Subliminal Seduction: How Two Memphis Soul Men Defined R&B in the 1960s and Beyond

studio Pictured left to r: Sam Moore, Isaac Hayes, Andrew Love, Wayne Jackson, Dave Prater, Jim Stewart, and Steve Cropper in Stax Records' famed Studio A. /// Nearly a decade before the Detroit riots, a country fiddler and bank manager named Jim Stewart moved his fledgling recording studio from a garage in rural Brunswick, Tennessee, into an empty theater on McLemore Avenue. At the time it was called Satellite Records, although that name would soon change. In the space next door was a small record shop where Stewart’s sister Estelle Axton worked, and across the street was a grocery store where a young kid named David Porter was toiling away as a bag boy. Barely nineteen, just out of high school, just married, and recently a father, he dreamed of becoming a full-time musician and was gigging around town under the stage name Little David. He even went so far as to record and release his own single, “Ain’t That A Lot Of Love,” which went nowhere. Curious about the new record label across the street, Porter started hanging out in the record shop. “Estelle was an extremely nice lady who saw a passion in me. She would play music to sell to the customers, and I would see what people were buying, then we’d talk. She would say, This is the kind of records people are buying, so if you’re interested in doing music, just look at some of these examples of what works.” Porter further ingratiated himself by bringing some of his talented friends into the studio, including Booker T. Jones (later of Booker T. & the MGs fame), Andrew Love (one half of the Memphis Horns), and William Bell (who penned the soul standard “You Don’t Miss Your Water”). Country & western tunes... Sign In to Keep Reading

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