In the words of ’80s pop-soul group Shalamar, it was “a night to remember”! Hard to believe that I was witnessing the likes of Isaac Hayes, Mavis Staples, Booker T & The MGs (Booker himself with original members Steve Cropper and Duck Dunn), William Bell, Eddie Floyd, The Mar-Keys, Mable John, The Soul Children and Rance Allen - all back-in-the-day Stax recording artists - along with new members of the recently-revived imprint on the very same stage.

It’s hard to describe the energy, excitement and pure soulfulness of the occasion: before a packed audience at The Orpheum Theater near world-famous Beale Street, we witnessed a veritable non-stop night of emotion, memories flooding back for many of the faithful few who have been listening to the sound of Stax since the early ’60s while enjoying and appreciating the new crop of artists continuing the label’s much-heralded legacy.

Hosts Randy Jackson (of “American Idol” fame) and Chuck D. (of Public Enemy) kicked it all off with a fitting tribute to Rufus & Carla Thomas who provided Stax with its first hit single, “‘Cause I Love You” in 1959. Eddie Floyd was first up, bringing the crowd to its feet (for the first of many times during this momentous occasion) with his 1968 hit with “I’ve Never Found A Girl” while fellow soul man William Bell followed recapping his ‘68 classic duet with the late Judy Clay, “Private Number” (which was the first No. 1 hit for Stax in the UK).

We were then treated to one of the standout performances of the night: the distinguished Mable John (sister of the late legendary Willie John, the very first female artist signed to Motown, a Los Angeles-based minister and now author of two books) gave her all with her 1966 Stax winner, the Hayes & Poter-penned and produced “Your Good Thing (Is About To End),” complete with personal testimony!

Almost unanimously, a post-show poll revealed that The Soul Children (likely the least well-known of the assembled Stax roster) were essentially the evening’s showstoppers. Original male vocalists J. Blackfoot (of “Taxi” fame) and Norman West along with two newer female singers not only lived up to their group name but offered a veritable definition of late ’60s and early ’70s soul music. Starting out with the uptempo “Hearsay,” the quartet turned in a stunningly emotive version of their epic single “The Sweeter He Is,” with West and Blackfoot offering deep soul pleading culminating in a throwback to ’60s R&B performances with Blackfoot being ‘dragged’ offstage by the other group members, James Brown-style. Amazing!

The first of the new breed of Stax artists, Angie Stone (whose label debut is due out in the fall) offered a heartfelt rendition of Shirley Brown’s 1974 smash “Woman To Woman,” noting that the song was one of the first she learned as a young girl. Circumstances prevented Shirley from performing with Angie as originally planned; nonetheless Angie acquitted herself well, paying tribute to Shirley for her early inspiration.

Those who know their Stax history will recall that The Mar-Keys were not only early chartmakers for the fledgling label in the early ’60s but played horns on virtually every hit to come out of the Memphis stable. Fronted by Wayne Jackson, the group brought one and all to its feet with the unforgettably funky classic “Last Night.” And what better way to follow than with an appropriate tribute to the company’s most renowed ’60s hitmaker, the late, great Otis Redding. Sons Dexter and Otis III - introduced by Ben Cauley (the surviving member of the original Bar-Kays who perished with Redding in that fateful 1967 air crash) - offered “Try A Little Tenderness” and “Hard To Handle,” evoking memories of their father and his unquestionable contribution to the world of music.

We’re finishing off the first part of our report on this Stax super event with another New Stax signee, neo-soulstress N’Dambi who - clad in a ’70s-style mini-dress, boots and Afro to match! -
gave us her take on the Luther Ingram perennial “If Loving You Is Wrong (I Don’t Want To Be Right)” reminding us all of how many great songs have been a part of the Stax catalog.

To be continued…

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