Booker T. & The MG's: Booker T. Jones (organ, keyboards); Steve Cropper (guitar, piano, background vocals); Donald "Duck" Dunn (bass); Al Jackson Jr (drums).

Recorded between February 1964 and January 1965. Originally released on Volt (411). Includes liner notes by Paul Ackerman.

Digitally remastered by Bill Inglot and Dan Hersch (DigiPrep).

The aptly named Great Otis Redding Sings Soul Ballads (1965) builds upon the strength and relative success of the vocalist's solo debut long-player, Pain in My Heart (1964). The format -- blending a few originals with well-chosen covers -- remained consistent. However, increasingly evident is the strength of Redding's interaction with Booker T. Jones (organ), Steve Cropper (guitar/piano), Donald "Duck" Dunn (bass), and Al Jackson, Jr. (drums), aka Booker T. & the MG's. That relationship is sonically solidified with the singer's seemingly innate ability to sculpt his leads around the powerful Memphis Horn section of Wayne Jackson (trumpet), Charles "Packy" Axton (tenor sax), and Floyd Newman (baritone sax). The results clearly speak for themselves with each of the album's dozen selections as all the proof one needs. Redding's testifyin' on the opener, "That's How Strong My Love Is," was powerful enough to garner the attention of several British Invasion bands. While it was the Rolling Stones' punkish cover that grabbed the most attention, to equal effect the Hollies and the Creation are among the others to have been similarly inspired. Adding to that cyclical experience are the obviously sincere updates of the Chuck Willis' R&B heartbreaker "It's Too Late," "For Your Precious Love" -- which had been a huge hit for the Jerry Butler-led incarnation of the Impressions -- and Sam Cooke's "Nothing Can Change This Love." Of the latter, Redding's take is arguably more powerful as the intimacy of his interpretation perfectly demonstrates the artist's uncanny aptitude for emotional evocation. The Redding-penned titles likewise reflect his mentors, as "Chained and Bound" easily adopts the pleading conviction apparent in one facet of Cooke's music. The samba groove of "I Want to Thank You" and the midtempo bounce of "A Woman, a Lover, a Friend" reflect the lighter, fun-loving side à la Cooke's "Another Saturday Night" and "Everybody Loves to Cha Cha Cha." Saving the best for last, the Redding/Cropper collaboration on the upbeat and bluesy "Mr. Pitiful" -- a nickname given to Redding by a local Memphis DJ -- became the platter's signature side, not to mention a significant crossover hit, landing in the Top Ten of the R&B survey and just missing the Top 40 Pop Singles chart by a solitary position. ~ Lindsay Planer

Otis Redding's second album SINGS SOUL BALLADS found him abandoning his usual upbeat material for songs of yearning and heartbreak. Over the course of 12 songs, Redding establishes himself as one of the greatest soul singers by tapping into these universal feelings with his smoldering delivery and his mastery of vocal nuance. His effective call-and-response with Packy Axton's tenor sax on "A Woman, A Lover, A Friend" is spine-chilling, while his pleading is accentuated by a full horn section on "Your One And Only Man."

Redding's talents as a songwriter were blossoming on material such as "Chained And Bound," "Your One And Only Man" and "I Want To Thank You." His choice of covers is also inspiring as he gives loving readings of songs by Chuck Willis ("It's Too Late"), Jerry Butler ("For Your Precious Love") and hero Sam Cooke ("Nothing Can Change This Love.")