Otis Redding - Otis Blue (1965)

1965

Produced By: Jim Stewart, Isaac Hayes, David Porter

32:54

     The King of Soul, Otis Redding, recorded his third record, Otis Blue, in one incredible less than 24 hour session. The album consists of three Redding originals, including his astonishing "Respect" (which would later be covered by Aretha Franklin in one of the greatest vocal performances of the century), "I've Been Loving You Too Long" (My personal favorite), and "Old Man Trouble", whose lyrical content and mature writing style foreshadows his crossover hit, "Sittin' On The Dock Of The Bay". The remaining eight tracks are mostly popular R&B/Soul hits of the day. From the talk about it, Otis Blue doesn't sound much different than any other record he had previously released, or from any other soul artist of the day for that matter. 

     Otis Blue however, is much, much more than that. Each song Redding covered equals and in most cases surpasses the original recording. These songs are pulled from artists such as Sam Cooke (who had been shot dead in a motel the previous year, and was a big influence on Redding), Solomon Burke, B.B. King, and even a cover of the Rolling Stones' "(I Can't Get No) Satisfaction", which drew parallels to Redding's songwriting (A journalist even accused the Stones of stealing the song from Redding, and recording it before him).
    Backing Redding on these tracks is a young Isaac Hayes (who would later record the blaxplotation record Shaft), Booker T & The Mgs (who were Stax Record's house band, earlier had instrumental hit "Green Onions"). The horn section really builds up excitement and accents the rhythm section perfectly, standing out in performance on "Respect".
    Redding's voice on these recordings is unsurpassable. He holds so much emotion and feeling, culminating in his "I've Been Loving You Too Long". Otis Blue was Redding's crowning achievement of the time, until "Sittin' On The Dock Of The Bay". If you are one that doesn't like box sets of anthologies, Otis Blue is the best Redding record out there. Otis Blue has been called the greatest soul record of all time, and is indisputably one of the greatest of the 1960s.

Key Tracks - "Respect", "A Change Is Gonna Come", "I've Been Loving You Too Long", "Wonderful World", "My Girl"

John Renbourn - John Renbourn (1965)

1965

Produced by : Nathan Joseph

Aprox: 43:00

     The British Folk Revival from 1945 to 1969 produced many, many outstanding, complex records, based around folk styles of English descent. The American Blues also had a lasting impact on many of these folk musicians, including a man named John Renbourn. Renbourn started relaasing records in the early to mid 1960s, much of the time accompanied by fellow British folkie, Bert Jansch.  John Renbourn was Renbourn's first solo record, and first release period. The album was heavily influenced by his love of American Blues artist such as Big Bill Broonzy, Muddy Waters, among others. Davy Graham, another British folk revivalist had a big impact on Renbourn. "I started out trying to play like Big Bill Broonzy, and I am still trying"  is what Renbourn said of his own style, which is a unique blend of American blues and British Folk music. This being Renbourn's first record many are quick to point out his "copying" of earlier playing styles. However John Renbourn is a timeless gem, showing from the very beginning that Renbourn incorporated styles that he liked into his own distinctive style of playing.

     John Renbourn is filled with complex acoustic instrumentals penned by Renbourn and traditonal/ or cover songs that have been interpreted by Renbourn. Bert Jansch accompanies Renbourn on "Blue Bones" and " Noah and Rabbit", foreshadowing the later work they would record together in Pentangle and on the Bert and John LP that would be released in 1966. Renbourn may not be the most advanced singer in the world at this point, but this album makes no mistake in showing how incredible of a guitarist he was at the time, only leaving room for him to build upon his style and technique. The use of a slide on several songs, including the traditional folk song "John Henry" adds a very bluesy feel to some of the best tracks on this record.

    Renbourn would have major successes with his later records and endeavors (Pentangle and Sir John A Lot (1968)), but John Renbourn was a striking debut of a virtuoso guitarist, imaginative and entertaining musician. 

Key tracks - "Judy", "John Henry", "Plainsong", "Motherless Children", "The Wildest Pig In Captivity"

The Grateful Dead - Workingman's Dead (1970)

                                                                            1970

                                 Produced by - Bob Matthews & Betty Cantor with The Grateful Dead

                                                                            35:33

      Released on Warner Bros. Records in 1970, Workingman's Dead was the Grateful Dead's fifth album, and their first studio release of 1970. Workingman's Dead however, was not Aoxomoxoa. Aoxomoxoa, the band's third record, was marred by lengthy recording sessions and studio fees over $180,000, and was also their most experimental record. Workingman's Dead marked a new direction for the Dead. Jerry Garcia, the creative force behind most of this record had been spending a lot of time with Stephen Stills and David Crosby, of Crosby, Stills, and Nash. CSN's music was distinguishable by its intricate vocal harmonies, and acoustic warmth, and because of this, Garcia began to incorporate the voice as more of an instrument. The Dead up to this point had been mostly a jam/improvisational band, but turned more towards a fuller acoustic sound for this record, and the follow up ( Also in 1970), American Beauty. Workingman's Dead was recorded in San Francisco, and took only nine days to record, compared to the nearly eight months it took to make Aoxomoxoa. The band also made use of more folk and country inspired instruments such as banjo and pedal steel guitar. Garcia was responsible for coloring this album, the next, and many other major releases in 1970 with his pedal steel guitar playing. The Grateful Dead proved their versatility with Workingman's Dead, moving from a free-form psychedelic style to an acoustic roots sound, which mirrored the kind of music the band was into before they made it big.

     At only eight tracks, Workingman's Dead, a first many seem incomplete and abridged. But each song is a concise, tight arrangement, drawing from blues, country, folk, and bluegrass roots. Vocal harmonies are explored on most of the tracks, with an intricacy that is absent from the Dead's previous records. "Uncle John's Band" was the Grateful Dead's first single from Workingman's Dead and the first song non "Deadheads" would be able to recognize easily. Before releasing Workingman's Dead, the Dead had been more of an underground group, but in 1970 began to put out songs that could be enjoyed by anyone. The pedal steel guitar, played by Garcia, can be found prominently on "High Time" and "Dire Wolf", hinting at country music influences. "Cumberland Blues" takes on a bluegrass vibe with Garcia's banjo picking, while "Black Peter" is a acoustic guitar driven folky song, with organ and harmonica from none other than Pigpen, contributing his howling blues also on "Easy Wind". Beginning with the sound of bumping coke, "Casey Jones" is based off an old folk song called "The Ballad of Casey Jones", with the Dead twist on it. 

    Workingman's Dead  was a remarkable achievement for the Grateful Dead, expanding their playing styles, breaking into the mainstream, and not being in debt as a result of recording the album. The songs are tight arrangements, warm, and laid-back, and stripped. As a result, this psychedelic jam band showed they could be country/folk crooners too, and among the best of the time. (Workingman's Dead was voted best album of 1970 by the readers of Rolling Stone). 

Key Tracks - "Uncle John's Band", "Dire Wolf", "Black Peter", "Casey Jones"