STAX 101: Pickled Priest's Guide to the 101 Greatest Stax/Volt Singles, Part 1: Songs 101-51
Well, lo and behold, we've finally finished our "Holy Grail" project detailing our 101 Favorite Stax/Volt Singles from the entire history of the label. It wasn't a labor of love, it was just love, period. And if you love it, it ain't labor. What Stax created during its amazing fifteen year existence ranks as our all-time favorite kind of music recorded anywhere by anyone. And we're not exaggerating either. We've wondered for a long time how to put our passion for this kind of music into words and the answer was actually very simple...we can't. But we tried. Here's a short list of why this music resonates with us so deeply.
Real people
Real songs
Real situations
Real emotions
Real passion
Incredible musicians
Incredible singers
Incredible songwriters and producers
Interracial harmony and shared vision
Unlikely but deserved success
Yeah, that about covers it.
Years ago, I made what can only be called a pilgrimage to the Stax Museum of American Soul Music in Memphis. The trip further cemented the music and spirit of Stax into my DNA. Although I must admit a festering, boiling, splitting-headache-inducing, disgust that nobody in the entire city of Memphis, nor the state of Tennessee, was able to stop the original Stax studios from being torn down in 1989. That lack of historical awareness absolutely staggers me to the core. I own a brick from the original facade of Stax, but I'd prefer I never had the option to buy one. It should never have left its home at 926 McLemore Avenue. There is some consolation that they eventually came to their senses and built a convincing facsimile of the original building and studio (down to the slanted movie-theater floor in the recording studio) on the same site and added a fabulous museum as a tribute to the label (along with an elementary school and music academy—nice touch). Once I eventually set aside my desire to kill those responsible for turning Stax into a church parking lot and strolled into the museum, only then did my heart begin to recover. You can tear down a structure but the music always remains. Engaging with the rich, complicated history of Stax made me feel inspired again. The model for racial integration, Stax proved that ebony and ivory could not only live in perfect harmony, but thrive and make history in the process.
A short drive (or walk) from Stax Studios is the infamous Lorraine Motel (now The National Civil Rights Museum), site of Martin Luther King Jr.’s assassination. Standing in front of it will send chills down your spine. Sadly, racial harmony is not what comes to mind here. Most people stand in silence, others point, others cry. The tragedy of it all is overwhelming. Considering the racial tension of that era, it’s even more remarkable that Stax was home to such a harmonious musical co-existence in the 1960s and early 70s. Stax musicians occasionally met at the Lorraine to write songs and party. Why couldn't that have just been another colorful part of the Stax story? Steve Cropper (and others) have reiterated that the musicians and owners of Stax saw no color, just musical possibilities. Only after the assassination, Cropper clarified (with tears in his eyes) in a documentary, did racial tension begin to enter into the psyche of those inside the hallowed walls of Stax. While understandable considering the high tension of that moment in time at least the music survives as an example of how things should be. What happened inside that renovated old movie theater (The Capitol) will forever be etched into history as some of the most soulful music ever recorded in any genre. For me, what follows defines soul music in general and it defines Stax itself. There's only one way to get to the heart of Stax, and that's one song at a time.
Writer's note: This list is not meant to be a history of the Stax label. There are books written for that purpose that are well worth your time. I am not the person to write that story, but I do feel a desire to put down in words what the music has meant to me over my lifetime. Reducing the awe-inspiring output of Stax (well over 800 singles and 300 albums) into a mere 101 songs, believe it or not, was nearly impossible, a fool's errand. But I'd rather try and fail than not try at all. If I leave out one of your favorites, just mentally jam it in where you think it belongs and move on. I probably missed a song by accident. If I do, I'll correct it later. We're not here to nitpick, we're here to celebrate some amazing music.
The room where it happened.
THE 101 GREATEST STAX/VOLT SINGLES, PART 1 - SONGS 101 - 51
101 “Sweetback’s Theme” | Melvin Van Peebles (1971)
Isaac Hayes wasn't the only one who could soundtrack a blaxploitation film in the 1970s, but he was the best. Not far behind was auteur Melvin Van Peebles (not Peeples as listed on the included video). Melvin wrote the music for a movie with one of the greatest titles ever, Sweet Sweetback's Baadasssss Song, back in 1971. And he didn't stop there; he wrote, co-produced, edited, and directed the move all by his lonesome. Speaking of being a baadasssss, he most certainly qualified. He also had an eye for talent. The title song of the movie, "Sweetback's Theme" was performed by a then unknown band named Earth, Wind & Fire. It remains one of the coolest instrumentals Stax released.
100 “Too Many Lovers” | Shack (1970)
A manifesto of sorts from Shack (written by house songwriter Homer Banks), but not recorded in a shack a la Ted Kaczynski, and much, much shorter. The song laments the fact there are too many fly-by-night lovers in his world and not enough men willing to take responsibility for their actions, be that a steady relationship, fatherhood, or both. The track was ahead of its time to say the least. Shack delivers a gritty vocal cut with a little pulpit professing, and you'd think this could be the start of something big. Alas, this was his first and last appearance at Stax. He cut the song and we never heard from him again. Hopefully, at least a few good men out there listened closely and changed their ways.
99 “What’ll I Do for Satisfaction” | Johnny Daye (1967)
There are not many white soul singers on this deep list of soul classics, despite the fact Stax was legendarily a place where both races combined to create some of the finest soul music ever made. In most cases, that didn't extend to the vocal booth. In this instance, none other than Otis Redding discovered Johnny Daye belting out blue-eyed soul in a Cleveland nightclub and personally brought him down to Stax to record this gritty, garage-soul roadburner. It was rumored that Otis had big plans for Johnny, but they were snuffed out when Otis died soon after in a 1967 plane crash (more on that later), so the collateral impact from that event includes, potentially, the ongoing career of Johnny Daye, a guy with an absolutely perfect shredded voice.
Side Note: The song was later covered by Janet Jackson on her album, Janet, and you better believe she totally ruined it. Highly unsatisfying. Stick with the genuine article.
98 “Make It Me” | The Premiers (1965)
As will be revealed throughout this list, the songwriting team of Isaac Hayes and David Porter were the most influential and impactful songwriting team in Stax history. Their success wasn't just limited to the big names on the label's roster either. Case in point: they wrote "Make It Me" in 1965 and let Memphis vocal group the Premiers have a crack at it. The single sadly went nowhere and the group dissolved shortly thereafter, but the single is a prized collectors item these days. Why? Because it's among the finest and most distinctive one-off singles in the revered Stax catalog, a sly dog of a track with a coquettish vocal that's quite the anomaly among the many gritty soul classics pumping out of the renovated movie theater that Stax occupied. That's what makes it for me.
97 “Hang ‘Em High” | Booker T. & the MGs (1968)
We came painfully close to having a Clint Eastwood Western with a Booker T. & the MGs instrumental as its theme song, but unfortunately it didn't happen. The producers stuck with Dominic Frontiere's original version instead (he did write it after all) which was a much safer choice at the time. But how cool would it have been to have a little Southern soul injected into desert showdown at high noon? One listen to this cover by Booker T. & the Memphis Group shows you exactly what you missed. If it did get chosen for the movie, 1968's Hang 'Em High, I bet this cut would rank right up there with those classic Ennio Morricone themes everybody adores. Our only option now is to turn the sound down on the movie's opening title sequence and play this instead.
Postscript: Just this year, I saw an 81-years-young Booker T. play this song in a Chicago club and it sounded as sublime as ever. Appropriately, it was the opening song of his set, front-loaded where it was always meant to be.
Also Recommended: "Hang 'Em High" was technically released as the B-side of "Over Easy," another undervalued MG's cut well worth seeking out.
96 “Sugar” | Carla Thomas (1972)
Carla Thomas was not only the Queen of Stax, she was the Queen of Memphis Soul writ large. She holds both titles to this day and will never relinquish them. Since this is a ranked list of singles, we're inevitably going to be highlighting songs out of chronological order. Nonetheless, suffice it to say, Carla is all over this mix, but we start with one of her later singles, the absolutely smoldering "Sugar" from 1972. We'll get to her early classics in due time, but put this sweet little lump under your tongue and let it dissolve slowly. That's the exact sensation she was shooting for when she recorded it and she absolutely delivered. One of the real sleepers in her discography.
95 “Walking the Dog” | Rufus Thomas (1963)
Rufus Thomas was in his mid-50s when he released his 1975 album Crown Prince of Dance (a dynamite record, by the way) and he had carried that title since he joined Stax in the early-60s. That's how royalty works, after all. Unless you get caught sleeping with an underaged girl, of course. Early in his career Rufus was also nicknamed "The World's Oldest Teenager" thanks to his larger-than-life personality and youthful energy. Before Stax, he was a beloved dancer, comedian, entertainer, and DJ/MC for years. When he finally hooked up with Stax he was already in his early 40s. Due to his "advanced" age, he soon became a father figure to many of the younger artists on the Stax roster. He was also a literal father figure, too. Carla Thomas, discussed one song ago, was his daughter, responsible for carrying on his royal lineage. And boy did she live up to expectations! Over time, Rufus has become one of the most beloved musicians in Memphis history. And a lot of his reputation was solified on the dancefloor. He found a niche inventing new dances early on and then sang about them, gaining numerous hits in the process. Along the way, he gave us the Funky Chicken, the Funky Robot, the Funky Bird, the Funky Penguin, the Double Bump, the Itch & Scratch, the Push and Pull, and, most notably The Dog, which became his calling card. His major breakthrough was "Walking the Dog" (a #5 R&B hit) and it remains one of his finest recorded moments. Yes, he may have beat the concept to death over the years ("Can Your Monkey Do the Dog?", "Somebody Stole My Dog," "Can't Get Away from this Dog") but that's how we do it in America. We sell the same product in different packaging until people tire of it.
Editor's Note: Demo of titular dance shown in video below if interested. Not recommended for those over 50 (unless your name is Rufus).
Walking the Dog instructional demo. Warning: Could be hazardous to your health.
94 “Yum Yum Yum (I Want Some)” | Eddie Floyd (1972)
If I came up to a lady and said "Yum Yum Yum (I Want Some)" to her, I would expect a stern rebuttal and possibly a robust slap across my face as punitive punishment. My guess is that Eddie had a pretty good success rate with it on his own. He was a handsome man, always the great equalizer in our shallow society. To this day, I'm not sure why this song didn't become a bigger hit back in the 70s. It seems a perfect fit for AM radio. Equally mystifying is why it hasn't been tapped for a commercial advertising campaign. There's gotta be an ice cream manufacturer out there in need of a killer theme song like this. Ben? Jerry? Edy? Are you listening?
93 “Pain in My Heart” | Otis Redding (1964)
In a way, this song explains in a nutshell why Otis Redding is considered the King of Soul. Soul comes from the depths. You have to summon it with genuine emotion. Otis was either in pain at the moment of this recording or he channeled an emotion from his memory banks and tapped into those reserves like a method actor gearing up for a dramatic movie scene. With Otis Redding, believability was never an issue. When he opened his mouth, you bought every single word.
A quick reader's note regarding the deep catalog of Otis Redding tracks in the Stax vaults: Otis is our favorite singer of all-time and in making this list I came to the realization that I could end up with a list dominated by Otis Redding songs instead of a diverse portolio of Stax classics. So as to not overwhelm the list with this bias, I've limited myself to my absolute personal favorites. Obviously, this mean many amazing songs were left out, but it only seemed fair. We all have our favorite Otis moments and these are ours.
Writer's Note: "Pain in My Heart" was written by legendary New Orleans songwriter and performer Allen Toussaint under the pseudonym "Naomi Neville" for legal/contractual reasons.
92 “Walk On By” | Isaac Hayes (1969)
There aren't as many Isaac Hayes solo tracks on this countdown as one might expect, mainly because his prime material wasn't oriented toward singles, rather more textured and sprawling soul masterpieces best suited for the long-form of an LP. Nonetheless, "Walk On By," from his iconic Hot Buttered Soul record, represents his work beautifully at single length even though the albu cut clocks in over 12-minutes. Nobody was cooler than Isaac and nobody walked on by him without a long look. You stopped, you rubbernecked, you caused a gaper's block. Especially if he was driving by in his fur-lined Caddy with a TV set built into the dash. We'll talk more about Isaac as we move through the list, but his presence will be primarily as a songwriter and producer, for he was, with David Porter, one of the most important contributors to Stax's epic run in their fifteen year history. So sit tight.
Writer's Note: Enterprise Records was another Stax subsidiary (similar to Volt and Gospel Truth), created to expand Stax's footprint in jazz and folk music. It eventually became home to a variety of hard-to-classify non-singles artists and other pieces that didn't fit into the main puzzle. It makes sense, then, that this is where Isaac's ambitious 1970's records, including the legendary Hot Buttered Soul, were released.
91 “Love Is Plentiful” | The Staple Singers (1970)
They came late to Stax, but when they arrived they turned into one of the staples of the Stax roster, pun intended. The group's move to the label was not only one of Stax's most significant signings, but they can also be credited, along with Johnnie Taylor, for keeping the label afloat during its second incarnation (after Atlantic stole much of the label's 60's catalog via a one-sided, small print-laden distribution contract). The secret sauce of the Staple Singers has always been their faith and their responsibility to their community. They were never content to just sing songs—they provided a public service as well. First lesson: love thy neighbor. If you do, you'll see that love for your fellow man isn't a finite reserve—it's an endless supply. This song convincingly preaches that very message in the most appealing way possible.
90 “Burnt Biscuits” | The Triumphs (1961)
One of two instrumentals on this list that predate "Green Onions," the Triumphs dropped the fresh and piping hot cut, "Burnt Biscuits," way back in 1961, a year before Booker T. & the MGs formed. It may sound familiar to you, however, because two members of Booker T. & the MGs were also in the Triumphs. Booker T. Jones and Lewie Steinberg (the MG's original bassist) played on this 122-second instro-nugget. The track also has the distinction of being the first single released by Volt Records (Volt 100, to be specific), the newly created subsidiary to help Stax get around Payola restrictions (playing too many songs from one label, no matter how many great songs they produced, was a red flag back then, so labels were forced to find a loophole). You can definitely hear the roots of that classic Booker T. & the MGs sound from the very first seconds of the track as Booker T. lays down a killer organ riff to anchor the track. The addition of some wicked harmonica from Chips Moman (yes, the legendary producer and also the writer of the track) gives "Burnt Biscuits" its own signature sound. In a perfect world, this would have higher status than it does.
89 "Sunday Sermon" | Booker T. & the MGs (1970)
This B-side of "Something" from the MG's song-for-song soul remake of the Beatles' Abbey Road, titled McLemore Avenue after the address of Stax studios, is one of the great unknown Booker T. & the MGs cuts. The soulful Beatles concept was an interesting diversion well worth pursuing, but the slow groove of "Sunday Sermon" sheds a new light, possibly a divine one, on the rapidly expanding range of the resident instrumental powerhouse. If this is what a Sunday sermon sounded like during my boyhood, perhaps I wouldn't have turned my back on organized religion in the first place.
Also Recommended: "Soul Clap '69"
88 “I Stand Accused” | Isaac Hayes (1970)
I find it interesting that Isaac Hayes wrote or co-wrote (with David Porter) 200+ songs for Stax in the 1960s, many of them the label's biggest hits, but for his own solo career he tapped into the compositions of other songwriters for much of his material. In fact, over his first five albums he covered more Burt Bacharach and Hal David tunes than those he wrote himself. I would've loved to ask him why, but I probably would've been too intimidated to broach the subject anyway, what with his imposing stare and chain link overcoat and all. To his defense, he did make each song covered his very own. "I Stand Accused" was co-written by Jerry and Billy Butler (Jerry a legendary soul singer/songwriter in his own right; Billy his guitar-playing brother), but I can't imagine in their wildest dreams they thought the song would evolve into what Isaac had in store for it. Basically, "I Stand Accused" is a musical closing argument to a jury of one (his lady) where we find Isaac dramatically admitting he is guilty of loving his girl. The hushed courtroom gasps at the admission, but soon is won over by his deep, sexy voice and his convincingly romantic rap. Don't try this at home. You are not Isaac Hayes. Repeat. You are not Isaac Hayes.
87 “Time is Tight” | Booker T. & the MGs (1968)
Interestingly, two of the first three singles from Booker T. & the MGs on this countdown come from movie-related projects. Following "Hang 'Em High" (#97) comes one of the most known and successful MGs tracks ever, "Time is Tight," that rare Stax single that did better on the pop charts (#6) than it did on the R&B charts (#7). As the main theme from the movie UpTight, about a group of violent revolutionaries after the assassination of Martin Luther King, Jr., the song was a much more natural fit for the MG's sound than was a classic Western. As noted earlier, Stax was located about a mile away from the Lorraine Motel, the site of the assassination, so to put it mildly, this time the band's involvement literally hit closer to home. It must be said that the song gained even more prominence thanks to the Blues Brothers (whose all-star band included two MGs—Steve Cropper and Duck Dunn), who used the song as the intro to their stage show (segueing into Otis Redding's "I Can't Turn You Loose" immediately thereafter thanks to its nearly identical rhythm bed). I love the song, but I do love the added juice of the Blues Brothers version, too—I always thought the song would benefit from an increased tempo. To that point, the 45 version of "Time Is Tight" released by Stax is shorter than the version from the movie soundtrack by over a minute and the movie version also gallops at a faster pace. They're both great, but seek out each of them and compare. I've included both versions here if you'd like to do so now.
86 “Breaking Up Somebody’s Home” | Albert King (1972)
There are actually two definitive versions of this song (with slightly differing titles) which was written by Tim Matthews and legendary Stax drummer Al Jackson Jr. One performed with a male perspective, one from the female perspective. Both retain the same devious motivation—a desire to sabotage your ex's new relationship just because you can't find a new one for yourself. The more traditional soul version by Ann Peebles is my favorite (released on Hi Records, which is about one mile from Stax's front door!) mainly because a woman plotting her revenge against a man seems more compelling to me somehow. Albert’s version, however, turns the song into a blues classic. While Ann is contemplating the idea over a few hard drinks, Albert's take has a more palpable threat implied. I don’t think he’s having an existential crisis at all. You get the feeling he’s already got one foot out the door and trouble on his mind.
Also Recommended: "I'll Play the Blues for You (Part 1)" & "Blues Power," two more blues classics released on the Stax imprint.
85 “Hi De Ho (That Old Sweet Roll)” | Carla Thomas (1970)
The Queen of Memphis Soul sings Goffin & King. Give me a whole album of that and I'd be happy. One of the benefits of being a label that could do no wrong in its first decade of existence is that your B-sides were often amazing, too. There are a bunch of them peppering this list. Talk about your "good problems"! In this case, "Hi De Ho" was the flip of Carla's overly wordy single "I Loved You Like I Love My Very Life" (to this day, I have never remembered it exactly right). In some cases, the choice of A-sides was a toss-up, but this time Stax missed the boat because Carla delivers what I consider one of her most underrated and nuanced vocals on the track, rolling at a slower, tantalizing pace that positively liquifies your backbone.
84 “Don’t Leave Me This Way” | Otis Redding (1964)
Whilst on the subject of B-sides, here's another, this time taken from the flip of Otis's Volt* 45, "Come to Me," a lesser track in his catalog maybe, but most soul singers would've killed for a track as good, which is why Otis is the undisputed heavyweight King of Soul. "Don't Leave Me This Way" is simply the Big O at his pleading best, basically wrapping himself around his girls legs to prevent her from leaving him. How could anyone resist such an impassioned love declaration? The beauty of this track is that it sounds 100% improvised, no artifice, just desperation, released from a dark corner of his soul.
Note: Most of Otis's singles and albums were released on Volt, unless it was a duet with an artist released on the Stax imprint.
83 “How Do You Quit (Someone You Love)” | Carla Thomas (1965)
If I had the strength to walk away
Heaven knows I'd do it today
Oh, how I try so hard to forget
But my heart says 'Carla you're not ready yet'
This song brilliantly captures the fragile essence of a one-sided relationship, complete with an imbalanced power dynamic, in just a few minutes. If you've ever wondered why a person hangs on to a bad relationship far too long, the answer is right here. The song finds Carla debating the merits of moving on after finding her man with another girl, but there's one problem preventing what should be an obvious choice: she loves the guy, plain and simple. Carla's vocal cuts to the broken heart of the matter with one of her greatest performances, which reveals new layers every time you hear it. There's a reason she was considered the Diana Ross of Stax (or Diana Ross was the Carla Thomas of Motown). She had an amazingly expressive voice that made every song believable.
82 “It’s Unbelievable (How You Control My Soul)” | Jeanne and the Darlings (1968)
Jeanne Dolphus ranks as one of the most underrated female singers on the Stax roster. She and the Darlings (which featured her sister, daughter, and friend as background singers) released a handful of killer singles that never got the acclaim they deserved during the prime years of Stax. My guess is that there was simply too much amazing product coming from the label at the time and some songs just got lost in the deluge. I'm not capable of re-writing history here, but I can highlight a few gems from the group's limited discography which sport a pretty strong track record of quality. "It's Unbelievable" is case in point. A fabulous Motown-styled girl group single with an incredulous chorus that every teenage girl, past and future, can identify with, and even some guys like me, too. Ah, the feeling of being recklessly in love. Is there anything more intoxicating?
Also Recommended: "What Will Later On Be Like"
81 “Dy-No-Mite (Did You Say My Love)” | The Green Brothers (1975)
I'm going to assume many of you weren't alive in the mid-to-late 70s. If not, I'll assume that your parents were at least. If you breathed air back then, you couldn't escape hearing the ubiquitous catch-phrase "Dy-No-Mite!" which was made famous by lanky, black, string-bean comic Jimmy Walker on his hit TV show Good Times. Good Times was a groundbreaking show in its day. It told the story, in sitcom format, of a family trying to live, thrive, and survive in a Chicago housing project. (For a short time, none other than a young Janet Jackson played a role on the show.) The show was also notable for being a spin-off twice removed. It descended from Maude, which descended from the legendary All in the Family. But, with the realization that Wikipedia already exists, the point is this: You couldn't have a conversation in the late 70s without the threat of a bad Jimmy Walker-styled "Dy-No-Mite!" impression slipping in unexpectedly from some wiseass. At about the same time, Stax Records was similarly struggling to survive from major mismanagement issues and monumental financial woes of their own. It only seems natural, then, that a show about poor folks on the Southside of Chicago would eventually cross paths with a poor, flailing R&B label located in a rough section of South Memphis to make a now long-forgotten single with the sole goal of capitalizing on the "Dy-No-Mite!" craze. The Green Brothers got the last laugh, however, as they've now been immortalized on Pickled Priest's favorite Stax singles list. It's time for this song to have a revival.
80 “Melting Pot” | Booker T. & the MGs (1971)
It’s a tragedy that Melting Pot was the final record from the original lineup of Booker T & the MGs. Stax was having all kinds of troubles at the time and their legendary house band was growing disillusioned with the label’s direction. Soon, Booker T. split for New York and Steve Cropper fled to L.A, in effect ending the band's amazing run. Somehow, however, the two still got together one last time with Duck Dunn and Al Jackson Jr. for one final record (or so it was assumed at the time). Amazingly, it would be the most ambitious MGs record of them all. Although it’s hard to fathom that the heart of Stax, the greatest soul label in history, was now planting seeds elsewhere, the record is proof that 926 E. McLemore Avenue in Memphis wasn’t the only place where magic could happen for Stax. Melting Pot is an amazing record front-to-back, and its title track, coming in at eight glorious minutes, is easily one of their greatest recorded achievements, highlighting everything that made the band’s sound so distinguishable and then expanding on it. Not worried about cutting singles anymore or contributing to songs for a stable of new Stax talent, they stretched their ambition and let the tape roll late and long, eschewing the usual short format of their past work. Here, we get a master class from Al Jackson, Jr. on drums, a thrilling performance worth the price of admission alone. Steve Cropper adds his legendary minimalist guitar jabs, but this time, he’s given more space to spread out. Duck Dunn’s bass playing is just sick and band namesake Booker T.’s Hammond B3 is, as always, heaven on earth (few things on this planet sound better to my ears). But sadly, this was it for their glory days—a bittersweet ending if there ever was one. Al Jackson, Jr. would be murdered four years later, so a full reunion was out of the question from that point on. Like Led Zeppelin losing John Bonham, the band could never be the same without him. At least they went out on a masterpiece; a record that deserves more attention than it gets.
79 “Mr. Big Stuff” | Jean Knight (1971)
78 “Carry On” | Jean Knight (1972)
With all due respect to the cult of "Mr. Big Stuff" (#1 R&B, #2 Pop), of which I am a card-carrying member, I am even more partial to Jean Knight's lesser known Stax single "Carry On," released a year later. It's an infectious soul banger sans gimmicks and proves Jean was more than a one-hit wonder. If you need even further proof, try her song "Do Me" as well, a song Megan the Stallion could put out tomorrow and nobody would raise an eyebrow. Back in the early-70s, however, people might've steamrolled the record in protest. Jean the Dream had some serious big mama gravitas back then and she wasn't afraid to trot it out when she needed it. To quote "Carry On", "Everybody's carrying on, from coast to coast / Get on that floor, baby, and show them who's the most." In this case, Jean Knight is the most. Hopefully Mr. Big Stuff is listening. Mrs. Big Stuff is in the house now.
77 “Boot-Leg” | Booker T. & the MGs (1965)
Credited to Booker T. & the MGs, but Booker T. actually had nothing to do with writing the song and he didn't even play on it. He was off at Indiana University at the time studying music, so Isaac Hayes played understudy for this session (and we should all be so lucky to have Isaac Hayes as our understudy) and helped to write the song as well. They still released it as a Booker T & the MGs track because they knew it would sell more records that way. In the end, it all worked out because it's a killer track, eventually becoming a Top 10 R&B hit. It was released as the A-side of "Outrage" (still to come on this list), making it the best double-sided single in the group's discography.
76 “Everybody Loves a Winner” | William Bell (1967)
"...But when you lose / You lose alone."
Whenever I hear this song, I picture Charlie Brown on the pitcher's mound all by himself after giving up, yet again, a game winning home run to the other team. His dejection is palpable. If they played this song over that image, I'd probably bust out some sympathetic tears for poor Charlie. In retrospect, I get more angry than sad for him. Why is he always left in the game so long to begin with? He was the team's starting pitcher, not an easy role on any team, but why couldn't someone else have come in to close the game? In today's game, he would've been yanked after 2 1/3 innings, not left out there to suffer with a wet noodle for an arm. In fact, his endurance and tenacity should be admired, not derided. He had the courage to try and failed. In my book, that's the main takeaway. That said, there's no denying William Bell was right. Losing is one of the loneliest human feelings.
75 “Shake” | Otis Redding (1967)
How do you spell his name?
O...(O!)
T...(T!)
I...(I!)
S...(S!)
R (R!)
E (E!)
D (D!)
D (D!)
I (I!)
N (N!)
G (G!)
-London emcee during Stax Revue tour
To say England was excited for the arrival of the Stax/Volt Review was an understatement. They arguably loved American soul music even more than Americans did and welcomed the Stax artists as one of their own, sans the discrimination found in America. The energy was so electric during those shows that Stax released two live singles* to expose the magic for an American audience. Here's the first of the two (the other will follow later in this broadcast). "Shake" was Otis at his electrifying best, bringing a crowd of lily-white Londoners to a near frenzy in the process. In truth, pulling a single song from the set isn't the best way to experience the excitement of the showm, but it did act as a sweaty appetizer that would whet the beak for Otis's Live in Europe LP, which would come out shortly after the tour's end.
*As A-sides, that is. There were a few live B-sides along the way, too.
74 “Circuit’s Overloaded” | Inez Foxx (1974)
Inez Foxx and her brother Charlie found instant success with the single "Mockingbird" in 1963 (later recorded by many artists, most notably Carly Simon and James Taylor in 1974), but after that her career stagnated. Eventually, she found herself getting another shot with Volt in the 70s, but made minimal impact. With one notable exception, however. This 1974 track, which miraculously didn't chart, uses the metaphor of an overloaded electrical circuit to explain her boyfriend's inability to function in the bedroom. He's been using his thing too much elsewhere to perform at home it seems and he couldn't solve the problem with a little blue pill back then to compensate. Well, there's no lack of potency in this funky soul track, that's for sure. Unfortunately, this apparent jump start to act two of her career fizzled out and then her career's battery died, never to be fired up again.
Also Recommended: "One Woman's Man"
73 “Soul Limbo” | Booker T. & the MGs (1968)
Stax Records' house band Booker T. & the MGs are primarily remembered for “Green Onions,” their supremely groovy calling card, but few can name even one other song by the band, which is sad, because there are so many other tasty soul grooves simmering in the pot as we've already started proving on this list. “Soul Limbo” in particular stands out because it was unlike anything else the band had cooked up to date. By adding a little poi to their Memphis soul stew, they created an exotic island dish perfect for an oceanside luau. Booker T.’s frolicking piano intro segues into some sweet Hammond B-3 fills, a little exotic marimba for authenticity, and yes, that's Isaac Hayes on the cowbell. The rest of the band falls into a conga line to create a bouncy party track perfect for the titular activity.
72 “Love Sickness” | Sir Mack Rice (1967)
Commoner Bonny "Mack" Rice had the Sir honorific unceremoniously bestowed upon him out of respect for writing Wilson Pickett's smash hit, "Mustang Sally" (notably, he also wrote the Staples Singers' classic "Respect Yourself" which should've got him knighted a second time!). The guy deserved the noteriety, too, for he was a songwriting dynamo at Stax, operating for years behind the scenes at the label kicking out gem after gem. When he got his chance to get into the studio he held his own, particularly on the killer soul cut, "Love Sickness" which can be added to our growing list of "How did this not chart?" head-scratchers.
Also Recommended: "Mini-Skirt Minnie"
71 “Satisfaction” | Otis Redding (1966)
In July of 1965, the Rolling Stones famously covered Otis's version of O.V. Wright's "That's How Strong My Love Is" on their Out of Our Heads LP. Turnabout being fair play, Otis then covered "Satisfaction" from that very same album. The Stones were obviously elated by Otis's version (to this day ranking it with their favorite Stones covers), which reinvented the song as a frantic soul rave-up, completely losing all touch with the original's lyrics in the process. Nobody cared, especially when Otis scatted improvised lyrics throughout the track because he didn't know the actual lyrics. Credit also to an absolutely manic horn arrangement for the unhinged feel of the recording. It's a total meltdown in the best possible way.
70 “Raise Your Hand” | Eddie Floyd (1967)
One of those perfect crowd participation songs. Why can't some college football arena use this to get the crowd going instead of defaulting to "Seven Nation Army" or "Living on a Prayer"? Have some originality for christ's sake! The song was built to get crowd on its feet frantically waving arms overhead. Trust me, I know. I was too young to see Eddie Floyd do his thing, but I did see the song's impact during a Bruce Springsteen medley on his Tunnel of Love tour. It's one of those songs that has an immediate effect on everyone present. The place turned into a Southern frat party when he kicked into "Raise Your Hand," one of the most reliable feel-good tracks in the entire soul canon, not just at Stax.
69 “I’ve Been Lonely for So Long” | Frederick Knight (1972)
Not a ton of falsetto action on Stax by design—where tough, working-man's soul was the main order of the day—so that only made Frederick Knight's "I've Been Lonely For So Long" such a standout amongst the crowd of pumping soul bangers and passionate ballads. He was one smooth cat, as you can tell by the album cover above. When you hear this song, I'm sure you're going to wonder why it isn't a soul standard by now. In certain circles it is, but there are far too many squares out there who haven't discovered it yet. No time like the present.
It's been lonely for too long.
68 “You’ve Got to Earn It” | The Staple Singers (1971)
The Staples modus operandi: stand up for your people, but help them stand up on their own, too. You don't get something for nothing in this life and neither should anyone else. And we're not only talking about success or money or a good job, either. The same goes for love. Anything worth having is worth working hard for. So, they spelled it out in this incredible treatise set to some seriously funky backing.
67 “I Love You More Than Words Can Say” | Otis Redding (1968)
I knew this moment was coming and I've was dreading it, but it's now time to talk about Otis Redding's premature death at the age of 27. He was such a deep feeling, emotionally passionate individual that it seems impossible he could've conveyed so much through his music at such a young age. Witness "I Love You More Than Words Can Say," a song which positively drips with the pain of living without the person you love. Written by Eddie Floyd and Booker T. Jones, it's a dark masterpiece where the narrator contemplates suicide to rid himself of his separation anxiety. The responsibility for making such a song believeable fell on Otis Redding and there's not a note recorded where he doesn't pull off that remarkable feat. The song was released a little over two months after Otis's passing and in that context it takes on an even broader scope than just a relationship. Now it seems like he's talking to his family, friends, fellow musicians, and fans. A love letter of sorts, a final plea for understanding.
Also Recommended: "Security"
66 “A Tribute to a King” | William Bell (1968)
Otis, Otis Redding was his name
Without his soulful singing
This old world won't be the same
One of the more heartfelt and heartbreaking songs in the entire Stax catalog came from Otis Redding's friend, William Bell (co-written with Booker T.), shortly after Otis's death in a plane crash on December 10, 1967. A musical eulogy, its simplicity is its greatest quality. There's no need to embellish a word. It's just how musicians express themselves and a palpable feeling of sadness permeates every mournful word. It's heavy and beautiful at the same time, reflecting the man himself. It was actually made as a gift to Otis's widow, Zelma, and not planned to be a formal Stax single. When Zelma heard it she asked that it be released so the world could hear it, too, and the rest is history.
65 “My Whole World is Falling Down” | William Bell (1969)
I'll say it until I'm blue in the face. William Bell was the best kept secret on the Stax roster, ranking right up there just below Otis Redding and Sam & Dave and right alongside Carla Thomas, Booker T. & the MGs, the Staple Singers, and Johnnie Taylor. One of his finest songs was 1969's "My Whole World is Falling Down," a classic 60's soul ballad about losing your lady. I mean, that's the very reason why soul music became a sensation in the 60s. It captured the many faces of love and all the emotions that come with it. Either your were trying to get with your baby, trying to keep your baby, trying to get your baby back, or mourning the loss of your baby. End of story. William covered every angle as well as anyone else, bar none. Even better, he wasn't afraid to admit when he fucked up. "My Whole World is Falling Down" may not be as universally-known as David Ruffin's similarly-themed "My Whole World Ended (The Moment You Left Me)," but it's at least its equal, if not its superior.
64 “(Do the) Push and Pull (Part 1)” | Rufus Thomas (1970)
I am the lord of the dance said he...
-Sydney Carter
Years after Rufus began dancing, he returned in 1970 with another #1 R&B dance smash with the "Push and Pull." Talk about total commitment! Talk about staying power! Plus, the dance was far easier to do than "The Dog" which could strain the hamstrings of anyone above the age of 40. The song wouldn't work without Rufus as your instructor thanks to his inexhaustible renewable energy source and eternally youthful persona. The World's Oldest Teenager had struck again. Stax's own version of Dick Clark.
63 “I’m Going Home” | Prince Conley (1961)
One of the earliest Stax singles, Prince Conley's "I'm Going Home" was released on Satellite Records, Stax's earliest incarnation and also the name of the record shop connected to the Stax studios on McLemore Avenue (run by Stax co-founder Estelle Axton). The song features a cool little guitar line and a loping tempo that borders on country & western with a little Coasters-esque vibe tossed in for good measure. Some organ and horns add just the right amount of that trademarked Memphis soul. The combination of these elements makes this single sound unlike anything else on Stax, which is what makes it so special. I heard one writer call this song a "mysterious Memphis pearl" and I can't do better than that, so I'll steal it. Speaking of mysteries, Conley disappeared after this song was released and I have no idea what happened to him.
Side Note: This 45 is the first known recording featuring Steve Cropper on guitar.
62 “Never Like This Before” | William Bell (1966)
Ah, there's nothing better than finding a lover who pushes all of your buttons, some you didn’t even know you had. On "Never Like This Before" we find the wildly underrated William Bell leveling up in the romance department. And who could blame him for being excited about it? She's “as sweet as canned soup” after all! Uh, whatever works, I guess. I wonder if that line would work on a girl in 2026? I seriously doubt it, but back in 1967, from a man as handsome as William Bell, it landed. Mmm-Mmm good!
61 “I Can’t Turn You Loose” | Otis Redding (1965)
As referenced earlier, the Blues Brothers were responsible for bringing both Booker T. & the MG's "Time is Tight" and Otis Redding's "I Can't Turn You Loose" to a wider audience. Both John Belushi and Dan Aykroyd had a deep love for soul music and stacked their band with ringers for maximum street cred. Shockingly, it resulted in some pretty good white soul music even if it was a bit of a gimmick. But make no mistake, Otis Redding's original is the genuine article. In yet another unfathomable move, Stax put the song on the B-side of "Just One More Day," but once again radio DJs made the correct decision and flipped the record over and played the more jumping track on Side-B. Smart move. The song was also a staple of Otis's live shows and likely caused him to lose about two pounds of sweat during its sub-3:00 run time. If you're looking for a soul music workout, look no further.
60 “Soul Finger” | The Bar-Kays (1967)
Easily the most deliriously nonsensical song in the Stax catalog, but its madcap construction and demented execution is what makes it so great. The exclamation "Soul Finger!", which is repeated throughout the song by children recruited from the street outside the studio (who were paid in Coca Cola), doesn't really mean anything specific, but it is assumed to be a soul take-off on the James Bond film Goldfinger. That sounds plausible. The track might have been just another mid-level Stax instrumental without Isaac Hayes and David Porter's zany idea for the chorus. Ben Cauley, the Bar-Kays trumpet player, is credited for starting off the track with a whimsical snippet from "Mary Had a Little Lamb". Who thinks of shit like that? Why?
Writer's Note: Sadly, just a few months after this song was recorded, Ben Cauley was the sole survivor of the plane crash that killed Otis Redding and four of his Bar-Kays bandmates.
59 “I Thank You” | Sam & Dave (1968)
Thanksgiving is coming up, so it's that time of year where we give Sam & Dave's "I Thank You" a dust-off. The Dynamic Duo's curators-in-residence, Isaac Hayes & David Porter, appreciate your patronage. Imagine having "I Thank You" as an A-side and "Wrap It Up" as a B-side. Talk about Double Dynamite! When Atlantic Records sent these guys down to work with Stax and had the label release their records, it was the single greatest tactical move record exec Jerry Wexler ever made with the only competition being the time he sent Aretha Franklin to record at FAME Studios in Muscle Shoals, Alabama. Even then, I'll give the nod to the catalogue of Sam & Dave any day. The marriage lasted for much longer anyway.
58 “Double Up” | C.L. Blast (1967)
Doubling-up is a time honored tradition in America. The double-play will get you out of a jam, the double-decker ice cream cone will get you into a sticky situation, the double-cheeseburger will add to your waistline, the double-bubble will get your drunk, the double-entendre will get you a double-take, the double-decker bus will get you a doubly-good view, the double-down will make you lose (or win) double the money. But can you double-up on love? Doubling up on anthing is a risk, but that's arguably the biggest gamble of all. It also yields the biggest potential reward (depending on whom you ask, of course). C.L.'s real name was Clarence Junior Lewis, and there's absolutely no explanation as to why that equates to C.L. and not C.J., but I'll leave that for another day. Somehow the great and somewhat goofy "Double Up" was put on the B-side of a wildy inferior A-side titled "I'm Glad to Do It." Suffice it to say, this track is twice as good as that one.
57 “Hijackin’ Love” | Johnnie Taylor (The Soul Philosopher) (1971)
I will no longer hear this song without thinking of my mom, bless her big heart (RIP). At dinner one day, she was updating me on some family activities and she mentioned that my niece got a job as a "hikacking instructor" in Minnesota for the summer. She meant "kayaking" of course, but from that moment forward, whenever our family references kayaking, we call it "hijacking" instead and then laugh our asses off for a while in her memory. But I digress. Johnnie Taylor, as this list will only reinforce, was full of advice for people in relationships. You could even say he was obsessed with such matters. Which is one of the reasons Stax started adding "(The Soul Philosopher)" after his name on his 1970's recordings in an attempt to rebrand him as the Dear Abby of Stax presumably. "Who's Making Love" told carousing men that their "old lady" was making love to someone else while they were out making love on the sly to some other lady. "Cheaper to Keep Her" told men the financial ramifications of leaving your wife and kids. "Take Care of Your Homework," a sequel of sorts to "Who's Making Love," warned that if you don't take care of your wife at home, somebody else will. The list goes on. "Hijacking Love" covered the same issue, but in reverse. This time the advice was to the ladies. "If somebody can steal a jet plane / Baby, right from out of the sky / Somebody will snatch your man / Right out from under your eye." The inference being, do your man right or he'll find someone to do your job for you. Hey, it was the early-70s! That kind of shit wouldn't fly today, but back then it was a different story. If you're like me, you prefer your advice packed inside of a deep funk workout and that's what makes this song such a sleeper in the Philospher's canon. It takes off and lands on the one, right on time, every time.
Also Recommended: "Hijackin'" B-side "Love in the Streets (Ain't Good as the Love at Home)". Should've been a double-A side.
56 “Bed of Roses” | Judy Clay (1968)
Please allow me to introduce you to one of my favorite female soul singers ever. A singer who never got her just due commercially although she has the respect of soul music lovers everywhere: Ms. Judy Clay of Fayetteville, North Carolina. She had such a natural soulful voice; tough and weathered, like someone who had seen some things and lived some lives. I don't think she was high on the hierarchy at Stax as far as the top-tier material goes, but she brought everything she had to every track she was given, nailing some gems of her own as a solo artist or as a duet partner with William Bell (one classic in particular still to come). "Bed of Roses" is my favorite solo number from Judy, a real sleeper in the Stax catalog that deserves much more than cult status among soul aficionados.
55 “Don’t Tell Your Mama (Where You’ve Been)” | Eddie Floyd (1969)
The creepy factor of this song may be dialed up to 10, but there's no denying it's still a great R&B number. That's what matters, I think. It was also the late-60s and we were more tolerant back then (or so I've been told). As each verse unfolds more red flags pop up in Eddie's apartment than you'd find at the Kremlin. A complete list follows:
Eddie's expressed intention is to take a girl home and "show [her| how a woman acts...when a man gets to feelin' that he's got to have a love affair." (RED FLAG)
He knows she "might be afraid." (RED FLAG)
Following this, he has some follow up instructions in the chorus: "Don't tell your mama where you're going / Don't tell your mama where you been." That's just plain disturbing. (RED FLAG)
Next up: "I'd like to show you how to kiss my lips, now / I'd like to show you how to shake your hips /Those are all the things a pretty girl oughta know how to do." How magnanimous of him. (RED FLAG)
And just to be sure, we get the cringe chorus repeated a couple more times to ensure it is understood. (GIANT RED FLAG)
Also Recommended: "Don't Tell Your Mama" B-side "Consider Me." Now that's a better approach, Eddie!
54 “Mr. Pitiful” & "That's How Strong My Love Is" | Otis Redding (1964)
53 “Fa-Fa-Fa-Fa-Fa (Sad Song)” | Otis Redding (1966)
52 “The Happy Song (Dum Dum)” | Otis Redding (1968)
This triple play from Otis focuses on his reputation as a singer of sad songs and/or ballads early in his career. He wrote "Mr. Pitiful" to acknowledge and own that label; a proactive tactic that silences the haters 'til this very day. To one-up himself, he then wrote "Fa-Fa-Fa-Fa-Fa" and parententhetically subtitled it "(Sad Song)" as if doubling-down on his downcast image. Later, he decided to counter that reputation with the tongue-in-cheek "Happy Song" and subtitled it "(Dum Dum)" for good measure. Whether "Dum Dum" is the right way to convey happiness is irrelevant. He still did it and even better, it totally worked. All three of the songs are great in their own way, be they happy or sad. Ironically "The Happy Song (Dum Dum)" was released posthumously which tempered the mood of the song somewhat, altering it from lighthearted to bittersweet at the time. Still, it makes me happy that he felt this way at the time and I'll take solace in that.
Side Note: You may have noticed I snuck in "Mr. Pitiful" B-side "That How Strong My Love Is" to cheat the system a little bit. Yes, another classic Otis ballad and another amazing Volt B-side. Talk about your bottomless well of riches!
51 “Jump Back” | Rufus Thomas (1964)
Rufus Thomas was in charge of keeping things light at Stax (an unofficial, but essential responsibility for the label’s Clown Prince), and almost every single he released is packed with infectious energy and unbridled joy. We all know him for “Walking the Dog,” of course, but he had a bunch of other gems in his arsenal. “Jump Back” is one of his finest moments. If it existed, the song would be elected to the Background Singers Hall of Fame on the first ballot. After one listen, you’ll wish you coulda been among those circling the background mic answering Rufus’s every exhortation. How often are the background singers the best part of a song? Here's one example.
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The Pickled Priest Guide to the 101 Greatest Stax Singles, Part Two - Songs 50-1, Coming Soon!
Stay in a soul frame of mind until then.
Cheers,
The Priest