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The Box Tops is an American rock band formed in Memphis, Tennessee in 1967. They are best known for the hits "The Letter", "Cry Like a Baby", and "Soul Deep" and are considered a major blue-eyed soul group of the period. They performed a mixture of current soul music songs by artists such as James & Bobby Purify and Clifford Curry; pop tunes like "A Whiter Shade of Pale" by Procol Harum; and songs written by their producers, Dan Penn, Spooner Oldham, and Chips Moman. Vocalist Alex Chilton later fronted the power pop band Big Star and performed as a solo artist.

Key Information

The Box Tops' music combined elements of soul music and light pop. Their records are prime examples of the styles made popular by Moman and Penn at American Sound Studio in Memphis. Many of their lesser known Top 40 hits, including "Neon Rainbow", "I Met Her in Church", and "Sweet Cream Ladies, Forward March", are considered minor classics. As rock critic Lester Bangs wrote in a review of the group's Super Hits album, "A song like 'Soul Deep' is obvious enough, a patented commercial sound, yet within these strictures it communicates with a depth and sincerity of feeling that holds the attention and brings you back often."

History

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Foundation and early years as The Devilles

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The Box Tops began as The Devilles, playing in Memphis. By January 1967 the group was composed of founding member Danny Smythe (drums, background vocal) along with newer arrivals John Evans (guitar, keyboards, background vocal), Alex Chilton (lead vocal, guitar), Bill Cunningham (bass guitar, keyboards, background vocal; son of Sun Records artist Buddy Blake Cunningham and brother of B.B. Cunningham Jr., lead vocalist for 1960s Memphis group The Hombres); and Gary Talley (lead guitar, electric sitar, bass, background vocal).[1] They soon changed their name to The Box Tops to prevent confusion with another band who was recording at the time, The DeVilles of New York.

"The Letter" and international success (1967–1969)

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As the Box Tops, they entered the studio under the guidance of producer Dan Penn to record Wayne Carson Thompson's song "The Letter". Though under two minutes in length, the record was an international hit by September 1967, reaching the Hot 100's number-one position for four weeks, selling over four million copies, earning a gold disc, and receiving two Grammy Award nominations.[2] During October 20–27, 1967, "The Letter" and The Hombres' "Let It Out (Let It All Hang Out)" were 1-2 on the WLS (AM) Silver Dollar Survey, marking a rare quinella involving two brothers of the same family (the Cunningham brothers), each in a different top 40 act.

After "The Letter" the band released "Neon Rainbow", another tune written by Thompson and produced by Penn. An album called The Letter/Neon Rainbow appeared in November 1967. The Box Tops released three albums over a nine-month period from late 1967 to mid 1968. Some of the group's instrumental tracks were performed by session musicians like Reggie Young, Tommy Cogbill, Gene Chrisman, and Bobby Womack at American Sound Studio. However, the actual group members performed on a number of their recordings, including "The Letter", and on all live performances.

By January 1968, John Evans and Danny Smythe returned to school, thereby avoiding the draft. They were replaced by bassist Rick Allen (born January 28, 1946 in Little Rock, Arkansas) from the Gentrys and drummer Thomas Boggs (born July 16, 1944 in Wynne, Arkansas; he died May 5, 2008 in Memphis) from the Board of Directors.[1][3]

"Cry Like a Baby" was a million-seller in 1968, peaking at No. 2 on the Hot 100.[2] It has been covered by the Hacienda Brothers and Kim Carnes. "I Met Her in Church" and "Choo-Choo Train" were smaller hits released later that year. Near the end of 1968, the band switched producers, with Dan Penn being replaced by the team of Cogbill and Chips Moman. The duo was responsible for producing the band's final 1968 hit, "Sweet Cream Ladies, Forward March" (which debuted on the Hot 100 on Chilton's eighteenth birthday) and all of the band's future releases through 1970.[1]

Personnel changes and winding down (1969–1970)

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In the summer of 1969, Thompson's decidedly upbeat "Soul Deep" became the group's final US Top 40 entry, peaking at No. 18 on the Hot 100 in late August.[4] The follow-up single, "Turn on a Dream", peaked at No. 58 on the Hot 100 and was a No. 29 hit in Canada.

Cunningham left the Box Tops to return to school in August 1969 and was replaced by Harold Cloud on bass (died July 10-2018 in Memphis). Eventually the group's tolerance for the disrespect and fleecing they had endured as teen musicians from managers, lawyers, and promoters came to an end. According to a 2004 article in Puremusic.com written by Talley, a December 1969 British tour was canceled by the band after arriving in London to discover that instead of respecting the rider agreement, the local promoter insisted they play the tour with the opening reggae act's toy drums, public address system amplifiers (instead of proper guitar amplifiers), and a keyboard with a broken speaker.

Finally, in February 1970, the remaining founding members, Talley and Chilton, were ready to move on and disbanded the group. However, the Bell record label kept releasing new Box Tops singles through early 1970, such as "You Keep Tightening up on Me" (No. 92 on the Hot 100 on March 21–28, 1970), using material that had already been recorded.

"The Box Tops" brand name continues (1972–74)

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The Box Tops name (which was under the control of a management company) still had a certain amount of cachet and sales potential in the early 1970s. Lacking original band members, beginning in 1972 new studio groups (whose members remained anonymous) were assembled to record new Box Tops material in Memphis.

These later Box Tops records used some of the same production personnel which had produced and played on the group's earlier recordings, but no original group members. Willie Mitchell's Hi Records released two singles credited to the Box Tops, one in 1972 ("Sugar Creek Woman") and one in 1973 ("Hold On Girl"). In 1974, Tommy Cogbill co-produced one final single credited to the group, "Willobee and Dale", which appeared on the Stax label. None of these singles charted, or received much airplay, and they are generally not included in Box Tops retrospectives.

Chilton activity (1976)

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In 1976, Pickwick Records recorded new versions of "The Letter" and "Cry Like a Baby" using lead vocalist Alex Chilton backed by studio musicians. These tracks were credited to The Box Tops, though Alex Chilton was the only group member involved. Both recordings were released in the UK on a various-artists LP set called The Heart Breakers and Tear Jerkers Collection.[5]

Post-Box Tops careers

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Each of the original members went on to work in the music industry in subsequent years after leaving the Box Tops. Chilton's career path included work performing with Big Star,[1][3] Tav Falco's Panther Burns, and his solo trio as well as briefly producing groups like The Cramps. Guitarist Talley went on to work in a variety of styles as a session guitarist and songwriter in Memphis, Atlanta, and Nashville. Artists and producers he has worked with have ranged from Billy Preston, Hank Ballard, Chips Moman, Billy Lee Riley, Billy Joe Royal, Webb Pierce, Waylon Jennings, Tracy Nelson, Willie Nelson, and Tammy Wynette to Sam and Dave's Sam Moore, and others. He recorded two albums for Appaloosa Records with the group Fish Heads & Rice, Certified in 1991, and 4 Heads in 1994.[6] Bassist Cunningham won a spot in the White House orchestra in Washington, D.C., after completing his master's degree in music. During his classical music career, he played with some of the world's best performers; at Cunningham's last public classical music performance, for instance, he performed at the White House with Itzhak Perlman and Pinchas Zukerman. In the 1980s, he earned an MBA and changed careers. Evans played occasionally in Memphis groups after the Box Tops, while working as a luthier, eventually switching to a computer network administrator career. Smythe performed in Memphis soul and blues groups in the 1970s, later changing to a career in art by the 1980s, but returned to music performance in the 1990s.

One-off & reunion (1989 & 1996–2010)

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Box Tops in 2001: (left to right: Talley, Chilton, Cunningham, Smythe)

There was a one-off Box Tops charity concert in Nashville at a venue called Ace of Clubs in 1989 for Harold Cloud's family member. The lineup for this show comprised Chilton, Evans, Talley, Harold Cloud (bass), and Gene Houston (drums). At this show the group was also augmented by backup singers Tracy Nelson, Jonell Mosser, and Kim Morrison, and a full horn section.

America's Freedom Festival, in conjunction with Wilsonwood Promotions, presented the Drifters and the Boxtops in concert at the Utah Lake State Park on Friday, June 29, 1990. The concert was sponsored by Food 4 Less, KZOL Oldies 96 FM, and Fred Meyer.

Cunningham next organized a reunion of all the band's original members, including Chilton, in 1996. The group later released a self-produced album of new material recorded at Easley McCain Recording, Tear Off! and resumed performing concerts internationally. The Tear Off! album included a new original by guitarist Talley ("Last Laugh"); covers of Bobby Womack's "I'm in Love", Eddie Floyd's "Big Bird" (often covered in solo concerts since the 1980s by Chilton), and The Gentrys' "Keep on Dancing"; and a new recording of "The Letter". Other songs on the album reflected the band members' varied soul, novelty, rock-and-roll, and country music influences. B.B. Cunningham Jr. played a guitar on the album version of "Trip to Bandstand", his 1959 Memphis novelty single. The album also featured horn arrangements and performances by The Memphis Horns, who subsequently participated in some of the group's concerts. By 2000, John Evans was no longer in the band and was replaced by Nashville session man Barry Walsh. Evans is employed by the University of Memphis.

In 2001 the group contributed a Blondie cover tune to a various artists collection of "songs you never thought you'd hear" called When Pigs Fly.

Sold-out Box Tops concerts in Germany in 2003 were aired on German radio, and the group's 2005 tour schedule showed a number of American dates planned despite the group members' busy careers outside the band. The Box Tops performed their last Memphis concert on May 29, 2009, at The Memphis Italian Festival.

On March 17, 2010, lead vocalist Alex Chilton died of a heart attack.

On July 28, 2010, the remaining Box Tops, Bill Cunningham, Gary Talley, and Ron Krasinski, plus Terry Manning (added for the show) played a tribute concert in honor of Alex Chilton at The City Winery in New York City.

Return of The Box Tops

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In mid 2015, Bill Cunningham and Gary Talley reformed The Box Tops in response to continued requests by fans.[7] On July 6, 2016, Danny Smythe died, aged 67.[8]

September 23, 2017, marked the 50th anniversary of "The Letter" reaching No. 1. Cunningham, Talley, and Rick Levy joined the Happy Together Tour, performing to sold out shows across the U.S., together with Flo and Eddie of The Turtles, Chuck Negron of Three Dog Night, The Association, The Cowsills, and Ron Dante of The Archies.

In 2018, the Box Tops were inducted into the Memphis Music Hall of Fame. Harold Cloud died on July 10, 2018, in Memphis. John Evans died in December 2020 aged 72.[9] Swain Schaefer died on February 16, 2019, aged 70.[10]

Band member history

[edit]
1967–1968
1968–1969
  • Alex Chilton – lead vocals, rhythm guitar
  • Gary Talley – lead guitar, backing vocals
  • Rick Allen – keyboards, backing vocals
  • Bill Cunningham – bass, backing vocals
  • Thomas Boggs – drums, percussion, backing vocals
Sep. 1969–1970
  • Alex Chilton – lead vocals, rhythm guitar
  • Gary Talley – lead guitar, backing vocals
  • Swain Schaefer – keyboards, backing vocals
  • Harold Cloud – bass
  • Bobby Guidotti – drums, backing vocals
1996–1999

Return of the original lineup

  • Alex Chilton – lead vocals, rhythm guitar
  • Gary Talley – lead guitar, backing vocals
  • John Evans – keyboards, backing vocals
  • Bill Cunningham – bass, backing vocals
  • Danny Smythe – drums, percussion, backing vocals
2000–2010
  • Alex Chilton – lead vocals, rhythm guitar
  • Gary Talley – lead guitar, backing vocals
  • Bill Cunningham – bass, backing vocals
  • Danny Smythe – drums, percussion, backing vocals
  • Barry Walsh – keyboards
2015–2020
  • Gary Talley – lead guitar, lead and backing vocals
  • Bill Cunningham – bass, lead and backing vocals
  • Rick Levy – rhythm guitar, lead and backing vocals
  • Ron Krasinski – drums, percussion
  • Barry Walsh – keyboards
2020–present
  • Gary Talley – lead guitar, lead and backing vocals
  • Bill Cunningham – bass, lead and backing vocals
  • Rick Levy – rhythm guitar, lead and backing vocals
  • Ron Krasinski – drums, percussion
  • Mike Stewart – keyboards

Timeline

Discography

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Main article: The Box Tops discography

References

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Other sources

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Box Tops

View on Grokipedia
from Grokipedia
The Box Tops are an American rock band formed in , in 1967, renowned for their and pop hits including "The Letter," which reached number one on the for four weeks and sold over four million copies. Originating from the earlier group Ronnie and the DeVilles, the band consisted of vocalist , guitarist Gary Talley, bassist Bill Cunningham, keyboardist/guitarist John Evans, and drummer Danny Smythe, with later additions like bassist Rick Allen and drummer Thomas Boggs. Their debut single, "The Letter," written by and produced by and at , marked Memphis's first number-one hit by a local act and earned Grammy nominations for Best Performance by a Vocal Group and Best Contemporary Group Performance. Subsequent successes included "" (number two on the for two weeks, over two million copies sold) and "Soul Deep" (peaking at number 18), alongside albums like The Letter/Neon Rainbow (1967) and (1968), which blended rock, soul, and R&B influences under Bell Records. The group disbanded in amid frustrations with the music industry, but original members reunited in 1996, releasing the album Tear Off! in 1998 and touring until Chilton's death in 2010; Smythe passed away in 2016. Since 2015, Talley and Cunningham have continued performing as The Box Tops, preserving the band's legacy, which includes induction into the Memphis Music Hall of Fame in 2016 for contributions to the Memphis sound.

History

Formation and early years as the Devilles (1965–1966)

The Box Tops originated as a teenage band known as the Devilles, formed in , in the mid-1960s by drummer Danny Smythe along with classmates from High School, including guitarist/organist John Evans. By 1965, the lineup had solidified with the addition of 14-year-old vocalist , guitarist Gary Talley, and bassist Bill Cunningham, creating a core group influenced heavily by the sounds of , , and , as well as local and R&B traditions from . The Devilles quickly built a local following through performances at high school dances, proms, sorority events, and small clubs around Memphis and nearby West Memphis, often covering popular British rock tracks to enthusiastic teenage audiences. Booked by influential local DJs such as Johnny Dark and Roy Mack, the band played frequent gigs at venues like parties and social clubs, honing a raw style that reflected the era's . In 1966, the Devilles recorded their debut single, "" backed with "," at American Recording Studio in Memphis, released on under the name Ronnie and the Devilles (a temporary nod to an earlier vocalist configuration). The release failed to achieve commercial success, receiving limited airplay and sales, but it marked the band's entry into professional recording and drew initial industry notice. Under the guidance of producer at , the Devilles began shifting from their garage rock roots toward a more polished soul-oriented sound, incorporating R&B elements that aligned with Memphis's vibrant music scene. This evolution was spurred by the need for a distinct commercial identity, leading to a name change in late 1966 to the Box Tops to avoid conflicts with other acts using variations of "Devilles" and to better suit their emerging style.

Breakthrough with "The Letter" and initial success (1967)

In 1967, the Box Tops selected "The Letter," a song written by Wayne Carson Thompson, for their debut recording session at in , where producer oversaw the track's creation. The session featured 16-year-old lead vocalist delivering a distinctive, gruff performance, backed by adult session musicians from the studio's house band, known as the Memphis Boys, including guitarist and drummer Gene Chrisman. Horn arrangements were handled by Wayne Jackson of , adding the song's iconic brassy intro and accents that contributed to its urgent, soul-infused sound. Released as a single on Mala Records (a of Bell Records) in August 1967, "The Letter" quickly ascended the charts, reaching No. 1 on the by November and holding the position for four weeks. The track, clocking in at just 1:58, became the last No. 1 single under two minutes long and sold over four million copies worldwide, earning gold certification. Internationally, it peaked at No. 5 on the UK Singles Chart and charted in the top 10 in countries like , , and , while inspiring covers in multiple languages, including a Romanian version by Gil Dobrică in 1987. In 2011, the single was inducted into the for its enduring cultural significance. The breakthrough propelled the band's initial success, leading to the follow-up single "Neon Rainbow," which reached No. 24 on the later in 1967. Their debut album, The Letter/Neon Rainbow, released that October on Bell Records, expanded on the hit's formula by blending pop hooks, soulful R&B elements, and rock energy across 12 tracks, many penned by Penn and other Memphis songwriters. This recording template, combining Chilton's youthful vocals with seasoned studio pros, established the Box Tops' signature style and set the stage for their rapid rise in the music industry.

Major hits and international fame (1968–1969)

Following the success of their debut hit "The Letter," The Box Tops achieved further commercial breakthroughs with "Cry Like a Baby," released in early 1968. Co-written by renowned Memphis songwriters Dan Penn and Spooner Oldham, the track captured the band's blue-eyed soul style, leveraging lead singer Alex Chilton's distinctive raspy vocals to convey emotional depth in a tale of romantic frustration. The single climbed to No. 2 on the Billboard Hot 100 chart, where it held for two weeks, and was certified gold by the RIAA, selling over two million copies worldwide. This momentum propelled the accompanying album, Cry Like a Baby, released in April 1968 on Bell Records, which featured Penn and Oldham's production and highlighted the group's evolving R&B-infused pop sound through tracks like the title song and covers of soul standards. The band sustained their chart presence with follow-up singles that emphasized rhythmic grooves and soulful arrangements. "Choo Choo Train," released in May 1968 and written by and , reached No. 26 on the , its upbeat, train-chugging rhythm section underscoring the R&B influences central to the group's Memphis roots. Similarly, "Sweet Cream Ladies, Forward March," issued in late 1968 under the production of Penn and , peaked at No. 28 on the in early 1969; the song's quirky, march-like structure and Chilton's emotive delivery blended soul with subtle pop experimentation, reflecting the songwriting duo's skill in tailoring material to the vocalist while incorporating R&B elements like horn accents and tight harmonies. These releases solidified The Box Tops' reputation for crafting accessible yet soul-driven hits, with Penn and 's contributions proving pivotal in shaping songs that amplified Chilton's raw, youthful against polished studio backings from the Memphis scene. In 1969, The Box Tops ventured into broader sonic territory with the album Dimensions, released in September on Bell Records, which incorporated psychedelic touches such as swirling guitar effects and extended instrumental passages amid their core soul-pop framework. The album included the hit "Soul Deep," released in June 1969 and written by , which reached No. 18 on the . The non-album single "I Met Her in Church," written by Penn and and released earlier that year, reached No. 26 on the , its gospel-tinged lyrics and hazy, reverb-heavy production hinting at psychedelic influences while maintaining the band's emotive R&B core. This period marked the height of their international appeal, with tours across —including a high-profile two-week stint in in December 1969—and television appearances on major U.S. programs, boosting their visibility. By late 1969, the group's cumulative single sales had surpassed six million units, driven by the enduring popularity of their anthems.

Personnel shifts and final original recordings (1969–1970)

As the 1960s drew to a close, The Box Tops experienced significant lineup instability, with key members departing due to personal commitments. In August 1969, bassist left the group to return to school for a music degree in upright bass performance, marking the latest in a series of exits that began earlier with John Evans and Danny Smythe in 1968. was replaced by Harold on bass, while session musicians increasingly filled roles on recordings and tours, reflecting the band's growing reliance on studio professionals rather than a fixed ensemble. Additionally, Jerry Riley occasionally substituted for Gary Talley during live performances, underscoring the fluid nature of the touring lineup amid mounting fatigue. The group's final original recordings captured a sense of creative waning, as evidenced by their fourth and last studio album, Dimensions, released in 1969 on Bell Records. Produced without the consistent involvement of longtime collaborators and , the album featured a mix of covers and originals, including tracks like "Song of a Guy" and "I Must Be the Devil," but it failed to replicate the commercial success of prior releases, peaking outside the Top 100. Singles from this period, such as "King's Highway" (1969), also underperformed, signaling the end of their hit-making streak. Bell Records continued issuing material post-disbandment, including the 1970 single "You Keep Tightening Up on Me," which limped to No. 92 on the , but these were largely assembled from earlier sessions without full band involvement. Over their original run, The Box Tops produced four studio albums under Bell: The Letter/Neon Rainbow (1967), (1968), Non-Stop (1968), and Dimensions (1969). Internal tensions, particularly surrounding lead singer Alex Chilton's desire for greater creative input, contributed to the band's dissolution in early 1970. Chilton, then 19, grew increasingly frustrated with the formulaic pop-soul production overseen by producers who often used session musicians—the so-called "Memphis Boys"—forcing him to overdub vocals onto pre-recorded tracks, a process he later described as treating him like "a puppet on a string." This "ghost-singing" dynamic clashed with his emerging interest in songwriting and artistic autonomy, foreshadowing his pivot to more experimental and punk influences in subsequent projects. The breaking point came during a January 1970 performance in , where Chilton abruptly walked offstage mid-show, effectively ending the group's activities; by February, the remaining core members, including Chilton and Talley, formally disbanded. Their last show as a cohesive unit occurred in Memphis shortly before this incident, closing a chapter defined by commercial highs but artistic constraints.

Sporadic activity and brand usage (1971–1988)

Following the band's effective disbandment in 1970 amid personnel instability and waning commercial momentum, The Box Tops entered a period of dormancy with no official group recordings or performances until the late 1980s. During this time, the band's name was exploited commercially without involvement from the original members, including through unauthorized touring acts in the late 1970s that prompted legal action to protect the . Original bassist Bill Cunningham, then based in Washington, D.C., discovered a fraudulent trademark registration at the U.S. Patent and Trademark Office and successfully sued under the to reclaim rights to the name, highlighting ongoing financial and legal challenges tied to the group's legacy. The name's commercial value persisted through label-issued compilations that repackaged earlier hits for nostalgic audiences. Bell Records released Super Hits in 1970, shortly after the group's split, collecting key singles like "The Letter" and to capitalize on residual popularity. By the early 1980s, Rhino Records issued Greatest Hits in 1982, further sustaining interest in the band's sound without new material or reunions. These efforts underscored the enduring appeal of The Box Tops' catalog, even as the original lineup pursued separate paths. Individual members shifted focus to diverse professional endeavors, reflecting the abrupt end to their collective run. John Evans remained active in Memphis music circles, playing with local groups while working as a before transitioning to a career as a administrator. Danny Smythe performed with and acts in the region and later entered fields like and . Gary Talley established himself as a session musician in Nashville during the 1970s, contributing to recordings by artists including , , and , alongside work on commercial jingles and live dates with acts like and . and keyboardist Bill Cunningham contributed to studio sessions, such as on ' Shaft soundtrack at , before earning a in music and an MBA; he built a classical career, including performances in the orchestra, while also handling the trademark reclamation. Lead vocalist Alex Chilton, meanwhile, formed the influential band in 1971 but had no further involvement with The Box Tops during this era. No full reunions or new group output occurred until 1989, marking nearly two decades of individual pursuits and passive brand maintenance.

Reunions featuring Alex Chilton (1989–2010)

In 1989, the Box Tops staged a one-off reunion concert for charity in , featuring on lead vocals and guitar, alongside original members John Evans on keyboards and Gary Talley on lead guitar, with Harold Cloud on bass and Gene Houston on drums. This brief performance marked the first gathering of key original members since the band's disbandment in 1970, reigniting interest in their classic sound. The band fully reformed in 1996 to celebrate the 30th anniversary of their formation, with Chilton reassuming lead vocals and the original lineup intact: Chilton, Talley on guitar, Bill Cunningham on keyboards and bass, Danny Smythe on drums, and Evans on guitar and keyboards. This reunion led to an extensive touring schedule worldwide, where the group delivered high-energy live renditions of hits like "The Letter" and "Cry Like a Baby," often blending them with covers and occasional nods to Chilton's later work with Big Star, which added a power-pop edge to their sets. John Evans left in 2000 to focus on a career in computer networking, but the remaining configuration continued touring through the 2000s, resulting in over 100 performances across the 1990s and 2000s that drew nostalgic crowds and showcased their enduring appeal. Danny Smythe remained involved until his death on July 6, 2016. During this period, the reunited Box Tops released the studio album Tear Off! in 1998, self-produced and recorded primarily at Easley McCain Recording in Memphis, featuring new material such as "The Last Laugh" alongside covers like "Wang Dang Doodle," highlighting Chilton's matured delivery and the band's evolution toward a grittier, roots-oriented sound. Notable appearances included performances at Hall of Fame events, where they contributed to tributes honoring Memphis music heritage. Chilton's involvement ended abruptly with his death on March 17, 2010, from a heart attack in New Orleans at age 59, prompting the band to announce an indefinite hiatus.

Reformation and tours without Chilton (2010–present)

Following the death of lead singer in 2010, The Box Tops ceased activity until 2015, when original members bassist Bill Cunningham and guitarist Gary Talley reformed the band to meet ongoing fan demand for their classic hits. They partnered with veteran musician and bandleader Rick Levy as lead vocalist to launch nostalgia tours, sharing vocal duties while emphasizing the group's sound. The reformed lineup performed steadily. In 2018, The Box Tops were inducted into the Memphis Music Hall of Fame, recognizing their contributions to the city's musical heritage alongside artists like and . Annual tours continued across the and Europe, centering on performances of signature songs such as "The Letter," with no alterations to the band's name to uphold its enduring legacy. Tours were significantly impacted by the from 2020 to 2022, resulting in reduced performances, before resuming in 2023 with appearances at festivals and venues. No new studio recordings have been released, with the focus remaining on live shows that recreate the original era's energy. As of 2025, The Box Tops continue touring, with scheduled performances through 2026.

Musical style and legacy

Blue-eyed soul sound and production techniques

The Box Tops exemplified the genre, in which white musicians emulated the and soul styles popularized by Black artists during the 1960s. This approach was notably advanced by producer at his in Memphis, where the band recorded many of their signature tracks, blending raw emotional delivery with sophisticated arrangements to create accessible pop-soul hybrids. Moman's studio became a hub for such crossovers, producing hits that captured the urgency of soul while appealing to mainstream radio audiences. Central to their sound was the use of elite session musicians known as the Memphis Boys, including bassist Tommy Cogbill, guitarist Reggie Young, organist Bobby Emmons, and drummer Gene Chrisman, who provided a tight, polished rhythm section that elevated the band's recordings beyond their garage rock origins. Under producers like Moman and Cogbill, these professionals crafted intricate grooves that fused R&B authenticity with pop sheen, as heard in tracks where Young's crisp guitar riffs intertwined with Emmons' swirling organ lines to drive the songs' emotional cores. The songwriting duo of Dan Penn and Spooner Oldham further defined this style, penning hook-laden lyrics rich in heartfelt longing—such as in "Cry Like a Baby"—often enhanced by horn arrangements from Wayne Jackson of the Memphis Horns, whose trumpet and saxophone accents added a punchy, Stax-inspired flair. Lead vocalist Alex Chilton's style anchored these elements, his youthful yet gravelly timbre—mature beyond his teenage years—contrasting the seasoned instrumentation to evoke a sense of urgent vulnerability that became a hallmark of . Starting with a rawer garage edge in early demos, Chilton's delivery evolved into a more refined emotive wail under Penn's guidance, allowing the band to transition seamlessly from gritty rock to ornate ballads. A prime example is "The Letter," clocking in at under two minutes with its iconic intro by Jackson, which innovated the concise AM by packing explosive energy into a brief, narrative-driven structure.

Influence on later artists and cultural impact

The Box Tops' lead singer Alex Chilton's tenure with the band profoundly shaped the trajectory of and , particularly through his subsequent work with , where he channeled the raw emotional delivery and melodic hooks honed during his teenage years with the group. Chilton's vocal style on tracks like "The Letter" influenced 's cult-favorite sound, which in turn inspired generations of indie artists seeking a blend of pop accessibility and introspective depth. The band's signature hit "The Letter" has been widely covered by prominent artists, amplifying its reach across genres; Joe Cocker's soulful 1970 rendition, featuring a extended improvisational jam, peaked at number seven on the and introduced the song to broader rock audiences. Other notable covers include versions by and , which adapted the track's urgent narrative to R&B and country-inflected styles, demonstrating its versatility. In the , the Box Tops experienced a revival among acts, with bands like The Replacements paying direct homage through their 1987 track "," which celebrated the singer's legacy and bridged pop with punk-infused indie sensibilities; Chilton even joined the band onstage during a 1987 performance, symbolizing this cross-generational connection. The song's enduring appeal has also led to its sampling in various hip-hop productions, such as Disco Dice's 2008 track "The Letter," where elements of the original riff underscore modern rap flows. "The Letter" has permeated popular culture, appearing in numerous films and television shows that evoke nostalgia and themes of longing and escape, such as the 1998 family drama Paulie, the 2015 animated hit Minions, and the 2018 thriller Bad Times at the El Royale. On television, it featured in episodes of Roadies (2016), Gotham (2014), and Manifest (2018), often underscoring moments of emotional urgency or retro vibe. As a chart-topping single from , the track embodied the era's youthful exuberance and desire for immediate connection, resonating with the countercultural spirit of personal liberation amid social upheaval. The Box Tops' legacy was formally recognized with their 2018 induction into the Memphis Music Hall of Fame, honoring their contributions to the city's rich musical heritage. In 2024, the band received the Brass Note on . Additionally, "The Letter" earned a place in the in 2011, underscoring its historical significance. The band's records, including over four million copies sold of "The Letter" alone and more than two million of "Cry Like a Baby," have collectively amassed substantial commercial impact, cementing their influence on blue-eyed soul's evolution into later rock forms.

Band members

Core and original lineup

The Box Tops were formed in , in 1967 by a group of local teenagers who had previously played together in a band called the Devilles. The core original lineup consisted of five Memphis natives, all aged between 16 and 20 at the time of formation, who provided the band's initial vocal and instrumental foundation during its active period from 1967 to 1970. Although the group performed live as a unit, their studio recordings often relied heavily on professional session musicians from Memphis studios like American Sound, with the core members contributing selectively to tracks. Alex Chilton (born December 28, 1950, in Memphis) served as the lead vocalist and occasional rhythm guitarist for The Box Tops from 1967 to 1970, bringing a distinctive, emotive style that defined the band's sound. At age 16 when the band formed, Chilton transitioned from guitar duties in the Devilles to frontman, his youthful yet mature voice becoming central to hits like "The Letter." Bill Cunningham (born January 23, 1950, in Memphis) handled bass and keyboards, along with background vocals, from 1967 to 1969, establishing the rhythmic backbone of the band's early arrangements. Also 17 at formation, Cunningham's multi-instrumental skills supported the group's blend of rock and during live performances and initial recordings. Gary Talley (born August 17, 1947, in Memphis) played and provided backing vocals from 1967 to 1970, delivering the sharp, soul-inflected riffs that marked the band's debut tracks. As the oldest member at around 20 years old, Talley also contributed bass on some occasions, drawing from his experience in local Memphis bands. John Evans (born June 18, 1948, in Memphis) contributed keyboards, including organ and , along with backing vocals and occasional guitar, from to 1968, adding melodic depth to the group's sound. Aged 19 at the band's start, Evans helped shape the keyboard-driven elements in their early soul-pop style. Danny Smythe (born August 25, 1948, in Memphis) served as the original drummer from to 1968, driving the band's energetic live sets and providing the percussive drive for their recordings. At 18 or 19 during formation, Smythe's role was pivotal before he departed, after which the band used replacements for touring.

Touring and replacement members

During the late , The Box Tops frequently relied on replacement members for live performances due to the young age of the original lineup and their commitments to school, contrasting with the session musicians who handled most studio recordings. In early 1968, original keyboardist John Evans and drummer Danny Smythe departed to focus on education, prompting the addition of bassist Rick Allen—previously with Memphis band —and drummer Thomas Boggs to maintain touring commitments. Later that year, guitarist Jerry Riley briefly substituted for Gary Talley during a period of illness, ensuring the band could continue shows while emphasizing their sound through faithful live renditions of hits like "The Letter." By 1969, bassist Bill Cunningham left in August to pursue classical studies, replaced by Harold Cloud in September, as the group navigated personnel instability amid declining chart success; these changes allowed sporadic tours but highlighted the challenges of replicating the polished production of their records on stage without a stable core. The 1996 reunion brought back the original members—Alex Chilton on vocals and guitar, Gary Talley on lead guitar, Bill Cunningham on bass and keyboards, John Evans on rhythm guitar and keyboards (until 2000), and Danny Smythe on drums—for a more cohesive touring unit, shifting from ad hoc replacements to a full band dedicated to recreating their signature sound worldwide. This lineup performed extensively through 2010, prioritizing authenticity in live sets that evoked the Memphis soul essence without additional session players, though Evans' departure in 2000 necessitated minor adjustments handled internally by the remaining originals. The emphasis was on Chilton's distinctive vocals and the group's tight interplay, allowing them to headline festivals and theaters while avoiding the fragmentation of earlier eras. Following Chilton's death in March 2010, the band paused for five years before reforming in 2015 under original members and Talley, who incorporated new touring personnel to sustain performances without attempting to imitate Chilton's style, instead focusing on ensemble delivery of classics. The current lineup (as of 2025) features Rick Levy on lead vocals and , Mike Stewart on keyboards, and Ron Krasinski on , enabling a full-band approach that replicates the original arrangements through layered harmonies and instrumental precision during tours. This configuration has supported ongoing international touring since 2015, blending reverence for the past with fresh energy.

Discography

Studio albums and compilations

The Box Tops recorded four studio albums during their initial active period from 1967 to 1969, all produced by the songwriting and production team of and at in . These releases showcased the band's style, blending pop hooks with R&B influences and featuring lead vocals by a teenage . No new studio material was produced by the original lineup after 1970, though the band later reformed for live performances. Their debut album, The Letter/Neon Rainbow, was issued in October 1967 by Bell Records and consists of 12 tracks, including the title track and the No. 1 single "The Letter." The collection drew from sessions emphasizing soulful covers and originals, peaking at No. 81 on the chart. The follow-up, , arrived in 1968 on Bell Records, highlighting stronger songwriting cohesion with hits like the title track and "Choo Choo Train." It reached No. 59 on the . In 1968, Non-Stop was released by Bell, featuring 10 songs with a slightly harder rock edge. In 1969, Dimensions was released by Bell, exploring more experimental pop-soul arrangements across its 11 tracks, though it charted at No. 122 on the .
Album TitleRelease YearLabelTracks Peak
The Letter/Neon Rainbow1967Bell1281
Cry Like a Baby1968Bell1259
Non-Stop1968Bell10-
Dimensions1969Bell11122
Compilations have preserved the band's legacy, often focusing on their hit singles. Super Hits (1968, Bell) gathered key tracks from the early albums, providing an accessible overview of their pop-soul sound and peaking at No. 199 on the Billboard 200. The Best of the Box Tops (1982, Arista) expanded on this with 14 selections. Tear Off! (1998, Arista), a live recording from reunion shows, captured performances of classics like "The Letter" and marked one of the few non-studio releases tied to Alex Chilton's involvement. Reissues in later decades revitalized interest in the original recordings. Rhino Records issued a comprehensive box set in 1996 titled The Best of the Box Tops: Soul Deep, featuring remastered versions of all four studio albums plus rarities and singles, emphasizing the production quality of the Moman-Penn era. In the 2010s, Bell and Arista oversaw vinyl reissues of the core catalog, including limited-edition pressings of The Letter/Neon Rainbow and Cry Like a Baby, appealing to collectors amid a resurgence in analog formats. A recent live recording, The BoxTops Live in Germany, was released for streaming as of 2025.

Notable singles and chart performance

The Box Tops achieved commercial success primarily through their singles in the late 1960s, with seven entries reaching the Top 40 in the United States. Their debut single, "The Letter," released in 1967, became their signature hit, topping the for four weeks and selling over four million copies worldwide. Certified gold by the RIAA for one million units sold, it also reached number one in and number five in the , contributing significantly to the band's early sales exceeding ten million singles by 1970. Follow-up releases maintained momentum, with "Cry Like a Baby" in 1968 peaking at number two on the for two weeks and selling over two million copies. Subsequent singles like "Neon Rainbow" (number 24 in 1967), "Choo Choo Train" (number 26 in 1968), "Sweet Cream Ladies, Forward March" (number 28 in 1968), "I Met Her in Church" (number 37 in 1968), and "Soul Deep" (number 18 in 1969) demonstrated the band's consistent presence on the charts.
SingleYearUS Billboard Hot 100 PeakUK PeakNotes
"The Letter"196715#1 in ; over 4 million sold; RIAA gold
"Neon Rainbow"19672457-
"Cry Like a Baby"1968215Over 2 million sold
"Choo Choo Train"196826--
"I Met Her in Church"196837--
"Sweet Cream Ladies, Forward March"196828--
"Soul Deep"19691822-

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