Label: Analogue Productions – AAPP 095-45
AAA 100% Analogue – Mastered by Kevin Gray at Cohearent Audio from the original tapes
Limited Edition – Pressed at QRP Quality Record Pressings
This Otis Redding album has one hit after another. I can’t get enough of this. Great pressing, great performance, great musician! 5/5 LP review
Otis Redding’s third album presents his talent unfettered, his direction clear and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding’s version of songs by Sam Cooke, his idol, who had died the previous December.
Otis Redding Sings Soul is considered by many critics to be Redding’s first great album. Recorded in April and July of 1965, it was released September 15th of that same year. The styles of Cooke and Redding couldn’t have been more different; Cooke smooth and sure, Redding raw and pleading. But Redding’s versions of “Shake” and “A Change Is Gonna Come” show how Cooke’s sound and message helped shape Redding’s Southern soul sound. Redding’s singing reaches a new level of expressiveness with this as well as with covers of B.B. King’s “Rock Me Baby” and the Motown hit “My Girl.”
This great album receives the full Analogue Productions reissue treatment here, starting with Kevin Gray’s remaster from the original analogue tapes. Then we back that up with 200-gram plating and pressing on super-silent vinyl by our own Quality Record Pressings. Finally it’s all housed in a tip-on gatefold jacket from Stoughton Printing. Deluxe all the way; you’ll be estatic with the results!
Considered by many soul connoisseurs to be Otis Redding’s finest and most fully realized LP, 1966’s Otis Blue delivers a compelling encapsulation of all of the qualities that made Redding the greatest soul performer of his era. In addition to the artist’s self-penned classics “Respect” and “I’ve Been Loving You Too Long,” Otis Blue spotlights the artist’s peerless interpretive skills, as he puts his dynamic stamp upon such iconic tunes as the Rolling Stones’ “(I Can’t Get No) Satisfaction,” The Temptations’ “My Girl,” B.B. King’s “Rock Me Baby,” “You Don’t Miss Your Water” and Solomon Burke’s “Down in the Valley.”
Otis also pays tribute to his idol Sam Cooke, giving his all to a trio of Cooke tunes, “A Change Is Gonna Come,” “Shake” and “Wonderful World.”
Otis Redding’s third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding’s versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, “A Change Is Gonna Come” and “Shake,” are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it’s useful to hear the songs from those sessions juxtaposed with each other, and with “Wonderful World,” which is seldom compiled elsewhere.
Also featured are Redding’s spellbinding renditions of “Satisfaction” (a song epitomizing the fully formed Stax /Volt sound and which Mick Jagger and Keith Richards originally wrote in tribute to and imitation of Redding’s style), “My Girl,” and “You Don’t Miss Your Water.” “Respect” and “I’ve Been Loving You Too Long,” two originals that were to loom large in his career, are here as well; the former became vastly popular in the hands of Aretha Franklin and the latter was an instant soul classic. Among the seldom-cited jewels here is a rendition of B.B. King’s “Rock Me Baby” that has the singer sharing the spotlight with Steve Cropper, his playing alternately elegant and fiery, with Wayne Jackson and Gene “Bowlegs” Miller’s trumpets and Andrew Love’s and Floyd Newman’s saxes providing the backing. Redding’s powerful, remarkable singing throughout makes Otis Blue gritty, rich, and achingly alive, and an essential listening experience.