walking upstream…
Otis Redding
photo: stax records · public domain ↗Otis Redding
sourcesWikipedia
Otis Redding was a Georgia-born singer and songwriter whose raw, gospel-rooted voice made him one of the defining artists of 1960s Southern soul, recording for Memphis's Stax label with house band Booker T. & the M.G.'s. His catalog of aching ballads and horn-driven raveups, from "These Arms of Mine" to "(Sittin' On) The Dock of the Bay," set a template of emotional directness that soul and country singers alike have drawn from ever since. He died in a plane crash in December 1967, weeks before "Dock of the Bay" became his only #1 hit.
the sound in question
1968
(Sittin' On) The Dock of the BayOtis Redding
walk the tributaries ↓
Sam Cooke1950s-60s · Soul / R&B / Gospel
Redding grew up idolizing Cooke's smooth phrasing, and accounts of his early Stax and Volt sessions describe him studying Cooke's live recordings closely as he worked out his own vocal approach.
listen: upstream & here
1957
You Send MeSam Cooke
1962
These Arms of MineOtis Redding
listen forPlay Cooke's tender, controlled 'You Send Me,' then Redding's debut single 'These Arms of Mine' — both are aching, slow-building declarations that lean on a gospel-trained vocal restraint before opening up.
Little Richard1950s · Rock and roll / R&B
As a teenager Redding performed with Little Richard's old backing band, the Upsetters, and modeled his earliest singles directly on Richard's shouted, gospel-charged rock and roll delivery.
listen: upstream & here
1956
Long Tall SallyLittle Richard
1960
Shout BamalamaOtis Redding
listen forCompare Richard's shrieking 'Long Tall Sally' to Redding's own early single 'Shout Bamalama' — both are up-tempo, hollered party numbers built on the same raw, unrestrained vocal attack.
James Brown1960s–70s · Funk / Soul / R&B
Redding shared James Brown's gospel-meets-R&B showmanship, and his uptempo, horn-driven stage numbers reflect the same explosive, sweat-drenched revue energy Brown was already building his reputation on.
listen: upstream & here
1956
Please, Please, PleaseJames Brown
1965
I Can't Turn You LooseOtis Redding
listen forSet Brown's early 'Please, Please, Please,' with its pleading, shouted repetition, against Redding's horn-punched 'I Can't Turn You Loose' — both turn raw vocal urgency and a tight horn section into pure physical energy.