Stax Records

Otis Redding’s voice on “I’ve Been Loving You Too Long” tells me almost everything I need to know about Stax Records. The singing is powerful and emotional, but what I enjoy just as much is the band behind him. The drums, bass, guitar and horns work together without getting in each other’s way. Nothing sounds unnecessarily complicated, and every instrument has a purpose. For me, this is what makes Stax such an interesting record label. The recordings may not always have the technical perfection we expect from modern audiophile productions, but the musicians sound connected, and the performances feel wonderfully natural.

The story began in 1957, when Jim Stewart founded Satellite Records in Brunswick, Tennessee, near Memphis. Stewart was originally a country musician, and his first recording interests were far removed from the soul music that would eventually make his company famous. His sister, Estelle Axton, joined the business and helped finance its development. Around 1960, they established their studio in a converted movie theater on East McLemore Avenue in Memphis. The name Stax came from the first two letters of Stewart and Axton. Estelle also operated a record shop in the building, which became a meeting place for musicians and music lovers. I particularly like this part of the story because the label developed through personal contact, musical curiosity and a willingness to try something different.

The Sound of Memphis

The early Stax recordings developed a recognisable sound through a relatively small group of musicians who worked together regularly. Booker T. & the M.G.’s were central to that development, both as an instrumental group and as the studio’s house band. Their 1962 hit “Green Onions” is a fine example of how little is needed when musicians understand rhythm and timing. Booker T. Jones gives the organ its memorable character, Steve Cropper adds economical guitar parts, and the bass and drums provide a wonderfully steady foundation. On a good system, I enjoy listening to how clearly the individual parts work together without losing the feeling of a single performance. It is excellent music for checking timing, bass control and the natural balance between instruments.

The original studio also contributed to the sound. Its converted theater space, including the sloping floor, gave the recordings acoustic characteristics that were quite different from those of a conventional purpose-built studio. Equally important was the interaction between the musicians, who developed arrangements together and often kept things relatively simple. Stax also brought Black and white musicians together in a working environment during a period when racial segregation was still part of everyday life in the American South. That cooperation was important to the label’s musical identity, although it existed within a much more difficult social reality outside the studio. What I hear in the best early recordings is a band that listens carefully to its singer and responds naturally.

Carla Thomas was one of the important early voices, bringing warmth, clarity and a lighter side to the label’s developing soul sound. Her success with “Gee Whiz (Look at His Eyes)” helped establish the company during its Satellite years. Sam & Dave brought something different, with energetic gospel-influenced singing and the wonderful interaction between their two voices. Although they were signed to Atlantic Records, their classic recordings were produced at Stax through the relationship between the two companies. Songs such as “Soul Man” show just how effective the combination of strong vocals, tight rhythm and direct arrangements could be. I enjoy the way Stax allowed these artists to sound different while maintaining a recognisable musical character.

Otis Redding remains one of the clearest examples of that character. His 1965 album Otis Blue/Otis Redding Sings Soul, originally released on Stax’s Volt subsidiary, is a recording I would happily recommend to anyone interested in classic soul. “Respect,” “A Change Is Gonna Come” and “I’ve Been Loving You Too Long” reveal different sides of his voice, from direct and energetic to deeply expressive. I like the way the horns support his phrasing without constantly demanding attention, while Cropper’s guitar adds small details that make the arrangements more interesting. The recording is not about an enormous soundstage or perfectly separated instruments. Its strength is the believable relationship between the singer and the band, something that matters much more to me than impressive technical specifications.

More Than One Stax Sound

By the end of the 1960s, Stax was changing. The end of its distribution relationship with Atlantic Records and the tragic death of Otis Redding in 1967 had created enormous difficulties. Under the leadership of Al Bell, the company rebuilt its catalogue and introduced a broader musical direction. One of the most important artists in this period was Isaac Hayes, who had already worked extensively as a Stax songwriter alongside David Porter. Hayes demonstrated that the label could move beyond compact, rhythm-driven soul singles and give artists room to develop much larger musical ideas. I find this development particularly interesting because it shows that Stax was not limited to one successful formula.

Hayes’ 1969 album Hot Buttered Soul, released through the Stax-associated Enterprise label, is a remarkable contrast to the early Memphis recordings. It contains just four tracks, including extended interpretations of “Walk On By” and “By the Time I Get to Phoenix.” The arrangements use strings, horns, keyboards and rhythm instruments on a much larger scale, but Hayes’ deep voice remains the centre of attention. When I listen to “Walk On By,” I enjoy the way the arrangement gradually develops and how the different instrumental layers contribute to its intensity. There is more musical space to explore, and the contrast between the rhythm section and orchestral elements makes it particularly rewarding on a revealing pair of speakers or headphones. It is a very different kind of listening experience from “Green Onions,” yet both recordings depend on a strong sense of rhythm.

Another important addition to the Stax story was the Staple Singers. Their 1972 album Be Altitude: Respect Yourself combines the group’s gospel background with accessible soul and R&B arrangements. Songs such as “I’ll Take You There” and “Respect Yourself” demonstrate how effectively they could combine musical enjoyment with messages of dignity and social awareness. Mavis Staples has a particularly distinctive voice, with a rich lower register and an expressive delivery that I find immediately recognisable. Much of the album was recorded in Muscle Shoals, Alabama, rather than at the original Memphis studio, which is a useful reminder that the Stax catalogue eventually extended well beyond its original recording location. I enjoy the relaxed rhythm of “I’ll Take You There,” where the bass, drums and vocals create a wonderfully comfortable balance without unnecessary decoration.

This broader approach also explains why I would not describe Stax as a conventional audiophile label. Its primary achievement was developing important artists and recording music that communicated directly with listeners, rather than producing demonstration recordings for expensive audio equipment. Some early releases have a relatively narrow or dense presentation, and the quality of available editions can vary considerably. Depending on the mastering and whether I am listening to a mono or stereo version, the balance, detail and sense of space may change. I do not expect every Stax recording to deliver spectacular stereo imaging or exceptionally deep bass. What I appreciate is the strong midrange presence, convincing vocal character and rhythmic energy that many of these recordings preserve.

Stax also became much more than a recording studio. The 1972 Wattstax concert in Los Angeles brought together artists from the label for a major celebration of Black music and culture. It demonstrated how far the company had developed from the small independent operation started by Stewart and Axton. Unfortunately, financial and legal problems eventually led to the original company’s bankruptcy in 1975. Fantasy Records acquired the Stax masters in 1977, and Concord later acquired Fantasy in 2004. Subsequent reissues and archival releases have helped preserve the music and introduce it to listeners who were not around when the original records appeared.

For today’s listener, the catalogue offers plenty of opportunities for discovery, especially through the available remastered editions and carefully prepared reissues. I would begin with Booker T. & the M.G.’s to understand the rhythm section, then move to Otis Redding for the vocal performances. Isaac Hayes is a natural next step if you enjoy more ambitious arrangements, while the Staple Singers demonstrate the label’s broader musical and social identity. On a revealing high-end audio system, these recordings can be fascinating because they show how much musical expression comes from timing, dynamics and the relationship between performers. The best recordings do not necessarily sound technically perfect, but they give me a clear sense of the musicians working together.

For me, Stax Records represents an important part of American soul music because it managed to combine a recognisable sound with genuine artistic variety. Jim Stewart and Estelle Axton created the foundation, Booker T. & the M.G.’s helped establish its musical character, and artists such as Carla Thomas, Sam & Dave and Otis Redding gave the early catalogue its distinctive voices. Isaac Hayes and the Staple Singers later demonstrated how much further that musical identity could develop, as albums such as Hot Buttered Soul and Be Altitude: Respect Yourself expanded the label’s possibilities. Alongside Otis Blue, these releases show a company that valued strong performances and musical personality more than technical perfection. That is exactly why I believe Stax Records still deserves serious attention from music lovers and audiophiles alike. Its greatest quality is not simply the sound of the recordings, but how naturally that sound serves the music.

HiFi’ve, Ronald – Your EarFluencer