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A New PBS Special Revisits the Stax/Volt Revue’s 1967 European Tour

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By Jon Pareles

Jan. 2, 2009

Seeing the brash Southerners who forged Memphis soul music at Stax Records must have been a startling experience for audiences on the 1967 Stax/Volt Revue tour of Europe.

Dapper and raw, hard-working and audacious, rooted in gospel while exulting in sensuality, Stax stars like Otis Redding and Sam & Dave were song-and-dance men who knew how to bring audiences to their feet. Their band Booker T. and the M.G.’s plus the Mar-Keys as the horn section was racially integrated and musically unstoppable.

The black-and-white concert footage of “Sweet Soul Music: Stax Live in Europe 1967,” to be shown Monday at 8 p.m. on WLIW (Channel 21) and nationwide on PBS in March, is a chance to see Stax’s soul men at their youthful peak; Redding would die in a plane crash later in 1967. The concert also shows African-American culture raising a ruckus on staid foreign turf.

Stax Records did not choose timid singers. The tour lineup was all belters Redding, Sam & Dave, Eddie Floyd and Arthur Conley who bounced percussive phrases off the band’s unswerving beat. They were R&B troupers from an era when performers didn’t need to lip-sync when they danced. The Stax singers commanded the stage with moves no choreographer taught them, and they didn’t rest until their audience became an ecstatic congregation.

The revue was videotaped for television on April 7, 1967, in Oslo. (The PBS special is a shorter version of a DVD, “Stax/Volt Revue: Live in Norway 1967,” which is available from the Stax Museum in Memphis, staxmuseum.org.) The Norwegian audience, which gets generous camera time throughout, looks earnestly appreciative as Booker T. and the M.G.’s steam into “Green Onions,” with Steve Cropper flicking out vicious jabs of blues guitar. When the singers take over, they don’t settle for head-bobbing and hand-clapping as a response. One after another, they knock themselves out. Just about every song ratchets itself up, drops back down and then pushes toward a double-time gospelly surge over the top.

Mr. Conley praises fellow soul singers in “Sweet Soul Music,” twitching and hopping across the stage, insisting that the audience call out names like James Brown. Mr. Floyd, moving with a backwards, gliding step that looks oddly balletic, revs up the crowd during “Raise a Hand” until it swarms toward the stage, to be restrained by uniformed security guards. Mr. Floyd calls the men in uniform “soldiers on the front line” before inviting them to join in.

But they are only warm-ups for Sam & Dave and for Redding. Sam & Dave, flaunting the contrast and blend between Sam Moore’s pearly tenor and Dave Prater’s rugged baritone, volley vocal lines while they shimmy, twirl and strut all over the place. One well-chosen camera shot, amid the otherwise workmanlike direction of the old TV footage, shows the duo’s dancing feet alongside the synchronized steps of the Mar-Keys. During “Soothe Me,” even the TV crew succumbs to the frenzy; the camera starts swooping in and out, as if Sam & Dave were singing “Zoom Me.”

Redding would “slosh through puddles of Sam & Dave’s sweat to get out to the stage,” says the trumpeter Wayne Jackson in an on-screen interview, “and then he would add a gallon of his own sweat to the lake.” Redding arrives with a huge smile to sing about sorrow in “Fa-Fa-Fa-Fa-Fa (Sad Song).” He sounds plaintive and then exultant in “My Girl,” accelerates into overdrive for “Shake,” matches Al Jackson’s rat-a-tat drumming with stamping footwork in “Satisfaction” and carries “Try a Little Tenderness” from bluesy concern to soul catharsis.

To the bewilderment of the M.C., Redding struts offstage and returns again and again and again, barking out the chorus while the band slams away and the crowd seizes the chance to rush the stage. Moments later the show is over, and the Norwegian audience decorously files out wondering, perhaps, what had just hit it.

Picture captions on Saturday with a music column about a film from the 1967 Stax/Volt Revue tour of Europe that was broadcast on WLIW, using information provided by the station, misidentified several performers. The identities were reversed for the picture of Sam Moore and Dave Prater (Sam & Dave). Mr. Prater was on the left and Mr. Moore on the right. In the picture of Booker T. Jones and three members of his band, the man at the right was Lewis Steinberg, not Donald Dunn. In a picture of a saxophone player and the trumpeter Wayne Jackson, the saxophonist was Andrew Love, not Floyd Newman.

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Stax/Volt Revue: ‘Live in Norway 1967’ (Reelin’ in the Years)

By Blair Jackson

From the same folks who brought you the Jazz Icons series comes another fine example of European TV documenting American music better than anyone did in this country. This time it’s the Stax/Volt revue in Oslo, Norway, of all places, and it’s another good one. The black and white program shares the exceptional visuals of the jazz DVDs, though the sound is a little more hit or miss—perhaps because it’s mostly electric instruments, so the mix was trickier for the Norwegian engineers. There are definitely sporadic level and balance issues, but mostly it sounds quite good.

And it’s a strong program musically. It opens with a couple of tunes from Booker T. & the MGs, who are the house band for the show, and they lay down a great foundation for what’s to come. I always forget how good Steve Cropper was—certainly he was light years ahead of most conventional rock guitarists in 1967 in terms of both technique and taste. But all the players are top-notch. After the MGs cook up some “Green Onions,” the Mar-Keys horn section comes out for a couple of numbers and then you’ve got the Memphis Sound completed. The middle part of the concert is devoted to rave-ups by Arthur Conley (“Sweet Soul Music,” complete with tributes to other contemporary soul stars) and Eddie Floyd “Raise Your Hand,” but not “Knock on Wood”? What’s that all about?), and both of them spend a lot of time getting the crowd into it, bringin’ it up and takin’ it down; showman stuff. But then the last third really kicks into overdrive. Sam and Dave bring some much-appreciated harmony singing to the proceedings (as well as some fine dance moves) over the course of four songs, and then the great Otis Redding wraps things up with an electrifying five-song set of hits—two months before his historic appearance at Monterey Pop (and nine months before his death), Otis is definitely on top of his game. He doesn’t work the crowd like Sam & Dave do, but he’s still in complete control; what a singer!

Bonus features include commentary from Steve Cropper and others, a look back at the tour, and the usual fantastically informative liner notes, this time by Rob Bowman.

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Published: 2007/10/26 by Brian Ferdman

Reelin’ In the Years Productions DVD 7030

In the Spring of 1967, Atlantic Records funded a European tour for the stars of its partner label, Stax Records, the Memphis-based soul imprint that was affectionately known as “the little engine that could.” The tour was the brainchild of Phil Walden, manager of Stax star Otis Redding, and aside from Redding, it was the first time that any of these artists had ever performed outside the United States. When they arrived in Europe, they were surprised to find mostly adoring crowds who were enamored with their music. The second to last show of the tour was captured for Norwegian state television, and 40 years later, the 75 minutes of remaining footage from this landmark show in Oslo has been deftly assembled by a crack team of editors, who have successfully re-shaped and re-created this April 7, 1967 performance of soul music titans.

The Oslo gig was somewhat unique in that soul music was essentially an unknown entity in Norway. Despite the fact there was snow falling, around 1,000 people who were largely unfamiliar with the Stax sound showed up for both the early and late shows. House band extraordinaire Booker T. & The M.G.’s got the ball rolling with the thick funk of “Red Beans and Rice.” Then they whipped into their old chestnut, “Green Onions,” pushing the tempo into a heavy drive and quickly winning over the audience. The three piece horns of The Mar-Keys joined the fray, delighting the audience with “Philly Dog,” “Grab This Thing,” and “Last Night.” This combination of musicians would remain on stage throughout the night, showcasing the formidable skills of rock-solid bassist Donald “Duck” Dunn, the crunchy leads of guitarist Steve Cropper, and the remarkably effortless grooves laid down by drummer Al Jackson, Jr. Despite having a reputation for being “heavy-assed,” the Norwegian crowd was clearly sucked into this music, clapping and grooving along as if they had been listening to Stax for their entire lives.

But the show had only just begun.

As soon as Arthur Conley graced the stage, everything ramped up to another level. The gravelly-throated vocalist was a prot of Redding, and his spin on “In the Midnight Hour” absolutely riveted the room. His hit “Sweet Soul Music” featured him dancing across the stage, invoking the names, vibes, and moves of the premier soul singers of the day, while heads in the crowd shook with glee. Eddie Floyd was the next man out, and he dropped the tempo a bit with “Raise Your Hand.” Nevertheless, bobbing and weaving with his patented Duke of Earl-inspired steps, it took him about 20 seconds to bring everyone to their feet. Then he descended the venue’s floor and whipped the throngs into a frenzy, pissing off the soldiers who were acting as security guards. As scores of young people surrounded him and raised their hands while grooving in a kind of newfound social freedom, it was evident that at this particular moment in time, Floyd had just created the funkiest moment in Norwegian history.

Never to be outdone, the illustrious Sam and Dave ran out on to the stage to burn through four potent numbers. After ending the high-energy “You Don’t Know Like I Know,” the duo shifted into the soulful pinings of “Soothe Me.” With Sam Moore twirling the microphone and prowling across the edge of the stage, the two entertainers were just beginning their liftoff sequence. The removed their jackets, and the heartfelt, slow burn of “When Something Is Wrong With My Baby” took the spotlight, gallons of sweat pouring off Sam and Dave’s faces. Then the explosion arrived in the form of “Hold On! I’m Comin’.” This cut was an incredible combination of powerhouse vocals, slick choreography, and electric improvisation by Booker T. & The M.G.’s. As the song progressed, Sam and Dave summoned the spirit of James Brown, gliding across the floor and working the crowd over like a rented mule. In a coda that seemed to last around three minutes, Sam and Dave exited, returned to dance across the stage, on the floor, in the audience, and then finally do a few windmills until Jackson pushed the tempo so fast that the band could barely avoid crashing through the ending.

How the Hell do you follow that? Well, if you’re name was Otis Redding, you relished the challenge. While he didn’t have the dance moves of Conley or Sam and Dave, Otis had an unparalleled voice and incredible charm. With his opening “Fa-Fa-Fa-Fa-Fa (Sad Song)” his million dollar smile radiated warmth throughout the hall, immediately pulling the audience into the palm of his hand and engaging them in a spirited call-and-response sequence. A master showman, Redding quickly had the crowd on the verge of climax, but like a Taoist lover, he slowed them down and teased their emotions with a growling version of “My Girl” that caused one young Norwegian to pass out in ecstasy. Then it was time to go full throttle and Redding made a beeline for the G-spot on racing versions of “Shake” and “Satisfaction.” The grand finale of “Try A Little Tenderness” caused the crowd to erupt with unbridled joy, thanks in no part to three separate false exits by Redding, with each return pushing the tempo faster and faster until every audience member was out of their seat and lunging toward the stage in orgasmic convulsions. There would be no encore because there was not enough oxygen left in the room.

This revue was brilliantly constructed to give the audience a series of peaks that continually rose higher and higher until Otis Redding blew the mountain apart. Every vocalist seemed to try to out-do each other, and it’s almost unbelievable to see how easily they were each able to consistently up the ante. Of course, this entire exercise would have been impossible without the Herculean efforts of Booker T. & The M.G.’s and The Mar-Keys, who were somehow able to smoothly improvise through every unexpected vamp, dance break, or crowd visit from these boisterous singers.

Two months after this performance, the Stax crew would perform at The Monterey Pop Festival, wowing everyone and going global with their iconic, soulful sounds. Seven months after that, Otis Redding would be dead. Arthur Conley would never recover from the loss of his mentor, quitting the music business altogether. Shortly thereafter, Stax would shift its focus away from Memphis and split with Atlantic, losing Sam and Dave, who would never again regain their popularity. Thus, this European tour was the start of a meteoric rise and eventual tragic fall for Stax records, but thankfully, Stax/Volt Revue Live in Norway 1967 captures the ascending spirit of this amazing little soul label from Memphis.

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Stax, Subcultures, and Civil Rights: Young Britain and the Politics of Soul Music in the 1960s

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Joe Street

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T he Stax/Volt Revue is a central event in the history of the Stax record label and a key moment in the transatlantic appreciation of soul music. Punningly titled “Hit the Road, Stax,” the Revue was the first overseas trip for many of its participants. It played to sold-out audiences in many of United Kingdom’s major cities, plus Paris, Oslo, Stockholm, Copenhagen and The Hague, between March 15 and April 8, 1967. 1 The Revue offered the first opportunity for UK soul fans to see all the musicians behind the Stax label’s recent successes, including Booker T. and the MGs, Sam and Dave, Eddie Floyd, and the label’s greatest singer, Otis Redding. It was not the first soul package tour to reach the United Kingdom—the Motortown Revue, showcasing Motown’s premier acts, played to a succession of disappointing audiences in 1965, for example—but it was at that point the most successful and significant. 2 Significantly, it exerted a lasting impact on soul music fans in the United Kingdom, and deserves consideration as an important moment in the long history of African-American transatlantic cultural and political crossings.

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Rob Bowman, Soulsville: The Story of Stax Records (London: Books with Attitude, 1997), p. 118.

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Norman Jopling, “America Hits Back with Tamla Motown Attack,” Record Mirror w/e March 20, 1965 pp. 6–7; Alan Stinton, “Motown Review,” Record Mirror w/e March 27, 1965, p. 13; Andy Gray, “The Sound of Motown,” New Musical Express (March 26, 1965), p. 9; Alan Smith, “Listen! In the Name of the Supremes,” NME (April 23, 1965), p. 12; Clive Richardson, Really Sayin’ Something: Memoirs of a Soul Survivor (New Romney: Bank House Books, 2010) pp. 21–28; Dave Godin, Motown’s UK representative, claims that there were more people on stage than in the audience at the Cardiff date. Jon Savage, “Dave Godin interview #1” February 11, 1995 at http://www.jonsav-age.com/compilations/godin-1/; Savage “Dave Godin interview #2,” July 1997 at http://www.jonsavage.com/compilations/godin-2/ (accessed November 4, 2010); Richard Williams, Obituary: Dave Godin Guardian October 20, 2004 at http://www.guardian .co.uk/news/2004/oct/20/guardianobituaries.artsobituaries (accessed November 4, 2010). See also Brian Fidler, email to author, February 10, 2011, author’s collection.

Roland Snellings, “Rhythm and Blues as a Weapon,” Liberator 5, 10 (October 1965) in Suzanne E. Smith, Dancing in the Street: Motown and the Cultural Politics of Detroit (Cambridge: Harvard University Press, 1999) p. 171.

Guy and Candie Carawan (eds), Freedom is a Constant Struggle: Songs of the Freedom Movement (1968) collected in idem. (eds) Sing for Freedom: The Story of the Civil Rights Movement Through its Songs (Bethlehem, PA: Sing Out, 1990). The songs include Nina Simone’s “Mississippi Goddam” (pp. 188–193); “People Get Ready,” “Never Too Much Love,” “Gonna Be A Meetin’ Over Yonder,” and “Keep on Pushing” by Curtis Mayfield (pp. 288– 293, 308–309); and adaptations of soul hits “Land of a Thousand Dances,” written by Chris Kenner, and Sam Cooke’s “It’s Got the Whole World Shakin,’” (pp. 296–297, 300–303).

See, for example, Brian Ward, Just My Soul Responding: Rhythm and Blues, Black Consciousness and Race Relations (London: UCL Press, 1998); Smith, Dancing ; Joe Street, The Culture War in the Civil Rights Movement (Gainesville: University Press of Florida, 2007); Waldo E. Martin, No Coward Soldiers: Black Cultural Politics in Postwar America (Cambridge: Harvard University Press, 2005), pp. 44–81; Craig Werner, A Change is Gonna Come: Music, Race, and the Soul of America (New York: Plume, 1998); Craig Werner, Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul (New York: Crown, 2004). There is also a significant body of work that links jazz to the politics of the 1960s. Key works include Frank Kofsky, Black Nationalism and the Revolution in Music (New York: Pathfinder, 1970); Scott Saul, Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties (Cambridge: Harvard University Press, 2003);

Iain Anderson, This is Our Music: Free Jazz, the Sixties, and American Culture (Philadelphia: University of Pennsylvania Press, 2007); Ingrid Monson, “Monk Meets SNCC,” Black Music Research Journal 19:2 (2000): 187–200;

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Ingrid Monson, Freedom Sounds: Civil Rights Call Out to Jazz and Africa (Oxford University Press, 2007).

For the civil rights movement and the wider world, Mary L. Dudziak, Cold War Civil Rights: Race and the Image of Democracy (Princeton: Princeton University Press, 2000);

Thomas Borstelmann, The Cold War and the Color Line: American Race Relations in the Global Arena (Cambridge: Harvard University Press, 2001);

James H. Meriwether, Proudly We Can Be Africans: Black Americans and Africa, 1935–1961 (Chapel Hill: University of North Carolina Press, 2002).

For the United Kingdom, Kennetta Hammond Perry, “‘Little Rock’ in Britain: Jim Crow’s Transatlantic Topographies,” Journal of British Studies 51 (2012): 155–177;

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Joe Street, “Malcolm X, Smethwick and the Influence of the African American Freedom Struggle on British Race Relations in the 1960s,” Journal of Black Studies 38:6 (2008): 932–950;

Rosie E. Wild, “‘Black Was The Colour of Our Fight’: Black Power in Britain, 1955–1976” (PhD Thesis: University of Sheffield, 2008) and the articles in this volume.

Penny M. von Eschen, Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War (Cambridge: Harvard University Press, 2004);

Uta G. Poiger, Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany (Berkeley: University of California Press, 2000) esp. pp. 137–167.

over the Atlantic with his right foot planted in Manhattan. This construction of the United States—the southern musicians who played key roles in making the album were sidelined in the album’s publicity, which explicitly identified Manhattan as a synecdoche for the United States—reinforces the informal abrogation of the South, and particularly southern working-class culture, in popular representations of the United States. Rod Stewart, Atlantic Crossing (New York: Atlantic LP, 1975).

David Cooper (ed.), The Dialectics of Liberation (Harmondsworth: Penguin, 1968); Stokely Carmichael (Kwame Ture) with

Ekwueme Michael Thelwell, Ready for Revolution: The Life and Struggles of Stokely Carmichael Kwame Ture (New York: Scribner, 2003), pp. 572–581;

Paul Robeson, Here I Stand (London: Dennis Dobson, 1958), pp. 62, 64;

Martin Bauml Duberman, Paul Robeson: A Biography (New York: New Press, 1989), pp. 227–228.

Phil Walden quoted in Dave Godin, “R&B and the Long Hot Summer,” Soul Music Magazine (March 1968) in Hanif Kureishi and Jon Savage (eds), The Faber Book of Pop (London: Faber and Faber, 1995), p. 324.

Guralnick, Sweet p. 46; Peter Guralnick, Dream Boogie: The Triumph of Sam Cooke (London: Little Brown, 2005), pp. 512–513, 540–541, 607–608;

Greil Marcus, Like A Rolling Stone: Bob Dylan at the Crossroads (London: Faber and Faber, 2005), pp. 39–42, in which Marcus asserts that Cooke’s is the (infinitely) superior song. Franklin’s cover of “Respect” was recorded on February 14, 1967. Liner notes, Aretha Franklin, I Never Loved A Man The Way I Love You (Los Angeles: Atlantic CD reissue, 1995; originally Atlantic LP, 1967).

Taylor Branch, At Canaan’s Edge: America in the King Years, 1965–1968 (New York: Simon & Schuster, 2006), pp. 697–701, 706, 730–738; Bowman, Soulsville pp. 19–20, 14 4.

“Dr. King Leads Chicago Peace Rally” New York Times March 26, 1967 p. 44; Clayborne Carson, In Struggle: SNCC and the Black Awakening of the 1960s (Cambridge, MA: Harvard University Press, 1981), pp. 239–241.

Marshall Frady, Jesse: The Life and Pilgrimage of Jesse Jackson (New York: Random House, 1996), p. 244; Bowman, Soulsville , pp. 202–203, 269–270. Note King’s “Where Do We Go From Here?” address to the SCLC, August 16, 1967 in James M. Washington (ed.), A Testament of Hope: The Essential Writings and Speeches of Martin Luther King, Jr. (San Francisco: Harper, 1986), p. 246. The Wattstax litany can be viewed at http://www.youtube.com/watch?v=KWIFtVpaIPI (accessed May 23, 2011) and is on Wattstax: The Living Word (Stax LP, 1972; Atlantic CD, 2008). Jackson’s poem was also famously performed on a 1971 edition of Sesame Street , viewable at http://www .sesamestreet.org/video_player/-/pgpv/videoplayer/0/072cb03c-0329–429c-b6f6 – 502bcac4a946 (accessed May 23, 2011). The Eyes on the Prize documentary series episode “The Promised Land (1967–1968)” includes audio footage of Jackson and a crowd repeating the litany over images of the 1968 Poor People’s Campaign. The images and audio are not synchronized, however, and the credits do not reveal the source of the audio. Paul Stekkler, Jacqueline Shearer (producers, writers, directors), Eyes on the Prize: America’s Civil Rights Movement “The Promised Land (1967–1968)” episode (PBS DVD, 2006).

Benjamin W. Heineman, Jr., The Politics of the Powerless: A Study of the Campaign Against Racial Discrimination (London: Oxford University Press, 1972), pp. 1, 16–20; Street, “Malcolm X”; Dominic Sandbrook, White Heat: A History of Britain in the Swinging Sixties (London: Little, Brown, 2006), pp. 661–663;

Stan Taylor, The National Front in English Politics (London: MacMillan, 1982), pp. 17, 18;

Dilip Hiro, Black British, White British: A History of Race Relations in Britain (London: HarperCollins, 1991 edition), pp. 60, 210–211;

Paul Foot, The Rise of Enoch Powell (Harmondsworth: Penguin, 1969), p. 90;

Donald Hinds, Journey to an Illusion: The West Indian in Britain (London: Bogle-L’Ouverture Press, 2001), pp. 48, 51, 53, 55, 58, 74–89, 122–124. Despite writer Johnny Speight’s protestations, the extent to which Till Death ’s audience was laughing with rather than at Garnett’s racism remains moot. Note

Gavin Schaffer, “ Till Death Us Do Part and the BBC: Racial Politics and the British Working Classes, 1965–1965,” Journal of Contemporary History 45 (2010): 465–467, 470–471, 474.

Bowman, Soulsville , pp. 116, 118–121; Peter Guralnick, Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom , Reprint. (London: Penguin, 1986), p. 312; Telephone interview with Phil Saxe, February 11, 2011; telephone interview with Melv Kaye, February 3, 2011, transcripts in author’s collection. Recordings of the tour are available on three CDs: The Stax/Volt Revue: Volume One—Live in London (Atlantic LP, 1967 or CD, 1991); The Stax/Volt Revue: Volume Two—Live in Paris (Atlantic LP, 1967 or CD, 1991); The Stax/Volt Revue: Volume Three: Live in Europe—Hit the Road Stax (Atlantic L P, 1967 or CD, 1992). The Oslo show was filmed by Norwegian television and is currently available on the Stax-Volt Revue DVD (Universal, 2007). It gives a flavor of the intensity of the performances, and particularly of the ease with which Sam and Dave and Otis Redding manipulate their audiences.

Simon Frith, The Sociology of Rock (London: Constable, 1978) pp. 138, 141, 146; Ulf Lindbert, Gestur Gudmundsson, Morten Michelsen, Hans Weisethauent, Rock Criticism from the Beginning: Amusers, Bruisers, and Cool-Headed Cruisers (New York: Peter Lang, 2005), pp. 17–18. Copies of Disc and New Musical Express for 1967 were not available.

Frith, Sociology , p. 152; Dick Bradley, Understanding Rock ’n’ Roll: Popular Music in Britain, 1955–1964 (Buckingham: Open University Press, 1992), p. 90. A prime example of the relationship between the press offices and the papers is the case of The Monkees. The band was plastered over the pages of Record Mirror throughout 1967, in support of various releases, and coverage far exceeded that of any of the band’s contemporaries including The Beatles, whose releases in 1967 included Sgt. Pepper’s Lonely Hearts Club Band , the “Magical Mystery Tour” EP, and the singles “Penny Lane/Strawberry Fields Forever,” “All You Need is Love,” and “Hello Goodbye/I am the Walrus,” which were amongst the band’s most significant records.

Ronald Radano, Lying Up A Nation: Race and Black Music (Chicago: University of Chicago Press, 2003), p. 42 (see also p. 257).

These individuals included Animals vocalist Eric Burdon and Rolling Stones bassist Bill Wyman. Neil A. Wynn, “‘Why I Sing the Blues’: African American Culture in the Transatlantic World” in idem. (ed.), Cross the Water Blues: African American Music in Europe (Jackson: University Press of Mississippi, 2007), p. 15. Note Roland Barthes, “The Grain of the Voice” in Image—Music—Text: Essays selected and translated by Stephen Heath (London: Fontana, 1977), pp. 179–189. See, for example, John Storey, Cultural pp. 123–126 for the application of Barthes to twentieth-century popular music.

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Street, J. (2015). Stax, Subcultures, and Civil Rights: Young Britain and the Politics of Soul Music in the 1960s. In: The Other Special Relationship. Contemporary Black History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137392701_8

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Double DVD set celebrating Stax records, the soul label that defined the 'Memphis Sound' in the late 1960s and early 70s. 'Respect Yourself: The Stax Records Story' (2007) is a documentary about the label, which produced a catalogue of Top 100 records including such soul classics as 'Soul Man', '(Sittin On) the Dock of the Bay', 'Green Onions', 'Midnight Hour', 'I'll Take You There', 'Respect Yourself', 'Theme from Shaft' and many more. Stax also launched the careers of a who's who of soul music greats: Otis Redding, Sam & Dave, The Staple Singers, Isaac Hayes, Eddie Floyd, Carla and Rufus Thomas, Albert King and Booker T and the MGs, to name just a few. 'Stax-Volt Revue: Live in Norway 1967' is a film of the historic concert considered by many soul music fans to be one of the greatest line-ups of artists ever to grace the concert stage. It took place on April 7 1967 in Oslo, Norway and includes performances by Otis Redding, Sam & Dave, Eddie Floyd, Arthur Conley, The Mar-Keys and Booker T and the MGs.

Product details

Aspect Ratio ‏ : ‎ 4:3 - 1.33:1
Is discontinued by manufacturer ‏ : ‎ No
Rated ‏ : ‎ Exempt
Language ‏ : ‎ English
Product Dimensions ‏ : ‎ 19.1 x 1.8 x 13.7 cm; 83.16 g
Director ‏ : ‎ Robert Gordon, Morgan Neville
Media Format ‏ : ‎ PAL
Run time ‏ : ‎ 3 hours and 50 minutes
Release date ‏ : ‎ 25 Sept. 2007
Subtitles: ‏ : ‎ English, French, German, Spanish, Portuguese
Studio ‏ : ‎ Universal
ASIN ‏ : ‎ B000TJMOTC
Number of discs ‏ : ‎ 2
1,638 in Musical
20,891 in Drama (DVD & Blu-ray)

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Stax/Volt Revue - Live in Norway 1967

Stax/Volt Revue, Live in Norway 1967

By Miles Jordan

This article was published on 01.10.08

To celebrate the 50th anniversary of the Memphis-based Stax label (and its subsidiary, Volt), Concord recently released this 75-minute DVD. Recorded in Oslo in April 1967, the bulk of the DVD (55 minutes) has been available as a bootleg but this is taken from the master tapes. The star of the tour was Otis Redding, who died (at 26) just eight months later in a plane crash. Backed by the “house” band, Booker T. and the MGs—who open the show with their big hit, “Green Onions”—Redding works up a sweat on five songs. To watch him in action is to witness the sheer joy of his performance. On “Shake” and “Satisfaction,” he relentlessly speeds up the tempo, then ends the show with his usual finale, “Try a Little Tenderness.” Sam and Dave’s four-song segment—complete with killer dance moves—precedes Redding’s and they really rip it up, especially on “Hold On, I’m Comin’!” Before that the Mar-Keys work out on their big hit, “Last Night.” Two other singers, Arthur Conley and Eddie “Knock on Wood” Floyd, round out this sensational video that comes with a 24-page booklet and several extras. Get it while you can!

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All About the SOUL

Stax Volt Tour 1967

By Ibiza Steve June 10, 2017 in All About the SOUL

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Created 6 yr
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Ibiza Steve 4 posts

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previous topic which may be of help....

https://www.soul-source.co.uk/forums/topic/192304-uk-staxvolt-revue-march-april-1967/

Thanks for the link, I have contacted the person who was after material on the subject at that time and hope they reply but in the meantime any other info would be appreciated in particular did the Tour visit the Granby Halls Leicester ?

4th act down....not sure if complete?

https://www.bradfordtimeline.co.uk/mindex67f.htm

Thanks for the info, very helpful.

1 year later...

Guest Robert Rawlinson

I went to see Otis at Granby Halls , Leicester in the Stax/Volt Tour of 1967 with Mick Banner an older friend and music mentor who was 18 at the time. I can't remember the date and I haven't got the ticket now, I was only 16. To me at the time it was the most incredible experience. Otis was fantastic but we were also blown away by Athur Conley and Sam and Dave as well as the great backing from Booker T and the MGs and the Mar-Keys.

4 hours ago, Robert Rawlinson said: I went to see Otis at Granby Halls , Leicester in the Stax/Volt Tour of 1967 with Mick Banner an older friend and music mentor who was 18 at the time. I can't remember the date and I haven't got the ticket now, I was only 16. To me at the time it was the most incredible experience. Otis was fantastic but we were also blown away by Athur Conley and Sam and Dave as well as the great backing from Booker T and the MGs and the Mar-Keys.

I´m pleased you have mentioned this as I couldn´t find the Granby Halls as listed on the tour and yet I was convinced I listened to that concert, I never got a ticket but was outside listening through one of the exit doors on the Aylestone Road side. I was 15 and mad on the Stax sound.

Here's a full list of the tour:

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Stax/Volt Revue: Live in Norway 1967

Various artists.

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Recording date, allmusic review, user reviews, track listing, similar albums, moods and themes.

Mark Ludmon

freelance journalist writing about theatre

Review: The Seagull, Satirikon Theatre, Moscow (Stage Russia)

The Seagull is one of Chekhov’s most regularly staged plays, often revived in Britain and last year seen in a film version starring Saoirse Ronan and Annette Bening. Back in the writer’s native Russia, this canonical classic has been pulled apart by director Yury Butusov and refashioned into a visually stunning, rock ‘n’ roll-style production that can be seen, with subtitles, in UK cinemas and online via Stage Russia. Much of the familiar text remains intact, with naturalistic moments that remind us of the play’s dramatic power, but these are rare in an adaptation that constantly undermines and questions Chekhov’s drama, using Brechtian-style techniques that make sure you never forget this is all artifice. Scenes that are traditionally quiet and intimate are transformed by the actors yelling their lines, while key episodes are re-played repeatedly with different actors and different directorial choices, often with comic effect. The set, designed by Alexander Shishkin, is made up of flimsy timber frames and prominent stage lighting, with illuminated dressing-room make-up tables visible on either side. As Butusov himself declaims during one of his disruptive appearances on stage mid-performance, “Here’s theatre for you!” While much of the text and all of the main characters remain, some plot details are lost or obscured, which is likely to baffle anyone unfamiliar with the play. The core story can still be detected running through the spectacle, following the fortunes of a middle-aged actress, Irina, and her family and dependents on their country estate at the end of the 19th century. As they confront the frustrations of their lives, they welcome young wannabe actor Nina who finds herself attracted to Irina’s lover, self-obsessed writer Trigorin. However, the identities of the characters and their relationships are sometimes hard to infer, not just because text has been cut but because, in another act of iconoclasm, the ages of the actors and their roles do not match: for instance, Irina is played by Polina Raykina who is clearly much younger than Timofey Tribuntsev playing her son Konstantin. They are regularly joined by a “dancing girl” who has no direct correlation in Chekhov and has no part in the plot. Realism is challenged throughout, from the avant-garde staging to performances that are often overblown, soundtracked by Faustas Latenas’s grandiose music. It is at odds with the darkness of Chekhov’s original but perfectly complements its themes around performance and theatricality. It may lack the emotive force of a more conventional production of The Seagull but, in its visual virtuosity and delightful playfulness, it is a mesmerising, unforgettable experience.

Butusov’s inventive approach to theatre can also be seen in his production of Bertolt Brecht’s The Good Person of Szechwan for Moscow Pushkin Drama Theatre which is playing three performances at London’s Barbican Centre on 8 and 9 February 2019.

Watch The Seagull at https://www.stagerussia.com/the-seagull or see it on the big screen at Pushkin House in London on 11 February 2019 followed by a Q&A with director Yury Butusov. Details at http://www.pushkinhouse.org/events/2017/10/29/the-satirikon-theatres-screening-discussion-the-seagull-by-anton-chekhov

Originally published by BritishTheatre.com .