Arguably the quintessential marital infidelity ballad, Ingram's one and only big hit was actually released on a tiny label called KoKo, but since it was distributed by Stax, and penned by one of the label's songwriting teams (Homer Banks, Carl Hampton and Raymond Jackson), this agonizingly sexy smash is a Stax victory in all but name. A Memphis DJ, also appropriately, broke it wide open, "Onions" having also been ignominiously relegated to a b-side afterthought.
It's unusual for two big hits to be recorded at the same session, rare for them to be cut on two different artists, and even more so for both songs to achieve iconic status. Ironically, it won a Grammy the following year for Best Rhythm and Blues Performance, a black music term it would weaken considerably. "(Sittin' On) The Dock of the Bay," Otis Redding. The great irony is that the arrangements for both this Isaac Hayes number and the Chi-Lites song would form the basis for Philly Soul, and later, disco, proving that this was the (immediate) future of R&B. "(Sittin' On) The Dock of the Bay," Otis Redding. The Stax label's Memphis house band, Booker T. and the MGs were appropriately one of the first to tale over the pop charts, second behind only Carla Thomas' decidedly non-Stax sounding ballad "Gee Whiz." The opening gun in this series collects 20 of the label's biggest hits -- a veritable treasure trove of soul classics.
tribute to gospel truth records with first-ever digital release of 25 albums from the stax imprint’s catalog Running through Gospel Heritage Month in September, the campaign includes the digital release of 25 albums, plus special playlists, videos and a forthcoming compilation on vinyl and CD. There's a problem loading this menu right now. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. (Black success, for a label this real, was always a given.). One of these items ships sooner than the other. Stax Records is an American record label, originally based in Memphis, Tennessee.Founded in 1957 as Satellite Records, the label changed its name to Stax Records in 1961 and shared its operations with Volt Records, a sister label created to avoid the impression of favoritism among radio stations playing their records.. Stax was influential in the creation of Southern soul and Memphis soul music. Your recently viewed items and featured recommendations, Select the department you want to search in, + No Import Fees Deposit & $10.98 Shipping to France. Like many such roots labels, this meant that they sacrificed commerce for authenticity, but that doesn't mean they didn't get over -- and sometimes in a very big way indeed. They were right, of course: Floyd's hit peaked at #6 pop, but Jean's made it all the way to #2, moving an unheard-of three million copies of the 45. Unlike most Stax smashes, this one translated into a hit across the pond, becoming a direct influence on both punk (The Clash played it often) and New Wave (Squeeze paid homage to it on their classic "In Quintessence"). TOP 100 STAX-VOLT HITS 1961-1969 (Sittin' On)The Dock of the Bay - Otis Redding - 1968 Soul Man - Sam and Dave - 1967 Green Onions - Booker T. and the MG's - 1962 Last Night - The Mar-Keys - 1961 Who's Making Love - Johnnie Taylor - 1968 Time is Tight - Booker T. and the MG's - 1969 Gee Whiz (Look at His Eyes) - Carla Thomas - 1961 Hang 'Em High - Booker T. and the MG's - 1968 For a lot of listeners at a very tumultuous time in America, it naturally struck a chord; sadly, Otis' plane crashed into Lake Monona in while house guitarist Steve Cropper was still mixing the single, depriving the great shouter -- and us -- of a potentially fascinating new direction. Please try again.
But the sexiest, saddest, most deliciously tortured version is still the original. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Ironically, the Blues Brothers phenomenon rectified this somewhat -- the comedy/bar-band SNL duo took their own version of this to the Top 40 during the disco era, helping to revive the style of Memphis soul Taylor was forced to leave behind. Unable to add item to List. The Staple Singers' "I'll Take You There". Believe it or not, the largely-instrumental track that would come to define mainstream music for the next decade only makes the #3 spot on this list, because while it shot straight to #1 on the pop charts, it stalled out at #2 R&B, held back by The Chi-Lites' "Have You Seen Her." "(If Loving You Is Wrong) I Don't Want to Be Right," Luther Ingram. "I'll Take You There," The Staple Singers. Isaac Hayes was the creative engine that drove Stax records.
This list represents the most popular Stax/Volt singles of all time, weighted toward crossover success. The song that retroactively gave "soul music" its name was written by Isaac Hayes as a subliminal response to the infamous Watts riots of 1965, where several burned buildings had been tagged with the word "soul." Staff songwriter Isaac Hayes was one; another was gospel group The Staple Singers, who Bell decided to turn into semi-secular hitmakers. "Mr. Big Stuff," Jean Knight.
When DJs started spinning "Groove Me" (at first relegated to a b-side! Rod Stewart even took a crack at it. https://www.pastemagazine.com/articles/2017/05/the-20-best-stax-records-songs.html Taylor is often an afterthought when considering the impact of Stax, which is strange, since lots of the label's artists struck pop gold once and only once, and especially since Taylor, the "Philosopher of Soul," had more hits after the label folded, most notably the very non-philosophical 1976 single "Disco Lady." In fact, Mavis goes so far as to issue personal invitations to "liars," "troublemakers," "backstabbers," possibly "terrorists," and even "genocides.". We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. For many years he was behind the scenes as part of a great songwriting duo with David Porter that crafted all of the great Sam & Dave hits. Realizing he could make the word into a signifier for black pride, a code of sorts, Hayes and partner David Porter gave the song to their funkiest call-and-response artists, Sam and Dave, who scored another #1 R&B for the label and then, after Atlantic picked it up, took it all the way to #2 pop. This shopping feature will continue to load items when the Enter key is pressed. Pepper, Redding retreated to a boathouse in Sausalito, CA, and wrote this soon-to-be-standard, essentially a brooding take on his daily routine and how it reflected his own emotional crossroads.
Robert Fontenot Jr. is an entertainment critic and journalist focusing on classic rock and roll and published nationally for more than 25 years. Another example of blaxploitation synergy, with this tighter-than-tight instrumental doing double duty as background for the film Up Tight!? We work hard to protect your security and privacy.
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In many ways they didn't; this follow-up, which actually came a year and four disappointing interim singles later, was designed to create that magic twice, and it almost succeeds. #2 Pop, #1 R&B (July 1971) It's unusual for two big hits to be recorded … "If You're Ready (Come Go With Me)," The Staple Singers.
Score it as an assist for both Memphis and Alabama, sitting atop the pop charts for one week and the R&B charts for a solid month. The body of Stax records is incredible and it's interesting to listen to this music and compare to Motown's music. This classic groove, part of a more traditional soundtrack album, came out three full years before Shaft -- and the film in question, a gritty crime drama, was therefore less about ass-kicking and silk suits and more about the black activist community and what direction it should take in the immediate aftermath of Martin Luther King's death.
Theme from Shaft - Isaac Hayes #1 US Pop Charts, 1971. Please try again. This, the song by which all "blaxploitation" funk is judged, was actually a little too pop for some black listeners, its swooping cinematic strings seeming to work against the grittiness of the rhythm. I strongly recommend this album and encourage you to listen and compare to the writers and musicians from Motown. Nice transfers of "Green Onions," "Knock on Wood," "Theme From 'Shaft'," "Sittin' on the Dock of the Bay," "B-A-B-Y," and "Hold On, I'm Comin'" make this a set that's well worth adding to the collection. The 10 Best Rock Instrumentals of the 1960s, 25 Best Country Pop Crossover Songs of All Time, Top 10 Burt Bacharach and Hal David Songs. But while the first hit envisioned a place where there "ain't no smilin' faces / lying to the races," this one is more universal, and therefore more utopian: "Peace and love / will grow between the races." The Stax/Volt labels were Memphis' homegrown product, more directly related to the musical history of the community and more of a symbol of its heritage than even Motown. "If You're Ready (Come Go With Me)," The Staple Singers. Tracks from William Bell, Shirley Brown, the Dramatics, the Emotions, Jean Knight, Frederick Knight, Little Milton, the Soul Children, the Staple Singers, Rufus Thomas, and Johnnie Taylor round out this topnotch collection. It was, perhaps predictably, turned into a hit all over again via a long "rap" by Millie Jackson, and very unpredictably revisited once again by Barbra Mandrell. Find album reviews, stream songs, credits and award information for Top of the Stax: Twenty Greatest Hits - Various Artists on AllMusic - 1988 - The opening gun in this series collects 20 of the… View credits, reviews, tracks and shop for the 1986 CD release of Stax Greatest Hits on Discogs. ), Atlantic came calling, and Stax figured their might be more gold in that session. There was an error retrieving your Wish Lists. Stax 50th - A 50th Anniversary Celebration [2 CD Box Set], Soulsville U.S.A.: A Celebration Of Stax [3 CD], Soul Comes Home: A Tribute to Stax Records and the Memphis Sound, The Complete Stax/Volt Singles: 1959-1968, The Very Best of Tower of Power: The Warner Years. Our payment security system encrypts your information during transmission. Producer/songwriter Al Bell was Stax's resident financial genius as well as a creative one, capitalizing on soul's rise in the mid-'60s and then, when Atlantic had no more use for the label, rebuilding it from the ground up by signing several acts at once. Yet that's just what Wardell Quezerque, the "Creole Beethoven," did by arranging and producing this song and King Floyd's "Groove Me" with the same musicians in one afternoon. The sounds are both great but very different. James Brown, upon hearing "I'll Take You There," advised the Staple Singers to "stay in that groove" and never leave it.
"(If Loving You Is Wrong) I Don't Want to Be Right," Luther Ingram. This classic, written and produced by Bell, did just that, though the recording is "just" lead singer Mavis backed by the Muscle Shoals Rhythm Section. Designed specifically by Otis Redding as a way to turn get through to the white youth after hearing what The Beatles were doing with Sgt. Yes and no. Not only was this the first Stax single to go gold, the band had already come up with a million-seller a year earlier, as the Mar-Keys, when their instrumental smash "Last Night" moved a ton of copies for Stax's precursor, Satellite.
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