
Respect
Aretha takes Otis Redding's song away from him for good, spells out the demand, and never gives it back.

Aretha takes Otis Redding's song away from him for good, spells out the demand, and never gives it back.

Two unfinished songs bolted together, an orchestra climbing to nothing, and the last piano chord in pop.

The intro is a tritone, medieval music's forbidden interval, and Roger Mayer's new Octavia pedal makes the solo scream.
Davies started it as "Liverpool Sunset," moved it to the Thames, and Dave's tape-delay guitar did the rest.
Krieger wrote most of it, Manzarek built a Bach-shaped organ intro, and Morrison sang the banned lyric on Sullivan anyway.

McCartney heard a piccolo trumpet on a Bach broadcast, called David Mason in, and pop had never sounded brighter.

Stills wrote it about the Sunset Strip curfew riots, not Vietnam, and Young's harmonics ring like a warning bell.
Armstrong took union scale so the orchestra could collect overtime; ABC's president hated it and buried the record.

Written in 1964 while Reed was a staff songwriter, and Tucker abandoned her drums at the climax, unable to hear.

Fisher's Hammond nods at Bach for a bar before veering off, and Reid took the title from a party remark.

Twenty-two takes at A&R Studios, the Sweet Inspirations behind him, and a song Morrison says never paid him royalties.

Lennon stitched three unfinished songs together, then let a live BBC King Lear broadcast wander into the mix.
Recorded in Hollywood with Cale on piano, the rhythm pushing like a subway train under Reed's flat delivery.
Hayes lifted the title from Detroit buildings marked soul to spare them; Cropper gets shouted out mid-song.

Muscle Shoals, January 1967, Oldham on Wurlitzer, and a session that fell apart in an argument right after it.

Slick borrowed the one long crescendo from Bolero and Lewis Carroll's cast, then rode both to number eight.

A glockenspiel, a Leslie speaker meant for organs, and Hendrix fading out after two minutes and twenty-five seconds.

Two quiet verses, then Artie Schroeck's brass kicks the door in, and Valli's solo single stalled one place from number one.
Bruce came home from a Hendrix show carrying the riff, and Baker answered it by drumming on one and three.

Joe South's tremolo guitar opens it, Don Covay wrote it young while singing gospel, and Franklin turns it merciless.