[6] FAME studio prospered, and by the late 1960s pop and soul musicians such as Otis Redding, Wilson Pickett, Clarence Carter, and Solomon Burke had recorded there.

Singer Aretha Franklin credited Hall for the "turning point" in her career when she recorded at FAME in early 1967, taking her from a struggling artist to the "Queen of Soul".

[7] According to Hall, one of the reasons for FAME's success at a time of stiff competition from studios in other cities was that he overlooked the issue of race, a perspective he called "colorblind".

[8] "It was a dangerous time, but the studio was a safe haven where blacks and whites could work together in musical harmony," Hall wrote in his autobiography.

On hearing the session, people at Atlantic began asking who had played the guitar solos, and Hall responded with a hand-written note that read "some hippie cat who's been living in our parking lot".

In 1969, just after Hall had signed a deal with Capitol Records, the four primary Muscle Shoals Rhythm Section members (Barry Beckett (keyboards), Jimmy Johnson (guitar), Roger Hawkins (drums), and David Hood (bass), left to found a competing business, the Muscle Shoals Sound Studio, originally at 3614 Jackson Highway in nearby Sheffield, Alabama.

This group backed up singers such as Aretha Franklin, Wilson Pickett, Clarence Carter, Bobbie Gentry, Etta James, and Candi Staton during recording sessions at FAME Studios.

[16] Franklin later publicly acknowledged Rick Hall "for the turning point in her career, taking her from a struggling artist" to a major music star.

As the decade of the 70s rolled in, FAME moved back towards country music, producing hits for Mac Davis, Bobbie Gentry, Jerry Reed, and the Gatlin Brothers.

[19] [23] He also worked with the songwriter and producer Robert Byrne to help a local bar band, Shenandoah, top the national Hot Country Songs chart several times in the 1980s and 1990s.

"[19] Successful singers working at FAME included Bobbie Gentry, who recorded the album Fancy (1970), and then with the singer-songwriter Mac Davis, who topped both the Pop and Country charts with "Baby, Don't Get Hooked on Me" (1972).

Davis recorded four gold albums at FAME, with the singles "Texas in My Rear View Mirror" and "Hooked on Music" becoming hits on both the country and pop charts.

Hall continued producing country hits in the 1980s, including Jerry Reed's number 1 records "She Got the Goldmine (I Got the Shaft)" and "The Bird" in 1982.

A local country band that was playing in a club down the street from FAME Studios came to his attention, and he and Robert Byrne co-produced an LP with the group Shenandoah.

In its obituary, The New Yorker concluded its coverage of Hall's career with FAME by saying, "Muscle Shoals remains remarkable not just for the music made there but for its unlikeliness as an epicenter of anything; that a tiny town in a quiet corner of Alabama became a hotbed of progressive, integrated rhythm and blues still feels inexplicable.

The Truckers also backed Lavette on the record, with contributions from David Hood and Spooner Oldham, from the original studio house band, the Swampers.

[33] Other artists who recorded at FAME in recent years include the Drive-By Truckers, Jason Isbell, Demi Lovato, and The Blind Boys of Alabama.