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DISCID=3911e716
DTITLE=Various Artists / Stax 50th Aniversary Celebration - Disc 2 of 
DTITLE=2
DYEAR=2007
DGENRE=Soul
TTITLE0=Booker T. & The MGs / Time Is Tight
TTITLE1=The Emotions / So I Can Love You
TTITLE2=Isaac Hayes / Walk On By
TTITLE3=Rufus Thomas / Do The Funky Chicken
TTITLE4=Johnnie Taylor / Jody's Got Your Girl And Gone
TTITLE5=Jean Knight / Mr. Big Stuff
TTITLE6=Isaac Hayes / Never Can Say Goodbye
TTITLE7=The Dramatics / Whatcha See Is Whatcha Get
TTITLE8=The Staple Singers / Respect Yourself
TTITLE9=Isaac Hayes / Theme From Shaft
TTITLE10=The Bar-Kays / Son Of Shaft
TTITLE11=Little Milton / That's What Love Will Make You Do
TTITLE12=Frederick Knight / I've Been Lonely For So Long
TTITLE13=Soul Children / Hearsay
TTITLE14=The Dramatics / In The Rain
TTITLE15=The Staple Singers / I'll Take You There
TTITLE16=Mel & Tim / Starting All Over Again
TTITLE17=The Temprees / Dedicated To The One I Love
TTITLE18=The Staple Singers / If You're Ready (Come Go With Me)
TTITLE19=Johnnie Taylor / Cheaper To Keep Her
TTITLE20=Soul Children / I'll Be The Other Woman
TTITLE21=Shirley Brown / Woman To Woman
EXTD=Stax 50th Aniversary Celebration - Disc 2 of 2\n2007 Concord Musi
EXTD=c Group\n\nOriginally Released March 13, 2007 \n\nAMG EXPERT REVI
EXTD=EW: While it's true that this double-disc, 50-track mid-centennia
EXTD=l anniversary celebration of the birth of Stax Records -- a label
EXTD= synonymous with Southern soul -- will not rival the three box se
EXTD=ts issuing the company's complete singles, it's a killer document
EXTD=. Concord Records purchased the Stax catalog (which occurred when
EXTD= the company purchased Fantasy Records) and continues its solid p
EXTD=rogram of bringing the label's shelf in fine style into the 21st 
EXTD=century with this cool little set. Packaged in a small bookcase b
EXTD=ox with the Stax logo in live "wiggle card" mode (the fingers "sn
EXTD=ap" when you move it back and forth), it all begins with Carla Th
EXTD=omas' 1961 single "Gee Whiz (Look at His Eyes)," and moves throug
EXTD=h the rest of that year, 1962, and 1963, which saw the success of
EXTD= the Mar-Keys' "Last Night," William Bell's "You Don't Miss Your 
EXTD=Water," and Booker T. & the MG's "Green Onions." 1964 is complete
EXTD=ly skipped over since no singles charted in the pop or R&B charts
EXTD= in that year before Otis Redding entered the picture with "Respe
EXTD=ct" in 1965.\n\nAlong the way are the established and well-known 
EXTD=acts like Sam & Dave, Eddie Floyd, the Bar-Kays, Albert King's gr
EXTD=oundbreaking blues "Born Under a Bad Sign" in 1967, all the way t
EXTD=hrough to Johnnie Taylor's number one R&B chart hit "Who's Makin'
EXTD= Love" (it hit number five on the pop charts). Thomas and Bell fo
EXTD=llow and round out the set, but the Taylor cut is a milestone. Al
EXTD=ong the way it becomes obvious what a powerhouse -- on disc one a
EXTD=lone -- Stax was. From 1965 through 1968 they placed 21 singles i
EXTD=n the Top 50. Among these were a number one -- Otis Redding's "(S
EXTD=ittin On) The Dock of the Bay" -- and a number two, Sam & Dave's 
EXTD="Soul Man." Many of the rest, like the Bar-Kays' "Soul Finger" an
EXTD=d others topped the R&B charts. One of the more remarkable aspect
EXTD=s of the Stax label is that unlike the Northern soul labels like 
EXTD=Motown, Stax didn't use strings on its records until 1968. The fi
EXTD=rst charting side that did use them was Ollie & the Nightingales'
EXTD= "I Got a Sure Thing." There are other semi-obscurities here (at 
EXTD=least to the more casual observer) as well the Mad Lads' "I Want 
EXTD=Someone" and Linda Lyndell's awesome "What a Man" from 1968.Disc 
EXTD=two begins in 1969 with Booker T. & the MG's "Time Is Tight," whi
EXTD=ch possessed that same funky groove that had made their other rec
EXTD=ords hits, but the B-3 drift was different, airier, spookier. It 
EXTD=was the soul charge led by Donald "Duck" Dunn , Steve Cropper, an
EXTD=d Al Jackson, Jr. that kept the soul groove intact. It's such a s
EXTD=trange tune because it has such a soundtrack feel to it, it's ama
EXTD=zing it hit number six on the Billboard pop chart and seven on th
EXTD=e R&B chart. The sound of Stax was changing and becoming one that
EXTD= was taking in the expanding realities of the soul world as evide
EXTD=nced by the Emotions' beautiful "So I Can Love You," with extensi
EXTD=ve horns layered in the background as the women's voices float ov
EXTD=er the B-3. The Southern grit is here, it's just framed more elab
EXTD=orately. But none of this prepares listeners for Isaac Hayes' rea
EXTD=d of the Bacharach/David nugget "Walk on By," which was then-curr
EXTD=ent in popular cultural memory as Dionne Warwick's hit song. But 
EXTD=Hayes completely reworked the single version with dramatic string
EXTD=s and fuzz-wah guitar in the intro. Rufus Thomas, a mainstay on t
EXTD=he label, had his own hit with the back to the James Brown funky 
EXTD=soul groove "Do the Funky Chicken" in 1970. Other cuts on this vo
EXTD=lume worth noting -- though there isn't a weak one in the batch -
EXTD=- are Jean Knight's "Mr. Big Stuff," a number two pop hit -- and 
EXTD=Johnnie Taylor's "Jody's Got Your Girl and Gone," which hit the t
EXTD=op spot on the R&B list and number 28 on the pop chart. Hayes was
EXTD= big during the years 1969-1972 placing all three of his singles,
EXTD= as he was also concentrating on albums and the Shaft soundtrack 
EXTD=with "Never Can Say Goodbye," and the "Theme from Shaft" reaching
EXTD= the Top 40. The Staple Singers scored with "Respect Yourself" in
EXTD= 1971, which was a big year for the label in general as they plac
EXTD=ed seven tunes in the Top 100 of the pop charts and the Top 40 in
EXTD= R&B. 1972 was the same, with no less than seven more hits enteri
EXTD=ng the Top 100 pop and Top 20 R&B. These include a hit by bluesma
EXTD=n Little Milton in "That's What Love Will Make You Do," the Drama
EXTD=tics number five smash "In the Rain," and the Staple Singers' "ch
EXTD=art-topper "I'll Take You There." Disc two ends with the 1974 sin
EXTD=gle "Woman to Woman" by Shirley Brown; it reached the top spot on
EXTD= the R&B chart but only hit number 29 in pop.\n\nThe sequencing, 
EXTD=while chronological, is wonderfully split between the harder, gri
EXTD=ttier soul sound of Stax through the mid-'60s, and the larger pro
EXTD=ductions being put in place. The sound of Stax was changing, but 
EXTD=its essential groove never did. The textures might have been a bi
EXTD=t sweeter, but they still reached deep into gospel, R&B, and hard
EXTD=-edged Southern soul for their inspiration. This is a terrific in
EXTD=troduction for the novice -- the sonic reproduction is terrific -
EXTD=- and it's a killer singles soundtrack for the aficionado. It's a
EXTD=lso the grooviest party soundtrack around.  -- Thom Jurek\n\nAmaz
EXTD=on.com Editorial Review\nWhen Concord Music purchased Fantasy Rec
EXTD=ords in 2006, the bulging Stax catalog came along for the ride. N
EXTD=ot a bad deal, especially since Stax remains one of the richest a
EXTD=nd most vital sources of '60s and '70s soul, blues, and R&B. The 
EXTD=newly reactivated label's debut release is a lavishly boxed doubl
EXTD=e-disc set of 50 highlights--as opposed to hits--from the Memphis
EXTD= label's voluminous vaults to celebrate its 50th anniversary. All
EXTD= the usual suspects appear, including Otis Redding, Sam & Dave, I
EXTD=saac Hayes, Johnnie Taylor, Eddie Floyd, Albert King, and the Sta
EXTD=ple Singers. But the compilers deliver a well-rounded, even eclec
EXTD=tic collection by including tracks from such relatively obscure a
EXTD=cts as the Astors, Ollie & the Nightingales, the Mad Lads, Linda 
EXTD=Lyndell, and Mable John, whose "Your Good Thing (Is About to End)
EXTD=" is one of the great lost soul treasures. Propelled in large par
EXTD=t by house band Booker T. & the MGs, the majority of these songs 
EXTD=have become integral threads in the fabric of American soul. Even
EXTD= at two and a half hours, there's not a dull moment here. That is
EXTD= a testament not just to the Stax musicians, but to a label whose
EXTD= artists defined a classic sound that remains as timeless, releva
EXTD=nt, influential, and electrifying as when it was recorded. --Hal 
EXTD=Horowitz \n\nAmazon.com Product Description\nFIRST TIME EVER! 50 
EXTD=GREATEST STAX HITS IN A SPECIAL 2CD BOXED SET. Set includes chart
EXTD= toppers by Otis Redding, Sam & Dave, Rufus and Carla Thomas, Boo
EXTD=ker T & the MGs, Isaac Hayes, The Staples Singers, Johnnie Taylor
EXTD=, and more \n*Packaged in a UNIQUE HARD COVER BOX with LENTICULAR
EXTD= COVER ART *EVERY MAJOR STAX AND STAX-ATLANTIC HIT from the label
EXTD='s 1960s and 70s heyday. *THE MOST COMPREHENSIVE STAX HITS COLLEC
EXTD=TION EVER! *Release coincides with the 50TH ANNIVERSARY OF STAX *
EXTD=DIGITALLY REMASTERED *Features a MULTI-PAGE BOOKLET with notes fr
EXTD=om "Soulsville USA: The Story of Stax" by noted soul music histor
EXTD=ian Rob Bowman \n\n\nAMAZON.COM CUSTOMER REVIEW\nTwo and a half m
EXTD=agic hours, June 19, 2007 \nBy  Jesse Kornbluth "Head Butler" (Ne
EXTD=w York)\nWhen "The Summer of Love" enters the conversation, most 
EXTD=of us mean San Francisco, 1967. Jefferson Airplane, Grateful Dead
EXTD=. Be-Ins. Flower Power. Sgt. Pepper. \n\nIf by "love" we mean whi
EXTD=te kids from all over the country convening in urban crash pads -
EXTD=-- well, that sets the bar pretty low, doesn't it? Given the oppo
EXTD=rtunity, we could have done that. A lot of us would, even now. Ju
EXTD=st tell us where to show up. \n\nA year before Martin Luther King
EXTD=, Jr. was killed there, it was a lot harder to show the love in M
EXTD=emphis. And yet, in an ancient movie theater in South Memphis, bl
EXTD=ack and white musicians made some of the most inspired music we'l
EXTD=l ever hear. \n\nLet Motown own the slicker-than-snail-snot "comm
EXTD=ercial" franchise of urban black music. \n\nAnd nine bows to Atla
EXTD=ntic, with 18 singles on the Billboard Hot One Hundred Charts in 
EXTD=the late Spring of 1967 --- ranging from Aretha Franklin doing th
EXTD=e unofficial black national anthem ("Respect") to the white Long 
EXTD=Island band, the Young Rascals. The only other competition Stax h
EXTD=ad in this rarified interracial zone in the late '60s: Sly & the 
EXTD=Family Stone. \n\nAt Stax, something wonderful flourished, and it
EXTD='s in the grooves for all to hear --- starting with an interracia
EXTD=l house band backing up such megawatt soul signers as Otis Reddin
EXTD=g, Sam and Dave, Rufus Thomas and Eddie Floyd. Their influences w
EXTD=ere various: rock, pop, country, blues. Mixed together, they prod
EXTD=uced music that was at once familiar and not --- music that jarre
EXTD=d the ear just enough that you had to listen to it. \n\nBut "prod
EXTD=uced" isn't quite the right word. At Stax, they mostly recorded "
EXTD=live." Even when they didn't, the theater's acoustics made music 
EXTD=sound "live." As a result, you heard an excitement --- a vibrancy
EXTD= --- in these records that was available nowhere else in American
EXTD= popular music. Just listen to one of the 50 songs on the Stax 50
EXTD=th Anniversary Celebration when the horns --- horns! --- kick in 
EXTD=and you'll remember how exciting music could be. \n\nThere was so
EXTD= much talent on the label it was able to survive the December '67
EXTD= plane crash that killed Otis Redding and two-thirds of his backu
EXTD=p band. The reason: Stax had the Staples Singers coming on strong
EXTD=. And Stax had Issac Hayes. \n\nYou remember "Shaft" --- "can you
EXTD= dig it?" But Hayes also self-produced "Hot Buttered Soul", a rec
EXTD=ord that featured an unlikely 18-minute version of "By the Time I
EXTD= Got to Phoenix." This was as radically different from '60s pop m
EXTD=usic as Marvin Gaye's "What's Going On." \n\nThis two-CD boxed se
EXTD=t has hits galore: "Green Onions", "I've Been Loving You Too Long
EXTD=", "Knock on Wood", "Born Under a Bad Sign" and "Respect Yourself
EXTD=." It also has songs you don't know, oddities that sure sound lik
EXTD=e hits. \n\nThe through-line: men and women singing one love song
EXTD= after another. The music can be raw --- loss makes for even bett
EXTD=er songs than happiness --- but I don't think I'm making it up wh
EXTD=en I say the primary ingredient of that music is love. First, of 
EXTD=course, love of music, pure and simple. But more, love of the his
EXTD=torical moment, love of the knowledge that when we're creating to
EXTD=gether, there's no reason we can't get along. \n\nThis Stax set i
EXTD=s testimony to a grand idea, now honored too often only with empt
EXTD=y words. It's also great fun, music that holds its own with the b
EXTD=est pop this country has ever produced --- music so enjoyable you
EXTD= can forget the moral it contains. \n\n\nAMAZON.COM CUSTOMER REVI
EXTD=EW\nStax Up Very Nicely Indeed, May 2, 2007 \nBy  El Lagarto (Amb
EXTD=ler, PA)\nWhen I was coming up, getting my feet wet in R&B, soul,
EXTD= and blues, the word Stax was synonymous with quality and authent
EXTD=icity. If it came from Stax, you were almost certainly assured of
EXTD= getting the genuine article - not a copy of a copy of a copy. St
EXTD=ax certainly had its share of breakout stars, Sam & Dave, Otis Re
EXTD=dding, Isaac Hayes, The Staple Singers - acts that got national a
EXTD=pprobation. \n\nAfter the headliners came a group of equally tale
EXTD=nted performers who were minor deities in R&B circles - Booker T.
EXTD= & the MGs, Albert King, Carla Thomas, and Johnnie Taylor among t
EXTD=hem. Late arrivals to this material may be interested to learn wh
EXTD=at Walkin' the Dog - Rufus Thomas - sounded like before the Stone
EXTD=s cashed in. There are multiple wonderful surprises on this 2-CD 
EXTD=set - from Little Milton - That's What Love Will Make You Do - to
EXTD= - Jody's Got Your Girl And Gone - Johnnie Taylor - to the pricel
EXTD=ess - Your Good Thing Is About To End - Mable John. \n\nIf you wa
EXTD=nt the material that broke out you'll be more than satisfied - Mr
EXTD=. Big Stuff - Jean Knight - and the irresistible - Whatcha See Is
EXTD= Whatcha Get - The Dramatics - not to mention classics by artists
EXTD= previously listed. But the real fun is digging way down into mat
EXTD=erial you've most likely never heard - Candy - The Astors - just 
EXTD=great! About the only disappointment this terrific set has to off
EXTD=er is discovering that Isaac Hayes just doesn't hold up very well
EXTD=. His voice is glorious, but the delivery is goopy and the over-a
EXTD=rrangements intolerable. \n\nBuy now, think later! 2-CDs - which 
EXTD=cleverly add up to 50 tracks (50th Anniversary Edition), sturdy b
EXTD=ox, excellent booklet. I simply cannot imagine where you could fi
EXTD=nd more for less - this wonderful collection could easily provide
EXTD= the foundation for a really solid, and delightful, collection. S
EXTD=witchin' labels on the tables, this assortment Stax up real nice.
EXTD= \n\n\nAMAZON.COM CUSTOMER REVIEW\nExcellent Bargain!!, April 26,
EXTD= 2007 \nBy  Paul Warren "rhythm reviewer" (Farmington Hills, MI U
EXTD=nited States)\nFor the price of a single CD, you get two discs wi
EXTD=th 50 slices of prime Memphis soul in a nicely compacted and nove
EXTD=l box. What more can you ask? Some may debate a bit about whether
EXTD= or not the chosen 50 hits are the best 50 from Stax, but the deb
EXTD=ate would stem from the fact that Stax had so many hits to choose
EXTD= from, which is a wonderful testament for the label. Personally, 
EXTD=I think the essential hits are here, and they are sequenced prett
EXTD=y much in chronological order. The often overlooked hit, "Private
EXTD= Number" by Judy Clay & William Bell is so-o-o-o great, it almost
EXTD= justifies the cost of this collection by itself. I think Concord
EXTD= Records (who replaces Fantasy Records as owner of much of the St
EXTD=ax catalog after about 3 decades) did a very nice job with this p
EXTD=ackage and I highly recommend this set to any Stax soul fan who w
EXTD=ants to carry 50 great cuts with them wherever they go. \n\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nFantastic Collection at an UNBELIEVABLE 
EXTD=price, March 17, 2007 \nBy  MusicFreak74 (Los Angeles, CA)\nI kee
EXTD=p looking for the fine print. This is a collection of 50 amazing 
EXTD=songs for $12 bux? \n\nI would have paid $50 bux on itunes and I 
EXTD=wouldn't have the insanely cool packaging and color book. \n\nEve
EXTD=ry song on this collection is a smash. From Green Onions to Respe
EXTD=ct Yourself plus gems like Carla Thomas, Isaac Hayes, hello! Amaz
EXTD=ing stuff. I put this on, kicked back with the book and just enjo
EXTD=yed. When it was over, I put it on again. \n\nThis is perfect for
EXTD= parties, driving, dancing, hanging out .... it's a fantastic col
EXTD=lection and I'm buying them for my friends. At $12 bux, I might b
EXTD=uy a back up set just in case. I don't know if this is a promotio
EXTD=nal price but I'm psyched. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSoli
EXTD=d Gold Soul, March 14, 2007 \nBy  redtunictroll (Earth, USA)\n\nC
EXTD=oncord Records, which acquired the Stax catalog with their purcha
EXTD=se of Fantasy Records in 2004, kicks off a 50th anniversary reiss
EXTD=ue celebration with this double-disc set of the label's pioneerin
EXTD=g hits. While Motown's Berry Gordy made his label a nationwide in
EXTD=stitution with a broad commercial identity, the artists and produ
EXTD=cers at Stax initially carved out a more regionally identifiable 
EXTD=sound. The gospel roots of the Memphis-based Stax were unmistakab
EXTD=le, and the house bands (The Mar-Kays and the MGs) added a distin
EXTD=ct, bluesy bite. Where Motown's music could feel manicured for ra
EXTD=dio, Stax forged a sound for the roadhouse. But it's exactly that
EXTD= live vitality that eventually made Stax such an iconic stand out
EXTD=. \n\nHistorian Rob Bowman calls out several elements that molded
EXTD= the classic Stax sound, but none more notable than the musician'
EXTD=s pay scale. Outside of the South musicians were paid by the hour
EXTD= (or three-hour session), but in Memphis they were paid by the so
EXTD=ng. Where Motown had tight arrangements on paper before sessions 
EXTD=began, Stax tasked its players to create and refine arrangements 
EXTD=on the fly. Only when the band found a song's unique groove were 
EXTD=the vocalists invited in, and then to often sing live. The arrang
EXTD=ements included horn charts in place of background singers, empha
EXTD=sizing the vocalist without mixing them out front. Finally, the l
EXTD=ive vibe of these performances was carried to tape via the reverb
EXTD=erant acoustics of Stax's legendary studio-in-a-former-movie thea
EXTD=ter. It all added up to a sound that was unique and instantly rec
EXTD=ognizable on record and on the radio. \n\nStax's defining period,
EXTD= from 1961 to 1968, is best remembered for the tight grooves of B
EXTD=ooker T. & The MG's, the duets of Sam & Dave, and the standard-de
EXTD=fining sides of Otis Redding. But as revered as were these hits, 
EXTD=their commercial reach was surprisingly limited. By the late '60s
EXTD= Stax was expanding on their hard soul sound in an effort to brea
EXTD=k into northern urban markets. Most immediately noticeable were t
EXTD=he addition of string arrangements to Ollie & The Nightingales' "
EXTD=I Got a Sure Thing" and Eddie Floyd's "I've Never Found a Girl." 
EXTD=The latter's softer horns and call-and-response backing vocals ma
EXTD=rked additional shifts in the Stax sound. Stax expanded their rec
EXTD=ording beyond their Memphis studio, conducting sessions in Muscle
EXTD= Shoals and elsewhere. They still cut the occasional old-school h
EXTD=ard-groove hit, such as Booker T's "Time is Tight" and Rufus Thom
EXTD=as' novelty "Do the Funky Chicken," but increasingly the label's 
EXTD=commercial goals were broader, even expanding into purchased mast
EXTD=ers by Jean Knight ("Mr. Big Stuff") and Mel & Tim ("Starting All
EXTD= Over Again"). \n\nIsaac Hayes, who'd been a writing and session-
EXTD=playing staple at Stax broke out as a solo artist with his 1969 d
EXTD=ebut "Hot Buttered Soul." A pair of the album's lengthy tracks, c
EXTD=overs of "By the Time I Get to Phoenix" and "Walk on By," were ed
EXTD=ited down to a double A-side, with the latter's superb slow-motio
EXTD=n, fuzz-and-flute deconstruction of Bacharach & David featured he
EXTD=re. But it was on the album chart where Hayes lived out Stax's vi
EXTD=sion, landing his debut on the pop, R&B, jazz and easy listening 
EXTD=charts simultaneously. Additional Hayes hits followed, with "Them
EXTD=e From Shaft" crossing over to score Stax's second chart-topping 
EXTD=pop hit (Otis Redding's "Dock of the Bay" was first and the Stapl
EXTD=e Singers' "I'll Take You There" was the third and last). \n\nSta
EXTD=x's continued to land singles on the charts until the label's dem
EXTD=ise in the mid-70s, with Shirley Brown's "Woman to Woman" standin
EXTD=g as the final entry (and R&B #1) in 1974. Ironically, for all th
EXTD=e label's financial troubles, the early '70s were a time of fruit
EXTD=ful hit-making (including a trio of top singles by The Staple Sin
EXTD=gers), but apparently not business success. Concord is set to rev
EXTD=italize the label's fortunes with both new releases and a program
EXTD= of anniversary reissues. This opening salvo is a two-CD set encl
EXTD=osed in a fold-open box with a clever piece of flicker art depict
EXTD=ing Stax's trademark snapping fingers logo. Inside are inset CD t
EXTD=rays and a 50-page booklet with superb color photos (albeit in CD
EXTD=-booklet scale), an essay by Rob Bowman (adapted from his essay f
EXTD=or the earlier 4-CD "The Stax Story"), and release and chart info
EXTD=. \n\nThis is a good place to start one's exploration of the Stax
EXTD= sound, and a valuable guide to the upcoming expanded album reiss
EXTD=ues. The two CDs include a generous helping of the label's best-k
EXTD=nown sides and many R&B hits that will be new to '60s pop fans. T
EXTD=hose who can't wait for the reissues can find more on the previou
EXTD=sly issued 4-CD "The Stax Story," or dive headlong into the massi
EXTD=ve early-90s box sets "The Complete Stax-Volt Singles" volumes 1-
EXTD=3. For all but the most ardent Stax fans the latter sets are over
EXTD=kill, and this collection (and the upcoming LP reissues) is a gre
EXTD=at entry point. [2007 redtunictroll at hotmail dot com] \n\n\nHa
EXTD=lf.com Details \nProducer: Cheryl Pawelski (Compilation), Rob Bow
EXTD=man (Compilation) \n\nAlbum Notes\nComposer: Various Artists.\nRe
EXTD=cording information: 1961 - 1974.\n\nFor those daunted by the ide
EXTD=a of wading through the multi-volume COMPLETE STAX/VOLT SINGLES s
EXTD=eries, this two-CD best-of celebrating the label's 50th anniversa
EXTD=ry is a much more manageable item. Featuring well-known milestone
EXTD=s in the label's history, such as Booker T. & The MGs' "Green Oni
EXTD=ons," the Staple Singers' "I'll Take You There," and Otis Redding
EXTD='s "(Sittin' on) The Dock of the Bay," and lesser-known gems like
EXTD= William Bell and Judy Clay's "Private Number," Frederick Knight'
EXTD=s "I've Been Lonely for So Long," and Shirley Brown's "Woman to W
EXTD=oman," STAX 50TH is a well-chosen, informatively annotated overvi
EXTD=ew of one of the 1960s and '70s' finest R&B labels.
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