As soul music historians have noted, 1968 was a tough year for Stax Records. The tragic death of the label’s biggest artist, Otis Redding at the end of ’67 coupled with the discovery that the fine print on the agreement between at-the-time distributors Atlantic Records and the burgeoning Memphis-based company meant that ownership of all its masters became the property of Atlantic when Stax changed distributors was a double whammy for original owners, Jim Stewart and Estelle Axton.

Former Washington disc jockey Al Bell (who had joined the Stax staff in ’65) was running the day-to-day operations of the label and as the company underwent more changes, he saw the need to broaden the pool of talent on the roster beyond the traditional base of Memphis. Interesting to note that as far back as his arrival at Stax in the mid-‘60s, Bell had been looking to Detroit as the source for some of the label’s expansion of artists. Mable John, sister of the late Willie John and the first female recording artist at Motown and Eddie Floyd, a former member of The Falcons who was raised in the Motor City, were both Bell signings. By 1970, Bell had also brought former Marvin Gaye duet partner Kim Weston into the Stax fold; a year earlier, Bell’s association with Detroit producer Don Davis brought him The Dramatics.

Originally a sextet, the Detroit-based group had enjoyed a smidgen of national chart recognition in 1967 with “All Because Of You” on the Sport label after a brief spell with Motor City entrepreneur Ed Wingate (owner of the famed Ric Tic and Golden World imprints). Pacting with producer Don Davis’ company was the conduit that led The Dramatics to Stax – and more specifically to the Volt label.

Davis, originally a jazz guitarist, had met The Dramatics during sessions for Wingate; after Davis achieved massive success with Johnnie Taylor at Stax in 1968 with “Who’s Making Love,” he became the bridge for a musical ‘marriage’ between Memphis and Detroit, masterminding more hits for Taylor – and giving The Dramatics the shot they needed with tunes like the now classic “Whatcha See Is Whatcha Get” (apparently inspired by the phrase used by comedian Flip Wilson for an NBC variety show he hosted at the time), “Get Up, Get Down” and the timeless “In The Rain.”

Various personnel changes ensued – including the arrival of L.J. Reynolds, formerly of the group Chocolate Syrup – and listening to the recent “Very Best Of The Dramatics,” a wonderful eighteen-track collection issued by Concord is a reminder that while funky grooves and Southern deep soul ballads had provided the musical foundation for Stax, its growth into a more expansive enterprise had resulted in some beautifully-executed sophisto-soul music and the harmonic Dramatics helped spearhead the change.

David Nathan
Aka the British Ambassador Of Soul
Owner, www.soulmusic.com, www.soulmusicstore.com