Don Nix

Don Nix (September 27, 1941 – December 31, 2024) was an American musician, songwriter, arranger, and record producer renowned for his pivotal role in Southern soul, blues, and rock music.^[1] Born in Memphis, Tennessee, Nix emerged in the late 1950s as part of the city's vibrant rock 'n' roll scene, forming a rhythm and blues band with future collaborators Steve Cropper and Donald "Duck" Dunn.^[2] He achieved early prominence as a saxophonist with The Mar-Keys, Stax Records' instrumental house band, co-writing and performing on their breakthrough 1961 hit "Last Night," which reached No. 3 on the Billboard Hot 100 and No. 2 on the R&B chart.^[2][3] Throughout the 1960s and 1970s, Nix transitioned into songwriting and production, penning the enduring blues-rock anthem "Going Down," a track covered by artists such as Led Zeppelin, The Who, Stevie Ray Vaughan, and Pearl Jam.^[3][1] He signed with Leon Russell's Shelter Records in 1970, releasing his debut solo album In God We Trust the following year, followed by Living by the Days (1971) on Elektra Records and several others, totaling nine solo efforts that blended soul, rock, and gospel influences.^[2][1] Nix's production credits included albums for blues icons like John Mayall, Freddie King, and Albert King, as well as arranging the choir for George Harrison's landmark The Concert for Bangladesh in 1971.^[2][1] His collaborations extended to a wide array of luminaries, including Eric Clapton, Joe Cocker, Delaney & Bonnie, the Rolling Stones, Jerry Garcia, and J.J. Cale, often bridging Memphis soul with West Coast rock scenes.^[1][3] In later years, Nix reflected on his experiences through three books, including the memoir Memphis Man: Living High, Laying Low (2015), which chronicled his highs and lows in the music industry.^[3][1] He was inducted into the Memphis Music Hall of Fame in 2023, cementing his legacy as a key figure in the city's musical heritage despite a relatively under-the-radar profile compared to some contemporaries.^[2][1] Nix passed away at his home in Germantown, Tennessee, at the age of 83.^[2][1]

Early life

Childhood and family

William Donald Nix was born on September 27, 1941, in Memphis, Tennessee. He grew up in a musical family alongside his brother Larry Nix, who later became a prominent mastering engineer in the Memphis recording industry, and sister Kitty Nix Moore. The Nix siblings were raised in a working-class household immersed in the city's burgeoning rhythm and blues culture, where music permeated daily life through radio broadcasts and local gatherings. During the 1940s and 1950s, Don Nix's childhood unfolded amid Memphis's vibrant musical landscape, a hub for blues and early rock 'n' roll centered on iconic Beale Street, which drew performers and audiences from across the South. The young Nix brothers developed a shared passion for music from an early age, often sneaking listens on an old transistor radio to catch distant signals of emerging sounds that shaped the region's soulful heritage. This environment, blending gospel, blues, and country influences, fostered Don's innate curiosity about music without formal structure at first. Nix's initial encounters with instruments came through informal play and the spell of radio programs like Dewey Phillips's "Red, Hot, and Blue," which brought rock 'n' roll into Memphis homes and inspired him to pick up the guitar as a boy. These early experiences, rooted in family encouragement and the electric atmosphere of postwar Memphis, laid the groundwork for his lifelong connection to Southern music traditions.^{[4] [1] [5] [6] [2] [7]}

Musical beginnings

Don Nix attended Messick High School in Memphis, Tennessee, where he was part of the first generation of teenagers in the 1950s to embrace rock 'n' roll as their defining music.^[2] As a student during this era, Nix became involved in school bands, immersing himself in the vibrant local music scene that blended emerging rock influences with the city's rich blues and rhythm and blues traditions.^[8] His high school years, spanning the mid-to-late 1950s, marked the beginning of his formal engagement with music performance, as he joined peers in forming instrumental groups that reflected the energetic spirit of Memphis youth culture.^[2] Nix initially experimented with guitar before switching to saxophone, which he took up specifically to participate in his early bands.^[7] While details on formal instruction are sparse, his adoption of the baritone saxophone appears to have been driven by practical needs within group settings, likely supplemented by self-study amid the informal learning environment of Memphis's music community.^[9] This instrument choice aligned with the horn-driven sounds prevalent in the regional R&B style, allowing Nix to contribute to ensemble performances during his teenage years.^[7] In the late 1950s, Nix began performing in local bands at informal settings such as parties, school events, and neighborhood clubs around east Memphis.^[10] These early gigs provided his first opportunities to play live, honing his skills in front of hometown audiences and fostering connections with fellow young musicians.^[2] His initial exposures drew from the Memphis blues and R&B scenes, particularly through local radio broadcasts like Dewey Phillips's program and encounters with artists such as B.B. King, Howlin' Wolf, Ike Turner, and Bobby "Blue" Bland at venues including West Memphis's Plantation Inn and Catholic Youth Organization events.^[2] These influences shaped Nix's preference for soulful, blues-infused sounds over the rock 'n' roll popularized by figures like Elvis Presley, setting the foundation for his performative style.^[2]

Career

Stax Records and The Mar-Keys

Don Nix joined The Mar-Keys in 1960 as the baritone saxophonist, becoming part of a group originally formed in 1958 by high school friends including Steve Cropper and Donald "Duck" Dunn. The band, Stax Records' inaugural house ensemble (initially under the Satellite Records imprint), quickly gained prominence through their energetic instrumental style rooted in Memphis R&B.^[2][11] Nix contributed prominently to the band's breakthrough hit, the instrumental "Last Night," recorded in early 1961 at Stax's McLemore Avenue studio during an impromptu session originally intended for another track. Penned and arranged by guitarist Chips Moman, the song showcased Nix's baritone saxophone alongside horns from Charles "Packy" Axton and Wayne Jackson, propelling the track to No. 3 on the Billboard Hot 100 and No. 2 on the Hot R&B Sides chart that summer. This success marked Stax's first national hit and established The Mar-Keys as key architects of the label's signature soul sound.^[11][2][12] As Stax's house band, The Mar-Keys, with Nix on saxophone, backed sessions for prominent artists including Carla Thomas and Otis Redding, providing the gritty horn sections that defined early 1960s Memphis soul recordings. The group's dynamics reflected their youthful origins— a tight-knit crew of local talents experimenting with raw, improvisational energy—fueled by shared high school roots and the vibrant Stax scene. Following "Last Night," they embarked on extensive U.S. tours, performing to enthusiastic crowds and solidifying their live reputation over the next few years.^[11][2] By the mid-1960s, however, lineup shifts fragmented the original ensemble; Cropper and Dunn departed in 1962 to form Booker T. & the M.G.'s, leading to the band's gradual dissolution as members pursued individual paths within Stax. Nix left the road to focus on studio session work, contributing to the label's evolving roster amid its rapid growth.^[2][11]

Songwriting and "Going Down"

Don Nix established himself as a prominent songwriter in the late 1960s through his work in Memphis's vibrant music scene, where his compositions blended soul, blues, and emerging rock elements. His breakthrough came with "Going Down," penned in 1969 amid his roles as a Stax Records affiliate, producer, and arranger at Ardent Studios.^[13] The song's gritty lyrics about downfall and resilience, paired with a driving riff, captured the era's raw energy and laid the foundation for Nix's enduring reputation in blues-rock songcraft.^[14] The original recording of "Going Down" appeared on Moloch's self-titled debut album, released that year on Enterprise Records, a Stax subsidiary. Produced by Nix, the track featured the Memphis band's heavy psychedelic blues style, with guitarist and vocalist Lee Baker delivering searing solos, vocalist Rusty Oppenheimer, Fred Nicholson on organ, Steve Spear on bass, and Phillip Durham on drums and backing vocals. Recorded at Ardent Studios, the seven-minute rendition emphasized extended improvisations and a hazy, acid-washed atmosphere, reflecting the experimental edge of Southern rock at the time.^[13] Though the album achieved modest sales and critical notice primarily within underground circles, it has since been reissued and hailed as a hidden gem of 1960s blues-rock.^[15] "Going Down" gained broader traction through high-profile covers that showcased its versatility. In 1971, blues legend Freddie King recorded a punchier, funk-infused version for his album Getting Ready..., also produced by Nix, transforming the song into a high-octane showcase for King's fiery guitar tone and call-and-response vocals.^[16] This rendition amplified the track's rhythmic groove, bridging traditional blues with the era's rock-soul fusion and introducing it to international audiences via King's touring circuit. The following year, Jeff Beck's Jeff Beck Group delivered a blistering hard-rock interpretation on their self-titled album, where Beck's innovative phrasing and effects-heavy guitar work elevated the song's intensity, adapting its structure for progressive rock contexts. Similarly, Humble Pie's 1973 live version on Thunderbox infused it with gritty, arena-ready bombast, highlighting frontman Steve Marriott's raspy delivery and the band's boogie-rock drive.^[17] These adaptations underscored "Going Down"'s adaptability across genres, from King's blues-funk emphasis on groove and horn-like guitar lines to Beck and Humble Pie's rock-oriented extensions that prioritized instrumental fireworks and raw power. The song's simple chord progression and evocative theme allowed reinterpretations by artists like Stevie Ray Vaughan in later years, cementing its status as a blues-rock staple while amplifying Nix's influence as a composer.^[18]

Major collaborations and productions

In 1970, Don Nix transitioned to Leon Russell's Shelter Records label, where he collaborated closely with Russell on production and arrangement efforts for various artists, including contributions to projects for Gary Lewis & the Playboys and Delaney & Bonnie.^[8] This partnership allowed Nix to expand his production role beyond Stax, leveraging Shelter's resources to blend Memphis soul with emerging rock influences in sessions held in Tulsa and Los Angeles.^[19] Nix's involvement extended to live performances and organizational work, notably on Joe Cocker's Mad Dogs & Englishmen tour that same year, where he performed instrumentally—drawing on his baritone saxophone background—and assisted in assembling the large ensemble of over 40 musicians and vocalists.^[2] His contributions helped shape the tour's raw, gospel-infused energy, supporting Cocker's interpretations of songs like "Delta Lady."^[20] A highlight of Nix's production career came in 1971 when he arranged and led the gospel choir for George Harrison's Concert for Bangladesh at Madison Square Garden, coordinating a nine-voice ensemble that included Claudia Lennear, Joe Greene, Jeanie Greene, and Don Preston to provide backing vocals and percussion on tracks like "Here Comes the Sun."^[21] Behind the scenes, Nix managed logistics for the choir's integration with the all-star lineup, facilitated by his connections through Russell and Delaney & Bonnie, ensuring the performance's spiritual depth amid the event's charitable focus on Bengali refugees.^[1] Throughout the 1970s, Nix produced albums for prominent blues and rock artists, including John Mayall's work with the Bluesbreakers, where he emphasized gritty, horn-driven arrangements that bridged British blues with Southern soul.^[2] He also helmed the 1973 release Beck, Bogert & Appice for Jeff Beck's power trio, mixing down sessions to highlight Beck's guitar while balancing the rhythm section's drive, resulting in a chart-topping effort that reached No. 12 on the US Billboard 200.^[22] Additionally, Nix collaborated extensively with the Muscle Shoals Rhythm Section, incorporating their tight grooves into productions for artists like Freddie King and Furry Lewis, which infused tracks with the studio's signature warm, organic sound.^[23]

Solo albums and later recordings

Don Nix's solo recording career began in 1971 with the release of his debut album, In God We Trust, on Shelter Records, marking him as the label's first signed artist.^[24] The album blended spiritual blues rock with Southern influences, featuring tracks such as "In God We Trust," "Golden Mansions," and covers like "I'll Fly Away" and "Will the Circle Be Unbroken," which underscored themes of faith, redemption, and rural Americana.^[25] Produced in a raw, gospel-tinged style, it received positive underground acclaim for its authentic Southern soul, though commercial success was limited.^[26] Later that same year, Nix followed with Living by the Days on Elektra Records, expanding on his country-rock fusion with elements of psychedelia and blues.^[27] Recorded at Muscle Shoals Sound Studios and Skyhill Studios, the album included songs like "The Shape I'm In," "Olena," and "I Saw the Light," emphasizing introspective lyrics about personal struggle and resilience.^[27] Critics noted its swampy pathos and synthesis of Southern rock, soul, and gospel, though sales remained modest, reflecting Nix's niche appeal in the early 1970s music scene.^[28] Nix continued his solo output into the mid-1970s with albums like Hobos, Heroes and Street Corner Clowns (1973, Enterprise Records), recorded at Muscle Shoals with contributions from musicians including Eddie Hinton and Barry Beckett, and Gone Too Long (1976, Cream Records), which leaned further into folk-rock and blues narratives.^[29] These works highlighted his evolving songwriting, incorporating streetwise storytelling and country blues elements, earning solid reviews for their heartfelt delivery (AllMusic rating: 7.5/10 for the 1973 album).^[30] By 1979, Skyrider on Cream Records showcased a more polished blues-rock sound, with tracks blending folk introspection and electric energy, produced amid Nix's ongoing exploration of Southern musical traditions.^[31] In the later stages of his career, Nix revisited his catalog with the 2002 release Going Down: The Songs of Don Nix on Section Eight Productions, a compilation featuring re-recorded versions of his compositions, including the titular blues standard, supported by guest artists from his Memphis network.^[32] Recorded at studios like Dead Horse and Hum Depot in Nashville, it emphasized his enduring songwriting legacy with a raw, collaborative blues edge. His final solo effort, Passing Through (2008, Section Eight), was cut at Malaco Studios in Jackson, Mississippi, and included tracks such as "Sit Down on Your Love," "Roads," and the title song, reflecting a mature, blues-infused country style with themes of reflection and transience (AllMusic rating: 6/10).^[33] Over three decades, Nix's recording style transitioned from the spiritually charged rock of his Shelter and Elektra eras to a deeper blues immersion in later works, prioritizing authentic Southern expression over mainstream trends.^[34]

Later years

Personal challenges and resilience

Don Nix faced significant personal challenges during his career, particularly in the turbulent rock music scene of the 1970s, where the pressures of touring and the prevalence of substance abuse took a heavy toll on him and his contemporaries. In his memoir Memphis Man: Living High, Laying Low, Nix reflects on how drugs and alcohol contributed to the disintegration of The Mar-Keys, marking an early setback that tested his resolve.^[7] Following the bankruptcy of Stax Records in 1975, Nix encountered industry instability, including label transitions and financial uncertainties that plagued many artists leaving the label, forcing him to navigate a shifting musical landscape with limited support structures.^[35] Despite these obstacles, Nix demonstrated resilience by persisting in songwriting and production work, channeling his experiences into solo albums and collaborations that sustained his career through the decades.^[7] Nix's long-term marriage to Judy, spanning over 45 years until his death, provided a stable foundation amid these trials, supporting his recovery from substance issues and enabling continued creative output. This personal anchor underscored his ability to rebound from low points, as evidenced by his return to recording in later years.

Final projects

In the later stages of his career, Don Nix released Passing Through in 2008, an album featuring nine tracks that reflected on personal relationships and the passage of time through a blend of blues and country rock influences.^[33] The record, produced under his Section Eight label, included songs like "Sit Down on Your Love" and "World Keep on Turning," drawing from his extensive network of musical collaborators.^[36] Following this, Nix turned toward preservation efforts in the 2010s, culminating in the publication of his autobiography Memphis Man in 2016, which chronicled his journey through the Memphis music scene and beyond.^[7] That same year, he oversaw the release of the archival live album Live in San Francisco 1967 with the Alabama State Troopers, capturing early performances and contributing to the documentation of his formative years in southern rock and soul.^[37] Nix actively participated in interviews and public discussions to support Memphis music history, including a 2015 reflection on his Stax experiences for WKNO FM and multiple 2020 sessions for The Church Studio's Legends series, where he discussed collaborations with figures like Leon Russell and Freddie King.^[38][39] In 2023, he engaged in a career-spanning talk with author Robert Gordon at a Memphis event, further aiding archival storytelling.^[40] A significant contribution came in 2019 with the Stax Museum of American Soul Music's exhibition "Passing Through: The Musical Friendships of Don Nix," which showcased nearly 40 photographs from his personal archive, highlighting his bonds with artists such as Joe Cocker, George Harrison, and Albert King, and emphasizing his role in preserving the Stax and broader southern music legacy.^[41] This project, running from February to April, drew directly from Nix's documentation of studio sessions and road life, serving as a reflective capstone to his archival endeavors up to 2020.^[41]

Death and legacy

Death

Don Nix died peacefully in his sleep on December 31, 2024, at the age of 83, at his long-time home in Germantown, Tennessee.^[42][6] The cause of death was not publicly disclosed, though Nix had been dealing with health challenges including macular degeneration that led to significant vision loss.^[6] His brother, mastering engineer Larry Nix, confirmed the passing to close contacts.^[6] Sister Kitty Nix Moore announced the news via social media, stating: “Larry and I said goodbye to our wonderful brother, Don Nix. He died in his sleep last night and celebrated the New Year in heaven. No more suffering, and he can now see again.”^[6]

Posthumous tributes and recognition

Following Don Nix's death on December 31, 2024, major media outlets published obituaries emphasizing his pivotal role in shaping the Memphis Sound through his work with Stax Records and as a songwriter. The Commercial Appeal ran a prominent obituary on January 1, 2025, detailing his tenure with The Mar-Keys, his production credits, and the enduring legacy of his composition "Going Down," while noting that memorial plans were pending at the time.^[8] Similar coverage appeared in Action News 5 on January 2, 2025, describing Nix as a "legendary force in the Memphis music scene."^[43] Additionally, on January 5, 2025, WRTC FM's Saxophone Spotlight program paid tribute to Nix.^[44] Nix received international posthumous recognition in the BRIT Awards' In Memoriam segment for the period February 2024 to March 2025, where he was honored as a U.S. musician, songwriter, and record producer best known for "Going Down" in the southern soul and rock tradition.^[45] Reflective tributes underscored Nix's influence on collaborators and the broader music community. An Americana UK article published on January 7, 2025, portrayed him as a key architect of roots-based music who bridged Southern soul with British rock, citing his 2023 induction into the Memphis Music Hall of Fame—performed by Peter Frampton—as evidence of his high-impact contributions, and highlighting how his production work with figures like Leon Russell amplified the Memphis aesthetic globally.^[1] The piece emphasized Nix's role in fostering connections among Stax alumni and rock icons, ensuring his influence persisted through covers of his songs by artists such as Freddie King and Jeff Beck.^[1] A celebration of life and music event was held in his honor on October 12, 2025, at Neil's Music Room in Memphis.^[46]

Musical style and influences

Style characteristics

Don Nix's musical style is marked by a seamless blend of Memphis soul, blues, and country-rock elements in his arrangements, drawing from the raw energy of Southern American traditions to create a sound that bridges rhythmic drive with emotive depth.^[4][2] This fusion is evident across his work as a multi-instrumentalist and arranger, where soulful grooves underpin bluesy narratives and country-rock textures add a narrative wanderlust, as heard in his solo recordings that evolved toward more introspective Southern rock explorations.^[1][47] A hallmark of Nix's approach was his R&B-influenced saxophone phrasing, particularly during his tenure with the Mar-Keys, where his baritone lines provided punchy, conversational fills that propelled the group's instrumental hits.^[2][41] For instance, on the 1961 track "Last Night," Nix's phrasing contributed to the song's infectious, horn-driven momentum, blending urgent R&B calls with the loose, improvisational feel of Memphis sessions.^[1] This technique carried into his later productions, where saxophone accents maintained a gritty, interactive dialogue with vocals and rhythm sections. In production, Nix favored techniques that captured a raw, live-feel akin to the Muscle Shoals and Stax paradigms, prioritizing spontaneous band interplay over polished overdubs to preserve authentic emotional intensity.^[41][47] Working with artists like Freddie King and Delaney & Bonnie, he orchestrated sessions at these studios that emphasized tight yet relaxed grooves, often recording full-band takes to evoke the unfiltered energy of live performances.^[2][1] Nix's songwriting recurrently explored themes of road life and resilience, portraying the itinerant struggles of musicians and everyday wanderers with a blend of wry humor and stoic endurance.^[2][47] Tracks like "Going Down" exemplify this, using blues-rock frameworks to depict personal setbacks and defiant recovery, themes that resonated through his catalog and influenced covers by figures such as Jeff Beck.^[1] These motifs not only reflected Nix's own nomadic career but also underscored a broader Southern ethos of perseverance amid adversity.^[41]

Key influences

Don Nix's early musical development was profoundly shaped by the vibrant blues and R&B scene in Memphis, Tennessee, where he grew up immersed in local sounds broadcast on influential radio programs like Dewey Phillips' "Red, Hot, and Blue." As a teenager, Nix was drawn to the raw energy of performances by Black artists at venues such as West Memphis' Plantation Inn and community events like C.Y.O. dances, which echoed the gritty atmosphere of juke joints and exposed him to foundational blues figures including Howlin' Wolf and B.B. King, whose powerful vocals and guitar work informed his appreciation for authentic Southern blues traditions.^[2][7] His instrumental approach was further molded by contemporaries at Stax Records, where Nix played saxophone in the Mar-Keys alongside Steve Cropper and Donald "Duck" Dunn, a group which shared members with the influential house band Booker T. & the M.G.'s. The tight, groove-oriented R&B of Booker T. & the M.G.'s, exemplified by hits like "Green Onions," impacted Nix's production style and emphasis on rhythmic precision, as he contributed to early Stax sessions that blended blues with soul.^[2][7] In his later career, Nix drew inspiration from rock and British blues innovators, particularly Leon Russell, who mentored him in songwriting and studio techniques during their time together in Tulsa and through co-founding Shelter Records. This period also saw reciprocal exchanges with British artists; Nix's composition "Going Down" became a staple covered by Jeff Beck, while Nix produced Beck's recordings, reflecting a mutual admiration that bridged Southern roots with the electrified blues-rock of figures like John Mayall and Eric Clapton.^[2][1] Overarching these were elements of the broader Southern music heritage, including gospel harmonies—evident in Nix's direction of choirs for events like the 1971 Concert for Bangladesh—and country twang, which infused his work with a sense of regional authenticity drawn from the American South's diverse traditions.^[2][48]

Works

Studio Albums

Don Nix released nine studio albums as a solo artist between 1971 and 2008.^[8]

• In God We Trust (Shelter Records, 1971)^[4]
• Living by the Days (Elektra Records, 1971)^[49]
• Hobos, Heroes and Street Corner Clowns (Enterprise Records, 1973)^[4]
• Gone Too Long (Cream Records, 1976)^[4]
• Skyrider (Cream Records, 1979)^[50]
• Back to the Well (Appaloosa Records, 1993)^[51]
• Going Down: The Songs of Don Nix (Evidence Records, 2002)^[32]
• I Don't Want No Trouble (Section Eight Productions, 2006)^[52]
• Passing Through (Section Eight Productions, 2008)^[33]

None of Nix's solo albums achieved significant commercial chart success, though they garnered critical attention within blues-rock and Southern rock circles.^[53]

Singles and EPs

Nix's releases as a single artist were limited, with his most notable track being the blues standard "Going Down," which he wrote and first recorded with his band Moloch in 1969 before issuing his own vocal version as a single in 1972.^[16]

• "Going Down" (Elektra Records, 1972) – Promo single with the track on both sides, taken from the live album Road Show by Don Nix and the Alabama State Troupers.^[54]

No EPs are documented in major discographies.^[4]

Compilations and Live Recordings

Nix's catalog includes reissue compilations pairing his mid-1970s albums and one prominent live recording from his work with the Alabama State Troupers. Compilations

• Gone Too Long + Skyrider (Diabolo Records, 2005) – A remastered two-fer combining the 1976 and 1979 Cream albums.^[55]

Live Recordings

• Road Show by Don Nix and the Alabama State Troupers (Elektra Records, 1972) – A double album capturing a 1971 tour performance featuring Furry Lewis and other Memphis blues artists.^[53]

Guest Appearances

Nix made notable guest contributions as a musician and arranger on high-profile recordings, including participation in George Harrison's The Concert for Bangladesh (Apple Records, 1971), where he performed with the ensemble including Leon Russell and Billy Preston.^[8] He also appeared on Freddie King's Texas Cannonball (RSO Records, 1972), providing production support, including co-production.^[56][57]

Bibliography

Don Nix authored three notable books that blend personal memoir with insights into his life in the music industry. Road Stories and Recipes (Schirmer Trade Books, 1997, ISBN 978-0-0286-4621-3) is a memoir interweaving anecdotes from Nix's early touring experiences in the 1960s, beginning in Memphis, with recipes inspired by his travels and encounters with figures like Elvis Presley, Joe Cocker, and Leon Russell.^[58][59] The book, subtitled The World's First Rock 'n' Roll Cookbook, captures the gritty, on-the-road lifestyle of a young musician while sharing culinary tips from juke joints and hotel rooms.^[60] Memphis Man: Living High, Laying Low (Mojo Triangle Books, 2015, ISBN 978-1-941644-40-9, paperback; ISBN 978-1-941644-39-3, hardcover) serves as Nix's autobiography, detailing his evolution from a high school saxophonist in the Mar-Keys to a key figure at Stax Records, including collaborations with rock icons and the organization of George Harrison's 1971 Concert for Bangladesh.^[61][62] The narrative explores highs and lows of his career in Memphis blues and soul, emphasizing personal resilience amid the industry's demands.^[63] Who's That with Don Nix? – A photojournal of Don Nix's life in music (Two Moons Media, 2016, ISBN 978-0692716783) is a photojournal documenting his career through images and captions. No documented forewords or contributions by Nix to other music-related books have been identified in available sources.