Movie Title: Soul Comes Home: A Celebration of Stax Records
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People from all parts of the globe ascended on Memphis in tedious April 2003 for the sizable opening of the Stax Museum of American Soul Music housed in a rebuilt Stax Records at one of the most eminent addresses in the world 926 E. McLemore Avenue. For forty years, the timeless and profitable recordings that came from this address have had people dancing all over the world. In Europe, for instance, Stax, with their down home groove heavy come to Soul has arguably had even more of an impact than that of their chief competitor in the ’60s, Motown. And now, here these fans were; not only getting to examine and hear their heroes, but actually tour the rebuilt studio where Booker T. & the MGs played day after day as the house band leisurely a slew of spectacular entertainers including Otis Redding, Sam and Dave, and Blues God Albert King.

The folks in charge could not have started things off any better as the immense Eddie Floyd kicks the evening off with his 1966 demolish “Knock On Wood”. Sounding impartial like a teenager, the sixty-six year feeble looks colossal, and it is evident from his constant touring with The Blues Brothers, that he is very mighty on top of his game. And who’s that playing those large licks tedious Mr. Floyd? None other than co-writer and MGs’ guitarist Steve Cropper. Floyd is followed by Jean Knight and her mega selling 1972 hit “Mr. Large Stuff” and then Stax’s first accurate solo star, William Bell, warms the heart with his timeless first hit “You Don’t Miss Your Water”.

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The biggest and probably most trustworthy surprise of the night came from broken-down Stax artist Rance Allen. Some knew the name, but few had any thought what they were in store for. With the pipes of an opera singer, Allen (who is a memoir in the Gospel field), slayed the audience with “That’ll Be Advantageous Enough For Me”. He received a delayed standing ovation from the panicked crowd, who looked to be aloof trying to advance to terms with what they objective witnessed. There is unprejudiced no procedure the CD or DVD could recapture the power of Allen’s performance, and the execute he had on the audience (not to mention the artists relieve stage) . This must be what James Brown meant when he talked about breaking out in a frigid sweat.

There were other Soul stars there who didn’t describe for Stax, but came to pay homage to the gargantuan trace, including Percy Sledge. The main attraction of Memphis’s other eminent R & B imprint (Hi Records), Al Green joyful the audience doing, of course, “Let’s Discontinue Together”, and also undoubtedly provided one of the night’s highlights with his astronomical “Esteem and Happiness”. Another Mountainous account was there, The King of Rock and Soul, Solomon Burke, paid tribute to Stax’s biggest star Otis Redding. One has to achieve that Solomon Burke is the ONLY man alive who could dare do “Try a Tiny Tenderness” after Redding assign his notice on it.

The house band for the event was no Booker T. & the MGs, but they were absolutely unbelievable. Obsolete Stax session men Bobby Manuel (guitar) and Lester Snell (organ) led the group of who’s who’s in Memphis including a obliging horn fraction, traditional Bar-Kay guitarist Michael Toles, a grand bassist named James Kinnard, and the incredible old-fashioned Malaco Records drummer James Robertson. Robertson is the only musician not credited in the CD notes, but he is, without demand, the reason everything sounds as titanic as it does. Their backing slow Mavis Staples’s shapely funky work out of her family’s (The Staple Singers) Mack Rice penned hit “Respect Yourself” and Isaac Hayes conducting a gleaming and great version of his “Theme from SHAFT” effect these two of the greatest live performances captured on tape by Soul acts in a long, long time. Hayes is joined by Charles “Skip” Pitts, the new wah-wah guitar player on “SHAFT”. There aren’t enough superlatives to portray Pitt’s playing. He should be a household name. Mavis Staples is joined by her improbable drummer Tim Austin and her sister Yvonne on backing vocals.

Fans were also treated to the valid deal, the three remaining members of Stax’s house band. On one of the DVD’s substantial special features (entitled Booker T. & the MGs: Cookin’ Up Green Onions), keyboardist Booker T. Jones goes to extra lengths to point out the genius of their tedious drummer. “The essence of the Stax sound had EVERYTHING to do with the drumming of Al Jackson, Jr..” When Jones, Steve Cropper, and bassist Donald “Duck” Dunn go into “Green Onions” it is as if time has stood smooth for the last forty years. They now consume the services of Steve Potts, who happens to be Al Jackson’s cousin and a hell of a drummer in his contain accurate. Somehow, as substantial as Potts is, it doesn’t have the same fire, the same swing, as “Green Onions” live in the ’60s with Jackson. But after Cropper’s solo, Booker starts playing some really inspired things, the tempo changes, and it becomes as recent as the first time you heard it. As awesome as Cropper and company enact this off, it objective doesn’t compare to what they did next. Their second biggest hit, “Time Is Tight” was a ten microscopic plus tour de force that reached absolute memoir proportions. I saw them live a month before this concert, and this must have been the first time they ended the instrumental staple this diagram. They have perfected it, and they left the audience enthralled. This is what they came for. For some absolutely unforgivable reason “Time Is Tight” was not included on this DVD or on the CD. I am not exaggerating when I say this is nothing short of a crime. Instead we fetch to survey Public Enemy’s Chuck D. rapping over The Bar-Kays’ tall “Soul Finger” and hear another typically unpleasant Percy Sledge reading of “When a Man Loves a Woman”. And here are Booker T. & the MGs, the creators of the sound that’s being eminent, getting shortchanged. And also, there’s no appearance from The Memphis Horns, though trumpeter Wayne Jackson and saxophonist Andrew Care For did rush through a couple of numbers they did with the MGs in the early sixties when they were known as The Mar-Keys. Alas, they did not create the final chop either. At least this means that there will be consistency in Stax Records and their necessary artists not getting the attention they deserve.

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The one explore that will forever remain in my mind is that of drummer James Robertson and his permanent smile. This is unprejudiced lifeless ole feel suited music. There is nothing like it. They should fabricate a museum!

This could and should have been easily a 5 star review. The music is honest humdrum fabulous, and the performers, for the most fragment (there are a couple of minor exceptions) sound nearly as generous as they did 30 years ago. A lot of vibrancy, and the band(s) were uniformly tight and fervent. A extraordinary musical experience.

HOWEVER, my copy of the DVD (which they may have fixed by now), had a VERY annoying mismatch between the sound and the visuals. That is, the performers lip and mouth movements were never in sync with what you were hearing – always a delay or scramble. I mean, c’mon people… I opinion that this sort of thing went out with 1950’s public service cafeteria school films. In this digital day and age, there is simply NO EXCUSE for this. It’s pure laziness or sloppiness for something that should have been easily fixed prior to letting the DVD go out. I’m sorry, but I have to recall points off for this, as it detracts from the viewing experience.

That said, again, the music is astounding. After having evacuated Recent Orleans for Katrina, I am now living in Memphis, and contented to be in what I concept as the 2nd most significant American city for music. This DVD gives a proper argument for that. By the device, the DVD puts in a chase for the STAX records museum here (the DVD is actually a tribute to STAX, filmed at the Orpheum Theater in Memphis) . The museum is worth seeing, and contains 2 items that thrilled me: the real Hammond Organ that Booker T venerable to portray “Green Onions”, and the exact Wah-Wah pedal conventional on the intro to Isaac Haye’s “Shaft”. These are like holy relics to me, and there are many more. Memphis also has several other music related museums, etc.

If you don’t mind the performer’s mouths not matching the sound, you’ll fancy this Dvd!
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