Otis Redding

At 26 years old, Otis Redding physical status not available right now. We will update Otis Redding's height, weight, eye color, hair color, build, and measurements.

A member of Pat T. Cake and the Mighty Panthers, Redding toured the Southern United States on the Chitlin' Circuit, a string of venues that were hospitable to African-American entertainers during the era of racial segregation, which lasted into the early 1960s. Johnny Jenkins left the band to become the featured artist with the Pinetoppers. Around this time, Redding met Phil Walden, the future founder of the recording company Phil Walden and Associates, and later Bobby Smith, who ran the small label Confederate Records. He signed with Confederate and recorded a single, "Shout Bamalama" (a rewrite of "Gamma Lamma") and "Fat Girl", together with his band Otis and the Shooters. Around this time he and the Pinetoppers attended a "Battle of the Bands" show in Lakeside Park. Wayne Cochran, the only solo artist signed to Confederate, became the Pinetoppers' bassist.

When Walden started to look for a record label for Jenkins, Atlantic Records representative Joe Galkin showed interest and around 1962 sent him to the Stax studio in Memphis. Redding drove Jenkins to the session, as the latter did not have a driver's license. The session with Jenkins, backed by Booker T. & the M.G.'s, was unproductive and ended early; Redding was allowed to perform two songs. The first was "Hey Hey Baby", which studio chief Jim Stewart thought sounded too much like Little Richard. The second was "These Arms of Mine", featuring Jenkins on guitar and Steve Cropper on piano. Stewart later praised Redding's performance, saying, "Everybody was fixin' to go home, but Joe Galkin insisted we give Otis a listen. There was something different about [the ballad]. He really poured his soul into it." Stewart signed Redding and released "These Arms of Mine", with "Hey Hey Baby" on the B-side. The single was released by Volt in October 1962 and charted in March the following year. It became one of his most successful songs, selling more than 800,000 copies.

"These Arms of Mine" and other songs from the 1962–1963 sessions were included on Redding's debut album, Pain in My Heart. "That's What My Heart Needs" and "Mary's Little Lamb" were recorded in June 1963. The latter is the only Redding track with both background singing and brass. It became his worst-selling single. The title track, recorded in September 1963, sparked copyright issues, as it sounded like Irma Thomas's "Ruler of My Heart". Despite this, Pain in My Heart was released on March 1964, with the single peaking at number 11 on the R&B chart, number 61 on the Billboard Hot 100, and the album at number 103 on the Billboard 200.

In November 1963, Redding, accompanied by his brother Rodgers and an associate, former boxer Sylvester Huckaby (a childhood friend of Redding's), traveled to New York to perform at the Apollo Theater for the recording of a live album for Atlantic Records. Redding and his band were paid $400 per week (US$3,540 in 2021 dollars) but had to pay $450 (US$3,983 in 2021 dollars) for sheet music for the house band, led by King Curtis, which left them in financial difficulty. The trio asked Walden for money. Huckaby's description of their circumstances living in the "big old raggedy" Hotel Theresa is quoted by Peter Guralnick in his book Sweet Soul Music. He noted meeting Muhammad Ali and other celebrities. Ben E. King, who was the headliner at the Apollo when Redding performed there, gave him $100 (US$885 in 2021 dollars) when he learned about Redding's financial situation. The resulting album featured King, the Coasters, Doris Troy, Rufus Thomas, the Falcons and Redding. Around this time Walden and Rodgers were drafted by the army; Walden's younger brother Alan joined Redding on tour, while Earl "Speedo" Simms replaced Rodgers as Redding's road manager.

Most of Redding's songs after "Security", from his first album, had a slow tempo. Disc jockey A. C. Moohah Williams accordingly labeled him "Mr. Pitiful", and subsequently, Cropper and Redding wrote the eponymous song. That and top 100 singles " Chained and Bound", "Come to Me" and "That's How Strong My Love Is" were included on Redding's second studio album, The Great Otis Redding Sings Soul Ballads, released in March 1965. Jenkins began working independently from the group out of fear Galkin, Walden and Cropper would plagiarize his playing style, and so Cropper became Redding's leading guitarist. Around 1965, Redding co-wrote "I've Been Loving You Too Long" with Jerry Butler, the former lead singer of the Impressions. That summer, Redding and the studio crew arranged new songs for his next album. Ten of the eleven songs were recorded in a 24-hour period on July 9 and 10 in Memphis. Two songs, "Ole Man Trouble" and "Respect", had been finished earlier, during the Otis Blue session. "Respect" and "I've Been Loving You" were later recut in stereo. The album, entitled Otis Blue: Otis Redding Sings Soul, was released in September 1965. Otis Blue also includes Redding's much-loved cover of "A Change Is Gonna Come" in 1965.

Redding's success allowed him to buy a 300-acre (1.2 km2) ranch in Georgia, which he called the "Big O Ranch". Stax was also doing well. Walden signed more musicians, including Percy Sledge, Johnnie Taylor, Clarence Carter and Eddie Floyd, and together with Redding, they founded two production companies. "Jotis Records" (derived from Joe Galkin and Otis) released four recordings, two by Arthur Conley and one by Billy Young and Loretta Williams. The other was named Redwal Music (derived from Redding and Walden), which was shut down shortly after its creation. Since Afro-Americans still formed the majority of fans, Redding chose to perform at Whisky a Go Go on the Sunset Strip in Los Angeles. Redding was one of the first soul artists to perform for rock audiences in the western United States. His performance received critical acclaim, including positive press in the Los Angeles Times, and he penetrated mainstream popular culture. Bob Dylan attended the performance and offered Redding an altered version of one of his songs, "Just Like a Woman".

In late 1966, Redding returned to the Stax studio and recorded several tracks, including "Try a Little Tenderness", written by Jimmy Campbell, Reg Connelly and Harry M. Woods in 1932. This song had previously been recorded by Bing Crosby and Frank Sinatra, and the publishers unsuccessfully tried to stop Redding from recording the song from a "negro perspective". Today often considered his signature song, Jim Stewart reckoned, "If there's one song, one performance that really sort of sums up Otis and what he's about, it's 'Try a Little Tenderness'. That one performance is so special and so unique that it expresses who he is." On this version Redding was backed by Booker T. & the M.G.'s, while staff producer Isaac Hayes worked on the arrangement. "Try a Little Tenderness" was included on his next album, Complete & Unbelievable: The Otis Redding Dictionary of Soul. The song and the album were critically and commercially successful—the former peaked at number 25 on the Billboard Hot 100 chart and at number 4 on the R&B chart.

The spring of 1966 marked the first time that Stax booked concerts for its artists. The majority of the group arrived in London on March 13, but Redding had flown in days earlier for interviews, such as at "The Eamonn Andrews Show". When the crew arrived in London, the Beatles sent a limousine to pick them up. Booking agent Bill Graham proposed that Redding play at the Fillmore Auditorium in late 1966. The gig was commercially and critically successful, paying Redding around $800 to $1000 (US$8,352 in 2021 dollars) a night. It prompted Graham to remark afterward, "That was the best gig I ever put on in my entire life." Redding began touring Europe six months later.

In March 1967, Stax released King & Queen, an album of duets between Redding and Carla Thomas, which became a certified gold record. It was Jim Stewart's idea to produce a duet album, as he expected that "[Redding's] rawness and [Thomas's] sophistication would work". The album was recorded in January 1967, while Thomas was earning her M.A. in English at Howard University. Six out of ten songs were cut during their joint session; the rest were overdubbed by Redding in the days following, because of his concert obligations. Three singles were lifted from the album: "Tramp" was released in April, followed by "Knock on Wood" and "Lovey Dovey". All three reached at least the top 60 on both the R&B and Pop charts. The album charted at number 5 and 36 on the Billboard Pop and R&B charts, respectively.

Redding returned to Europe to perform at the Paris Olympia. The live album Otis Redding: Live in Europe was released three months later, featuring this and other live performances in London and Stockholm, Sweden. His decision to take his protege Conley (whom Redding and Walden had contracted directly to Atco/Atlantic Records rather than to Stax/Volt) on the tour, instead of more established Stax/Volt artists such as Rufus Thomas and William Bell, produced negative reactions.

In 1967, Redding performed at the influential Monterey Pop Festival as the closing act on Saturday night, the second day of the festival. He was invited through the efforts of promoter Jerry Wexler. Until that point, Redding was still performing mainly for black audiences. At the time, he "had not been considered a commercially viable player in the mainstream white American market." But after delivering one of the most electric performances of the night, and having been the act to most involve the audience, "his performance at Monterey Pop was therefore a natural progression from local to national acclaim,...the decisive turning-point in Otis Redding's career." His act included his own song "Respect" and a version of the Rolling Stones' "Satisfaction". Redding and his backing band (Booker T. & the M.G.'s with the Mar-Keys horn section) opened with Cooke's "Shake", after which he delivered an impromptu speech, asking the audience if they were the "love crowd" and looking for a big response. The ballad "I've Been Loving You" followed. The last song was "Try a Little Tenderness", including an additional chorus. "I got to go, y'all, I don't wanna go", said Redding and left the stage of his last major concert. According to Booker T. Jones, "I think we did one of our best shows, Otis and the MG's. That we were included in that was also something of a phenomenon. That we were there? With those people? They were accepting us and that was one of the things that really moved Otis. He was happy to be included and it brought him a new audience. It was greatly expanded in Monterey." According to Sweet Soul Music, musicians such as Brian Jones and Jimi Hendrix were captivated by his performance; Robert Christgau wrote in Esquire, "The Love Crowd screamed one's mind to the heavens."

Before Monterey, Redding wanted to record with Conley, but Stax was against the idea. The two moved from Memphis to Macon to continue writing. The result was "Sweet Soul Music" (based on Cooke's "Yeah Man"), which peaked at number 2 on the Billboard Hot 100. By that time, Redding had developed polyps on his larynx, which he tried to treat with tea and lemon or honey. He was hospitalized in September 1967 at Mount Sinai Hospital in New York to undergo surgery.

In early December 1967, Redding again recorded at Stax. One new song was "(Sittin' On) The Dock of the Bay", which was written with Cropper. Redding was inspired by the Beatles album Sgt. Pepper's Lonely Hearts Club Band and tried to create a similar sound, against the label's wishes. His wife Zelma disliked its atypical melody. The Stax crew were also dissatisfied with the new sound; Stewart thought that it was not R&B, while bassist Donald "Duck" Dunn feared it would damage Stax's reputation. However, Redding wanted to expand his musical style and thought it was his best song, correctly believing it would top the charts. He whistled at the end, either forgetting Cropper's "fadeout rap" or paraphrasing it intentionally.

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