VOLUME 3, CURATED BY JORDAN

To me, Christmas is all about soul. It’s about the love of family, food, and togetherness. In my family, the thing that fully bonds us together, is music. Whether it’s a blues song, something on the R&B tip, classic Motown, or a hymnal, this playlist encapsulates many things.

This playlist is a showcase of the old, and new. A connection from our ancestors, to the present day. This curation features many of the artists that not only shaped my own musical journey, but the world’s. Most importantly, this is a deep expression of the soul that makes Christmas so meaningful to me. Finely dipped in chocolate, with flecks of gold, red, and green.

Simply put: this is a playlist of love. I hope you enjoy, from my family, to yours.

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Her latest release, “Easy On Me” (released October 15, 2021), marks the return of the British diva. Like most of Adele’s best works, the song is a revealing account of the personal and private love life of the adored musician. Serving as the lead single for the star’s upcoming fourth studio album, 30 – set to be released November 19, 2021 – Adele confessed in a rare Instagram live video that the new album will be about “divorce, babes, divorce.” After a short-lived marriage, she and entrepreneur Simon Konecki separated in 2019. Their divorce was finalized in March of this year. The couple have a son together, Angelo James, 9.

Now, on the heels of a quote-on-quote “sad girl autumn” dubbed by many, fans are prepping for Adele to take the world by storm all over again, with their tissues on standby. One could only imagine how reflective 30 will be, and how many more precious one-liners we’ll get to use during the throes of our next breakup. But for the time being, we’ll use what we already know. And love. In honor of the superstar’s return, here is a ranking of every commercial single released by Adele.

ADELE: ALL THE SINGLES, RANKED:

15. “Cold Shoulder” – This Mark Ronson-produced track is one of the few Adele songs that doesn’t sound like the conventional Adele piano-plushed sobfest. Gritty, yet emotionally truthful, Adele croons “You shower me with words made of knives,” all the while still admitting to having feelings for her ex. Who hasn’t?

14. “Hometown Glory” – In this ode to the star’s hometown of West Norwood, Adele revels in the kind of nostalgia that can only be brought on by homesick blues. As a matter of fact, Adele is said to have written this song in about 10 minutes, after an argument she had with her mother over her mother’s suggestion of the future songstress to leave her hometown to go to school in Liverpool. “Hometown Glory” would be the first song Adele would ever write and serve as the closing track on her debut album, 19. Adele reminds us here that, after all, there’s no place like home.

13. “Water Under The Bridge” – The last single taken from Adele’s 25 studio album shows the singer in a much different light than usual. Here, she’s still probing over one thing – love. Only this time, tissues aren’t required. “Water Under The Bridge” is able to lyrically induce our heartstrings, while also pumping extra life into the veins, thanks to its catchy production and chanting echoing choir serving as the perfect background noise.

12. “Skyfall” – In 2012, Adele recorded this single as the theme song for the newly released James Bond film, Skyfall. In keeping with the tradition of other Bond numbers, the song followed all the ingredients of classic 007 style – sulky and seared in suspense. The atmospheric orchestration, mixed with the dexterity of Adele’s near-perfect vocals, makes “Skyfall” one of the most memorable songs of the James Bond franchise. Aside from becoming one of the best-selling digital singles of all time, the song also granted the star with a bundle of awards, including the Academy Award for Best Original Song, a Golden Globe Award for Best Original Song and a Brit Award for British Single of the Year.

11. “Turning Tables” – Although this song failed to make the same chart impression as 21’s other singles did, “Turning Tables” still stands as one of the more harrowing and perhaps underrated songs of Adele’s repertoire. Written about a physical dispute between her and her beau, Adele’s anguish is painted all over this track from start to finish. “I won’t let you close enough to hurt me / No, I won’t rescue you to just desert me,” she sings. If you haven’t cried from any of the songs mentioned on this list yet, you will now.

10. “Rumour Has It” – If you were to ever tell someone that Adele was a lounge singer from way back in the day after just one spin of this bluesy number, they would probably believe you. Adele’s voice is one of those voices that can belt, swing, and coo. Be it a piano-driven centerpiece or a stomping rock ‘n’ roll setting, Adele can do it all justice. And, “Rumour Has It” proves just that. Taken from the singer’s career-defining album 21, “Rumour Has It” didn’t seek inspiration from Adele’s ex-boyfriend like the rest of the album did, but rather… well, rumors about her breakup started by the media. Unlike the heartbreak anthems in the rest of Adele’s catalog, “Rumour Has It” is a giant middle finger to a lost love that won’t leave you crying, but laughing at even the thought of reconciling.

9. “Make You Feel My Love” – This Bob Dylan cover serves as the only song from the singer’s debut album to not have been written by her. This simple, modest declaration of one’s affection might be sonically different from Dylan’s folksy original, but if anything, Adele proves just what to do if ever covering a song – make it even better than the original. And that’s exactly what she did.

8. “Send My Love (To Your New Lover)” – Perhaps the snappiest song in Adele’s canon, “Send My Love” is the perfect balance of survival and forgiveness. “I’m giving you up / I’ve forgiven it all / You set me free,” she declares. If there’s any kiss-off track that can give a big F.U. to an ex but also gleefully bring a smile to your face, it’s this one.

7. “When We Were Young” – Much like “Hometown Glory,” this track is rooted in reminiscence. “When We Were Young” basks in all the glory of a past life, giving you the sense that you’re at a class reunion 20 or 30 so years later, remembering the good, the bad, and the ugly. It’s poignant, yet satisfying, and Adele’s sublime vocal runs only make you wish you could listen on and relive those memories for hours longer. In a recent installment of Vogue’s 73 Questions YouTube series, the singer revealed that “When We Were Young” is one of her personal favorites. “I really love that song. I love singing it. It means a lot to me,” she said.

6. “Chasing Pavements” – In “Chasing Pavements,” we find Adele questioning her relationship, deciding whether or not she’s better suited for the empty streets ahead of her or with the once-upon-a-time love of her life. The song became the singer’s first breakthrough hit in the U.S., peaking at #21 on the Billboard Hot 100. Adele’s smoky vocals and earnest lyrics laced over the soulfully pop production of “Chasing Pavements” marked the perfect introduction of what was in store for the U.K. songstress and the emotional baggage she was about to lay heavy on the rest of us.

5. “Set Fire To The Rain” – Released as the third single from 21, “Set Fire To The Rain” continued Adele’s streak of Billboard Hot 100 number-ones, and rightfully so. With a foreboding production and a roaring vocal prowess, she sings, “I set fire to the rain / And I threw us into the flames,” getting rid of the slightest hope or chance of a resolution. Buuuurn, quite literally. The song was even voted by Billboard readers as being their favorite number-one hit of 2012, and its catchy hook and radio-friendly charm might just be the reason why.

4. “Easy On Me” – The most recent release from the superstar shows the singer at her most vulnerable. Here, she’s tackling a different kind of breakup – divorce. “Go easy on me, baby / I was still a child / Didn’t get the chance to / Feel the world around me,” she admits. By now, Adele has become synonymous with breakup records, but “Easy On Me” somehow depicts a more mature side of the singer, seemingly showcasing the growth of a woman who’s been hurt by love again and again, and still trying to dull the pain. Although the chorus may not be as bombastically hitting as some of the star’s other anthems – “Someone Like You,” “Hello” – the song’s stirring honesty makes it among her best works, and a telling indication as to what fans can expect to hear when 30 drops next month.

3. “Rolling In The Deep” – If nobody knew who Adele was before this song dropped, they were about to find out. The critically acclaimed “Rolling In The Deep” propelled Adele’s career to newer, greater heights. A direct sendoff to an unfaithful lover, the first single off of the star’s sophomore release had people of all ages singing their hearts out to either real-life or make pretend partners. A 60’s-inspired soul smackdown, “Rolling In The Deep” features a booming, hands-clapping gospel accompaniment, with Adele is right at its core, front and center. After becoming her first number-one hit on the Billboard Hot 100 and turning Adele into a household name, the single became perhaps one of the biggest crossover hits on the charts in years. As of 2019, it remains the best-selling digital single of all time, with sales of over 20 million copies worldwide. From then on, Adele proved to many that there’s power in abandonment. Her soft side would become a staple in her songs, but here her abrasiveness is just as defiant.

2. “Hello” – At 21, Adele turned her breakup into a blockbuster album. At 25, Adele was still reeling, but this time more sentimentally than scorned. “Hello” is a pick-up from where her past left off. In it, she sings more conversationally than on her previous efforts – “Hello, how are you? It’s so typical of me to talk about myself, I’m sorry.” When describing the record, Adele labeled 25 as a “make-up record,” with its lead single not being about any one thing or person in particular. Rather, “Hello” is a reflection of past relationships and circumstances, as well as her own relationship with herself. A gentle nod to growth and change, “Hello” reminds us of the fact that nothing truly ever stays the same, serving as a salute to one’s yesteryear. Its subdued introduction is awoken by a thrashing chorus and an Earth-rattling climax. An immediate success, the song reached number-one in a record-breaking 36 countries. As if it wasn’t already made clear, “Hello” proved Adele’s talent alone outshines any record she touches – be it big production-wise or piano balladry.

1. “Someone Like You” – “I heard that you’re settled down / That you found a girl and you’re married now,” are the opening lines of this heartfelt goodbye. “Someone Like You” is quite literally the quintessential Adele song – a simplistic arrangement, top-tier vocals, and lyrics that rip your heart right out of your chest. The same breakup that inspired Adele to write this song inspired most (if not all) of the other material on Adele’s 21. While most broken hearts end up stagnant in bitterness, though still hurt, Adele is still giving her blessing to her past love, teaching us all a lesson in the art of letting go. “Someone Like You” became the singer’s first number-one hit in her homeland, as well as the recipient of countless awards and recognitions. To this day, it remains one of her signature pieces and can still strum up the waterworks as easily as it did 10 years ago. It’s safe to say that this one song has healed many, many, many lonely hearts. And, for that, we all owe Adele a collective thank you.

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Introduction

• Before I get started on “Ain’t No Way”, I want to address a few things (in case this crosses Miss Franklin’s eyes). The intention of this piece is not gossip. No malice is intended in these words. I’m simply working off information I’ve learned, and a theory I came up with as a music fan, listener, and interpreter of lyrics. If anything, this is a testament and admiration for both Carolyn Franklin’s genius as a songwriter and Aretha Franklin’s genius as a singer.

A Classic

Aretha Franklin‘s “Ain’t No Way” is an undisputed classic. The cut closes out her genre-defining 1968 album Lady Soul. Written by Aretha’s sister Carolyn Franklin, “Ain’t No Way” is a smoldering and heartbreaking ballad. It’s a quintessential example of soul music. Though Aretha performs it sparsely these days, the song lives on. Patti LaBelle, Whitney Houston & Mary J. Blige, Christina Aguilera, Kelly Clarkson, Amber Riley on Glee, and even Demi Lovato all covered the classic ballad at one time or another. However, after careful examination of the song’s lyrics, the song may not be the woman-to-man ballad it appears to be when Aretha sings it.

Carolyn Franklin

Carolyn Franklin’s career as a singer never truly flourished. Aretha’s baby sister by 2 years, she signed to RCA Records and released 5 albums during her singing career. She almost recorded Curtis Mayfield’s supreme Aretha album Sparkle, but Aretha won favor there and recorded the album instead.

All that aside, Carolyn was an amazingly gifted songwriter. “Ain’t No Way” may be the greatest example of this gift. She worked closely with Aretha over the years as a background singer, arranger, and of course as a songwriter. Among Aretha’s Atlantic Records discography, Carolyn wrote a number of songs for Aretha beyond “Ain’t No Way” including “Angel“, “Without Love“, and “Pullin“. Carolyn and Aretha collaborated on “Save Me” and “Baby, Baby, Baby“. She also worked with Aretha on the revolutionary arrangement of “Respect” which included the addition of the iconic “sock it to me” lines.

Without this becoming a gossip circus, it’s Carolyn’s personal life that led me to this theory. In David Ritz’s controversial Respect: The Life of Aretha Franklin, Ritz casually mentions that Carolyn Franklin was a lesbian. Her sexuality is not a focus of the book, but it is mentioned on a few occasions, including by Aretha & Carolyn’s sister Erma. In remembering Carolyn, Erma said to Ritz “I consider her a great woman… She went her own way, lived her own life, and found freedom in her individuality. She had no shame about her sexual preference and spoke the unvarnished truth (Ritz, 378).”

It’s not a matter of gossip or earth-shattering revelation. Her sexuality was not spoken about at great length, nor a focal point of conversation. One has to be considerate of the times. Being a member of the LGBT community in the 60’s, 70’s, and even 80’s could be a perilous thing, especially in the church. Even more especially in the black church. It’s not hard to do the math: as the daughter of a preacher, the sister of Aretha Franklin, Carolyn’s sexuality was not something that needed to be a focus. However, based on what Erma said, Carolyn was not hiding, either.

Ain’t No Way

“Ain’t No Way” is the last stand in a hidden romance. It’s told from the perspective of a woman, but Carolyn’s subject is also a woman. The other woman in question is attached to a man, most likely by marriage. There’s a spark between the other woman and Carolyn. There’s love, yet there’s turmoil. For whatever reason, the other woman either can’t, or won’t, leave her man and embrace her sexuality. “Ain’t No Way” is Carolyn’s last stand. She can’t go on with their closeted, pseudo-romance. This is a call for the other woman to be honest, open, and be with Carolyn.

The Lyrics

The first thing that stands out to me about “Ain’t No Way” is the opening line. Carolyn wants to love the other woman completely, but the other woman is still attached and Carolyn is unable to give her all openly:

“Ain’t no way, for me to love you, if you won’t let me.”

Then, she makes a subtle reference to what the Bible considers a relationship (between a man and a woman). The subtext here is that she’s not afraid to go against the grain:

“I know that a woman’s duty is to help and love a man, and that’s the way, it was planned.”

The bridge though, is where things really get blatant:

“Stop trying to be, someone you’re not!

For hard, cold, and cruel is a man who paid too much for what he got?

And if you need me, like you, say, say you do,

Oh then baby, baby, baby, don’t you know that I. Need. You!”

This is the ultimate call to openness and honestly. Carolyn is calling out the other woman for hiding her sexuality. Simultaneously she issues a warning: A man is not going to be kind when he finds out that the woman he holds close wants to only hold another woman, and not him. She completes the stanza with a final plea: if you need me like you say you do, imagine how much I need you! The triplet of “baby, baby, baby” may be a nod to this woman also being the subject of Carolyn and Aretha’s 1967 composition “Baby, Baby, Baby“. That song contains lyrics including “if loving you is so wrong, then I’m guilty of this crime”. We also know that this wasn’t an adlib. There is video footage of Carolyn teaching Aretha the song and using the triplet as she sings the lyrics to Aretha:

In Conclusion

This was an era when the LGBT lifestyle was far from acceptable, especially in the black baptist church community. While Carolyn clearly wasn’t shy about her sexuality amongst family, writing an overtly LGBT heartbreak song in the 60’s wasn’t going far. It isn’t farfetched to imagine Carolyn pouring her soul into words, in such a genius manner that her superstar sister can turn them into a soul classic without anyone catching on for decades. Did Carolyn Franklin write “Ain’t No Way” in 1967 about a woman she loved who was in a relationship with a man? Carolyn Franklin passed away in 1988, so we’ll never know for sure. However, I believe that the proof is in the lyrics.

Listen to Aretha Franklin’s “Ain’t No Way” and judge for yourself:

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The Queen of Hip-Hop/Soul

While Hip-Hop saw during the 90s a handful of women who gave the genre a breath of fresh air with their fierceness, the R&B world welcomed a different kind of Queen, one that was able to merge two worlds. Mary J. Blige was the woman to bring together the smooth tradition of R&B and Soul with the urban edge of Hip-Hop.

For this reason, she was crowned the Queen of Hip-Hop/Soul by the critics and the public alike. It is a title she still proudly preserves, 25 years into a stellar career.

What’s the 411?

In 1992, a 21 years old Mary J. Blige made her debut in the record business with an album that quickly became an iconic landmark in R&B. What’s the 411? was released by Uptown Records, under the supervision of a young Sean Combs, who then went by the name of Puff Daddy.

As the executive producer of the album, he is to be credited with giving Mary the direction that would launch her and make her a star. She, however, deserves credit for her great talent. The soulful, sweet vocals she delivered on the album, paired with the hard hitting beats producers like Dave Hall delivered, masterfully shaped the genre.

Mary poured her heart and soul into songs such as “You Remind Me,” “Real Love” or “Love No Limit,” which became big hits and classics. Drawing comparisons to icons Chaka Khan (whose “Sweet Thing” she covered on this album) and Anita Baker, she infused new life to the sound of 80s Rhythm and Blues and earned her place among the greats.

A remixed version of the album was released the following year, featuring Rap verses from pretty much everyone that mattered in Hip-Hop at the time (Biggie, Crack Mack, Heavy D, Andre Harrell, Kid Capri, and more). This remix album helped to establish Mary as the Queen of Hip-Hop/Soul.

My Life

As Mary’s journey in music progressed, she had to face her ups and downs. Written and recorded during a low point in her life, her sophomore record, My Life, appeared in 1994.

Once again Puff Daddy was the man behind it, but it was Mary’s struggle that was sapiently chronicled into the records she sang. Battling addiction, an abusive relationship and clinical depression, Mary once again took to music and her voice to express everything she kept inside and gave us gems such as a cover of “I’m Going Down,” “Mary Jane (All Night Long),” “I Love You,” “Be Happy” or the jazzy title track “My Life.”

In true Puff fashion, the numerous soul samples only reinforce the tie between the traditional R&B world of the 70s and 80s and the Hip-Hop edge Mary brought forward with her 90s sound. Mary was singing over the same sort of beats Puff would give to her Hip-Hop counterparts.

The album as thus been hailed as one of the greatest R&B records of the 90s and is widely regarded as a classic. Not only that, but her strong alliance with Puffy combined with the hardness of her sound and the honesty of her lyrics truly helped to crown her the Queen of Hip-Hop/Soul. Mary might have sang her lyrics with soul, but the content had the same realness that defined the best of Hip-Hop.

The Late 90s

Even when Mary and Puffy parted ways in the second half of the decade, she still continued to merge and ride the line between Hip-Hop and R&B.

In 1996, her collaboration with Method Man on “I’ll Be There for You/You’re All I Need to Get By” earned Mary a Grammy award for Best Rap Performance by a Duo or Group. She was also featured on Jay-Z’s “Can’t Knock the Hustle” from his debut album Reasonable Doubt, which helped put him on the map. She was the first female singer to feature on a Jay-Z track.

On her 3rd album, 1997’s Share My World, Mary collaborated with Lil’ Kim and Nas on two of the album’s singles and most recognisable tracks, “I Can Love You” and “Love Is all We Need” respectively. This move helped bridge the gap between crossover R&B and Hip-Hop.

By the end of the decade, Mary J. Blige was a household name. With millions of records sold and with numerous collaborations, she had attracted the attention of the mainstream and international audiences, through her fusion of soulful R&B and Hip-Hop. She effortlessly continued to reign as the Queen of Hip-Hop/Soul.

The 2000s

The new millenium started for Mary with the release of the acclaimed No More Drama in 2001. The album was the soundtrack of the singer’s hectic and distressed life and an attempt to finally break free from her personal struggles.

The first single “Family Affair,” produced by Dr. Dre became her biggest hit at that point. It was upbeat, fun and danceable, but also an example of how effortless it is for Mary to play with Hip-Hop and make it her own. Dr. Dre was one of Hip-Hop’s biggest names, but not only that, he represented the West Coast. By collaborating with him, Mary, an East Coast native, showed unity within the genre.

A Disco-flavored remix of “No More Drama” produced by P. Diddy and Mario Winans, hinted at a reunion between Mary and Diddy. The two of them officially reunited on the 2003 Love & Life album, which also saw collaborations with Method Man, Eve and 50 Cent.

Even when Mary found happiness and love, she continued to use her music to uplift other women and became the voice of those who struggled with bad relationships and just life in general. The Breakthrough, released in late 2005, saw Mary claim her throne as the reigning Queen of Hip-Hop/Soul once again with critical acclaim and commercial success.

The album’s biggest hit “Be Without You,” reportedly influenced by Mariah Carey’s “We Belong Together,” is a spin on the Rap ballad with soulful vocals, relatable content and a melodic approach. Mary also reworked The Game’s “Hate It or Love It” to chronicle her journey in the industry and proclaim her royalty status on the chorus. Mary’s rap alter ego Brook Lynn also debuted on the hard hitting “Enough Cryin’,” serving a few bars of her own.

The Present

The current decade has given Mary J. Blige the opportunity to explore new territories with her music.

In 2014, she brought her sound to the UK and worked with up and coming British producers to revamp her image as an international star. The result was The London Sessions, which didn’t turn out to be a successful venture on the market, but proved that Mary still has the drive and passion of her early days.

Today, 25 years into her career, Mary is facing new personal struggles with her divorce from her husband, but she’s still perched on that throne she built for herself.

Strength of a Woman, her 13th album released earlier this year, contains some of her best work this decade. Songs like “Love Yourself” with Kanye West, or “U+Me (Love Lesson)” allow us to reminisce on the love we’ve always had for her. Meanwhile, a song like the DJ Khaled helmed “Glow Up” shows Mary’s ability to bridge the gap between generations, by featuring both the iconic Missy Elliott and newcomer Quavo of Migos. Not only that, but the fact that she featured Kanye on “Love Yourself” amidst a rather controversial year, shows that Mary truly has real love for the Hip-Hop Kings.

If she isn’t the Queen of Hip-Hop Soul, then who is?

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Have you ever heard Aretha Franklin’s Amazing Grace? If the answer is ‘no’, start listening, and read on.

Find an adjective stronger than “important”. Whatever the word, it doesn’t do Aretha Franklin’s Amazing Grace album justice. This album is one of the most essential bodies of work in music. Not only does it highlight the connections between gospel music and rhythm and blues, but it also solidifies Aretha Franklin as the greatest singer of all time. Let me take you back…

Background: The Queen goes home

1971. Aretha Franklin is one of the biggest names in popular and R&B music. She’s on a winning streak that’s 4 years strong, and counting. Since singing with Atlantic Records in 1967, the now 29 year-old charted 10 number one R&B singles, 4 gold albums, and 4 Grammy Awards. In the process, her music was defining and architecting the budding genre of soul. Yet, her roots in gospel music and the church always stayed with her. In 1971, she went home to the church.

Aretha and Atlantic Records executive/producer Jerry Wexler offer different accounts of who suggested it. Regardless of which one of them conjured the idea, it was decided that Aretha Franklin would return to the church and record a gospel album. She linked up with mentor Reverend James Cleveland for the occasion. Soon, the New Temple Missionary Baptist Church in Los Angeles was selected. January 13 & 14, 1972 were locked into place, and Aretha went back to the church. When Aretha goes church, it is an unparalleled experience. Because of this,

Amazing Grace captures Aretha’s best vocal performance ever.

Bar none. There’s no other moment in Aretha’s recorded career with vocals like these. The closest comparison is 1971’s Live At Fillmore West, another live album. Why both live albums? Aretha live is a different experience than Aretha in the studio, because Aretha feeds off of the audience’s energy. She is one of the most private and guarded celebrities, yet when she steps on the stage, she lets everything show. Aretha in the church takes this openness to the holiest of heights.

Looking at the original release, Amazing Grace contained 14 tracks, spread out over 4 sides. The 2 nights of services were condensed, edited, and sequenced to fit on 2 vinyl albums. While it doesn’t read like a service, the sequencing makes for an impactful listening experience.

Aretha’s interpretations on Amazing Grace are revolutionary. Her strongest touring band mixes in with mentor Rev. James Cleveland and his choir, the Southern California Community Choir. This helps achieve an organic, yet unique fusion of spiritual and secular. In turn, Amazing Grace is a blueprint for modern gospel music.

The greatest vocal riff of Aretha’s career

Amazing Grace‘s opening number is “Mary, Don’t You Weep”, originally a pre-Civil War Negro spiritual. The creeping pace helps build an anticipation that Aretha more than exceeds vocally. “Mary” tells the story of Jesus raising Lazarus from the dead, and Lazarus’ sisters Mary and Martha. There are two instances where Aretha unleashes unparalleled vocal force on “Mary, Don’t You Weep.” These moments are so moving and powerful, it’s the closest that I, a former Catholic, have gotten to God in nearly a decade.

First, Aretha sings of Mary and Martha’s encounter with Jesus. Mary runs to Jesus and laments “Master, my lord, if you had been here my brother wouldn’t have died”. Aretha turns that one “my lord” into a stuttering “my my my my my my my my my my sweet lord”. The legendary Billy Preston told David Ritz “that stutter might be the greatest riff of Aretha’s career”. It’s staggering, captivating, entrancing, and that doesn’t even do it justice.

Aretha’s not done yet. As the story continues, Jesus asks Mary and Martha to show him where they laid Lazarus. Upon arriving Jesus says “for the benefit of you who don’t believe in my” he’s going to “call him three times.” Aretha gets quiet on the first “Lazarus,” and then a little louder the second. But it’s the third time Aretha sings “Lazarus.” She sings with such heavenly conviction, it’s impossible not to picture the entire scene happening. The raw power of Aretha’s voice here is mesmerizing and shocking, but more than anything else, it’s holy. Having “Mary, Don’t You Weep” open Amazing Grace sets the tone for the incredible performances which follow.

Fusing Spiritual and Secular

What makes Aretha Franklin a trailblazer in music is her innate ability to fuse elements of God-fueled spiritual music and apply that passion and sensibilities into secular music. There are instances of her turning secular songs into spiritual revivals, and applying gospel musical sensibilities into secular songs. Yet here, she flips the script and merges the secular back into the spiritual. She draws from 3 diverse sources of secular. First, Carole King. Second, Marvin Gaye. And third, Rodgers and Hammerstein’s musical Carousel.

The first instance of the fusion is the most literal fusion. On track 2 of the original release, she begins with Carole King’s “You’ve Got A Friend”. Just as she reaches the chorus, she switches to “Precious Lord”, and proceeds to bounce between the two for nearly 6 minutes.

There’s also her take on Marvin Gaye’s “Wholy Holy” from his immense What’s Goin’ On? Marvin’s spiritual yet jazzy track creeped onto the socially conscious LP. But Aretha takes it, and elevates the spiritual sensibilities of the song. Mix in a piano arrangement that recalls her 1972 “Oh Me Oh My (I’m A Fool For You),” it’s a unique fusion.

Aretha’s take “stunned” Marvin. David Ritz talks about Marvin’s reaction in his Aretha biography Respect: The Life of Aretha Franklin. Marvin told Ritz that he “saw just how good” the song was when Aretha sang it. He contrasted their versions, noting his self-harmony with a “host of sound effects,” but Aretha “had only her voice and that beautiful full-bodied choir. She built it up. She beefed it up. I believe she immortalized it.”

“Never Grow Old”

Every song on Amazing Grace is notable, but “Never Grow Old” is a particularly luminary moment. It is one of two songs (“Precious Lord” being the other), Aretha recorded before. Those recordings were Aretha’s first. Released as Songs of Faith Aretha recorded them in 1956 when she was just 14.

The two recordings showcase Aretha’s growth over a decade and a half. In 1956, her version is under 3 minutes. She takes her time in both instances and lets loose, but in 1972 it’s different. The 1972 release clocks in just under 10 minutes, and the unedited performance is nearly 16 minutes.

In 1956, there’s no evidence who is on the piano, but most likely it is not Aretha. She accompanies herself on piano in 1972. Aretha always taps into a heightened level of performance when she plays the piano. It’s impossible not to hang on every word she sings. While she vocally showcases an amazing ability at 14, that ability is at it’s peak on Amazing Grace.

“How I Got Over”

Two of the most upbeat moments help further capture the connection between gospel and R&B, and quite frankly they are unapologetic foot stompers. To find yourself moving while listening to “How I Got Over” or “Old Landmark” is as regular as breathing.

“How I Got Over” is a song written and made popular by gospel legend Clara Ward in 1951. It’s important to note that Clara was not only an inspiration of Aretha’s, but a close family friend of Aretha’s father, Rev. C.L. Franklin. Clara and The Clara Ward Singers made an impact on gospel for fearlessly dressing with big hair and gowns. They also weren’t afraid to bring spiritual music into secular venues. Clara attended the second night of the Amazing Grace recordings.

Clara’s version sounds like gospel, but Aretha turns it into soul. First off, Aretha’s arrangement (also notable, Aretha arranged every song on Amazing Grace) speeds up the tempo. Then, the incorporation of her band fills out the music. Coupled with rewriting a larger part for the bass, adding in congas, and substituting a full choir for the Ward singers, Aretha’s version is full, fast, and spiritual.

The version of “How I Got Over” on the 1972 release was not fully recorded during service. The instrumental was recorded at the end of the second night and Aretha’s vocals were added later. In 1999, night one’s performance was released, which is this one:

Deeper

I could go on and on breaking down each and every song, from the immense and lengthy title cut of “Amazing Grace” to “What A Friend We Have In Jesus.” Then there’s the smoldering and essential “Precious Memories,” with Reverend James Cleveland. It simmers and develops into a magnanimous rolling boil of vocals.  The combination of their voices is transcendent. There’s also a powerful testimony from Aretha’s father Reverend C.L. Franklin, known as the “Man With The Million Dollar Voice.” Finally, the aforementioned “You’ll Never Walk Alone” completes the trifecta of secular-meets-spiritual. Even still, there’s “Climbing Higher Mountains”, “Old Landmark”, “God Will Take Care Of You”, and “Give Yourself To Jesus”.

Each performance is a gem in this crowning achievement of Aretha’s career. I can attest that being a non-churchgoer (weddings and funerals only these days), I frequently find myself using this as my personal Sunday service.

If you listen to just one more Aretha Franklin album in your life, let it be Amazing Grace.

Accolades

Amazing Grace‘s legacy is also worth noting. The album remains the highest selling live gospel album of all time, and the best selling album of Aretha’s career. Amazing Grace won the 1973 Grammy Award for Best Soul Gospel Performance. It was a testament to the executives in music business that gospel music could sell, and chart.

Listen to Amazing Grace:

Deeper Exploration: Beyond The Original Release

The Complete Recordings

The original 1972 release contains 4 sides and 14 tracks. However, there was substantial unreleased material from the 2-day event. Finally in 1999, Amazing Grace: The Complete Recordings made it’s debut. Boasting 26 tracks, the reissue fills in the blanks left by the original release and properly sequences the two nights.

The Complete Recordings offers a different experience from the original release. It highlights the way the services actually took place. It also points out many of the edits made to the original release. Patrick Milligan, one of the producers of The Complete Recordings makes clear in the liner notes that the reissue “is not intended to replace the original version of Amazing Grace (but to give a) deeper look into these truly amazing recordings.”

Listen to Amazing Grace: The Complete Recordings:

The Film

2021 Update: The Amazing Grace documentary premiered in 2018 shortly after Aretha Franklin’s passing and was released in 2019.

Finally, amongst everything else happening with Amazing Grace, Jerry Wexler commissioned director Sydney Pollack to fil both nights. The film was intended for release in 1972, however, it was never completed nor released. Producers worked tirelessly and completed the film after Pollack’s death in 2010 and intended to release it, first in 2011 and then in 2015. Things got complicated though, and the film remains unreleased to this day.

One quick note on the film: The footage reminds viewers, even in the trailer below, of a few guests in attendance for the event. Aside from Clara Ward and of course Rev. C.L. Franklin, Mick Jagger was in the audience. The Rolling Stones’ next album was perhaps their most gospel-influenced to date, Exile on Main Street. Coincidence? Probably not.

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Aretha Franklin: The Queen Turns 75

In celebration of Aretha Franklin’s 75th birthday, I dug into her catalog for some deep cuts. Everyone knows “Respect“, “Think”, and “(You Make Me Feel Like) A Natural Woman”, but what about the songs that didn’t receive single treatment/attention? Let me take you back…

Digesting Aretha Franklin’s catalog can be a daunting task for the new listener, but it’s actually pretty easy to break apart. By and large, there are 3 eras: Columbia Records (1960-1966), Atlantic Records (1967-1979) and Arista Records (1980-today). Of course, in the name of technicalities we can go further, but that’s the easiest way to start.

It’s important to take one step one step back before diving into her Columbia Records catalog. Aretha  cut a series of gospel sides in 1956 when she was just 14. They’re incredible, to say the least. “Listen at her. Listen at her!” a member of the crowd testifies as 14 year old Aretha Franklin sings. Man does she sing. Listening, her voice is amazing beyond words. It’s like she’s been singing for 40 years.

Columbia

Aretha’s Columbia years are contested in their content. The music is a mix of pop, jazz, early R&B, and standards, and while it’s a known fact that she didn’t find (read: create) her sound until she reached Atlantic Records, there are many demonstrations of her budding genius.

From her gospel-charged “Are You Sure” from The Unsinkable Molly Brown, to one of her earliest compositions as a songwriter “I Wonder (Where Are You Tonight)”, Aretha demonstrates a smooth sense of vocal control. Don’t mistake that control though, because she still shows off her ability to rip into a song like no other.

“Runnin’ Out Of Fools” was one of her only ‘hits’ on Columbia, I included it here because it’s not something you’ll hear her sing live, and doesn’t get enough of the attention it should. “Trouble In Mind” taken from the Yeah!!! LP, has a great groove, and of course she goes off at the end. “It’s So Heartbreakin'” off The Electrifying Aretha Franklin is unique, because it’s essentially a musical doppelgänger of her 1970 classic “Don’t Play That Song (For Me)“.

Atlantic

The early years of Aretha’s Atlantic catalog are, with few exceptions, masterclasses in soul. There are a more than a few gems that tend to go under the radar. Her own composition, “First Snow In Kokomo” from 1972’s Young, Gifted & Black is one such gem. It’s unlike any other Aretha Franklin song, because it has no rhythm.

Of course with Aretha, there are the covers, on which she always manages to upstage the original. Take her soulful covers of Frank Sinatra’s “That’s Life” and “My Way” (which remained in the vaults until the early 2000’s), her intense reading of Smokey Robinson’s “Tracks of My Tears”, and of course her holy cover of Sam Cooke’s “A Change Is Gonna Come”. Then there’s her supercharged version of The Beatles’ “Eleanor Rigby” and the gripping piano solo Aretha lets loose on the Quincy Jones-produced West Side Story cover “Somewhere”.

Don’t forget Amazing Grace, the greatest selling live gospel album of all time. Her reading of “Mary, Don’t You Weep” may be one of the most impactful vocal performances Aretha has ever given. Listen as she sings “Now Mary, went runnin’ to Jesus.” The “my-my-my” run she unleashes may be the greatest vocal run in history. It’s bone chilling, as is when she recalls Jesus resurrecting Lazarus and calls his name. On the third time, it’s fairly safe to say that she could have brought back Lazarus.

Arista… and beyond

From 1980 until now, Aretha has mainly been under the guidance of Clive Davis. He signed Aretha as soon as her Atlantic Records contract ended in 1979. Aretha needed a boost, and Clive knew how to make people hip, so hip they got. One of the best moves was linking Aretha up with then-budding singer Luther Vandross. “Love Me Right”, track 2 off Jump To It is a slick R&B mid-tempo with disco strings and Luther cooing “love me right” in the background.

Even into the 90’s and 2000’s, Aretha persevered. Listen as she rides Jermaine Dupri’s beat for “Here We Go Again” from 1998’s A Rose Is Still A Rose. It’s a slick cut with a clever hip hop edge, as is “Holdin’ On” from 2003’s So Damn Happy with Mary J. Blige covering the background vocals. Finally, there’s her Andre 3000-produced cover of Prince’s “Nothing Compares 2 U” from 2014’s Aretha Franklin Sings The Diva Classics. It’s a complete departure, and transforms the ballad into a Ella Fitzgerald-esque, scat-filled jazz cut. Aretha’s still transforming songs just as she did over 50 years ago.

Listen to my Aretha Franklin playlist, Aretha: Deep Cuts, and jump below for a few bonus cuts you won’t find streaming/on iTunes.

The Lost Albums

There are 5 albums Aretha Franklin cut on Atlantic Records in the 70’s that are largely unavailable in formats beyond vinyl and 8 track. Those are With Everything I Feel In Me, You, Sweet Passion, Almighty Fire, and La Diva. While much of this material didn’t generate much success for Aretha, there are still a few key cuts from these lost albums. I’ve included one from each album, and quite Aretha frankly, they’re all stellar songs.

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From the moment I heard Melanie Fiona’s Zombies-sampling debut single “Give It To Me Right“, I became hooked. Between the impeccable sample use of “Time Of The Season” and her incredible voice which combines Brandy’s timbre with the soulfulness of a young Aretha Franklin, she mesmerized me. Then I heard her follow-up single “It Kills Me“. The way she sings that song is unreal. She puts every fiber of her being into every chorus. The rest of her debut album The Bridge brings together elements of R&B, soul, pop, doo-wop, and reggae with that stellar and soulful voice.

For her second album, she described the sound as “stadium soul“. This album is a sonic evolution of her debut, expanding the sound to higher levels and bigger rooms, while she expanded her reach to winning Grammys and playing larger stages. Like her debut, she explores a variety of sounds, but always  While her debut included no features, she came through with the hottest features on The MF. Life. Contributors to The MF Life include Drake, Nas, Snoop Dogg, J. Cole, B.o.B, No I.D., John Legend, T-Pain, and Salaam Remi.

My top 5 songs from Melanie Fiona’s The MF Life:

1. “Change The Record” feat. B.o.B 

   The fact that this song never became a radio single is a crime. It has the perfect sound for radio with a catchy hook, and fitting verse from B.o.B., who was making major waves when this dropped. Melanie compares men to records, and if the man isn’t right, it’s on to the next one. “If you don’t like how he’s playin’ then change the record.”

2. “Bones”

   The epitome of a modern-day torch song. A 2012 “I Put A Spell On You”, meeting somewhere in the middle of Nina Simone and Screamin’ Jay Hawkins. “Straight through your skin, past your soul to your bones… gimme gimme gimme your bones!” she demands over this disjointed, eerie, jazzy and soulful instrumentation.

3. “Wrong Side Of A Love Song”

   Ultimate heartbreak. While ballads “Gone And Never Coming Back” & “4AM” were the lead singles, this album cut is the lead ballad and biggest vocal showcase on the album. Melanie’s vocal performance on this song is next level. As the song climaxes, she cuts into it with the vocal intensity of an early 70’s Aretha Franklin and a 90’s Mary J. Blige. It’s a clever twist on the typical heartbreak song, posing the question of “how did I become the wrong side of a love song?”

4. “Watch Me Work”

   This is a straight up ‘strut down the street and werk it’ record. Put on your best heels and as the song says “watch me work!” Built on a Tina Turner-esque rock and soul instrumentation with a driving beat, it’s extremely empowering and confidence driving. This can be found in heavy rotation on my ‘Fierce’ playlist.

5. “6AM” feat. T-Pain

   Something about this is deliciously entertaining. As Melanie tells it, the two were in contact and talking about doing something. At the time T-Pain recently released the dreamy “5 O’Clock“, while Melanie was working the smoldering “4AM” from The MF Life. It was only logical to examine the next hour. The result is a fun, upbeat, at times comedic record. The peak moment comes at the beginning of the bridge when T-Pain sings “Ooooo what yo’ ass doin’ up anyway?” and Melanie fires back “Fuck that! I was sittin’ here worried ’bout you!”

Bonus: Melanie in Philadelphia

The day after Melanie released The MF Life, I saw her perform in Philadelphia and met her after the show. She tore the roof off World Cafe Live. The peak moment of the night was her notably next-level performance of “Wrong Side Of A Love Song”. Here’s a look:

Thanks for an unforgettable night and amazing album, Melanie!

Listen to Melanie Fiona’s The MF Life:

The post Top 5: Melanie Fiona’s “The MF Life” appeared first on THE 97.

Miss Patti started her career in the 60s as a member of the girl group Labelle. By the late 70s, she pursued her solo career, finding success while tackling Gospel, Disco, Pop, New Jack Swing and Funk on her records. In celebration of her announcement of a new album release, we are going to give you exactly what you need.

Below is a selection of “Mama Patti Essentials:” some of her most famous numbers, but also some tracks that aren’t necessarily well known and will still leave you looking for your wig. So get yourself a slice of your favorite Patti pie, sit back and enjoy!

Miss Patti’s new album, Bel Hommage, will be released on May 5.

The post Playlist: Mama Patti Essentials appeared first on THE 97.

24-year old Aretha Franklin walked into Atlantic Recording Studios on February 14, 1967. In her pocket, she held a new arrangement of Otis Redding’s 1965 hit “Respect”. 50 years later, Aretha Franklin’s cover of “Respect” is not only her signature song, but the song of a movement and generation. Let me take you back…

https://www.youtube.com/watch?v=YO8qqQoFoj8

Find Out What It Means To Me

After a rocky session in Muscle Shoals, Alabama, Aretha Franklin & team reconvened in New York City in February 1967. Their mission: Continue work on Aretha’s Atlantic Records debut LP, I Never Loved A Man (The Way I Love You). The material in these recording sessions was a mix of covers, a few originals, and of course, originals written by Aretha. Among the roster of songs to be recorded was a cover of Otis Redding’s “Respect”. Little did anyone know, that song would soon become the song that defined an era, and a career.

The Queen Without A Throne

Prior to signing with Atlantic Records in 1966, Aretha Franklin was far from the superstar she wanted to be. Her 10+ albums at Columbia Records failed to spark the fire. Therefore, at the end of her contract, Aretha moved on. Atlantic Records’ Jerry Wexler was waiting for the call that Aretha was free. Wexler had his eye on Aretha since hearing the soul-shaking gospel recordings she did when she was 14 years old. When Philadelphia radio dj Louise Bishop, called Wexler in the fall of 1966, all she had to say was “Aretha’s ready for you. (Ritz, 147)” Wexler was off to the races. Shortly thereafter, Aretha Franklin signed with Jerry Wexler and Atlantic Records.

Detroit and Alabama Converge in The Big Apple

After a bumpy recording session in Muscle Shoals, Alabama in January 1967, the team reconvened in New York City in February to continue work on Aretha’s Atlantic Records debut. Jerry Wexler ran the show along with Arif Mardin and Tom Dowd on the production side. Jerry also brought in the studio players from Muscle Shoals as well as the inimitable King Curtis for assistance with the horns. Despite all these other hands in the pot, Aretha ran the show.

Jerry Wexler was a smart man. He knew that Aretha needed to be more involved to make the music good and give it authentic feeling. That’s what was missing in many instances at Columbia Records: Aretha’s creative input. At Atlantic, Aretha played piano on many of her sessions, helped arrange not only the vocals on the records, but also the instrumentation. Combined with her playing piano, Aretha’s creative input turned out to be the missing ingredient in Aretha’s pot of soul music.

The A-Team

The team recording Aretha’s Atlantic Records debut was a unique mix of musicians, producers, and engineers. At the reigns was Jerry Wexler, producer and Atlantic Records executive who signed Aretha to her Atlantic contract. Along with him was engineer Arif Mardin, and arranger/engineer Tom Dowd. These 3 men headed up the production/engineering for the majority of Aretha’s legendary sessions at Atlantic Records.

The band was primarily made up of musicians from the session at Muscle Shoals, Alabama. These musicians provided the backbone for Aretha’s trailblazing soul sound. The legendary King Curtis also joined the Muscle Shoals musicians in New York City . Helping with the backgrounds were Aretha’s sisters Carolyn & Erma Franklin, along with the Sweet Inspiration herself, Ms. Cissy Houston.

R-E-S-P-E-C-T: Spell It!

February 14, 1967 was not Aretha’s first performance of “Respect”. She added the song to her live set list more than a year prior to signing with Atlantic Records, and was working on the arrangement with her sisters. Unfortunately, there are no recordings to provide further insight into what arrangement Aretha used. It be ventured though, that Aretha’s early live version feel somewhere between Otis’s original and her final update. What we do know though, is when she walked into Atlantic Recording Studios on February 14, 1967, the arrangement on the record was already completely worked out.

When considering the changes from Otis’s version of “Respect” to Aretha’s, the first thing that stands out is the spelling out of word in Aretha’s version. “I fell out of my chair when I heard that (Bego, 88)” Tom Dowd told Marc Bego when he heard Aretha first spell out “respect” in the song in Bego’s book The Queen of Soul.

There are a few other immediate things that can be noticed when comparing the two versions. First, the groove is different. As Jerry Wexler explained it to David Ritz in Respect: The Life Of Aretha Franklin: “her groove is more dramatic. That stop-and-stutter syncopation was something she invented. (Ritz, 161)”

In Otis’s version the song simply plays out, without a bridge. Otis’s version contains no bridge. For Aretha, Wexler and team utilized the chord changes of Sam and Dave’s “When Something Is Wrong With My Baby“. Then, King Curtis laid down that unforgettable tenor saxophone solo to bridge into the final stanzas before she spelled out exactly what she wanted.

From “Sock It To Me” to “T-C-B”

The “sock-it-to-me’s” were the product of Carolyn Franklin. The phrase was something Carolyn heard “on the streets and thought it might work in a call-and-response call with ‘Respect’… we had to rearrange the perspective (of the song from a man’s to a woman’s). (Ritz, 162)” The line gained so much fame as a result of “Respect” that there’s even a clip of President Richard Nixon saying it.

One of the most confused pieces of the song is what Aretha says after she spells ‘respect’. “Take care of, T-C-B.” “T-C-B”, often mis-heard as “T-C-P” refers to the phrase “taking care of business.” The phrase was commonly used in the black community in the 60’s. Aretha also referenced it on another cut from I Never Loved A Man (The Way I Love You), her own composition “Dr. Feelgood”. Later on, even Elvis Presley would adopt the acronym.

The final notable addition Aretha made is the line “I get tired, keep on trying, runnin’ out of fools, and I ain’t lying”. This is a reference to her biggest R&B hit on Columbia Records, “Runnin’ Out Of Fools“. As David Ritz points out, “she honored the soul-music tradition of self-referencing previous successes”. This is a tradition that continues into R&B today, just look to Janet Jackson, Mary J. Blige, and Mariah Carey.

The Sickest Vocal

Part of what makes an Aretha song an Aretha song is, of course, the  unmistakable vocal. Aretha’s voice commands attention, which is part of what makes “Respect” such an anthem. She doesn’t simply ask for respect, she commands, demands, and receives.

Amazingly though, the song’s recording took place when Aretha’s golden voice wasn’t as golden as it could be. “She had a cold”, Aretha’s son Teddy revealed in 2007. Most notably, listen to her vocal delivery on the “need” of the second line “what you need”. The note is a bit broken, and displays some strain. If being sick for the recording of a signature song doesn’t cement Aretha’s legacy as a legend, what does?

Respect: Asked and Earned

Upon it’s release on April 29, 1967, “Respect” got exactly what it asked for. Aretha’s second single on Atlantic Records received critical acclaim, and shot to number one on both the R&B and pop charts. Aretha had finally made it. Shortly thereafter, “Respect” won Aretha her very first Grammy Award. Rolling Stone Magazine placed “Respect” at #5 on it’s list of the 500 Greatest Songs Of All Time.

As if those accolades aren’t enough, Aretha’s version of “Respect” is often regarded as an anthem for the Civil Rights movement, gender equality, and down right person-to-person human dignity. Aretha went from fighting for a hit to fighting them off, seemingly overnight, thanks to a simple word: “respect”.

And what did Otis Redding think about all of this? “The girl has taken that song from me (Ritz, 161).” Otis Redding told Jerry Wexler. The popular of Aretha’s version grew so high that even Otis adapted it on a few occasions during live performances.

To this day, there is not an Aretha Franklin concert that goes by without “Respect”, usually as the encore. And every night, Aretha sings it, but the audience sings right along, word for word. Aretha has performed the song so, so, so many times that it’s impossible to highlight all of them (although that should be a good start) It’s even more impossible though, to list all the instances it has been used, in film, tv, and even by other others looking to pay their own respect to Aretha. This performance in Amsterdam in 1968 though, ranks among the best:

https://www.youtube.com/watch?v=u6cpQUcJfJI

And what does Aretha have to say about the song? “”Respect” was-and is-an ongoing blessing in my life (Franklin, 112).”

Listen to Aretha Franklin’s “Respect” & I Never Loved A Man (The Way I Love You):

Sources

Ritz, David. Respect: The Life of Aretha Franklin. 2014

Dobin, Matt. I Never Loved A Man the Way I Love You: Aretha Franklin, Respect, and The Making Of A Soul Music Masterpiece. 2003

Bego, Mark. The Queen of Soul. 2001.

Franklin, Aretha & Ritz, David. Aretha: From These Roots. 1999.

The post Aretha Franklin’s “Respect”: Still T-C-B After 50 Years appeared first on THE 97.

45 years ago Aretha Franklin was at her peak. 3 major events mark this era: First, her show stopping 1971 performances at the Fillmore West in San Francisco helped expose her to a brand new audience. Second, her game-changing 1972 gospel album Amazing Grace redefined the gospel genre, and helped bring gospel to the mainstream audience. And finally, her twentieth album, Young, Gifted & Black showcased her continued ability to secure hit after hit. Despite the majority of the album being covers, there are 4 Aretha-penned originals that cement her status as an extraordinary songwriter.

In today’s music industry, it’s hard to imagine a new album that relies more on covers than originals (save for a covers album). However, when you factor Aretha Franklin into that, the rules go out the window. Aretha is the Queen of cover songs. Her biggest hit “Respect” is a cover. Her last #1 was a cover of Adele’s “Rolling In The Deep” mashed up with “Ain’t No Mountain High Enough”. The woman knows how to take a song, rearrange it, and sing it well. Not only that, but in most cases, she sings a song better than the original artist. Let us take you back.

The Covers

Attempting to narrow down the best covers on Young, Gifted & Black is a tall order. These 8 songs are all incredible choices and arrangements to suit the musical climate of the early 70’s. The songs also flawlessly suit Aretha’s seemingly-limitless vocal range at the time. Song after song, she effortlessly soars to the highest of the highs and the lowest of the lows.

Aretha is a masterful interpreter and arranger of songs. With each cover, and she abandons the arrangement to make it something she can cut into and tear up. To narrow things down, the top 3 covers on the album are “Oh Me Oh My (I’m A Fool For You Baby)”, “Young, Gifted, and Black”, and “A Brand New Me”. Each song is unique: One a soaring ballad, one a charged declaration of black pride, and finally, a gleeful perspective of optimism.

“Oh Me Oh My, I’m A Fool For You Baby”

Originally performed by Lulu, this song was meant to mature the singer’s sound but instead failed to ignite the charts. Lulu’s version is similar in tempo, but vocally straight to the point (read: not soulful). Interestingly, both the Lulu and Aretha versions were produced by the inimitable trio of Jerry Wexler, Arif Mardin, and Tom Dowd, who are responsible for many of Aretha’s most successful years at Atlantic Records.

Despite the same production team, the versions couldn’t be different, a nod to Aretha’s genius for arranging a record. Aretha takes the song to new highs. The tempo slowed down, the phrasing more drawn out, and the instrumental focus shifts to the piano, something not present in Lulu’s version. Aretha’s vocals induce goosebumps every time, especially as the song climaxes.

“Young, Gifted & Black”

It would be fair to argue that had the scales tipped just a bit differently, we could hold Nina Simone and Aretha in the same vein. Nina however, was different, and this song is a prime example. Written by Nina as “To Be Young, Gifted & Black”, the original version is short, straightforward, and beautiful. Leave it to Aretha to take it to church.

Aretha’s version is, again, drawn out. She takes Nina’s Civil Rights anthem and delivers it to a chunk of it’s target audience, black churchgoers. This starts out as a freestyle testimonial, and Aretha goes as far as wailing “when you’re youngggggggg thank you Jesus! gifted, and black.” Church is now in session.

“A Brand New Me”

While Dusty’s original version has some good rhythm, once again Aretha knows how to jazz it up without overdoing it. The addition of Aretha’s piano surely adds that extra feeling. Combine that with the unmatched vocal delivery, and it’s a gem that deserves more attention. Even Aretha knows it. She’s called the song a favorite, and to this day still adds it to her setlist in concert.

The Originals

Aretha is a gifted songwriter to say the least, and these compositions only further solidify and extend that statement. These 4 songs are not only diverse in tempo, but also in subject matter and instrumentation.

“Rock Steady”

A legendary Aretha song. This is Aretha at her funkiest, and not feeling the urge to move when this song comes on means that you don’t have a pulse. The percussion is unique, the bass is pulsing, and the cleverly placed horn breaks all create a flawless experience. Don’t forget Aretha’s holy wailing over the hook. And most importantly, Billy Preston’s organ skills make this not just a funky experience, but a holy one too.

“First Snow In Kokomo”

The most important song on this album, and one of the most important in Aretha’s repertoire. As David Ritz points out in his biography Respect: The Life of Aretha Franklin, “(i)t is is the only Aretha song written out of rhythm. There’s no groove whatsoever. (Ritz, 231)” It’s true. The only percussion found on this song is a triangle, which hits the occasional one.

More notably, the uniqueness of the song’s subject matter. This is no love song, at least not in the typical Aretha-style. Here Aretha sings as an observer to life in Kokomo, Indiana. The mother of Ken Cunningham, Aretha’s significant other during this time, lived in Kokomo. Aretha visited there with Ken once, and suddenly inspiration struck in the most organic way. “For a few blissful days, Aretha found a way to get off the grid. No touring, no recording, no career demands (Ritz, 231).” The result is jarringly serene and wonderful.

“Day Dreaming” & “All The King’s Horses”

For years, mystery surrounded who was the subject of “Day Dreaming”. In recent years, Aretha revealed that, as suspected, the inspiration for the song was The Temptations’ Dennis Edwards. “Day Dreaming” lives up to it’s name, with a dreamy introduction marked by lush strings and electric piano. Aretha describes the perfection of this man, how he may whisk her away at a moment’s notice. She shares her desire to be “what he wants, when he wants it and whenever he needs it.” The song is a staple of Aretha’s catalog, peaking at #1 on the Billboard R&B chart & #5 on the Billboard Hot 100. Artists including Natalie Cole, Tamia, and Mary J. Blige have all covered the song, while rappers T.I. and Cam’Ron interpolated it into their own original songs.

On the flip side is “All The King’s Horses”, about the demise of the same man. Aretha notably flexes her prodigal piano skills on the celeste, giving the song it’s sadder tone. The structure is interesting. Aretha calmly delivers the verses, and then crescendos into a grandiose battle of booming sounds. It’s melancholy, with just a touch of pissed off.

Legacy

As the years passed, Young, Gifted & Black became regarded as a milestone in Aretha’s career. Despite being smashed between her unparalleled triumph at the Fillmore West (which we also covered), and her game-changing display on the Amazing Grace album, this body of work holds strong. Notoriously tough critic Robert Christgau called the album “the first successful black pop record.” Rolling Stone magazine said in their March 16, 1972 issue that the album is an “extremely personal, beautiful record.” “Young, Gifted & Black” the song won a Grammy award for Best Female R&B Vocal Performance. Aretha won said award 8 years in a row. Two years prior to this win, she beat Nina Simone’s album Black Gold, which contained… “To Be Young, Gifted & Black”.

The songs Aretha wrote except (criminally) for “First Snow In Kokomo”, were covered numerous times over the years and solidified their place in pop culture. Aretha continues to incorporate songs from Young, Gifted & Black songs into her live shows, but these days sticks to either “Oh Me Oh My (I’m A Fool For You Baby)” and “A Brand New Me” (and also, “My Cup Runneth Over”, an outtake). In 1993 though, Aretha joined forces with Elton John and performed “Border Song”, which packed serious punch.

Though we didn’t get a chance to cover every single song on Young, Gifted & Black, dig in! Her covers of “I’ve Been Loving You Too Long”, “Didn’t I (Blow Your Mind This Time)” and “The Long and Winding Road” follow this pattern of re-imaging each song, with fantastic results.

Listen to Aretha Franklin’s Young, Gifted & Black:

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