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Start Date: November 10, 2022
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Otis Redding
The Dock Of The Bay
12"
VINYL
STEREO
RECORD LP
BRAND NEW FACTORY SEALED


Sundazed Records
LP 5172
UPC | 090771517210
2003

►This exact reproduction of this original Stax label LP is mastered from the original stereo tapes and pressed on pristine High-Definition vinyl.

TRACK LISTING

SIDE ONE
1. (Sittin' On) The Dock Of The Bay
2. I Love You More Than Words Can Say
3. Let Me Come On Home
4. Open The Door
5. Don't Mess With Cupid

SIDE TWO
1. The Glory Of Love
2. I'm Coming Home
3. Tramp
4. The Huckle-Buck
5. Nobody Knows You (When You're Down And Out)
6. Ole Man Trouble

Otis Redding was the best one man campaign soul music ever had. For beyond his brilliant talents as a vocalist and performer, Otis was personally dedicated to making soul music the popular music of the United States and Europe. His life-long ambition —to be an international star —was not simply a reflection of his own desire for success: it was an indication that he wanted to help establish his style of music on an international scale.

When Otis Redding recorded "(Sittin' On) The Dock of the Bay" in late 1967, the singer knew that the song was a milestone in his creative evolution. But before Redding got the chance to explore his new direction, he was killed, along with most of his backup band the Bar-Kays, in a plane crash while on tour. Released just a few weeks after his death, the song shot to Number One on the Pop and R&B charts, eventually winning Redding a pair of posthumous Grammy awards. The album bearing the song's title was assembled by the singer's frequent collaborator Steve Cropper, who played guitar on nearly all of Otis' Stax sessions as well as co-writing "Dock of the Bay" and countless other songs with Redding. Drawing mainly from unreleased and little-heard tracks spanning Redding's three-year Stax career, the album demonstrates the depth and breadth of his talent, while hinting at what might have been.

During the few short years he was a recording star, Redding went as far as any one man could towards fulfilling that goal. At the time of the tragedy that took his life, in December, 1967, he had already brought soul music to every big city in the United States, had been acclaimed the most popular music star in Europe fby the famous Melody Maker poll) and had paved the way for the two-fisted soul artists like Arthur Conley, Sam and Dave, and Aretha Franklin, who dominate today’s popular music scene. One of the saddest aspects of Redding's death was his failure to be as fully recognized while he was alive as the stars who benefited from the ground work he laid in the four years prior to 1967.

It was another of Otis' deepest desires that he fill the vacuum created by the death of Sam Cooke in 1964 and I believe that he not only filled the gap but that he created a whole new plateau to which all other soul artists will now aspire.

In this album the entire range of Redding's enormous and varied talents are shown off to their best advantage. Eight of the selections have never been on an album before. These include two of Otis' all time great soul ballad performances. I Love You More Than Words Can Say and his hit of last summer, The Glory Of Love, as well as the previously unreleased Open the Door. The driving, rocking side of Redding's work is shown off in I'm Coming Home and the brilliant Don't Mess With Cupid. Let Me Come On Home not only features his great blues style but contains one of Steve Cropper’s finest guitar performances The Huckle-Buck, prior to its inclusion on this album, was available only on the Stax "Stay In School” album. It is a brilliant illustration of Otis’ capacity to transform an old standard into a thoroughly modern and contemporary piece of material. Dock of the Bay, Otis’ all time best selling single, needs no introduction—it is one of the half- dozen best performances he left us with.
In addition to these eight selections there is one of Redding's best duets with Carla Thomas, Tramp. And to close out the album there are two of his classic earlier recordings, his extraordinary interpretation of Nobody Knows You (When You're Down And Out) and his extremely moving (particularly in light of the tragedy that took his life) Ole Man Trouble.

This wide ranging set of Redding at the height of his artistic powers should make clear why Otis was as popular in Paris as he was in New York or in Memphis. The music of Otis Redding had that quality common to all great art: universality. Redding’s version of soul didn't recognize national, geographic, or racial lines. It had the capacity to speak to all of us. Which is why the people who knew Redding's music best will tell you that he was truly the “King of them all”.
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