Respect (song)

"Respect"
Single by Otis Redding
from the album Otis Blue
B-side	Otis Redding
Released	August 15, 1965
Format	7" single
Recorded	July 1965 Stax Recording Studios (Memphis, Tennessee)
Genre	Rhythm and blues
Length	2:08
Label	Volt/Atco V-128
Writer(s)	Otis Redding
Producer(s)	Steve Cropper
Otis Redding singles chronology
"I've Been Loving You Too Long" (1965) "Respect" (1965) "That's How Strong My Love Is" (1965)

"Respect"
Single by Aretha Franklin
from the album I Never Loved a Man the Way I Love You
B-side	"Dr. Feelgood"
Released	April 29, 1967
Format	7" single
Recorded	Atlantic Records Studio, New York City: February 14, 1967
Genre	Soul
Length	2:29
Label	Atlantic 2403
Writer(s)	Otis Redding
Producer(s)	Jerry Wexler
Certification	Gold (U.S.)
Aretha Franklin singles chronology
"I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Baby I Love You" (1967)

"Respect" is a song written and originally released by American recording artist Otis Redding in 1965. The song became a 1967 hit and signature song for R&B singer Aretha Franklin. The music in the two versions is significantly different, and through a few minor changes in the lyrics, the stories told by the songs have a different flavor. Redding's version is a plea from a desperate man, who will give his woman anything she wants. He won't care if she does him wrong, as long as he gets his due respect, when he comes home ("respect" being a euphemism). However, Franklin's version is a declaration from a strong, confident woman, who knows that she has everything her man wants. She never does him wrong, and demands his "respect". Franklin's version adds the "R-E-S-P-E-C-T" chorus and the backup singers' refrain of "Sock it to me, sock it to me, sock it to me..."

Franklin's cover was a landmark for the feminist movement, and is often considered as one of the best songs of the R&B era, earning her two Grammy Awards in 1968 for "Best Rhythm & Blues Recording" and "Best Rhythm & Blues Solo Vocal Performance, Female", and was inducted in the Grammy Hall of Fame in 1987. In 2002, the Library of Congress honored Franklin's version by adding it to the National Recording Registry. It is number five on Rolling Stone's list of The 500 Greatest Songs of All Time. It was also included in the list of Songs of the Century, by the Recording Industry of America and the National Endowment for the Arts. Franklin included a live recording on the album Aretha in Paris (1968).

Recording

At first a ballad, it was written by Redding for Speedo Sims, who intended to record it with his band, the Singing Demons. Redding rewrote the lyrics and sped up the rhythm. Speedo then went with band to the Muscle Shoals studios, but was unable to produce a good version. Redding then decided to sing the song himself, which Speedo agreed to. Redding also promised to credit Speedo on the liner notes, but this never happened; Speedo, however, never charged him for not doing so.

The song was included on Redding's third studio album, Otis Blue (1965). The album became widely successful, even outside of his largely R&B and blues fan base. When released in the summer of 1965, the song reached the top five on Billboard's Black Singles Chart, and crossed over to pop radio's white audience, peaking at number thirty-five there. At the time, the song became Redding's second largest crossover hit (after "I've Been Loving You Too Long") and paved the way to future presence on American radio. Redding performed it at the Monterey Pop Festival.

The two versions of "Respect" as performed by Otis Redding originally and later re-imagined by Aretha Franklin are significantly different. While both songs have similar styles and tempos the writers and performers of the lyrics clearly had two different messages in mind when producing these songs. The songs only differ lyrically in the refrains while the verses by and large stay the same. Otis Reddings version plays out as follows:

"But all I'm askin' is for a little respect when I come home"

Though it isn't much of a refrain as most of Redding's version is made up of shorter verses, this line appears as a conclusion to every verse and echoes into the next line tying it all together. Redding's short refrain comes at the end of each verse and leads into the next. Redding's version was written from the perspective of a hardworking man who can only look forward to getting home and finally receiving the respect he deserves from his family. His version is less a plea for respect and more a comment on a man's feeling of worth in his work life and at home. The original version of "Respect" was produced by Steve Cropper, who also played instrumentals for the hit track along with William Bell and Earl Sims on backup vocals.

The inspiration for the song had come when, in response to Redding's complaints after a hard tour, MGs drummer Al Jackson reportedly said, "What are you griping about? You're on the road all the time. All you can look for is a little respect when you come home".

Producer Jerry Wexler brought Redding's song to Franklin's attention. While Redding's version was popular among his core R&B audience, Wexler thought the song had potential to be a crossover hit and to demonstrate Franklin's vocal ability. "Respect" was recorded on February 14, 1967.

When Aretha Franklin re-imagined the song it took on a whole new meaning. While still maintaining much of the original lyrics she made it her own anthem by adding a few key lines. This climactic break near the end of the song contains new lyrics and powerful new, soon-famous hooks:

R-E-S-P-E-C-T

Find out what it means to me

R-E-S-P-E-C-T

Take care ... TCB

Sock it to me, Sock it to me, Sock it to me, Sock it to me [etc]

The repeated "sock it to me" line, sung by Franklin's sisters Erma and Carolyn, was an idea that Carolyn and Aretha had worked out together; spelling out "R-E-S-P-E-C-T" was (according to engineer Tom Dowd) Carolyn's idea.

The Redding composition had no bridge section, so producer Jerry Wexler added one in which King Curtis' tenor saxophone soloed over the chords from Sam and Dave's song "When Something Is Wrong With My Baby". Spooner Oldham played piano for the number; in an interview he explained it was not uncommon for Franklin herself to play accompanying piano.

The resulting song was featured on Franklin's 1967 breakthrough Atlantic Records debut album, I Never Loved a Man the Way I Love You. As the title track became a hit on both R&B and pop radio, Atlantic Records arranged for the release of this new version of "Respect" as a single.

Franklin's rendition found greater success than the original, spending two weeks atop the Billboard Pop Singles chart, and eight weeks on the Billboard Black Singles chart. The changes in lyrics and production drove Franklin's version to become an anthem for the increasingly large Civil Rights and Women's Rights movements. She altered the lyrics to represent herself, a strong woman demanding respect from her man. It also became a hit internationally, reaching number ten in the United Kingdom, and helping to transform Franklin from a domestic star into an international one. Otis Redding himself was impressed with the performance of the song. At the Monterey Pop Festival in the summer of the cover's release, he was quoted playfully describing "Respect" as the song "that a girl took away from me, a friend of mine, this girl she just took this song".

Personnel

• Written by Otis Redding.

Otis Redding version

• Produced by Steve Cropper
• Musicians: Otis Redding (vocals), Booker T. Jones (keyboards, piano), Isaac Hayes (keyboards, piano), Steve Cropper (guitar), Donald "Duck" Dunn (Bass), Al Jackson, Jr. (drums), Andrew Love (sax), Gene "Bowlegs" Miller (trumpet), Floyd Newman (sax), Wayne Jackson (trumpet).
• Background vocals by William Bell and Earl Sims.

Aretha Franklin version

• Produced by Jerry Wexler and Arif Mardin.
• Engineering by Tom Dowd.
• Musicians: Cornell Dupree (guitar), Willie Bridges (sax), Charles Chalmers (sax), Gene Chrisman (drums) (Roger Hawkins is generally credited as being the drummer on this track), Tommy Cogbill (bass), Dewey 'Spooner' Oldham (keyboards), and Curtis Ousley aka King Curtis (sax).
• Background vocals by Carolyn Franklin and Erma Franklin.

Preceded by "Groovin'" by The Young Rascals	Billboard Hot 100 number one single (Aretha Franklin version) June 3–10, 1967	Succeeded by "Groovin'" by The Young Rascals
Preceded by "Jimmy Mack" by Martha & the Vandellas	Billboard's Hot Rhythm & Blues number one single (Aretha Franklin version) May 20 – July 8, 1967	Succeeded by "I Was Made to Love Her" by Stevie Wonder

Sheet Music Respect Hanson Publications cover design by Helen Hersh

Lyrics

Franklin's version of the song contains the famous lines (as printed in the lyrics included in the 1985 compilation album Atlantic Soul Classics):

R-E-S-P-E-C-T

Find out what it means to me

R-E-S-P-E-C-T

Take care of... TCB

"TCB" is an abbreviation, commonly used in the 1960s and 1970s, meaning "Taking Care (of) Business". It was particularly widely used in African-American culture. However, it was somewhat less well-known outside of that culture, The last line is often misquoted as "Take out, TCP", or something similar, and indeed most published music sheets which include the lyrics have this incorrect line in them, possibly because those who transcribed Franklin's words for music sheets weren't familiar with the culture. Nevertheless, "TCB in a flash" later became Elvis Presley's motto and signature, from his necklace to his private jet plane.

"R-E-S-P-E-C-T" and "T-C-B" are not present in Redding's original song, but were included in some of his later performances with the Bar-Kays. There seems to be some confusion over who first used "T-C-B" in the song. In a musical episode of Tiny Toon Adventures, Babs Bunny lip synchs to Respect. This line plays during a fight scene with the title above the brawl. During the fight, the letters TCP are removed from the word to tie up one of the series' antagonists.

Franklin added some lyrics saying that she is about to give him all her money, and that all she's asking is for him to give her "her propers", when he gets home. This most probably influenced hip-hop's later use of both the word "proper" and "props" in the context of proper respect.

Chart history

Aretha Franklin version

Year	Chart	Position
1967	R&B Singles Chart	1
	Billboard Hot 100	1
	Australian Singles Chart	1
	Canadian Singles Chart	2
	Italian Singles Chart	7
	UK Singles Chart	10

Gareth Gates

Other covers

A cover by The Rationals reached #92 on the Billboard Hot 100 in 1966

Stevie Wonder covered the song later in 1967 with slightly modified lyrics, and he played his harmonica over the "R-E-S-P-E-C-T" section.

A house music cover was released by Scottish singer Adeva in 1989, and reached #17 in the UK singles chart.

In 2012, Melanie Amaro recorded an uptempo version of the song for a Pepsi commercial alongside Elton John as a part of her prize for winning the first season of The X Factor USA. The single peaked at No. 3 on Billboard's Hot Dance Club Songs.

Legacy

"Respect" has appeared in dozens of films and still receives consistent play on oldies radio stations. In the 1970s, Franklin's version of the song came to exemplify the feminist movement. Producer Wexler said in a Rolling Stone interview, that Franklin's song was "global in its influence, with overtones of the civil-rights movement and gender equality. It was an appeal for dignity." Although she had numerous hits after "Respect", and several before its release, the song became Franklin's signature song and her best-known recording. I Never Loved a Man the Way I Love You was ranked eighty-third in Rolling Stone's 500 Greatest Albums of All Time in 2003. A year later, "Respect" was fifth in the magazine's 500 Greatest Songs of All Time. The song "Respect" is part of the The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.

Bibliography

• The Very Best of Otis Redding. Rhino/Atlantic Recording Corporation, 1992. Los Angeles, CA.
• I Never Loved a Man the Way I Love You. Atlantic Recording Corporation, 1967. New York, NY.

External links

• Lyrics of this song at MetroLyrics