I felt like an asshole reviewing this album. On that, I would agree, and plea, and do anything possible as well. Maybe it was a prayer to Ole Man Trouble to bring Otis back to them. Once again, back-seat driving nearly 50 years after the fact, but this, too sounds out-of-place with the rest of the album.
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If you’re going to finish off an album with material to introduce to new audiences, one that has anywhere the look and feel of “(Sittin’ On) The Dock of the Bay,” this wouldn’t have been my choice. It was the realization that new, unheard Otis Redding material was becoming a rarer and rarer thing. It still sounds great but that haunting sensation started to pour into me. If you’ve listened to “The Soul Album,” then you’ve heard this cover. “Nobody Knows You (When You’re Down and Out)” According the Wikipedia sources, the sound was originally influenced by the Charlie Parker tune, “Now’s the Time.” Parker’s band members during this recording included Dizzy Gillespie and Miles Davis. It was covered all over the place, from Tommy Dorsey (without the “A”) to Canned Heat. This is a cover of a late 1940s dance craze. In fact, it’s the same Otis & Carla duet found on “King & Queen.” It sounds a little out-of-place here. “Tramp” was previously released as a single. Here comes the cobbled-together part of the album. The best part of this Strax soul song is the pick up and jam-type feel at the end of this song. I’m coming home to dry your weeping eyes.” Otis plays off a classic lullaby in the core of his lyrics: “I’m Coming Home (To See About You)”Ī little Cropper & Memphis Horns intro. Well, at least this one builds up like “Try a Little Tenderness.” Not nearly as emphatically, but enough to get your toe a’tappin’. Though, admittedly, some of my favorite lyrics, ever, come in this chorus:Ĭupid, he’s not stupid.” – Otis “Cupid” ReddingĪ ballad to start an album side. This sounds like part 3 of “Let Me Come On Home.” This is the warning of what will happen if they don’t reconcile: Throw charges, accusations, and show he’s not only to blame. Straight desperation and confession – pleading to whatever crime necessary in order to be forgiven. The, perhaps, intended part two of “Let Me Come On Home.” This sounds like the type of next-step a guy goes to when his attempts to reconcile with his lady by being charming, but failing miserably. Not too fast not to couple’s dance to, not too slow that it loses momentum. It’s that mid-range tempo song that keeps it in a hip-swaying gear. Classic grit, grime, and groove Stax soul song. If you don’t like it the first time, give it a couple tries. Simple and confessional with a subtle build up throughout. This is a standard, wonderful Otis Redding Stax soul ballad. I could see new fans buying this album and going, “this doesn’t sound like “Dock of the Bay.” Folks are funny like that. Redding died that Sunday afternoon.Ĭheck out the clip from the Ronnie Wood YouTube channel. Steve Cropper overdubbed the electric guitar the Friday night before Redding was killed.Otis Redding only ever heard Cropper’s acoustic guitar play on the song.“I remember the fish & chips bar over there.” – Ronnie Wood, about Sausalito, CA.Otis Redding started writing “(Sittin’ On) The Dock of the Bay” on Bill Graham’s houseboat in Sausalito, CA.And it’s pretty good.Ĭropper discussed the steps that went into co-writing and producing the gem. “Wait?” Ronnie Wood of The Rolling Stones has a YouTube show?” Yeah.
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Steve Cropper recently discussed “(Sittin’ On)” The Dock of the Bay,” on the Ronnie Wood should on YouTube. That soulful, melancholic wonder was the only time he really got existential with anything other than a woman…or women. You won’t find another Otis Redding song in the same scope, style, and arrangement as “(Sitting On’) The Dock of the Bay.” It simply ain’t there. I study Otis Redding because of this song. It’s the song that’s been reminding me that shit gets other folks down, too, and that it’ll be okay.