29:
275:, the Mar-Keys were back in the studio, and were explicitly identified in the album credits as the sextet of Steve Cropper, Duck Dunn, Booker T. Jones, Al Jackson, Andrew Love, and Wayne Jackson (no relation to Al). The album was not a chart success, and the Mar-Keys name was essentially retired once again.
263:
Although the Mar-Keys were no longer routinely issuing singles, the name still had a certain amount of marketability, and in the late 1960s the Mar-Keys name was used whenever horn players Andrew Love and Wayne
Jackson (later known as the Memphis Horns) teamed with Booker T. & the M.G.'s in live
145:
Singles and albums continued to appear under the Mar-Keys name throughout the 1960s, though none anywhere near as successful as "Last Night". The original all-white band continued to play live dates for a time, but fairly quickly, were largely replaced for studio recordings by session players. This
244:
in 1962. Consequently, from then through 1966 instrumental music recorded by the Stax house band was issued under the name of either the Mar-Keys or Booker T. & the M.G.'s, depending on the type of recording: in general, tracks featuring a horn section were credited to the Mar-Keys, and those
251:
The demise of the group as a singles act occurred due to the success of several of its members. By the time of the 1965 recording "Boot-Leg", singles credited to Booker T. & the M.G.'s were far outselling recordings credited to the Mar-Keys, who had failed to chart in years. Therefore, the
252:
decision was made to issue the horn-driven "Boot-Leg" (co-written with Packy Axton and Isaac Hayes) as a track by Booker T. & the M.G.'s, even though it had been conceived of as a Mar-Keys track, and Booker T. Jones himself did not actually play on it.
81:
while its members were in high school. They tried to get a record made for the local
Satellite Records (the forerunner of Stax), unsuccessfully, even though the label was owned by the mother and uncle of the group's tenor sax player,
137:(baritone sax), Gilbert Caple (tenor sax) and others. The authorship of the song, credited simply to "Mar-Keys" on the label, is registered with BMI to Axton, Caple, Newman, Smith, and producer Moman.
150:
name for the racially integrated Stax
Records house band, which had a floating membership. The most frequent Mar-Keys studio players during this era, subject to change from session to session, were:
498:
287:
Stax simply assembled a number of instrumental cuts from various sources, without regard for group continuity. Three of the album's seven cuts were outtakes from sessions by the
90:, convinced them to change their name, and they became "The Mar-Keys". However, the live lineup of the Mar-Keys was not always the same as the band heard on the recordings.
310:
In 2012, the Mar-Keys regrouped with a lineup consisting of original members Wayne
Jackson, Floyd Newman, Don Nix, Smoochy Smith, Terry Johnson, plus former M.G.
317:
Terry
Johnson (born James Terry Johnson on April 3, 1943, in Memphis, Tennessee) died on March 19, 2016, after a short illness, at age 72.
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248:
Dunn replaced
Steinberg in the M.G.'s in 1964, having already played with the Mar-Keys both live and in the studio for several years.
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240:
While still involved with the Mar-Keys and Stax studio work, Cropper, Steinberg, Jones and Al
Jackson Jr. also began recording as
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These musicians, in addition to being the studio Mar-Keys, served as the backing band on singles and albums by dozens of
114:
291:, while the other cuts were performed by various uncredited Memphis musicians with no other ties to the Mar-Keys' past.
1257:
959:
Soulsville, U.S.A.: The Story of Stax
Records - Rob Bowman, Bowman, Robert M. J. (Robert Maxwell James) - Google Books
255:
With the top 40 chart success of "Boot-Leg", by the end of 1966 the Mar-Keys name was no longer appearing on singles.
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Drums: Howard Grimes (1961–62) or Terry
Johnson (occasionally, 1961–62); supplanted by
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Steve
Cropper of The Blues Brothers band at Hamar Music Festival 2007, in Hamar, Hedmark, Norway
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for the label, their backing music formed the foundation for the early 1960s Stax sound.
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Ronnie "Angel" Stoots was the band's lead vocalist when they had gigs on the road.
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863:"—" denotes releases that did not chart or were not released in that territory.
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The legacy of the Mar-Keys is that they were key players in the development of
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994:(1st ed.). London: Reed International Books Ltd. p. 96. CN 5585.
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nationally in the US in 1961. It sold over one million copies, earning
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performances. The two groups shared billing on a live album in 1967,
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did not want a guitar part on the song), Packy Axton (tenor sax),
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121:(normally a guitarist, here playing second keyboard; producer
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Keyboards: Smoochy Smith (occasionally through 1963) and/or
245:
without horns were credited to Booker T. & the M.G.'s.
140:
117:. The lineup for this recording included the Royal Spades'
1003:
1001:
86:. When the band eventually made a record, Axton's mother,
1016:(2nd ed.). London: Barrie and Jenkins Ltd. p.
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826:
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780:
668:
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For the final album credited to the Mar-Keys, 1971's
175:(frequently through 1963); essentially supplanted by
1096:"The Mar-Keys Top Songs / Chart Singles Discography"
225:
artists who recorded at the Stax studios, including
1009:
258:
1303:
146:meant that in practice, "The Mar-Keys" became a
314:, and original member Packy Axton's son Chuck.
129:(trumpet), and Jerry Lee "Smoochy" Smith (main
141:Follow-ups and fragmentation (1961–1966)
93:Their first and most famous recording was the
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179:(with increasing frequency from 1962) and/or
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902:The Virgin Encyclopedia of Popular Music
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27:
923:
454:Billy Purser (aka Gary Burbank) – drums
1304:
1068:"Obituary for Dr. James Terry Johnson"
989:
955:
73:Early success with "Last Night" (1961)
1176:
1150:
876:
259:The six-man line-up (1967–1969)
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13:
1327:Musical groups established in 1958
1258:Stax Museum of American Soul Music
929:
14:
1353:
1117:
1085:
479:(Atlantic SD-8055) August release
1342:1958 establishments in Tennessee
484:Do the Pop-Eye with the Mar-Keys
387:Gilbert Caple – tenor saxophone
359:James "Terry" Johnson – drums,
193:Horns: varying combinations of
1034:
949:
464:
1:
869:
412:Gene Parker – tenor saxophone
279:Final years (1970–1971)
133:), augmented by horn players
60:, in the 1960s. As the first
1312:American soul musical groups
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421:Jerry Lee "Smoochy" Smith –
115:certification as a gold disc
19:Not to be confused with the
16:American studio session band
7:
335:Charlie "Redman" Freeman –
268:, from a concert in Paris.
10:
1358:
1337:Booker T. & the M.G.'s
1317:American session musicians
1072:canalefuneraldirectors.com
523:
504:Booker T. & the M.G.'s
320:
295:Legacy and recent activity
242:Booker T. & the M.G.'s
39:, formed in 1958, were an
18:
1245:
1184:
1008:Murrells, Joseph (1978).
862:
806:
793:"Grab This Thing, Pt. 2"
790:"Grab This Thing, Pt. 1"
767:
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592:
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545:
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536:
533:
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469:
457:Rick Keefer – bass guitar
67:
1322:Atlantic Records artists
1012:The Book of Golden Discs
397:, vocals on "Last Night"
1276:Stax: Soulsville U.S.A.
992:NME Rock 'N' Roll Years
808:The Great Memphis Sound
491:The Great Memphis Sound
33:
990:Tobler, John (1992).
543:Peak chart positions
379:Charles "Packy" Axton
84:Charles "Packy" Axton
31:
1332:Stax Records artists
956:Bowman, Rob (1997).
905:(Concise ed.).
841:"Double or Nothing"
683:"Whot's Happenin'!"
403:– baritone saxophone
1263:Walt Disney Records
1124:History-of-rock.com
1047:Staxrecords.free.fr
703:"Sailor Man Waltz"
639:"One Degree North"
271:For the 1969 album
237:, and many others.
77:The group began as
23:, a soul/funk band.
1217:Donald "Duck" Dunn
962:. Schirmer Books.
932:"Artist Biography"
909:. pp. 795/6.
743:Non-album singles
517:Memphis Experience
502:(Stax S-720) with
486:(Atlantic SD-8062)
395:baritone saxophone
342:Donald "Duck" Dunn
285:Memphis Experience
164:, or occasionally
109:", a number three
58:Memphis, Tennessee
34:
1299:
1298:
1269:Pebble to a Pearl
1178:Stax/Volt Records
1041:Patrick Montier.
867:
866:
698:Non-album single
651:Non-album single
409:- tenor saxophone
183:(after mid-1964).
1349:
1246:Related articles
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844:"Knock On Wood"
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659:"Popeye Stroll"
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600:"Morning After"
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190:(from mid-1962).
79:The Royal Spades
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1043:"STAX TODAY 18"
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771:"Banana Juice"
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575:"Night Before"
560:
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519:(Stax STS-2036)
512:(Stax STS-2025)
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434:Booker T. Jones
383:tenor saxophone
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312:Lewie Steinberg
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364:
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351:Howard Grimes
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327:Steve Cropper
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301:Southern soul
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195:Wayne Jackson
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168:(until 1964).
167:
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156:Steve Cropper
153:
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127:Wayne Jackson
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119:Steve Cropper
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88:Estelle Axton
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1253:Memphis soul
1232:David Porter
1138:The Mar-Keys
1129:The Mar-Keys
1103:. Retrieved
1099:
1075:. Retrieved
1071:
1062:
1052:November 12,
1050:. Retrieved
1046:
1036:
1011:
991:
985:
975:November 12,
973:. Retrieved
958:
951:
939:. Retrieved
935:
925:
907:Virgin Books
900:
897:Colin Larkin
856:
820:"Honey Pot"
807:
751:"Bush Bash"
718:
676:
593:
516:
509:
499:Back to Back
497:
493:(Stax S-707)
490:
483:
476:
391:Floyd Newman
316:
309:
305:Memphis soul
298:
284:
282:
272:
270:
266:Back to Back
265:
262:
254:
250:
247:
239:
231:Carla Thomas
227:Otis Redding
212:
209:(from 1964).
199:Floyd Newman
147:
144:
135:Floyd Newman
92:
78:
76:
54:Stax Records
37:The Mar-Keys
36:
35:
25:
1237:Jim Stewart
1227:Isaac Hayes
1212:Nikka Costa
1105:January 28,
941:January 28,
857:Damifiknow!
510:Damifiknow!
477:Last Night!
465:Discography
440:Isaac Hayes
436:– keyboards
430:– keyboards
407:Andrew Love
346:bass guitar
273:Damifiknow!
207:Andrew Love
181:Isaac Hayes
123:Chips Moman
1306:Categories
1283:Soulsville
870:References
847:Stax 0029
728:"Bo-Time"
662:"Po-Dunk"
594:Last Night
570:Last Night
558:US R&B
223:soul music
107:Last Night
62:house band
1077:April 27,
823:Stax 185
796:Stax 181
777:Stax 166
757:Stax 156
734:Stax 133
709:Stax 129
689:Stax 124
665:Stax 121
642:Stax 115
625:Stax 114
606:Stax 112
580:Stax 107
423:keyboards
162:Duck Dunn
131:keyboards
99:saxophone
1290:Wattstax
1100:Music VF
936:AllMusic
603:"Diana"
374:trombone
289:Bar-Kays
154:Guitar:
148:de facto
101:-driven
41:American
21:Bar-Kays
1197:Al Bell
1142:Discogs
636:"Foxy"
537:B-side
534:A-side
524:Singles
451:– drums
401:Don Nix
370:trumpet
321:Members
219:R&B
203:Don Nix
47:session
1024:
966:
913:
546:Album
540:Label
515:1971:
508:1969:
496:1967:
489:1966:
482:1962:
475:1961:
470:Albums
337:guitar
331:guitar
221:, and
160:Bass:
103:single
97:- and
68:Career
44:studio
838:1969
814:1966
768:1965
748:1964
725:1963
656:1962
565:1961
531:Year
444:organ
361:piano
355:drums
95:organ
56:, in
1133:IMDb
1107:2022
1079:2021
1054:2012
1022:ISBN
977:2012
964:ISBN
943:2022
911:ISBN
303:and
215:rock
52:for
50:band
1131:at
1018:137
800:111
781:121
111:hit
1308::
1098:.
1087:^
1070:.
1045:.
1020:.
1000:^
934:.
878:^
853:—
850:—
832:19
827:89
804:—
785:—
763:—
760:—
740:—
737:—
715:—
712:—
695:—
692:—
673:—
669:94
648:—
645:—
631:—
628:—
614:—
610:60
572:"
552:US
442:–
393:–
381:–
372:,
368:–
353:–
344:-
329:–
307:.
233:,
229:,
217:,
201:,
197:,
1170:e
1163:t
1156:v
1109:.
1081:.
1056:.
1030:.
979:.
945:.
919:.
589:2
584:3
568:"
105:"
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