Stax Records

Stax Records
Company type	Private
Industry	Music industry
Predecessor	Satellite Records
Founded	January 1, 1957; 69 years ago in Memphis, Tennessee, United States
Founder	Jim Stewart, Estelle Axton
Defunct	1975
Fate	Bankruptcy and shutdown in late 1975; catalog acquired by Fantasy Records in 1977; revived under Concord Records in 2004
Successor	Fantasy Records (catalog), revived by Concord Records
Headquarters	Memphis, United States
Area served	United States; international (through distributors)
Key people	Jim Stewart, Estelle Axton, Al Bell, Steve Cropper, Booker T. Jones, Isaac Hayes, David Porter
Products	Southern soul, Memphis soul, gospel, funk, blues recordings
Owner	Concord Music Group (current owner of catalog)
Parent	Concord Music Group (since 2004)

Stax Records is a prominent American music label that originated in 1957 in Memphis, Tennessee under the name Satellite Records, before adopting the Stax Records identity in 1961. The company was established by siblings and business collaborators Jim Stewart and Estelle Axton, with the label's name being a fusion of their last names (Stewart + Axton). It operated in conjunction with its affiliate label, Volt Records.

Stax played a crucial role in developing Southern soul and Memphis soul genres, while also producing works in gospel, funk, and blues. The label was notable for featuring racially mixed bands, such as its in-house group, Booker T. & the M.G.'s, and maintaining a diverse workforce during a time of racial unrest in the southern United States. Ethnomusicologist Rob Bowman attributes Stax’s unique sound to its consistent collaboration with studio musicians and songwriters, merging elements of black gospel, blues, country, and early R&B.

Following the tragic death of leading artist Otis Redding in 1967 and the termination of its distribution agreement with Atlantic Records in 1968, Stax expanded significantly under co-owner Al Bell. Bell aimed for rapid growth to compete with Motown Records. Nevertheless, a flawed distribution contract with CBS Records resulted in severe financial strain, ultimately causing bankruptcy and the label’s shutdown by late 1975.

In 1977, Fantasy Records took over Stax’s catalog from post-1968 releases along with selected earlier recordings. Under Fantasy’s management, Stax briefly signed new talent and released fresh material starting in 1978 but shifted focus back to reissues by the early 1980s. After Concord Records acquired Fantasy in 2004, Stax was revived to issue both archival recordings and new projects from contemporary R&B and soul artists. Meanwhile, Atlantic retains ownership of the majority of pre-1968 Stax recordings.

1957–1960: Satellite Records' formative period

Stax Records began as Satellite Records in Memphis in 1957, founded by Jim Stewart, initially operating out of a garage. The label's early output reflected Stewart's roots in country and pop music.

In 1958, Stewart’s sister Estelle Axton secured $2,500 by mortgaging her home, which facilitated the acquisition of an Ampex 350 mono tape recorder. By 1959, the company had set up a modest studio inside a converted garage near National Cemetery in Brunswick, Tennessee. Stewart later described these humble origins as "a small building and a lot of desire."

Stewart was introduced to rhythm and blues through producer Chips Moman. In 1959, Satellite released its inaugural R&B single, "Fool in Love" by the Veltones, which Mercury Records subsequently distributed nationwide. Despite this milestone, Satellite predominantly remained focused on country and pop for another year.

While promoting "Fool in Love," Stewart developed a relationship with Memphis DJ and R&B performer Rufus Thomas. Prompted by Moman’s advice, Stewart moved the company to Memphis into the former Capitol Theatre located at 926 East McLemore Avenue—a strategic relocation aimed at positioning closer to influential musicians and songwriters. During the summer of 1960, Rufus Thomas and his daughter Carla Thomas recorded "Cause I Love You," marking Satellite's first release from this new Memphis studio. Distributed nationally through Atlantic Records’ Atco subsidiary, it sold between 30,000 and 40,000 copies, becoming Satellite's most successful record up to that point.

1961: Transition to Stax and collaboration with Atlantic

After the success of "Cause I Love You," founder Jim Stewart secured a distribution agreement that gave Atlantic Records priority rights to release Satellite recordings. From 1961 onward, Stewart increasingly concentrated on rhythm and blues performers, directing Satellite Records' catalog predominantly toward R&B and southern soul genres.

Within this alliance, Satellite continued producing records for Carla Thomas. Her track "Gee Whiz," initially issued as Satellite 104, was swiftly re-released by Atlantic and charted in early 1961. Most of her subsequent releases appeared on Atlantic through mid-1965, with recordings primarily made at Satellite (later Stax) studios or in Nashville under Stax's supervision.

In June 1961, the company signed the local instrumental group the Royal Spades, who were renamed the Mar-Keys. Their single "Last Night" climbed to #3 on the US pop charts and #2 on the R&B charts. This marked the first nationally distributed single issued directly on the Satellite label; earlier nationwide releases had been distributed via Atlantic or Atco.

Due to a trademark conflict with another California-based Satellite Records, the label was renamed Stax Records in September 1961—a blend of founders Jim Stewart and Estelle Axton’s names—creating a unique corporate identity that reflected its expanding influence in the music industry.

1962–1964: The rise of Stax and Volt

By 1962, Stax had established itself as a major national force in R&B alongside Motown and Atlantic. The label’s business model capitalized on distinctive assets such as its record store, recording studio, A&R team, and house band—critical elements that fueled product innovation and expanded market share throughout the 1960s. These resources enabled Stax to maintain a competitive edge by effectively identifying and promoting hit records aligned with shifting consumer preferences.

Record store

While Jim Stewart oversaw studio operations, Estelle Axton managed the Satellite record shop located in the former cinema foyer, later extending into an adjoining barber shop space. This retail outlet stocked records from multiple labels, offering Stax personnel direct exposure to market trends that influenced their music production choices. The shop became a favored gathering place for local youth and served as a testing ground for potential Stax singles by playing acetates to assess audience reactions. It also provided early revenue streams and employed several artists who would later become part of Stax’s roster. Estelle Axton—affectionately known as "Miz Axton" or "Lady A."—was highly regarded within the company for her keen musical intuition and valuable mentorship to songwriters and performers. Booker T. Jones credited her as a crucial inspiration behind Stax’s achievements.

A&R

Chips Moman, the original A&R director, departed in 1961 following a royalty disagreement with Stewart and established his own studio. Steve Cropper, a member of the Mar-Keys, succeeded him as assistant and A&R director, rapidly becoming an influential songwriter, producer, and session guitarist on numerous Stax releases.

House band

During its formative years, Stax’s house band lineup varied but consistently featured Cropper; bassist Lewie Steinberg; drummers Howard Grimes or Curtis Green; and horn players Floyd Newman, Gene "Bowlegs" Miller, and Gilbert Caple.

By 1962, multi-instrumentalist Booker T. Jones became a regular pianist and organist alongside bassist Donald "Duck" Dunn. Drummer Al Jackson Jr. joined them to form Booker T. & the M.G.'s, which served as Stax’s primary house band for most recordings until 1970. Dunn replaced Steinberg on bass in 1964. When Jones was away attending Indiana University, Isaac Hayes frequently substituted on piano and eventually emerged as a key member along with his songwriting partner David Porter.

Additional prominent horn players included Andrew Love, Joe Arnold, and Wayne Jackson. Internally known as the "Big Six," Cropper, Dunn, Hayes, Jackson, Jones, and Porter were responsible for producing nearly all of Stax’s output between 1963 and 1969.

Stax’s recording sessions diverged from conventional industry practices: they were informal and collaborative without written arrangements ("head arrangements"), allowing musicians creative freedom. This approach attracted Atlantic executive Jerry Wexler’s interest in 1963 when engineer Tom Dowd visited Memphis to repair equipment. Dowd observed this improvisational style during a Rufus Thomas session that yielded the hit "Walking the Dog" in just two takes. Wexler lauded this innovative synergy between producer and rhythm section as distinct from typical unionized sessions strictly governed by time constraints.

Stax studio

A fundamental factor contributing to Stax's commercial achievements was its recording facility located at 926 E McLemore Ave in Memphis. Originally a movie theater with a slanted floor, the studio's unique architecture created an acoustic environment that lent recordings a distinctive, rich, and gritty quality highly valued by soul music enthusiasts. When producer Tom Dowd came aboard in 1963, he modernized the studio’s technology, upgrading from a mono Ampex recorder to two-track and eventually four-track machines. Although there was initial apprehension about altering the signature "Stax sound," these technical improvements enabled the production of stereo albums, which in turn increased revenue and broadened Stax’s appeal in the marketplace.

Early successes

Stax’s initial rise to prominence was closely tied to soul vocalist Otis Redding, who was signed to their subsidiary label Volt. This label was created in late 1961 as a strategic response to radio restrictions limiting single-label airplay. Volt became home to artists such as Redding and the Bar-Kays, while other subsidiaries included Enterprise (named after the USS Enterprise from Star Trek), Chalice (gospel), Hip, Safice, Magic Touch, and Arch. Volt’s releases were initially distributed through Atlantic’s Atco Records.

Redding’s first single "These Arms of Mine" (1962) achieved chart positions on both R&B and pop listings, marking the beginning of a string of successful releases—each of his 17 singles eventually charted. Other artists like Carla Thomas also found chart success, though initially through Atlantic Records. Between 1962 and 1964, Stax/Volt scored multiple hits with Redding, Rufus Thomas, and Booker T. & the M.G.'s; however, only a limited number of other singles made modest chart appearances during this timeframe.

The formalization of distribution through Atlantic in 1965 significantly boosted Stax/Volt’s visibility on the charts, accelerating business expansion and increasing their share within the soul music market.

1965–1967: Stax/Volt's continued success

In 1965, Jim Stewart secured a national distribution agreement with Atlantic Records—a contract he infamously signed without thoroughly reviewing, which would later have financial repercussions. Carla Thomas returned to recording for Stax that year, while the songwriting duo Isaac Hayes and David Porter emerged as pivotal hitmakers and producers for the label. Hayes also became part of the house band, frequently filling in for Booker T. Jones during his full-time music studies.

That year introduced new charting acts including the Astors and Sam & Dave on Stax proper, along with Volt’s Mad Lads. Sam & Dave were leased from Atlantic to Stax, with Hayes and Porter responsible for writing and producing nearly all their material recorded at Stax. Atlantic executive Jerry Wexler brought Don Covay and Wilson Pickett to record at Stax; although these recordings were released by Atlantic, they featured Stax’s house band along with co-writer Steve Cropper, effectively classifying them as Stax productions.

Tensions surfaced during sessions with Pickett due to his difficult demeanor, leading the house band to refuse further participation. As a result, Stewart ceased producing recordings for non-Stax artists at the studio, impacting Atlantic’s new signee Aretha Franklin who then recorded elsewhere. Subsequently, Pickett’s later hits were produced outside of Stax.

Between 1966 and 1967, Stax and its subsidiaries consolidated their position in the market with hit records from Otis Redding, Sam & Dave, Carla Thomas, William Bell, Booker T. & the M.G.'s, Eddie Floyd, the Bar-Kays, Albert King, and the Mad Lads. A notable success was Floyd’s "Knock on Wood," co-written with Cropper; despite Stewart’s initial reluctance to release it as a single, it achieved international acclaim.

Unlike Motown's frequent touring schedule for artists, Stax organized fewer live performances; its inaugural major concert took place in Los Angeles in 1965. The most prominent tour occurred in 1967 across the UK and France where sold-out shows led to live album releases such as Otis Live in Europe.

By 1967, Stax reached its zenith with artists including Otis Redding, Sam & Dave, Carla Thomas, Isaac Hayes—who would later shape 1970s funk—and Booker T. & the M.G.'s known for their racially integrated lineup amid America’s racial tensions.

Despite increasing recognition, many members of the house band faced financial challenges due to limited session fees. To address this issue in 1966, Al Bell arranged for the “Big Six” (Hayes, Porter, Booker T. & the M.G.’s) to receive salaried contracts at $125 per week (adjusted for inflation today), allowing them to dedicate themselves fully to studio work. Bell also established a royalty pool to compensate these musicians for their production contributions.

Situated in segregated Memphis during a period marked by civil rights struggles—including Martin Luther King Jr.’s assassination in 1968—Stax's studio functioned as a creative refuge focused on crafting hit records often infused with social awareness. During their successful European tour in 1967, some artists encountered more receptive audiences overseas than back home.

Following this tour came notable leadership changes: Steve Cropper was succeeded as A&R director by Al Bell who also assumed the role of executive vice president. Additionally, horn players Wayne Jackson and Andrew Love joined as salaried staff musicians strengthening both Stax’s organizational framework and strategic leadership amid its business expansion phase.

1968: Separation from Atlantic Records

In 1967, the acquisition of Atlantic Records by Warner Bros.-Seven Arts activated a "key man" provision within Stax's distribution agreement, mandating renegotiation if Jerry Wexler, Atlantic's principal executive, departed or sold his shares. Stax founders Jim Stewart, Estelle Axton, and Al Bell aimed to participate in Warner's buyout but found the terms offered by Warner-Seven Arts unsatisfactory. When Stewart requested the return of Stax master recordings, Warner-Seven Arts declined, citing a 1965 contract clause that transferred ownership of all Stax recordings distributed between 1960 and 1967 to Atlantic. This clause, overlooked by both Stewart and Wexler at the time of signing, resulted in Atlantic retaining valuable masters now under the control of Warner Music Group.

Feeling deceived, Stewart chose not to renew the distribution agreement. On May 13, 1968, he sold Stax to Paramount Pictures, a subsidiary of Gulf+Western, thereby linking Stax with Dot Records, another label under Paramount. This transaction compelled Stax to operate without its valuable back catalog and artists such as Sam and Dave, who returned to Atlantic. The label also endured the loss of key figures like Otis Redding and most members of the Bar-Kays due to a tragic 1967 plane crash. Furthermore, the assassination of Martin Luther King Jr. near the Stax studio in 1968 caused unrest in the area, although the Stax property itself remained intact.

While Stewart remained with the company, Al Bell was promoted to vice president and co-owner, taking on increased leadership responsibilities as Stewart withdrew from daily management. Internal conflicts between Bell and Estelle Axton led to her exit; by 1970 she had sold her shares and later launched Fretone Records, which gained recognition with the 1976 hit "Disco Duck."

After the expiration of the Atlantic contract in May 1968, Atlantic briefly continued marketing post-split Stax/Volt releases using altered logos. During the Gulf+Western era, new label designs and cataloging methods—including the well-known finger snapping emblem—were introduced to differentiate these releases from earlier Atlantic-distributed material.

1968–1972: Stax Operating Independently

Despite losing prominent artists, Stax rapidly recovered. In 1968, Johnnie Taylor scored the label’s first significant hit following its split from Atlantic with "Who's Making Love," which became its top-selling single at that time. Under Al Bell’s leadership, by mid-1969 Stax had issued 27 albums and 30 singles to replenish its catalog. Producer and songwriter Isaac Hayes rose to prominence with Hot Buttered Soul, which surpassed three million sales in 1969. By 1971, Hayes had become Stax’s leading artist, especially noted for the highly successful soundtrack to Shaft released through the Enterprise subsidiary.

The label also found success by transitioning the Staple Singers from their gospel roots into mainstream R&B. Bell broadened the artist roster by adding groups like the Dramatics, Frederick Knight, and The Soul Children. Veteran performer Rufus Thomas experienced renewed popularity during this period. Nevertheless, overall sales declined while under Paramount’s ownership. In 1970, Stewart and Bell reacquired Stax with financial support from Deutsche Grammophon (which later became PolyGram), responsible for distributing Stax’s post-Paramount releases internationally via Polydor Records until bankruptcy ensued.

By late 1970, key executives Steve Cropper and Booker T. Jones departed due to dissatisfaction with management treatment despite Jones holding a vice president role. Remaining musicians Duck Dunn and Al Jackson continued session work; Jackson notably collaborated with Al Green at Hi Records between 1971 and 1975.

Between 1970 and 1972, operating independently with external distributors, Stax refreshed its logo in 1971. Bell pursued an ambitious vision to establish Stax as a major recording enterprise and a significant force within the African-American community. Increasingly, artists recorded at outside facilities such as Ardent Studios and Muscle Shoals, reflecting a departure from traditional Stax sound characteristics. Bell also launched Partee Records focusing on comedy acts like Richard Pryor and Moms Mabley; expanded into white pop markets by signing Big Star; and licensed UK progressive rock bands including Skin Alley.

Bell was actively involved in African-American community efforts, supporting initiatives like Reverend Jesse Jackson’s Operation PUSH. On August 20, 1972, Stax organized Wattstax—a landmark concert often called the "Black Woodstock"—featuring performances by Stax artists alongside Richard Pryor before an audience exceeding 100,000 people; it was filmed by director Mel Stuart and released theatrically in 1973.

During this era, the Stax studio welcomed external projects; notably Elvis Presley recorded three albums there in 1973—Raised on Rock, Good Times, and Promised Land—which produced four top-20 hits for RCA Records.

1972–1975: downturn and insolvency

Although Wattstax was a notable success, Stax's stability began to waver. In 1972, Al Bell purchased Jim Stewart’s remaining shares and secured a distribution agreement with CBS Records. Clive Davis, then president of CBS, considered Stax a key opportunity to penetrate the African-American market and rival Motown. Bell initially suggested that CBS acquire a 50% stake in Stax, but due to antitrust issues, the arrangement was limited to a national distribution contract. Shortly after, Davis was dismissed amid controversy, and without his backing, CBS rapidly lost enthusiasm for promoting Stax.

The distribution arrangement significantly cut Stax’s earnings by as much as 40%, as CBS bypassed smaller black-owned retailers essential to Stax’s customer base and hesitated to aggressively market Stax releases to larger outlets to avoid clashing with CBS artists such as Earth Wind and Fire and the Isley Brothers. Furthermore, CBS prioritized Philadelphia International Records, an emerging rival label. Reports surfaced indicating that major markets like Chicago and Detroit were deprived of new Stax releases despite evident demand. Stax attempted to terminate the CBS contract, but CBS declined, concerned that Stax might evolve into a direct competitor.

The final major success for Stax was Shirley Brown’s "Woman to Woman" (1974) on the subsidiary Truth label, which temporarily postponed the company’s decline. By 1975, most of the subsidiary labels had ceased operations; only Stax and Truth remained active. Although new artists such as Joyce Cobb were signed, no fresh recordings were produced. Truth released several singles along with an album by Brown.

Al Bell sought to stave off bankruptcy by securing loans from Memphis’ Union Planters Bank. Jim Stewart returned to assist by mortgaging his home to provide working capital. Nevertheless, the bank foreclosed on these loans, resulting in Stewart losing both his residence and financial assets. Bell later asserted in the documentary Take Me To The River that local white power entities aimed to dismantle the prosperous black-owned business under the guise of loan defaults.

Stax/Volt Records was forced into involuntary bankruptcy on December 19, 1975, leading federal judge William B. Leffler to order its closure on January 12, 1976. Just prior to bankruptcy proceedings, Union Planters had planned a Martin Luther King Jr. tribute album with proceeds intended to support ongoing Stax operations.

1976–1977: uncertain period for Stax

During the bankruptcy process, Al Bell faced bank fraud charges but was acquitted in August 1976. Early in 1977, Union Planters sold Stax—including its master recordings and publishing rights—for approximately four million dollars to a holding company, which subsequently transferred ownership of the master tapes and the "Stax Records" brand to Fantasy Records later that year.

Fantasy acquired rights over all Stax recordings made after May 1968, select singles and albums from before that date, unreleased material, and authority to issue new recordings under the Stax name. The original McLemore Avenue studio building was sold in 1981 for ten dollars to the Southside Church of God in Christ.

At the same time, Almo/Irving Music, publishing partner of A&M Records, purchased East Memphis Music—the publishing division of Stax—in 1981.

1978–1981: Resurgence of Stax Operations

Towards the end of 1977, Fantasy announced intentions to revive Stax by establishing an office in Memphis and appointed local promoter Bruce Bowles as the regional promotion manager. In January 1978, Fantasy reintroduced Stax under the leadership of veteran writer and producer David Porter. Porter signed emerging acts such as Fat Larry's Band, Rick Dees, and Sho Nuff, while also renewing contracts with mid-1970s artists like Rance Allen, Soul Children, and Shirley Brown. Additionally, he managed compilations featuring previously unreleased tracks from prominent artists including Isaac Hayes, Randy Brown, the Bar-Kays, Albert King, and the Emotions.

During this revival phase, more than twenty singles were issued, with nine entering the US R&B charts. The standout hit was The Bar-Kays' "Holy Ghost," a remixed song from their 1975 sessions that reached #9 on the R&B chart in 1978.

Despite this resurgence, many notable former Stax artists had transitioned to other labels during the bankruptcy period and achieved considerable success: the Bar-Kays signed with Mercury, Johnnie Taylor with Columbia, Isaac Hayes with Polydor, the Staple Singers and Richard Pryor with Warner Bros., the Dramatics with ABC, Shirley Brown with Arista, and the Emotions with Columbia/ARC.

Porter left in 1979, which led to a reduction in new releases. By late 1981, Stax’s focus shifted mainly to reissuing recordings from 1968–75 alongside previously unreleased archival material from the 1960s and 1970s.

1982–2003: Stax’s Role as a Reissue Label

Throughout the 1980s and 1990s, Stax concentrated predominantly on reissues. Atlantic Records maintained ownership of most master recordings from the Atlantic-era Stax catalog released before May 1968; these masters were reissued by Atlantic’s sister label Rhino Records or licensed to Collectables Records.

Fantasy held rights to non-master recordings and repackaged Stax’s catalog under its own label, often substituting alternate takes for Atlantic-owned masters. In 1988, Fantasy issued Top of the Stax, Vol. 1: Twenty Greatest Hits, marking the first compilation to combine material owned by both Atlantic and Fantasy through an agreement with Atlantic; a second volume followed in 1991.

In 1991, Atlantic released The Complete Stax/Volt Singles 1959–1968, a nine-disc box set that received Grammy nominations and achieved gold certification in 2001—becoming the largest CD collection to reach that milestone. Fantasy followed with volumes two and three of Complete Stax/Volt Soul Singles in 1993 and 1994 respectively, covering singles from 1968 to 1975; volume three earned a Grammy for Best Album Notes. In 2000, Fantasy released The Stax Story, which included pre-1968 material licensed from Atlantic.

During this era, Fantasy made two attempts to revive Volt Records.

2003–present: Museum Establishment and Label Revival

After the original studio was demolished in 1989, the non-profit Soulsville Foundation inaugurated the Stax Museum of American Soul Music at the original site in 2003. The museum replicates the historic building and operates alongside the Stax Music Academy and Soulsville Charter School, creating a dedicated campus committed to preserving Stax’s heritage.

Concord Records acquired Fantasy Label Group in 2004 and revived Stax as an active label in December 2006 to release new music. Early signees included Isaac Hayes, Angie Stone, and Soulive. The relaunch featured the Stax 50th Anniversary Celebration box set in March 2007, followed by a various artists compilation titled Interpretations: Celebrating The Music of Earth, Wind & Fire. Soulive’s debut album of new material, No Place Like Soul, was released in July 2007.

In August 2007, Concord issued a remastered deluxe edition of the landmark 1972 Wattstax concert across three CDs, showcasing nearly half of the original performers for the first time since that event. Concord has not announced plans for further Wattstax releases.

Significant moments include President Barack Obama hosting "In Performance at the White House: Memphis Soul" in April 2013 featuring invited Stax alumni such as Booker T. Jones and Steve Cropper.

Stax signed Ben Harper in 2012 and released his Grammy-winning album Get Up! with Charlie Musselwhite in January 2013. Nathaniel Rateliff & The Night Sweats launched their breakthrough self-titled debut via Stax in August 2015, gaining widespread recognition following a prominent television appearance.

In 2016, original artist William Bell returned with new recordings co-produced by Jon Leventhal. In June 2015, Stax was inducted into the National Rhythm & Blues Hall of Fame; former producer Al Bell accepted on behalf of the label.

September 2017 saw release of Soulsville U.S.A. (A Celebration of Stax), a three-CD anthology updating previous anniversary collections with additional tracks spanning Stax’s entire history.

The compilation Written In Their Soul: The Stax Songwriter Demos, containing 146 demos, won two Grammy Awards in 2023 for Best Album Notes and Best Historical Album.

In 2024, HBO premiered Stax: Soulsville U.S.A., a documentary series exploring the label’s commercial development, market impact, and lasting influence within the music industry.

Stax

June 1961 – March 1968 (distributed by Atlantic): Light blue label featuring the STAX name and the "Stax-o-Wax" emblem
November 1967 – April 1968 (distributed by Atlantic): Green label showcasing a multicolored "Stax" logo
June 1968 – 1970 (distributed by Paramount): Yellow label displaying a blue "finger-snapping hand" symbol
1970 – August 1971 (independently distributed): Continued use of the yellow label with blue logo, some including a Paramount disclaimer
August 1971 – November 1975 (independent distribution): Yellow label with a brown "finger-snapping hand" icon
1977–1978 (distributed by Fantasy): Labels in red or purple and white, with a black "finger-snapping hand" design

Volt

November 1961 – March 1968 (Atlantic/Atco distribution): Dark brown and red label incorporating "VOLT" alongside a red lightning bolt logo
March 1968 – April 1968 (Atlantic/Atco distribution): Multicolored label reading "VOLT records" paired with a red lightning bolt
June 1968 – June 1971 (Stax distribution): Dark blue label accented with an orange and black lightning bolt
August 1971 – 1975 (Stax distribution): Orange label featuring a yellow lightning bolt

1957–1968: Atlantic Records era

Rufus Thomas
Carla Thomas (Satellite, Atlantic, later Stax)
Booker T. & the M.G.'s
Otis Redding (Volt)
The Mar-Keys (initially Satellite, then Stax)
The Mad Lads (Volt)
Ruby Johnson (Volt)
Mable John
Gus Cannon
The Astors
Wendy Rene
Sam & Dave (contracted to Atlantic, recorded at Stax; releases issued by Stax via arrangement until 1968)
Eddie Floyd (Safice, Atlantic, then Stax)
The Charmels (Volt)
Johnnie Taylor
William Bell
The Bar-Kays (Volt)
Albert King
Ollie & the Nightingales (Chalice, later Stax)
Isaac Hayes (Enterprise)
The Goodees (Hip)
Christian Harmonizers (Chalice)
Johnny Daye
Judy Clay
Veltones (Satellite)
The Chips (Satellite)
Wilson Pickett (signed to Atlantic, recorded at Stax)
Don Covay (signed to Atlantic, recorded at Stax)
Arthur Conley (Jotis, signed to Fame/Atco, recorded at Stax)

1968–1975: post-Atlantic years

Rev. Jesse Jackson (Respect) Moms Mabley (Partee)

[Luther Ingram]] (Koko)
[Terry Manning]] (Enterprise)
[Tommy Tate]](Koko)

The Nightingales

[Frederick Knight]]
[Shirley Brown]]
[Calvin Scott]]
[Inez Foxx]]
[The Sweet Inspirations]]
[Ernie Hines]](Stax and We Produce)
[Roy Lee Johnson]]
[Jimmy McCracklin]]
[Lena Zavaroni]]
[Linda Lyndell]](Volt)
[Round Robin Monopoly]](Truth)
[Joyce Cobb]](Truth)
[Larry Raspberry & the High Steppers]](Enterprise)
[Eric Mercury]](Enterprise)

Ken Matthews

[Lou Bond]](We Produce)

Glenn Yarbrough Ben Atkins (First Caucasian artist signed to the label)

2006–present: The Concord Era

References

Official websites

Informative resources

History of Stax
The Stax Site—features comprehensive album and singles discographies
Stax/Volt album discographies by Both Sides Now Publications
Stax/Satellite Discography by Global Dog Productions

Documentaries and interviews

P.O.V. Wattstax companion site (includes streaming audio performances and a podcast interview with director Mel Stuart)
Respect Yourself: The Stax Records Story—PBS documentary and 2008 Grammy nominee for Best Long Form Video
The Otis Redding French site
MP3 interview with Stax authority Rob Bowman on The Sound of Young America

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