September 9: The Late Great Otis Redding was Born in 1941

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Otis Redding was soul, but Otis Redding was country, too. That was a point on which he always insisted, and that was the way others saw him. His strength was his simplicity, even if the simplicity was hard-won. The basis for his music was sincerity, not spectacular showmanship; he was at heart a stand-up singer whose power came from his ability to inspire…
~Peter Guralnick

Check out: Robbie Robertson: The night Bob Dylan offered Otis Redding to record Just Like a Woman

Sitting on the dock of the bay:

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July 4: Happy 79th Birthday Bill Withers

I feel that it is healthier to look out at the world through a window than through a mirror. Otherwise, all you see is yourself and whatever is behind you.
~Bill Withers

Ain’t no sunshine when she’s gone, It’s not warm when she’s away, Ain’t no sunshine when she’s gone, And she’s always gone too long, Anytime she goes away.
~Bill Withers (Ain’t No Sunshine)

Ain’t No Sunshine (Live 1971):

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June 25: Happy 82nd Birthday Eddie Floyd

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.. a workmanlike singer and a very accomplished songwriter, who showed occasional flashes of brilliance.
~The Rough Guide to Soul and R&B

“…I’d had nothing directly to do with Motown while I’d been in Detroit, I’d still been around a lotta their artists and seen from a distance how they did things. And so, when I eventually got to Memphis, I could see that it was pretty much the SAME – you know, musicians getting together producing music, with everybody in the same groove… So yeah, working at Stax was very easy, because everybody was open-minded. You know, Al and I first met (legendary MGs guitarist) Steve Cropper at the same time we met Jim Stewart. So what would happen is, Cropper and I would more or less go off to the hotel, sit down and talk about music – and BOOM, almost immediately we’d WRITE something! While Al Bell and Jim Stewart would go off and talk about music and BUSINESS… So yeah, that’s the way it started – and it just moved on from THERE! I later went on to write with Booker T., which was great too. You know, Stax was all about TEAM-work. Like if an artist was recording and needing backing singers, I’d go and sing on THEIR record, and in turn they’d sing on MINE! That’s just the way we DID things.”
– Eddie Floyd (Blues&Soul.com, issue 1067)

Raise Your Hand – Live in Oslo 1967:

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April 13: Happy Birthday Al Green

I’m thankful for every moment.
~Al Green

The music is the message, the message is the music. So that’s my little ministry that the Big Man upstairs gave to me – a little ministry called love and happiness.
~Al Green

“Green plays the boyish Sam Cooke supplicant–or maybe a smooth Otis Redding, or an assertive Smokey Robinson–with the startling is-that-a-synthesizer? high note…”
~Robert Christgau (in 1970 – review of “Gets next to you” album)

Let’s Stay Together (Live 1972):

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Feb 21: Nina Simone was born in 1933

Jazz is a white term to define black people. My music is black classical music.
~Nina Simone

Once I understood Bach’s music, I wanted to be a concert pianist. Bach made me dedicate my life to music, and it was that teacher who introduced me to his world.
~Nina Simone

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic.
~Mark Deming (allmusic.com)

Ain’t Got No…I’ve Got Life:

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Dec 9: Meet The Supremes was released in 1962

Meet the Supremes is the debut studio album by The Supremes, released in late 1962 on Motown. The LP includes the group’s earliest singles: “I Want a Guy”, “Buttered Popcorn”, “Your Heart Belongs to Me” and “Let Me Go the Right Way”. The earliest recordings on this album, done between fall 1960 and fall 1961, feature the Supremes as a quartet composed of teenagers Diane Ross, Mary Wilson, Florence Ballard, and Barbara Martin. Martin left the group in early 1962 to start a family, and the other three girls continued as a trio. Martin is not pictured on the album because of her departure earlier in the year; although her vocals are present on the majority of the recordings on the album (as well as other recordings made during that period), she never received any royalties from album sales. She does have a spoken interlude line (as do the other group members) on the bridge of the song “(He’s) Seventeen”, and also sings lead on “After All”, a song recorded for but not originally included on the album. Along with these songs, Ballard and Wilson are heard out front on other songs as well. Wilson sings lead on “The Tears” (another former non-album track) and “Baby Don’t Go”; Ballard has leads on a handful of songs as well (see below), including “Buttered Popcorn” and the short intro line to “Let Me Go the Right Way”.

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