How Otis Redding defined the 'Stax sound'

ABC News' Amna Nawaz talks to Jonathan Gould, author of the new biography "Otis Redding: An Unfinished Life."
3:21 | 06/20/17

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Transcript for How Otis Redding defined the 'Stax sound'
There is this wonderful exploration of the influence that he has as he said he he was the author of his own story. But not just in creating his own music but defining this sound be regional music Americans honor and music. I learned about this and in reading that there are sort of the Motown highly produced sound of Detroit. And then there was the stacks right frank that used that Otis space could help to create steals. Well he was. He was in many ways the architect. But in saying that. Stacks had the great virtue of the stacks label with this extraordinary studio that. Booker T and the MG's who. One of the great rhythm sections of of the bureau of fragrance actions. And stacks. Pull Memphis rhythm and blues which was very influenced by BB king who came from there. Had a particular at a particular sounded involved. Rhythm and reports and and there were a lot of horn players around in those days everybody knew that it was universal's conscription. You know the drafted. And as a result. Many many black people were drafted the army and many many black people played in service bands. So they were at service fans of course are heavy with court saxophones and trumpets and drugs. So there were all these people who were who were there was a great population of adept foreign players and that in that period which is one of the reasons that the music. From that period is so worn dominated it was easy to find people who played this. That are notices case. He was blessed with this rhythm section but I think almost everybody who worked at stacks would say that he was really the architect of their points. And I think many people would say that it was the points that was the so was with the difference between vote tends to act lieutenant used a lot of backups and we all know you had these great vocal groups. And even someone like Marvin Gaye always performed with backup singers. There were no backup singers at stacks with the hence that without warrants. And Otis who develop these horns passes his version of a back up in the sense. A whole market this was this call and response between his voice and reports. And he wrote that formed lines he wrote this horn arrangements. Wayne Jackson who has trumpeter said he would. You eat and he wrote them extemporaneously. He he's hit. Oath which is get your face and it's either as well Portland's into youth movement committee issues that theft and that's what it was like in the studio also he was he was a domineering presence in the another of a great producer who worked with him one one of his records doubt. Who produced what a lot of people think with his greatest album which is called news Lew. Tom debt was it was the premier engineer at Atlantic records. And you'd work with Ray Charles who worked with John Coltrane he troop worked with Charlie Mingus and Tennessee. Enormously formidable musicians. And went out first encountered Otis in the studio he flew down to that it is to mattresses to work with him there. He said oh my goodness this is of this this is someone like that in the sense if he just runs the session. And coming from someone like that's that this extraordinary compliment because as he worked with. Some great Charles it was a real jeans.

This transcript has been automatically generated and may not be 100% accurate.

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