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134-661: Hip Records was a daughter label of Stax Records . It was formed around 1967 for the purpose of recording and releasing material by Memphis and regional rock bands and groups. The Stax label had always recorded a small amount of non-soul material, and a few white rock bands like The Barracudas , The Cobras and the Memphis Nomads had releases on the Stax label itself. But after 1967, Stax began to set up new labels for different genres, Enterprise for jazz and Hip for rock and roll. Jim Stewart imported singer Sharon Tandy from England to launch

268-552: A Teenage Werewolf". Lead singer Lux Interior 's energetic and unpredictable live shows attracted a fervent cult audience. Their " psychobilly " music influenced The Meteors and Reverend Horton Heat . In the early '80s, the Latin genre was born in Colombia by Marco T (Marco Tulio Sanchez), with The Gatos Montañeros. The Polecats , from North London, were originally called The Cult Heroes; they could not get any gigs at rockabilly clubs with

402-477: A United States record label is a stub . You can help Misplaced Pages by expanding it . Stax Records Stax was influential in the creation of Southern soul and Memphis soul music. Stax also released gospel , funk , and blues recordings. Renowned for its output of blues music, the label was founded by two siblings and business partners, Jim Stewart and Estelle Axton (STewart/AXton = Stax). It featured several popular ethnically integrated bands (including

536-428: A blend of bluegrass with rock and roll. The term "rockabilly" itself is a portmanteau of "rock" (from "rock 'n' roll") and " hillbilly ", the latter a reference to the country music (often called " hillbilly music " in the 1940s and 1950s) that contributed strongly to the style. Other important influences on rockabilly include western swing , boogie-woogie , jump blues , and electric blues . Defining features of

670-456: A blues song on one side and a country song on the other, both sung in the same genre-blending style. Presley's Sun recordings feature his vocals and rhythm guitar, Bill Black's percussive slapped bass, and Scotty Moore on an amplified guitar. Slap bass had been a staple of both western swing and hillbilly boogie since the 1940s. Scotty Moore described his playing style as an amalgamation of techniques he had picked up from other guitarists over

804-464: A break on July 5, 1954, Elvis started playing " That's All Right Mama ", a 1946 blues song by Arthur Crudup, and Moore and Black joined in. After several takes, Phillips had a satisfactory recording. "That's All Right" was released on July 19, 1954. Presley's version of "That's All Right Mama" melded country, a genre associated with European-American culture, and rhythm & blues, a genre associated with African-American culture . The resulting track

938-633: A breakthrough hit for Shakin' Stevens . Also in 1980, Queen scored a number-one hit on the Billboard Hot 100 with the rockabilly-inspired single " Crazy Little Thing Called Love ". The Stray Cats were the most commercially successful of the new rockabilly artists. The band formed on Long Island in 1979 when Brian Setzer teamed up with two school chums calling themselves Lee Rocker and Slim Jim Phantom . Attracting little attention in New York, they flew to London in 1980, where they had heard that there

1072-608: A complaint from another company named Satellite Records, which had been in operation in California for some years but was previously unaware of the Memphis-based Satellite label. Accordingly, in September 1961, Satellite permanently changed its name to "Stax Records", a portmanteau of the names of the two owners of the company: Jim St ewart and Estelle Ax ton. By 1962, the pieces were in place that allowed Stax to turn from

1206-539: A country and pop label for the next year or so. While promoting "Fool in Love", Stewart met with Memphis disc jockey and R&B singer Rufus Thomas , and both parties were impressed by the other. Around the same time, and at the urging of Chips Moman, Stewart moved the company back to Memphis and into an old movie theater , the former Capitol Theatre, at 926 East McLemore Avenue in South Memphis; Stewart recalled that he chose

1340-996: A duet with Carl Perkins, and George Harrison collaborated with Roy Orbison in the Traveling Wilburys . In 1999, McCartney released Run Devil Run , his own record of rockabilly covers. The Beatles were not the only British Invasion artists influenced by rockabilly. The Rolling Stones recorded Buddy Holly's " Not Fade Away " on an early single and later a rockabilly-style song, " Rip This Joint ", on Exile on Main St. The Who , despite being mod favorites, covered Eddie Cochran's " Summertime Blues " and Johnny Kidd and The Pirates ' Shakin' All Over on their Live at Leeds album. Even heavy guitar heroes such as Jeff Beck and Jimmy Page were influenced by rockabilly musicians. Beck recorded his own tribute album to Gene Vincent's guitarist Cliff Gallup — Crazy Legs —and Page's band, Led Zeppelin , offered to work as Elvis Presley's backing band in

1474-414: A fixed salary of $ 125 a week (US$ 1,174 in 2023 dollars ). This allowed them to quit their night jobs and become full-time professional studio musicians, and from this point on Booker T. and the M.G.'s regularly backed virtually all of the artists who recorded at Stax. Bell also persuaded Jim Stewart to set up a "production pool", in which a small portion of the royalty payments Stax was receiving from Atlantic

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1608-402: A head in early 1966, when Wilson Pickett returned to record new material. Although the session produced two hit songs—"634-5789" and "Ninety-Nine and a Half (Won't Do)"—Pickett's "corrosive" character caused havoc in the studio; the session musicians eventually walked out, and the breaking point came when Pickett followed them outside and offered them $ 100 each (US$ 967 in 2023 dollars ) to complete

1742-708: A local instrumental band, the Royal Spades. Changing their name to the Mar-Keys , the band recorded and issued the single "Last Night", which shot to #3 on the US pop charts and #2 on the R&;B charts. "Last Night" was the first single to be nationally distributed on the Satellite label; previous Atlantic issues of Satellite material were issued nationally on the Atlantic or Atco label. This led to

1876-663: A million copies. These same musicians would have two more releases in 1956, followed by another in January 1957. "Queen of Rockabilly" Wanda Jackson's first record came out in July, "I Gotta Know" on the Capitol label; followed by "Hot Dog That Made Him Mad" in November. Capitol would release nine more records by Jackson, some with songs she had written herself, before the 1950s were over. The first record by Jerry Lee Lewis , who would later be known as

2010-498: A mix of blues, country and early rockabilly. The Saturday Night Jamboree was a Memphis stage show held every Saturday night at the Goodwyn Institute Auditorium in downtown Memphis, Tennessee from 1953–1954. The Jamboree shows were sometimes broadcast live on KWEM. A number of future notables performed there, including Elvis Presley. The performers often experimented with new sounds in their dressing rooms, incorporating

2144-640: A name that sounded "punk", so the original drummer Chris Hawkes came up with the name "Polecats". Tim Polecat and Boz Boorer started playing together in 1976, then hooked up with Phil Bloomberg and Chris Hawkes at the end of 1977. The Polecats played rockabilly with a punk sense of anarchy and helped revive the genre for a new generation in the early 1980s. The Blasters , who emerged from the Los Angeles punk scene, included rockabilly among their roots rock influences. The song " Marie Marie ", first appearing on their 1980 debut album American Music , would later become

2278-553: A nationwide boogie craze starting in 1938, country artists like Moon Mullican , the Delmore Brothers , Tennessee Ernie Ford , Speedy West , Jimmy Bryant , and the Maddox Brothers and Rose began recording what was then known as "hillbilly boogie", which consisted of "hillbilly" vocals and instrumentation with a boogie bass line. After World War II , The Maddox Brothers and Rose were at "the leading edge of rockabilly with

2412-523: A number of Green's hits between 1971 and 1975. Rockabilly Rockabilly is one of the earliest styles of rock and roll music. It dates back to the early 1950s in the United States, especially the South . As a genre, it blends the sound of Western musical styles such as country with that of rhythm and blues , leading to what is considered "classic" rock and roll. Some have also described it as

2546-674: A number of subsidiary labels. Volt, founded in late 1961, was the label home to Otis Redding, the Bar-Kays , and a handful of other artists. Volt releases were initially issued by Atlantic through its subsidiary Atco Records . Other Stax subsidiaries over the years included Enterprise (named after the USS Enterprise from Star Trek , of which Al Bell was a fan), Chalice (a gospel label), Hip, Safice, Magic Touch, and Arch. Redding's first single, "These Arms of Mine", issued in October 1962, hit both

2680-815: A pioneer of rockabilly and rock and roll, came out on December 22, 1956, and featured his version of " Crazy Arms " and "End of the Road". Lewis would have big hits in 1957 with his version of " Whole Lotta Shakin' Goin' On ", issued in May, and " Great Balls Of Fire " on Sun. There were thousands of musicians who recorded songs in the rockabilly style, and many record companies released rockabilly records. Some enjoyed major chart success and were important influences on future rock musicians. Sun also hosted performers, such as Billy Lee Riley , Sonny Burgess , Charlie Feathers , and Warren Smith . There were also several female performers like Wanda Jackson who recorded rockabilly music long after

2814-408: A problematic distribution deal with CBS Records , caused the label to slide into insolvency , resulting in its forced closure in late 1975. In 1977, Fantasy Records acquired the post-1968 Stax catalogue and selected pre-1968 recordings. Beginning in 1978, Stax (now owned by Fantasy) began signing new acts and issuing new material, as well as reissuing previously recorded Stax material. However, by

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2948-691: A punk-influenced style of rockabilly, often labeled as alt-country or cowpunk . They achieved critical acclaim and a following in America but never managed a major hit. The revival was related to the " roots rock " movement, which continued through the 1980s, led by artists like James Intveld , who later toured as lead guitar for The Blasters, High Noon , the Beat Farmers , The Paladins , Forbidden Pigs , Del-Lords, Long Ryders, The Last Wild Sons, The Fabulous Thunderbirds , Los Lobos , The Fleshtones , Del Fuegos , Reverend Horton Heat and Barrence Whitfield and

3082-476: A rock and roll star in his own right), although they did not record the song until 1957. The Burnettes disliked the popular music McQueen played, so they began playing smaller shows on their own, focusing on their budding rockabilly sound. The trio released " Train Kept A-Rollin' " in 1956, listed by Rolling Stone magazine as one of the top 500 rock songs of all time . Many consider this 1956 recording to be

3216-518: A rockabilly album titled Everybody's Rockin' . The album was not a commercial success and Young was involved in a widely publicized legal fight with Geffen Records who sued him for making a record that did not sound "like a Neil Young record". Young made no further albums in the rockabilly style. During the 1980s, a number of country music stars scored hits recording in a rockabilly style. Marty Stuart 's " Hillbilly Rock " and Hank Williams, Jr. 's " All My Rowdy Friends Are Coming Over Tonight " were

3350-505: A substantial regional hit and was picked up for national distribution by Atlantic Records on its Atco subsidiary. It went on to sell between thirty and forty thousand copies, becoming Satellite's biggest hit to that time. With the success of "Cause I Love You", Stewart made a distribution deal giving Atlantic first choice on releasing Satellite recordings. From this point on, Stewart focused more and more on recording and promoting rhythm and blues acts. Not having really known anything about

3484-414: A successful regional label into (alongside Motown and Atlantic) a national R&B powerhouse. Throughout the rest of the 1960s, the label's operations would be greatly aided by several unique factors, including the label's record store, studio, artist and repertoire (A&R) department and house band, which regularly voted with Stewart on which records would be issued on the label. While Stewart ran

3618-417: A two-track recorder should be installed. The Stax team were appalled at the idea, fearing that the distinctive "Stax sound" would be destroyed. However, Dowd pointed out that stereo albums sold for a higher price, which would mean more income for Stax, so in the summer of 1965 he installed an additional two-track recorder, allowing Stax to record sessions simultaneously in mono and stereo, and in 1966 he upgraded

3752-447: A unit of Gulf+Western ; the sale brought it into direct co-ownership with Dot Records , a pop label Paramount had owned since 1957. Consequently, Stax was forced to move forward without the most desirable portion of its back catalogue and without Sam and Dave, who had been unofficially "on loan" to Stax up to this point, and who were forced to return to Atlantic after the split (although they never scored another major hit). The company

3886-742: Is another example of the mixing of musical genres in the first half of the 1950s. Bill Monroe is known as the Father of Bluegrass , a specific style of country music. Many of his songs were in blues form, while others took the form of folk ballads, parlor songs, or waltzes. Bluegrass was a staple of country music in the early 1950s and is often mentioned as an influence in the development of rockabilly, in part owing to its favoring of fast tempos. The Honky Tonk sound, which "tended to focus on working-class life, with frequently tragic themes of lost love, adultery, loneliness, alcoholism, and self-pity", also included songs of energetic, uptempo Hillbilly Boogie. Some of

4020-452: Is quoted as saying "Rock and Roll? Why, man, that's the same kind of music we've been playin' since 1928!... But it's just basic rhythm and has gone by a lot of different names in my time. It's the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm's what's important." After blues artists like Meade Lux Lewis and Pete Johnson launched

4154-750: The Jordanaires . In 1951 a western swing bandleader named Bill Haley recorded a version of " Rocket 88 " with his group, the Saddlemen . It is considered one of the earliest recognized rockabilly recordings. It was followed by versions of " Rock the Joint " in 1952, and original works such as "Real Rock Drive" and " Crazy Man, Crazy ", the latter of which reached number 12 on the American Billboard chart in 1953. On April 12, 1954, Haley, performing with his band as Bill Haley and His Comets , recorded " Rock Around

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4288-477: The Long Tall Sally EP (1964)). Long after the band broke up, the members continued to show their interest in rockabilly. In 1975, Lennon recorded an album called Rock 'n' Roll , featuring versions of rockabilly hits and a cover photo showing him in full Gene Vincent leather. About the same time, Ringo Starr had a hit with a version of Johnny Burnette's " You're Sixteen ". In the 1980s, McCartney recorded

4422-450: The 1930s and 1940s, two new sounds emerged. Bob Wills and his Texas Playboys were the leading proponents of Western Swing , which combined country singing and steel guitar with big band jazz influences and horn sections ; Wills's music found massive popularity. Recordings of Wills's from the mid 1940s to the early 1950s include "two beat jazz" rhythms, "jazz choruses", and guitar work that preceded early rockabilly recordings. Wills

4556-462: The 1959–1968 Stax material. Stax Records, originally named Satellite Records , was founded in Memphis in 1957 by Jim Stewart , initially operating in a garage. Satellite's early releases were country music , rockabilly records or straight pop numbers, reflecting the tastes of Stewart (a country fiddle player) at the time. In 1958, Stewart's sister Estelle Axton began her financial interest in

4690-478: The 1970s. However, Presley never took them up on that offer. Years later, Led Zeppelin's Page and Robert Plant recorded a tribute to the music of the 1950s called The Honeydrippers: Volume One . The 1968 Elvis "comeback" and acts such as Sha Na Na , Creedence Clearwater Revival , Don McLean , Linda Ronstadt and the Everly Brothers , the film American Graffiti , the television show Happy Days and

4824-550: The 1980s in the UK (with four number ones in the singles chart) and number two across Europe, outstripping Michael Jackson , Prince , and Bruce Springsteen . Unlike The Stray Cats, who became successful due in part to MTV, Shakin' Stevens' success was initially due to him appearing on various children's television shows in Britain. Despite his popularity in Europe, he never became a big success in

4958-458: The Atlantic label. Her first hit, " Gee Whiz ", was originally issued as Satellite 104, but it was quickly reissued as Atlantic 2086, becoming a hit in early 1961. Her recordings would continue to be issued on Atlantic through mid-1965, though much of her work was recorded in the studios at Satellite (later Stax) or in Nashville under the supervision of the Stax staff. In June 1961, Satellite signed

5092-581: The Big Bopper ), the induction of Elvis Presley into the army in 1958, and a general change in American musical tastes. The style remained popular longer in England, where it attracted a fanatical following right up through the mid-1960s. Rockabilly music cultivated an attitude that assured its enduring appeal to teenagers. This was a combination of rebellion, sexuality, and freedom—a sneering expression of disdain for

5226-845: The Bride (When She Used to Rock 'n' Roll) ". The group became a popular touring act in the UK and the US, leading to respectable album sales. Edmunds also nurtured and produced many younger artists who shared his love of rockabilly, most notably the Stray Cats . Robert Gordon emerged from late 1970s CBGB punk act Tuff Darts to reinvent himself as a rockabilly revival solo artist. He recorded first with 1950s guitar legend Link Wray and later with UK studio guitar veteran Chris Spedding and found borderline mainstream success. Also festering at CBGB's punk environs were The Cramps , who combined primitive and wild rockabilly sounds with lyrics inspired by old drive-in horror movies in songs like "Human Fly" and "I Was

5360-526: The Clock " for Decca Records of New York City. When first released in May 1954, "Rock Around the Clock" made the charts for one week at number 23, and sold 75,000 copies. In 1955, it was featured in the film Blackboard Jungle , resulting in a resurgence of sales. The song hit No. 1, held that position for eight weeks, and was the number two song on the Billboard Hot 100 chart for 1955. The recording was, until

5494-866: The Decca label, and, as a member of the Teen Kings, Roy Orbison with "Ooby Dooby" on the New Mexico/Texas based Je-wel label. Holly's big hits would not be released until 1957. Janis Martin was only fifteen years old when RCA issued a record with "Will You, Willyum" and the Martin-composed "Drugstore Rock 'n' Roll", which sold over 750,000 copies. King records issued a new disk by forty-seven-year-old Moon Mullican: " Seven Nights to Rock " and "Rock 'N' Roll Mr. Bullfrog". Twenty more sides were issued by various labels including 4 Star, Blue Hen, Dot, Cold Bond, Mercury, Reject, Republic, Rodeo, and Starday. In April and May 1956,

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5628-508: The Dramatics, Frederick Knight and The Soul Children . Even Rufus Thomas , one of the first artists signed to the label, enjoyed a popular resurgence with a string of hits in the late 1960s/early 1970s. However, Stax's record sales were down overall under Paramount, whose management were also trying to exert more control of the operation. In 1970, Stewart and Bell decided to purchase the label back, with financial help from Deutsche Grammophon ,

5762-479: The European record company owned at the time by the giant Grammophon-Philips Group (renamed PolyGram in 1972). The financing on Deutsche Grammophon's end led to Stax's post-Paramount recordings being distributed outside of the United States by DG's pop label, Polydor Records , from 1970 until Stax fell into bankruptcy. By the fall of 1970, both Steve Cropper and Booker T. Jones were frustrated with Stax's treatment of

5896-496: The Jime ended with the death of Vince Gordon in 2016. Shakin' Stevens was a Welsh singer who gained fame in the UK portraying Elvis in a stage play. In 1980, he took a cover of The Blasters ' "Marie Marie" into the UK Top 20. His hopped-up versions of songs like " This Ole House " and " Green Door " were giant sellers across Europe. Shakin' Stevens was the biggest selling singles artist of

6030-521: The Jukebox Keep on Playing". Perkins and Presley in particular competed as the premier rockabilly artists. In March 1956, Columbia released " Honky Tonk Man " by Johnny Horton , King put out "Seven Nights to Rock" by Moon Mullican, Mercury issued "Rockin' Daddy" by Eddie Bond , and Starday released Bill Mack 's "Fat Woman". Two young men from Texas made their record debuts in April 1956: Buddy Holly on

6164-667: The M.G.'s, Eddie Floyd , the Bar-Kays , Albert King , and the Mad Lads. In 1966, Floyd recorded a tune named " Knock on Wood ", which he wrote with Steve Cropper; Stewart was initially indifferent to the tune but released it after he was outvoted by the house band on the notion of issuing the record. It became an international smash hit, and Stewart reflected positively on its success afterward. Unlike Motown, which frequently packaged its artists on review tours, Stax only infrequently sponsored concerts to promote its acts. The first of such concerts

6298-577: The M.G.'s. However, despite dozens of other releases, only three other Stax/Volt singles 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, when

6432-611: The MGs, and left the company and stopped playing sessions for Stax. Even though Jones was given the title of Vice President at Stax before leaving, as he put it, "There were titles given (to us) but we didn't actually make the decisions." A final Booker T. and the MGs album was issued in 1971. The two remaining MGs (Duck Dunn and Al Jackson) stayed on at Stax, working as session musicians on various Stax recordings, although they also worked elsewhere. In particular, Al Jackson worked extensively with Al Green at crosstown rival Hi Records , co-writing

6566-480: The Midnight Hour ", "Don't Fight It", "634-5789" and "Ninety-Nine and a Half (Won't Do)" were Stax songs in all but name, as they were all co-written by Steve Cropper, recorded at Stax, and backed by the Stax house band. Although Wexler was greatly enamoured of Stax's "organic" recording methods, some of the artists they brought in created conflict. A June 1965 session with Don Covay created bad feelings, which came to

6700-610: The National Billboard charts in 1956, and his "Guitar Rock" is cited as classic rockabilly. In 1953, 13-year-old Janis Martin was performing at the Old Dominion Barn Dance on WRVA out of Richmond, Virginia. Martin performed a mix of country songs for the show peppered with rhythm and blues hits in a style that has been described as "proto-rockabilly". She later stated, "the audience didn't know what to make of it. They didn't hardly allow electric instruments, and I

6834-544: The R&B and the pop charts. Though the label had enjoyed some early hits with the Mar-Keys and Booker T. & the M.G.'s, Redding became the first Stax/Volt artist to consistently hit the charts with each release—in fact, each of Redding's 17 singles issued during his lifetime charted. (Carla Thomas also charted with some consistency, but her pre-1965 releases were on Atlantic, not Stax or Volt.) Between January 1962 and December 1964, Stax and Volt released several chart hits each by Otis Redding, Rufus Thomas, and Booker T. and

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6968-511: 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." From 1961 on, virtually all of the output of Satellite Records (and its successor labels Stax and Volt) would be in the R&B/southern soul style. As part of the deal with Atlantic, Satellite agreed to continue recording Carla Thomas but allowed her recordings to be released on

7102-551: The Rock and Roll Trio played on Ted Mack 's TV talent show in New York City. They won all three times and guaranteed them a finalist position in the September supershow. Gene Vincent and His Blue Caps' recording of " Be-Bop-A-Lula " was released on June 2, 1956, backed by "Woman Love". Within twenty-one days it sold over two hundred thousand records, stayed at the top of national pop and country charts for twenty weeks, and sold more than

7236-524: The Savages . These bands, like the Blasters, were inspired by a full range of historic American styles: blues, country, rockabilly, R&B and New Orleans jazz. They held a strong appeal for listeners who were tired of the commercially oriented MTV-style synthpop and glam metal bands that dominated radio play during this time period, but none of these musicians became major stars. In 1983, Neil Young recorded

7370-434: The Stax rhythm section as salaried Stax employees. In 1967, Atlantic Records was sold to Warner Bros.-Seven Arts . 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. This called for the renegotiation or termination of the distribution deal in the event that Stewart's nominated "key man" at Atlantic— Jerry Wexler —either left

7504-444: The Stax singers never try to embody abject lust. Although Stax had also lost their most valuable artists, they recovered quickly. Johnnie Taylor gave Stax its first big post-Atlantic hit in 1968 with "Who's Making Love", which became the label's best-selling single to that point. To begin rebuilding its catalog, Stax, under orders from Al Bell, released a whopping 27 albums (a Rufus Thomas album titled May I Have Your Ticket Please?

7638-465: The Teddy Boy revival created curiosity about the real music of the 1950s, particularly in England, where a rockabilly revival scene began to develop from the 1970s in record collecting and clubs. The most successful early product of the scene was Dave Edmunds , who joined up with songwriter Nick Lowe to form a band called Rockpile in 1975. They had a string of minor rockabilly-style hits like " I Knew

7772-456: The Tennessee Two, consisting of Marshall Grant on bass, and Luther Perkins (no relation to Carl Perkins) on lead guitar. This song and another Cash original, " Cry! Cry! Cry! " were released in July. "Cry! Cry! Cry!" managed to crack Billboard's Top 20, peaking at No. 14. Presley's second and third singles were not as successful as his first. His fourth release, "Baby, Let's Play House",

7906-626: The US. In 2005, his greatest hits album The Collection reached number four in the British albums chart, and was released as a tie-in to his appearance on ITV entertainment show Hit Me, Baby, One More Time , going on to become the winner of the series. Other notable British rockabilly bands of the 1980s included The Jets , Crazy Cavan , Matchbox , and the Rockats . Jason & the Scorchers combined heavy metal , Chuck Berry and Hank Williams to create

8040-745: The United Kingdom were called Teddy Boys because they wore long, Edwardian -style frock coats , along with tight black drainpipe trousers and brothel creeper shoes. Another group in the 1950s that were followers of rockabilly were the Ton-Up boys, who rode British motorcycles and would later be known as rockers in the early 1960s. The rockers had adopted the classic greaser look of T-shirts , jeans, and leather jackets to go with their heavily slicked pompadour haircuts. The rockers loved 1950s rock and roll artists such as Gene Vincent, and some British rockabilly fans formed bands and played their own version of

8174-447: The address. We didn't have any sound equipment or anything else but a small building and a lot of desire." Around this time, Stewart was introduced to rhythm and blues music by staff producer Chips Moman . In the summer of that year, Satellite released its first record by a rhythm and blues act, "Fool in Love", by the Veltones, which was soon picked up for national distribution by Mercury Records . However, Satellite remained primarily

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8308-402: The artists went into the studio, they were there for one reason only, and that was to make hit music, some of which had the social consciousness that became a soundtrack for the civil rights movement. On their 1967 tour in Europe, some of the Stax artists were taken aback by the welcome that they received, enjoying a better reception in parts of Europe than in the United States. Although the trip

8442-399: The band's primary bassist, replacing Steinberg in 1964. Jones was frequently absent from Stax over several years in the mid-1960s, while he pursued his musical studies at Indiana University, so during this period Isaac Hayes usually replaced him as the house band's regular pianist, although the two occasionally performed on recordings together when Jones was back in Memphis. Other members of

8576-557: The best ones into their shows. In 1951 and 1952, brothers Johnny and Dorsey Burnette , as well as Paul Burlison , played a blend of blues, country, and rockabilly at live shows in and around the Memphis area. in 1953, they played with Doc McQueen's swing band at the Hideaway Club for a time. While there, they wrote a song called "Rock Billy Boogie", named after the Burnette brothers' sons Rocky and Billy ( Rocky Burnette later became

8710-434: The better known musicians who recorded and performed these songs are: the Delmore Brothers , the Maddox Brothers and Rose , Merle Travis , Hank Williams , Hank Snow , and Tennessee Ernie Ford. White sharecroppers' sons Carl Perkins and his brothers Jay and Clayton, along with drummer W. S. Holland , had established themselves as one of the hottest bands on the honky-tonk circuit around Jackson, Tennessee . Most of

8844-468: The building because "it was in the area close to where Rufus Thomas (WDIA Radio disk jockey) lived [alongside] several of the other musicians and writers that are still working with the studio today. They drifted in and we got locked in on the rhythm and blues field." In the summer of 1960, Rufus Thomas and his daughter Carla were the first artists to make a recording in this new facility; the record, "Cause I Love You" (credited to Rufus & Carla), became

8978-686: The chart debuts of Stax artists the Astors and Sam & Dave plus Volt artists the Mad Lads . Sam & Dave were technically on the Atlantic roster but were "leased" to Stax by Atlantic, with Stax overseeing their recordings and issuing them on the Stax label. Virtually all of Sam & Dave's Stax material was written and produced by Hayes and Porter. Atlantic's Jerry Wexler also brought Don Covay and Wilson Pickett to record at Stax, though these songs were released directly by Atlantic. Covay's hits "See Saw" and "Sookie Sookie" and Pickett's 1965 and 1966 hits " In

9112-674: The charts stateside. Their third LP, Rant 'N' Rave with the Stray Cats , topped charts across the US and Europe as they sold-out shows everywhere during 1983. However, personal conflicts led the band to break up at the height of their popularity. Brian Setzer went on to solo success working in both rockabilly and swing styles, while Rocker and Phantom continued to record in bands both together and singly. The group has reconvened several times to make new records or tours and continue to attract large audiences live, although record sales have never again approached their early '80s success. The Jime entered

9246-595: The company at the end of 1961 after a royalty dispute with Stewart; he soon opened his own studio across town. Mar-Keys member Steve Cropper replaced Moman as Stewart's assistant and A&R director. Cropper would quickly become a writer, producer and session guitarist on scores of Stax singles. In the first few years at Stax, the house band varied, although Cropper, bassist Lewie Steinberg , drummers Howard Grimes or Curtis Green, and horn players Floyd Newman, Gene "Bowlegs" Miller , and Gilbert Caple were relative constants. By 1962, multi-instrumentalist Booker T. Jones

9380-465: The company or sold his stock in Atlantic. Stax initially hoped to join Atlantic in the Warner buyout, so Jim Stewart, Estelle Axton and Al Bell flew to New York hoping to negotiate a deal, but according to Stewart the figure they were offered was "an insult". Stewart then approached Warner-Seven Arts directly, but their offer was similarly unacceptable to Stax. Unhappy with either offer, Stewart then asked for

9514-499: The company, and disputes between the two executives led to an impasse where Bell made plans to leave the company. Forced to choose between his sister and his vice president, Stewart asked Axton to step down from the company. By 1970, she had sold her shares and would later go on to found Fretone Records, which had a major success in 1976 with the chart-topping " Disco Duck ". After the Atlantic distribution deal expired in May 1968, Atlantic briefly marketed Stax/Volt recordings made after

9648-499: The company. Taking a considerable financial risk, she mortgaged her family home to invest US$ 2,500 (US$ 26,401 in 2023 dollars ) in the company, enabling Satellite to purchase an Ampex 350 mono console tape recorder. The company set up a small recording studio in a converted garage near National Cemetery in Brunswick, Tennessee , in 1959. In 1970, Stewart recalled this portion of the label's origins, and remarked, "I don't even remember

9782-475: 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 . Over the next five years, Bell expanded the label's operations significantly, in order to compete with Stax's main rival, Motown Records in Detroit . During the mid-1970s, a number of factors, including

9916-435: The development of rockabilly. The Memphis blues musician Junior Parker and his electric blues band, Little Junior's Blue Flames, featuring Pat Hare on the guitar, were a major influence on the rockabilly style, particularly with their songs " Love My Baby " and " Mystery Train " in 1953. Zeb Turner 's February 1953 recording of "Jersey Rock" with its mix of musical styles, lyrics about music and dancing, and guitar solo,

10050-496: The drummer for the Louisiana Hayride , to join him for future dates. By that time, many rockabilly bands were incorporating drums, which distinguished the sound from country music, where they were then uncommon. In the 1956 sessions shortly after Presley's move from Sun Records to RCA Victor, Presley was backed by a band that included Moore, Black, Fontana, and pianist Floyd Cramer . In 1956, Elvis also acquired vocal backup via

10184-406: The early 1980s, no new material was being issued on the label, and for the next two decades, Stax was strictly a reissue label. 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 and soul performers. Atlantic Records continues to hold the rights to the vast majority of

10318-498: 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. He was amazed by the loose, improvisational feel of the session and by the way Thomas and the musicians developed and recorded the song: Thomas simply sang through the new number for the band once or twice, humming suggestions for their parts and sounding the rhythm by clacking his teeth close to their ears. Once

10452-522: The featured vocalist or instrumentalist, and the arranger would write sheet music arrangements for the musicians to work from. Such unionised sessions were run strictly "by the clock" and there was a strict demarcation between the studio and the control room. By contrast, the Stax sessions ran as long as was needed, the musicians moved freely between the control room and the studio floor, and all were free to make suggestions and contributions as they worked up what are known as head arrangements , in which none of

10586-438: The first intentional use of a distortion effect on a rock song, which was played by lead guitarist Paul Burlison. Elvis Presley 's first recordings took place at Sun Records, a small independent label run by record producer Sam Phillips in Memphis, Tennessee. For several years, Phillips had been recording and releasing performances by blues and country musicians in the area. He also ran a service allowing anyone to come in off

10720-456: The house band included horn players Andrew Love, Joe Arnold, and Wayne Jackson. Hayes had auditioned for Stax in 1962, unsuccessfully, but by 1964 he became a vital part of the Stax house band, along with his songwriting partner, David Porter . Cropper, Dunn, Hayes, Jackson, Jones and Porter were collectively known as the "Big Six" within the walls of Stax and were (either as a group or in various combinations) responsible for producing almost all of

10854-410: The label formalized its distribution agreement with Atlantic, Stax/Volt artists made the charts much more frequently. In 1965, Jim Stewart signed a formal national distribution deal with Atlantic Records, although fatefully he signed the contract without reading it—a decision that would later cost the label dearly. Carla Thomas also formally rejoined the Stax label in 1965. Perhaps more importantly for

10988-596: The label's house band , Booker T. & the M.G.'s ) and a racially integrated team of staff and artists unprecedented in that time of racial strife and tension in Memphis and the South. According to ethnomusicologist Rob Bowman , the label's use of "one studio, one equipment set-up, the same set of musicians and a small group of songwriters led to a readily identifiable sound. It was a sound based in black gospel, blues, country , and earlier forms of rhythm and blues (R&B). It became known as southern soul music." Following

11122-419: The label's fortunes, the songwriting team of Isaac Hayes and David Porter began to establish themselves as Stax's new team of hit writer/producers. Hayes would also permanently join the Stax house band, often subbing for Booker T. Jones, who was studying music full-time at Indiana University during the mid-1960s. In addition to hits by stalwarts Redding, Booker T. & the M.G.'s, and Carla Thomas, 1965 saw

11256-421: The label's output from about 1963 through 1969. The Stax house band's working methods were unusual for popular music recording at the time, and it was this that attracted the interest of Atlantic Records' Jerry Wexler . For most major recording companies at the time, the standard practice was for the label's staff producer or A&R manager to hire a studio, an arranger and the session musicians who were to back

11390-542: The label. Initially a singles label, Hip began to release albums after Stax's acquisition by Gulf & Western/Paramount in 1968. Albums were released by Paris Pilot, The Goodees , The Southwest F.O.B. and The Knowbody Else ( Black Oak Arkansas ). In 1969, Don Nix was named head of the Enterprise label, and Hip was discontinued. Stax began placing most of its rock, country and jazz on Enterprise going forward. Hip Records discography at Discogs This article about

11524-434: The late 1970s and early 1980s, rockabilly enjoyed a revival. An interest in the genre endures even in the 21st century, often within musical subcultures . Rockabilly has spawned a variety of sub-styles and has influenced the development of other genres such as punk rock . There was a close relationship between blues and country music from the very earliest country recordings in the 1920s. The first nationwide country hit

11658-412: The late 1990s, recognized by Guinness World Records as having the highest sales claim for a pop vinyl recording, with an "unaudited" claim of 25 million copies sold. Maine native and Connecticut resident Bill Flagg began using the term rockabilly for his combination of rock 'n' roll and hillbilly music as early as 1953. He cut several songs for Tetra Records in 1956 and 1957. "Go Cat Go" went into

11792-404: The music that Stax recorded. The store quickly became a popular hangout for local teenagers and was used to test-market potential Stax singles, as acetates of recently recorded Stax music were played to gauge customers' reactions. It also provided regular employment for many of the young hopefuls who later became part of Stax's musical family and provided cash flow in the early years while the label

11926-543: The music. The most notable of these bands was The Beatles . When John Lennon first met Paul McCartney , he was impressed that McCartney knew all the chords and the words to Eddie Cochran's " Twenty Flight Rock ". As the band became more professional and began playing in Hamburg, they took on the "Beatle" name (inspired by Buddy Holly's band The Crickets ) and they adopted the black leather look of Gene Vincent. Musically, they combined Holly's melodic songwriting sensibility with

12060-462: The musicians' parts were written down and nothing was worked out in advance. Stax's unusual working methods first came to Wexler's attention in the fall of 1963. He was expecting a new single from Carla Thomas, but when he contacted Stax he was told that they had been unable to record for two weeks because of faults in the recording equipment, so he immediately flew Atlantic's highly skilled house engineer Tom Dowd down to Memphis that Friday. Dowd had

12194-465: The new head arrangement was established, Dowd started recording, and Thomas and the band nailed the song in just two takes. When Dowd returned to New York the next day he had the tape of Thomas' breakthrough hit " Walking the Dog ", which Jim Stewart lauded as the best-sounding record Stax had yet produced. Wexler later commented: Memphis was a real departure, because Memphis was a return to head arrangements, to

12328-560: The other ladies, Janis Martin, the female Elvis Jo Ann Campbell , and Alis Lesley , who also sang in the rockabilly style. Mel Kimbrough -"Slim", recorded "I Get Lonesome Too" and "Ha Ha, Hey Hey" for Glenn Records along with "Love in West Virginia" and "Country Rock Sound" for Checkmate a division of Caprice Records. Gene Summers , a Dallas native and Rockabilly Hall of Fame inductee, released his classic Jan/Jane 45s in 1958–59. He continued to record rockabilly music well into 1964 with

12462-412: The property of Stax; all of the masters delivered to Atlantic between 1960 and 1967 are still wholly owned by Atlantic's current parent company, Warner Music Group . Stewart regarded his original deal with Wexler as a gentleman's agreement, and when the distribution arrangement was formalized with a contract in 1965, he had signed it without reading it, thus missing the fateful ownership clause. Stewart

12596-439: The record distributors. Stax has a reputation for the kind of guttural candor that first attracts many white fans to black music— Johnnie Taylor croaking "Who's making love to your old lady while you're out making love?" But so often it's more subtle. Above all, the Stax sound is mellow, not sweet or cool or otherwise untrue to its roots, but mellow. Horn riffs and bass-lines accent but never dominate, and even at their sexy best

12730-405: The record label was the house band, Booker T. and the M.G.'s, who were breaking boundaries in integration. Two of the band members were black and two were white, which at the time was unheard of, because of racial turmoil in the United States. In contrast to Stax's rapidly rising fortunes at this time, most of the house band were struggling to make a living: the musicians often worked long hours in

12864-419: The recording studio where the auditorium had been, Axton ran the Satellite record shop, which she established in the cinema's old foyer, where the refreshment stand had been. (The store later expanded next door into a vacated barber shop.) The Satellite store 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

12998-577: The release of "Alabama Shake". In 2005, Summers's most popular recording, School of Rock 'n Roll , was selected by Bob Solly and Record Collector Magazine as one of the "100 Greatest Rock 'n' Roll Records". Tommy " Sleepy LaBeef " LaBeff recorded rockabilly tunes on a number of labels from 1957 through 1963. Rockabilly pioneers the Maddox Brothers and Rose continued to record for decades. However, none of these artists had any major hits and their influence would not be felt until decades later. In

13132-405: The return of the Stax masters, but the executives at Warner-Seven Arts refused. It was then that he was informed that Atlantic's lawyer Paul Marshall had included a clause in the 1965 distribution contract that gave Atlantic all right, title and interest, including any rights of reproduction, in all Stax's Atlantic-distributed recordings between 1960 and 1967. Only its unreleased recordings remained

13266-419: 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. Stewart remained at the company, and former Stax marketing executive Al Bell became the company's vice president and a co-owner, taking on a more active role as Stewart became less active in Stax's day-to-day operations. Estelle Axton disagreed with Bell's visions for

13400-626: The rockabilly scene in 1983, when Vince Gordon formed his band. The Jime was a Danish Band. The Jime was the band of Vince Gordon, rockabilly guitarist. Not only was he the nerve of the band, Vince Gordon was the band. He composed nearly all its songs and hits.  Vince Gordon also left his mark on the rockabilly scene in many ways. Expert Fred Sokolow talks about the Vince Gordon style in Rockabilly due to his composing.  Vince Gordon had many different musicians in his band. The lifetime of

13534-422: The rockabilly sound included strong rhythms, boogie woogie piano riffs, vocal twangs , doo-wop acapella singing, and common use of the tape echo ; and eventually came to incorporate different instruments and vocal harmonies. Initially popularized by artists such as Carl Perkins , Elvis Presley , Johnny Burnette , Jerry Lee Lewis and others, the rockabilly style waned in the late 1950s; nonetheless, during

13668-569: The rough rock and roll sound of Vincent and Carl Perkins. When The Beatles became worldwide stars, they released versions of three different Carl Perkins songs, more than any other songwriter outside the band, except Larry Williams , who also added three songs to their discography. (Curiously, none of these three were sung by the Beatles' regular lead vocalists—"Honey Don't" (sung by Ringo) and "Everybody's Trying to be my Baby" (sung by George) from Beatles for Sale (1964) and "Matchbox" (sung by Ringo) on

13802-477: The session. As a result, the furious house band bluntly told Jim Stewart not to bring "that asshole" to the studio again. Also tired of another label capitalizing on the Stax sound, Stewart phoned Wexler soon after the Pickett session and told him that he wanted to do no more Stax productions of non-Stax artists. One Atlantic artist who was thus not able to record at Stax was the newly signed Aretha Franklin . She instead

13936-450: The set rhythm section away from the arranger. It was a return to the symbiosis between the producer and the rhythm section. It was really something new. Another important factor in Stax's success was the studio itself. The recording studio, located at 926 E McLemore Ave in Memphis, was a converted movie theater, which still had the sloped floor where the seats had once been. Because the room was imbalanced, it created an acoustic anomaly that

14070-530: The slapped bass that Fred Maddox had developed". They had shifted into higher gear leaning toward a whimsical honky-tonk feel, with a heavy, manic bottom end and high volume. The Maddoxes were known for their lively, antic-filled shows, which were an influential novelty for white listeners and musicians alike. Along with country, swing and boogie influences, jump blues artists such as Wynonie Harris and Roy Brown , and electric blues acts such as Howlin' Wolf , Junior Parker , and Arthur Crudup , influenced

14204-496: The songs they played were country standards with a faster rhythm. It was here that Carl started composing his first songs. While playing, he would watch the dance floor to see what the audience preferred and adjust his compositions to suit, writing them down only when he was sure they were finished. Carl sent numerous demos to New York record companies with no success; the producers believed the Perkins' style of rhythmically-driven country

14338-518: The split. 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. Stax label recordings were reissued on the Atlantic label, and Volt label material on the Atco label. 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

14472-545: The street and for a modest fee, record themselves on a two-song vanity record. One young man who came to record himself as a surprise for his mother, he claimed, was Elvis Presley. Presley made enough of an impression that Phillips deputized guitarist Scotty Moore , who then enlisted bassist Bill Black , both from the Starlight Wranglers, a local western swing band, to work with the young man. The trio rehearsed dozens of songs, from traditional country to gospel. During

14606-417: The studio during the day, developing songs and arrangements, but they were paid for recordings only when the actual sessions took place, so most had to play at local venues in the evenings to earn enough to support themselves and their families. To remedy this, in 1966 Al Bell appointed the members of the so-called Big Six (Hayes, Porter and Booker T. & the M.G.'s) as full-time salaried employees of Stax, on

14740-520: The studio further with a four-track recorder. The label's biggest early star, soul singer Otis Redding , also arrived in 1962. Redding, however, technically was not on Stax, but on its sister label Volt. In that era, many radio stations, anxious to avoid even the hint of payola , often refused to play more than one or two new songs from any single record label at one time, so as to not appear to be offering favoritism to any particular label. To circumvent this, Stax, like many other record companies, created

14874-464: The summer of 1958 Eddie Cochran had a chart-topping hit with " Summertime Blues ". Cochran's brief career included only a few more hits, such as "Sitting in the Balcony" released in early 1957, " C'mon Everybody " released in October 1958, and " Somethin' Else " released in July 1959. Then in April 1960, while touring with Gene Vincent in the UK, their taxi crashed into a concrete lamp post, killing Eddie at

15008-440: The true realization of the Rockabilly genre. In addition to the fusion of distinct genres, Presley's recordings contain some traditional as well as new traits: "nervously up tempo" (as Peter Guralnick describes it), with slap bass, fancy guitar picking, much echo, shouts of encouragement, and vocals full of histrionics such as hiccups, stutters, and swoops from falsetto to bass and back again. In 1955, Elvis asked D.J. Fontana ,

15142-412: The workaday world of parents and authority figures. It was the first rock 'n' roll style to be performed primarily by white musicians, thus setting off a cultural revolution that is still reverberating today. "Rockabilly" deviance from social norms, however, was more symbolic than real; and eventual public professions of faith by aging rockabillies were not uncommon. The first wave of rockabilly fans in

15276-560: The years. Presley's unique musical style rocketed him into the spotlight, and drew masses of followers. Nobody was sure what to call Presley's music, so Elvis was described as "The Hillbilly Cat" and "King of Western Bop". Over the next year, Elvis would record four more singles for Sun. Rockabilly recorded by artists prior to Presley can be described as being in the long-standing country style of Rockabilly. Presley's recordings are described by some as quintessential rockabilly for their true union of country and R&B, which can be described as

15410-400: The young age of 21. The grim coincidence in this all was that his posthumous UK number-one hit was called " Three Steps to Heaven ". Rockabilly music enjoyed great popularity in the United States during 1956 and 1957, but radio play declined after 1960. Factors contributing to this decline are usually cited as the 1959 death of Buddy Holly in an airplane crash (along with Ritchie Valens and

15544-447: The young writers and musicians. Booker T. Jones described Estelle as "an inspirer": She just loved music, loved people. She was always bringing us up there (the record shop), having us listen to records. She kept us in touch with the music industry. I doubt there would have been a Stax Records without Estelle Axton. She encouraged the entire Stax roster from her little perch behind the counter. Original A&R director Chips Moman left

15678-449: Was " Wreck of the Old 97 ", backed with "The Prisoner's Song", which also became quite popular. Jimmie Rodgers , the "first true country star", was known as the "Blue Yodeler", and most of his songs used blues-based chord progressions , although with very different instrumentation and sound from the recordings of his black contemporaries like Blind Lemon Jefferson and Bessie Smith . During

15812-485: Was a huge success for the artists and their label, it also marked another significant change in the political landscape at Stax. At a fraught tour meeting in Al Bell's hotel room, Steve Cropper was summarily removed as Stax's A&R director, and Al Bell took over the position. Following the touring party's return to Memphis, Bell was also promoted to executive vice president, and horn players Wayne Jackson and Andrew Love joined

15946-399: Was a tour of England and France in 1967, which played to sold-out crowds. Stax released several live albums from the tour recordings, including the best-selling Otis Live in Europe . In 1967 Stax was at the height of its fame. Alongside Otis Redding were soul singers Sam and Dave, Carla Thomas and writer Isaac Hayes, who would have a deep impact on funk music in the 1970s. Also signed to

16080-500: Was also a regular session musician at Stax (he was primarily a pianist and organist, but he played sax on "Cause I Love You"), as was bassist Donald "Duck" Dunn . Jones, Steinberg and Cropper were joined in mid-1962 by drummer Al Jackson Jr. to form Booker T. & the M.G.'s , an instrumental combo that would record numerous hit singles in their own right and served as the de facto house band for virtually every recording made at Stax from 1962 through about 1970. Dunn eventually became

16214-626: Was an active rockabilly scene. Early shows were attended by the Rolling Stones and Dave Edmunds, who quickly ushered the boys into a recording studio. The Stray Cats had three UK Top Ten singles to their credit and two bestselling albums. They returned to the US, performing on the TV show Fridays with a message flashing across the screen that they had no record deal in the States. Soon EMI picked them up, their first videos appeared on MTV, and they stormed up

16348-413: Was audible on recordings, often giving them a big, deep yet raw sound. Soul music historian Rob Bowman notes that because of the distinctive sound, soul music fans can tell often within the first few notes if a song was recorded at Stax. When Tom Dowd first arrived at Stax in 1963 the studio was still using the veteran Ampex mono recorder it had purchased in the late Fifties. Dowd immediately suggested that

16482-533: Was dealt another crushing blow when its biggest and best-loved artist, Otis Redding , as well as all but two of the members of the Bar-Kays, died in a plane crash on December 10, 1967. In April 1968 Martin Luther King Jr. was assassinated at the Lorraine Motel in Memphis, the place where many members of the Stax staff regularly met and ate, and where Steve Cropper and Eddie Floyd had written "Knock on Wood". In

16616-430: Was denied airplay on both country radio stations and R&B stations for being "too black" and "too white", respectively. Country deejays told Phillips they would be "run out of town" for playing it. When the song was finally played by one rogue deejay, Dewey Phillips, Presley's recording created so much excitement it was described as having waged war on segregated radio stations. All of Presley's early singles featured

16750-455: Was doing some songs by black artists." In 1954, both Johnny Cash and Carl Perkins auditioned for Sam Phillips . Cash hoped to record gospel music, but Phillips was not interested. In October 1954, Carl Perkins recorded his original song " Movie Magg ", which was released in March 1955 on Phillips's all-country label Flip. Cash returned to Sun in 1955 with his song " Hey, Porter ", and his group

16884-601: Was furious at what he felt was Atlantic's—and Wexler's—betrayal of his trust, although Wexler continued to insist for years that he also had not read the contract and had nothing to do with the ownership clause, and Wexler resented the situation in his 1993 autobiography Rhythm and the Blues : There was no righting this wrong, Jim was screwed, and I feel bad about it to this day. As a result of this turn of events, Stewart did not renew his distribution deal with Atlantic, and, on May 13, 1968, he instead sold Stax to Paramount Pictures ,

17018-593: Was in the summer of 1965, in Los Angeles rather than in Memphis. While the show was a success, the Watts riots began the day afterward, and several Stax artists were trapped in Watts during the violence. Stax also sponsored a Christmas concert in Memphis for several years, the most notorious of which was held in 1968, when special guest Janis Joplin performed drunk and was booed off of the stage. The most successful Stax package revue

17152-687: Was not commercially viable. That would change in 1955 after recording the song " Blue Suede Shoes " (recorded December 19, 1955) on Sam Phillips ' Memphis-based Sun Records . Later made more famous by Elvis Presley , Perkins' original version was an early rock 'n' roll standard. In the early 1950s, there was heavy competition among Memphis area bands playing an audience-savvy mix of covers, original songs, and hillbilly flavored blues. One source mentions both local disc jockey Dewey Phillips and producer Sam Phillips as being influential. An early radio show on KWEM in West Memphis, Arkansas quickly became

17286-460: Was particularly noted for his best-selling soundtrack to the 1971 blaxploitation film Shaft . Hayes' recordings were among the releases on a third major Stax label, Enterprise, which had been founded in 1967. The label also enjoyed great success when it had the Staple Singers make a dramatic shift from Gospel music to mainstream R&B. Al Bell began signing many more artists such as

17420-688: Was released in May 1955, and peaked at number five on the national Billboard Country Chart. In August, Sun released Elvis's versions of " I Forgot to Remember to Forget " and "Mystery Train". "Remember to Forget" spent a total of 39 weeks on the Billboard Country Chart, five at the number one spot. "Mystery Train", peaked at number 11. Through most of 1955, Cash, Perkins, Presley, and other Louisiana Hayride performers toured through Texas, Arkansas, Oklahoma, Louisiana and Mississippi. Sun released two more Perkins songs in October: "Gone, Gone, Gone" and "Let

17554-468: Was sent to Rick Hall's FAME studios in Alabama, which had a sound similar to that of Stax. Pickett's subsequent hits were also recorded elsewhere, including at Fame and American Group Productions , Chips Moman's Memphis studio. 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. &

17688-469: Was split equally between the Big Six to pay them for their production duties with the artists they backed. Stax was located in Memphis, Tennessee, which was still a segregated city, where Martin Luther King Jr., a leader of the civil rights movement, was assassinated in 1968. While there was much racism around the artists, the Stax recording studio seemed to be an escape from the turmoil of the real world. When

17822-529: Was struggling to establish itself. In his 2013 book Respect Yourself: Stax Records and the Soul Explosion , Robert Gordon highlighted the importance of Estelle Axton to the company. Often addressed as "Miz Axton" or "Lady A.", she was respected by the Stax staff and performers and was regarded as a mother figure in the company. Although she had no formal training or experience in marketing, she had an unerring instinct for music and made many valuable suggestions to

17956-489: Was to be the 28th album released by the Gulf+Western-owned Stax, but the album was never finished) and 30 singles in mid-1969. Producer and songwriter Isaac Hayes stepped into the spotlight with Hot Buttered Soul . Originally seen just as a solo artistic project for Hayes to make up the numbers, it went on to sell over three million copies in 1969. By 1971, Hayes was established as the label's biggest star and

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