Artist: Otis Redding
Genre(s):
Retro
R&B: Soul
Discography:
Love Man
Year: 2002
Tracks: 12
Very Best of Otis Redding CD2
Year: 2000
Tracks: 20
Very Best of Otis Redding CD1
Year: 2000
Tracks: 20
The Soul Album
Year: 1991
Tracks: 11
The Otis Redding Dictionary Of Soul : Complete and Unbelievable
Year: 1991
Tracks: 12
The Immortal Otis Redding
Year: 1991
Tracks: 11
The Dock of the Bay
Year: 1991
Tracks: 11
The Ultimate Otis Redding
Year: 1990
Tracks: 20
Otis Redding
Year:
Tracks: 14
Dreams To Remember (The very best of Otis Redding)
Year:
Tracks: 27
One of the near influential psyche singers of the 1960s, Otis Redding exemplified to many listeners the power of Southern "deep soul" -- gruff, granulose vocals, flash arrangements, and an aroused way with both political party tunes and ache ballads. He was too the most coherent exponent of the Stax sound, carving his records at the Memphis label/studios that did much to update R&B into modern soul. His destruction at the long time of 26 was tragic non exactly because he seemed on the verge of break through to a spacious pop up audience (which he would so do with his posthumous number one single, "[Sittin' On] The Dock of the Bay"). It was besides unfortunate because, as "Dock of the Bay" demonstrated, he was besides at a point of artistic breakthrough in leontyne Price of the expression and sophistication of his songwriting and telling.
Although Redding at his peak was viewed as a consummate, versatile showman, he began his recording career in the early '60s as a Little Richard-styled roarer. The Georgian was working in the band of guitarist Johnny Jenkins at the time, and in 1962 he took advantage of an opportunity to record the lay "These Arms of Mine" at a Jenkins academic term. When it became an R&B hit, Redding's solo career was rightfully on its way, though the hits didn't real start to fly until 1965 and 1966, when "Mr. Pitiful," "I've Been Loving You Too Long," "I Can't Turn You Loose," a cover of the Rolling Stones' "Satisfaction," and "Respectfulness" (later turned into a brobdingnagian pop crush by Aretha Franklin) were all big sellers.
Redding wrote much of his own material, sometimes with the help of Booker T. & the MG's guitar player Steve Cropper. Yet at the time, Redding's success was primarily captive to the soul marketplace; his singles charted just mildly on the pop listings. He was withal enormously respected by many stanford White groups, particularly the Rolling Stones, wHO covered Redding's "That's How Strong My Love Is" and "Annoyance in My Heart." (Redding besides returned the favor with "Satisfaction.")
One of Redding's biggest hits was a duet with boyfriend Stax star Carla Thomas, "Tramp," in 1967. That was the same year he began to express signs of qualification major inroads into the white hearing, particularly with a well-received performance at the Monterey Pop Festival (besides issued on record). Redding's biggest triumph, however, came just days in front his death, when he recorded the wistful "(Sittin' On) The Dock of the Bay," which delineate a significant leap as far as scrutiny of more intensely personal emotions. Also highlighted by crisp Cropper guitar leads and self-respectful horns, it rose to the upper side of the pop charts in early 1968.
Redding, even so, had perished in a plane crash in Wisconsin on December 10, 1967, in an stroke that besides took the lives of four-spot members from his backup band, the Bar-Kays. A few other singles became posthumous hits, and a good sum of early unreleased material was issued in the wake of his death. These releases weren't purely exploitive in nature, in fact containing some pretty interesting music, and little that could be considered embarrassing. What Redding power have achieved, or what directions he might have explored, ar among the innumerous tantalizing "what if" questions in john Rock & roll history. As it is, he did record a considerable wealth of music at Stax, which is now available on thoughtfully archived reissues.
Brenda K Starr
