Stax Records And A Paranormal Connection!

January 27, 2007

stax.jpg

The Memphis sound intrigued me so much that Stax Records became the first stop on my publishing tour of the south. When I was general manager of Warner Brothers Music in 1970, my longtime friend and sometime collaborator, Steve Cropper, who co-wrote “In The Midnight Hour”, “Dock Of The Bay”, “Knock On Wood”, etc., took me around his town, winding up at the offices and studios of the legendary record and publishing organization, East-Memphis music

The company occupied an old movie theater in the ghetto, with a markee that simply said STAX.The reception area, was the place where refreshments were sold, and the recording studio was where the second run movies were once shown.

I was humbled to be in the same studio where Booker T. & The M.G.s, Otis Redding, The Mar-Keys, Sam & Dave, Wilson Pickett, The Barkays, Eddie Floyd, Johnny Taylor and Isaac Hayes made all of those mega-hits!

I’ve always believed that every studio has its own flavor, due to the collective consciousness and spiritual vibrations from all those who have poured out their hearts and souls within its walls. This place was no exception. I walked around mesmerized with the sounds of the late Al Jackson, Jr.’s solid drumbeat from, “Hold On I’m Comin'” running through my head. I even had the urge to yell out, “Play it, Steve!”, but I restrained myself!

Before I had to leave for my next stop, Muscle Shoals, Alabama, Steve invited me into the control room to hear some remixes he was doing on the late Otis Redding. It was a spectacular ending to a day I’ll never forget.

Since I became interested in music, I always believed that more than just music is captured in the recording process. Primitive tribes correctly believed that a photographic image of them takes a piece of their soul forever…I believe a recording essentially does the same thing. More than sound and musical content are recorded, retained and reproduced…so are the inaudible vibrations, thoughts, emotions and energy of the lead performer as well as every participant in the studio.

I accepted the psychic fact years ago, that each of us carries with us spirits of our family, friends and ancestors…who carry with them the spirits of their family, their friends and their ancestors. Some of these entities that surround the artists, musicians, and other contributors to the process, mingle with other entities they encounter there. Some like their new environment so much, they stick around and become part the studio’s collective creative consciousness.

As a songwriter/ singer/ producer and publisher, I’ve had the chance to visit recording facilities all over the world where historic sessions have taken place…including Allegro, Associated, Bell sound, Olmstead, Sound factory, Mirasound, A+ R and Atlantic studios in New York, The Sound Factory, A+M, Gold Star, American, M-G-M studios and Cherokee studios in Hollywood, Apple, Trident, Rak studios, EMI studios in Abbey Road, London, the legendary Motown studios, The Record Plant in New York and L.A., Stax, Hi and Sun studios in Memphis, RCA and Columbia recording studios in Nashville, London, New York, and San Francisco to name a few.

Although most studios are routinely cleaned, few, if any are spiritually cleansed. Like a well – used grill at a restaurant, there is a spirit buildup over time that gives each studios end product a distinct flavor.

I’ve been asking artists, musicians, producers and engineers, if they ever experienced any paranormal phenomena in the studios where they worked. If you have any first hand experience please let me know about it.

Thanks and regards, Artie

Copyright 2007 by Artie Wayne

For another article about the paranormal click onto
https://artiewayne.wordpress.com/2006/07/13/michael-piller-from-the-other-side/

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10 Responses to “Stax Records And A Paranormal Connection!”


  1. Hi Artie,

    I understand completely what you mean by being humbled in a studio that has had legendary sessions take place. During my days as V.P. A&R for A&M Records, I had the good fortune to visit studios in various locations. I fondly recall a trip to Paris meeting with major publishers including Eddie Barclay and then taking a driving tour of the South of France looking for potential studios for a project that was to be recorded in French. To be in studios that by themselves were old (relatively speaking) was very cool, but one in particular was located in an old silo that was part of a working vineyard. Spectacular!

    Or to be in studios in NYC, Los Angeles, Muscle Shoals, Toronto and Le Studio Morin Heights near Montreal owned by Andre Perry who recorded Give Peace A Chance for John Lennon in their hotel room in Montreal. Another great memory for me was working with Cat Stevens for an album he recorded at Eastern Sound Studios in Toronto. Of course, being with Bryan Adams and Bob Clearmountain at the Power Station for the playback of the mixes for his You Want It You Got and later Cuts Like A Knife! Or going to London to see Bryan on tour with Tina Turner at Wembley. Man the memories! I could go on and on…

    What always fascinated me were the stories behind every studio and I always felt very fortunate to be involved in such a fantasic business: the creation of music and its effect on people’s lives and memories.

    Cheers.
    Michael

  2. Phil M. Says:

    That’s a brilliant piece, Artie, a real keeper. I feel quite similarly myself, despite being a strict materialist — it’s a tough duo to reconcile, yet in my mind both views coexist without any noticeable strain.

    I’ve never actually experienced such a thing myself, but in interviews promoting the release of her 1975 debut “Horses,” Patti Smith spoke of her communion with Jimi Hendrix while recording the album at his Electric Ladyland.

  3. Noel Webster Says:

    Great article please come visit Muscle Shoals Sound Studios
    We are OPEN for public tours
    http://www.muscleshoalssound.org

  4. expat Says:

    Great article… and there is definitely something to it, but I can’t believe that Radio Recorders, on Santa Monica Bl., and studio B at Capitol were not mentioned. The music that has been created in those two studios, over the many decades, has left energies that you can almost touch. Their presence is palpable.

    expat in France


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  6. Collie Says:

    Artie, thanks for the article. But …. no mention of TPC studios, Mabu, or the Dawn Patrol at A&M? Better ask Klein how to get ahold of me. CC

  7. BARRY OSLANDER Says:

    OK, OK, ARTIE. HERE’S A FUNNY STORY ABOUT MOMS MABLEY AND STAX RECORDS.
    AFTER MANY YEARS OF MOMS RECORDING FOR MECURY RECORDS THEY DROPPED HER. I MADE SOME CALLS AND WITHIN FIVE MIUNTES OF TALKING TO STAX I GOT US A DEAL.
    THE FIRST ALBUM WAS RECORDED IN THE STAX RECORDING STUDIO WHICH WAS AN OLD MOVIE HOUSE WITH THE CONTROL ROOM ON THE SECOND FLOOR. IT WAS THE ORIGINAL PROJECTION ROOM WHEN A MOVIE HOUSE AND THE FLOOR WAS A BIT SLANTED DOWN FROM THE BACK TO THE FRONT, JUST LIKE ALL OTHER MOVIE HOUSES OF THE TIME…
    STAX INVITED STAFF AND FRIENDS FOR A PRIVATE SHOW WHICH WENT WELL AS ALL HER SHOWS DID.
    MOMS WAS A VERY CLASSY PERSON, AND SHE LIVED A VERY CLASSY LIFE TO THE POINT OF OWNING A WHITE CLOUD ROLLS.
    AS WE WERE WALKING TO THE FRONT DOOR OF THE STUDIO A VERY FAMOUS SINGER SIGNED TO STAX RECORDS, WHO HAD A NUMBER ONE SINGLE AND ALBUM OUT AT THE TIME WHICH ALSO WAS THE TITLE SONG OF THE NUMBER ONE MOVIE OF THE DAY….WALKED OVER TO MOMS, KISSED HER ON THE CHEEK AND ASKED HER IF SHE’D LIKE TO SEE HIS NEW CAR WHICH WAS PARKED AROUND THE CORNER ON THE STAX PARKING LOT. MOMS SAID YES. WHEN WE WALKED AROUND THE CORNER WE SAW A PURPLE CAR WITH TONS OF CHROME AND A REAR WINDOW SHAPED LIKE LIGHTNING. THE TIRES LOOKED FLATENED FROM THE WEIGHT OF THE CAR. IT WAS PIMPED OUT FOR SURE. BEAMING WITH PRIDE, THE ARTIST ASKED MOMS WHAT SHE THOUGHT ABOUT IT. MOMS, WITHOUT MISSING A BEAT, LOOKED HIM SQUARE IN THE EYE AND SAID, “_______, THAT’S THE UGLIEST CAR I’VE EVER SEEN…EVER!” AND WITH THAT, SHE TURNED AROUND, WE WALKED BACK AROUND THE CORNER, GOT INTO THE LIMO AND DROVE AWAY. THE LOOK ON HIS FACE WAS ONE OF THE WORLD FALLING ON HIS HEAD…WHICH IT HAD. I ALWAYS THOUGHT THAT IF GOD SPOKE TO ME ON A MOUNTAIN SOMEPLACE, THE VOICE WOULD SOUND JUST LIKE MOMS, SO I CAN IMAGINE HOW HE FELT, NOT GETTING THE COMPLIMENT HE WAS LOOKING FOR.
    NOT LONG AFTER, I HEARD HE BOUGHT A ROLLS. AND IT DEFINITELY WASN’T PURPLE.

  8. Bob Says:

    Barry,

    You and Moms were about the same age!!!!

  9. bushkie Says:

    That was a GREAT story, and you wrote tyhat by your self. Thanks for telling me about it.
    But the story I really love happened in Shoney’s.

  10. Mark Petty Says:

    John Densmore, Robby Krieger, and Ray Manzarek of The Doors on overdubbing tapes of Jim Morison’s poetry (around 1978):

    “I remember when we were listening to the original stuff, a bird flew in to the living room.”

    “We all got together for the first time to discuss this idea…”

    “So we’re in this guy’s house and all of a sudden there’s a bird in the room. It flew around and round. We said, okay, Jim’s here. Let’s do it!”

    “In classic mythology the bird is the symbol of the soul.”

    “Living beings who haven’t exited their fleshy forms. The bird was the soul of Jim.”

    They were talking about this album:
    http://www.amazon.com/exec/obidos/ASIN/B000002HJD/wideanglereco-20


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