Week 32: 50 Albums That Changed Music

[Swish]

This one was a bit unexpected, at least by me, as I don't often see him listed in many "best of" lists, even of this sort. That's not saying he doesn't belong, but I'm sure you'll let me know what you think about Otis Redding - Otis Blue (1965)

Until Stax Records and Otis Redding arrived, the Southern states were a place where you had to leave to make it (unless you were a country singer). Recorded weeks after the death of Redding's idol, Sam Cooke, the album cast Otis as Cooke's successor, and embodiment of young black America with white appeal - alongside Cooke's 'A Change is Gonna Come' was the Stone's 'Satisfaction'. With terrific backings from the MGs and the Markeys horns behind Otis's rasping vocals, it defined 'soul'. Without this...no Aretha Franklin singing 'Respect', no Al Green, and no Terence Trent D'Arby.

No Terence Trent D'Arby? Where did that come from? And I think there were more than a few "southern" artists who were famous without being "country". Buddy Holly, Jerry Lee Lewis, Elvis...yes, they all had elements of country, or more correctly, rockablilly, but I don't think any of them would be considered "country".

Swish

[BradH]

And I think there were more than a few "southern" artists who were famous without being "country".

They're saying you had to leave the South in order to become famous. But Buddy Holly didn't move from Lubbock, TX to Greenwich Village until the tail end of his popularity. I'll go out on a limb here and say the Guardian just might be clueless. Shocking, I know. I mean, Otis wrote "Respect" but there's no reason Aretha couldn't have done it even if it wasn't on this record.

But Otis Blue is a great album and probably does belong in a list of 50 influential records. I don't buy the idea that it was tailored for white listeners, either. We're talking Stax not Motown. Yeah, it's got "Satisfaction" but the Stones wrote that specifically to sound like a Redding song. (And btw, the Stones didn't have "white appeal" for the BBC in their early days.)

The next big breakthrough for soul was probably Isaac Hayes' Hot Buttered Soul but, knowing the Gurardian, it'll probably lose out to Simply Red or Paul Weller.

[nobody]

Yeah, another great album, but probably not so accurate on the stuff about what wouldn't exist without it. And, the southern thing is probably just a misunderstood impression from across the pond. Thing is, there's always been lots of good music outta the south from country to soul to rock 'n' roll to jazz...whatever. And, while Otis Blue was certainly a great album, shoehorning it into some sort of position as the album that made waves and influenced so many others just misses the fact that there were tons and tons of great soul albums coming out in the 60s. So, picking one to be the focal point for everyone is pretty futile, regardless of the choice.

And, the Terrence Trent D'Arby thing is probably another one where his importance is seen as much more signifigant in England than America. Although, while I lost interest as his career went along, his debut was a fantastic album and he showed some very impressive vocal abilities. His cover of Who's Loving You on that album is nothing short of an amazing vocal performance.

[SlumpBuster]

The strange thing about this record (or at least Otis in general) is some of the unexpected influence. In my experience, there is a definate punk rock influence. I was admittedly late to the punk scene, not like some of you O.G.s out there, but in my generation, almost every punk I knew had at least one Otis record. While I don't know if there is a direct musical connection between Otis and Fugazi , they sure do share alot of shelf space together, in my experience. I've always suspected it was the Pretty in Pink connection, i.e. Ducky's rendition of Try a Little Tenderness.

Or am I just high?

[Dusty Chalk]

Or maybe you just have a weird circle of friends.

Not that there's anything wrong with that -- I have some rather incongruous disparity on my music shelves.

[BradH]

And, the southern thing is probably just a misunderstood impression from across the pond.

They're saying you had to bring the music out of the south and record it somewhere else before Stax. It's kind of a stupid thing to say considering Sun Records was in Memphis. Maybe they're discounting Sun because those guys later became huge on the major labels.

[dean_martin]

I really like this album. "I've been Loving You too Long (to Stop Now)" is the closer on my 2-disc anniversary comp. The old folks love it and it gives me tingles.

"You Don't Miss Your Water" shows up here and on a previous top 50 - The Byrds' SHOTR.