Redding was born in Dawson, Georgia, and at the age of 2, moved to Macon, Georgia. Redding quit school at age 15 to support his family, working with Little Richard's backing band, the Upsetters, and by performing in talent shows at the historic Douglass Theatre in Macon. In 1958, he joined Johnny Jenkins's band, the Pinetoppers, with whom he toured the Southern states as a singer and driver. An unscheduled appearance on a Stax recording session led to a contract and his first single, "These Arms of Mine", in 1962.
Stax released Redding's debut album, Pain in My Heart, two years later. Initially popular mainly with African-Americans, Redding later reached a wider American pop music audience. Along with his group, he first played small gigs in the American South. He later performed at the popular Los Angeles night club Whisky a Go Go and toured Europe, performing in London, Paris and other major cities. He also performed at the Monterey Pop Festival in 1967.
Shortly before his death in a plane crash, Redding wrote and recorded his iconic "(Sittin' On) The Dock of the Bay" with Steve Cropper. The song became the first posthumous number-one record on both the Billboard Hot 100 and R&B charts. The album The Dock of the Bay was the first posthumous album to reach number one on the UK Albums Chart. Redding's premature death devastated Stax. Already on the verge of bankruptcy, the label soon discovered that the Atco division of Atlantic Records owned the rights to his entire song catalog.
Redding received many posthumous accolades, including the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In addition to "(Sittin' On) The Dock of the Bay," "Respect" and "Try a Little Tenderness" are among his best-known songs.
Redding has been called the "King of Soul", an honorific also given to Brown and Cooke. He remains one of the genre's most recognized artists. His lean and powerful style exemplified the Stax sound; he was said to be "the heart and soul of Stax", while artists such as Al Jackson, Dunn and Cropper helped to expand its structure. His open-throated singing, the tremolo/vibrato, the manic, electrifying stage performances and perceived honesty were particular hallmarks, along with the use of interjections (such as "gotta, gotta, gotta"), some of which came from Cooke. Producer Stewart thought the "begging singing" was stress-induced and enhanced by Redding's shyness.
Artists from many genres have named Redding as a musical influence. George Harrison called "Respect" an inspiration for "Drive My Car". The Rolling Stones also mentioned Redding as a major influence. Other artists influenced by Redding include Led Zeppelin, Grateful Dead, Lynyrd Skynyrd, the Doors, and virtually every soul and R&B musician from the early years, such as Al Green, Etta James, William Bell, Aretha Franklin, Marvin Gaye and Conley. Janis Joplin was influenced by his singing style, according to Sam Andrew, a guitarist in her band Big Brother and the Holding Company. She stated that she learned "to push a song instead of just sliding over it" after hearing Redding.
The Bee Gees' Barry Gibb and Robin Gibb wrote the song "To Love Somebody" for him to record. He loved it, and he was going to "cut it", as Barry put it, on his return from his final concert. They dedicated the song to his memory.
Fa-Fa-Fa-Fa-Fa
Otis Redding Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fa-fa-fa-fa-fa-fa-fa-fa
I keep singing them sad, sad songs, y'all
Sad songs is all I know
I keep singing them sad, sad songs, y'all
Sad songs are all I know
Anybody can sing it any old time
What in your heart puts you in a groove
And when you sing this song
It'll make you're whole body move, it goes
Fa-fa-fa-fa-fa-fa-fa-fa-fa
Your turn
Our turn
Fa-fa-fa-fa-fa-fa-fa-fa-fa
Your turn, now
All my life I've been singing them sad songs
Trying to get my message to you
But this is the only song, y'all, I can sing
And when I get to singing my message from me to you, it goes
Fa-fa-fa-fa-fa-fa-fa-fa-fa
Your turn, now
It's a lovely song, y'all
Sweet music, honey
It's just a line, oh but
It tells a story, baby
You got to get the message
A stone message, honey
A lovely line, baby
I'm worried in mind, watch me
Fa-fa-fa-fa-fa-fa-fa-fa-fa
Your turn
Everybody's turn, everybody
Fa-fa-fa-fa-fa-fa-fa-fa-fa, one more time
Fa-fa-fa-fa-fa-fa-fa-fa-fa, worried alive, y'all
Fa-fa-fa-fa-fa-fa-fa-fa-fa
The lyrics of Otis Redding's "Fa-Fa-Fa-Fa-Fa" convey the idea that the singer can only write or sing sad songs, but that this particular song has a sweet melody, making it accessible to anyone who wants to sing it or groove along. Despite its simplicity, the song manages to tell a story, and its stone message is all about getting the message across, no matter how worried one might be.
This song has a message of hope despite its melancholy tone, reassuring the listener that they can make the most of what they have and carry on. It is a song about resilience, making the best of out of what you have, and finding joy and meaning in simple things. Otis Redding's soulful delivery and catchy melody make it a timeless classic that people still enjoy listening to and singing along with today.
Line by Line Meaning
Fa-fa-fa-fa-fa-fa-fa-fa-fa
The repetition of this phrase serves as a catchy and upbeat introduction to the song.
I keep singing them sad, sad songs, y'all
The singer indicates that he primarily sings songs with a downbeat or melancholy tone.
Sad songs is all I know
The singer confesses that he doesn't have much experience with uplifting music.
It has a sweet melody tonight
The singer remarks on the pleasing and memorable tune of the song.
Anybody can sing it any old time
The singer suggests that the song is simple enough for anyone to sing and enjoy.
What in your heart puts you in a groove
The singer wonders what inspires people to feel good or dance when they hear music.
And when you sing this song
The singer encourages listeners to sing and participate in the song with him.
It'll make you're whole body move, it goes
The singer promises that the song will elicit a physical reaction and feel enjoyable.
All my life I've been singing them sad songs
The singer acknowledges that he has a history of singing music with a depressive or despondent tone.
Trying to get my message to you
The singer states that his songs are an attempt to communicate something important to the listener.
But this is the only song, y'all, I can sing
The singer confesses that this song is the only one he feels comfortable performing.
And when I get to singing my message from me to you, it goes
The singer suggests that his singing has a direct and personal effect on the listener.
It's a lovely song, y'all
The singer compliments the song, likely to encourage listeners to appreciate it as well.
Sweet music, honey
The singer remarks on the enjoyable and endearing qualities of the song.
It's just a line, oh but
The singer acknowledges that the song may be simple or repetitive, but still meaningful to him.
It tells a story, baby
The singer believes that the song has a narrative or emotional arc to it.
You got to get the message
The singer urges listeners to pay attention to the song's lyrics and meaning.
A stone message, honey
The singer suggests that the message of the song is important and enduring.
A lovely line, baby
The singer compliments the song's lyrics, which he considers beautiful or poetic.
I'm worried in mind, watch me
The singer reveals that he struggles with anxiety or stress, but is still performing the song.
Everybody's turn, everybody
The singer again urges listeners to join in or participate in the song with him, emphasizing inclusivity.
Fa-fa-fa-fa-fa-fa-fa-fa-fa, one more time
The singer repeats the song's catchy introductory phrase, suggesting that the song deserves to be heard again.
Fa-fa-fa-fa-fa-fa-fa-fa-fa, worried alive, y'all
The singer concludes the song with another repetition of the introductory phrase, but adds a new twist by incorporating his own worries or concerns into it.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: OTIS REDDING, STEVE CROPPER
Lyrics Licensed & Provided by LyricFind