Most Helpful Customer Reviews
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29 of 29 people found the following review helpful:
5.0 out of 5 stars
Stax Up Very Nicely Indeed, May 2, 2007
When I was coming up, getting my feet wet in R&B, soul, and blues, the word Stax was synonymous with quality and authenticity. If it came from Stax, you were almost certainly assured of getting the genuine article - not a copy of a copy of a copy. Stax certainly had its share of breakout stars, Sam & Dave, Otis Redding, Isaac Hayes, The Staple Singers - acts that got national approbation.
After the headliners came a group of equally talented performers who were minor deities in R&B circles - Booker T. & the MGs, Albert King, Carla Thomas, and Johnnie Taylor among them. Late arrivals to this material may be interested to learn what Walkin' the Dog - Rufus Thomas - sounded like before the Stones cashed in. There are multiple wonderful surprises on this 2-CD set - from Little Milton - That's What Love Will Make You Do - to - Jody's Got Your Girl And Gone - Johnnie Taylor - to the priceless - Your Good Thing Is About To End - Mable John.
If you want the material that broke out you'll be more than satisfied - Mr. Big Stuff - Jean Knight - and the irresistible - Whatcha See Is Whatcha Get - The Dramatics - not to mention classics by artists previously listed. But the real fun is digging way down into material you've most likely never heard - Candy - The Astors - just great! About the only disappointment this terrific set has to offer is discovering that Isaac Hayes just doesn't hold up very well. His voice is glorious, but the delivery is goopy and the over-arrangements intolerable.
Buy now, think later! 2-CDs - which cleverly add up to 50 tracks (50th Anniversary Edition), sturdy box, excellent booklet. I simply cannot imagine where you could find more for less - this wonderful collection could easily provide the foundation for a really solid, and delightful, collection. Switchin' labels on the tables, this assortment Stax up real nice.
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17 of 17 people found the following review helpful:
5.0 out of 5 stars
Great value for the price, March 13, 2007
Stax Records was to Memphis and rhythm and blues what Chess Records was to Chicago and blues. This recently issued two-disc box set contains 50 seminal blues and R&B recordings. There isn't "filler" in the bunch, so for those on tight budgets who don't have money to blow on the larger boxed sets or discs by the individual artists, this set is the way to go. Stax has been acquired by the Concord Music Group and they've done a great job with this sampler, which can be appreciated by both new and long-time fans. The booklet that comes with the box set is very nicely done.
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36 of 42 people found the following review helpful:
5.0 out of 5 stars
Solid Gold Soul, March 13, 2007
Concord Records, which acquired the Stax catalog with their purchase of Fantasy Records in 2004, kicks off a 50th anniversary reissue celebration with this double-disc set of the label's pioneering hits. While Motown's Berry Gordy made his label a nationwide institution with a broad commercial identity, the artists and producers at Stax initially carved out a more regionally identifiable sound. The gospel roots of the Memphis-based Stax were unmistakable, and the house bands (The Mar-Kays and the MGs) added a distinct, bluesy bite. Where Motown's music could feel manicured for radio, Stax forged a sound for the roadhouse. But it's exactly that live vitality that eventually made Stax such an iconic stand out.
Historian Rob Bowman calls out several elements that molded the classic Stax sound, but none more notable than the musician's pay scale. Outside of the South musicians were paid by the hour (or three-hour session), but in Memphis they were paid by the song. Where Motown had tight arrangements on paper before sessions began, Stax tasked its players to create and refine arrangements on the fly. Only when the band found a song's unique groove were the vocalists invited in, and then to often sing live. The arrangements included horn charts in place of background singers, emphasizing the vocalist without mixing them out front. Finally, the live vibe of these performances was carried to tape via the reverberant acoustics of Stax's legendary studio-in-a-former-movie theater. It all added up to a sound that was unique and instantly recognizable on record and on the radio.
Stax's defining period, from 1961 to 1968, is best remembered for the tight grooves of Booker T. & The MG's, the duets of Sam & Dave, and the standard-defining sides of Otis Redding. But as revered as were these hits, their commercial reach was surprisingly limited. By the late '60s Stax was expanding on their hard soul sound in an effort to break into northern urban markets. Most immediately noticeable were the addition of string arrangements to Ollie & The Nightingales' "I Got a Sure Thing" and Eddie Floyd's "I've Never Found a Girl." The latter's softer horns and call-and-response backing vocals marked additional shifts in the Stax sound. Stax expanded their recording beyond their Memphis studio, conducting sessions in Muscle Shoals and elsewhere. They still cut the occasional old-school hard-groove hit, such as Booker T's "Time is Tight" and Rufus Thomas' novelty "Do the Funky Chicken," but increasingly the label's commercial goals were broader, even expanding into purchased masters by Jean Knight ("Mr. Big Stuff") and Mel & Tim ("Starting All Over Again").
Isaac Hayes, who'd been a writing and session-playing staple at Stax broke out as a solo artist with his 1969 debut "Hot Buttered Soul." A pair of the album's lengthy tracks, covers of "By the Time I Get to Phoenix" and "Walk on By," were edited down to a double A-side, with the latter's superb slow-motion, fuzz-and-flute deconstruction of Bacharach & David featured here. But it was on the album chart where Hayes lived out Stax's vision, landing his debut on the pop, R&B, jazz and easy listening charts simultaneously. Additional Hayes hits followed, with "Theme From Shaft" crossing over to score Stax's second chart-topping pop hit (Otis Redding's "Dock of the Bay" was first and the Staple Singers' "I'll Take You There" was the third and last).
Stax's continued to land singles on the charts until the label's demise in the mid-70s, with Shirley Brown's "Woman to Woman" standing as the final entry (and R&B #1) in 1974. Ironically, for all the label's financial troubles, the early '70s were a time of fruitful hit-making (including a trio of top singles by The Staple Singers), but apparently not business success. Concord is set to revitalize the label's fortunes with both new releases and a program of anniversary reissues. This opening salvo is a two-CD set enclosed in a fold-open box with a clever piece of flicker art depicting Stax's trademark snapping fingers logo. Inside are inset CD trays and a 50-page booklet with superb color photos (albeit in CD-booklet scale), an essay by Rob Bowman (adapted from his essay for the earlier 4-CD "The Stax Story"), and release and chart info.
This is a good place to start one's exploration of the Stax sound, and a valuable guide to the upcoming expanded album reissues. The two CDs include a generous helping of the label's best-known sides and many R&B hits that will be new to '60s pop fans. Those who can't wait for the reissues can find more on the previously issued 4-CD "The Stax Story," or dive headlong into the massive early-90s box sets "The Complete Stax-Volt Singles" volumes 1-3. For all but the most ardent Stax fans the latter sets are overkill, and this collection (and the upcoming LP reissues) is a great entry point. [©2007 hyperbolium dot com]
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