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Warner Music Agrees to Pay Apple’s 30% Tax – Launches Music NFTs on iOS App  Business 2 Community
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Earlier this week, Apple Music revealed its Replay feature that shows the end-of-the-year charts in all sections and regions. Among the charts, it declared the top 25 most Shazamed K-pop songs of 2022 across the globe on this streaming platform.
None other than Lisa from ‘BLACKPINK’ topped the chart with her chart-busting solo track ‘MONEY’ which was released in 2021. She is the only South Korean music artist to make this achievement without even releasing a single track in 2022.
The list was soon followed by BTS with the tracks namely, ‘Moon’, ‘Epiphany’ and last but not the least, ‘Dynamite’. BlACKPINK again took 5th place with their powerful banger ‘Pink Venom’. BTS seems to be following soon with tracks, ‘Butter’ and ‘Awake’.
Some of the other artists on Apple Music’s most Shazamed K-pop songs of 2022 list were, TWICE, TREASURE, IVE and also Jin of BTS. Quite evidently, the K-pop artists who started their solo endeavors other than the groups are gaining some significant attention from listeners around the world including their global fans.
#LISA tops Apple Music’s most Shazamed K-pop songs of 2022 list.
“Lisa topped the list with her 2021 solo track #MONEY followed by BTS’ “Moon”, “Epiphany” and “Dynamite”. @BLACKPINK‘s “Pink Venom” placed fifth..”
via https://t.co/QoSQHmZkm8 pic.twitter.com/II1UmBzD37
— ??‍?LISANATIONS INTL FANBASE (@LISANATIONS_) December 1, 2022

‘Money’ is the most successful and creative track from Lisa’s debut album titled, ‘Lalisa’, her original name. The track is considered the longest-charting song by a K-pop soloist on the charts like the UK Singles Chart as well as the US Billboard Hot 100. The song has been certified gold in Portugal and Poland for its popularity among the mass. Released under the label of Interscope, this song is claiming the top position on all charts with a huge stream count and buzz among the listeners.
Digging deep into the Apple Music Top Chart Insights, it shows that The Kid LAROI and Justin Bieber took the no.1 spot with their highly popular collaboration project ‘STAY’. It spent more than 51 days atop the Daily Top 100: Global and also stick to its position in 2022 as well.
When it comes to the top 100 songs chart, there was a total of 32 hip-hop bangers along with 11 R&B and Soul Projects, 8 Latin tracks, and 6 J-pop tracks. There is a global musical approach in this year’s list as 29 tracks from the top 100 are not in English. So, it is safe to say that global listeners are enjoying music regardless of the lingual approach.

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When AJ Wavy started posting music mixes on TikTok, it was "just for fun". But after his mashups of Bollywood and Western hits gained millions of views, he's now been signed by Sony.
"It's been an amazing journey to see it go from just my bedroom to countries all over the world," AJ tells BBC Newsbeat.
He says everything "just snowballed" towards the launch of his Desi Bop record, a mix of chart-topping tracks.
"It's been a crazy rollercoaster," he says. "I always used to enjoy producing music and I've been musically inclined."
"It's something I had my eye on for a long time. To actually see it happen is quite overwhelming," he says.
A fusion of Western R&B, Hip Hop and Indian pop smash hits has become AJ's trademark.
Videos mixing The Hills by The Weeknd with Punjabi hit Fallin Star, and a remix of Drake's Hotline Bling with Bollywood hit Lal Ghagra have gained over 15 million views across TikTok and YouTube.
AJ says he's proud to say Bollywood star Shahid Kapoor, singer Nicole Scherzinger and sports brands such as Manchester United, Liverpool FC and Formula 1 have all used his Hotline Bling remix sound.
The person to thank for that mashup is AJ's cousin, who "needed some help for a dance routine".
"She wanted me to make a mix. As soon as I heard that Lal Ghagra part, I knew that I had to mix it with something," AJ says.
"When I saw Hotline Bling, I immediately was like 'OK I've got to try this'. As soon as I heard it, I knew it was working."
It's "been so amazing" to see the reach beyond Asian culture, AJ says, with "people from all backgrounds and cultures using the track".
One of the most recognisable faces associated with AJ is actually his dad – and his reactions.
"Anything I did or created, I'd always show them naturally just to see what they thought. So when I started filming my dad's reactions, I could see how people love to see that."
"I've shared this journey with them and that's something I'll always be grateful for."
"It's not often people get to do that. Especially in Asian communities, it can be a bit tough."
AJ might now have a song out, but he's not done yet.
"I'm quite new to it so there's a lot of learning to do. There's so much I want to be honest.
"Doing big DJ shows and festivals. That's something I've always wanted to do, and I'm definitely going to do."
And he wants to keep on fulfilling fan requests for those epic mixes.
"Getting the fans involved, people who follow me is a really fun element which opens me up to a lot of music that I've not heard before."
"It's like a whole different level to mashups as well, which I find really fun and entertaining," he says.
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Listen to Newsbeat live at 12:45 and 17:45 weekdays – or listen back here.
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“I listened to and made music where things generally happen gradually rather than suddenly.”
Red Hot Chili Peppers guitarist John Frusciante has announced an upcoming double electronic album, I and II, set to arrive in early 2023.
Two versions of the record will be released — with I (pronounced “one”) featuring seven tracks on vinyl, while II (pronounced “two”) includes more songs, in both CD and digital formats.
According to Frusciante, I features less songs as “some of the tracks have sounds that cannot be pressed on vinyl”, though it will come with a bonus track exclusive to the vinyl version.
Of the new project, the musician said, “After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly.”
“I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines.”
Frusciante also revealed that he was “inspired by my mental image of John Lennon’s tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie’s Station To Station” and “the general idea of Eno’s initial concept of Ambient music.”
“Music being a solitary sculpture in sonic space was the main motivating thought,” he said. “I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern.”
“I’ve been listening to music like this since I was 13 or so, but I felt that making it was out of my reach because of the amount of restraint I imagined it required. Once I found myself making this music, it did not feel like a matter of restraint at all.”
Frusciante added, “I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band’s recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc..”
“What I needed was to create music from the ground up with nothing but sound, and have that music reflect “being” rather than “doing”. It was a therapeutic way of re-balancing myself, before and during my band’s mixing process.”
Arriving on 3 February 2023 via Avenue 66 label, I and II are now up for pre-order.
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Steely Dan boffins Donald Fagen and Walter Becker brought jazz smarts and lyrical sophistication to rock, conjuring up brainiac music that sold millions
Of all the smartasses that ever made a career out of rock’n’roll, such as Frank Zappa, Todd Rundgren and 10cc, none played it smarter than Donald Fagen and Walter Becker, the co-leaders of Steely Dan. To sell 40 million albums, as the Dan have, is no mean feat. But they did it with the most sophisticated and highbrow music ever recorded by a major rock group.
The fact that their group were named after a dildo – as featured in William S. Burroughs’s 1959 novel The Naked Lunch – is typical of the subversive edge and sly humour that has always been a feature of Fagen and Becker’s art. All this is what made them, in the words of Rolling Stone magazine, “the perfect musical anti-heroes of the 70s”.
Fagen, from New Jersey, and Becker, from New York City, met in college on the East Coast and worked, unsuccessfully, as musicians and songwriters for hire before relocating to Los Angeles and forming Steely Dan in 1971. The original line-up featured Fagen (lead vocals and keyboards) and Becker (bass) plus guitarists Denny Dias and Jeff ‘Skunk’ Baxter, drummer Jim Hodder and a second lead singer, David Palmer, enlisted because Fagen was prone to stage fright, and the band’s label thought his voice didn’t cut it.
However, after one album, 1972’s Can’t Buy A Thrill, Palmer was out. And over the next eight years, the personnel on Dan records was ever-changing, as Fagen and Becker used the finest talent available, including Toto drummer Jeff Porcaro, the Doobie Brothers’ singer Michael McDonald, and jazz musos, guitarist Larry Carlton and pianist Joe Sample.
Steely Dan’s music is typically classified as ‘jazz rock’, but the genius of Fagen and Becker was to fuse these two elements with funk rhythms and a pop sensibility evident in the hits Do It Again, Reelin’ In The Years and Rikki Don’t Lose That Number. 1980’s Gaucho was the end of their golden run: they split a year later, and a whole decade passed before a reunion in 1993.
Since then, there have been just two more albums. No matter. During their imperial phase, the Dan created something unique: a balance of slick West Coast groove and dry East Coast wit. As Time magazine put it: “Sensuous and sinister, like a lazing snake coiled under the sun. Probably poisonous too…”Why you can trust Louder Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out more about how we test.No Steely Dan record for 20 years, then two in three years, and then nothing for 13 years. For a band as unorthodox as this, it makes a strange kind of sense. But if this album does turn out to be their last, it’s a bit of a bum note to go out on.
Everything Must Go (the only Dan album not to go gold) is not a bad record. In all their years together, Fagen and Becker have never made an outright turkey. But for all the craft and detail in this album’s music and lyrics, there isn’t one truly great song, and no flashes of the pop genius in their past hits – only what one critic called “a mood of well-heeled world-weariness”.
Buy Everything Must Go from Amazon (opens in new tab)It was a long time coming. Twenty years had passed since Fagen and Becker had made a new Steely Dan album. It had been seven years since they’d reunited and begun touring again. And yet, on Two Against Nature, they just picked up where they had left off with 1980’s Gaucho.
Their signature sound was immediately apparent in the opening track, Gaslighting Abbie. And so it continued, through Cousin Dupree – as funny as it is funky – on to the jazz-noodling finale, West Of Hollywood. The album sold a million in the US and won four Grammys. On every level, the Dan’s comeback was a triumph.
Buy Two Against Nature from Amazon (opens in new tab)Such was the band’s profile after the success of Pretzel Logic that this follow-up was a gold record in the US, even though its two singles didn’t really stick. Black Friday, a swaggering rock song, peaked at 37, and the laid-back Bad Sneakers failed to make it into the Top 100.
It’s the deep cuts that make Katy Lied a favourite among Dan connoisseurs: Doctor Wu, a jazz tune as smooth as glass, and Your Gold Teeth II, with an effortlessly cool groove that’s right in the pocket. Making these tracks swing was drummer Jeff Porcaro, already, at 20, a master of his art. Meanwhile, Michael McDonald, debuting with the Dan, brought a little soul into the mix.
Buy Katy Lied from Amazon (opens in new tab)Fagen and Becker pulled off quite a trick on the Dan’s second album. While Countdown To Ecstasy had more of a rock’n’roll edge than Can’t Buy A Thrill, it was also when the duo’s jazz influences came to the fore.
Prominent among the rockier songs were Bodhisattva, with its boogie riff, and Show Biz Kids, on which guitar hero Rick Derringer played slide. But even in these tracks there were jazzy nuances, and elsewhere this sensibility was overt in the subtle textures of Your Gold Teeth and Razor Boy. With Fagen as sole lead vocalist, it was a strong and cohesive album. All it lacked was a hit, like Do It Again.
Buy Countdown To Ecstasy from Amazon (opens in new tab)No Dan album has divided opinion like Gaucho. The New York Times called it “the best album of 1980”; Rolling Stone described it as “the kind of music that passes for jazz in Holiday Inn lounges”.
The truth is somewhere in between. Gaucho is a monument to anal-retentive excess, recorded over two years, utilising 42 different musicians. Even so, it’s flawed: the bland Glamour Profession is style over substance. But there are great songs on Gaucho. The title track is mesmeric, and in the zinging Hey Nineteen, Fagen makes a sleazy come-on sound magical: ‘The Cuervo Gold/The fine Colombian/Make tonight a wonderful thing.’
Buy Gaucho from Amazon (opens in new tab)Donald Fagen apparently hated the artwork for The Royal Scam, originally commissioned for a Van Morrison record that was never released. But the music was right on the money.
Kid Charlemagne has a silky melody and a mind-blowing guitar solo from jazz-fusion pioneer Larry Carlton, and The Fez is nonchalantly funky. But the album’s best song is the reggae-influenced Haitian Divorce, with its wonderfully evocative opening couplet: ‘Babs and Clean Willie were in love they said/So in love, the preacher’s face turned red.’ Haitian Divorce is the Dreadlock Holiday it’s okay to like, and The Royal Scam is classic Dan.
Buy The Royal Scam from Amazon (opens in new tab)It wasn’t just their first album to hit the US Top 10. In another key respect, Pretzel Logic was a game changer for Steely Dan. After their second album, Countdown To Ecstasy, flopped, Fagen and Becker upped the ante on this follow-up, bringing in top session musicians, including drummer Jim Gordon, who’d played with George Harrison and Eric Clapton. 
From this point, the Dan weren’t a band per se; it was all about Donald and Walter. A perfect pop song, Rikki Don’t Lose That Number became their biggest hit single. And the quality in this album ran deep, from the balmy Any Major Dude Will Tell You to the bluesy title track.
Buy Pretzel Logic from Amazon (opens in new tab)It seems apt that Ian Dury was a Steely Dan fan. He did, after all, have a song called There Ain’t Half Been Some Clever Bastards. But Dury didn’t just connect to Aja on a purely intellectual level. “It’s got a sound that lifts your heart up,” he said.
For all the cynicism that was so much a part of Steely Dan – an extension of Fagen and Becker’s personalities – the group’s sixth album was pure feel-good music, a glittering synthesis of soft rock, jazz, funk and pop. Most uplifting of all was the US hit single Peg, with Doobie Brother Michael McDonald gilding the chorus. Fagen and Becker had always strived for perfection. In Aja, they found it.
Buy Aja from Amazon (opens in new tab)From the get-go, the Dan were the coolest band in America. This much is evident in their debut album’s two hit singles: the first, Do It Again, with a Latin rhythm and a melodic glow at odds with its lyrics about a loser beaten down by life; the second, Reelin’ In The Years, a breezy rock’n’roll number with killer lead guitar from Elliott Randall.
Absent from this album was the jazzy vibe that came to define the band in later years. But there were great songs throughout: from the deftly funky Midnight Cruiser to the soul ballad Dirty Work, the latter beautifully sung by the soon-to-be-axed David Palmer.
Buy Can’t Get A Thrill from Amazon (opens in new tab)
Freelance writer for Classic Rock since 2005, Paul Elliott has worked for leading music titles since 1985, including Sounds, Kerrang!, MOJO and Q. He is the author of several books including the first biography of Guns N’ Roses and the autobiography of bodyguard-to-the-stars Danny Francis. He has written liner notes for classic album reissues by artists such as Def Leppard, Thin Lizzy and Kiss, and currently works as content editor for Total Guitar. He lives in Bath – of which David Coverdale recently said: “How very Roman of you!”

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A second woman, Dorothy Carvello, has sued the estate of Ahmet Ertegun, the late co-founder and longtime chief executive of Atlantic Records, alleging he sexually assaulted her while she was employed by the label from 1987 to 1990.
Carvello filed a lawsuit Monday in New York state court against Ertegun‘s estate and Atlantic Records, which is owned by Warner Music Group, for battery, forcible touching, sexual abuse, criminal and civil conspiracy and intentional and negligent infliction of emotional distress.
The suit, which called Atlantic studios and offices “places to indulge their sexual desires,” also named Doug Morris and Jason Flom, former label executives at Atlantic and elsewhere, as defendants. It accuses each of either taking part in, or permitting, Ertegun’s alleged assaults. Carvello seeks monetary damages that would be set during a trial.
Ertegun died in 2006 at age 83, and Morris and Flom are still alive.
The lawsuit comes one week after a former music manager, Jan Roeg, sued Ertegun’s estate and Atlantic and alleged a similar pattern of sexual assault by the late executive and accused the label of fostering a toxic work culture and covering up the abuse.
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Jan Roeg says late music executive Ahmet Ertegun sexually assaulted her several times starting in the 1980s and alleges Atlantic Records covered it up.

Both women filed the lawsuit under New York’s Adult Survivors Act, which was signed into law earlier this year and went into effect Nov. 24. The new law gives survivors of sexual assault one year to sue their abusers, even if the statute of limitations has expired.

A representative for Flom did not immediately respond to a request for comment. Morris could not be reached Tuesday evening.
Warner Music Group did not immediately respond to comment on Tuesday either, but the company previously issued a statement responding to Roeg’s allegations.
“These allegations date back nearly 40 years, to before WMG was a standalone company. We are speaking with people who were there at the time, taking into consideration that many key individuals are deceased or into their 80s and 90s,” it read. “To ensure a safe, equitable, and inclusive working environment, we have a comprehensive Code of Conduct, and mandatory workplace training, to which all of our employees must adhere. We regularly evaluate how we can evolve our policies to ensure our work environment is free from discrimination and harassment.”

In 1988, Carvello became the label’s first female head of its artists-and-repertoire division since its founding in 1947. She brought top talent to Atlantic, including the rock band Skid Row.
However, Carvello’s first job at the company was as Ertegun’s assistant, starting in 1987. During her time as assistant, Ertegun regularly grabbed her breasts and exposed himself to her and masturbated in front of her while dictating correspondence to her, the lawsuit alleges.
Even if you didn’t know a thing about Atlantic Records co-founder Ahmet Ertegun, who died in December at 83, you’d instantly glean his monumental significance in the history of popular music from the footage of him in PBS’ latest “American Masters” documentary.

In 1988, Carvello, Ertegun and Flom traveled together to a bar to watch Skid Row perform in an effort to sign the band. While waiting for the performance to start, Ertegun allegedly grabbed beneath Carvello’s skirt, pulling down her underwear and exposed and grabbed her genital area, causing her pain, according to the lawsuit. The two struggled in front of Flom, who did not intervene, the suit said. Carvello left with bloody scratches on her abdomen.
Ertegun made further unwanted sexual advances toward Carvello later during the trip, court documents said.

The lawsuit also alleges a separate incident in which Ertegun slammed Carvello’s arm down on a table, fracturing it.
Several weeks after the incident, Skid Row signed with Atlantic and Carvello was promoted as an A&R executive.
Music
Bad Bunny, Beyoncé, Rosalia and Taylor Swift vie for the top spot in our critic’s list of the best albums of 2022.

In September 1990, Flom allegedly ordered Carvello to sit on his lap during a work meeting in front of other executives, the suit said. She refused and wrote a memo to Morris, who was her direct supervisor at the time, raising alarms about the toxic work culture at the label. Morris responded by firing Carvello, since she “questioned his authority,” the suit alleges.
Carvello leveled versions of these allegations against Ertegun in “Anything for a Hit,” her 2017 tell-all book about her experiences in the music industry.

Morris went on to become chief executive of Universal Music Group from the 1990s until 2010, then headed Sony Music Entertainment in until 2017. He is now chairman of 12Tone Music Group, which Warner Music Group acquired last year.
Music
From Alex G to Bailey Zimmerman, unknowns to superduperstars, pop-country to post-drill, these are our favorite bangers of 2022.

Flom became chair and chief executive of Atlantic in 2004, and held that position until he left the following year to fill the same role at Virgin Records. He founded and heads Lava Records, whose roster includes Lorde, Jessie J and Greta Van Fleet.

Ertegun, who also founded the Rock & Roll Hall of Fame in 1983, remained chairman of Atlantic Records until his death from a head injury resulting from a fall backstage at a Rolling Stones concert.
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Jonah Valdez is a reporter at the Los Angeles Times. Before joining The Times as a member of the 2021-22 Los Angeles Times Fellowship class, he worked for the Southern California News Group, where he covered breaking news and wrote award-winning feature stories on topics such as mass shootings, labor and human trafficking, and movements for racial justice. Valdez was raised in San Diego and attended La Sierra University in Riverside, where he edited the campus newspaper. Before graduating, Valdez interned at his hometown paper, the San Diego Union-Tribune, with its Watchdog investigations team. His previous work can be found in Voice of San Diego and the San Diego Reader. When not working, Valdez finds joy in writing and reading poetry, running, thrifting and experiencing food and music with friends and family.
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The Cult’s Ian Astbury adopts an ‘If you don’t ask, you don’t get’ approach while miming for German TV show Music Convoy
The Cult’s Ian Astbury has never been a man overly-troubled by modesty.

“If you’re a fan of rock music, our new record’s essential,” the singer stated boldly in October. “I don’t think there’s any recent releases of rock music that comes close to Under The Midnight Sun.”
The man has previous form here. Back in 1985, Astbury declared that his band were “like Big Country and U2, only better!”

“I respect those people,” he assured The List, one after The Cult’s second album Love debuted at number 4 on the UK albums’ chart “but they’ve become rather conservative. People are coming round to our way of thinking and we’re at a stage where we can break into a world-wide audience.”
Twelve months earlier, however, The Cult’s prospects looked rather less certain. Though the group’s debut album, Dreamtime, reached a respectable number 21, its second single, Go West (Crazy Spinning Circle), peaked at number 90 in the UK, and record companies in Europe weren’t falling over themselves to court Astbury and Billy Duffy’s band. 
An August 1984 booking on a popular West German TV show offered an opportunity for the Bradford band to put themselves in the shop window. 
Traditionally, bands showcased on Music Convoy would perform on the back of a truck, or trailer, parked up in the centre of a German town. For reasons unknown, however, it was decided that The Cult’s August 27 performance of Go West would be filmed beside an outdoor swimming pool, complete with high board divers, and a cameraman in the pool. 
Not having to worry about remembering lyrics, or indeed strum the guitar hanging around his neck, Astbury was free to issue a novel approach to European record labels to come and get his band, flipping his guitar over at one point to reveal the hand-written please ‘SIGN US NOW!’
The Cult wouldn’t break into the German Top 40 until 1989’s Sonic Temple album, but who’s to say this wasn’t where the seeds of their Teutonic triumphs were sewn.
Watch the clip below:
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Brannigan lives in North London and supports The Arsenal.
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Indian Rapper King, who appeared in the first season of the rap/hip-hop reality show ‘MTV Hustle’, and rose to prominence after his superhit song ‘Tu Aake Dekhle’, is on cloud nine with the success of his recent album, ‘Champagne Talk’. With over 50 million views and streams, the album is currently every hip-hop enthusiast’s favourite.
Reacting to the overwhelming success of the album, King said: “My heart is filled with love when I see my fans dancing and singing along to my songs. Being able to watch your songs trend and become popular over the Internet is a wonderful feeling.”
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He credits his team and well-wishers behind his success: “The unwavering love and support of my team and well-wishers have helped me get where I am today. There is no going back from here, and I’ll keep putting out the kind of music that my fans can listen to over and over.”
On the professional front, King is currently on a sold-out, non-stop musical tour with his next stop scheduled in Kolkata, where the rapper will perform before a live audience on November 18.
For the unversed, Rapper King is also known by names such as King Rocco and Badnaam Raja, however, his real name is Arpan Kumar Chandel. The rapper has performed with many iconic celebrities such as Raftaar, Nucleya, Raja Kumari and others.
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Stax Records co-founder Jim Stewart (center) poses for a photo with friends and students of the Stax Music Academy on April 29, 2013, in Memphis, Tenn. Stewart died Monday at age 92. Adrian Sainz/AP hide caption
Stax Records co-founder Jim Stewart (center) poses for a photo with friends and students of the Stax Music Academy on April 29, 2013, in Memphis, Tenn. Stewart died Monday at age 92.
MEMPHIS, Tenn. — Jim Stewart, the white Tennessee farm boy and fiddle player who co-founded the influential Stax Records with his sister in a Black, inner-city Memphis neighborhood and helped build the soulful “Memphis sound,” has died at age 92.
Stewart died peacefully and surrounded by his family on Monday, the Stax Museum of American Soul Music said in a news release. A cause of death was not disclosed and funeral plans were pending.
Stewart was co-founder of Stax Records in Memphis, where, during an era of racial strife, white musicians and producers worked alongside Black singers, songwriters and instrumentalists to create the “Memphis sound” embodied by Otis Redding, Isaac Hayes, Booker T. and the MGs, Carla and Rufus Thomas, the Staple Singers, Wilson Pickett, Sam & Dave and many others.
Stax and its affiliated record labels released 300 albums and 800 singles between 1959 and 1975, according to the Rock and Roll Hall of Fame. Stax fostered a raw sound born from Black church music, the blues and rock ‘n’ roll. It featured strong rhythm sections, powerful horn players, and singers who could be sexy and soulful in one tune, and loud and forceful in another.
Before Stax went bankrupt in 1975, the recording studio in Memphis’ “Soulsville” neighborhood produced lasting hits such as Otis Redding’s “Dock of the Bay,” Eddie Floyd’s “Knock on Wood,” Sam & Dave’s “Hold On, I’m Comin'” and “Soul Man,” and “Green Onions” by Booker T. and the M.G.s.
“There was so much talent here, under circumstances that were almost considered impossible in Memphis, Tennessee in 1960, with the racial situation here,” Stewart told The Associated Press during an interview in May 2013 — his first interview in at least 15 years. “It was a sanctuary for all of us to get away from the outside world.”
Stewart grew up on a farm in Middleton, Tennessee, before moving to Memphis to attend Memphis State University and joining a group called the Canyon Cowboys as a country music fiddler. He was recording country music in his wife’s uncle’s garage and working at a bank when he and his sister, Estelle Axton, founded the Satellite record label in 1957.
In 1961, after learning of a California label with the Satellite name, Stewart and Axton decided to combine the first two letters of their last names to create a new name, Stax. The pair moved the studio into an old movie theater on the corner of McLemore and College streets in Memphis.
Soon, young musicians from the neighborhood started hanging around, helping Stax build a house band that included organist Booker T. Jones, guitarist Steve Cropper, bassist Donald “Duck” Dunn and drummer Al Jackson Jr. — also known as Booker T. and the M.G.s.
Stewart said he turned Stax into a soul and R&B label after hearing Ray Charles sing “What’d I Say.”
“I was converted, immediately,” Stewart said. “I had never heard anything like that before. It allowed me to expand from country into R&B, into jazz, into gospel, wrapped all in one. That’s what Stax is.”
Booker T. and the M.G.s were racially mixed, as were the Memphis Horns, which backed many of Stax’s hits.
Stax signed a distribution deal with Atlantic Records and brought in the songwriting team of Isaac Hayes and David Porter. Stewart also hired Al Bell as Stax’s national sales director, and the label continued growing and producing more hits, such as “Who’s Making Love” by Johnny Taylor.
The first tragedy to hit the label was the death of Otis Redding and four members of his backup band, the Bar-Kays, in a plane crash in 1967. Then the assassination of civil rights leader Martin Luther King Jr. in April 1968 in Memphis led to riots in the city.
In 1968, Stewart, Axton and Bell sold Stax to Gulf & Western in exchange for stock. Stewart and Bell repurchased the label in 1970.
Stax saw a few more successes in the early 1970s, including the release of The Staple Singers’ “I’ll Take You There” and the Wattstax concert in Los Angeles in 1972. But cash flow started to slow down, bills stopped being paid and lawsuits were filed.
Stewart sold his share of Stax to Al Bell in 1972. Three creditors forced Stax into involuntary bankruptcy in 1975, marking the death of Stewart’s brainchild.
“He was hurt,” Axton told The Commercial Appeal for an Aug. 20, 1989, article on the history of Stax.
The studio was torn down in 1989. Since then, Stax has been rebuilt and reborn in the form of a museum, a music academy and a charter school.
Stewart, who mostly stayed out of the public eye after Stax stopped making music, was inducted into the Rock and Roll Hall of Fame in 2002.
In 2013, Stewart made a rare appearance at Stax, touring the museum before visiting with the teenage musicians who attend the Stax Music Academy. Stewart made a few other appearances at Stax after that, including in 2019 for a news conference to announce plans for the academy’s 20th anniversary.
“The music is still alive and that’s what great about it,” Stewart said during the 2013 tour. “I’m very proud of what they have done. It’s amazing to me.”
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