By Joel Francis
When RZA needed a hook for “C.R.E.A.M.” he turned to the Charmels’ “As Long As I’ve Got You” and joined a large fraternity of rappers and producers who have leaned on the Stax catalog for their tracks. And though Stax has provided the samples for hits by Jay-Z, Public Enemy, Notorious B.I.G. and countless others, the source material has somehow remained in the secret province of crate-diggers.
Until now. “Stax: The Soul of Hip Hop” is 14 wonderfully selected, mostly obscure late-period Stax cuts released as part of Concord Record’s revitalization of the label. It’s unlikely that many Ghostface Killah fans listening to “Supreme Clientele” would have the urge to track down the source material for “The Grain.” But listening to Rufus Thomas’ “Do the Funky Penguin” on this compilation not only sheds light on the music that informed Ghostface – it’s fun enough to make the album more than a history lesson.
It’s great if De La Soul and Cypress Hill are the reasons these song sound familiar, but the collection succeeds because it dusts off great songs that are ignored on most retrospectives. 24-Carat Black’s lone album was ignored in 1973. That album’s title track “Ghetto: Misfortune’s Wealth” opens this compilation with a slab of socially conscious funk. The female trio the Emotions found their greatest success with Earth, Wind and Fire in the late ‘70s, but “Blind Alley” shows they were fully formed pop soul act long before Maurice White helmed their albums.
The Dramatics’ “Get Up and Get Down” foreshadows the disco movement, while Little Milton’s “Packed Up and Took My Mind” is the marriage of soul and blues that Robert Cray has been chasing for 20 years. The inclusion of Isaac Hayes and Booker T. and the MGs tosses a bone to casual fans, although two Hayes cuts may be one too many.
The only misstep is a song that dates from Stax’ early days with Atlantic Records. Wendy Rene’s 1964 track “After the Laughter (Come Tears)” is an unconvincing ballad whose best quality is a great calliope organ line. Complaining about this cut, the extra Hayes track and the wish that the producers would have packed the disc with more tracks, though, misses the point and spoils a great treasure.
This set not only proves that the hip hop samplers had immaculate taste, but that they weren’t just cherry picking. While they may have only mined 10 or 15 seconds from each track, the ore runs consistently deep through each performance.
If hip hop is the reason for this collection to exist and that marketing angle will draw those fans to this music, then so be it. But a celebration this fun doesn’t need an excuse.