THIS IS THE 1972 JAPANESE REPRESSING on ATLANTIC label. SOUL AGE Series. SINGLE COVER + OBI + INSERT. The cover is in EX CONDITION: normal wear, BUT creases, light discolouration/creases on corners/bottom spine, removable small sticker on rear (top left), left spine is fully readable, for details see photos (with and without flashlight). The vinyl is in EX condition, and plays wonderfully.

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OTIS REDDING

Perhaps the greatest soul singer of the '60s, the man who wrote and sang standards like "Respect" and "(Sittin' On) The Dock of the Bay."

Otis Redding was one of the most powerful and influential artists to emerge from the Southern Soul music community in the '60s. A bold, physically imposing performer whose rough but expressive voice was equally capable of communicating joy, confidence, or heartache, Redding brought a passion and gravity to his vocals that was matched by few of his peers. He was also a gifted songwriter with a keen understanding of the creative possibilities of the recording process.

"THE IMMORTAL OTIS REDDING"

The selections contained in "The Immortal Otis Redding" were never released previously with the exception of -The Happy Song-, originally issued as a single in April, 1968. They were recorded during the spring, summer and fall of 1967 and comprise some of the last recordings made by Otis Redding.

<reissue, originally published 1968>

LP     ATLANTIC RECORDS      P-6111A   STEREO

MADE IN JAPAN     1972 REPRESSING

SINGLE COVER + OBI + INSERT

NOTES: ¥2.000" on obi and back cover.

Barcode and Other Identifiers

Barcode: none

LABEL: ATLANTIC -  3-COLOR LABEL  - BLACK TEXT

Catalog on cover: P-6111A  

Catalog on labels: P-6111A (P-6111A1) / P-6111A (P-6111A2) 

Matrix / Runout (Side A, Stamped): P-6111A1  T0  2-A-13  (1) 2 3  〄   22 - 2 34

Matrix / Runout (Side B, Stamped): P-6111A2  T0  1-A- 13  (1) 2 3  〄

On labels: 2-line rim text "Made by Warner-Pioneer Corporation, Japan......From Atlantic Recording Corp. U.S.A."

"All Rights...........Of This Record Prohibited

℗ Atlantic Recording Corporation

On back cover: Tracklist

Produced by Steve Cropper

Atlantic Recording Corporation 75 Rockefeller.....New York 10019

© 1968 Atlantic Recording Corporation....□ IC ★        ¥2,000

tracklisting

Side A: I'VE GOT DREAMS TO REMEMBER - YOU MADE A MAN OUT OF ME

NOBODY'S FAULT BUT MINE - HARD TO HANDLE - THOUSAND MILES AWAY - THE HAPPY SONG

Side B: THINK ABOUT IT - A WASTE OF TIME - CHAMPAGNE AND WINE

A FOOL FOR YOU - AMEN

grading

RECORD EX  (please, read above description)

SLEEVE EX (please, see pictures and read above description)

After the career of Otis Redding was cut tragically short in December of 1967, the tape vaults were plundered on several occasions to present fans with new product. The Immortal Otis Redding (1968) was the second posthumous long-player created from the artist's backlog of material. Of the 11 selections, only the 45 rpm side "The Happy Song (Dum-Dum-De-De-De-Dum-Dum)" would have been familiar to enthusiasts of the late vocalist. As notated on the rear of the original jacket, these were among the last tunes Redding cut during what turned out to be a prophetic three-week stretch of sessions -- concluding just days prior to his untimely passing. One of which is the emotive opener "I've Got Dreams to Remember," which bear two disparate sets of lyrics -- including one by Redding's spouse Zelma Redding. However, the words on the version commencing this effort were actually penned by Joe Rock, whose primary claim to fame was as author of the Skyliners' doo wop smash "Since I Don't Have You." The midtempo "You Made a Man Out of Me" is marked by the hypnotic rhythm lines of Donald "Duck" Dunn (bass). It joins the preeminently funky "Hard to Handle" -- which easily bests the Black Crowes' early-'90s modernization -- and the sublime soul stomper "Nobody's Fault But Mine" as prime paradigms of his inimitable command. The Memphis Horns provide a profound sense of empathy to the aching "Thousand Miles Away," while the somber irony of the Redding original "A Waste of Time" ranks alongside his best ballads. The remake of Ray Charles' "A Fool for You" provides an ideal vehicle for Redding to explore his R&B roots. It likewise leads one to beg the hypothetical possibilities of an entire project dedicated to Redding's interpretations of sounds that influenced him. Those very musical roots definitively manifest themselves in the closing spiritual, "Amen." Although Redding is credited with the arrangement, he was undoubtedly impacted by the Impressions' 1964 hit that took a similar approach to the simple sacred singalong. On the whole, it can be argued that The Immortal Otis Redding wasn't quite on par with the half-dozen studio albums that the vocalist cut during his lifetime. By the same token, it should be acknowledged that any Otis Redding recordings should be considered welcome (if not mandatory) additions to all manner of listeners...(AllMusic)