1. Atlantic/Stax: Soulsville, U. S. A.

3. Southern Soul Heavily influenced by blues and gospelHeavily influenced by blues and gospel Retains elements of R&BRetains elements of R&B –Horn section –Tendency toward shuffle rhythms –Emotional, “attitude” songs Rougher, blues/gospel singing style of most performersRougher, blues/gospel singing style of most performers

4. Stax Records Studio at center of soul - Stax Records in MemphisStudio at center of soul - Stax Records in Memphis Named for founders Jim STewart and Estelle AXtonNamed for founders Jim STewart and Estelle AXton Recorded for Atlantic Records from 1960Recorded for Atlantic Records from 1960 –Memphis –Muscle Shoals, Alabama

5. Booker T. and the MGs Integrated bandIntegrated band –Booker T. Jones (piano), Al Jackson (drums) African-American –Donald “Duck” Dunn (bass), Steve Cropper (guitar) white –Memphis Horns - all white Stressed electric guitar, active bass lines, horn linesStressed electric guitar, active bass lines, horn lines Often worked out arrangements on spot, based on head arrangements or lead sheetsOften worked out arrangements on spot, based on head arrangements or lead sheets Essential part of Stax soundEssential part of Stax sound

7. Comparison Between Motown and Stax MOTOWN “Hitsville”“Hitsville” Black ownedBlack owned All black performersAll black performers Aimed at white audienceAimed at white audience Top-down decisionsTop-down decisions Songs by professional songwritersSongs by professional songwriters STAX “Soulsville” White owned (at first) Integrated Aimed at R&B audience Collaborative Songs by performers, arranged in sessions

8. Motown and Stax MOTOWN Producer/composer most importantProducer/composer most important Smooth, refined pop soundSmooth, refined pop sound Complex texturesComplex textures Wall of SoundWall of Sound 8 beat style beat, moving to 16-beat8 beat style beat, moving to 16-beat Clean, crisp rhythmsClean, crisp rhythms STAX Performer most important Rawer, blues-gospel sound Simpler textures Horn/rhythm sections 8 beat style beat, moving to 16-beat Pulsating “funky” rhythms

9. Aretha Franklin (1942- ) Began as gospel singerBegan as gospel singer Signed by Columbia in 1960 to be black pop singer - failsSigned by Columbia in 1960 to be black pop singer - fails Jerry Wexler at Atlantic records buys contract in 1966Jerry Wexler at Atlantic records buys contract in 1966 –Sends to Stax studio at Muscle Shoals, AL to record own material

10. Respect Cover version of Otis Redding hitCover version of Otis Redding hit Minimal instrumental accompanimentMinimal instrumental accompaniment –Focus on lead, backing vocals 4 bar intro: bass (beat), horns (harmonic rhythms), guitar riff (style beat)4 bar intro: bass (beat), horns (harmonic rhythms), guitar riff (style beat)

11. Respect Form: A A A sax solo A B (R-E-S-P-E-C- T), vamp on A section as outroForm: A A A sax solo A B (R-E-S-P-E-C- T), vamp on A section as outro –Improvised elaboration of previously heard material Backing vocals play active roleBacking vocals play active role –Call and response, style beat Many details worked out in sessionMany details worked out in session

14. Otis Redding (1941-1967) Started career as backup singer for Little RichardStarted career as backup singer for Little Richard Commanded wide variety of stylesCommanded wide variety of styles –Soulful ballads like Percy Sledge –Blues/gospel fusion Gritty toneGritty tone Impassioned styleImpassioned style Breakout performance at Monterey PopBreakout performance at Monterey Pop Killed in plane crash later that yearKilled in plane crash later that year

15. I Can’t Turn You Loose Opens with memorable, syncopated riffOpens with memorable, syncopated riff Another riff layered on topAnother riff layered on top Vocals also based on riffVocals also based on riff Strong beat AND strong backbeatStrong beat AND strong backbeat Gospel influence evidentGospel influence evident

16. Other Major Stax Artists Isaac HayesIsaac Hayes –Songwriter/producer for Stax –Theme from Shaft won Grammy, Oscar for best song Wilson Pickett - In The Midnight HourWilson Pickett - In The Midnight Hour Percy Sledge - When A Man Loves a WomanPercy Sledge - When A Man Loves a Woman Sam and Dave (Sam Moore and Dave Prater)Sam and Dave (Sam Moore and Dave Prater)

17. Sam and Dave - Soul Man Certain similarities to Motown sound –Riff-based, verse and refrain, end-weighted DifferencesDifferences –More gospel-influenced vocal –Not a “story song” - about attitude –Groove eight beat rock rhythm in bass lineeight beat rock rhythm in bass line back beat in tambourine (refrain) or drums (verse)back beat in tambourine (refrain) or drums (verse) horn riffshorn riffs double time guitar riffdouble time guitar riff

18. James Brown Neither Motown nor Stax: Just Soul

19. James Brown (1933- ) Age 5: starts dancing on streets for tipsAge 5: starts dancing on streets for tips Age 20: Joins gospel quartetAge 20: Joins gospel quartet –Brown emerges as leader –Change name to the Famous Flames First hit Please, please, please (1956) gospel-inspired doo-wopFirst hit Please, please, please (1956) gospel-inspired doo-wop Style changes in mid 1960sStyle changes in mid 1960s

20. James Brown Style Fuses tight, riff-based jump blues and R&B horn sectionsFuses tight, riff-based jump blues and R&B horn sections Fervid, gospel performing styleFervid, gospel performing style Up-tempo dance numbersUp-tempo dance numbers Emphasize rhythm over melodyEmphasize rhythm over melody –Polyrhythmic –Each part maintains own repetitive pattern

21. I Got You Harsh, declamatory vocals and falsetto shrieksHarsh, declamatory vocals and falsetto shrieks Solid rock beat in drumsSolid rock beat in drums Well-defined sections, set off by tone colors and vocalsWell-defined sections, set off by tone colors and vocals –Arrangement of these blocks of sound gives form to song

23. Papa’s Got A Brand New Bag Same organizing principle as I Got YouSame organizing principle as I Got You Riff-based horn partsRiff-based horn parts Double-time guitar riff at end of chorus: sixteen-beat style beat for one measureDouble-time guitar riff at end of chorus: sixteen-beat style beat for one measure Choked rhythm guitarChoked rhythm guitar