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The ensuing riots and arson left the Stax studios unscathed, but, as singer Rufus Thomas put it, "the complexion of everything changed". The devastation continued with King's assassination. Atlantic's sale to Warners in 1967 activated an unnoticed contractual clause that awarded Stax's entire back catalogue to Atlantic in what Gordon terms "an act of corporate homicide". Atlantic Records had been Stax's partner since Carla Thomas's 1961 breakout, Gee Whiz, had brought the New York label calling, eager for distribution rights. A rapturously received 1967 European package tour opened the musicians' eyes to the scale of their achievements and the corresponding shortfall in their earnings. The international success of Redding, Sam and Dave and the MGs themselves – 1962's Green Onions was an early triumph – brought acclaim and problems. After Otis, everyone (including the Beatles) wanted a piece of the Stax sound. Redding's aching vocals, straight from the pews of a southern congregation, came with winning charisma and ferocious onstage presence.
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Otis had arrived as driver for guitarist Johnny Jenkins, but stunned the studio with his audition piece, These Arms of Mine. Redding was one of many talents to benefit from the open-door policy of Stewart, a banker by profession, and Axton, who ran a record shop in the cinema's former snack bar, and who became the label's antennae and mother hen. The 1968 assassination of Martin Luther King on the balcony of Memphis's Lorraine motel, a musicians' hangout, soured the atmosphere inside an organisation still reeling from the death of its star turn, Otis Redding, a few months previously. "Racism has long been the grit that produces musical pearls in Memphis," observes Gordon, who frames Stax's tale within the wider narrative of the civil rights struggle. "Colour never came through the doors," said the MGs' white guitarist Steve Cropper, whose terse, stinging licks helped define the Stax sound, and who would co-write some of its biggest hits. The label's mixed house band, Booker T and the MGs, was emblematic. Founded in 1957 by a white brother and sister, Jim Stewart and Estelle Axton (hence St-Ax), it had turned its McLemore Avenue studios, carved from a converted cinema, into an oasis of racial harmony in a city still riven by segregation. Taxes, fees not included for deals content.Stax's demise was made the more poignant by the label's idealism. If you have any questions or suggestions regarding this matter, you are welcome to contact our customer support team.Ĭanada247 is not a booking agent, and does not charge any service fees to users of our site.Ĭanada247 is not responsible for content on external web sites.
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