Released in 1969, Boy Meets Girl captures the camaraderie of Stax Records’ expanding roster during one of the label’s most pivotal periods. This compilation of original recordings pairs male and female artists in a groundbreaking collection of soul duets. Designed as part of Al Bell’s ambitious “Soul Explosion,” where the label shifted its focus from singles to albums, the project highlights Stax’s extraordinary talent pool while showcasing the collaborative chemistry that defined the Memphis soul sound.

Encased in a gatefold sleeve, the double LP release features cover art as evocative as its music. The striking photograph depicts men, women, and children of various races gathered on a grassy mound, symbolizing unity, diversity, and the family-like ethos of Stax Records. This imagery perfectly complements the album’s theme of collaboration, as artists come together in dynamic duets that capture Memphis soul at its peak.

The album opens with perhaps its boldest statement, “Soul-a-lujah,” an exuberant ensemble performance featuring Johnnie Taylor, Eddie Floyd, William Bell, Pervis Staples, Carla Thomas, Mavis Staples, and Cleotha Staples. Written by the accomplished songwriting team We Three—Homer Banks, Bettye Crutcher, and Raymond Jackson—the track is a gospel-infused anthem celebrating unity and spirit. The interplay of distinct voices over a driving rhythm section sets the tone for the album, exemplifying the communal ethos that defined Stax.

Carla Thomas and Mavis Staples, two of the most prominent female voices in the Stax family, dominate Boy Meets Girl with 11 appearances each. This remarkable feat underscores their versatility and centrality to the label’s roster. Together, their contributions anchor the album, with each artist bringing a unique blend of style and heart to their duets.

As the “Queen of Memphis Soul,” Carla Thomas exudes polished elegance throughout the album. Her duets with William Bell, particularly on “I Can’t Stop” and “All I Have to Do Is Dream,” balance her warmth and precision with Bell’s understated smoothness, creating performances that feel as effortless as they are deeply moving. Thomas’ adaptability shines in her collaborations with Johnnie Taylor, where her refined phrasing complements Taylor’s raw emotional power on tracks like “Just Keep on Loving Me” and “My Life.” In a rare pairing, Thomas teams up with Pervis Staples for “It’s Unbelievable (How You Control My Soul),” delivering a tender, heartfelt interpretation that highlights her versatility.

Mavis Staples, a powerhouse of emotional depth and vocal brilliance, delivers some of the album’s most stirring moments. On “Strung Out,” her collaboration with William Bell, Mavis channels longing and heartbreak with a commanding presence, her voice contrasting beautifully with Bell’s soulful restraint. This track later resonated with a new generation when rapper Cam’ron, songstress Syleena Johnson, and producer Kanye West sampled it for their 2005 hit “Down & Out.”

While Mavis is the undeniable star of the Staples family on the album, her siblings, Pervis and Cleotha Staples, also shine with memorable contributions. Pervis Staples, who rarely recorded outside his tenure with the Staple Singers, excels alongside Carla Thomas on “It’s Unbelievable (How You Control My Soul).” His smooth, understated delivery—reminiscent of his father Pops Staples—blends seamlessly with Thomas’ precision, making the track one of the album’s standout gems. Cleotha Staples, often the quiet yet steady presence in the family group, delivers a graceful performance of Otis Redding’s “It’s Too Late” in a duet with Eddie Floyd. Her understated delivery perfectly complements Floyd’s conversational vocals, creating a tender yet powerful moment. Together, the Staples siblings enrich the album’s tapestry of voices, showcasing their individual talents while reinforcing the collaborative spirit that defines Boy Meets Girl.

Eddie Floyd’s impassioned performances infuse the album with energy and urgency. His duet with Carla Thomas on “Don’t Make Me a Storyteller” brims with playful chemistry, while his collaboration with Mavis Staples on “Piece of My Heart” offers a masterclass in invigorating familiar material. Initially recorded by Erma Franklin and later popularized by Janis Joplin, Floyd and Staples’ rendition strips the song to its emotional core, breathing new life into its narrative.

William Bell teams with Mavis Staples for another standout cover version on the album, offering their spirited rendition of “I Thank You.” Originally a hit for Sam & Dave in 1968, the song was a hallmark of Stax’s golden age, penned by Isaac Hayes and David Porter. The Bell-Staples duet retains the original’s fervor while providing a fresh perspective on the prior work, stripped down musically to accentuate its percussive beat.

Johnnie Taylor, known as the “Philosopher of Soul,” rounds out the album with some of its most potent moments. His duets with Carla Thomas, including “Just Keep on Loving Me” and “My Life,” blend his gospel-rooted intensity with her elegance, resulting in deeply affecting performances. Taylor’s magnetic presence and ability to convey raw emotion underscore his unparalleled talent for capturing the complexities of love and heartbreak.

In Boy Meets Girl, Stax Records accomplishes more than just a collection of duets—it crafts a testament to the power of collaboration, individuality, and the enduring magic of Memphis soul. The album is a vibrant celebration of the artists who helped define a generation and a genre, proving that the collective brilliance of Stax’s talents is as compelling as their artists’ individual expression.

by Jared Boyd