Probably Redding’s most famous of the studio albums he recorded during his short life, this is album number three of six. It earned a little more attention than its predecessors due to its frantic cover of the Rolling Stones’ Satisfaction which adorns the second side. It therefore finds its way into most rock-centric record collections. It’s usually the only Otis Redding record that appears in top albums of all times lists; and more often than not, it’s one of only a handful of soul albums to appear. In Rolling Stone’s Top 500, the record places at a respectable 75.
The record is mainly a bunch of covers, with only three songs penned by Redding himself. Also covered are songs by BB King, the Temptations, Solomon Burke, William Bell and three Sam Cooke songs.
The album was recorded within a 24-hour period in July, which is a great example of how quickly Stax could produce white hot material in the mid-‘60s. As per Redding’s previous albums, he was backed by Booker T. & The M.G.s, with horns supplied by a mixture of the Mar-Keys and the Memphis Horns.
Donald “Duck” Dunn’s bass line on Respect has always interested me. It sounds very similar to McCartney’s bass line on the Beatles’ Drive My Car. Almost too similar, if you know what I mean. A cursory look at the dates shows that Redding’s song had been released as a single in August 1965, a full two months before the Beatles recorded Drive My Car.
Ian McDonald in Revolution In The Head, his seminal analysis on the Beatles’ recording career, points out that George Harrison had been listening to Redding’s Respect when they recorded Drive My Car. It sounds like it was Harrison’s urging that they record the song with a heavy bottom-ended, dual bass and guitar riff.
So there was definitely some musical thievery going on with Drive My Car, but it’s impossible to say whether McCartney or Harrison was the chief magpie.
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