[Congressional Record (Bound Edition), Volume 153 (2007), Part 12]
[House]
[Pages 16117-16120]
[From the U.S. Government Publishing Office, www.gpo.gov]




RECOGNIZING STAX RECORDS FOR ENRICHING THE NATION'S CULTURAL LIFE WITH 
                          ``50 YEARS OF SOUL''

  Mr. GRIJALVA. Mr. Speaker, I move to suspend the rules and agree to 
the resolution (H. Res. 154) recognizing Stax Records for enriching the 
Nation's Cultural life with ``50 years of soul,'' as amended.
  The Clerk read the title of the resolution.
  The text of the resolution is as follows:

                              H. Res. 154

       Whereas the origins of southern soul may be traced back to 
     Memphis, Tennessee;
       Whereas soul music integrates elements of gospel music and 
     rhythm and blues;
       Whereas soul music became a new genre of American music in 
     the 1950's with Stax Records paving the way for soul 
     recordings;
       Whereas Stax Records of Memphis, Tennessee is an icon of 
     the American recording industry;

[[Page 16118]]

       Whereas Stax Records produced some of the earliest 
     recordings by such soul music legends as Isaac Hayes, Otis 
     Redding, the Staple Singers, Wilson Pickett, Luther Ingram, 
     Albert King, the Bar-Kays, Booker T. and the M.G.'s, Johnnie 
     Taylor, The Mar-Keys, Sam & Dave, B.B. King, Rufus and Carla 
     Thomas, and many other artists whose work continues to exert 
     a profound influence on popular music today;
       Whereas Stax Records also produced important recordings by, 
     among others, the Reverend Jesse Jackson, Bill Cosby, and 
     Richard Pryor;
       Whereas Memphis, Tennessee, over 5 decades as the epicenter 
     of all genres of soul music, earned the moniker ``Soulsville, 
     USA'';
       Whereas the Royal Studio for the Hi Records label served as 
     the birthplace of trailblazing soul artists Aretha Franklin, 
     Al Green, and Maurice White of Earth, Wind, and Fire who also 
     added to the depth of soul Memphis produced for the 
     international music community;
       Whereas in 2007 the Memphis Convention and Visitors Bureau, 
     Concord Music Group/Stax Records, and the Soulsville 
     Foundation will celebrate American soul music and the 50th 
     anniversary of the founding of Stax Records through their 
     ``50 Years of Soul'' celebration; and
       Whereas the influence of soul music permeates some modern 
     music art forms, including Contemporary R & B, and deepens 
     American music history and the Nation's cultural life: Now, 
     therefore, be it
       Resolved,  That the House of Representatives--
       (1) recognizes the 50th anniversary of the founding of Stax 
     Records and its role in launching the careers of many 
     legendary soul music artists;
       (2) recognizes the important role Memphis, Tennessee played 
     in immortalizing soul music; and
       (3) recognizes the continuing contributions and influence 
     of soul music to America's music history and cultural life.

  The SPEAKER pro tempore. Pursuant to the rule, the gentleman from 
Arizona (Mr. Grijalva) and the gentleman from Utah (Mr. Bishop) each 
will control 20 minutes.
  The Chair recognizes the gentleman from Arizona.


                             General Leave

  Mr. GRIJALVA. Mr. Speaker, I ask unanimous consent that all Members 
have 5 legislative days to revise and extend their remarks and include 
extraneous material on the resolution under consideration.
  The SPEAKER pro tempore. Is there objection to the request of the 
gentleman from Arizona?
  There was no objection.
  Mr. GRIJALVA. Mr. Speaker, I yield myself such time as I may consume.
  Mr. Speaker, I rise today to recognize the influence of soul music on 
this Nation and the contributions of the city of Memphis, Tennessee, 
and Stax Records for enriching the Nation's cultural life with 50 years 
of soul.
  Soul music became a new genre of American music in the 1950s and 
incorporates various types of music including gospel and rhythm and 
blues. The origins of Southern soul music can be traced back to 
Memphis, Tennessee, the home of Stax Records.
  Stax Records produced some of the earliest recordings of soul music 
legends including Isaac Hayes, Otis Redding, and B.B. King. Over time, 
other important recordings were produced at their studios, including 
works from the Reverend Jesse Jackson, Bill Cosby and Richard Pryor.
  Throughout 2007, the Memphis Convention and Visitors Bureau, Concord 
Music Group/Stax Records, and the Soulsville Foundation will celebrate 
American soul music and the 50th anniversary of the founding of Stax 
Records with an event titled ``50 Years of Soul.''
  Mr. Speaker, soul music has greatly contributed to the music culture 
in our Nation and has a lasting influence on current art forms, such as 
contemporary rhythm and blues. I would like to thank the city of 
Memphis and Stax Records for their commitment to this inspirational 
music, and I encourage my colleagues to pass this resolution.
  Mr. Speaker, I reserve the balance of my time.
  Mr. BISHOP of Utah. Mr. Speaker, I yield myself such time as I may 
consume.
  Mr. Speaker, I rise today in support of H. Res. 154, recognizing Stax 
Records for enriching the Nation's cultural life with its 50 years of 
soul.
  Stax Records is a name which is synonymous with Southern soul music. 
The record label began as Satellite Records in Memphis, Tennessee, in 
1959. Founded by Jim Stewart, a former country fiddler, and Estelle 
Axton, the company had its first top 10 hit in 1961 with ``Gee Whiz'' 
by Carla Thomas. During the next few years, Stax developed a branch of 
music which was to have worldwide repercussions. With its house rhythm 
section, better known as Booker T. and the MGs, its tight horn section, 
which later became the Memphis Horns, and its gospel-rooted recording 
artists such as Otis Redding and Sam and Dave, Stax virtually created 
contemporary soul music.
  The death of Otis Redding in 1967 signaled the end of the first Stax 
era, but it was soon to be revitalized with a successful new breed of 
Stax artists, including Isaac Hayes. In his own way, Hayes developed a 
unique blend, part jazz, part soul, part easy listening. He talked on 
his records in a mellow, bantering manner, and he used an orchestra in 
many ways to provide instrumental cushioning. In many ways, Hayes was a 
founding father of the sweet soul of the 1970s.
  Stax's roster ran the gamut of black popular music. Albert King 
displayed his great personality, playing his guitar with a bluesy sense 
of urgency. The Staple Singers were at their artistic peak when they 
recorded for Stax during the late 1960s and early 1970s, turning out 
records that blended a utopian social vision with rhythmic excitement. 
The music behind these singers was more varied than in early days, and 
some of it was recorded outside Memphis, but the spirit of Stax was 
burning as brightly as ever.
  The thing that made Stax go was teamwork; and when artists visited 
the studio, they could feel it. The halls were always full of people 
who seemed to be working furiously, dropping in on friends in their 
offices, or heading down to Studio A to check on the progress of a 
mixing session. The cooperation between white and black musicians and 
producers was practically unprecedented. Indeed, it was one of the 
secrets of the company's across-the-board success.
  On August 20, 1972, the Stax label reached a pinnacle of success by 
representing a major concert, Wattstax, featuring performances by Stax 
recording artists and the humor of a rising young comedian named 
Richard Pryor. Known as the ``Black Woodstock,'' Wattstax was hosted by 
Reverend Jesse Jackson and drew a crowd of over 10,000 attendees, most 
of them African American. Wattstax was filmed by motion picture 
director Mel Stuart, and a concert film of the event was released to 
theaters by Columbia Pictures in February 1973.
  The influence of soul music permeates nearly all of today's modern 
music art forms and has deepened American music history and the 
Nation's cultural life. Today, we recognize the 50th anniversary of the 
founding of Stax Records and its role in launching the careers of many 
legendary soul music artists.
  For these reasons, I ask my colleagues to support this resolution.
  Mr. Speaker, I reserve the balance of my time.
  Mr. GRIJALVA. Mr. Speaker, I yield as much time as he may consume to 
the gentleman from Tennessee (Mr. Cohen), the sponsor of the 
resolution.
  Mr. COHEN. Mr. Speaker, I appreciate the opportunity to speak on Stax 
and 50 years of soul music that my hometown, Memphis, Tennessee, has 
provided this Nation. H. Res. 154 recognizes the rich history of Stax, 
its 50-year celebration.
  Last Saturday in Memphis, we started what's called ``Seven Days of 
Soul,'' honoring 7 days of soul, and while we're honoring 7 days of 
soul starting last Saturday, the rest of the year is just as good in 
Memphis. Every day is good in Memphis, and every day's really good on 
this Earth.
  Soul music is a special part of American music, and I wish to quote 
from The Commercial Appeal, which did a special feature on Stax and 
soul this past week by Mr. Bob Negr. He quotes Peter Guralnick, great 
rock and roll raconteur, and he says, what soul music is is the story 
of blacks and whites together. It is the story of the complicated 
intertwinings of dirt-poor

[[Page 16119]]

roots and middle-class dreams, aesthetic ambitions and social 
strivings, the anarchic impulse and the business ethic.
  Guralnick, while not a Memphian, has been a great recounter of 
stories of Memphis music. He's done a lot with Elvis, and he's done a 
lot with Stax. And Memphis has got the roux that has made music what 
it's been in America.
  At Sun Records, things came together, and Sam Phillips put them 
together there, and Rufus Thomas, a staple of Stax, recorded at Sun 
Records. That was a fusion of music, just as Stax and soul music is a 
fusion of rhythm and blues and gospel music.
  Steve Cropper, one of the famous Booker T. and the MGs musicians and 
song writers, along with Duck Dunn, Booker T. Jones and the late Al 
Jackson, said, the main reason Stax was so singular and phenomenal was 
that we had no idea what we were doing. Kind of reminds you of Congress 
on occasion, like last week, but we had no idea what we were doing. I 
guess you'd say there was a kind of magic in not knowing, and that made 
it special.
  As Cropper noted, everything that made Stax great was, at its 
essence, beautifully raw and largely untutored. Certainly, that kind of 
description makes so many things in America so great.
  Mr. Speaker, what made Stax so great was it was a natural energy and 
it was a coming together of blacks and whites. The House band there was 
Booker T. and the MGs. Steve Copper and Duck Dunn are Caucasian, and Al 
Jackson and Booker T. Jones are African American. And they put out the 
music. They didn't put out white onions, they didn't put out red 
onions. They didn't put out yellow onions. They put out ``Green 
Onions,'' and because of ``Green Onions,'' the world rocks to a Memphis 
beat and Stax soul.
  The Memphis Horns were two gentlemen, Andrew Love and Wayne Jackson, 
one black and one white. That's the story that Memphis had in music, 
and it's the story that Memphis and this country need to have to come 
together and move forward.

                              {time}  1415

  Stax is an embodiment of the American dream, the promised land, as 
Dr. King would call it. I am pleased the House considers this bill 
today, and welcome the gentleman from Arizona's manager's amendment 
which recognizes the important role that Memphis played in 
immortalizing the great genre of soul music at large.
  Now at the site of the old Stax headquarters and studio on historic 
McLemore Avenue is the Stax Museum of American Soul Music. It is the 
world's only soul music museum. No matter what Detroit might say, 
Memphis has the world's only soul music museum, and you need to come to 
Memphis and visit the Stax Museum of American Soul Music. The many 
exhibits there include award-winning documentary film and an authentic 
100-year-old Mississippi Delta church that was home to the gospel roots 
of soul music, original studio equipment, costumes, artwork and 
memorabilia intended to preserve the legacy of American soul music and 
its contributions worldwide.
  Stax was founded in 1957, not on a specific day with a cornerstone 
laid by the masons, but generally in 1957. That's the way soul music 
was. There is not exactly a date for it. It's just kind of a thing that 
happened. It was Jim Stewart and his sister, Estelle Axton. Jim 
Stewart's last name, Stewart starts with S-t, and Ms. Axton's, Ax, 
together S-t-a-x. Stax Records came together with Jim Stewart and 
Estelle Axton. They put the Stax in Stax music.
  Stax Records brought forth so many hits. Otis Redding, ``(Sittin' on) 
The Dock of the Bay,'' and I have got to parenthetically relate a 
personal story. I was a freshman at Vanderbilt University one night 
when Otis Redding performed in the Bar-Kays. The Bar-Kays, a great 
instrumental group, ``Soul Finger'' was their big hit. Ben Cauley, 
James Alexander are the surviving members.
  Two days after they performed at Vanderbilt, their plane crashed. 
Just as when the Big Bopper's plane crashed, soul music would have 
crashed. We lost great, great talents, Otis Redding and the Bar-Kays 
that night.
  Fortunately, Mr. Cauley missed the plane and Mr. Alexander wasn't on 
it. But it was a night I will remember and all students at Vanderbilt 
will remember as well. We saw their next-to-last concert.
  But Otis came to Memphis to do ``(Sittin' on) The Dock of the Bay,'' 
the Staple Singers, ``Respect Yourself,'' Sam & Dave, famed for ``Hold 
On! I'm Comin,'' as well as ``I'm a Soul Man,'' Gene Knight's ``Mr. Big 
Stuff,'' so many instrumentals by Booker T. & the MGs; Eddie Floyd came 
to Memphis to do ``Knock on Wood.'' Other great musicians performed 
there, the Mar-Keys and others.
  It is fitting this resolution be considered this month of June, which 
is Black Music Month. Black Music Month recognizes the outstanding 
contributions African American singers have made to our Nation.
  This Friday, June 22, the Memphis Orpheum Theatre will celebrate this 
occasion with a concert entitled ``50 Years of Stax: A Concert to 
Benefit the Stax Museum of American Soul Music.'' Artists scheduled to 
perform at the event include such legendary talents as Isaac Hayes of 
``Shaft'' fame, and one of the nicest human beings you would ever want 
to meet, and I have had that great fortune; Booker T. & the MGs, Eddie 
Floyd, William Bell Mavis Staples, the Soul Children and the Reddings 
will be honoring their father, the late legendary Otis Redding.
  I am honored this resolution recognizes their talents, as well as 
such legendary artists as Aretha Franklin, who was born in Memphis; 
B.B. King; Albert King, no relation, but just as good at putting hot 
licks on those guitars; the Memphis Horns, Wayne Jackson & Andrew Love, 
Sam & Dave, the Mar-Keys; and even though not on Stax Records, Al Green 
and his legendary producer Willie Mitchell can't not be mentioned for 
all they did for Memphis music.
  David Porter was a great songwriter. He'll be there too in the Stax 
Days. Stax Records was something special for Memphis and the country. 
It lives on through the museum, but it also lives on through now the 
Concord Music Group, which just announced the relaunch of Stax Records 
as a creative home for present-day soul stars such as Angie Stone, 
Soulive, Lalah Hathaway and Leon Ware who will be performing as well, 
and they will be joined along with other heritage artists such as Isaac 
Hayes to record on this label which has returned to its prominent place 
in Memphis and hopefully a prominent place in the charts.
  It is a great honor and privilege that the House of Representatives 
would consider this bill today. I am thankful to have the opportunity 
to sponsor this legislation because of the great impact soul music has 
had on my life, the lives of my constituents, so many of us here in 
Congress and so many Americans.
  Tomorrow is Juneteenth. Juneteenth is the anniversary of the last 
free emancipation of slaves. The word got to east Texas that the 
Emancipation Proclamation had been signed in 1863. It wasn't until 
1865, June 19, the news got to Texas and all the slaves were freed. 
It's appropriate that in Black Music Month, during the celebration of 
Juneteenth and weekend before last, Middle Passage Weekend, when we 
celebrate the people who made their passage, and some were so brave 
that rather than put themselves into slavery as Jews at Masada in the 
same way gave up their lives rather than be enslaved that we honor Stax 
Records.
  It's going to be a great night Friday night. We will remember our 
heritage in Memphis. We will remember our heritage in America. And we 
have a new future with a recording label, with Stax Records. I urge 
every one to be soulful, to listen to soul music and ask the House of 
Representatives to pass H. Res. 154.
  Mr. BISHOP of Utah. Mr. Speaker, I reserve the balance of my time.
  Mr. GRIJALVA. Mr. Speaker, I yield such time as he may consume to the 
gentleman from Illinois (Mr. Davis).
  Mr. DAVIS of Illinois. Mr. Speaker, I also want to thank the 
gentleman for yielding, and I want to commend my

[[Page 16120]]

colleague, Representative Cohen, for introducing this resolution that 
talks about the impact of Stax Records. Although I am not from Memphis, 
but Memphis is essentially a part of the Delta, and I grew up in the 
Mississippi Delta, but in the State of Arkansas. So Memphis was always 
a part of where we were.
  Then, of course, Chicago was the beneficiary of a great migration of 
African Americans who migrated from Mississippi, from Memphis, Memphis 
being the largest town in the area. Individuals would oftentimes leave 
their rural communities and first get to Memphis. Then after they got 
to Memphis and stayed for 2, 3 years, they would make their way to 
Saint Louis, or they would make their way to Chicago.
  So we have a great affinity for the City of Memphis. It's almost like 
being home.
  But also Stax knew where to find talent, and so they came to Chicago 
and found people like the Staple Singers, whose friends and associates 
took them out of the church and put them on a stage and a platform far 
beyond what they otherwise would have been able to do.
  In addition to its music, Stax was also always seriously engaged and 
involved in what we called, especially during the 1960s and 1970s, the 
Civil Rights Movement, relative to putting on concerts to benefit 
events, activities, raise money for marches, demonstrations. So they 
were more than just purveyors of music. They were purveyors of music, 
but they were also part of the liberation movement, part of what those 
of us who grew up during the 1960s and 1970s call ``the era of 
struggle.''
  So, again, I simply want to commend my colleague, and, of course, one 
of the Staple Singers, a young lady named Cynthia, used to actually 
work in the same organization that I worked in, and she was a member of 
the Staples family. The rest of the group, Pervis and Mavis and Pops, 
they were part of our community.
  So I commend Stax. I also commend my colleague from Tennessee for 
taking the time to honor their tremendous contributions.
  Mr. BISHOP of Utah. Mr. Speaker, I yield back the balance of my time.
  Mr. GRIJALVA. Mr. Speaker, I yield back the balance of my time.
  The SPEAKER pro tempore. The question is on the motion offered by the 
gentleman from Arizona (Mr. Grijalva) that the House suspend the rules 
and agree to the resolution, H. Res. 154, as amended.
  The question was taken; and (two-thirds being in the affirmative) the 
rules were suspended and the resolution, as amended, was agreed to.
  The title was amended so as to read: ``A resolution recognizing the 
rich and resounding impact 50 years of Memphis-originating soul music 
has offered to American music history.''.
  A motion to reconsider was laid on the table.

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