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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.
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Stax and labels
" From 1961 on, virtually all of the output of Satellite Records ( and successor labels Stax and Volt ) would be in the R & B / southern soul style.
) 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.
To circumvent this, Stax, like many other record companies, created a number of subsidiary labels.
These recordings feature the alternate Stax / Volt logos used on the album covers on their labels, as opposed to the original Atlantic-era logos, such as the " Stax-o-wax " logo.
By 1975, all of the secondary Stax labels had folded, with only the main Stax label remaining.
This included the Paramount, Stax ( until 1970 ) and Blue Thumb labels, along with distribution of Sire Records ( now owned by Warner Music Group ) and Melanie Safka's Neighborhood Records ( which later moved to Arista Records ).
Its catalog was greatly enhanced in 2004 with the purchase of Fantasy Records, bringing to Concord diverse music from Fantasy-owned labels such as Prestige, Stax and Specialty.
The term was first used in the mid-1960s to describe white artists who performed soul and R & B that was similar to the music of the Motown and Stax record labels.
Each of these offshoot groups also recorded popular instrumental albums of their own, in addition to serving as the backing band on albums by dozens of rock, R & B, and soul music stars on Stax, Volt and other national labels.
He performed as a solo vocalist in the years to follow, but his biggest successes were as songwriter for other artists on labels like Stax and others in the 1960s and following decades.
After leaving Stax, Knight recorded songs for various small labels, but was not able to gain any more recognition.
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.
Changing tastes also brought about an imminent demise to record labels such as Stax, which were major suppliers of music heard on the R & B / Soul shows.
She recorded several more albums for various labels, Stax / Volt among them, and also made an album of duets with Johnny Nash.
Sly Dunbar, then drumming for Skin Flesh and Bones, and Robbie Shakespeare, playing bass and guitar with the Aggrovators, discovered they had the same ideas about music in general ( both are huge fans of Motown, Stax Records, the Philly Sound, and country music, in addition to Jamaican legendary labels Studio One and Treasure Isle ), and reggae production in particular.
Independent labels have a long history of promoting developments in popular music, stretching back to the post-war period in the United States, with labels such as Sun Records, King Records, Stax, etc.
An example of this was The Great Unknowns series which included music by Smokey Robinson and Carla Thomas and others recording on the Motown, Stax and Atlantic record labels.
Stax and were
'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 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 ).
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.
He was exposed to the soul music of Motown, Stax, James Brown, Aretha Franklin, Al Green, Stevie Wonder, Curtis Mayfield, Gladys Knight, The Isley Brothers and Gamble and Huff growing up who were key influences on his musical style.
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.
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.
These three singles, along with other tracks, were compiled on Double Dynamite ( 12 / 66 ), Sam & Dave's second LP on Stax.
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.
During this period and for several subsequent tours, the Doobies were often supported on-stage by Stax Records legends The Memphis Horns.
After Stax was acquired, that label became a subsidiary of Dot, though Dot was not at all mentioned on the actual label ( rather, Dot and Stax were noted as subsidiaries of Paramount ).
By 1962, the pieces were in place that allowed Stax to turn from a successful regional label into ( alongside Motown and Atlantic ) a national R & B powerhouse.
The store was also used to ' test-market ' potential future Stax singles, as acetates of recently recorded Stax music were played to gauge customers ' reactions.
* House band: Through the first few years of Stax, the ' house band ' varied, although Cropper, bassist Lewie Steinberg, drummer Curtis Green, and horn players Floyd Newman, Gene " Bowlegs " Mille, and Gilbert Caple were relative constants.
The sextet of Cropper, Dunn, Hayes, Jackson, Jones and Porter were collectively known as the " Big Six " within the halls of Stax, and were ( either as a group, or working in various combinations ) responsible for producing almost all of the label's output from about 1963 through 1969.
( Carla Thomas also charted with reasonable consistency, but her pre-1965 releases were on Atlantic, not Stax or Volt.
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.
Stax and particularly
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.
Stax and since
Stax, however, had been losing money since late in the previous decade and was forced into bankruptcy in 1975.
In Brazil, they have been on the market under the brand name " Elma Chips Stax " since late 2006 in the flavors " Cheddar ", " Sour Cream & Onion ", and " Original ".
Stax and CBS
CBS Records President Clive Davis saw Stax as a means for CBS to fully break into the African-American market and successfully compete with Motown.
Without Davis at the helm, CBS very quickly lost interest in Stax.
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.
However, although CBS was uninterested in fully promoting Stax, it refused to release the label from its contract, for fear that Stax would land a more productive deal with another company and then become CBS's direct competitor.
Stax and distribution
Due to the end of the distribution agreement between Stax and Atlantic Records in May 1968, " I Thank You " was Sam and Dave's final single on Stax.
Stax Records, primary distributor for the band's Ardent Records label, had recently placed distribution of its catalog in the hands of the much larger Columbia Records ; Radio City's release coincided with a disagreement between Stax and Columbia, which left Columbia refusing to distribute the catalog.
Following the death of Stax's biggest star, Otis Redding, in 1967 and the severance of the label's distribution deal with Atlantic Records in 1968, Stax continued primarily under the supervision of a new co-owner, Al Bell.
By 1965, Stax had signed a formal national distribution deal with Atlantic Records.
In 1967, Atlantic Records was sold to Warner Bros .- Seven Arts, which activated a clause in the Stax / Atlantic distribution contract calling for renegotiation of the distribution deal.
As a result, Stewart did not renew his distribution deal with Atlantic, and instead sold Stax a week later to Paramount Pictures ( who also owned Dot Records ), a unit of Gulf + Western, in May 1968.
After the Atlantic distribution deal expired in May 1968, Atlantic briefly marketed Stax / Volt recordings made after the split.
However, Davis was fired by the company shortly after signing the Stax distribution deal.
The label was initially an attempt by the R & B-focused Stax to move into rock music, but distribution problems prevented any releases from succeeding.
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