Flying back to Memphis, the Astors gazed down at the fires below. Merely four days earlier, they had electrified audiences with their chart-topping hit “Candy” on the popular Los Angeles TV show Shivaree. This appearance was part of a strategic media push orchestrated by Estelle Axton, co-founder of Stax Records, and the renowned local DJ Nathaniel “Magnificent” Montague. In August 1965, Stax Records sent a significant portion of its talent to the West Coast, culminating in the Stax Revue—a two-day spectacle at the 5/4 Ballroom in Watts, South L.A.
After their Saturday show, Carla Thomas, a Stax luminary, was invited by a teenage fan named Jacqui Jacquette to explore Watts. During their tour, Jacquette shared harrowing stories of LAPD violence, leading them to a community meeting organized by Jacquette’s cousin, Tommy Jacquette. This gathering, focused on teaching passive resistance to local teens, proved prescient. Just days later, a violent LAPD traffic stop ignited the Watts Uprising—a six-day rebellion resulting in 34 deaths. Stax’s intended cultural impact was overshadowed by the uprising’s turmoil; on the streets, chants of Magnificent Montague’s catchphrase, “Burn, baby, burn!” echoed.
In a bold move, Stax returned to Los Angeles not as visitors, but as residents. Newly independent and buoyed by President Al Bell’s leadership and Isaac Hayes’ stellar performances, Stax established a West Coast branch in 1972. Their foray into motion pictures began with a concept: “Black Woodstock,” evolving into the audacious Wattstax ’72—an integral part of the Watts Summer Festival, overseen by Tommy Jacquette until his passing in 2009. Wattstax ’72 gathered over two dozen Stax acts for a one-day concert, headlined by Isaac Hayes. With tickets priced at one dollar or given away, the event drew an estimated 112,000 attendees, marking one of the largest gatherings of Black Americans, second only to the March on Washington. The success of Wattstax led to a film and two soundtracks, released the following year.
Yet, despite these releases, the full story of Wattstax remained incomplete and, at times, misleading. Stax added crowd noise to studio cuts, presented as “live” singles on Wattstax: The Living Word. Contractual issues forced the removal of Isaac Hayes’ opening performance of “Theme From Shaft” from the film; director Mel Stuart responded by filming a replacement song on a Hollywood soundstage. Furthermore, several hitmakers were dropped from the lineup due to time constraints, later featuring in the second soundtrack. Over the years, Stax released portions of select performances piecemeal, culminating in a recut Wattstax in 2003 alongside an expanded soundtrack.
Enter Soul’d Out: The Complete Wattstax Collection—the definitive compilation presenting Wattstax ’72 in its entirety and correct sequence. Every song, introduction, and plea to return to the stands is preserved, offering a comprehensive view of the event. The inclusion of complete Summit Club sets and bonus tracks adds depth to the narrative. The release highlights the significance of Wattstax as a cultural landmark, echoing Rhino’s Woodstock: Back to the Garden set in its dedication to preserving historical moments.
Wattstax began with the world premiere of Dale Warren’s “Salvation Symphony,” showcasing a fusion of soul and classical motifs. Newly restored performances shed light on lesser-known acts like Tommy Tate and Mel & Tim, adding layers to the event’s narrative. However, Stax’s expansion, coupled with financial and legal challenges, ultimately led to the label’s demise by the mid-’70s, despite Wattstax’s success.
Rev. Jesse Jackson’s invocation of “liberation through music and lyrics” at Wattstax underscores the event’s profound impact. While Stax’s ambitions were curtailed by industry complexities, the festival itself represented a beacon of hope amidst social unrest. For the musicians involved, Wattstax was a transformative experience, reminding them that on that fateful day, anything seemed possible.