Stax and Motown Lecture PDF

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This lecture discusses the history of these two iconic record labels....

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Week 4 ABD 240

Stax and Motown -

Major, independent labels, after WWII Stax Records in Memphis and Motown in Detroit Around 400 new labels emerged after WWII in 1949 Not many survived this time Technological innovations: magnetic tape, transistor radios, 33/45 rpms (rotations per minute) Cheaper for clubs to spin records than paying for live bands Savoy (Newark), King (Cincinnati), Peacock (Houston), Modern, Imperial, Specialty (Los Angeles), Regal (Linden, NJ), J.O.B (Chicago)

Chess Records -

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Housed at 2120 S Michigan Ave Home to the Blues Heaven foundation Building is still there Rooster includes: Muddy Waters, Howlin; Wolf, Koko Taylor, Bo Diddly o Pretty much “who’s who” in Black R&B, blues, Rock’n’Roll Founded by Leonard and Phil Chess o They migrated from Poland o Also founded Aristocrat Records in 1947 o Macomba Lounge was a famous club that burned down; they took the insurance money to start up Chess Records in 1950 o Cadillac Records was loosely based on the Chess Brothers o Willie Dixon was hired as the A&R, essentially their talent scout o Dixon stayed with the company for decades, finding talent and writing/arranging songs o Dixon made sure that the legacy of Chess Records and its artist got the recognition Atlantic Records o Found in 2947 by Ahmet and Neshui Ertegun o Jazz is their passion and lead them to build this record company o It was a jazz label as first, then evolved to R&B in the 1950s, soul in the 1960s, rock in late 60s and 1970s o They were good at changing with the times and they are usually ahead of the trends instead of chasing them o They were known for their fair dealing with Black artists o Ahmet Ertegun had met with a representative from another label and he was explaining what he gave his artists; the other label rep was shocked saying, “You mean you pay them?” o Jerry Wexler (of “rhythm and blues”) joins Atlantic in 1953; he cultivates careers of major artists, including Same and Dave, Aretha Franklin

Week 4 ABD 240 -

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o Creates partnership with Stax Records of Memphis Stax and Motown o Distinct relationship to Great Migration changes o Impact on 1960s to 1970s culture and politics o The labels and their music tell a story about integration, Civil Rights, and Race in the United States Stax Records o In Memphis, which is considered “Soulsville USA” o “Lift Every Voice and Sing”  Came out originally as a poem and turned into a song  The Negro National Anthem, now known as the Black National Anthem  Performed by Beyoncé during her Coachella performance o “Respect Yourself” sung by the Staple Singers in 1972  It was released by Stax Records and it rivals “Lift Every Voice and Sing” o Founded by Jim Stewart and Estelle Axton in 1960  First as Satellite Records in 1957  Took the “ST” from Stewart and “AX” from Axton to get the label’s name o From 1960 to 1975, Stax released 800 singles and 300 albums  167 top 100 Pop Charts  250 top 100 R&B charts o Integrated team and musicians in segregationist South  Helped inter-racial collaboration  Working-class white and Black artists working together  Without the major train depo in Memphis, the city would still be that segregated southern city  There was a certain etiquette that Black people had to abide by in Memphis (getting off the sidewalks for white people, calling white people “master” or “mister/missus”)  Quietly resisting this racial etiquette  They brought Al Bell (Alvertis Isbell) as a partner, as the promotional director; they give him equity and make him a shareholder of the company o Civil Rights Timeline and Stax  1960  Memphis sanitation workers organizing  MLK came to support them  Greensboro, NC protests (sit-in at a restaurant counter)  Five years before: Emmitt Till was murdered 100 miles away

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Three years before: Little Rock (AR) Nine and Central High School Three years later: the March on Washington Four years later: first Civil Rights Act passed

  o Stax’ Music  Dominated by solo artists  “House band” were musicians who play the music behind the soul singers (Booker T and the MG’s)  Consisted of two Black artists and two white artists  Book T. Jones (keyboard), Donald “Duck” Dunn (bass — first Lewi Steinberg), Steve Cropper (guitar). Al Jackson (drums)  “Green Onions” 1962  “Memphis Sound” (aka “Southern Soul”)  Melodic instrumental connection with driving beat  The Mar-Keys, the Bar-Keys  Sam and Dave, “Hold, I’m Coming” (1966)  Otis Redding, “Mr. Pitiful” (1965) o He was the biggest artist at Stax o He kept bothering people until they let him record a song o Upon singing, he was signed to the records o “(Sittin’ on) The Dock of the Bay” (1968); released a year after he died  Isaac Hayes and Staple Singers o Major artists for Stax o Hayes originally wrote music for Sam and Dave Motown o Detroit: the arsenal of democracy  The automobile industry is what drew people to Detroit o Modeled on automotive industry  Everyone has a specific job to do and coming together makes a bigger product o “Hitsville USA”  Most successful record label in the history of American music  “The Sound of Young America”  Fixated on teenagers’ culture  1950s vocal harmony and R&B traditions model for early Motown  Followed by mid-60s move to emphasis on gospel, jazz, pop elements o The “process”  Hiring professional songwriters and producers

Week 4 ABD 240 Smokey Robinson (The Miracles) Brian Holland, Lamont Dozier, Eddie Holland (HDH production team)  Producers are usually the songwriters  Songs recorded by different artists; Gordy would pick the most commercially viable  Image Control  Evening wear, well-groomed elegance  Seeking respectable representatives  Distinctive choreography — Cholly Atkings, choreographer  Artist maintains strict code of conduct  Backing by the Funk Brothers  The house band of Motown  A dozen or so musicians, they went in and out  They cut more records than Elvis Pressley and the Rolling Stones  Based on the system created by Gordy, they were practically invisible  James Jamerson, regards as finest bassist in much of R&B and rock o He was the key element of the Funk Brothers  Played on most of Motown recordings from 1959 to 1972  Gordy called them “The Soul Brothers” — he disliked the word “funk” o Funk could mean gritty, getting down and dirty o That isn’t an elegant image Gordy would want o The Motown Sound  Smooth, well-produced, sophisticated  Complex textures, relying on R&B base  Bass line, guitar feeling, backbeat  Handclaps, finger-snaps  Use of string instruments o Used in conjunction and as an extra layer o Provide extra texture  Early and frequent use of the “hook”  Often the title phrase  Gordy wanted to hear the hook “in the first groove”  Gordy’s awareness of the transistor radio and car radios  His awareness of how teens are listening to music  Later, many artists would chafe under these strictures  Artists grow older and they want to be able to work more independently  

Week 4 ABD 240 o Examples  The Marvellettes, “Please Mr. Postman” (1961)  (Little) Stevie Wonder, “Fingertips, Part 2” (1963)  The Supremes, “Come See About Me” (1964)  Martha and the Vandellas, “Dancing in the Street” (1964)  Signaled a soundtrack of rebellion/revolution  There was dissatisfaction within the urban world of the north  The Temptations, “My Girl” (1965  Marvin Gaye, “I Heard It Through The Grapevine” (1968, recorded in 1967)  Gladys Knight and the Pips, “I Heard It Through The Grapevine” (1967)...