text:
Hallowed Be Thy Name
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This article is about the song by Iron Maiden. For the line from the prayer, see Lord's Prayer.
"Hallowed Be Thy Name"
Single by Iron Maiden
from the album A Real Dead One
B-side
"The Trooper (Live)"
"Wasted Years (Live)"
"Wrathchild (Live)"
Released
4 October 1993
Format
Picture disc
Recorded
1993
Genre
Heavy metal
Length
7:26 (Live single version)
7:12 (Album version)
Label
EMI
Songwriter(s)
Steve Harris
Iron Maiden singles chronology
"Fear of the Dark (live)"
(1993) "Hallowed Be Thy Name"
(1993) "Man on the Edge"
(1995)
"Fear of the Dark (live)"
(1993) "Hallowed Be Thy Name (live)"
(1993) "Man on the Edge"
(1995)
"Hallowed Be Thy Name" is a song written by Steve Harris for the 1982 Iron Maiden album The Number of the Beast. It has been acclaimed as one of the greatest heavy metal songs of all time.
The 1993 live single is taken from the 1993 album A Real Dead One. The song was recorded at Moscow's Olympic Arena on 4 June 1993 during the Real Live Tour.[1] Recordings from the same tour and its predecessor, 1992's Fear of the Dark Tour, made up the single's B-sides.[1][2] It is the band's last single to feature vocalist Bruce Dickinson until 2000's "The Wicker Man".
Contents
[hide]
1 Synopsis
2 Songwriting Lawsuit
3 Track listing
3.1 UK 7" red vinyl
3.2 UK 12" picture disc
3.3 CD Maxi single
4 Personnel
5 Chart performance
6 References
7 External links
Synopsis[edit]
"Hallowed Be Thy Name" has remained in almost all of the band's set-lists since the album's recording, the only exception being the Maiden England World Tour 2012–14.[3] Allmusic describes it as "perhaps the most celebrated of the band's extended epics; it's the tale of a prisoner about to be hanged, featuring some of Harris' most philosophical lyrics."[4] Several band-members have since stated that it is one of their favourite tracks, with Bruce Dickinson describing it as "fantastic" and that performing it live is like "narrating a movie to the audience."[3]
It is one of the most covered songs in Iron Maiden's catalogue, with versions released by artists such as Dream Theater,[5] Machine Head,[6] Cradle of Filth[7] and Iced Earth.[8] Iron Maiden also recorded the song as part of Channel Four's 2007 television series, Live from Abbey Road,[9] while a version recorded for BBC Radio 1 in 2005 was used as a B-side on "The Reincarnation of Benjamin Breeg" single.[10][11] The song's title is a line from the Lord's Prayer.
Songwriting Lawsuit[edit]
A section of the lyrics are lifted from Beckett's 1973 song "Life's Shadow". Iron Maiden manager Rod Smallwood was the agent for Beckett and a teenage Steve Harris saw the band play this song live. Harris and Murray settled with one of the credited songwriters, Robert Barton. The other songwriter, Brian Ingham, has sued Iron Maiden for his share of the profits from the song. Ingham was unaware of the matter until 2011 and Barton claimed to be the sole songwriter during the original settlement.[12]
Track listing[edit]
UK 7" red vinyl[edit]
"Hallowed Be Thy Name" (live - Olympic Arena, Moscow 4 June 1993) (Steve Harris) – 7:26
"Wrathchild" (live - The Isshallen, Helsinki, Finland, 5th June 1992) (Harris) – 2:55[13]
UK 12" picture disc[edit]
"Hallowed Be Thy Name" (live - Olympic Arena, Moscow 4 June 1993) (Harris) – 7:26
"The Trooper" (live - The Isshallen, Helsinki, Finland, 5th June 1992) (Harris) – 3:53
"Wasted Years" (live - Stadthalle, Bremen, Germany 16 April 1993) (Adrian Smith) – 4:42[14]
CD Maxi single[edit]
"Hallowed Be Thy Name" (live - Olympic Arena, Moscow 4 June 1993) (Harris) – 7:26
"The Trooper" (live - The Isshallen, Helsinki, Finland, 5th June 1992) (Harris) – 3:53
"Wasted Years" (live - Stadthalle, Bremen, Germany 16 April 1993) (Smith) – 4:42
"Wrathchild" (live - The Isshallen, Helsinki, Finland, 5th June 1992) (Harris) – 2:56[15]
Personnel[edit]
1982 studio version
Bruce Dickinson – vocals
Dave Murray – guitar
Adrian Smith – guitar
Steve Harris – bass guitar
Clive Burr – drums, percussion
1993 live single
Bruce Dickinson – vocals
Dave Murray – guitar
Janick Gers – guitar
Steve Harris – bass guitar
Nicko McBrain – drums
Chart performance[edit]
Chart (1993)
Peak
position
Irish Singles Chart 16[16]
UK Singles Chart 9[17]
References[edit]
^ Jump up to: a b A Real Dead One (Media notes). Iron Maiden. EMI. 18 October 1993.
Jump up ^ A Real Live One (Media notes). Iron Maiden. EMI. 22 March 1993.
^ Jump up to: a b Classic Albums: Iron Maiden – The Number of the Beast (DVD). Eagle Vision. 4 December 2001.
Jump up ^ "Iron Maiden > Charts & Awards > Billboard Albums". AllMusic. Rovi Corporation. Retrieved 27 October 2011.
Jump up ^ "Dream Theater: New 'Official Bootlegs' Available For Pre-Order". Blabbermouth.net. 5 February 2005. Retrieved 13 October 2011.
Jump up ^ Lane, Daniel (16 July 2008). "The making of Maiden Heaven". Kerrang!. Archived from the original on 14 June 2013. Retrieved 13 January 2011.
Jump up ^ "Cradle of Filth To Issue "Very Best Of" Double CD". Blabbermouth.net. 7 April 2002. Retrieved 26 January 2012.
Jump up ^ "Destruction, Sentenced, Primal Fear to Contribute Tracks to Iron Maiden Tribute CD". Blabbermouth.net. 12 May 2003. Retrieved 13 October 2011.
Jump up ^ "Iron Maiden To Perform Live From Abbey Road Studios". Uncut. Retrieved 5 October 2014.
Jump up ^ "Iron Maiden: BBC Radio 1 'Legends' Session Available Online". Blabbermouth.net. 15 September 2005. Retrieved 5 October 2014.
Jump up ^ "Iron Maiden Bassist Decides Against Mastering New Album". Blabbermouth.net. 9 July 2006. Retrieved 5 October 2014.
Jump up ^ Goldby, Steve. "IT'S 'HALLOWED BE THY CLAIM' FOR IRON MAIDEN AS HIGH COURT CASE IS NOW IN MOTION". www.metaltalk.net. Retrieved 2017-05-10.
Jump up ^ "Hallowed Be Thy Name" 7" vinyl (Media notes). Iron Maiden. EMI. 4 October 1993.
Jump up ^ "Hallowed Be Thy Name" 12" vinyl (Media notes). Iron Maiden. EMI. 4 October 1993.
Jump up ^ "Hallowed Be Thy Name" CD (Media notes). Iron Maiden. EMI. 4 October 1993.
Jump up ^ "Irish singles archive". IRMA. irishcharts.ie. Retrieved 14 October 2011.
Jump up ^ "Top 40 Official Singles Chart UK Archive 16 October 1993". Official Charts Company. Retrieved 12 October 2011.
External links[edit]
Lyrics of this song at MetroLyrics
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"Hallowed Be Thy Name (live)"
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Respect (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"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
Songwriter(s)
Otis Redding
Producer(s)
Jerry Wexler
Aretha Franklin singles chronology
"I Never Loved a Man (The Way I Love You)"
(1967) "Respect"
(1967) "Baby I Love You"
(1967)
"I Never Loved a Man (The Way I Love You)"
(1967) "Respect"
(1967) "Baby I Love You"
(1967)
"Respect"
Aretha Franklin version of Otis Redding's "Respect" from I Never Loved a Man the Way I Love You
Problems playing this file? See media help.
"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 brings money home [1]. 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".[2] 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 was placed number five on Rolling Stone magazine's list of The 500 Greatest Songs of All Time.[3] 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).
Contents
[hide]
1 Recording
2 Personnel
2.1 Otis Redding version
2.2 Diana Ross and the Supremes with the Temptation's version
2.3 Joss Stone version
2.4 Aretha Franklin version
3 Lyrics
4 Chart history
4.1 Aretha Franklin version
5 Other covers
6 Legacy
7 References
8 Bibliography
9 External links
Recording[edit]
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).[4] 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.[5]
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 Redding's version plays out as follows:
"But all I'm askin' is for a little respect when I come home"[6]
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 is characteristically funky, with his raspy-soulful singing and electric vocal charisma front and center.”[2] His song utilizes “playful horns and sexy, mock-beleaguered vocals” to deliver lyrics without any subtext.[2] The message of a man demanding respect from his woman for being the breadwinner is decisively clear. 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. He mentions that he’s “about to, just give you all of my money,” and that all he wants in return is respect. The woman he is singing to can even “do me wrong, honey, if you wanna to/You can do me wrong honey, while I'm gone.”[6] The lyrics are repetitive and straightforward throughout the song; there isn’t any layering of messages or intentions.
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".[7]
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.
Franklin's re-imagination of the song lent it an entirely 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.[8] The phrase "Sock it to me" became a household expression.[9] In an interview with WHYY's Fresh Air in 1999, Aretha said, "Some of the girls were saying that to the fellas, like 'sock it to me' in this way or 'sock it to me' in that way. It's not sexual. It was nonsexual, just a cliché line."[10]
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".[8] Franklin played piano for the number; in an interview, Spooner Oldham 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.
So much of what made "Respect" a hit — and an anthem — came from Franklin's rearrangement.[1] 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.[11] Franklin’s demands for ‘Respect’ were “associated either with black freedom struggles or women’s liberation.”[9]
The song 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." "When her hit single ‘Respect’ climbed the charts in July 1967, some fans declared that the summer of 1967 was ‘the summer of 'Retha, Rap, and Revolt.'”[12]
Personnel[edit]
Written by Otis Redding
Otis Redding version[edit]
Musicians
Otis Redding – lead vocals
Isaac Hayes – keyboards, piano
Steve Cropper – guitar
Donald Dunn – bass guitar
Al Jackson Jr. – drums
Andrew Love – tenor saxophone
Gene Miller – trumpet
Floyd Newman – baritone saxophone
Wayne Jackson – trumpet
William Bell – backing vocals
Earl Sims – backing vocals
Additional personnel
Steve Cropper – producer
Diana Ross and the Supremes with the Temptation's version[edit]
Because Aretha Franklin made the song “Respect” a hit, many who sampled and cover the song referred to Franklin’s version rather than Otis’s. For instance, Diana Ross & The Supremes and the Temptations made a cover of this song in their collaborated LP “Diana Ross & the Supremes Join the Temptations."[13] The Supremes were a female group consisting of Diana Ross, Mary Wilson, and Florence Ballard. Later this group would be known as Diana Ross & The Supremes.[14] The Temptations, on the other hand, were a male group consisting of Eddie Kendricks, Paul Williams, Otis Williams, Melvin Franklin and Elbridge “Al” Bryant.” Both groups were signed under Berry Gordy’s Motown Record Label and it was Gordy’s idea to pair up his two most successful artists. With this collaborative LP, Gordy also organized a prime-time special TV program titled “TCB,” a commonly used abbreviation standing for “Taking Care of Business.” [15]Among the songs on the LP that were performed on this program included a cover of Aretha Franklin’s version of “Respect.” The two groups took Franklin’s message to new heights as the male versus female duet illustrated a battle of each gender demanding their own respect.[16] Additionally, this cover highlights the Supremes’ own battle for racial equality. Much like Aretha Franklin, The Supremes’ rise to fame coincided with the Civil Rights Movement, in which these ladies used their fame and status in the fight for racial equality. The Supremes were the most successful Motown group to break down racial boundaries within the popular music industry.[17] They represented racial integration, black empowerment, and black womanhood and their cover of “Respect” with the Temptations illustrates that. [18]
Joss Stone version[edit]
Although Otis Redding originally wrote the song, Joss Stone sampled Aretha Franklin's version instead. "Headturner" appeared on her third album, Introducing Joss Stone in 2007. She approached her song by taking the texture and sound of Franklin's song, but keeping her own composition.[19] Aretha's version became an icon for the feminist movement, demanding for a little respect. Stone's version also portrayed the same message, as well as expressing self-confidence and a little bit of sass. Stone was inspired and highly influenced by Aretha Franklin. She would mimic Franklin's singing style growing up. [20] Stone has such an amazing voice that her "soulful vocals have seen her described as 'the white Aretha Franklin'". [21] In fact, Stone reached out to Franklin to sing one of her written songs and Franklin agreed to do it, but Stone believed the contract conditions were too impeding.[22] Although, many loved Joss Stone, she did receive criticism and was questioned as a singer because of her background. Her audience expected soul artists to have been born in poverty and have had a rough and painful life in order to sing soul music because of how emotional it is; people also expected someone with a voice like Stone's to be black.[23]
Joss Stone, Billy Mann, and Otis Redding – writers
Joi, Keisha Jackson, and Jermaine Paul – backing vocals
Raphael Saadiq and Spanky Alford – guitar
Raphael Saadiq – bass
Lionel Holoman – organ
Khari Parker and Bobby Ozuna – drums
Anthony Coleman – trumpet
James Zeller – trombone
Kenneth Whalum – saxophone
Chuck Brungardt and Glenn Standridge – recording and mixing engineer
Seamus Tyson, Scott Somerville, and Isaiah Abolin – assistant engineer
Tom Coyne – mastering engineer
Aretha Franklin version[edit]
Produced by Jerry Wexler and Arif Mardin
Engineering by Tom Dowd
Aretha Franklin – lead vocals
King Curtis – tenor saxophone
Carolyn Franklin – background vocals
Erma Franklin – background vocals
Willie Bridges – baritone saxophone
Charles Chalmers – tenor saxophone
Gene Chrisman – drums
Tommy Cogbill – bass guitar
Cornell Dupree – guitar
Dewey Oldham – keyboards
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[edit]
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[24]
"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.[25] However, it was somewhat less well-known outside of that culture.[26] The last line is often misquoted as "Take out, TCP", or something similar, and indeed most published music sheets which include the lyrics contain this incorrect line, 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.
"R-E-S-P-E-C-T" and "TCB" are not present in Redding's original song,[27] but were included in some of his later performances with the Bar-Kays. There seems to be some confusion over which artist first used "TCB" in the song.
Franklin added lyrics in which she demands "her propers" when he gets home. This particular line probably influenced hip-hop's later use of both the word "proper" and "props" in the context of proper respect.
Franklin's version of the song was released in 1967, amid notable societal changes; these included the Civil Rights Movement, the war in Vietnam, the Equal Rights Amendment, and the Black Panthers movement. Franklin's message is conveyed as a demand for increased respect towards women during this time, many of whom were playing roles as civil rights activists without adequate recognition. When asked about her audacious stance amidst the feminist and Civil Rights Movement, Franklin told Detroit Free Press, “I don’t think it’s bold at all. I think it’s quite natural that we all want respect — and should get it.”[28]
Chart history[edit]
Aretha Franklin version[edit]
Year
Chart
Position
1967 R&B Singles Chart 1
Billboard Hot 100 1
Australian Singles Chart[29] 14
Canadian Singles Chart 2
Italian Singles Chart 7
UK Singles Chart 10
Other covers[edit]
A cover by The Rationals reached #92 on the Billboard Hot 100 in 1966.[30]
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.
Crazy Elephant released a version of the song on their 1969 album, Crazy Elephant.[31]
The Chipettes covered the song in 1986 for the Alvin and the Chipmunks episode "Cinderella? Cinderella!".
A house music cover with altered lyrics was released by Scottish singer Adeva in 1989, which reached #17 on the UK Singles Chart.[citation needed]
In the film Are We There Yet?, Lindsey Kingston (portrayed by Aleisha Allen) performs this song with the karaoke machine onstage during the New Year's gala kids' party.
In 2012, Christine Anu covered the song on her album, Rewind: The Aretha Franklin Songbook.
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.[citation needed]
Rock band The Vagrants recorded a garage rock version of this song, which was later featured on the Nuggets compilation.
Singer Christina Grimmie did a cover for ONE's agit8 campaign.
A cover by Joss Stone appeared on her third album, Introducing Joss Stone in 2007. [32]
Legacy[edit]
"Respect" has appeared in dozens of films and still receives consistent play on radio stations. In the 1970s, Franklin's version of the song came to exemplify the feminist movement.[33] 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."[34] 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 Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.[35]
In the video for Franklin's later hit "Freeway of Love", a license plate on one of the cars says "Respect" in reference to the song.
References[edit]
^ Jump up to: a b "'Respect' Wasn't A Feminist Anthem Until Aretha Franklin Made It One". NPR.org.
^ Jump up to: a b c Dobkin, Matt (2004). I never loved a man the way that I love you Aretha Franklin, Respect, and the making of a soul music masterpiece (First St. Martin's Griffin edition ed.). New York: St Martin's Griffin. ISBN 0312318294. CS1 maint: Extra text (link)
Jump up ^ "The RS 500 Greatest Songs of All Time". RollingStone.com. Retrieved 2007-06-02.
Jump up ^ Guralnick 1999, pp. 184–185.
Jump up ^ Len Comaratta (October 3, 2010). "Rock History 101: Otis Redding at the Monterey Pop Festival". Consequence of Sound. Retrieved November 15, 2011.
^ Jump up to: a b "OTIS REDDING lyrics – Respect". oldielyrics.com.
Jump up ^ Classic Tracks. Back To Back Singles. Thunder Bay Press, 2008, p. 71.
^ Jump up to: a b "Aretha Franklin, 'Respect'". Rolling Stone.
^ Jump up to: a b Feldstein, Ruth (2013). How It Feels To Be Free: Black Woman Entertainers and the Civil Rights Movement. New York: Oxford University Press. p. 70. ISBN 9780190610722.
Jump up ^ "'Respect' Wasn't A Feminist Anthem Until Aretha Franklin Made It One". NPR.org. Retrieved 2017-07-31.
Jump up ^ Soeder, John. "The inside story on Aretha Franklins chart topping anthem". Sun News. Missing or empty |url= (help); |access-date= requires |url= (help)
Jump up ^ Smith, Suzanne (1999). Dancing in the Street: Motown and the Cultural Politics of Detroit. USA: Harvard University Press. p. 210. ISBN 0674000633.
Jump up ^ "45 Years Ago: The Supremes and the Temptations Release ‘Together’". The Boombox. Retrieved 2017-07-31.
Jump up ^ "Diana Ross and the Supremes Biography". Rolling Stone. Retrieved 2017-07-31.
Jump up ^ Paul (2016-03-19). "TCB – The Original Cast Soundtrack (1968)". THE DIANA ROSS PROJECT. Retrieved 2017-07-31.
Jump up ^ Paul (2016-03-19). "TCB – The Original Cast Soundtrack (1968)". THE DIANA ROSS PROJECT. Retrieved 2017-07-31.
Jump up ^ Smith, Suzanne (2003). Dancing in the Street. Cambridge Mass: Harvard U Press.
Jump up ^ "Diana Ross and the Supremes Biography". Rolling Stone. Retrieved 2017-07-31.
Jump up ^ Schloss, Joseph (2004). Making Beats: The Art of Sample-Based Hip-Hop. MIddletown:Wesleyan University Press. p. 164. ISBN 9780819566966.
Jump up ^ "Joss Stone | Biography & History | AllMusic". AllMusic. Retrieved 2017-08-01.
Jump up ^ The Telegraph,http://www.telegraph.co.uk/culture/music/music-news/8576782/Joss-Stone-the-white-Aretha-Franklin-of-soul.html
Jump up ^ Lawler, Danielle (2009-09-15). "Joss Stone duet with Aretha Franklin scuppered". mirror. Retrieved 2017-08-01.
Jump up ^ The Guardian,https://www.theguardian.com/music/2003/nov/14/popandrock1
Jump up ^ Gilliland, John (1969). "Show 52 - The Soul Reformation: Phase three, soul music at the summit. [Part 8] : UNT Digital Library" (audio). Pop Chronicles. University of North Texas Libraries.
Jump up ^ Dobkin, Matt (2004). I Never Loved a Man the Way I Loved You: Aretha Franklin, Respect, and the Making of a Soul Music Masterpiece. New York: St. Martin's Press. pp. 169–170. ISBN 0-312-31828-6.
Jump up ^ Landy, Eugene E. The Underground Dictionary, New York: Simon and Schuster (1971), ISBN 0-671-21012-2.
Jump up ^ Redding, Otis. "Respect", 1965, Volt Records.
Jump up ^ "Aretha Franklin took 'Respect' to the top, 50 years ago this week". Detroit Free Press. Retrieved 2017-07-31.
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992 (Illustrated ed.). St. Ives, N.S.W.: Australian Chart Book. p. 233. ISBN 0-646-11917-6.
Jump up ^ Billboard Chart History,http://www.billboard.com/artist/418935/rationals/chart?mobile_redirection=false,accessed October 2015.
Jump up ^ "Crazy Elephant, Crazy Elephant". Retrieved November 19, 2016.
Jump up ^ Who Sampled,http://www.whosampled.com/sample/92470/Joss-Stone-Headturner-Aretha-Franklin-Respect/
Jump up ^ Kembrew McLeod et al: Creative License: The Law and Culture of Digital Sampling, Duke University Press, 2001, p. 228.
Jump up ^ Deborah Norville: The Power of Respect: Benefit from the Most Forgotten Element of Success, Thomas Nelson Inc, 2009, p. 18.
Jump up ^ "500 Songs That Shaped Rock". Rock and Roll Hall of Fame. Retrieved November 15, 2014.
Bibliography[edit]
Soeder, John. "The inside story behind Aretha Franklin's chart topping anthem". Sun News. Missing or empty |url= (help); |access-date= requires |url= (help)
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.
Guralnick, Peter (1999). Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom. Back Bay Books. ISBN 978-0-316-33273-6. OCLC 41950519.
External links[edit]
Lyrics of this song at MetroLyrics
[show]
v
t
e
Otis Redding
Studio albums
Pain in My Heart
The Great Otis Redding Sings Soul Ballads
Otis Blue
The Soul Album
Complete & Unbelievable: The Otis Redding Dictionary of Soul
King & Queen (duet album w/Carla Thomas)
Posthumous albums
The Immortal Otis Redding
Love Man
Tell the Truth
Live albums
Live in Europe
In Person at the Whisky a Go Go
Monterey International Pop Festival
Good to Me: Live at the Whisky a Go Go, Vol. 2
Compilation albums
The History of Otis Redding
The Dock of the Bay
The Best of Otis Redding
Remember Me
The Very Best of Otis Redding, Vol. 1
Otis! The Definitive Otis Redding
The Very Best of Otis Redding, Vol. 2
Dreams to Remember: The Otis Redding Anthology
Singles
(US/UK Top Ten singles)
"These Arms of Mine"
"Mr. Pitiful"
"I've Been Loving You Too Long"
"Respect"
"Satisfaction"
"My Lover's Prayer"
"Try a Little Tenderness"
"Tramp"
"Knock on Wood"
"(Sittin' On) The Dock of the Bay"
"The Happy Song (Dum-Dum)"
"I've Got Dreams to Remember"
"Papa's Got a Brand New Bag" (Live) . "You Left the Water Running"
Related topics
Discography
Songs
Albums
Shake! Otis at Monterey
Steve Cropper
Booker T. & the M.G.'s
Carla Thomas
Stax
Deep Soul
Soul
"Otis" (song)
Andrew Love
[show]
v
t
e
Aretha Franklin
Studio albums
Columbia
Aretha (1961)
The Electrifying Aretha Franklin (1962)
The Tender, the Moving, the Swinging Aretha Franklin (1962)
Laughing on the Outside (1963)
Unforgettable: A Tribute to Dinah Washington (1964)
Runnin' Out of Fools (1964)
Yeah!!! (1965)
Soul Sister (1966)
Take It Like You Give It (1967)
Take a Look (1967)
Soft and Beautiful (1969)
Atlantic
I Never Loved a Man the Way I Love You (1967)
Aretha Arrives (1967)
Lady Soul (1968)
Aretha Now (1968)
Soul '69 (1969)
This Girl's in Love with You (1970)
Spirit in the Dark (1970)
Young, Gifted and Black (1972)
Hey Now Hey (The Other Side of the Sky) (1973)
Let Me in Your Life (1974)
With Everything I Feel in Me (1974)
You (1975)
Sparkle (1976)
Sweet Passion (1977)
Almighty Fire (1978)
La Diva (1979)
Arista
Aretha (1980)
Love All the Hurt Away (1981)
Jump to It (1982)
Get It Right (1983)
Who's Zoomin' Who? (1985)
Aretha (1986)
Through the Storm (1989)
What You See Is What You Sweat (1991)
A Rose Is Still a Rose (1998)
So Damn Happy (2003)
Other
Songs of Faith (1956)
This Christmas, Aretha (2008)
Aretha: A Woman Falling Out of Love (2011)
Aretha Franklin Sings the Great Diva Classics (2014)
Live albums
Aretha in Paris (1968)
Aretha Live at Fillmore West (1971)
Amazing Grace (1972)
One Lord, One Faith, One Baptism (1987)
Oh Me Oh My: Aretha Live in Philly, 1972 (2007)
Compilation albums
Aretha's Gold (1969)
Aretha's Greatest Hits (1971)
The Best of Aretha Franklin (1973)
Aretha Sings the Blues (1980)
30 Greatest Hits (1985)
Greatest Hits: 1980–1994 (1994)
The Early Years (1997)
Greatest Hits (1998)
Aretha's Best (2001)
Rare & Unreleased Recordings from the Golden Reign of the Queen of Soul (2007)
Jewels in the Crown: All-Star Duets with the Queen (2007)
A Deeper Love: The Best of Aretha Franklin (2009)
The Great American Songbook (2011)
Knew You Were Waiting: The Best of Aretha Franklin (1980-1998) (2012)
Box sets
Queen of Soul: The Atlantic Recordings (1992/2014)
Take A Look: Aretha Franklin Complete on Columbia (2011)
Singles
"Precious Lord (Part 1)" (1959)
"Today I Sing the Blues" (1960)
"Won't Be Long" (1960)
"Rock-a-Bye Your Baby with a Dixie Melody" (1961)
"Operation Heartbreak" (1961)
"I Surrender, Dear" (1962)
"Try a Little Tenderness" (1962)
"Say It Isn't So" (1963)
"Skylark" (1963)
"The Christmas Song (Chestnuts Roasting on an Open Fire)" (1964)
"One Step Ahead" (1965)
"You Made Me Love You" (1965)
"Mockingbird" (1967)
"I Never Loved a Man (The Way I Love You)" (1967)
"Respect" (1967)
"Baby I Love You" (1967)
"(You Make Me Feel Like) A Natural Woman" (1967)
"Do Right Woman, Do Right Man"
"Chain of Fools" (1967)
"(I Can't Get No) Satisfaction" (1968)
"(Sweet Sweet Baby) Since You've Been Gone" (1968)
"Think" (1968)
"You Send Me" (1968)
"The House That Jack Built" (1968)
"I Say a Little Prayer" (1968)
"See Saw" (1968)
"My Song" (1968)
"The Weight" (1969)
"Tracks of My Tears" (1969)
"I Can't See Myself Leaving You" (1969)
"Gentle on My Mind" (1969)
"Share Your Love with Me" (1969)
"Eleanor Rigby" (1969)
"Call Me" (1970)
"Son of a Preacher Man" (1970)
"Spirit in the Dark" (1970)
"The Thrill Is Gone" (1970)
"Don't Play That Song" (1970)
"Border Song (Holy Moses)" (1970)
"You're All I Need to Get By" (1971)
"Bridge over Troubled Water" (1971)
"Spanish Harlem" (1971)
"Rock Steady" (1971)
"Day Dreaming" (1972)
"Wholy Holy" (1972)
"Angel" (1973)
"Until You Come Back to Me (That's What I'm Gonna Do)" (1973)
"I'm in Love" (1974)
"Ain't Nothing Like the Real Thing" (1974)
"Something He Can Feel" (1976)
"Break It to Me Gently" (1977)
"What a Fool Believes" (1981)
"It's My Turn" (1981)
"Jump to It" (1982)
"Get It Right" (1983)
"Freeway of Love" (1985)
"Who's Zoomin' Who" (1985)
"Sisters Are Doin' It for Themselves" (1985)
"Jumpin' Jack Flash" (1986)
"Jimmy Lee" (1986)
"I Knew You Were Waiting (For Me)" (1987)
"Oh Happy Day" (1988)
"Gimme Your Love" (1989)
"It Isn't, It Wasn't, It Ain't Never Gonna Be" (1989)
"Everyday People" (1991)
"Someday We'll All Be Free" (1992)
"A Deeper Love" (1993)
"A Rose Is Still a Rose" (1998)
"Here We Go Again" (1998)
"Put You Up on Game" (2007)
"Angels We Have Heard on High" (2009)
"Rolling in the Deep (The Aretha Version)" (2014)
Related topics
Discography
Awards and nominations
"Wood Beez (Pray Like Aretha Franklin)" (by Scritti Politti)
Book
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https://he.wikipedia.org/wiki/Respect
Respect – Hebrew
he
he
interlanguage-link-target

values: リスペクト (オーティス・レディングの曲) – Japanese

values:
https://pt.wikipedia.org/wiki/Respect
Respect – Portuguese
pt
pt
interlanguage-link-target

values:
https://sv.wikipedia.org/wiki/Respect
Respect – Swedish
sv
sv
interlanguage-link-target

values:
https://zh.wikipedia.org/wiki/Respect
Respect – Chinese
zh
zh
interlanguage-link-target

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Respect_song rootpage-Respect_song skin-vector action-view