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We cut everything together, horns, rhythms, and vocal. Although what Redding is talking about here is spontaneity in recording, rather than song structure or an approach to repetition, as Snead makes clear, these are all related: in order to have improvisation, you have to have repetition: Not only improvisation, but also the characteristic call-and-response element in black culture requires an assurance of repetition This description of musical practice matches closely with what Floyd Newman, one of the saxophone players who took part in Stax recording sessions with Redding, said about his approach to arrangement: [Otis] knew exactly when he wanted the horns to come in

Short-circuited like my dear friend and its gutted wires upturned on my workbench

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