When you think of soul music, you might think of greats like Aretha Franklin or recent stars like Ari Lennox. Infused with the enthusiasm of African American gospel and empowered by electrified rhythm and blues backing, soul music is one of America’s most iconic and influential musical traditions. Even as the genre has proliferated and diversified into its many regional incarnations and modern reimaginings (funk, disco, neo-soul), the meaning of “soul” itself remains elusive. Soul is a way of being, a modality of the Black experience, a timbre and tone that hits you just right. For all intents and purposes—it is modern magic.

And yet: What if there was a person whose job it was to engineer the ineffable?

Bobby Manuel is such a man. Hired by Stax in 1967, Manuel was a jack of all trades: playing guitar, recording sessions, writing songs and more. He witnessed the tumultuous latter half of the great label’s history alongside the (national and local) racial reckonings of the period. When Stax fell, Manuel would partner with Stax co-founder Jim Stewart to create a new production studio, Daily Planet. Through it all, Manuel was part of a small team at Stax that handled microphones, room tones, and mixing to create the frameworks of the famous Memphis soul style.

Manuel spoke to me about his time at Stax with a manner of blues nonchalance. The accomplished musician and producer shared memories, thoughts on “cutting for groove,” and a few engineering secrets…

Stax Records was founded in 1957 by the sibling duo Jim Stewart and Estelle Axton in Memphis, Tennessee. The two began to cultivate a unique sound alongside local musicians—a blend of country, jazz, blues, and R&B that would become “Memphis soul.” This unique sonic palette and the renegade ethic of the upstart label were founded in defiance of racial segregation in Memphis. White and Black musical styles blended together publicly and to great acclaim. Outside the studio, however, Stax artists and engineers lived on separate tracks, facing wildly different social conditions based on their race. As the Civil Rights Movement picked up steam, so did the backlash against its supporters. It was a tense time in America.

Elsewhere in Memphis was Bobby Manuel. Born in 1945, the young Manuel lived right by Beale Street. His house was near those of Willie Mitchell and Elvis Pressley and he would sneak off to listen to tunes around the neighborhood. These early childhood musical experiences taught Manuel lessons of humility, the need for mutual respect, and the dangers of segregation. He shares how this filtered into his work at Stax and the company culture:

The Current - Features - November 27, 2024

Bobby Manuel - Legacy of Stax

This early introduction to music stuck. By 1967, Manuel was a guitarist about town, playing at joints like Club Paradise, a famous Chitlin’ Circuit venue. He lead a band, The Memphis Blazers, and was more than fluent in rhythm and blues. After taking a technical course in electronics at William R. Moore College of Technology, the young man was on the look for a new opportunities in production.

Tragedy struck that same year. The sudden deaths of superstar singer Otis Redding and several members of his backing band, the Bar-Kays, in a plane crash were a catastrophe for the genre of soul, Memphis, and Stax itself. In the wake of the accident, the label needed additional hands to stabilize and recuperate. Manuel was called on to the scene.

The Current - Features - December  2, 2024

Bobby Manuel 1 - Starting out

One can imagine the pallor cast over Stax after such a tragedy. Manuel remembers the studio being empty in his first few months — besides Steve Cropper intently finishing an important piece of Otis Reddings’ legacy.

Bobby Manuel - Early Days

Eventually, the label found its footing again. Manuel got into playing music and working with tape at Stax. He learned quickly that the style of engineering at Stax was not that of cold, technical logic and sterilization. Rather, the label employed a rigorous-if-opaque blues-inflected method of cutting for groove.

Bobby Manuel - Good Feel

Manuel explained his theory of the “Groove Factory” further:

Bobby Manuel - Cutting for Groove

Getting out of the way to let that one moment, that serendipitous 

, when the swing falls in place was central to the minimal production style at Stax. When you had it, 

You can hear the exuberance of those moments from Manuel to this day.

Bobby Manuel - Hard to Contain

An element of Stax’s minimal style was a minimal but mighty team. It gave space for the musicians to breathe, to be comfortable in a space not overrun with producers.

Bobby Manuel - Small Team

Manuel gave his thoughts on the Stax sound: How it was unique, how it wasn’t, and what about that legendary studio space contributed to the tone of their records. An old theater space, a handful of mics, and baffles all played a part.

Bobby Manuel - Stax Sound pt. 1

Occasionally, impromptu padding made of domestic items found their way into the records. 

Bobby Manuel - Stax Sound pt. 2

Punchy drums may have been taking off at the time. Manuel shares more specific thoughts on the drum situation at Stax.

Bobby Manuel - Drums

But all good things must come to an end. A distribution deal with CBS Records went sideways, leaving Stax without a significant portion of their revenue. Attempts were made to save the label.

Bobby Manuel - End of Stax

Manuel went on to work with Jim Stewart at Daily Planet, a new record production company. The demise of Stax was a marker in the decline of the Memphis soul style in popularity. It’s legacy would continue, however, in genres such as funk and an eventual revival of interest in the period.

While much has changed in the recording industry, Manuel has a bit of wisdom to share for this generation’s sound engineers from the tradition of blues riffing:

Bobby Manuel - Advice to Contemporary Producers

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 Akshaj Turebylu

The in-house wizard at legendary label Stax sat down to discuss his work.


Bobby Manuel 17 - Legacy of Stax (Fixed)

Bobby Manuel 1 - I Started

Bobby Manuel 3 - Good Feel

Bobby Manuel 4 - Cutting for Groove

Bobby Manuel 14 - Hard to Contain

Bobby Manuel 7 - Small Team

Bobby Manuel 8 - Stax Sound 1 of 3

Bobby Manuel 9 - Stax Sound 2 of 3

Bobby Manuel 11 - Drums

Bobby Manuel 12 - End of Stax

Bobby Manuel 13 - Advice to Contemporary Producers

Grammy Museum

Engineering Soul: Bobby Manuel on the way it was at Stax Records

Minneapolis-based DJ kaya has made a name for himself with his reverence for the history of house and techno, attention to fine detail, and impeccable taste. His set at the closing party for Communion in September drew a rapturous response from the audience along with hugs and support from Minneapolis legend DVS1, the night’s headliner. Among other superlatives, kaya is the first Carbon Sound guest DJ to use three decks for a mix. 

We chatted with kaya about his background and intentions for his mix. Read a transcript of the interview, edited for length and clarity, below:

Experiencing the magic on the dance floor first-hand. Super special clubs where everything from the way that the party was set up, to the way that the lights and the sound were dialed in, to the energy that the individual dancers brought to the space, and, of course, the music and the way that the DJs created Sonic experiences for us as dancers opened up my curiosity.

I studied abroad in Milan and I went to a club called Apollo, a proper nightclub, for the first time. When I returned, I started to tap into some of the work that people had been doing in my hometown for many decades.

What do you try to give people with your sets? 

Beats for their body and movements for their mind; Activating dancers’ corporal autonomy and their cerebral pathways. Something clear, with direction, yet blank enough that they can render subjective interpretations and projections.

Who have been some of your biggest inspirations?

I would start with the Belleville Three [Juan Atkins, Derrick May, and Kevin Saunderson] and the originators of techno. It truly is a Black American art form. Acknowledging that part, the origin of all of this is important. That's the start, but there are too many people to name and give proper credit.

Today, I have a collection of stuff that I've been playing out over the past year which ranges from house to techno, but it leans more toward techno for sure. I'm gonna keep it between 125 and 131 beats per minute because I feel like that's where I'm in restraint. It forces me to keep my foot off the gas pedal completely. This set will also feel like the arc of a night in about an hour, starting a little bit slower and then moving into something that has a little bit more tenacity and drive.

What do you think the power of restraint is as a DJ?

It’s about knowing where you are in the lineup or the situation of the night. Are you opening? Are you in the middle? Are you closing? Is it an all-weekend thing? 

Maybe the proper word is consideration; Situating yourself as a DJ inside the bigger picture. That comes from an understanding of being on the other side of the speakers. Moving speakers, doing lights, working at the bar or the door… Being able to put it all into perspective and not playing just for yourself. So rather than restraint, consideration.

Stay tuned for new mixes on Carbon Sound every other Wednesday. If you’re a DJ and want to be considered for the series, email a mix of yours to jgreen@mpr.org.

Julian Green built and manages the music library for Carbon Sound and oversees content creation.  


Julian Green

Techno wizardry from one of Minneapolis' rising stars.


Techno mastery from one of Minneapolis' rising stars.

kaya (11/27/24)

Man with mustache smirks in signed Polaroid photo

House and Techno from kaya | Carbon Sound

Each week, we add new music, older tracks, which are known as “Gold adds”, and tracks that might not fit our general format, but still deserve a place in rotation because they serve our mission of showing the depth, breadth, and influence of Black musical expression - These are known as “Variety adds.”

. If you make music and want it considered for rotation, 

 If you want to give feedback directly, reach out to me at jgreen@mpr.org.

Tune in to hear our host Sanni B. live on The Message from 10 AM to 1 PM Monday through Thursday!

Keep all these tracks in one place with the 

 Spotify playlist. This playlist is updated weekly with all the new adds. When that playlist is cycled with new tracks, the tracks live forever on the 

 playlist. That playlist contains all of the music that we've added since the week of July 11, 2022 in chronological order of when it was added. All of the tracks available on Spotify, at least.

All of the tracks added to rotation on Carbon Sound the week of Dec. 2, 2024.


Image for New on Carbon Sound Spotify playlist

Natalia Toledo

New on Carbon Sound

Old on Carbon Sound

New Music on Carbon Sound - Week of December 2, 2024

Every 1st of the month, we’re creating a roundup of our favorite tracks, projects, and music videos that were released by Minnesota artists from that previous month. 

Keep our favorite tracks in one place with “Carbon Sound’s 1st of the Month” Spotify playlist. Expect an updated 1st of the Month Playlist on……every 1st of the Month.  Mark your calendars accordingly.

Starting as a subtle, slow burn, student 1's delivery ramps up as the track goes on. A mid-track beat switch flips it on its head. It's interesting the whole time and prompts a relistens as soon as it ends - Julian Green

Dizzy Fae’s latest track “Right Side” is super catchy and fun, and it transports us to an animated fantasy world. Dizzy has never been afraid to explore sonically, and this is yet another example of a different, unique sound that is just “right.” - Natalia Toledo

Minneapolis artist Tailor Briann started November off strong with her latest single “New York Minute”. Starting with a sample from The Players Club, Briann commands the attention of the listener in this track. She glides into the chorus of the song – her cadence being smooth, confident and hard-hitting. The bassy kick in the instrumentals will knock you right out of your chair. The bell samples also fit so nicely. Briann isn’t trying to convince you she’s a big deal in this single – you should already know that. - Nikhil Kumaran

Juice Lord, Lyndi, Quajo Productions - SLIDE

St. Paul star Juice Lord will always be making music for the love of it, and it’s abundantly clear on his new song “SLIDE.” From the collab with the wildly talented Lyndi (that had been years in the making) to themes of family and healing, this track will be providing some much needed warmth for the Minnesota winter approaching. - John Kueppers

Carnage The Executioner - Transformation To Terrell X

Lewiee Blaze - The Great Flood | Shot By ‪@XDMedia

Officilal Music Video | ESSJAY THEAFROCENTRICRATCHET - "FREEPRESS"

Brandyn Lee Tulloch - Fool's Gold ft. Jovon Williams (Official Music Video)

TOP 10 - REVII x DB! (prod. Db! , iprojectmusic, atl jacob )

KayCyy X Sign Crushes Motorist "On The Radar" Freestyle & "BRUISED" Performance (POWERED BY MNML)

Fat Twin - Rick (Live Performance) | Audio Exhibit

Tahjer - #traponamic Performance | Song: "Recipe"

Author

John Kueppers

Nikhil Kumaran

Highlighting Carbon Sound’s Favorite Minnesota made tracks, projects, and music videos released over the month of November, 2024.


Best minnesota music from November 2024 graphic

Carbon Sound's 1st of the Month

Go To Therapy

Transformation To Terrell X

Different Breed

Born 2 Be Rich

Lewiee Blaze - The Great Flood | Shot By @XDMedia

zodiak - bad btch [directed - kahre]

Tahjer - #traponamic Performance | Song: "Recipe" #artist #music #rnb #singer

Minnesota Music Releases to check out from November 2024

DJ McShellen has made a name for herself in Minneapolis through her track selection and pure skill. As a DJ, she aims to connect the African diaspora through blending genres like hip-hop, amapiano, Jersey club, and more. Having spun at just about every reputable venue in the city, she knows how to rock a crowd and keep them engaged through making familiar tracks new by digging for creative mashups.

We chatted with DJ McShellen about her background and intentions for her mix. Read a transcript of the interview, edited for length and clarity, below:

I actually started at the beginning of the pandemic, so that would be about four years.

I always was a person that had the aux and would like to play music or, like, discover new things. When my dad came here from Cameroon, he was the music guy. Not a lot of Africans  were coming into the U of M when he went to school. So he would throw house parties and play his records and things like that. So, I guess it runs in the family. 

My brother also produces beats and stuff like that. So it's kind of always just been a musical mind of trying to adjust to being bi-cultural. Growing up with a lot of makosa, West African music, and then getting into hip-hop and things like that, and trying to blend those types of sounds.

I think one of the biggest things is just trying to capture the whole diaspora in a set. It's harder when you have a lot of music, so just trying to make sure I filter and have a flow. I want to make sure people hear something familiar, but it kind of has a new twist to it. So I love edits, mashups,  and flips. Something that catches your ear, but you’re still able to groove and feel like you can enjoy what's going on. So it's not a surprise, but it's also not something you've heard before. That’s my biggest goal when I play, introducing people to new things.

I think it's gonna be something to where I’m speaking to the diaspora. Gonna do some amapiano, some Brazilian funk, some Jersey, Miami bass, bounce, and stay at a higher tempo. I had a crate that was kind of on the slower end, but I just want to continue to have myself grooving today. It's been a long week, so I'm trying to please to myself as well.

Creative mashups from one of Minneapolis’ brightest.


Creative mashups from one of Minneapolis' brightest.

DJ McShellen (11/20/24)

Hip-Hop, Mashups, and more from DJ McShellen | Carbon Sound

All of the tracks added to rotation on Carbon Sound the week of Nov. 18, 2024.


New Music on Carbon Sound - Week of November 18, 2024

Scott Herold stopped by to talk to Carbon Sound’s host Sanni about all things HSRA: a school with a mission to provide youth the opportunity to achieve a high school diploma through the exploration and operation of the music business and other creative endeavors.


Scott Herold stopped by to talk to Carbon Sound’s host Sanni about all things HSRA: a school with a mission to provide youth the opportunity to achieve a high school diploma through the exploration and operation of the music business and other creative endeavors.

The Message - Scott Herold

scott herold posiing for a polaroid photo

sanni brown and scott herold posing for a photo together

Scott Herold Interview: High School for Recording Arts, student focused learning, and more

Let Me Reintroduce the High School for Recording Arts Full Video

Essential Learning at Hip Hop High (Story of HSRA)

New Power Generation (Pt.II)

Interview: Scott Herold on The Message

Hey guys. This is Julian, AKA echo, AKA Carbon Sound’s Content Director. Today we were going to release DJ McShellen’s mix, but there are some spicy words in there that a certain government agency doesn’t like us airing. When that happens and we don’t have time to clean it up, it’s my job to suit up and try not to clang too hard.

I’ve been finding a lot of great house and UK garage tracks lately and wanted to use this mix to practice with them. This mix is lighter than my usual sound. There’s enough darkness out there.

We’ll be back to normal next week with McShellen’s mix as a YouTube exclusive. Stay tuned for that and enjoy this in the meantime.

Scheduling issues mean that echo is back in the booth; This time, bringing new disco and house finds.


echo (11/13/24)

House and Disco from echo | Carbon Sound

Feven Gerezgiher is a reporter and producer for MPR News Reverb, a team focused on reporting with and for young adults. In her interview with Carbon Sound, she talks about local elections and the impact that these can have on your community.


Stories

Engineering Soul: Bobby Manuel on the way it was at Stax Records

kaya (11/27/24)

New Music on Carbon Sound - Week of December 2, 2024

Get the Carbon Sound app

Minnesota Music Releases to check out from November 2024

DJ McShellen (11/20/24)

New Music on Carbon Sound - Week of November 18, 2024

Interview: Scott Herold on The Message

Connect with Carbon Sound

echo (11/13/24)

Interview: Feven Gerezgiher on The Message

New Music on Carbon Sound - Week of November 4, 2024

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