued the Stax tradition in that decade, releasing many hits by Green, Ann Peebles, Otis Clay, O. V.

The vast majority of Stax releases were backed by house bands Booker T and the MGs ( with Booker T. Jones, Steve Cropper, Duck Dunn, and Al Jackson ) and the Memphis Horns ( the splinter horn section of the Mar-Keys ).

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 term continued to be used in the 1970s and 1980s, particularly by the British media to describe a new generation of singers who adopted elements of the Stax and Motown sounds.

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 ).

It was released on DVD as Soul Comes Home: A Celebration of Stax Records and Memphis Soul Music by Shout!

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.

However, although a successful recording combo in their own right, the bulk of the work done by the musicians in the band during this era was as the core of the de facto house band at Stax Records.

According to Steve Cropper, the song was recorded with the intention of being released as by The Mar-Keys ( another name used to release singles by the Stax house band.

Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take.

" The first was a leftover Hayes-Porter recording from Stax ; the second was produced by Wexler and Dowd in New York, and was written by Stax executive Al Bell and Allen Jones.

Pure soul was popularized by Otis Redding and the other artists of Stax Records in Memphis, Tennessee.

During this period and for several subsequent tours, the Doobies were often supported on-stage by Stax Records legends The Memphis Horns.

In the late 1960s, Stax artists such as Redding, Eddie Floyd, Wilson Pickett, and Johnnie Taylor made significant contributions to soul music.

In Detroit, producer Don Davis worked with Stax artists such as Johnnie Taylor and The Dramatics.

's, and the Stax horn section, the Mar-Keys had world-class musicians who co-wrote ( often without credit ) and contributed to recordings — the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists.

Additionally, in 1975 Maurice established a production company called Kalimba Productions to which he signed artists such as his former bandleader Ramsey Lewis, singer Deniece Williams ( a former member of Stevie Wonder's Wonderlove backup group ) and girl group The Emotions, who had a run of hits with Stax Records from 1969 to 1974.

However, despite dozens of other releases, only three other Stax / Volt artists charted during this time, and all just barely: William Bell's " You Don't Miss Your Water " hit # 95 in early 1962 ; The Mar-Keys ' " Pop-Eye Stroll " hit # 94 in mid-1962 ( although it was a big hit in Canada, hitting # 1 on Toronto's CHUM Chart ), and Barbara & The Browns ' " Big Party " made it to # 97 in mid-1964.

Beginning in 1965, Stax / Volt artists would make the charts much more frequently.

's, and Carla Thomas, 1965 saw the chart debuts of Stax artists The Astors and Sam & Dave plus Volt artist The Mad Lads.

One of the Atlantic artists who wasn't allowed to record at Stax was the then-newly-signed Aretha Franklin ( who instead was sent to Rick Hall's FAME studios in Alabama, which had a sound that was similar to Stax's ).

By 1966 and 1967, Stax and its subsidiaries had hit their stride, regularly scoring hits with artists such as Otis Redding, Sam and Dave, Carla Thomas, William Bell, Booker T. & the MG's, Eddie Floyd, The Bar-Kays, Albert King, and The Mad Lads.

Unlike Motown, which frequently packaged its artists on review tours, Stax only infrequently sought to promote its acts through label-sponsored live concerts.

While the show was a success, the Watts riots began the day afterward, and several Stax artists were trapped in Watts during the violence.

While there was much racism around the artists the Stax recording studio seemed to be an escape from the turmoil that was happening in the real world.

That same year some of the Stax artists traveled Europe and were taken back by the reception that they received.

Although Stax had also lost their most valuable artists, they recovered quickly.

On August 20, 1972, the Stax label presented a major concert, Wattstax, featured performances by Stax recording artists and humor from rising young comedian Richard Pryor.

The Stax labels ' profits were cut severely, particularly since the CBS distribution agents bypassed the traditional small mom-and-pop record sellers in the black community which had been the backbone of Stax's distribution, and weren't pushing the Stax product to the larger retailers for fear of undercutting rack space for CBS R & B artists such as Earth Wind and Fire, The Isley Brothers, and Sly & the Family Stone.

In 1988, Fantasy issued the various artists album Top of the Stax, Vol.