"Now Dig!"
A Tribute to otis redding for swing 'n' soul dancers
Below is a tribute to Otis Redding by the SwingDanceVegas Academy. This set of music is played on the anniversary of his death, most recently at the Swingin' at the Mint Tavern, in Las Vegas, on Friday, December 9, 2022, to honor of 55 years since his passing. The full set is embedded at the bottom, minus the few elements that were not available on Spotify. Those elements, along with previews of the Spotify songs and the spoken copy, are below.
Now dig.
Now dig.
Otis Ray was a preacher’s son, born Otis Ray Redding, Jr. on September 9, 1941 in a small town of Terrell, Georgia.
In the short 26 years, 4 months, and 1 day that he spent on this Earth, Otis Redding would transcend the wooden shack of his birth and ascend into the pantheon of Soul.
Here, we celebrate the life and talent of Otis Redding, taking you through snapshots of his life with the artists who influenced him, the albums that inspired him, and most of all, the Sweet Soul Music he brought to life.
We start with the song that was number 1 on the charts the week Otis was born.
In the short 26 years, 4 months, and 1 day that he spent on this Earth, Otis Redding would transcend the wooden shack of his birth and ascend into the pantheon of Soul.
Here, we celebrate the life and talent of Otis Redding, taking you through snapshots of his life with the artists who influenced him, the albums that inspired him, and most of all, the Sweet Soul Music he brought to life.
We start with the song that was number 1 on the charts the week Otis was born.
We can’t open a tribute to Otis Redding like that.
So, let’s take that song, fast forward 14 years to a year very important in the life of young Otis Jr, 1955, and a band very important in the history of American dance music, Jimmy Ricks and The Ravens.
So, let’s take that song, fast forward 14 years to a year very important in the life of young Otis Jr, 1955, and a band very important in the history of American dance music, Jimmy Ricks and The Ravens.
That last song, by Sister Rosetta Tharpe, was the first song that family members recall Otis singing around the house. “As far back as I can remember he was always singing or beating on something," recalled younger brother, Rodgers.
That Otis was hearing great music is undeniable, for the Macon, GA of his childhood was busting with the nascent sounds of rock & soul, led by two local trailblazers: The Hardest Working Man in Show Business Mr. James Brown and the man whom Otis tried to copy in every way in his early years, “Little” Richard Penniman.
The next set features a song from each of these Macon pioneers and as a treat, two songs off of the very first record Otis ever recorded when he was with his first band, The Pinetoppers.
That Otis was hearing great music is undeniable, for the Macon, GA of his childhood was busting with the nascent sounds of rock & soul, led by two local trailblazers: The Hardest Working Man in Show Business Mr. James Brown and the man whom Otis tried to copy in every way in his early years, “Little” Richard Penniman.
The next set features a song from each of these Macon pioneers and as a treat, two songs off of the very first record Otis ever recorded when he was with his first band, The Pinetoppers.
While Macon, GA was producing pioneering stars, Memphis, TN was pioneering music.
A small recording studio set up in an abandoned movie theater, Stax records was the passion project of local banker Jim Stewart and his sister, Estelle Axton (Stax, by the way, is a portmanteau of their last names).
And while Otis would come to define Stax records after his arrival in 1962, the studio did have some success in its early years, most notably by the following quartet of homegrown stars: Local DJ Rufus Thomas & his daughter Carla, the Mar-Keys featuring Estelle Axton’s 19 year-old son Packy, and a racially integrated four-piece band led by a junior in high school, Booker T. & The MGs.
A small recording studio set up in an abandoned movie theater, Stax records was the passion project of local banker Jim Stewart and his sister, Estelle Axton (Stax, by the way, is a portmanteau of their last names).
And while Otis would come to define Stax records after his arrival in 1962, the studio did have some success in its early years, most notably by the following quartet of homegrown stars: Local DJ Rufus Thomas & his daughter Carla, the Mar-Keys featuring Estelle Axton’s 19 year-old son Packy, and a racially integrated four-piece band led by a junior in high school, Booker T. & The MGs.
Steve Croopper, the guitarist on that last song, was there on the muggy summer day in 1962, when a 20-year old Otis Redding played valet to Macon guitarist Jonny Jenkins who was scheduled for a recording session at Stax.
As the legend goes, Jonny Jenkins needed a driver for the 500 mile journey and in return Otis would have a chance to record a song or two.
By the time Otis asked to sing, most of the Stax studio musicians had packed up and left for the day. Steve Cropper sat down at the piano (which he could barely play) and asked Otis in what key he wanted to sing.
Otis replied, “It doesn’t matter. Just play me those church things.”
As the years since have multiplied, so have the number of people who said they were there that special day, that day when Otis recorded his first four words.
As the legend goes, Jonny Jenkins needed a driver for the 500 mile journey and in return Otis would have a chance to record a song or two.
By the time Otis asked to sing, most of the Stax studio musicians had packed up and left for the day. Steve Cropper sat down at the piano (which he could barely play) and asked Otis in what key he wanted to sing.
Otis replied, “It doesn’t matter. Just play me those church things.”
As the years since have multiplied, so have the number of people who said they were there that special day, that day when Otis recorded his first four words.
Despite the stories insisting that Otis was an instant hit, his first 18 months at Stax was less a Star being born than an artist finding his voice.
And as the first song in this four-song set of his early years will attest – they weren’t all gems.
And as the first song in this four-song set of his early years will attest – they weren’t all gems.
By 1964, Otis Redding was becoming a force in the world of black American music.
At the same time, his idol Sam Cooke was knocking down racial and rhythmic barriers, fusing gospel and rhythm and blues into the mainstream musical vernacular.
At the same time, his idol Sam Cooke was knocking down racial and rhythmic barriers, fusing gospel and rhythm and blues into the mainstream musical vernacular.
On December 11, 1964, Sam Cooke was shot and killed by the manager of a seedy Los Angeles motel.
A few days later, Otis stated he “wanted to fill the silent vacuum that was left when Sam Cooke died.”
Having found his voice, Otis now had his mission and a string of hits followed.
A few days later, Otis stated he “wanted to fill the silent vacuum that was left when Sam Cooke died.”
Having found his voice, Otis now had his mission and a string of hits followed.
By 1966, Otis Redding had transcended Macon & Memphis and became a star on the international level, leading tours of England and Europe in 1965 & 1966.
However, his star did not shine alone.
Sam & Dave, a high energy duo act, found fame opening for Otis on these tours. Phil Walden, Otis Redding’s friend and manager, said that early on in the tour Otis asked him “What are you trying to do to me? You put my ass on the show with those two bastards? Those guys are killing me.”
The competition only encouraged Otis to develop his act further and reports from that first tour state that he began moving, shaking, and generally jumping about the stage in ways he had never before.
The next four songs are a tribute to the nightly battles between the two most dynamic acts to come out of Soulsville, USA.
However, his star did not shine alone.
Sam & Dave, a high energy duo act, found fame opening for Otis on these tours. Phil Walden, Otis Redding’s friend and manager, said that early on in the tour Otis asked him “What are you trying to do to me? You put my ass on the show with those two bastards? Those guys are killing me.”
The competition only encouraged Otis to develop his act further and reports from that first tour state that he began moving, shaking, and generally jumping about the stage in ways he had never before.
The next four songs are a tribute to the nightly battles between the two most dynamic acts to come out of Soulsville, USA.
Perhaps the most underappreciated aspect of Otis Redding’s life is the generosity to which all his friends attest.
The next two songs are by people who owed their success to Otis. The first, Arthur Conley who was Otis’ first true protégé. The second, the Bar-Keys, a collection of high school musicians, who would, fatefully, become Otis’s band after they graduated in the summer of 1967.
The next two songs are by people who owed their success to Otis. The first, Arthur Conley who was Otis’ first true protégé. The second, the Bar-Keys, a collection of high school musicians, who would, fatefully, become Otis’s band after they graduated in the summer of 1967.
If every event in his life before the summer of 1967 helped to define Otis Redding the man, the last six months of his life defined Otis Redding the legend.
That legend began on Saturday, June 17, 1967 at the Monterey Pops Festival when 25-year old Otis Redding, backed by Booker T & The MGs and the Bar-Keys played a 19-minute set at midnight in the pouring rain to 19,000 hippies who had spent entire day drinking, smoking, and tripping on substances legal & illegal.
That entire Saturday was a chaotic mess, with the scheduling running way past the time allotted due to the promoters and stage managers deciding to ingest LSD with their dinner.
Yet, to paraphrase author Jonathan Gould, between the note of total authority in Otis’ voice and the band’s accompaniment, it was like there was an adult on stage.
Bob Weir of the Grateful Dead said of that night “I was pretty sure that I’d seen God.”
And in one of life’s little coincidences, the 24-year old savant who had spent the last two years playing lead guitar in Little Richard’s band stood in the wings. With his American solo debut looming the following day, Jimi Hendrix watched the majesty that was Otis Redding and wept.
That legend began on Saturday, June 17, 1967 at the Monterey Pops Festival when 25-year old Otis Redding, backed by Booker T & The MGs and the Bar-Keys played a 19-minute set at midnight in the pouring rain to 19,000 hippies who had spent entire day drinking, smoking, and tripping on substances legal & illegal.
That entire Saturday was a chaotic mess, with the scheduling running way past the time allotted due to the promoters and stage managers deciding to ingest LSD with their dinner.
Yet, to paraphrase author Jonathan Gould, between the note of total authority in Otis’ voice and the band’s accompaniment, it was like there was an adult on stage.
Bob Weir of the Grateful Dead said of that night “I was pretty sure that I’d seen God.”
And in one of life’s little coincidences, the 24-year old savant who had spent the last two years playing lead guitar in Little Richard’s band stood in the wings. With his American solo debut looming the following day, Jimi Hendrix watched the majesty that was Otis Redding and wept.
The world was open to Otis after his Monterey Pops performance. He booked shows around the globe. He even ended Elvis Presley’s ten-year run as Top Male Singer in Melody Maker’s famed reader poll.
However, in August of 1967, Otis required surgery to remove polyps from his vocal cords. For six weeks he could not speak (annoying his poor loving wife Zelma with the ringing of a bell when he wanted attention).
Amidst the very real fear of permanently losing his voice, Otis lost himself in the album that changed the course of popular music: Sargent Pepper’s Lonely Hearts Club Band.
Otis played the record day and night during his recovery, and when he was able to speak again, all he could talk about was the lessons learned from the Beatles.
He found time during the first week of December 1967 to schedule a recording session at Stax for the slew of new songs he had written.
However, in August of 1967, Otis required surgery to remove polyps from his vocal cords. For six weeks he could not speak (annoying his poor loving wife Zelma with the ringing of a bell when he wanted attention).
Amidst the very real fear of permanently losing his voice, Otis lost himself in the album that changed the course of popular music: Sargent Pepper’s Lonely Hearts Club Band.
Otis played the record day and night during his recovery, and when he was able to speak again, all he could talk about was the lessons learned from the Beatles.
He found time during the first week of December 1967 to schedule a recording session at Stax for the slew of new songs he had written.
Which, sadly, brings us to the last chapter of our tribute.
You see, those last three songs were recorded on December 6th & 7th, 1967.
The morning of Friday, December 8th, Otis stuck his head into the office of Steve Cropper and said “I’ll see you Monday.”
We know that would not be the case.
On December 9th, Otis performed on the television show, Upbeat, and play three sets at Leo’s Casino in Cleveland, OH. After his gigs, he called his wife Zelma and then boarded a Beechcraft H18 for a short flight over to his next show at the Factory Nightclub in Madison, WI, scheduled for Sunday, December 10th.
The plane carrying Otis Redding and the Bar-Keys crashed into Lake Manona, WI, just three miles from their landing strip in Madison.
Otis Redding was 26.
He had planned to return to the Memphis studio after a weekend of gigs in order to complete the song that everyone warned him was too big a departure from his sound – in the words of his wife, “he wasn’t begging anymore.” Otis, however, was convinced that this would be his biggest hit yet.
He was not wrong.
The song would become his first number one hit on the Billboard pop charts and the first song ever to reach the number one spot posthumously.
That song would sell 4 million copies alone and is often the bridge most of us use to find him.
We close this tribute to the life of Otis Redding with what is, undeniably, his greatest artistic achievement.
You see, those last three songs were recorded on December 6th & 7th, 1967.
The morning of Friday, December 8th, Otis stuck his head into the office of Steve Cropper and said “I’ll see you Monday.”
We know that would not be the case.
On December 9th, Otis performed on the television show, Upbeat, and play three sets at Leo’s Casino in Cleveland, OH. After his gigs, he called his wife Zelma and then boarded a Beechcraft H18 for a short flight over to his next show at the Factory Nightclub in Madison, WI, scheduled for Sunday, December 10th.
The plane carrying Otis Redding and the Bar-Keys crashed into Lake Manona, WI, just three miles from their landing strip in Madison.
Otis Redding was 26.
He had planned to return to the Memphis studio after a weekend of gigs in order to complete the song that everyone warned him was too big a departure from his sound – in the words of his wife, “he wasn’t begging anymore.” Otis, however, was convinced that this would be his biggest hit yet.
He was not wrong.
The song would become his first number one hit on the Billboard pop charts and the first song ever to reach the number one spot posthumously.
That song would sell 4 million copies alone and is often the bridge most of us use to find him.
We close this tribute to the life of Otis Redding with what is, undeniably, his greatest artistic achievement.
Alright, we can’t end like that!
As a macbre encore, one I hope Big O himself would appreciate, here is one more song in tribute.
You see, the night that Otis died in that plane crash, he was on his way to perform at a little club..and opening for him, The Gravediggers.
Now, you have probably heard of the Gravediggers, if not by that moniker, because a little over a decade after that fateful night, they would go on to have a succession of hits under their new name, Cheap Trick.
As a macbre encore, one I hope Big O himself would appreciate, here is one more song in tribute.
You see, the night that Otis died in that plane crash, he was on his way to perform at a little club..and opening for him, The Gravediggers.
Now, you have probably heard of the Gravediggers, if not by that moniker, because a little over a decade after that fateful night, they would go on to have a succession of hits under their new name, Cheap Trick.
And finally, we’re here at the epilogue.
How do you officially end a tribute to, perhaps, the greatest Soul singer of all time?
Easy.
You play the greatest Soul song ever recorded.
Now Dig.
How do you officially end a tribute to, perhaps, the greatest Soul singer of all time?
Easy.
You play the greatest Soul song ever recorded.
Now Dig.