redding

Cigarettes And Coffee, Otis Redding
What a sexy song this is. Recently, Rolling Stone readers named Otis Redding as the greatest R&B singer of all time. Granted, reader polls like those depend purely upon who’s voting and are completely arbitrary, but it’s still certainly not a bad distinction for a man who accomplished so much in his criminally short twenty-seven years. Called the “King of Soul,” Redding has a remarkably expressive and emotionally evocative voice, and “Cigarettes and Coffee,” off 1966′s The Soul Album, is one of his finest. Just listen to that rolling opening horn riff and go find someone to make out with. I’m sorry if that’s a little blunt, but this is that kind of song. They just don’t make R&B music like this anymore. I’m not saying that contemporary R&B doesn’t have anything to offer, but this cut so perfectly sums up a period in early rock history in which all of the sexual energy of jazz, vocal emotion of gospel, and raw power of rock and roll intersected to make some incredible music. As for the lyrical content, Redding expresses his joy and appreciation to his lover and sums up the entire ecstasy of their relationship with their ritual of cigarettes and coffee in the early morning. It’s this simple exchange that reminds him of everything great about their romance, and how he could not picture himself with anyone else. A beautiful, soulful cut by one of the legends, cut down far too early in his prime. It’s painful to think of what else he might have accomplished.

 

Ok, I made Jack create this R&B/Soul category, so I’m gonna do my best to fill it up.

When I say Otis Redding, you say “Sittin’ on the Dock of the Bay.” That mellow, quiet ode to San Francisco. So Otis must have been a mellow dude, right? Nope.

Otis Redding was a soul machine. He was a freight train. The man could shout, beg, plead, and preach—even James Brown couldn’t touch him for emotion. He is hoarse, gritty, and endlessly energetic. His best work was not in the studio. To get Otis Redding, you need a live track.

“Shake” is only 2:34, but it is powerful. The crowd is into it. Otis is into it. I’m into it. The first time I heard this song, I listened to it twice. Immediately. I can’t tell you how strange that is for me.

We start out with this great brass crescendo, a fanfare that brings the man himself out. Then, at 00:10, nothing. Just drums. Those three seconds before Otis comes in are the final seconds before launch. Strap in.

The brass pumps beneath Otis, the drummer is in the pocket, and the guitarist stays out of the way. The fireworks are coming out of the microphone, and everyone wants to watch. Otis Redding was not exactly a singer, as you can hear. He is a shouter in the best musical sense of the world. When he screams “Soul!” at 1:23, you know this is a man who has plenty of it.

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