Tag: Stax

My friend Jon wrote: If you need ideas for topics to write about, how about a piece on the difference between the Motown sound and the Stax sound?

I wrote back, glibly,  “The short answer is migration, but I’ll think about that.”

Rob Bowman wrote in Soulville, U.S.A.: The Story of Stax Records, about the differences circa 1963: “At Motown in Detroit, Berry Gordy was more than happy to put each one of his artists through an in-house charm school with the goal being that each artist could fit into middle-class white America’s image of respectable deportment, style, and grace.

“Jim Stewart of STAX was not as ruthlessly ambitious as Gordy, nor did he have the vision to build the type of vertically integrated empire that Motown became.” I also think geography does have something to do with it. Stax leaned into its Mississippi Delta roots.

1964

Bowman re: 1964: “While STAX was struggling, Motown was on its ascendancy.” In retrospect, 1964 was remarkable not just for the Beatles’ invasion of America but for the string of hits by the Supremes and many others on the Detroit label. Indeed, in ’64, the Supremes put out an album, A Bit of Liverpool, which I used to own, which features five Lennon-McCartney songs among the 11 tracks.

“The sign outside Motown probably proudly proclaimed the company ‘Hitsville USA.'” I made my pilgrimage to the site in 1998.

“The marquee outside the STAX Studio, on the other hand, was adorned with the words Soulsville USA.” (STAX artists also eventually covered the Beatles, but generally sound like STAX.) The Beatles even considered recording an album at STAX in 1966, but it proved logistically impossible. 

North and South

“These slogans perfectly sum up the diametrically opposed aesthetic and operating philosophy of the two companies. Gordy was a product of the urban industrial North… and autocratic to the bone. He ran his operation very much from a master plan.

“Stewart, on the other hand, was the product of the rural fraternal South. Although he wanted to make money, he could easily be content with what seemed to be a modicum of success, not caring a wit about making further profits…

“In what had to be the greatest irony of the STAX story, Stewart was always loudly championing keeping the company sound as ‘black’ as possible while various black writers and later co-owner Al Bell were interested in crossover success, Stewart seemingly was not the least bit and interesting interested if crossing over meant compromising what he was gradually coming to understand as the Stax sound.”

Sidebar: I must note yet again the importance of Estelle Axton, Jim Stewart’s sister, and the AX in STAX, as a force in developing the sound. The fact that she’s not in the Rock and Roll Hall of Fame – Jim Stewart was inducted in 2002, and Berry Gordy in 1998 – continues to be a travesty.

1966

Bowman, 1966: “Isaac Hayes and David Porter crafted what proved to be the breakthrough record for Sam [Moore] and Dave [Prater] with You Don’t Know Like I Know. Sam and Dave charted, hitting a giddy number seven on the R and B charts while scraping the lower reaches of the pop listening to #90

“Oddly enough, Sam Moore hated the song! ‘Fifty per cent of the songs that were presented to me at STAX I didn’t like,’ exclaimed Sam. ‘I remember saying to myself…it’s hard singing. I wanted to do stuff like Sam [Cooke] and Willie [John] and Jackie [Wilson].

“Hayes and Porter wrote and initially rehearsed the song with Sam and Dave. The melodies would be set in a comfortable lower key, but when it came to recording, they would raise the key.

Porter: “I felt if you were right above where you could be comfortably, then the anxiety and the frustrations and the soul I thought needed to be captured out of those songs would come through.

“I always noticed with the Motown records the singers are so comfortable the melodies are so comfortable one is to have a little different kind of edge and I thought that that gave us that struggling for you to get there would only enhance you to get the soul even though they would be pissed at me pushing them like that they would attempt to do it and they would work I didn’t think you would really doing the record with any kind of soul unless there was some sweat.”

Breaking out

Music critic Joel Francis was asked about the validity of this opinion: “I tend to oversimplify in the following way: Motown is sweet and smooth; Marvin Gaye is Motown’s archetypal vocalist. Stax is raw and gritty; Otis Redding is its archetypal vocalist.” Of course, these things are more complicated. 

Eventually, Motown got “less comfortable.” War, initially recorded by the Temptations, but Gordy thought the song would ruin the group’s cultivated image. So he allowed Edwin Starr, lower on the roster, to record it. It went to #1. Likewise, Marvin Gaye’s music, beginning with the album What’s Going On, made Berry uncomfortable, but it was released and was a hit. Stevie Wonder’s series of albums in the 1970s falls within the same category.

So, I guess, especially in later years, the Motown “formula” was modified when the music required.