Tag Archives: Otis Redding

Record Store Day


The YHT crew is heading up to Northern Virginia for Thanksgiving, which means I won’t be making my semiannual early morning pilgrimage to BK Music for Record Store Day festivities. I haven’t decided if I’ll seek out a participating store near Alexandria. Previous attempts to celebrate RSD out of town have been haphazard, but if you have suggestions, I’m all ears.

That said, uncertainty hasn’t stopped me from drooling over a few of the limited releases that will be hitting shelves on Friday…

Angel Olsen/Steve Gunn — Live at Pickathon


Two people I admire and respect tremendously, both of whom I’ve gotten to see live — Olsen at Strange Matter and Gunn at Steady Sounds. Sign me up for this split live LP, which features some seriously snazzy cover art.

Angel Olsen — “Acrobat” [Spotify/iTunes]

Otis Redding — Live at the Whiskey A Go Go


I know that, when I need a live Otis fix, I can turn to one of the Stax/Volt Revue albums, or my copy of the Historic Performances Recorded At The Monterey International Pop Festival album that features Jimi Hendrix on the other side. But I seriously doubt I’ll be able to put Live at the Whiskey A Go Go down if I pick it up. (I’m just realizing how fitting it is that Redding and Hendrix share that Monterey album — both would be very, very high on my list of acts I’d travel through time and/or raise from the dead to be able to see live.)

Otis Redding — “I’ve Been Loving You Too Long” (live) [YouTube]

Aquarium Drunkard — Lagniappe Sessions Vol. 1


This is the one I’m dying to find a copy of. I’ve followed along with Aquarium Drunkard’s Lagniappe Sessions, and Matthew E. White has done two now. One of those featured a cover of Randy Newman’s “I’ll Be Home,” and that’s the track that was chosen for this compilation. Given White’s prominent role in helping me find my way to Newman’s music, this feels like the nexus of something important.

Matthew E. White — “I’ll Be Home” (Randy Newman cover) [Aquarium Drunkard]


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Phil Cook

Phil Cook

It’s hard to overstate the influence the people in this photo have had on my musical life.

Not long after Phil Cook started playing at last week’s Friday Cheers, I saw Matthew E. White walk through the crowd and settle in near the front, and at the risk of being a little bit of a creeper, I made sure to get a shot of these two hugely important people in one place.

This was my first time seeing Phil Cook play under his own name, but I’ve gotten to see him perform three (I think) times before — twice with Hiss Golden Messenger in Richmond and once with Megafaun in Portland, OR. That 2011 Portland show at the Doug Fir was the seed of something that’s grown much bigger. I’ve written about this idea before, but every single thing the Megafaun diaspora touches or is associated with — HGM, Sylvan Esso, The Shouting Matches, Grandma Sparrow — turns to gold, and those projects and Phil Cook’s solo album have brought me a great deal of happiness in the years since Portland.

Less than a year after that show, the first songs from White’s Big Inner debut (Phil Cook was involved with that too) started appearing on the interweb. I hadn’t been clued into Fight the Big Bull back then, so these songs were my introduction to White. It was a little like when I first heard White Laces — it felt like I’d stepped on a live power line in my own backyard, like “Holy crap! Was this here all along?” I preordered the album and followed White on all possible social media channels, including his Spotify profile.

I’m not sure how many of y’all use the feature that allows you to see what your friends/the people you follow are listening to, but White’s feed changed everything for me. It’s how I found out about Randy Newman. About Harry Nilsson. About Stevie Wonder. And then Stevie opened up the whole world of soul music for me — Otis Redding, Marvin Gaye, James Brown, Nina Simone… there’s an entire section of my record collection that probably wouldn’t be there if it weren’t for White’s Spotify feed.

The same goes for one of the happiest moments of my life: In the spring of 2014, Mrs. YHT and I did a long weekend in Corolla, NC while she was very pregnant, knowing we were going to skip my family’s summer beach trip that year. On the last day, before heading back to Richmond — and back to reality, where parenthood was imminent — we spent a few minutes in (what I believe is called) Historic Corolla Park literally sitting on the dock of the bay (OK, the Currituck Sound) listening to Otis Redding. For that short time, I felt completely at peace with the world and my place in it. Peace was scarce in those days, given how anxious I was before our daughter was born, so I’ll never forget listening to that song in that setting in that moment. Without Otis Redding, and by extension, Matt White, I’m not sure I would have found that sense of peace.

Toward the end of his Cheers set, Phil Cook dedicated a song to a friend in the audience, and while I can’t remember the exact words of his dedication, it seemed clear he was talking about White. The song ended up being Randy Newman’s “Sail Away.” Two days later, at the P.S. 321 Flea Market in Brooklyn, I found a copy of Newman’s album of the same name. It felt like all the musical connections I’d been thinking about for those two days came together in that one record I was holding. I’d held a copy of the album before — while flipping through records at Deep Groove a while ago — but on Sunday, it felt like the most valuable record in the entire world.

I really wish I had video of Cook doing “Sail Away” on Friday. My phone’s battery was low because I had already taped Cook playing “Crow Black Chicken,” which Ry Cooder recorded for Boomer’s Story. Here’s that recording — it’s a little blurry, but there’s an excellent bass solo from Michael Libramento. And it seems only fitting, given that this is a story about connections, to share that Ry Cooder played on Newman’s Sail Away album.

Phil Cook — “Crow Black Chicken” (Ry Cooder cover) [YouTube]

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You Watch That?!?

Arthur Conley

I spend a fair number of keystrokes chatting you fine people up about the virtues of vinyl, but I spent last Saturday night having a fling with a different physical medium — the ol’ Digital Video Disc (or “Digital Versatile Disc,” depending on who you ask). A coworker who has a great taste in/encyclopedic knowledge of music lent me a DVD of what is considered one of the greatest soul concerts of all time — Stax/Volt Revue: Live in Norway 1967. I managed to dig up YouTube clips of some of the Oslo show’s high points, and I thought I’d share a few thoughts, starting with the night’s first act, Booker T. & the M.G.’s.

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