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# Oh, she may be weary | 0:00:12 | 0:00:16 | |
# Them young girls, they do get weary... # | 0:00:16 | 0:00:21 | |
It is an epic story. | 0:00:21 | 0:00:23 | |
That which gave it life nearly killed it, more than once. | 0:00:23 | 0:00:29 | |
Innocence, naked innocence. | 0:00:29 | 0:00:31 | |
Good and evil, light and dark. | 0:00:31 | 0:00:34 | |
Black and white. | 0:00:34 | 0:00:37 | |
In Memphis in the '60s, people who couldn't dine together, joined together to make music. | 0:00:40 | 0:00:47 | |
Soul music. At a place called Stax. | 0:00:47 | 0:00:52 | |
We're rolling. Take one. | 0:00:54 | 0:00:56 | |
It was a happening, a cosmic happening. | 0:01:03 | 0:01:05 | |
The door opened, the wind blew in and we were smart enough not to fight it. | 0:01:05 | 0:01:10 | |
We were doing the kind of music that was unheard of. | 0:01:10 | 0:01:14 | |
Raw, gritty, gutsy soul. | 0:01:14 | 0:01:18 | |
We lived every day as though this was the last day we were going to get to do this. | 0:01:18 | 0:01:22 | |
We knew we had something - we just didn't know what. | 0:01:22 | 0:01:25 | |
God almighty! How many hits did we cut? | 0:01:27 | 0:01:30 | |
Stax had the funk. | 0:01:34 | 0:01:35 | |
Stax had the funk. | 0:01:35 | 0:01:37 | |
It didn't matter about the colour of your skin. | 0:01:37 | 0:01:39 | |
We weren't in there doing things to prove we were black and they were | 0:01:39 | 0:01:43 | |
trying to prove they were white, we were in their proving that music is the sentiment of a man's soul. | 0:01:43 | 0:01:49 | |
You had segregation in the City of Memphis but you could come in to the doors of Stax Records, where you | 0:01:52 | 0:01:58 | |
had freedom, harmony, people working together and not making a difference between black and white. | 0:01:58 | 0:02:04 | |
After Dr King was assassinated, things began to deteriorate. | 0:02:06 | 0:02:10 | |
We were reduced to our irreducible essence. Naked against the world. | 0:02:10 | 0:02:14 | |
We're still somebody. | 0:02:14 | 0:02:16 | |
So much blood, sweat and tears went into that company, from so many of us. | 0:02:20 | 0:02:25 | |
You've got an environment of camaraderie, the spirit of love and | 0:02:25 | 0:02:29 | |
then you're going to let some people come, guns strapped on their sides and push people around. | 0:02:29 | 0:02:35 | |
There was a hole in the boat that wouldn't have sunk the boat without outside influences. | 0:02:36 | 0:02:41 | |
Truth crushed to the earth shall rise again. | 0:02:41 | 0:02:46 | |
Once you're part of the music, | 0:02:46 | 0:02:49 | |
it's till you die. | 0:02:49 | 0:02:50 | |
-Stax. -Stax. -Stax Records. -Stax. | 0:02:50 | 0:02:52 | |
Stax Records. | 0:02:52 | 0:02:54 | |
I am somebody. | 0:03:00 | 0:03:02 | |
Jim Stewart was a banker by day and a country fiddle player at night. | 0:03:21 | 0:03:25 | |
His sister Estelle was a former schoolteacher whose main exposure to music was through her teenage son. | 0:03:28 | 0:03:34 | |
In 1960, they pooled their money | 0:03:36 | 0:03:38 | |
to rent an old movie theatre in a black Memphis neighbourhood, | 0:03:38 | 0:03:42 | |
hoping to record country songs. | 0:03:42 | 0:03:45 | |
Stax Records was an accident. | 0:03:53 | 0:03:56 | |
Jim Stewart moved into this theatre | 0:03:56 | 0:04:00 | |
and nature threw him a curve. | 0:04:00 | 0:04:02 | |
And a flower garden started to grow, | 0:04:02 | 0:04:07 | |
composed of many different colours and they all came in. | 0:04:07 | 0:04:10 | |
My sister mortgaged her house | 0:04:14 | 0:04:16 | |
to set up the recording studio there, | 0:04:16 | 0:04:19 | |
in that building, which was on McLemore. | 0:04:19 | 0:04:21 | |
Word got around the neighbourhood and we started getting people coming in, | 0:04:21 | 0:04:25 | |
musicians, singers, whatever. | 0:04:25 | 0:04:28 | |
They would come to the studio | 0:04:28 | 0:04:31 | |
and we'd listen to them - talk with them. | 0:04:31 | 0:04:33 | |
Robert Talley came by my house and said there was a new recording studio. | 0:04:41 | 0:04:47 | |
Over down McLemore and College. | 0:04:47 | 0:04:50 | |
# I done take Very best girl of mine | 0:04:50 | 0:04:55 | |
-# Yeah | 0:04:57 | 0:04:59 | |
# I done take | 0:04:59 | 0:05:01 | |
# Very best girl of mine... # | 0:05:01 | 0:05:03 | |
He said, you want to go? | 0:05:03 | 0:05:05 | |
And I said, yeah, let's go see what it's like. | 0:05:05 | 0:05:08 | |
And that - it was just that simple. | 0:05:08 | 0:05:11 | |
# The way you lied about me | 0:05:14 | 0:05:15 | |
# You lied about Louie's too | 0:05:15 | 0:05:18 | |
-# Oh no, oh no -Yeah... # | 0:05:18 | 0:05:21 | |
When the flowers began to play their music | 0:05:23 | 0:05:26 | |
and to demonstrate their creativity, Jim said, I could get into this. | 0:05:26 | 0:05:30 | |
And Estelle said, welcome. | 0:05:30 | 0:05:34 | |
HE PLAYS RIFF FROM "CAUSE I LOVE YOU" | 0:05:34 | 0:05:36 | |
That's the part I play on the baritone sax. | 0:05:42 | 0:05:44 | |
I told them that day I could also play the piano. | 0:05:46 | 0:05:50 | |
He was just a kid, about 15 or 16 years old. | 0:05:50 | 0:05:53 | |
We needed a baritone saxophone, he said, I can play the baritone. | 0:05:53 | 0:05:57 | |
I knew he could play guitar and trombone, all of this. | 0:05:57 | 0:06:00 | |
So we gave him the baritone sax and he had that one line... | 0:06:00 | 0:06:04 | |
HE SINGS | 0:06:04 | 0:06:06 | |
At that time, really, | 0:06:11 | 0:06:14 | |
I thought nothing | 0:06:14 | 0:06:17 | |
about white folk. | 0:06:17 | 0:06:19 | |
I think that all white folk are the same. | 0:06:19 | 0:06:23 | |
I'm trying to get my talent out there and they were the ones to give me that chance to expose my talent. | 0:06:23 | 0:06:29 | |
-So, I shared it, that black-white thing at Stax. -We never looked at colour. | 0:06:32 | 0:06:39 | |
We looked at people, their talent. | 0:06:41 | 0:06:45 | |
What Stax was doing, right there in Memphis, which was right there at the crossroads of the south, | 0:06:50 | 0:06:57 | |
the north, the black, the white, and the blues and the folk, | 0:06:57 | 0:07:01 | |
was really the axis by which everything turned. | 0:07:01 | 0:07:05 | |
Now if you can imagine, | 0:07:11 | 0:07:13 | |
nobody's ever heard R&B music before, | 0:07:13 | 0:07:16 | |
white kids had never heard it. And you can imagine what that did to us. | 0:07:16 | 0:07:21 | |
It was like going to another planet, a real good planet, you know. | 0:07:21 | 0:07:26 | |
The band that I had out of high school, all we wanted to play was rhythm and blues. | 0:07:28 | 0:07:32 | |
This guy come up to me, | 0:07:32 | 0:07:34 | |
that I didn't have any classes with, so I didn't really know him. | 0:07:34 | 0:07:37 | |
He introduced himself and "Hey man, I hear you guys have a good band." | 0:07:37 | 0:07:40 | |
"I'd like to be in your band." | 0:07:40 | 0:07:41 | |
And I said, well, we're not looking for anybody, what you do? | 0:07:48 | 0:07:51 | |
He said, I play saxophone. | 0:07:51 | 0:07:53 | |
I said, how long have you been playing? He said, I've been taking lessons for three months. | 0:07:53 | 0:07:56 | |
Somewhere in that conversation he told me his uncle had a recording studio, | 0:08:00 | 0:08:03 | |
which actually turned out to be a couple of microphones | 0:08:03 | 0:08:07 | |
and a machine in a garage, but hey, in those days it was a recording studio. | 0:08:07 | 0:08:11 | |
Everybody in that band loved the same music, | 0:08:16 | 0:08:19 | |
in the Mar-Keys, everybody loved black guys' music. | 0:08:19 | 0:08:22 | |
Here was a bunch of white guys | 0:08:25 | 0:08:27 | |
trying to do a bunch of black guys' music. | 0:08:27 | 0:08:30 | |
But we started getting some attention and, | 0:08:30 | 0:08:34 | |
and we started to get some notoriety. | 0:08:34 | 0:08:37 | |
The first time I walked into a recording studio, | 0:08:37 | 0:08:40 | |
I cut an number-one record and that was Last Night. | 0:08:40 | 0:08:43 | |
You hear fresh people having a great time, they got invited to a party they didn't even know existed | 0:09:09 | 0:09:15 | |
and they were paying us and we just couldn't get over it how much fun we were having. | 0:09:15 | 0:09:20 | |
Poor old Jim, it was life and death to him. | 0:09:22 | 0:09:25 | |
He had to sell records and get that groove, man. | 0:09:25 | 0:09:28 | |
Miss Axton felt Last Night was a hit record and nobody else did. | 0:09:30 | 0:09:35 | |
And they didn't want to put it out. | 0:09:35 | 0:09:37 | |
She got her way about it and within three weeks it was through the roof. | 0:09:37 | 0:09:43 | |
Atlantic Records out of New York heard about Cause I Love You, | 0:09:52 | 0:09:56 | |
they purchased the master and | 0:09:56 | 0:09:58 | |
from there it just sort of mushroomed. | 0:09:58 | 0:10:00 | |
Maybe it was some chord changes, maybe it was a lick, | 0:10:03 | 0:10:06 | |
maybe it was a song, | 0:10:06 | 0:10:09 | |
but they started playing it. | 0:10:09 | 0:10:11 | |
So, my God, this is fantastic. | 0:10:11 | 0:10:13 | |
And I made a distribution arrangement for it. | 0:10:13 | 0:10:17 | |
SLOW PIANO INTRODUCTION | 0:10:32 | 0:10:35 | |
# In the beginning | 0:10:47 | 0:10:50 | |
# You really loved me | 0:10:54 | 0:10:57 | |
# But I was too blind | 0:11:00 | 0:11:03 | |
# And I couldn't see... # | 0:11:07 | 0:11:10 | |
'When I came down here' | 0:11:11 | 0:11:13 | |
and was listening to the radio and turning on TV, | 0:11:13 | 0:11:17 | |
it was like turning back the hands of time 15 or 20 years | 0:11:17 | 0:11:22 | |
from what I was accustomed to in New York. | 0:11:22 | 0:11:25 | |
People down here were living like in this little sheltered world | 0:11:25 | 0:11:32 | |
and they were growing up in an era that had already gone by. | 0:11:32 | 0:11:37 | |
# Now I sit and wonder | 0:11:41 | 0:11:44 | |
# So how can this be? # | 0:11:47 | 0:11:50 | |
I couldn't conceive of what would be here, I couldn't imagine when I pulled up in front of a theatre with | 0:11:50 | 0:11:56 | |
a record store in what used to be the lobby, I thought, well, this has got to be something else. And it was. | 0:11:56 | 0:12:03 | |
Estelle Axton had turned the theatre's concession stand into the Satellite record shop, | 0:12:05 | 0:12:11 | |
welcoming anyone who wanted to buy something or just listen. | 0:12:11 | 0:12:16 | |
Her store soon became THE neighbourhood hangout. | 0:12:16 | 0:12:21 | |
During the summer time she'd put a little speaker thing out there | 0:12:21 | 0:12:25 | |
on the door so you can hear it. | 0:12:25 | 0:12:27 | |
And we'd dance out on the sidewalk. | 0:12:27 | 0:12:29 | |
Before that I had to drive twenty minutes to Sears to | 0:12:29 | 0:12:32 | |
look at records and all the records out there were only country records. | 0:12:32 | 0:12:37 | |
Mrs Axton had a pulse on the creativity. | 0:12:37 | 0:12:42 | |
She knew what the dance beats were, she knew what sound was popular back then. | 0:12:42 | 0:12:49 | |
She wasn't involved in production in terms of being in the studio, | 0:12:49 | 0:12:54 | |
but all of her influence went on in the record shop. | 0:12:54 | 0:12:57 | |
Hey, you guys need to listen to this, this is the hot new dance, | 0:12:57 | 0:13:01 | |
this is the hot beat, this is the kind of song we're going for. | 0:13:01 | 0:13:04 | |
That's how you learn in the music business. | 0:13:04 | 0:13:08 | |
You talk to that person that's buying that product. | 0:13:08 | 0:13:10 | |
And that means you know what to make. | 0:13:12 | 0:13:17 | |
# You don't miss your water | 0:13:17 | 0:13:21 | |
# Till your well runs dry-y-y-y. # | 0:13:24 | 0:13:30 | |
When I came to Memphis, everything in Memphis | 0:13:38 | 0:13:41 | |
was segregated. | 0:13:41 | 0:13:42 | |
There was not one thing integrated. | 0:13:42 | 0:13:45 | |
Nothing. | 0:13:45 | 0:13:47 | |
From the cradle to the grave was segregated | 0:13:47 | 0:13:50 | |
in Memphis, Tennessee, 1959 when I moved here. | 0:13:50 | 0:13:54 | |
And I never really understood why the graveyards had to be | 0:13:54 | 0:13:57 | |
segregated because dead people get along well, they don't bother nobody. | 0:13:57 | 0:14:01 | |
I found my solace, if you will, when we could go inside of Stax, | 0:14:01 | 0:14:05 | |
you know and those doors closed and not be a part of that. | 0:14:05 | 0:14:09 | |
At 926 East McLemore, forget skin tone. | 0:14:17 | 0:14:20 | |
The only tone that mattered came out of your instrument. | 0:14:20 | 0:14:23 | |
Two white Mar-Keys and two black neighbourhood musicians became | 0:14:25 | 0:14:29 | |
the greatest recording unit in soul music, Booker T and the MG's. | 0:14:29 | 0:14:35 | |
The one unit | 0:14:35 | 0:14:37 | |
which recorded just about all of the Stax product, Steve and Duck and Booker T and Al Jackson. | 0:14:37 | 0:14:46 | |
I knew Cropper because he was the clerk at Satellite | 0:14:46 | 0:14:47 | |
and he waited while I listened to tons of records for hours. | 0:14:47 | 0:14:52 | |
I wound up doing odd jobs like marking tapes and sweeping the | 0:14:52 | 0:14:56 | |
floor and cleaning the bin and doing whatever I could. | 0:14:56 | 0:14:59 | |
Every now and then I'd hear music come from behind the curtain. | 0:14:59 | 0:15:03 | |
I knew there was a theatre back there. I didn't know there was a recording studio. | 0:15:03 | 0:15:07 | |
ELECTRONIC KEYBOARD PLAYS | 0:15:07 | 0:15:09 | |
That was the blues that we were playing, that we thought would make a record that would sell for us. | 0:15:28 | 0:15:35 | |
That was the one we were excited about. | 0:15:35 | 0:15:37 | |
Jim said if we decide to put this out have you got anything you can put on the B-side? | 0:15:37 | 0:15:42 | |
So I happen to remember a riff Booker played me a week or two | 0:15:42 | 0:15:45 | |
prior to that session - it was a pretty good riff. | 0:15:45 | 0:15:48 | |
ORGAN PLAYS | 0:15:48 | 0:15:50 | |
I went through the front doors of the theatre into the Stax studios | 0:16:18 | 0:16:24 | |
and around to studio A and opened the door. | 0:16:24 | 0:16:27 | |
And I witnessed something that I had never experienced before, | 0:16:27 | 0:16:33 | |
that these two black guys and these two white guys | 0:16:33 | 0:16:38 | |
were playing music together and I was awestruck. | 0:16:38 | 0:16:43 | |
Booker is the musician in the group, always has been. | 0:17:01 | 0:17:04 | |
Duck and I we know how to pat our foot, | 0:17:04 | 0:17:06 | |
and we know how to dance, we can keep the groove going, | 0:17:06 | 0:17:10 | |
Booker can do that too but he's the musician, always has been. | 0:17:10 | 0:17:13 | |
And Booker would look at me sometimes like, | 0:17:13 | 0:17:17 | |
you don't know that? | 0:17:17 | 0:17:18 | |
It wasn't about the notes of the music or the melody of the song, it was about the groove. | 0:17:35 | 0:17:41 | |
If you could adapt that song, whatever it was and get it | 0:17:41 | 0:17:46 | |
with Al Jackson he'd put it in the pocket, that's where the song started to happen. | 0:17:46 | 0:17:48 | |
That's when we said, OK, that's a take, guys. | 0:17:48 | 0:17:52 | |
Next song. | 0:17:52 | 0:17:54 | |
I think our family grew just from us being in the studio | 0:18:16 | 0:18:20 | |
and it just grew over the years of us spending time in the studio, eating lunch together, eating dinner | 0:18:20 | 0:18:26 | |
and it became a family that grew around the music. | 0:18:26 | 0:18:30 | |
When a band arrived from Georgia in the fall of 1962, no one could | 0:18:32 | 0:18:37 | |
have known that Stax's biggest star would walk in carrying the gear for somebody else's session. | 0:18:37 | 0:18:42 | |
I remember them pulling up - Johnny Jenkins and the Pinetoppers is who they were. | 0:18:45 | 0:18:51 | |
This big tall guy gets out of the driver's seat, | 0:18:51 | 0:18:54 | |
gets the keys, goes around to the trunk, he starts pulling amplifiers | 0:18:54 | 0:18:57 | |
and microphones and guitars out of the truck, it was like he was setting up for a gig, you know. | 0:18:57 | 0:19:03 | |
During the session we were having a playback break and Al Jackson says, you know, the guy who was driving, | 0:19:07 | 0:19:13 | |
Johnny, he's been bugging me to death wanting me to hear him sing. | 0:19:13 | 0:19:16 | |
Would you take some time and get this guy off my back and listen to him? | 0:19:16 | 0:19:19 | |
Everybody was tired and a couple of musicians had already left, so it was like well we've got to do this, | 0:19:19 | 0:19:26 | |
the guy has been sitting here waiting all day, let's see what he sounds like. | 0:19:26 | 0:19:30 | |
So he played church chords, we call them. | 0:19:30 | 0:19:32 | |
And we started playing and he started singing These Arms Of Mine. | 0:19:32 | 0:19:36 | |
And I know my hair lifted out about three inches. | 0:19:36 | 0:19:39 | |
I couldn't believe this guy's voice. | 0:19:39 | 0:19:41 | |
# These arms of mine | 0:19:42 | 0:19:47 | |
# They are lonely | 0:19:49 | 0:19:53 | |
# Lonely and feeling blue | 0:19:55 | 0:20:00 | |
# These arms of mine... # | 0:20:01 | 0:20:03 | |
That moment, | 0:20:05 | 0:20:08 | |
Otis Redding singing that song... | 0:20:08 | 0:20:10 | |
When you're in a moment like that, you're not thinking that it's going | 0:20:12 | 0:20:14 | |
to sell a lot of records, you're thinking... | 0:20:14 | 0:20:17 | |
you're, you're... | 0:20:17 | 0:20:18 | |
It's all heart. | 0:20:18 | 0:20:20 | |
It's all heart and the experience of the moment. | 0:20:20 | 0:20:24 | |
Time gets frozen there when you're involved in something like that. | 0:20:24 | 0:20:31 | |
They started working on These Arms Of Mine, and everybody - secretaries, people came out | 0:20:31 | 0:20:40 | |
of the record shop - everybody got up and came, and was looking inside. | 0:20:40 | 0:20:46 | |
And when he finished it, | 0:20:46 | 0:20:49 | |
they had another artist! | 0:20:49 | 0:20:52 | |
Otis became that power-packed, raw, gutsy, emotional, serious performer. | 0:21:01 | 0:21:05 | |
I mean, you felt him. You heard the tear in his voice. | 0:21:05 | 0:21:09 | |
And that captivated me. | 0:21:09 | 0:21:10 | |
And when I went on the radio to play records, it was Otis Redding and me. | 0:21:10 | 0:21:15 | |
We were having an affair on the air! | 0:21:15 | 0:21:17 | |
# Fa fa fa fa-fa fa-fa fa fa | 0:21:18 | 0:21:23 | |
# Fa fa fa fa-fa fa-fa fa | 0:21:23 | 0:21:27 | |
# I keep singing them sad, sad songs y'all | 0:21:28 | 0:21:32 | |
# Sad songs is all I know... # | 0:21:33 | 0:21:37 | |
But he would come in the door with the whole song, the whole recording | 0:21:37 | 0:21:41 | |
in his mind, and be able to tell all of us what he wanted. | 0:21:41 | 0:21:45 | |
He'd come over and sing to us, # Da-da-da-da! # | 0:21:45 | 0:21:50 | |
And get right in your face and do that to you. | 0:21:50 | 0:21:53 | |
# Anybody can sing it any old time... # | 0:21:53 | 0:21:57 | |
He put a spark under Stax. There's no question about it. | 0:21:57 | 0:22:00 | |
He never ran out of ideas. | 0:22:00 | 0:22:02 | |
Otis going to help you get to a different place because Otis is | 0:22:05 | 0:22:08 | |
going to come in, Otis is going to hum the horn parts, the bass parts, | 0:22:08 | 0:22:13 | |
and give you the parts, then go up on the microphone | 0:22:13 | 0:22:15 | |
and he's going to start stomping pigeon-toe | 0:22:15 | 0:22:17 | |
and knocking it dead. I mean, he was just unbelievable. | 0:22:17 | 0:22:21 | |
These were, like, during the '60s, all of the Black Power movement, | 0:22:32 | 0:22:36 | |
marches and all these things were coming along. | 0:22:36 | 0:22:39 | |
Otis wrote Respect for that, and he put it | 0:22:39 | 0:22:43 | |
in the sense of a love relationship but it was about life, really. | 0:22:43 | 0:22:48 | |
# What you want Honey you've got it | 0:23:00 | 0:23:03 | |
# What you need Baby you've got it | 0:23:03 | 0:23:07 | |
# All I'm asking | 0:23:07 | 0:23:09 | |
# Is for a little respect when I come home | 0:23:09 | 0:23:12 | |
# Yeah Hey hey hey | 0:23:12 | 0:23:15 | |
# Oh Lord | 0:23:17 | 0:23:18 | |
# Do me wrong Honey if you want to | 0:23:19 | 0:23:22 | |
# Do me wrong While I'm gone | 0:23:22 | 0:23:26 | |
# All I'm asking | 0:23:26 | 0:23:28 | |
# For a little respect when I come home | 0:23:28 | 0:23:30 | |
# Hey little girl | 0:23:38 | 0:23:39 | |
# You're sweeter than honey | 0:23:39 | 0:23:41 | |
# And I'm about to give you all of my money | 0:23:41 | 0:23:45 | |
# All I'm asking, hey | 0:23:45 | 0:23:47 | |
# Is a little respect when I come home, yeah, yeah, yeah | 0:23:47 | 0:23:51 | |
# Hey, hey | 0:23:51 | 0:23:53 | |
# Oh, Lord | 0:23:55 | 0:23:56 | |
# R-E-S-P-E-C-T Find out what it means to me | 0:23:56 | 0:24:00 | |
# R-E-S-P-E-C-T Take care TCB | 0:24:00 | 0:24:04 | |
# Respect Respect is what I want | 0:24:05 | 0:24:08 | |
# Respect is what I need | 0:24:08 | 0:24:10 | |
# Got to got to have it | 0:24:14 | 0:24:16 | |
# Got to got to have it Got to got to have it | 0:24:16 | 0:24:20 | |
# Give it to me baby Give it to me baby... # | 0:24:20 | 0:24:24 | |
I grew up in a neighbourhood | 0:24:39 | 0:24:42 | |
that was obviously segregated, and there was one man | 0:24:42 | 0:24:45 | |
who had a fruit stand, | 0:24:45 | 0:24:48 | |
and he raised pedigree bull dogs. | 0:24:48 | 0:24:50 | |
And that's a place where I was able to go | 0:24:50 | 0:24:53 | |
and make a little money cleaning up after those filthy bulldogs. | 0:24:53 | 0:24:57 | |
He said, "Niggers can't do nothing but sing and dance. | 0:24:57 | 0:25:02 | |
"For some odd reason." | 0:25:02 | 0:25:03 | |
I realised, "Wait a minute. | 0:25:03 | 0:25:07 | |
Singing and dancing, you make a lot of money. | 0:25:07 | 0:25:09 | |
"So that's not a problem. | 0:25:09 | 0:25:13 | |
That's a positive! That's an opportunity!" | 0:25:13 | 0:25:15 | |
After high school in Little Rock, Al Bell attended Southern Christian | 0:25:18 | 0:25:22 | |
Leadership Conference workshops with Martin Luther King, but Bell's vision was economic empowerment. | 0:25:22 | 0:25:29 | |
He became a top DJ on the east coast before returning south to take a job at Stax. | 0:25:29 | 0:25:34 | |
We weren't a professional company | 0:25:35 | 0:25:38 | |
before Al. We didn't have big business going on. | 0:25:38 | 0:25:42 | |
We had big music going on, but we didn't know how to do it. | 0:25:42 | 0:25:45 | |
Jim didn't know how to do it. Jim was a banker. | 0:25:45 | 0:25:47 | |
Al Bell had a beard, and he was announcing blackness, which, you know, wasn't done very much then. | 0:25:47 | 0:25:54 | |
To sit in that office with this white man, sharing the same telephone, | 0:25:54 | 0:26:00 | |
sharing the same thoughts, and being treated like an equal human being, was a breath of fresh air for me. | 0:26:00 | 0:26:09 | |
Al was very creative, but Al, of course, took | 0:26:11 | 0:26:15 | |
more and more responsibility, not only the promotion but business. | 0:26:15 | 0:26:21 | |
He's beautiful. He can make anything... | 0:26:21 | 0:26:24 | |
I mean, the bigger the numbers, the more Al liked it. | 0:26:24 | 0:26:27 | |
If you'd said, "Al, a billion dollars," | 0:26:27 | 0:26:30 | |
he probably would have lit up and shot out the roof, like a rocket! | 0:26:30 | 0:26:36 | |
He said, "I'm going to make a graph, I'm going to make a thermometer." | 0:26:38 | 0:26:41 | |
And he says, "At the end of the week's sales, when I get | 0:26:41 | 0:26:44 | |
"the weekly report, I'm going to colour in the thermometer." | 0:26:44 | 0:26:47 | |
And that the very top of the thermometer, I had where | 0:26:47 | 0:26:51 | |
it would explode and out into what I called heaven. | 0:26:51 | 0:26:54 | |
And that was after we'd achieved a million. | 0:26:54 | 0:26:56 | |
So, we couldn't wait to come in on Monday morning and see where that mark was going to be. | 0:27:00 | 0:27:04 | |
They'd come in, and just see that thermometer just increasing, increasing, increasing. | 0:27:04 | 0:27:09 | |
And as it increased, the morale increased, people got more excited and all of that. | 0:27:09 | 0:27:13 | |
And eventually it exploded into heaven. | 0:27:13 | 0:27:17 | |
Stax never suspected that one of the greatest songwriting teams in history | 0:27:17 | 0:27:22 | |
was developing at their doorstep. | 0:27:22 | 0:27:24 | |
Isaac Hayes and David Porter, who would ride the highs | 0:27:24 | 0:27:27 | |
and lows with Stax, were two neighbourhood kids scraping by, hoping to make it in music. | 0:27:27 | 0:27:33 | |
Isaac lived with his grandmother. | 0:27:33 | 0:27:35 | |
For some reason, he was an orphan, and sometimes he'd sleep over in the back seat of a car. And David, | 0:27:35 | 0:27:42 | |
he sold instruments, and he sacked groceries across the street from Stax. | 0:27:42 | 0:27:47 | |
I was working at a grocery store, singing at a club, | 0:27:55 | 0:27:59 | |
under the name of Little David, at night. | 0:27:59 | 0:28:01 | |
Just trying to get in, selling life insurance, | 0:28:01 | 0:28:04 | |
and I had an old raggedy car. And he didn't have a car. | 0:28:04 | 0:28:08 | |
And we would ride down the street, and... | 0:28:08 | 0:28:14 | |
You could tell where we'd been, because we'd leave a trail | 0:28:14 | 0:28:19 | |
of foam from his seat cushion, falling out the bottom of his car! | 0:28:19 | 0:28:24 | |
They'd see us with our cases and they'd tease us, | 0:28:34 | 0:28:37 | |
"Hey, hit makers, how many hits y'all write today?" | 0:28:37 | 0:28:40 | |
But we just kept trudging on, you know, relentlessly. | 0:28:40 | 0:28:43 | |
After years of not finding their own sound, Sam and Dave signed | 0:28:53 | 0:28:57 | |
with Jerry Wexler at Atlantic, who sent them to the hinterland of Memphis to record at Stax. | 0:28:57 | 0:29:03 | |
Sam and Dave were sure it was the end of their career. | 0:29:03 | 0:29:07 | |
The tears started streaming down my face. | 0:29:07 | 0:29:11 | |
I looked at Dave and I said, "Oh my God... | 0:29:11 | 0:29:14 | |
"How could Atlantic do this to us?" | 0:29:15 | 0:29:18 | |
# You don't know like I know | 0:29:35 | 0:29:38 | |
# What that woman has done for me | 0:29:38 | 0:29:42 | |
# Now in the morning... # | 0:29:42 | 0:29:44 | |
Sam and Dave are the dynamic duo. | 0:29:44 | 0:29:47 | |
And I'd also like to refer to Isaac and David as being the dynamic duo of writers. | 0:29:47 | 0:29:53 | |
That's one of the greatest things that ever happened. | 0:29:53 | 0:29:57 | |
# ..I ever had | 0:29:57 | 0:29:59 | |
# I got her back and like a miracle | 0:29:59 | 0:30:03 | |
# Now everything is all right | 0:30:03 | 0:30:06 | |
# You don't know like I know | 0:30:07 | 0:30:11 | |
# What that woman has done for me | 0:30:11 | 0:30:14 | |
# In the morning, she's my water | 0:30:14 | 0:30:18 | |
# And in the evening she's my cup of tea | 0:30:18 | 0:30:23 | |
# Nobody knows, nobody knows | 0:30:23 | 0:30:27 | |
# Nobody knows like I know | 0:30:27 | 0:30:31 | |
-# You don't know -You don't know | 0:30:31 | 0:30:33 | |
-# You don't know -Nobody knows | 0:30:33 | 0:30:36 | |
-# Nobody knows -My baby don't know | 0:30:36 | 0:30:38 | |
-# Nobody, yeah -Nobody... # | 0:30:38 | 0:30:41 | |
Because that was a chemistry. | 0:30:41 | 0:30:44 | |
Sam and Dave, | 0:30:44 | 0:30:46 | |
Hayes and Porter. That chemistry works. | 0:30:46 | 0:30:50 | |
And right behind the song You Don't Know Like I Know. | 0:30:50 | 0:30:53 | |
We knew we had found ourselves, | 0:30:53 | 0:30:56 | |
and so that's when it changed for us. | 0:30:56 | 0:31:00 | |
And we became extremely comfortable in her own skin to do hits on anybody, and we got cocky with it. | 0:31:00 | 0:31:07 | |
They would send these masters up north, and I'd say, "Praise Jesus!" | 0:31:07 | 0:31:10 | |
Stax threw open its doors to capture the sound of the street. | 0:31:18 | 0:31:22 | |
Feeling was all that mattered. | 0:31:22 | 0:31:24 | |
Meanwhile, up north in Detroit, another label was packaging R&B for crossover appeal. | 0:31:24 | 0:31:30 | |
There was no comparison. | 0:31:30 | 0:31:32 | |
You know, there was only one Joe Lewis, only one Muhammad Ali, | 0:31:32 | 0:31:36 | |
there's only one Motown. | 0:31:36 | 0:31:38 | |
# I got sunshine | 0:31:42 | 0:31:45 | |
# On a cloudy day | 0:31:45 | 0:31:48 | |
# When it's cold outside | 0:31:50 | 0:31:54 | |
# I've got the month of May... # | 0:31:54 | 0:31:57 | |
And Motown was, like, THE company for me. | 0:31:57 | 0:32:00 | |
Because Berry Gordy was doing what I wanted to see done | 0:32:00 | 0:32:05 | |
in the marketplace with the record company, | 0:32:05 | 0:32:09 | |
in terms of how the company was perceived | 0:32:09 | 0:32:13 | |
and accepted by the larger segment of society. | 0:32:13 | 0:32:17 | |
When we were cutting hit records, | 0:32:17 | 0:32:20 | |
we had a factory with multiple amount of producers and writers. | 0:32:20 | 0:32:25 | |
We had an assembly-line type procedure. | 0:32:25 | 0:32:29 | |
But Stax and me had that funky stuff.... | 0:32:31 | 0:32:35 | |
Whoom-bop-whoom... | 0:32:35 | 0:32:37 | |
That big bass thing that come out at you. | 0:32:37 | 0:32:40 | |
Reached out and grab you. Whoom-a-boom... | 0:32:40 | 0:32:43 | |
That was the difference between Stax and Motown. | 0:32:43 | 0:32:48 | |
Motown had the sweet, | 0:32:48 | 0:32:51 | |
but Stax had the funk. | 0:32:51 | 0:32:53 | |
Everybody, sing it out loud. # Hey, hey, hey... # | 0:33:00 | 0:33:04 | |
One more time. | 0:33:04 | 0:33:06 | |
# Hey, hey, hey | 0:33:06 | 0:33:08 | |
# Mmm, yeah, yeah, oh | 0:33:12 | 0:33:14 | |
# I don't need no money | 0:33:15 | 0:33:19 | |
# All I need is my friend | 0:33:19 | 0:33:22 | |
# I got all the riches, baby | 0:33:25 | 0:33:29 | |
# One big man can claim | 0:33:29 | 0:33:32 | |
# Oh-h-h-h, I guess... # | 0:33:35 | 0:33:38 | |
For Otis Redding to get a shot at Motown... | 0:33:38 | 0:33:41 | |
No, they did not have an open-door policy at Motown records. Never. | 0:33:43 | 0:33:50 | |
# ..talkin' 'bout my girl | 0:33:50 | 0:33:53 | |
# I got sunshine... # | 0:33:53 | 0:33:55 | |
They took great pride in saying, "Hitsville USA!" | 0:33:55 | 0:34:00 | |
And so, in my mind, I thought something should be done to distinguish us | 0:34:00 | 0:34:05 | |
from Motown, then people would have to look at us as, | 0:34:05 | 0:34:09 | |
"Oh, this is the one that's different from Hitsville. | 0:34:09 | 0:34:12 | |
"This is Soulsville." | 0:34:12 | 0:34:15 | |
As late as 1970, the City of Memphis closed public pools | 0:34:23 | 0:34:26 | |
rather than abide by court ordered integration. | 0:34:26 | 0:34:30 | |
But you wouldn't know that at the Lorraine Motel, where Stax artists | 0:34:30 | 0:34:34 | |
found a refuge for swimming, for socialising and for song-writing. | 0:34:34 | 0:34:39 | |
The Lorraine was just the hotel. | 0:34:39 | 0:34:42 | |
It was the hotel for blacks in Memphis. | 0:34:42 | 0:34:45 | |
Everyone stayed at the Lorraine Hotel. | 0:34:45 | 0:34:47 | |
If you wanted to meet your friends, any time you went to the Lorraine, | 0:34:47 | 0:34:51 | |
somebody was there. | 0:34:51 | 0:34:54 | |
When it was too hot in the summer, we didn't have air-conditioning, and we'd live by the pool. | 0:34:54 | 0:34:59 | |
Mr Berry would bring us fried chicken, and we'd eat ice-cream and all this kind of stuff. | 0:34:59 | 0:35:04 | |
And we'd just frolic until the sun goes down. Let's go back to work. | 0:35:04 | 0:35:09 | |
I'd go in, take my horn out, sit on the edge of the bed...use a mute, | 0:35:09 | 0:35:13 | |
so that I wouldn't wake up people on another floor. | 0:35:13 | 0:35:17 | |
We're at the Lorraine Hotel on a night that's raining and storming. | 0:35:17 | 0:35:22 | |
The lightning was... | 0:35:22 | 0:35:25 | |
-All of that. -A funny thing when I was writing songs with Eddie Floyd, | 0:35:25 | 0:35:29 | |
he'd give us the honeymoon suite if he didn't have it booked! | 0:35:29 | 0:35:32 | |
It was all this plush red velvet stuff everywhere. It was great! | 0:35:32 | 0:35:37 | |
And I told him the story of when I was a kid, from Montgomery Alabama. | 0:35:37 | 0:35:42 | |
When it was storming, we used to hide under the bed. | 0:35:42 | 0:35:46 | |
And we'd be frightened. | 0:35:46 | 0:35:48 | |
He said, "That's it! That's it! | 0:35:48 | 0:35:51 | |
"It's like thunder, lightning..." | 0:35:51 | 0:35:53 | |
# The way you love me is frightening | 0:35:54 | 0:35:57 | |
# I better knock...on wood | 0:35:57 | 0:36:01 | |
# Yeah... # | 0:36:02 | 0:36:04 | |
I'm gonna knock on some wood | 0:36:04 | 0:36:07 | |
Everybody over here. | 0:36:07 | 0:36:08 | |
# Knock | 0:36:08 | 0:36:10 | |
# Oh, yeah | 0:36:10 | 0:36:11 | |
# Knock... # | 0:36:11 | 0:36:13 | |
Everybody. | 0:36:13 | 0:36:16 | |
# All right | 0:36:17 | 0:36:19 | |
# Oh, yeah... # | 0:36:19 | 0:36:21 | |
While people fought for integration on the streets of America, at Stax, | 0:36:44 | 0:36:49 | |
"race," in the words of one musician, "was what you did on the way to the bank." | 0:36:49 | 0:36:53 | |
Because really Dr King was preaching what we were about inside of Stax. | 0:36:53 | 0:36:57 | |
We didn't stop to think about it, but that's what he was preaching, | 0:36:57 | 0:37:00 | |
where you judge a person by the content of their character rather than the colour of their skin. | 0:37:00 | 0:37:05 | |
The first time we ever stopped at this Dairy Queen, | 0:37:05 | 0:37:10 | |
it had "coloured only" | 0:37:10 | 0:37:12 | |
picture on the side of the building. | 0:37:12 | 0:37:15 | |
You know, "coloured only". And the white in the front. | 0:37:15 | 0:37:19 | |
We pulled up in the gravel, and when the dust cleared, | 0:37:19 | 0:37:23 | |
I started to get out, and I saw "coloured only", and I thought, | 0:37:23 | 0:37:27 | |
"Oh my God, if I go up there with my friends, I'm going to make all these rednecks mad. | 0:37:27 | 0:37:32 | |
"And if I go up there to the white window, all my friends... | 0:37:32 | 0:37:36 | |
I had to ride home with a bunch of hornets real mad at me! | 0:37:36 | 0:37:40 | |
I said, "Here Andrew, take this 5, bring me a cheeseburger and a milkshake. | 0:37:40 | 0:37:44 | |
"I'll wait for you right here!" And stayed in the car! | 0:37:44 | 0:37:47 | |
That was during the time when there was a lot of racial unrest in this country, and... | 0:37:47 | 0:37:53 | |
All the black businesses, if they write "soul" | 0:37:53 | 0:37:56 | |
on their business, they'll bypass it. | 0:37:56 | 0:37:59 | |
And I thought about the night of the Passover in the Bible, the blood of the lamb on the door. | 0:37:59 | 0:38:04 | |
The first-born is spared. I said, "Soul, that's just pride." | 0:38:04 | 0:38:09 | |
Soul! Soul man. | 0:38:09 | 0:38:12 | |
Soul man! | 0:38:12 | 0:38:14 | |
Yeah! So I called David, and I said, "I got one, man." | 0:38:14 | 0:38:17 | |
# I'm coming to ya on a dust road | 0:38:17 | 0:38:21 | |
# Good lovin' I got a truckload | 0:38:21 | 0:38:25 | |
# And when you get it You got somethin' | 0:38:25 | 0:38:28 | |
# So don't worry cos I'm comin' | 0:38:28 | 0:38:32 | |
# I'm a soul man | 0:38:32 | 0:38:34 | |
# I'm a soul man | 0:38:36 | 0:38:38 | |
# I'm a soul man | 0:38:40 | 0:38:42 | |
# I'm a soul man... # | 0:38:43 | 0:38:47 | |
I was a part of that group of African Americans | 0:38:49 | 0:38:53 | |
that did not have that "let me hold my head down" | 0:38:53 | 0:38:57 | |
and "yessir, boss" and that kind of crap. I wasn't down for that. | 0:38:57 | 0:39:01 | |
# I'm a soul man | 0:39:01 | 0:39:04 | |
# I'm a soul man | 0:39:06 | 0:39:08 | |
# Yes, I am, I'm a soul man | 0:39:08 | 0:39:11 | |
# I'm a soul man... # | 0:39:13 | 0:39:15 | |
I always smiled with everybody, but I'd kick your ass. | 0:39:18 | 0:39:21 | |
There was a pinnacle part of segregation going out. | 0:39:21 | 0:39:26 | |
I'm a soul man. I'm thinking, "I'm a black man, | 0:39:26 | 0:39:29 | |
"I'm going to..." No, he didn't mean that. | 0:39:29 | 0:39:32 | |
It means that whatever your hardship in your life, if you're able to get up and you...keep moving... | 0:39:32 | 0:39:39 | |
You could see the crowd building, you know. The society was gonna change. | 0:39:52 | 0:39:56 | |
You could feel it building. Even my group, you know, the integrated, er, | 0:39:56 | 0:40:00 | |
instrumental group, you know, | 0:40:00 | 0:40:03 | |
was a sign that things were about to change. | 0:40:03 | 0:40:06 | |
Andrew and I always said, "What are we going to do when this is over? | 0:40:20 | 0:40:23 | |
You know, this will end one day, maybe tomorrow, and we'll be just like we were when we started, | 0:40:23 | 0:40:29 | |
a couple of kids didn't get an education, | 0:40:29 | 0:40:31 | |
but know how to play these horns, what are we gonna do? | 0:40:31 | 0:40:35 | |
Are we gonna have a bait shop, or sell barbecue, and 45s? | 0:40:35 | 0:40:39 | |
"What are we gonna do?" | 0:40:39 | 0:40:41 | |
So, when we got to, erm, '67, when we went to Europe, | 0:40:41 | 0:40:46 | |
and we saw the reaction in the European crowd to what we were doing, we knew that we'd made a difference. | 0:40:46 | 0:40:51 | |
CROWD CHANT | 0:40:51 | 0:40:54 | |
LOUD APPLAUSE | 0:40:57 | 0:40:59 | |
# Listen while I'm talkin' to you now | 0:41:06 | 0:41:09 | |
# Tell you what I'm gonna do now | 0:41:09 | 0:41:11 | |
# There's a new thing going around now | 0:41:11 | 0:41:13 | |
# I'll tell what to put down now | 0:41:13 | 0:41:15 | |
# You move your body all around And just shake! | 0:41:15 | 0:41:18 | |
# Go, go now, baby, now | 0:41:18 | 0:41:20 | |
# That's the way you do it! Shake, shake, shake it, baby... # | 0:41:20 | 0:41:25 | |
He was very excited about going to Europe. | 0:41:25 | 0:41:28 | |
And he tried to get me to come along, | 0:41:28 | 0:41:30 | |
but I'm, you know, I was a wife and a mother. | 0:41:30 | 0:41:34 | |
He called home at least four or five times a day, he would say, "I blew them away." | 0:41:34 | 0:41:40 | |
And I'm like, "OK, it's 4 o'clock in the morning." | 0:41:40 | 0:41:43 | |
We did a lot of halls where rhythm and blues music had not been - | 0:41:49 | 0:41:52 | |
they were concert halls, symphonic halls, and we were kind of anxious | 0:41:52 | 0:41:57 | |
cos we didn't know how people were gonna accept it, | 0:41:57 | 0:41:59 | |
we didn't know what kind of audience was coming. | 0:41:59 | 0:42:02 | |
The European people went crazy, they went crazy! | 0:42:02 | 0:42:07 | |
Wow, they like us! | 0:42:07 | 0:42:09 | |
Huh? You know, they like us! | 0:42:09 | 0:42:11 | |
# But if you wanna really roll | 0:42:19 | 0:42:21 | |
# Gotta do the thing with soul | 0:42:21 | 0:42:23 | |
# Shake, shake with all your might, yeah | 0:42:23 | 0:42:26 | |
# If you do it, do it right now | 0:42:26 | 0:42:28 | |
# Let your body loose tonight Lord have mercy, shake! | 0:42:28 | 0:42:33 | |
# Everybody say shake! One more time, say shake...! # | 0:42:33 | 0:42:37 | |
To be treated by the bellhops or attendants at the hotels | 0:42:37 | 0:42:42 | |
in London like stars, we hadn't felt that or experienced that before. | 0:42:42 | 0:42:48 | |
Dr King said, "Free at last, free at last, thank God Almighty, I'm free at last!" | 0:42:48 | 0:42:53 | |
It changed everybody's perception of themselves, | 0:43:02 | 0:43:05 | |
cos none of us had ever been paid that much attention. | 0:43:05 | 0:43:08 | |
That Stax tour just, it gave us a new insight | 0:43:08 | 0:43:12 | |
to what the world really thought of us, cos we didn't think outside the block we lived on. | 0:43:12 | 0:43:17 | |
-# Hold on, baby -Hold on! | 0:43:17 | 0:43:21 | |
-# Gotta hold on -You've got to hold on | 0:43:21 | 0:43:26 | |
# Hold on, baby! Hold on... # | 0:43:26 | 0:43:31 | |
We just, you know, we would throw our coats off, | 0:43:31 | 0:43:35 | |
and spin and turn and sing and... | 0:43:35 | 0:43:38 | |
That was it! | 0:43:38 | 0:43:41 | |
They had everybody just, you know, in pandemonium, I mean, they'd faint. | 0:43:50 | 0:43:53 | |
One of the would just faint, fall out, come out, drag him off stage, then Sam would say, "Good night." | 0:43:53 | 0:44:01 | |
Dave would come back out, and start again. | 0:44:01 | 0:44:03 | |
CHEERING AND WHISTLING | 0:44:03 | 0:44:06 | |
CHEERING | 0:44:13 | 0:44:16 | |
I've got to tell you, when Sam and Dave finished, | 0:44:30 | 0:44:33 | |
Otis Redding broke from behind that stage out and grabbed the microphone, | 0:44:33 | 0:44:38 | |
and he started going from one end of the stage to the other end of the stage, | 0:44:38 | 0:44:42 | |
I couldn't believe what was going on, it was, "Gotta, gotta, gotta..." | 0:44:42 | 0:44:45 | |
just the energy that I'd never seen before. | 0:44:45 | 0:44:47 | |
# But it's all all so easy | 0:44:49 | 0:44:52 | |
# All you've got to do is try try a little tenderness | 0:44:52 | 0:44:58 | |
# Yeah, yeah, man | 0:44:58 | 0:45:00 | |
# All you've got to do is know how to grab her | 0:45:00 | 0:45:04 | |
# You've got to hold her and squeeze her | 0:45:04 | 0:45:06 | |
# You've gotta, gotta | 0:45:06 | 0:45:09 | |
# Gotta, gotta, gotta Try a little tenderness! | 0:45:09 | 0:45:13 | |
# Say, yeah, tenderness | 0:45:13 | 0:45:15 | |
# You gotta...make love You've gotta hold her | 0:45:15 | 0:45:21 | |
# And squeeze her Never leave her | 0:45:21 | 0:45:24 | |
# Gotta, gotta... | 0:45:24 | 0:45:27 | |
# Try a little tenderness, yeah | 0:45:27 | 0:45:30 | |
# All you got to do is take my advice | 0:45:30 | 0:45:35 | |
# You gotta hold her, squeeze her | 0:45:35 | 0:45:38 | |
# Don't ever leave her | 0:45:38 | 0:45:39 | |
# You gotta gotta nah-nah-nah | 0:45:39 | 0:45:42 | |
# You've got to try a little tenderness | 0:45:42 | 0:45:45 | |
# Yeah, yeah Lord, have mercy | 0:45:45 | 0:45:47 | |
# You gotta All you've got to do is... | 0:45:47 | 0:45:51 | |
# Hold her and squeeze her | 0:45:51 | 0:45:54 | |
# Never leave her Tcha-tcha-tcha-tcha-tcha... | 0:45:54 | 0:45:58 | |
# Try a little tenderness | 0:45:58 | 0:46:01 | |
# Lord have mercy You've got to hold her | 0:46:01 | 0:46:07 | |
# And squeeze her, never leave her | 0:46:07 | 0:46:11 | |
# Tcha-tcha-tcha-tcha-tcha... | 0:46:11 | 0:46:14 | |
A little tenderness! # | 0:46:14 | 0:46:17 | |
Let me hear it for Otis one more time, ladies and gentlemen! | 0:46:19 | 0:46:23 | |
The fantastic, unbelievable man of soul, Otis Redding! | 0:46:23 | 0:46:28 | |
Let me here it for Otis way out in the back there! | 0:46:28 | 0:46:33 | |
We ended up playing the Monterey Pop Festival, that was the culmination | 0:46:35 | 0:46:40 | |
of our European Tour, and that was a life-changing experience for me. | 0:46:40 | 0:46:44 | |
With 50,000 people there, and they had all the hippy guys with the long hair and the torn blue jeans | 0:46:46 | 0:46:50 | |
and the tennis shoes, and there we were, in silk suits, | 0:46:50 | 0:46:55 | |
and beetle boots, and sweaters, the like, doing steps. | 0:46:55 | 0:46:59 | |
So we must have looked like a lounge act or something, | 0:46:59 | 0:47:02 | |
I don't know what, but it killed 'em, and when Otis walked on stage, it was over for everybody. | 0:47:02 | 0:47:09 | |
This is the love crowd, right? | 0:47:09 | 0:47:12 | |
We all love each other, don't we? CROWD: Yeah! | 0:47:12 | 0:47:15 | |
Am I right? CROWD: YEAH! | 0:47:15 | 0:47:17 | |
Let me hear you say yeah! CROWD: YEAH! | 0:47:17 | 0:47:20 | |
All right... | 0:47:20 | 0:47:21 | |
# I've been | 0:47:24 | 0:47:27 | |
# Loving you | 0:47:27 | 0:47:31 | |
# Too long | 0:47:33 | 0:47:36 | |
# To stop now | 0:47:38 | 0:47:42 | |
# You are tired... # | 0:47:45 | 0:47:50 | |
But we got so much attention when we were in Europe, | 0:47:50 | 0:47:54 | |
and to be invited to do Monterrey, we looked at each other and said, "This is it." | 0:47:54 | 0:48:00 | |
And at that night, as Andrew and I tipped up a bottle of Jack Daniels | 0:48:00 | 0:48:04 | |
in our hotel room, he said, "I think we can make a living at this." | 0:48:04 | 0:48:08 | |
And that was the day that we turned that corner. | 0:48:09 | 0:48:12 | |
27 years old. | 0:48:12 | 0:48:14 | |
# And I don't wanna stop now, no... # | 0:48:17 | 0:48:20 | |
Can you do that one more time? | 0:48:23 | 0:48:26 | |
Do it just one more time, one more... Just one more time! | 0:48:30 | 0:48:36 | |
Otis was our standard bearer, I mean, he was THE man, I mean, | 0:48:41 | 0:48:45 | |
the world was beginning to view Stax as Otis Redding. | 0:48:45 | 0:48:52 | |
# ..Can't stop now... # | 0:48:52 | 0:48:55 | |
1967 was a meteoric year for Otis Redding. | 0:48:55 | 0:48:59 | |
After Monterrey, he was embracing a new life with the pop audience. | 0:48:59 | 0:49:05 | |
27 years old, and at the peak of his creative abilities, he left in December | 0:49:05 | 0:49:11 | |
on a weekend tour of the Midwest, in his new plane. | 0:49:11 | 0:49:15 | |
I had spoke with him earlier that morning, | 0:49:15 | 0:49:19 | |
he won't speak to the kids, and it was like something is not right. | 0:49:19 | 0:49:24 | |
Something, it was a feeling. | 0:49:24 | 0:49:26 | |
# ..For too long | 0:49:26 | 0:49:28 | |
# And I don't want to stop now | 0:49:30 | 0:49:32 | |
# No, no, no | 0:49:32 | 0:49:36 | |
# I've been loving you | 0:49:38 | 0:49:41 | |
# Just a little bit too long... # | 0:49:41 | 0:49:47 | |
We just happened to turn on the TV, | 0:49:47 | 0:49:49 | |
and then they said, "Bulletin - plane belonging to Otis Redding...." | 0:49:49 | 0:49:55 | |
I just put my hands in my ear, I didn't even hear the rest of it. | 0:49:55 | 0:50:00 | |
And he said, "Man, did you hear about Otis?" | 0:50:02 | 0:50:05 | |
They all went in the lake, up in Wisconsin. | 0:50:05 | 0:50:08 | |
I said, you mean, they had a crash? | 0:50:08 | 0:50:12 | |
He said, "Yes, and they're all gone." | 0:50:12 | 0:50:14 | |
I can remember the minister, because he was the minister that married us. | 0:50:21 | 0:50:27 | |
It was just too much | 0:50:27 | 0:50:29 | |
for my mind, for my body, too much sorrow. | 0:50:29 | 0:50:33 | |
# I love you, baby I love you, honey | 0:50:35 | 0:50:38 | |
# Good God Almighty, Good God Almighty, I love! # | 0:50:38 | 0:50:41 | |
Stax lost their biggest star, and the heart and soul of the label. | 0:51:02 | 0:51:07 | |
Then, within weeks, they learned that the fine print | 0:51:07 | 0:51:10 | |
of their distribution deal with Atlantic took from them ownership of everything they'd released. | 0:51:10 | 0:51:15 | |
Stax found itself gutted, | 0:51:15 | 0:51:19 | |
a record company with no records. | 0:51:19 | 0:51:22 | |
I had not read the fine print in the distribution agreement, | 0:51:22 | 0:51:29 | |
and Gerry Webster, I love Gerry, you know, but we had a serious, | 0:51:29 | 0:51:36 | |
serious argument. | 0:51:36 | 0:51:38 | |
It was sort of like, "That's not what you said and that's not what you implied." | 0:51:38 | 0:51:44 | |
But they'd go, "Yeah, but the paper says this." | 0:51:44 | 0:51:47 | |
Well, there didn't need to be any paper in the first place. | 0:51:47 | 0:51:51 | |
As it turned out, Sam and Dave were not really signed to Stax as artists, | 0:51:51 | 0:51:57 | |
they were signed to Atlantic and loaned out to Stax. | 0:51:57 | 0:52:01 | |
It was a family thing! That chemistry works, | 0:52:06 | 0:52:10 | |
so, when they broke that mould, and took us back, | 0:52:10 | 0:52:15 | |
it all went downhill after that. | 0:52:15 | 0:52:17 | |
So these were really Atlantic artists, and we were the little guys | 0:52:17 | 0:52:23 | |
down in Memphis Tennessee who really didn't get it, didn't know it. | 0:52:23 | 0:52:26 | |
In the face of all these hardships, the Stax family could still rely on each other. | 0:52:34 | 0:52:41 | |
But in early 1968, | 0:52:41 | 0:52:43 | |
something happened in Memphis that would banish Stax from its garden. | 0:52:43 | 0:52:49 | |
When you listen to the music that came out of Stax, | 0:52:52 | 0:52:56 | |
you would think that Memphis was this sort of special oasis of... | 0:52:56 | 0:53:01 | |
of inter-group love and affection, and co-existence, | 0:53:01 | 0:53:05 | |
and that type of thing, but it was really just the opposite. | 0:53:05 | 0:53:09 | |
It was a very intractable situation, where the power structure in Memphis | 0:53:17 | 0:53:21 | |
wasn't interested in recognising the humanity of this strata of workers. | 0:53:21 | 0:53:28 | |
We have an illegal strike here, but this city, like most cities, | 0:53:29 | 0:53:34 | |
is a product of the times caused by what's happening countrywide. | 0:53:34 | 0:53:39 | |
The garbage men were not separate people that you didn't see every day, | 0:53:46 | 0:53:50 | |
my father always taught me to shake their hands and say hello to them. | 0:53:50 | 0:53:53 | |
They were really a part of the fabric of the society. | 0:53:53 | 0:53:58 | |
Their fight was everybody's fight. | 0:53:58 | 0:54:00 | |
Men who break their backs, day after day, | 0:54:02 | 0:54:05 | |
for peanuts, | 0:54:05 | 0:54:07 | |
instead of wages! | 0:54:07 | 0:54:10 | |
They turned to Martin Luther King because there was nowhere else to go with this. | 0:54:15 | 0:54:21 | |
Not only Memphis, | 0:54:24 | 0:54:26 | |
but you are reminding the nation | 0:54:28 | 0:54:30 | |
that it is a crime for people | 0:54:30 | 0:54:35 | |
to live in this rich nation, and receive starvation wages. | 0:54:35 | 0:54:42 | |
What I found interesting about the location of Dr King's death, | 0:54:55 | 0:55:02 | |
that we at Stax had found the Lorraine hotel | 0:55:02 | 0:55:07 | |
to be our oasis number two. | 0:55:07 | 0:55:09 | |
I was there when that bullet was fired, I was standing on the balcony, | 0:55:09 | 0:55:15 | |
I mean, I spent the last hour of his life on earth. | 0:55:15 | 0:55:19 | |
About a quarter to six, we stepped on that balcony, he stood here, I stood here. | 0:55:19 | 0:55:24 | |
I got five steps. | 0:55:24 | 0:55:27 | |
K-pow! | 0:55:27 | 0:55:29 | |
The shot rang out. | 0:55:29 | 0:55:31 | |
I looked back and saw he had been knocked from the railing back onto the balcony. | 0:55:33 | 0:55:38 | |
I rushed to his side, | 0:55:38 | 0:55:40 | |
there was a gaping hole in the right side of his face. | 0:55:40 | 0:55:44 | |
Blood everywhere, just bleeding profusely. | 0:55:44 | 0:55:46 | |
I ran in the room to call an ambulance, you couldn't use the phone without the operator. | 0:55:46 | 0:55:51 | |
When the operator heard the shot, she left the switchboard, | 0:55:52 | 0:55:56 | |
I'm beating on the wall saying, "Answer the phone, answer the phone." | 0:55:56 | 0:56:01 | |
She went in the courtyard, looked up and saw Martin on the floor, and she had a heart attack on the spot. | 0:56:01 | 0:56:08 | |
She died about four days later. | 0:56:08 | 0:56:10 | |
I ran back outside, the police were coming, | 0:56:10 | 0:56:14 | |
and I hollered to them, "Call an ambulance on your police radio, Dr King has been shot!" | 0:56:14 | 0:56:19 | |
They said, "Where did the shock come from?" | 0:56:19 | 0:56:21 | |
So that's where the picture comes with us pointing to the building across the street. | 0:56:21 | 0:56:26 | |
"Where did the shot come from?" | 0:56:26 | 0:56:28 | |
# All those nights I watched the four walls | 0:56:28 | 0:56:34 | |
# I didn't have to watch them all alone. # | 0:56:35 | 0:56:39 | |
The death of Martin Luther... | 0:56:41 | 0:56:42 | |
The whole complexion of everything changed... it had to. | 0:56:47 | 0:56:54 | |
We stayed closed, | 0:56:54 | 0:56:57 | |
the shop, and the studio, for about a week I guess, four or five days, | 0:56:57 | 0:57:04 | |
because we wanted to respect the people. | 0:57:04 | 0:57:08 | |
I can tell you that prior to that, as far as I know, | 0:57:08 | 0:57:12 | |
there was never, ever any colour | 0:57:12 | 0:57:15 | |
that came through the doors. | 0:57:15 | 0:57:18 | |
Didn't happen. | 0:57:18 | 0:57:19 | |
And, erm, | 0:57:22 | 0:57:24 | |
after that, it was never the same. | 0:57:25 | 0:57:29 | |
I was devastated, | 0:57:29 | 0:57:33 | |
and I prayed, I deal with things the same way | 0:57:33 | 0:57:38 | |
that God dealt with Adam, | 0:57:38 | 0:57:41 | |
when he walked in the garden, and Adam had hid himself from him, he was Adams's friend, he made Adam, | 0:57:41 | 0:57:48 | |
they walked and talked together, every day. | 0:57:48 | 0:57:51 | |
And all of a sudden, there was a breach, and my prayer was | 0:57:52 | 0:57:56 | |
that things happen with sex, when the breach came, | 0:57:56 | 0:58:01 | |
that somebody could remove the breach | 0:58:05 | 0:58:09 | |
and reclaim that that was almost lost. | 0:58:09 | 0:58:14 | |
Everything changed, it had to. | 0:58:21 | 0:58:23 | |
Gone were the heroes, the stars, | 0:58:23 | 0:58:27 | |
all the records they'd made, yet among the ashes, an ember still burned. | 0:58:27 | 0:58:33 | |
They said Stax is dead, there will be no more Stax. | 0:58:36 | 0:58:39 | |
From that moment, there was Stax, I was on the keel, | 0:58:39 | 0:58:44 | |
to take Stax and those artists to that level of appreciation in this country. | 0:58:44 | 0:58:49 | |
We had a lot of confidence, and so we were very adamant | 0:58:49 | 0:58:52 | |
and determined that we were gonna be successful. | 0:58:52 | 0:58:54 | |
Al Bell, when he came to Stax, he brought that | 0:58:54 | 0:58:58 | |
large sack of BS with him, | 0:58:58 | 0:59:02 | |
he could get on the telephone and make things happen. It was great! | 0:59:02 | 0:59:06 | |
We were all young, and naive, I guess. | 0:59:06 | 0:59:09 | |
And certainly, our love for what we were doing, | 0:59:09 | 0:59:16 | |
even at that point, and for Stax records, was unquestionable. | 0:59:16 | 0:59:20 | |
Al Bell was like a rocket that was already launched, and was orbiting, | 0:59:20 | 0:59:26 | |
and nothing could stop him. | 0:59:26 | 0:59:29 | |
He'd dip that phone in BS, | 0:59:29 | 0:59:32 | |
and everybody at the other end would go, "Yeah!" They'd like it! | 0:59:32 | 0:59:35 | |
It was during that period of time when the finger snap was developed. | 0:59:35 | 0:59:39 | |
And the finger snap at that point in time, even though we had the records flipping up and down, you know, | 0:59:39 | 0:59:45 | |
off the turntable, the finger snap signalled a change. | 0:59:45 | 0:59:49 | |
BLUESY RIFF PLAYS | 0:59:49 | 0:59:52 | |
Stax was a company that had been betrayed and almost ruined | 1:00:08 | 1:00:12 | |
but the music, its soul, refused to die. | 1:00:12 | 1:00:17 | |
Somewhere in the wreckage, a new vision began taking shape. | 1:00:17 | 1:00:21 | |
In the process, I started looking for whatever that sound | 1:00:30 | 1:00:36 | |
could have been or would have been | 1:00:36 | 1:00:39 | |
that was a merger between Stax and this raw, gritty, gutsy soul | 1:00:39 | 1:00:46 | |
and Motown in its contemporary, sophisticated, polished soul. | 1:00:46 | 1:00:53 | |
Who's Making Love was a step off the kerb for all of us cos it was such a sexually charged song. | 1:00:55 | 1:01:02 | |
# Tell me who's making love to your old lady | 1:01:02 | 1:01:06 | |
# While you were out making love? | 1:01:06 | 1:01:10 | |
# Who's making love to your old lady | 1:01:10 | 1:01:14 | |
# While you were out making love? | 1:01:14 | 1:01:18 | |
# I've seen so many fellows | 1:01:18 | 1:01:21 | |
# All in that same old bag | 1:01:22 | 1:01:25 | |
# Thinkin' that a woman is made to | 1:01:25 | 1:01:29 | |
# To be beat on and treated so bad. # | 1:01:29 | 1:01:33 | |
I would have guys who would say, | 1:01:33 | 1:01:35 | |
"why did you write a song like that? | 1:01:35 | 1:01:37 | |
"You had me going back home | 1:01:37 | 1:01:39 | |
"checking to see if my wife was leaving home with somebody." | 1:01:39 | 1:01:43 | |
I said, "Well, see, you had a guilty conscience." | 1:01:43 | 1:01:46 | |
# ..I'm sure that you never even dreamed of | 1:01:46 | 1:01:51 | |
# Somebody was a-lovin' my old lady | 1:01:51 | 1:01:55 | |
# While I was out makin' love... # | 1:01:55 | 1:01:58 | |
Who's Making Love sold more copies than any Stax record ever had. | 1:02:00 | 1:02:05 | |
With the new sound came new songwriters, new musicians | 1:02:08 | 1:02:13 | |
and new currency in the cash box on which dreams could be built. | 1:02:13 | 1:02:17 | |
The idea was to try to get as many hit records | 1:02:35 | 1:02:38 | |
as we possibly can in the market place and then do the impossible, | 1:02:38 | 1:02:42 | |
let us have a sales conference, let us put together 28 albums and I worked that out on paper, | 1:02:42 | 1:02:49 | |
bring all these distributors in and let them know that we are formidable, independent record company. | 1:02:49 | 1:02:55 | |
Everybody believed in everything Al Bell said, "We are going to do 28 albums." "Yeah? When?" | 1:03:03 | 1:03:09 | |
27 albums was a mercy. | 1:03:09 | 1:03:11 | |
We had a meeting, everything was explained to us that we have got to rebuild the catalogue. | 1:03:11 | 1:03:19 | |
I was busy back and forth on the phone pumping everybody up and just driving, driving, driving. | 1:03:19 | 1:03:24 | |
Soul Explosion venture, Al Bell's baby. | 1:03:28 | 1:03:32 | |
Al Bell came up with this idea that he was going to explode and flood | 1:03:32 | 1:03:36 | |
the market with Stax material, | 1:03:36 | 1:03:37 | |
one was a major success and that was Hot Buttered Soul. | 1:03:37 | 1:03:42 | |
INTRO PLAYS | 1:03:42 | 1:03:46 | |
# Mmmm-mmmm | 1:03:51 | 1:03:57 | |
# I just can't get over losing you | 1:04:00 | 1:04:04 | |
# So if I seem all broke in two | 1:04:04 | 1:04:10 | |
# Please walk on by | 1:04:13 | 1:04:18 | |
# Walk on by | 1:04:18 | 1:04:23 | |
# Foolish pride... # | 1:04:24 | 1:04:28 | |
It was just a beautiful thing to see Isaac go from background guy | 1:04:28 | 1:04:33 | |
to singer with this unique and unusual record, becoming a superstar. | 1:04:33 | 1:04:37 | |
# You gave me, you put the hurt on me | 1:04:37 | 1:04:39 | |
# You socked it to me, mama | 1:04:39 | 1:04:42 | |
# When you said goodbye... # | 1:04:42 | 1:04:48 | |
I saw something in Isaac Hayes that I had not seen before. | 1:04:48 | 1:04:53 | |
That bald head, bald heads weren't popular back then, | 1:04:53 | 1:04:56 | |
but Isaac Hayes had a bald head, | 1:04:56 | 1:04:58 | |
from a marketing standpoint we could probably do wonders with this guy. | 1:04:58 | 1:05:03 | |
When Al Bell told me he wanted me to help him out with these acts being recorded | 1:05:03 | 1:05:08 | |
for the spring sales meeting I said, I want to do an album myself and do it the way I wanted to. | 1:05:08 | 1:05:13 | |
Because I knew that they weren't and relying on me | 1:05:16 | 1:05:20 | |
to give them a hit album, because we had 26 other albums | 1:05:20 | 1:05:25 | |
to pull them through. So I selfishly wanted to do this album. | 1:05:25 | 1:05:30 | |
# Please walk, walk right on by, baby | 1:05:30 | 1:05:36 | |
# Oh, there's not doubt in my... | 1:05:38 | 1:05:43 | |
# I don't you to see me cry, no, no... # | 1:05:43 | 1:05:49 | |
And it crossed over. | 1:05:49 | 1:05:51 | |
It just started my whole career. | 1:05:51 | 1:05:54 | |
A re-birth was blossoming within the walls of Stax, | 1:05:54 | 1:05:57 | |
but outside in the streets of Soulsville, a darker reality was taking hold. | 1:05:57 | 1:06:04 | |
One day two young black men came into Stax records and went into | 1:06:04 | 1:06:07 | |
Jim Stewart's office and laid a big piece of iron on his desk, 357 magnum, my guess, big pistol, | 1:06:07 | 1:06:14 | |
and said, "If you don't give us 50,000 in the next two days we are going to kill you." | 1:06:14 | 1:06:21 | |
After Dr King was killed it got pretty, pretty | 1:06:29 | 1:06:33 | |
intense around there. | 1:06:33 | 1:06:35 | |
We started experiencing some... | 1:06:35 | 1:06:40 | |
attitudes that were directed towards both the white side and the black side | 1:06:40 | 1:06:48 | |
of our oasis. | 1:06:48 | 1:06:50 | |
Al Bell sent me to... West Memphis, Arkansas | 1:06:50 | 1:06:56 | |
I bought five .38 pistols. | 1:06:56 | 1:06:59 | |
He said, "Anybody gives you any shit, pull the trigger." | 1:06:59 | 1:07:03 | |
The neighbourhood had changed so bad they had to put up an 8ft | 1:07:03 | 1:07:06 | |
chain-link fence with guards and so forth, | 1:07:06 | 1:07:11 | |
you almost had to have a laminate to get in and out. | 1:07:11 | 1:07:14 | |
I was threatened by people outside the company | 1:07:14 | 1:07:17 | |
threatening to kidnap me, trying to extort money from me. | 1:07:17 | 1:07:21 | |
I went to the FBI, I got no... | 1:07:21 | 1:07:24 | |
help whatsoever. "You're on McLemore Avenue, | 1:07:24 | 1:07:27 | |
"what you doing over there anyway?" | 1:07:27 | 1:07:29 | |
You know, that kind of mentality. | 1:07:29 | 1:07:31 | |
So we brought in Johnny Baylor along with his sidekick Dino. | 1:07:31 | 1:07:37 | |
Johnny Baylor had worked with Sugar Ray Robinson, a former Army Ranger | 1:07:37 | 1:07:40 | |
he was running a small record label in New York's Harlem. | 1:07:40 | 1:07:45 | |
Al knew that Johnny Baylor and Dino, these two guys, they were toughs. | 1:07:45 | 1:07:50 | |
New York tough street guys. And they were killers. | 1:07:50 | 1:07:54 | |
They were people who did the thing. | 1:07:55 | 1:07:59 | |
We challenged them, we let them know hey, either do or die, you know, | 1:07:59 | 1:08:04 | |
that is what it is. | 1:08:04 | 1:08:05 | |
We are going to protect these artists, we are going to protect Al Bell. | 1:08:05 | 1:08:09 | |
You know, and there will be no more of this... | 1:08:09 | 1:08:12 | |
robbery and stealing and stick-ups or whatever they were doing. | 1:08:12 | 1:08:17 | |
Now after that, Jim was a little further out of control because he had two guys there | 1:08:18 | 1:08:24 | |
and Jim said, "We will let them be Isaac Hayes' security. | 1:08:24 | 1:08:28 | |
"He's just getting to where he is going to need some security | 1:08:28 | 1:08:33 | |
"and we will let them be at the head of Stax security." | 1:08:33 | 1:08:37 | |
# Hyperbolicsyllabicsesquedalymistic! | 1:08:37 | 1:08:42 | |
# I can't sleep at night | 1:08:42 | 1:08:46 | |
# But that's all right | 1:08:47 | 1:08:49 | |
# The MD tells me | 1:08:52 | 1:08:55 | |
# My heart's on strike... # | 1:08:55 | 1:09:00 | |
Johnny Baylor and Dino were described as our protectors | 1:09:00 | 1:09:06 | |
and sometimes they... | 1:09:06 | 1:09:09 | |
appeared to harass us. | 1:09:09 | 1:09:11 | |
I never will forget this, but Johnny Baylor had grabbed my arm | 1:09:12 | 1:09:18 | |
and just twisted my arm behind me and had me pushed against the wall. | 1:09:18 | 1:09:23 | |
And I gave him a really bad punch in a place, I don't think he will ever forget. | 1:09:23 | 1:09:29 | |
# Hyperbolicsyllabic Sesquedalymistic! # | 1:09:29 | 1:09:35 | |
It was a conspiracy to takeover the control | 1:09:35 | 1:09:38 | |
of the most powerful individual | 1:09:38 | 1:09:40 | |
in his view in the company at that time, which was Isaac. | 1:09:41 | 1:09:45 | |
He felt if he could do that then he could call shots on whatever he wanted to call. | 1:09:45 | 1:09:48 | |
And Johnny felt that Isaac should be, should have been... | 1:09:48 | 1:09:54 | |
out front of David Porter. | 1:09:54 | 1:09:56 | |
They put a gun up to David Porter's head once and told him to stay away from Isaac. | 1:09:56 | 1:10:00 | |
He wanted to see Isaac out being number-one, you know. | 1:10:00 | 1:10:05 | |
Well, there went all that songwriting, | 1:10:05 | 1:10:08 | |
those magical songs, gone. | 1:10:08 | 1:10:11 | |
Johnny Baylor stayed around Stax. | 1:10:20 | 1:10:23 | |
He was the problem solver who would soon become the problem. | 1:10:23 | 1:10:28 | |
That was the day I went to Jim and told him we'd like to be off the payroll. | 1:10:28 | 1:10:32 | |
MUSIC CONTINUES | 1:10:32 | 1:10:35 | |
Estelle Axton got caught up in some of the politics of the company, | 1:10:45 | 1:10:50 | |
as we got bigger and bigger and bigger I think she was made to be quieter, quieter and quieter. | 1:10:50 | 1:10:57 | |
I closed the record shop | 1:10:57 | 1:11:00 | |
because they needed the space for the studio and offices for Stax. | 1:11:00 | 1:11:06 | |
-So I was lost without -... | 1:11:08 | 1:11:10 | |
He and my sister didn't get along, | 1:11:10 | 1:11:14 | |
it had gotten to the point that I was ready to leave... | 1:11:14 | 1:11:20 | |
I had a decision to make, a very hard decision to make. | 1:11:22 | 1:11:27 | |
It involved family, number one. | 1:11:27 | 1:11:29 | |
In the end, I made the decision that more people's livelihoods | 1:11:32 | 1:11:37 | |
were at stake than just mine. | 1:11:38 | 1:11:42 | |
And I made a decision to ask that my sister step down. | 1:11:43 | 1:11:51 | |
I decided that I'll never have any influence in the future - | 1:11:51 | 1:11:58 | |
the best thing for me to do is to get out. | 1:11:58 | 1:12:00 | |
And that's when I sold my part | 1:12:00 | 1:12:05 | |
and got out. | 1:12:05 | 1:12:06 | |
She left and the magic was gone. | 1:12:14 | 1:12:17 | |
You know, this building will never be the same. | 1:12:17 | 1:12:21 | |
And it was never the same again. | 1:12:23 | 1:12:25 | |
Jim and Al were now equal partners in a company that was outgrowing it mum and pop roots, | 1:12:30 | 1:12:36 | |
new demands meant that old ways had to change. | 1:12:36 | 1:12:40 | |
There was a feeling like mass production going on or assembly-line type feeling. | 1:12:42 | 1:12:47 | |
Actually at one point they had us operating in shifts, | 1:12:47 | 1:12:51 | |
three eight-hour shifts. | 1:12:51 | 1:12:53 | |
The market was changing, where I was spending a whole month working on four, | 1:13:01 | 1:13:06 | |
five artists and records trying to get a hit single, | 1:13:06 | 1:13:09 | |
all of a sudden I'm working on four, five or six albums. | 1:13:09 | 1:13:12 | |
So, I couldn't continue the way things were going at the time. | 1:13:12 | 1:13:16 | |
It was more or less the group, | 1:13:21 | 1:13:23 | |
the core group was becoming more and more fragmented. | 1:13:23 | 1:13:28 | |
SLOW, BLUESY MUSIC | 1:13:28 | 1:13:31 | |
We were all family and it's tough to break up a family, | 1:13:37 | 1:13:42 | |
but I just felt that it was going to head for disaster at some point. | 1:13:42 | 1:13:47 | |
RHYTHM INCREASES | 1:13:47 | 1:13:51 | |
CROWD CHEERS | 1:13:51 | 1:13:53 | |
You couldn't help but feel saddened by it, this is Booker T and the MGs | 1:14:13 | 1:14:19 | |
and they were the sound of the music that was coming out of there. | 1:14:19 | 1:14:26 | |
APPLAUSE AND CHEERING | 1:16:06 | 1:16:10 | |
# Starting all over again | 1:16:15 | 1:16:18 | |
# It's gonna be rough | 1:16:18 | 1:16:20 | |
# So rough | 1:16:21 | 1:16:24 | |
-# That we're gonna make it. -Oh, yeah. # | 1:16:24 | 1:16:28 | |
We just kept on generating more and more revenue, | 1:16:28 | 1:16:31 | |
kept on daring to be different and kept on defying what they said that couldn't be done. | 1:16:31 | 1:16:36 | |
# ..On us. But we gotta face it... # | 1:16:36 | 1:16:41 | |
Al felt like he should give something back to the community | 1:16:41 | 1:16:44 | |
that we were trying to do the right thing, | 1:16:44 | 1:16:47 | |
that we were concerned with civil rights and we're taking an active role to show that. | 1:16:47 | 1:16:55 | |
The whole evolution of Stax was a parallel to | 1:16:55 | 1:16:58 | |
what was happening in the civil rights movement | 1:16:58 | 1:17:01 | |
and then when the civil rights movement evolved, | 1:17:01 | 1:17:03 | |
devolved to some people, into this Black Power movement or wave, | 1:17:03 | 1:17:09 | |
Stax underwent a transformation as well. | 1:17:09 | 1:17:13 | |
In terms of advertising, promotion, marketing, | 1:17:13 | 1:17:17 | |
and research, we're researching black because that's where our product is directed and we're supporting black. | 1:17:17 | 1:17:23 | |
# Starting all over again | 1:17:23 | 1:17:27 | |
# Is gonna be slow | 1:17:27 | 1:17:30 | |
# We... | 1:17:31 | 1:17:33 | |
# We both know that we can make it... # | 1:17:33 | 1:17:36 | |
Whenever there was a black cause in the City of Memphis, | 1:17:36 | 1:17:39 | |
Stax rose to the occasion, Al Bell, Isaac Hayes they made sure of that. | 1:17:39 | 1:17:43 | |
You know, Stax was not militant, but it was all black. | 1:17:43 | 1:17:48 | |
You know, we knew the problems that our people were having. | 1:17:48 | 1:17:51 | |
You're talking about you're dissatisfied with the way the government is run. | 1:17:51 | 1:17:58 | |
You're complaining about unemployment, | 1:17:58 | 1:18:01 | |
equal employment, | 1:18:01 | 1:18:03 | |
housing, | 1:18:03 | 1:18:06 | |
only you can do something about it. | 1:18:06 | 1:18:08 | |
Bursting with new life, Stax supported many causes, the Black Knights in Memphis, | 1:18:10 | 1:18:16 | |
the Angela Davis Defence Fund, the Rainbow-PUSH Coalition, | 1:18:16 | 1:18:19 | |
its efforts helped drive the black economic renaissance. | 1:18:19 | 1:18:23 | |
It was a very timely moment in history with politics. | 1:18:26 | 1:18:29 | |
What was lagging behind was the business development. | 1:18:29 | 1:18:32 | |
We could never produce our own music. | 1:18:32 | 1:18:35 | |
We could produce it, but we couldn't distribute it. | 1:18:35 | 1:18:37 | |
We didn't own our own talent. | 1:18:39 | 1:18:41 | |
We were doing, at that time because of segregation, | 1:18:41 | 1:18:46 | |
what every other ethnic group had done in America. | 1:18:46 | 1:18:51 | |
We had our own hotels, our own banks, our own insurance companies, | 1:18:51 | 1:18:57 | |
we were building our own economic base. | 1:18:57 | 1:18:59 | |
Black Pride was more than a slogan, it was a way of doing business. | 1:19:02 | 1:19:07 | |
Stax embraced traditional black culture and brought it mainstream. | 1:19:07 | 1:19:12 | |
# See that host all dressed in red | 1:19:12 | 1:19:17 | |
# He's a-going to trouble the water | 1:19:17 | 1:19:20 | |
# Looks like the children that Moses led... # | 1:19:20 | 1:19:26 | |
I loved the Staple singers and I said, "As soon as I can get this company into a point | 1:19:26 | 1:19:30 | |
"where I can do it I'm going to get the Staple Singers, | 1:19:30 | 1:19:33 | |
"because I think they can be one of the biggest acts out here." | 1:19:33 | 1:19:37 | |
We felt really close to Al because we knew him before Stax, you see. | 1:19:37 | 1:19:43 | |
And my father was like a father to him. | 1:19:43 | 1:19:46 | |
So you hear in the Staple's message music, that made them among | 1:19:48 | 1:19:53 | |
popular culture, the church - they became the sound of the streets. | 1:19:53 | 1:19:59 | |
I like my gospel. | 1:19:59 | 1:20:00 | |
# Oh, yeah, yeah, yeah, oh... | 1:20:02 | 1:20:05 | |
# Are you sure your prayers haven't been answered? | 1:20:05 | 1:20:09 | |
# Now think, brother, think | 1:20:09 | 1:20:11 | |
# Are you sure your prayers haven't been answered? | 1:20:11 | 1:20:14 | |
# Now think, think | 1:20:14 | 1:20:16 | |
# And don't you dare say the Good Lord didn't stop to hear | 1:20:16 | 1:20:20 | |
# He hears and sees everything you do | 1:20:20 | 1:20:23 | |
# Stop now and take an inventory | 1:20:23 | 1:20:25 | |
# To come up with a different story | 1:20:25 | 1:20:28 | |
# Because he sees every move you make | 1:20:28 | 1:20:30 | |
# Every wink of your eye...# | 1:20:30 | 1:20:34 | |
They wanted to put us out of church. | 1:20:34 | 1:20:36 | |
"Staple Singers singing the Devil's music"! | 1:20:36 | 1:20:38 | |
And I was letting the people know, the Devil ain't got no music. | 1:20:38 | 1:20:42 | |
All music is God's music. | 1:20:42 | 1:20:44 | |
# Ohhh... | 1:20:44 | 1:20:52 | |
# Ahhh-ahhh... # | 1:20:52 | 1:20:55 | |
APPLAUSE | 1:20:55 | 1:20:56 | |
# Ohhh-ohhh... | 1:20:56 | 1:21:01 | |
# Oh, Lord... # | 1:21:01 | 1:21:04 | |
I think Al was just trying to stretch us on out further, because he wanted so much for us. | 1:21:04 | 1:21:11 | |
We want everybody to get this kind of message, take our songs, | 1:21:11 | 1:21:16 | |
and make your life better, make the world a better place. | 1:21:16 | 1:21:20 | |
# Ahhh-ahhh... | 1:21:20 | 1:21:24 | |
# Ohhh... | 1:21:24 | 1:21:27 | |
# You should save... | 1:21:27 | 1:21:34 | |
-SOME PEOPLE SHOUT OUT -# ..For you... # | 1:21:34 | 1:21:38 | |
Lives were changed when they heard Mavis Staples, when she would sing, you just... | 1:21:38 | 1:21:44 | |
you were another person after you witnessed her. | 1:21:44 | 1:21:47 | |
# ..For you... | 1:21:47 | 1:21:52 | |
# Yeah! | 1:21:52 | 1:21:54 | |
# Yeah! | 1:21:54 | 1:21:56 | |
# Yeah! | 1:21:56 | 1:21:58 | |
# Yeah! Everybody say "Right on!" # | 1:21:58 | 1:22:01 | |
-Right on! -Right on! -Right on! Right on! -Right on! | 1:22:01 | 1:22:07 | |
We went in for a session. | 1:22:07 | 1:22:10 | |
And Mack came in the studio, he said, "Pops, I've got one for you." | 1:22:10 | 1:22:14 | |
I showed 'em the song, and he said, "Yeah, yeah, yeah!" | 1:22:14 | 1:22:19 | |
Mack, he had this rhythm... | 1:22:19 | 1:22:22 | |
And he started... # If you disrespect everybody that you run into... # | 1:22:22 | 1:22:28 | |
# How in the world do you think anybody's supposed to respect you...? | 1:22:28 | 1:22:34 | |
# Dum-dum-dun-dun... | 1:22:34 | 1:22:37 | |
# If you don't give a heck about the man with the Bible in his hand... # | 1:22:37 | 1:22:41 | |
# Mmmm-mmm... | 1:22:41 | 1:22:47 | |
# Mmmm-mmm... # | 1:22:47 | 1:22:50 | |
# If you disrespect everybody that you run into | 1:22:50 | 1:22:56 | |
# How in the world do you think anybody's supposed to respect you? # | 1:22:59 | 1:23:05 | |
We had hit records. HE LAUGHS | 1:23:05 | 1:23:09 | |
It was like great apples falling off a tree. | 1:23:09 | 1:23:12 | |
# Respect yourself | 1:23:12 | 1:23:15 | |
# Da-da-da | 1:23:15 | 1:23:17 | |
# Respect yourself | 1:23:17 | 1:23:19 | |
# De-de-de-de... # | 1:23:19 | 1:23:21 | |
Al Bell, every time he would go out, he'd come back with something solid. | 1:23:21 | 1:23:25 | |
Stax Records replaced cotton as the biggest industry in Memphis, Tennessee. | 1:23:25 | 1:23:31 | |
The Stax corporate staff mushroomed, gathering executives from Motown, Chi-Town and beyond. | 1:23:31 | 1:23:37 | |
Their interests diversified into more soundtracks, and soon, movie production. | 1:23:37 | 1:23:41 | |
GUNFIRE | 1:23:41 | 1:23:43 | |
Shaft - hotter than Bond, cooler than Bullitt. | 1:23:50 | 1:23:54 | |
Somebody got the bright idea of producing a black film, | 1:23:54 | 1:23:59 | |
with a black director, a black leading actor, and a black composer. | 1:23:59 | 1:24:03 | |
They wanted me to do the music. | 1:24:03 | 1:24:07 | |
Isaac put the music together, and the rest is history. | 1:24:07 | 1:24:10 | |
He said, "Dig the tempo of his walking, | 1:24:11 | 1:24:15 | |
"I want to you to play 16ths on the hi-hat to that tempo." | 1:24:15 | 1:24:18 | |
So they rolled the machine over to me, I gotta peep over and play the hi-hat... | 1:24:18 | 1:24:24 | |
In 1972, Isaac Hayes stood on a mountain top, | 1:24:25 | 1:24:28 | |
winning an Academy Award for his Theme From Shaft. | 1:24:28 | 1:24:33 | |
His date that night was his grandmother. | 1:24:33 | 1:24:37 | |
I called her Momma cos that's the only Mother I know, and last night was the highlight of my career. | 1:24:37 | 1:24:43 | |
So, I felt like she should be there. | 1:24:43 | 1:24:45 | |
This award, which I accepted last night... | 1:24:47 | 1:24:50 | |
The first time in the history of the Academy | 1:24:51 | 1:24:56 | |
a black musician has been honoured, | 1:24:56 | 1:25:01 | |
receiving an Oscar. | 1:25:01 | 1:25:04 | |
Isaac's position, to me, was more of a social position | 1:25:07 | 1:25:12 | |
than a musical position at Stax. | 1:25:12 | 1:25:16 | |
Isaac became something of a symbol | 1:25:16 | 1:25:19 | |
that was missing in African American society. | 1:25:19 | 1:25:23 | |
Dino was hanging out with me at time. | 1:25:26 | 1:25:28 | |
He said, "Man! Listen to the people! | 1:25:28 | 1:25:32 | |
"They love you, man! You just like a Moses. | 1:25:32 | 1:25:37 | |
"You just like... yeah, black Moses!" | 1:25:37 | 1:25:41 | |
I said, "Whoa, don't do that, man, that's sacrilegious! | 1:25:41 | 1:25:45 | |
"I ain't no Moses, man." | 1:25:45 | 1:25:46 | |
"Yes, you are, man, you black Moses!" | 1:25:46 | 1:25:48 | |
I've got Isaac's albums here, the latest, Black Moses. | 1:25:48 | 1:25:53 | |
It's got a spectacular ... | 1:25:53 | 1:25:56 | |
Look at that! | 1:25:56 | 1:25:59 | |
APPLAUSE | 1:26:02 | 1:26:04 | |
MUSIC: "Theme From Shaft" by Isaac Hayes | 1:26:04 | 1:26:06 | |
I think he really saw that it was a necessary thing | 1:26:16 | 1:26:20 | |
for people to have an icon like that. | 1:26:20 | 1:26:23 | |
Yeah, right on. | 1:26:41 | 1:26:43 | |
The African American community in Watts had been scarred by riots in the mid-1960s, leaving 34 dead. | 1:26:43 | 1:26:49 | |
In August 1972, Stax organised a benefit festival of peace and music in Los Angeles. | 1:26:49 | 1:26:57 | |
It drew more than 100,000 people, a fifth of the city's black population. | 1:26:57 | 1:27:03 | |
Soul music sort of rose to it's zenith in terms of what it could do politically, | 1:27:06 | 1:27:12 | |
economically and culturally, all at once. | 1:27:12 | 1:27:15 | |
And that was at WattStax. | 1:27:15 | 1:27:17 | |
# I'm the son of a bad... # | 1:27:22 | 1:27:25 | |
I'd gone to Watts when it was just smokin' from riots | 1:27:41 | 1:27:45 | |
and urban frustration, neglect. | 1:27:45 | 1:27:47 | |
We were in that kind of setting, with that kind of audacity and that kind of ambition. | 1:27:47 | 1:27:53 | |
# Son of Shaft | 1:28:01 | 1:28:03 | |
# Don't forget my daddy... # | 1:28:05 | 1:28:07 | |
Went to the stadium, they kind of laughed at us. | 1:28:07 | 1:28:11 | |
Some little record company from out of Memphis, Tennessee. | 1:28:11 | 1:28:15 | |
"Who do you say these artists are? | 1:28:15 | 1:28:17 | |
"What's the names?" | 1:28:17 | 1:28:19 | |
# Respect yourself, yeah | 1:28:21 | 1:28:24 | |
# You oughta respect yourself. # | 1:28:24 | 1:28:27 | |
# If you're walking round thinking that the world owe you something | 1:28:37 | 1:28:42 | |
# Cos you're here | 1:28:42 | 1:28:44 | |
# You're goin' out the world backwards | 1:28:44 | 1:28:47 | |
# Like you did when you first come here | 1:28:47 | 1:28:52 | |
# Yeah | 1:28:52 | 1:28:54 | |
# Keep talking 'bout the present but won't stop air pollution | 1:28:54 | 1:29:00 | |
# No... Put your hand on your mouth when you cough | 1:29:00 | 1:29:05 | |
# That'll help the solution | 1:29:05 | 1:29:08 | |
# Yeah | 1:29:08 | 1:29:11 | |
# Oh, you cuss around women and you don't even know their names | 1:29:11 | 1:29:17 | |
# And you dumb enough to think that'll make you a big old man | 1:29:20 | 1:29:25 | |
# Respect yourself... # | 1:29:28 | 1:29:29 | |
There had been riots where they'd burned down just about everything. | 1:29:29 | 1:29:34 | |
You know? And WattStax brought all these 100,000 people together. | 1:29:34 | 1:29:40 | |
That was largest crowd any of us had ever seen. | 1:29:40 | 1:29:44 | |
-Hey! -ALL: Hey! -Can I ask you something? | 1:29:49 | 1:29:54 | |
-ALL: -What? | 1:29:54 | 1:29:55 | |
-I said, can I ask you something? ALL: -Yeah! | 1:29:55 | 1:29:58 | |
Ain't I clean? | 1:29:58 | 1:30:01 | |
APPLAUSE AND CHEERING | 1:30:01 | 1:30:04 | |
# Come on in, now | 1:30:10 | 1:30:12 | |
# Come right on down front | 1:30:12 | 1:30:14 | |
# I got something I want to show you. # | 1:30:14 | 1:30:16 | |
This was trying to give something back to the neighbourhood. | 1:30:16 | 1:30:21 | |
Only costed a dollar. | 1:30:21 | 1:30:24 | |
# ..I'm gonna tell you | 1:30:27 | 1:30:29 | |
# What you gotta do | 1:30:29 | 1:30:30 | |
# Flap your wings | 1:30:30 | 1:30:32 | |
# Feet start kickin' | 1:30:32 | 1:30:34 | |
# Now you know | 1:30:34 | 1:30:36 | |
# You doin' the funky chicken... # | 1:30:36 | 1:30:38 | |
We're still now on this curve of trying to carry forth the resurrection | 1:30:46 | 1:30:51 | |
and the Ascension. | 1:30:51 | 1:30:52 | |
And that caused others to realise that they could do the same thing | 1:30:52 | 1:30:56 | |
in their various ghetto communities across America. | 1:30:56 | 1:30:59 | |
That is why I challenge you now to stand together, | 1:30:59 | 1:31:04 | |
raise your fist together, | 1:31:04 | 1:31:08 | |
and engage in an our national black litany. | 1:31:08 | 1:31:14 | |
Do it with courage and determination. I am... | 1:31:14 | 1:31:21 | |
-ALL: I am... -Somebody. -ALL: Somebody. | 1:31:21 | 1:31:25 | |
-I am... -ALL: I am... Somebody. | 1:31:25 | 1:31:27 | |
ALL: Somebody. | 1:31:27 | 1:31:29 | |
-I may be poor... -ALL: I may be poor... | 1:31:29 | 1:31:31 | |
-I am... -ALL: I am... -Somebody. | 1:31:31 | 1:31:34 | |
ALL: Somebody. | 1:31:34 | 1:31:35 | |
-I may be on welfare... -ALL: I may be on welfare... | 1:31:35 | 1:31:38 | |
-But I am... -ALL: I am. | 1:31:38 | 1:31:39 | |
-Somebody. -ALL: Somebody. | 1:31:39 | 1:31:42 | |
-I may be unskilled... -ALL: I may be unskilled... | 1:31:42 | 1:31:44 | |
-But I am... -ALL: I am -... Somebody. | 1:31:44 | 1:31:47 | |
There were many messages, even mixed messages, | 1:31:47 | 1:31:51 | |
running through that very moment where Al and I had our fists extended. | 1:31:51 | 1:31:56 | |
We had survived the rubbish. | 1:31:56 | 1:31:59 | |
Like a sphinx rising from the ashes we had come back to life again | 1:31:59 | 1:32:02 | |
and there we were at this awesome moment in history. | 1:32:02 | 1:32:05 | |
The brother all of us have been waiting for. | 1:32:07 | 1:32:10 | |
Isaac Hayes! | 1:32:10 | 1:32:15 | |
APPLAUSE AND CHEERING | 1:32:25 | 1:32:27 | |
I had preached that our music was a reflection of what goes on in our lives and our lifestyles. | 1:32:30 | 1:32:37 | |
And Larry Shaw said "What we need to do is film this and make it real." | 1:32:38 | 1:32:44 | |
There was something new in Hollywood movie premieres | 1:32:50 | 1:32:53 | |
as over 2,000 soulful people came together for the opening of WattStax. | 1:32:53 | 1:32:57 | |
Among those attending were Stax recording star, Carla Thomas Sonny and Cher, | 1:32:57 | 1:33:02 | |
recording star Johnny Taylor, superstar Isaac Hayes. | 1:33:02 | 1:33:06 | |
WattStax was during the grand year of 1972, | 1:33:06 | 1:33:10 | |
then they started going downhill pretty fast | 1:33:10 | 1:33:13 | |
because they were spending a great deal more than they were making. | 1:33:13 | 1:33:18 | |
And I have always been of the opinion that it was riotous living | 1:33:18 | 1:33:23 | |
more than anything else, because they just haemorrhaged money. | 1:33:23 | 1:33:29 | |
We were growing so rapidly that we had taken out the loan, | 1:33:36 | 1:33:40 | |
they gave it to us, | 1:33:40 | 1:33:41 | |
and I think it was over a couple of years or something like that, | 1:33:41 | 1:33:45 | |
and in nine months we paid that loan off, and it freaked them out. | 1:33:45 | 1:33:49 | |
I mean it freaked them out, nine months and you've paid it off, | 1:33:49 | 1:33:52 | |
from that point forward every time we turned around | 1:33:52 | 1:33:55 | |
we were getting calls from Union Planters National Bank wanting to know if we needed any money. | 1:33:55 | 1:34:00 | |
"Hey, it's Duck, I need a loan." | 1:34:01 | 1:34:04 | |
"Sign a piece of paper." | 1:34:04 | 1:34:06 | |
"I want to buy a car, but I work for Stax." "OK, it's done." | 1:34:08 | 1:34:15 | |
The bloated era came when it seemed like we wanted to be a Motown. | 1:34:15 | 1:34:21 | |
That was bloat in the sense of expensive ideas, | 1:34:21 | 1:34:25 | |
that didn't seem straight. | 1:34:25 | 1:34:28 | |
Our eye was not on the ball any more. | 1:34:28 | 1:34:30 | |
We were looking up in the stands. | 1:34:30 | 1:34:32 | |
They wanted to buy the Tams basketball team. | 1:34:32 | 1:34:36 | |
When we've finalised all elements the team will be fully owned | 1:34:36 | 1:34:41 | |
and operated in the city of Memphis by the Stax organisation. | 1:34:41 | 1:34:44 | |
All day long, people wandered up and down the halls, | 1:34:44 | 1:34:47 | |
you wondered, who are those people? | 1:34:47 | 1:34:49 | |
I'm the director of the statistical department, | 1:34:49 | 1:34:54 | |
the statistical department is a new department, | 1:34:54 | 1:34:57 | |
which has been established by Stax recording company. | 1:34:57 | 1:35:00 | |
So statistical department went to work and said, | 1:35:00 | 1:35:04 | |
"Let's take this record, Don't Take Your Momma, and analyse it." | 1:35:04 | 1:35:08 | |
Notice the difference, I want you to notice the strings and the bass is the predominant factor. | 1:35:08 | 1:35:14 | |
MUSIC PLAYS | 1:35:14 | 1:35:16 | |
That's getting back to the soul, that's where it's at. | 1:35:28 | 1:35:32 | |
This is Rufus Thomas with a brand new dance. | 1:35:32 | 1:35:35 | |
I started dealing with comedy | 1:35:49 | 1:35:52 | |
and I thought we could be tremendously successful in comedy. | 1:35:52 | 1:35:55 | |
Remember the essence of life, we're the people of the universe, | 1:35:55 | 1:36:00 | |
life is beautiful, my parents go, "That nigger is crazy." | 1:36:00 | 1:36:03 | |
Also, into the movie production we went. | 1:36:03 | 1:36:07 | |
Despite continued success, Stax couldn't get its records into suburban department stores. | 1:36:11 | 1:36:18 | |
So, in 1972, not long after Motown sold out to MCA, | 1:36:18 | 1:36:22 | |
Al Bell struck a unique deal with Clive Davis at CBS Records, | 1:36:22 | 1:36:27 | |
Stax remained independent but gained major-label distribution. | 1:36:27 | 1:36:32 | |
CBS dominated every category of music in the entire industry | 1:36:32 | 1:36:38 | |
other than black music. | 1:36:38 | 1:36:40 | |
Because of the power of Columbia Records and its branches | 1:36:40 | 1:36:44 | |
and everything, that would put us in a position where we could reach the white market. | 1:36:44 | 1:36:49 | |
And in the discussions with Clive, | 1:36:49 | 1:36:52 | |
Clive was explaining to me how he wanted to penetrate deeper | 1:36:52 | 1:36:56 | |
into the black market and the black community. | 1:36:56 | 1:36:59 | |
The white majors don't know how to produce their product, | 1:36:59 | 1:37:03 | |
so what they do is they go and get a black promotion man | 1:37:03 | 1:37:05 | |
and say this will solve their problem, black promotion man, we'll sell to the black market. | 1:37:05 | 1:37:10 | |
Not true, they don't have a black product, you have to get that first. | 1:37:10 | 1:37:13 | |
Al Bell was God. | 1:37:13 | 1:37:15 | |
In the rhythm and blues music, you can ask anybody that. | 1:37:15 | 1:37:20 | |
He dictated what went on in rhythm and blues in those years. | 1:37:20 | 1:37:24 | |
Clive and Al Bell, they both had a dream and I think they bought into each other's dream. | 1:37:24 | 1:37:31 | |
In their minds, they knew exactly how they could make it work. | 1:37:31 | 1:37:34 | |
Clive Davis became the most powerful man in the music business. | 1:37:34 | 1:37:39 | |
His salary and benefits - 350,000 a year. | 1:37:39 | 1:37:43 | |
So, it was a bombshell when in May of last year CBS fired Davis. | 1:37:43 | 1:37:48 | |
The charges against Clive Davis | 1:37:48 | 1:37:51 | |
stem out of an investigation conducted by a United States grand juries | 1:37:51 | 1:37:56 | |
here in Newark and in New York. | 1:37:56 | 1:37:58 | |
But unfortunately, when Clive Davis was taken out of the picture | 1:37:58 | 1:38:04 | |
no-one else had that vision of that dream at CBS, | 1:38:04 | 1:38:07 | |
so consequently, Al Bell was out there drifting. | 1:38:07 | 1:38:11 | |
CBS warehoused Stax's product and withheld payments. | 1:38:29 | 1:38:34 | |
At the same time, | 1:38:34 | 1:38:35 | |
Stax long time bank, Union Planters, buckled under a national real estate crash. | 1:38:35 | 1:38:41 | |
To keep solvent they hired a new president, Bill Matthews. | 1:38:41 | 1:38:45 | |
One of the first things he did was to start looking around for problems | 1:38:51 | 1:38:56 | |
and he started turning them up at a pretty sharp rate. | 1:38:56 | 1:39:00 | |
The bank had something like 10 million extended to Stax records. | 1:39:00 | 1:39:05 | |
All of a sudden, this guy who they had just brought in, | 1:39:05 | 1:39:10 | |
he said, "Al, I don't want you to think I'm a redneck from Georgia." | 1:39:10 | 1:39:16 | |
I looked at him and I said, | 1:39:16 | 1:39:18 | |
"And I don't want you to think I'm a nigger from Arkansas, so what are you talking about?" | 1:39:18 | 1:39:25 | |
Union Planters stopped lending money to Stax, accusing them of bank fraud. | 1:39:30 | 1:39:34 | |
And with no money coming from CBS, the squeeze was on. | 1:39:34 | 1:39:39 | |
You had a bank who wanted to destroy the record company, | 1:39:39 | 1:39:43 | |
you had people that just hated that all these blacks were having all this success | 1:39:43 | 1:39:48 | |
in Memphis, Tennessee, with all these pretty houses and pretty cars. | 1:39:48 | 1:39:52 | |
Isaac Hayes is driving around in a custom-made Cadillac | 1:39:52 | 1:39:56 | |
that cost more at the time than many white folks' houses did. | 1:39:56 | 1:39:59 | |
Carla Thomas or another artist | 1:39:59 | 1:40:02 | |
going to Julius Lewis and purchasing a fur coat - cash! | 1:40:02 | 1:40:05 | |
I'm unimpressed with the racist aspect of this whole thing. | 1:40:05 | 1:40:11 | |
I would say there was at least as much racism | 1:40:11 | 1:40:15 | |
manifested on the part of the Stax people, | 1:40:15 | 1:40:19 | |
who were always trying to use it as a crutch. | 1:40:19 | 1:40:23 | |
Well, at that point in time, | 1:40:23 | 1:40:24 | |
we had no sales and no promotion, so I went to my dear friend John Baylor. | 1:40:24 | 1:40:29 | |
I said to him, "What I need you to do is take your team and go out and promote the Stax product." | 1:40:29 | 1:40:35 | |
Our stack of cards seemed to come tumbling down | 1:40:35 | 1:40:38 | |
when Johnny Baylor was getting an airplane in Memphis to Birmingham. | 1:40:38 | 1:40:42 | |
They asked him to open one of his suitcases for some reason or other, | 1:40:47 | 1:40:51 | |
I don't know what it was but he did, | 1:40:51 | 1:40:54 | |
and there was nothing but cash in there. | 1:40:54 | 1:40:57 | |
That's when IRS and FBI and everyone else came saying, "How does this work? What we do here?" | 1:41:04 | 1:41:12 | |
I had people threatening my life. | 1:41:16 | 1:41:18 | |
I'd wake up with toilet tissue in the trees in my yard, | 1:41:18 | 1:41:22 | |
all kinds of threats on the phone, | 1:41:22 | 1:41:25 | |
being told by a gentleman that was sent to me by Matthews. | 1:41:25 | 1:41:28 | |
He's say, "Listen, tell Al, why don't he go down to the Mississippi River bridge | 1:41:28 | 1:41:32 | |
"and jump off the bridge and make it easier for everybody?" | 1:41:32 | 1:41:36 | |
They started taking the actions that would put us out of business. | 1:41:54 | 1:42:01 | |
They easily concluded, I suppose, | 1:42:01 | 1:42:03 | |
at this point that the future for Stax would look dim, but that is not the case. | 1:42:03 | 1:42:09 | |
We know the facts, we have not given up, | 1:42:09 | 1:42:11 | |
and we will pursue legally whatever is necessary in order | 1:42:11 | 1:42:15 | |
to restore Stax and bring it, from a corporate point of view, | 1:42:15 | 1:42:18 | |
back into the position of its rightful owners. | 1:42:18 | 1:42:20 | |
We used to call Al Bell the Hype Meister, | 1:42:20 | 1:42:24 | |
because no matter how dark the situation, | 1:42:24 | 1:42:29 | |
Al Bell has the upside to the story. | 1:42:29 | 1:42:33 | |
He could put you in the palm of his hand, and he did it to me, he did it to everyone. | 1:42:36 | 1:42:41 | |
"Lord's gonna bless ya." | 1:42:41 | 1:42:43 | |
To me, I couldn't, I couldn't, I tried to think about it, | 1:42:56 | 1:43:01 | |
but I could not fathom the company going under. | 1:43:01 | 1:43:04 | |
It to me was like the Bank of England or the Rock of Gibraltar. | 1:43:04 | 1:43:07 | |
"Well, they're going to talk over some new deals for the company." | 1:43:07 | 1:43:11 | |
In the days when it was all closing in, | 1:43:13 | 1:43:16 | |
and the guy that kept our books and stuff, | 1:43:16 | 1:43:20 | |
he went over to get our cheques, | 1:43:20 | 1:43:24 | |
and he came back any he said, "There are no cheques." | 1:43:24 | 1:43:28 | |
And I'm on the steps of that church with Jim Stewart | 1:43:28 | 1:43:31 | |
and I'm shaking my head and I said, "Wow! | 1:43:31 | 1:43:34 | |
"I had all this planned and stuff." | 1:43:34 | 1:43:36 | |
And Jim reached in his pocket and pulled out 200 American dollars and gave it to me. | 1:43:36 | 1:43:42 | |
And him ending up with nothing. | 1:43:42 | 1:43:45 | |
All this - it was a snowball effect. | 1:43:48 | 1:43:50 | |
I put what money I'd gotten for the sale back into the company, | 1:43:50 | 1:43:56 | |
plus I pledged my personal assets, | 1:43:56 | 1:44:01 | |
but it was not enough. | 1:44:01 | 1:44:04 | |
Too little, too late. | 1:44:04 | 1:44:05 | |
I saw Jim be really hurt over this, | 1:44:07 | 1:44:12 | |
because it hurt his children. | 1:44:12 | 1:44:14 | |
When you give away your children's fortune, you hurt for them. | 1:44:14 | 1:44:21 | |
And we started watching the demise of everybody slowly. | 1:44:21 | 1:44:26 | |
They'd come in the lot and start pulling cars and foreclosing homes, | 1:44:26 | 1:44:31 | |
and stuff like that, and we knew it was on. | 1:44:31 | 1:44:35 | |
AUCTIONEER SPEAKS QUICKLY | 1:44:35 | 1:44:37 | |
I really didn't realise what was happening until it was too late. | 1:44:41 | 1:44:44 | |
I had a change of fortune. | 1:44:44 | 1:44:47 | |
An elaborate white gold diamond bracelet watch with initials "IH" in emerald. | 1:44:47 | 1:44:52 | |
Sometimes growth and ambition can wreck a company. | 1:44:52 | 1:44:58 | |
You push one domino and they all fall. | 1:45:00 | 1:45:05 | |
A lot of people lost their homes, they lost their families, | 1:45:06 | 1:45:12 | |
one person committed suicide. | 1:45:12 | 1:45:16 | |
The offices of Stax here are closed. | 1:45:16 | 1:45:18 | |
A lot of other problems have also plagued the firm. | 1:45:18 | 1:45:21 | |
The latest came yesterday. | 1:45:21 | 1:45:24 | |
A judge declared the firm officially bankrupt. | 1:45:24 | 1:45:26 | |
They caused a 16-count indictment to be brought against me | 1:45:26 | 1:45:31 | |
and an officer of the bank alleging that we had conspired to defraud, | 1:45:31 | 1:45:38 | |
I think it was 16 million, 18 million. | 1:45:38 | 1:45:41 | |
Harwell was convicted and later on admitted | 1:45:41 | 1:45:47 | |
that he'd made these dishonest loans to Al Bell, | 1:45:47 | 1:45:52 | |
to the tune of 10 million or so. | 1:45:52 | 1:45:56 | |
Al, in fortune indictments, freed on all charges. | 1:45:56 | 1:46:01 | |
But then, you've got the blood stains in your clothes. | 1:46:01 | 1:46:07 | |
A lot of people were depending on Stax for a living, you know? | 1:46:07 | 1:46:11 | |
All the workers that we lost. | 1:46:13 | 1:46:16 | |
It was just a sad thing, like we was at a funeral or something. | 1:46:16 | 1:46:22 | |
After the close of Stax | 1:46:50 | 1:46:53 | |
and after some time had passed, | 1:46:53 | 1:46:56 | |
several years, I would drive back to Memphis, Tennessee, | 1:46:56 | 1:47:03 | |
and park across the street from 926 East McLemore, | 1:47:03 | 1:47:09 | |
and look at that a vacant lot and see the weeds there, | 1:47:09 | 1:47:16 | |
building gone, and I would cry, I would cry. | 1:47:16 | 1:47:21 | |
And the tears would run profusely. | 1:47:21 | 1:47:24 | |
All that we had worked for and lived for - | 1:47:24 | 1:47:28 | |
there was not even a symbol of that in place. | 1:47:28 | 1:47:32 | |
It's like someone had tried to wipe all of that off the face of the Earth. | 1:47:32 | 1:47:38 | |
But all great music has soul. | 1:47:53 | 1:47:55 | |
It's just that Stax had more of it than so many others. | 1:47:55 | 1:48:00 | |
I hadn't grown up on this music. | 1:48:00 | 1:48:04 | |
I saw the Staples some years ago when I first arrived in America | 1:48:04 | 1:48:08 | |
and I just found myself reduced to tears at this incredible music. | 1:48:08 | 1:48:13 | |
I think it's called magic | 1:48:16 | 1:48:17 | |
when you go out there and you find artists | 1:48:17 | 1:48:20 | |
God-sent artists that become those artists that's timeless. | 1:48:20 | 1:48:24 | |
As a young person going to the record stores and seeing all the records across the top | 1:48:26 | 1:48:30 | |
and it all just says "Stax", you just... you want to be a part of that train. | 1:48:30 | 1:48:34 | |
That's the thing that Stax did over and over, | 1:48:39 | 1:48:41 | |
they were great songs, but they have a motor to them. | 1:48:41 | 1:48:44 | |
I think that's what makes the music that was made at Stax really enduring. | 1:48:44 | 1:48:48 | |
It's very truthful and it's very direct. | 1:48:48 | 1:48:52 | |
And it just really grooved. | 1:48:52 | 1:48:53 | |
As best we could, we couldn't play it as good as the players that played on these records. | 1:48:53 | 1:48:58 | |
But we did our, our version of that. You know? | 1:48:58 | 1:49:01 | |
We used that same technique. And that was our guiding light. | 1:49:01 | 1:49:04 | |
The sound at Stax is almost like a good plate of food. | 1:49:08 | 1:49:12 | |
This sticks to your ribs, it sticks to your soul. | 1:49:12 | 1:49:14 | |
Soulsville, USA. Says it all. | 1:49:14 | 1:49:17 | |
I might have made my tracks and my grounds in the rap world, | 1:49:17 | 1:49:21 | |
that the fabric and the basic necessity of the rap world has groove and rhythm. | 1:49:21 | 1:49:27 | |
And Stax just did it off the head. | 1:49:27 | 1:49:30 | |
It never dies. Soul music continuously haunts us | 1:49:36 | 1:49:40 | |
through every genre of music that we do. | 1:49:40 | 1:49:43 | |
So, we are here once again, | 1:49:43 | 1:49:46 | |
the question and the answer is - it never really left us. | 1:49:46 | 1:49:50 | |
The wealth of experience is just priceless. | 1:49:50 | 1:49:54 | |
This, it's priceless. And it's mine. | 1:49:54 | 1:49:58 | |
Stax lost everything in bankruptcy. | 1:49:58 | 1:50:02 | |
A quarter-century later, | 1:50:02 | 1:50:04 | |
those same songs were sold for tens of millions of dollars, | 1:50:04 | 1:50:07 | |
while Fantasy Records made Stax the single most reissued independent label in the world. | 1:50:07 | 1:50:13 | |
In 2006, Concord records bought and relaunched the label | 1:50:13 | 1:50:18 | |
signing new talent and old Stax stars. | 1:50:18 | 1:50:21 | |
But its soul, the music, | 1:50:21 | 1:50:24 | |
lives as a permanent part of our culture. | 1:50:24 | 1:50:26 | |
At what point did it become the Stax thing? I don't know that. | 1:50:26 | 1:50:32 | |
I thought it always was. | 1:50:32 | 1:50:34 | |
1, 2... | 1:50:34 | 1:50:36 | |
MUSIC PLAYS | 1:50:36 | 1:50:38 | |
Stax was one person teaching another. It was one writer teaching another. | 1:50:53 | 1:50:57 | |
There were open doors there all the time. | 1:50:57 | 1:50:59 | |
Where, no matter who you were, | 1:50:59 | 1:51:02 | |
you could walk through those doors and realise an opportunity. | 1:51:02 | 1:51:06 | |
And that is now glorified in the Stax Music Academy. | 1:51:06 | 1:51:10 | |
I have not stopped feeling good because I realised a part of it is still alive. | 1:51:10 | 1:51:16 | |
In the end, the studio was rebuilt according to original blueprints. | 1:51:16 | 1:51:20 | |
Next door, the Stax Academy gives neighbourhood kids the same chance the label did in its day. | 1:51:20 | 1:51:27 | |
If we did not have the museum. If that building had not been rebuilt the way it was, | 1:51:27 | 1:51:32 | |
if we didn't have a Studio A now, | 1:51:32 | 1:51:35 | |
not only would the building have been gone, | 1:51:35 | 1:51:37 | |
but a part of us would have died. | 1:51:37 | 1:51:40 | |
But that was our resurrection. And still is. | 1:51:40 | 1:51:44 | |
So, we now have the Stax Museum of American Soul Music. | 1:51:46 | 1:51:50 | |
And the Stax Music Academy, | 1:51:50 | 1:51:53 | |
passing the Stax legacy on, to a new generation. | 1:51:53 | 1:51:57 | |
And don't you cut that line out of the script! | 1:51:59 | 1:52:01 | |
# I don't want to lose this good thing | 1:52:09 | 1:52:14 | |
# That I've got | 1:52:16 | 1:52:18 | |
# Because if I do, | 1:52:18 | 1:52:21 | |
# I will surely, surely lose a lot | 1:52:21 | 1:52:26 | |
# Because our love is better | 1:52:28 | 1:52:32 | |
# Than any love I know | 1:52:34 | 1:52:37 | |
# Just like thunder | 1:52:37 | 1:52:39 | |
# Lightning | 1:52:40 | 1:52:41 | |
# The way you love me is frightening | 1:52:43 | 1:52:46 | |
# I'd better knock ... | 1:52:46 | 1:52:47 | |
# On wood | 1:52:48 | 1:52:50 | |
# Baby | 1:52:50 | 1:52:53 | |
# I'm not superstitious about you | 1:52:57 | 1:53:01 | |
# But I can take no chance | 1:53:03 | 1:53:06 | |
# You've got me spinning, baby | 1:53:09 | 1:53:12 | |
# Baby, I'm in a trance | 1:53:13 | 1:53:15 | |
# Because your love is better | 1:53:15 | 1:53:20 | |
# Than any love I know | 1:53:20 | 1:53:24 | |
# It's like thunder, lightning... # | 1:53:24 | 1:53:27 |