Soulsville U.S.A.: The Story Of Stax Records Downloads Torrent WORK


Soulsville U.S.A.: The Story Of Stax Records Downloads Torrent WORK


Soulsville U.S.A.: The Story Of Stax Records Downloads Torrent

when atlantic acquired stax, the latter was struggling financially. atlantic president jerry wexler had the duo sam & dave signed to the label to help promote the company’s soul music catalogue. but the duo’s position with the label went beyond that, as their relationship with atlantic was one of trust. “atlantic records was the father we could go to for whatever we needed,” sam told cnn in 2009, “and the father would always be there, and we were always glad to come to him.” atlantic president jerry wexler was aware of sam & dave’s talent. in 1970 wexler had booked the duo into the famed fame studios in muscle shoals, alabama for a series of recordings that eventually became the legendary album, stax album of the year. sam & dave’s first hit for atlantic was “hold on i’m coming” and atlantic had produced some outstanding records for stax as well, including the hits “that’s all right,” “you’re all i want for christmas” and “the closer i get to you.” but atlantic’s overall record sales were falling, despite the company’s large catalogue of soul music.

the group recorded two stax singles, both of which went on to become hits, the first a cover of the drifters black-eyed peas ball, the second a remake of his first hit, too little. the stax records staff were ecstatic, despite the fact that picketts contract with atlantic was still not up. in fact, the label had never released a contract with a black singer, due to their belief that the concept of black music could not succeed on an r&b label. atlantic at the time did not have the budget to promote a black artist, while stax didn’t want to lose pickett to another label.

The Stax records were more of an intimate, homey feeling, just the voice and the player, and the acoustics of the studios were really good, the sound was really well done, it was not electronic at all, no skiffle rock and no overly processed sounds.
As we recall the story of Stax Records, I think of Stax as a great achievement. We can just let the record speak for itself, I think. On one hand, Stax Records had a strange thing going on. The man in charge of Stax Records in the 1960s and 1970s was Jim Stewart, who was a very shrewd man; he knew exactly what to do and precisely how to turn things around, but he was not always the kindest man, no question about it. But he had a lot of talent to deal with. He had Otis Redding, whom I think he probably thought was, at least at that point, a pretty good deal, except maybe that he didnt exactly understand Otis talent. When Otis first left Atlantic and went to Stax, he was already a pretty good little singer. But then he came in there and it was like, Oh, he’s supposed to sing like this; he’s supposed to be all that. So, Redding wasnt exactly free to develop naturally. But he was what he was, and I think that kind of helped him.
soul music is one of the greatest American exports, says Rich Westcott, author of 50 Love Ballads, the back catalog of Stax Records. I just think it’s so important to keep these things alive that people know about. Even if people don’t know exactly what happened when, Stax was the predecessor to Columbia, and in the early days of Stax, they were doing most of the things to bring up records, taking them to radio stations, that helped shape and feed the genre. They were doing what later became the role of CBS Records and Motown. A lot of important stuff was happening at Stax Records before they became Motown, and I think that should be known.

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