But the legendary soul singer never got to hear the finished version of his breakthrough single: He had died in a plane crash on December 10th. In the middle of the month, Redding, backed by Booker T. Redding had won over white audiences in Los Angeles at the Whisky a Go Go nightclub the previous year and in Europe that spring, where his admirers included four guys from Liverpool taking a break from recording their new album.
But Monterey Pop was on a different scale, and the unabashed adulation confirmed for Redding that he could cross over to become a major star. We talked back and forth on it. I suggested he write something folk-like, saying we could call it Soul Folk. It was the only time I told Otis what to do.
Still, Redding was committed to the road for the rest of that summer, including a six-night gig at Basin Street West in San Francisco in August. Meanwhile, the city of San Francisco recently put the lyrics on display on a pier in Brannan Street Wharf. So a ferry was a ship in his mind. And then he put the song aside for a while. Redding stopped touring that fall when polyps on his vocal cords required surgery, sidelining and even nearly silencing him at first. He had to communicate by writing notes, though he also wrote more songs.
By late November, he was turned loose and Cropper says his voice sounded better than ever. He recorded more than 30 new songs in a burst of creativity at the end of that month and the beginning of December. The musicians respected him and loved him. He really lit up the studio when he was there. It's a music of feeling. It can't cure your ills, but you'll leave feeling better. I promise you that. Born in Mobile, Alabama, in , Taylor grew up in a musical family, surrounded by relatives involved in minstrel and vaudeville shows; by the time he was three years old, he was singing gospel in church.
He was a keen boxer but, after leaving the service in , decided to pursue a career in music. Otis just finished up the song with a whistle as a placeholder because he had nothing else left to add.
Presumably, when he was to get back from his trip to Wisconsin, him and Cropper were going to finish it up. So the story goes, a grief-filled Cropper returned to the studio to edit the song, heard the whistle outro again, and thought it fit perfect with the fade-out but needed and overdub. Thus, the call to Taylor. Last updated by Finn at July 20, Become an FT subscriber Make informed decisions with the FT Keep abreast of significant corporate, financial and political developments around the world.
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