Skip to main content
DeepCutsArchive
BrowseArtistsTimelineMapDecadesSubmit

DeepCutsArchive

Preserving the footage that shaped music history. Rare clips, studio sessions, and moments lost to time.

BrowseArtistsGenresDecadesLocationsSubmit a ClipAboutContactEditorial PolicyArticles

© 2026 DeepCutsArchive. All footage remains the property of its original creators.

Privacy PolicyTerms of UseSupport

Developed with love as a personal project by Jamie McDonnell

ui-ux-design.comai-consultancy.company

Bobby Manuel

1945–presentUnited States

About Bobby Manuel

Bobby Manuel (born November 13, 1945) is an American guitarist. In the early 1960s he was the lead guitarist of the local band the Memphis Blazers. He was hired by Stax Records in the late 1960s as an engineer and also quickly began doing studio work as a guitarist, becoming one of the company's most dependable and oft-used session players. Manuel's credits include playing with some notable musicians, including Albert King, Rufus Thomas, Luther Ingram, and Isaac Hayes. Though Manuel's roles at Stax centered on engineering and playing guitar, he also co-wrote songs, produced artists such as Stefan, Ben Atkins, and Annette Thomas, and he released a one-off novelty country record under the pseudonym Dale Yard. In 1973, he subbed for Steve Cropper as a member of The MG's, alongside Carson Whitsett and Stax regulars Al Jackson, Jr. and Duck Dunn. In 1976, Manuel produced the number-one hit "Disco Duck" by Memphis dee-jay Rick Dees and His Cast of Idiots. It was initially released by former Stax co-owner Estelle Axton's Fretone label. After the demise of Stax Records, Manuel and Stax founder Jim Stewart operated Daily Planet, a studio and production company in Memphis, Tennessee.

Read more on Wikipedia →

Formed

1945

Origin

United States


No clips for Bobby Manuel yet.

Keep Exploring

All ArtistsAll GenresAll DecadesBrowse by Tag
Bobby Manuel — Rare Clips — DeepCutsArchive — DeepCutsArchive

Bobby Manuel — Rare Footage & Clips

The dimly lit corridors of Stax Records' studio, where the sounds of soul and funk still lingered in the air, were a proving ground for Bobby Manuel's talents. Born on November 13, 1945, Manuel would soon find himself at the helm of some of the most iconic recordings to emerge from Memphis.

As the lead guitarist of the local band the Memphis Blazers, Manuel cut his teeth in the early 1960s, laying the groundwork for a career that would span over six decades. But it was his arrival at Stax Records in the late 1960s that marked a turning point in his trajectory. As an engineer and session player, Manuel quickly became one of the company's most trusted assets.

Manuel's credits are a veritable who's who of musical legends: Albert King, Rufus Thomas, Luther Ingram, and Isaac Hayes – all giants of their respective genres – count among those he worked with during his tenure at Stax. But it was his versatility as both an engineer and musician that set him apart from his contemporaries.

One clip from the archive, a snippet of Manuel's work on Albert King's 1967 single "Cold Sweat," showcases his mastery of the guitar. The song's driving rhythm and scorching solos are a testament to Manuel's ability to capture the raw energy of live performances in the studio. This attention to detail would serve him well as he transitioned from playing to producing, co-writing songs for artists such as Stefan and Ben Atkins.

Manuel's role at Stax extended far beyond his work behind the mixing board or with a guitar. He was also a producer, guiding the careers of Annette Thomas and Stefan, among others. His production credits are a reminder that Manuel's influence extends well beyond the confines of his own performances.

In 1973, Manuel subbed for Steve Cropper as a member of The MG's, alongside Carson Whitsett and Stax regulars Al Jackson, Jr., and Duck Dunn. This brief stint marked one of the few times Manuel stepped out from behind the scenes to join forces with some of the most talented musicians in the business.

The following year saw Manuel take on new challenges as a producer. In 1974, he helmed Stefan's single "Soulful Strut," a song that would go on to become a staple of the Stax catalog. But it was his work on Rick Dees and His Cast of Idiots' 1976 hit "Disco Duck" that cemented Manuel's status as a producer to watch.

Initially released by Fretone, Estelle Axton's label, "Disco Duck" would eventually reach number one on the Billboard charts. This unlikely hit marked a turning point in Manuel's career, demonstrating his ability to adapt and innovate in an ever-changing musical landscape.

After the demise of Stax Records, Manuel joined forces with Jim Stewart, the company's founder, to establish Daily Planet – a studio and production company that would serve as a hub for creative activity in Memphis. This partnership marked a new chapter in Manuel's career, one that would see him continue to push boundaries and explore new sounds.

Manuel's legacy is one of versatility and dedication. As both an engineer and musician, he brought a unique perspective to his work at Stax Records. His production credits are a testament to his ability to nurture talent and coax the best from those around him.

In the years since his time at Stax, Manuel has continued to work behind the scenes, producing and engineering for a new generation of artists. But it is his early work with some of the most iconic musicians in history that remains his most enduring legacy – a reminder that even in an ever-changing musical landscape, there are those who continue to shape its course.

Manuel's story is one of quiet dedication, a testament to the power of hard work and perseverance in the face of uncertainty. As we delve deeper into his career, it becomes clear that Manuel's influence extends far beyond the confines of his own performances – he was an architect of sound, a master builder who helped shape the sonic landscape of an era.

In the dimly lit corridors of Stax Records' studio, where Manuel once worked alongside some of the greatest musicians in history, we find a glimpse into a bygone era. But it is not just the music that lingers – it is the spirit of innovation and creativity that defined Manuel's approach to his craft.

Curated from public records and music databases.