The horrific and cowardly events that transpired at Monday’s Boston Marathon are painfully difficult for all of us to understand, much less accept – even in the context of today’s tumultuous world. Despite our religious, political, and cultural differences here on planet Earth, I find it unfathomable that anyone would strive to kill or maim innocent people in order to illustrate their own barbarism and savagery.

I have worked within the music industry for the past 50 years, and have found time and again that poet William Congreve was correct when, in 1697, he wrote: “Music has charms to sooth a savage breast…to soften rocks, or bend a knotted oak…” When we were making music in Memphis at Stax Records in the 1960s and ‘70s it was to make people “feel good,” and we need more of that “feel good” music today – now more than ever.

Last night PBS televised a music program highlighting President Barack Obama’s recognition and celebration of the “feel good” music that came out of Stax Records, America’s delta region, and the city of Memphis, Tennessee – music that during some equally tumultuous years in the history of this country “served to sooth the savage breast.” The PBS program was recorded April 9 during a special performance at the White House, and yesterday President Obama received a hand-delivered letter I wrote congratulating him for recognizing the contributions of the artists, writers, and musicians that made this music what it was – and is.

I am sharing that letter with you today (pasted below – no attachments!), and invite you to pass it on, reprint it, share it on Facebook and Twitter, and email it to family and friends to demonstrate that the spirit of music here in America cannot be dampened by the cowards who seek to destroy our way of life.

With sincere and humble regards,

Al Bell Chairman,
Memphis Music Foundation President/CEO, Al Bell Presents
Former Chairman/Owner, Stax Records    

April 16, 2013

Mr. Barack Obama
President of the United States of America
The White House 1600
Pennsylvania Avenue, NW Washington, DC 20500

Dear Mr. President,

I am Al Bell, the former owner of Stax Records and current Chairman of the Board of the Memphis Music Foundation. I am a Memphis music entertainment entrepreneur born in Arkansas, and I humbly state that I played a major role in the building and global recognition of Stax Records, the Memphis sound, and the careers of many fine and talented artists and musicians that make Memphis music what it is today. With great respect, appreciation, and insight into the phenomenon occurring at Stax Records, I was inspired to brand our Memphis music home as Soulsville USA.

[Click here to watch In Performance at The White House: Memphis Soul]

Among the many things I have been blessed to achieve in my career, I am most thankful for the dramatic arc in my life resulting from having had “written through me” over four decades ago the song titled “I’ll Take You There.” It has become a world-class timeless piece of recorded music “art” resulting from the passionate performance by Mavis Staples of the Staple Singers. I wish to profoundly thank you, President Barack Obama and First Lady Michelle Obama, on behalf of all of the citizens of Memphis and Shelby County Tennessee, for the “White House recognition and celebration of Memphis soul music.” On behalf of all Americans I thank you for this priceless rare American Historical Event! 

On the evening of Tuesday, April 9, you presented to the world William Bell, Mavis Staples (of the Staple Singers), Sam Moore (of Sam & Dave), Ben Harper, Cyndi Lauper, Charlie Musselwhite, Alabama Shakes, Booker T. Jones and Steve Cropper (of Booker T and the MGs), Queen Latifa, James Alexander (founding member and original bass player of The Bar-Kays), and Justin Timberlake. In doing so you placed a spotlight on a part of American culture that I sincerely hope will continue to be investigated, studied, and treasured. Our Memphis soul music is born of church, blues, and country music and perpetuated by those of us who artistically and creatively draw from the musical “wellspring “of the Mississippi Delta Culture that abides in Memphis, Tennessee. 

Much of what is “profoundly American” – and what so many people “love” about America – has come from the Delta. Over the centuries many varying and diverse peoples – native Americans, French, Spanish, Africans, Germans, British, Irish, Scots-Irish, Jewish, Italian, Chinese, Latinos, Arabs, and Southeast Asians – have established and maintained their distinctive ethnic identities in this region.*

The dramatic impact of the music that originates in this area and its influence on American popular music is undeniable and never-ending. It continues to establish the basis for original American music regardless of the so-called genres. It is culturally RICH! It is the REAL America!

The recorded music company known as Stax Records served as the catalyst for the growth and perpetuation of Memphis soul music. It was originally founded by Jim STewart and his sister Estelle AXton – two white European-Americans who combined the first two letters of their last names to form the name Stax – in a predominately black neighborhood of the city. During a time when segregation permeated Memphis, the South, and America, they possessed a spirit and an attitude that did not distinguish people by the color of their skin as they came through the door. These two visionary entrepreneurs simply exhibited respect for one’s God-given creative and artistic talent. Stax was integrated when America remained segregated. Within the walls of that creative oasis we found spiritual harmony and unbridled friendship – whites and blacks working together, making sweet soul music. They said it couldn’t be done…but we did it!

Please allow me to congratulate you on becoming the first American citizen of African ancestry to be elected President of the United States of America, and the 21st President elected to serve a second term. They said it couldn’t be done…but you did it!

As an American male citizen of the same ancestral origin I applaud you for the innately positive manner in which you have served, and continue to nobly serve, this wonderfully blessed nation comprised of magnificent and diverse ethnic groups.

I believe your election as President and your continued dedication to the United States of America allows you to serve as a catalyst of social and cultural understanding and an example of, and appreciation for, all our different ethnic origins. Because you and we as Americans care so deeply about all of this nation’s citizens, our combined commitment can only result in our continued existence and evolvement as a nation living in peace, harmony, and inclusion as we move forward into America’s 21st Century.

President Barack Obama: On Tuesday, April; 9 you presented the authenticity, rarity, and greatness of the culture and soul of the American people and the depth of Memphis soul music when you, as President of the United States of America, chose to recognize and highlight our existence with a “White House Celebration of Memphis soul music.” You addressed the unique “art” and amazing creative power of Memphis soul music, and it will be recorded in the annals of history as such with your sharply perceptive and rhetorical question, “Let’s face it – who does not love this music?”

Soul music is American music. Can you dig it?!

I can only imagine the demand on your time as our President and I sincerely appreciate your taking the time to read my writing – and I look forward to hearing from you.

Very Respectfully,

Al Bell
Al Bell Presents, LLC
Memphis Music Foundation

What’s critical to understand about Berry Gordy, however, is that he was operating from a vantage point that very few entrepreneurs had back then. As an American ofAfrican ancestry, he was building a recorded-music company in a business environment where the entire deck was stacked against him. We must remember several factors: the extreme racism that permeated America at that time, how it affected what was happening with music in general, how black music was being perceived by both the radio industry and the recorded-music retail industry, and the fact that many songs recorded by black artists did not receive any airplay until they were covered by white artists.

As African-American entrepreneurs, we could record our music, but there were few black radio stations across America where we could get it played. Generally speaking, retailers like Woolworth’s were not amenable to carrying the product in their stores, and, if they did, it was not up front — it was literally in a back room.

Berry Gordy is at the piano, surrounded by artists including Little Stevie Wonder, Brenda Holloway, the Marvelettes, the Supremes, Bobby Rogers of the Miracles, and Iris Gordy.

What was groundbreaking was that Berry Gordy created a style of music with black artists that was acceptable to the white pop stations of that era. He presented and positioned his talented artists differently in the marketplace. This made it easier for others in the business — like us at Stax Records — to get our records played on more stations. Because of what Berry did, there came a time when an artist like Otis Redding could be played on white stations in Atlanta, Milwaukee, and Los Angeles — something almost unheard of at that time.

As strange as it might sound today, having just elected our first American of African ancestry aspresident of the United States, it would not have been possible at that time for black artists to be accepted in mainstream radio had it not been for what Berry Gordy did. He developed these great artists to look and sound like they did on stage, on the radio, in television interviews. Berry Gordy broke those racial chains that bound us.

It is critical to remember during this 50th anniversary of Motown to not only celebrate the music of that great company, but to honor the genius of this American businessman. Berry Gordy was able to take what was considered a “penny business” and create master tapes that back then were valued in the millions, and a musical publishing company also valued in the millions.

Clive Davis, chief creative officer of Sony Music; Rev. Jesse Jackson; Berry Gordy, Motown founder; Al Bell, chairman/CEO of Al Bell Presents; and Kerry Gordy, CEO of Kerry Gordy Enterprises.

Berry also set out to break through in the motion picture world and present actors in a different light. He did this by financing and presenting Lady Sings the Blues, and presenting Diana Ross as Billie Holiday. This was quite a feat in itself, something that is to be applauded, given the excellence of the film, the historical importance of the project, and the music that was featured throughout.

I find it interesting and even humorous that many people in the recording industry have cast Berry Gordyand myself as competitors, as it generally is with the heads of corporations who work in the same business. But this was not that case with Berry and me. Berry Gordy and I were, and still are, great friends, and whenever he and I have an opportunity to get together we kind of laugh about it. In fact, I never considered him a competitor; I considered him an inspiration. When he branded Motown as “Hitsville U.S.A.” up there in Detroit, I branded Stax Records down in Memphis as “Soulsville U.S.A.”

Everything Berry Gordy did during those years inspired me. And he was doing it with such unique talent, creativity, and excellence that he not only made it possible for others in the music industry to do what we loved, but he changed the face of music for all time.

Berry Gordy Truly Paved The Way For Airplay

During the 1960s Berry Gordy had begun to change the way black music was being accepted by the mainstream radio stations and retail stores. Generallyspeaking, there were 10 key markets where I placed priority attention on getting Stax records played. Back then, the radio stations would call around to see what was selling at retail, and if it was selling, they would play it on the air.

Because of what Berry Gordy was achieving at Motown, I knew that when he would release a Temptations record, people would go into the stores and ask for that record, and it would get airplay. I had some friends at Motown, so I knew in advance when Berry was going to release a Temptations record. When he did, I would go into these 10 markets and induce the clerks in these retail stores to play Stax records. I’d give them free records, so when someone came in and asked for the Temptations, they first would play my Sam and Dave record.

They would start singing and dancing to the record and get the customers to buy it — and then they’d play the Temptations. Then, when the radio stations called the store to find out what was selling, the clerks would say “Sam and Dave and the Temptations.”

Written By: Al Bell
Radio Ink Magazine
March 23, 2009

Their first album, #1 Record, was recorded at Ardent Studios by owner John Fry, and distributed by Stax and Columbia Records. Although the groundbreaking power pop band did not enjoy commercial success, Big Stars’ impact was remarkable and the band’s influence remains what many critics refer to as the most important link between 1960s pop and 1980s alternative rock. Just a few bands that cite Big Star as their major influence include R.E.M., the Replacements, and Teenage Fan Club.

Three of Big Star’s albums are included in Rolling Stones’ “500 Greatest Albums of All Time.” The band broke up in the mid-1970s (and Chris Bell was killed in a car crash in 1978), but Chilton and Stephens reunited in 1993 joined by Posies members Jon Auer and Ken Stringfellow and began recording and touring the world again, as they do today.

In addition to this new wave of resurgence, Stephens is a manager at Ardent Studios, where he has worked for nearly 30 years with such artists as Led Zeppelin, R.E.M., Al Green, ZZ Top, Wilco, 3 Doors Down, and dozens of others. Chilton now resides in New Orleans and not only tours with the revived Big Star, but also plays solo gigs and concerts with his original Box Tops band members from time to time.

Bio courtesy of Stax Museum of American Soul Music

Peebles cemented her career early on with a string of singles, including “I Feel Like Breaking Up Somebody’s Home” and “Part Time Love,” which were followed by the 1974 smash hit single “I Can’t Stand the Rain.” That song became her most enduring legacy and has been covered by the likes of Tina Turner and Missy Elliot. John Lennon once said that it was “one of the best soul records of all time.” Peebles went on to record more albums with Hi Records throughout the 1970s and reunited with Mitchell in 1989 for a comeback album, Call Me, on his Waylo label. She has since recorded three full-length albums, the latest of which was 2006’s Brand New Classics, a collection of original songs and covers done with an acoustic band led by Paul Brown. She launched the LP and her Acoustic Soul Tour in front of a packed house in June 2005 as the featured artist during the Stax Museum’s Last Mondays in Studio A concert series.

Today, Peebles continues to tour as an extremely sought-after and well-loved “singer’s singer.” She and husband Don Bryant, who live in the Memphis area, performed a tribute to Willie Mitchell at the September 2007 Memphis chapter National Association of Recording Arts and Science Awards. The couple also continues their work with Omni Vision Inc., a local therapeutic foster care agency for children.

Bio courtesy of Stax Museum of American Soul Music

The songwriting duo had already been working with Blackfoot when they decided against putting together another duo and came up with the idea for a quartet of male and female singers, which Stax had never done at the time. After bringing on West, they recruited Louis, who had been singing on WDIA-AM as a Teen Town Singer, and Bennett, who simply wanted to be a Stax singer. The Soul Children proved to be a magic mix of vocalists and Hayes and Porter groomed them to sing sweet and clever songs about adultery and cheating.

Their biggest hit, “I’ll Be The Other Woman,” was just such a song with Bennett on lead vocals. When the group was formed, recalls Porter, he had to hire a manager for the group to ensure the 17-year-old Anita Louis’ mother that they would be watched over and taken care of. They did so, and a few years later the same manager called Porter from Los Angeles to tell him there was a young man he should hear and produce. Hayes and Porter traveled to L.A to hear the budding musician, who Porters says was so good he told the manager that he did not need producers, that he could produce his own music. The singer was Stevie Wonder, and to this day he credits Porter and Hayes with that bit of help early in his career.

Today, the Soul Children continue to perform with original members Blackfoot and West, and J. Blackfoot records on JEA Records, owned by Bar-Kays James Alexander and Larry Dodson.

Bio courtesy of Stax Museum of American Soul Music

He would send his demo tapes to Tim Whitsett at Stax’s East Memphis Music, who would reply back to Knight that he was close but just not quite there. Knight then recorded a song at the Birmingham studio one evening using only a slide guitar player and a stand-in drummer who recorded the percussion on a bar stool with a two-by-four plank.

Sounds of Birmingham shopped the song to Polydor and Atlantic Records, both of whom turned it down, and to Stax Records, where Jim Stewart knew it would be a hit. Stax subsequently released the song, “I’ve Been Lonely for So Long,” and it became one of the label’s biggest hits, ending up in the top ten on the R&B charts and number 27 on the pop charts in 1972.

Knight went on to record, produce, and write the mega-successful 1979 hit “Ring My Bell” for Memphis schoolteacher and singer Anita Ward.

Bio courtesy of Stax Museum of American Soul Music

True pioneers of the “Memphis sound,” these are the members of the Mar-Keys in one of its very first incarnations along with Don Nix, Steve Cropper, and Duck Dunn, as well as the late Charlie Freeman and Packy Axton (Estelle Axton’s son). Cropper, Dunn, and Johnson all attended Messick High School together, while Stoots attended White Station. Jackson was recruited when Johnson and Stoots heard him playing a session with Charles Heinz.

The band at that time went by the name the Royal Spades, and became popular locally by playing at proms, sock hops, military bases, and other venues. Soon after Estelle Axton convinced them to change the band’s name to the Mar-Keys, Smoochy Smith came on board. The Mar-Keys then became one of the first integrated bands in Memphis with the addition of Floyd Newman, and session players Gilbert Caple and Curtis Green.

While not all of the musicians in the group are on the final cut of the Mar-Keys’ first hit single, they all worked together in the studio on creating it. The song was “Last Night” on Satellite Records and it would change history forever. “Last Night,” released on Satellite in June 1961, quickly climbed to number 2 on Billboard’s R&B chart and number 3 on the pop chart, and sold approximately one million copies. Because early hits “Cause I Love You” by Rufus and Carla Thomas and “Gee Whiz” by Carla Thomas were recorded at Stax but released on Atco and Atlantic, respectively, “Last Night” was the first charting hit on Satellite.

Today, Smoochy Smith lives in Bartlett, Tennessee and operates his own recording company, SMS Recordings (recording mainly country and rockabilly), performs live gospel concert with his wife May, and is featured in the Rockabilly Hall of Fame in Jackson, Tennessee. Ronnie Stoots owns his own graphic design firm, Memphis Magic, and lives in Memphis with his wife Rosemary. Terry Johnson co-owns a popular Memphis Italian deli and restaurant named Fino’s From The Hill with his wife Joanne and is a clinical psychologist. Wayne Jackson lives in Nashville with his wife Amy and has continued to play and record with some of the biggest names in the music industry.

Bio courtesy of Stax Museum of American Soul Music

By the late 1960s’ he was well on his way to becoming one of the most legendary producers in music history, and when Cuoghi passed away in 1970 Mitchell took over the label and assembledthe Hi Rhythm Section. Quickly emerging as one of the most talented bands in the business, the combination of Howards Grimes and brothers Teenie, Charles and LeRoy Hodges, the Hi Rhythm Section often used Stax musicians as well, including Booker T. & the MGs and the Memphis Horns.

While on the road performing in Texas, Mitchell met a young singer by the name of Al Green and the rest, ast hey say, is history. Mitchell co-produced and engineered all of Green’s albums from 1970 through 1976 and Green became one of the most-loved and top-selling soul singers in history. In addition to Green, Mitchell recorded the likes of the incomparable Ann Peebles, Syl Johnson, Otis Clay, and numerous others.

Today, Mitchell continues to operate Royal Studios and Cream-Hi Records in the same building in Memphis. While the company occupies the same Lauderdale Street address, it now is on a several-block stretch named Willie Mitchell Boulevard, its name having been changed in 2003 by the City of Memphis.

Bio courtesy of Stax Museum of American Soul Music

He subsequently took her to Jackson, Mississippi’s Malaco Studio and cut a single titled “Mr. Big Stuff.” No one in the industry seemed to know what to do with the novelty song and it remained in the can until later that year when it came to the attention of Stax Records. When Stax released the song later in 1970, it was a smash hit, climbing to number 1 on the R&B charts, number 2 on the pop charts, and garnering Knight a Grammy nomination for Best R&B Vocal Performance, Female. But just as she rose to great heights almost overnight at Stax, her subsequent recordings on the label never achieved great success and she left the company.

Knight went on to record LPs and singles on other labels – including a successful cover of the zydeco classic “My Toot Toot” – and continued touring with such artists as Donna Summer and Gloria Gaynor, as well as on her own in the New Orleans region festival circuit. A regular at the New Orleans Jazz and Heritage Festival, Knight also performed at the 2003 Soul Comes Home concert during the grand opening of the Stax Museum at the Orpheum Theater. In 2005, she lost almost her entire New Orleans home and its contents during Hurricane Katrina and lived temporarily in a FEMA trailer and in Florida. She is now back in her renovated home, singing and touring again.

Bio courtesy of Stax Museum of American Soul Music