Aretha Franklin - Soul '69 (1969)

One of her most overlooked '60s albums, on which she presented some of her jazziest material, despite the title. None of these cuts were significant hits, and none were Aretha originals; she displayed her characteristically eclectic taste in the choice of cover material, handling compositions by Percy Mayfield, Sam Cooke, Smokey Robinson, and, at the most pop-oriented end of her spectrum, John Hartford's "Gentle on My Mind" and Bob Lind's "Elusive Butterfly." Her vocals are consistently passionate and first-rate, though, as is the musicianship; besides contributions from the Muscle Shoals Rhythm Section, session players include respected jazzmen Kenny Burrell, Ron Carter, Grady Tate, David Newman, and Joe Zawinul. AMG.

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Aretha Franklin - Young, Gifted and Black 1972

It's nearly impossible to single out any of Aretha Franklin's early-'70s albums for Atlantic as being her best, particularly given the breadth of her output during this era. In terms of albums rather than singles, it's probably her strongest era, and if you count live albums like Amazing Grace, choosing a standout or a favorite record isn't any easier. Yet of this stunning era, Young, Gifted and Black certainly ranks highly among her studio efforts, with many arguing that it may be her greatest. And with songs like "Rock Steady," that may be a valid argument. But there's much more here than just a few highlights. If you really want to go song by song, you'd be hard-pressed to find any throwaways here -- this is quite honestly an album that merits play from beginning to end. You have upbeat songs like the aforementioned "Rock Steady" that will get you up out of your seat moving and grooving, yet then you also have a number of more introspective songs that slow down the tempo and are more likely to relax than rouse. And if that wide spectrum of moods isn't enough reason to celebrate this album, you get some unlikely songs like a take on "The Long and Winding Road." Plus, you also have to keep in mind that Franklin was in her prime here, not only in terms of voice but also in terms of confidence -- you can just feel her exuding her status as the best of the best. Furthermore, her ensemble of musicians competes with any that she had worked with on previous albums. So even if this isn't the greatest Aretha Franklin album of the early '70s, it's certainly a contender, the sort of album that you can't go wrong with. AMG.

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Aretha Franklin - Lady Soul 1968

Appearing after a blockbuster debut and a sophomore set that was rather disappointing (in comparison), 1968's Lady Soul proved Aretha Franklin, the pop sensation, was no fluke. Her performances were more impassioned than on her debut, and the material just as strong, an inspired blend of covers and originals from the best songwriters in soul and pop music. The opener, "Chain of Fools," became the biggest hit, driven by a chorus of cascading echoes by Franklin and her bedrock backing vocalists, the Sweet Impressions, plus the unforgettable, earthy guitar work of guest Joe South. The album's showpiece, though, was "(You Make Me Feel Like) A Natural Woman," a song written expressly for her by Brill Building pop stalwarts Gerry Goffin and Carole King, based on a title coined by producer Jerry Wexler. One of the landmark performances in pop music, the song floats serenely through the verses until, swept up by Ralph Burns' stirring string arrangement again and again, Franklin opens up on the choruses with one of the most transcendent vocals of her career. And just as she'd previously transformed a soul classic (Otis Redding's "Respect") into a signature piece of her own, Franklin courageously reimagined songs by heavyweights James Brown, Ray Charles, and the Impressions. Brown's "Money Won't Change You" is smooth and kinetic, her testifying constantly reinforced by interjections from the Sweet Inspirations. Curtis Mayfield's "People Get Ready," a 1965 civil-rights anthem and a hit for the Impressions, is taken at a slower pace than the original; after a quiet verse, Franklin lets loose amidst a magisterial brass arrangement by Arif Mardin. Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin's second gold LP and remained on the charts for over a year. AMG.

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Aretha Franklin - Amazing Grace 1972

Aretha Franklin disproved the notion that once you leave the church, you can't go back. She returned in triumph on this 1972 double album, making what might be her greatest release ever in any style. Her voice was chilling, making it seem as if God and the angels were conducting a service alongside Franklin, Rev. James Cleveland, the Southern California Community Choir, and everyone else in attendance. Her versions of "How I Got Over" and "You've Got a Friend" are legendary. AMG.

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Aretha Franklin - I Never Loved a Man the Way I Love You 1967

While the inclusion of "Respect" -- one of the truly seminal singles in pop history -- is in and of itself sufficient to earn I Never Loved a Man the Way I Love You classic status, Aretha Franklin's Atlantic label debut is an indisputable masterpiece from start to finish. Much of the credit is due to producerJerry Wexler, who finally unleashed the soulful intensity so long kept under wraps during her Columbia tenure; assembling a crack Muscle Shoals backing band along with an abundance of impeccable material, Wexler creates the ideal setting to allow Aretha to ascend to the throne of Queen of Soul, and she responds with the strongest performances of her career. While the brilliant title track remains the album's other best-known song, each cut on I Never Loved a Man is touched by greatness; covers of Ray Charles' "Drown in My Own Tears" and Sam Cooke's "Good Times" and "A Change Is Gonna Come" are on par with the original recordings, while Aretha's own contributions -- "Don't Let Me Lose This Dream," "Baby, Baby, Baby," "Save Me," and "Dr. Feelgood (Love Is a Serious Business)" -- are perfectly at home in such lofty company. A soul landmark. AMG.

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Aretha Franklin - Spirit In The Dark 1970

Spirit in the Dark was one of Aretha Franklin's more overlooked albums from her Atlantic prime, despite the inclusion of a couple hit singles (the title track and "Don't Play That Song"). The disc includes five of her own compositions (the most she ever recorded for a single album) and her usual eclectic choice of cover material. On this record, the covers ranged from B.B. King and Dr. John to Jimmy Reed andGoffin/King's "Oh Not My Baby." The album also benefits from great backup players: Both the Muscle Shoals rhythm section and the Dixie Flyers contributed to the sessions, and Duane Allman lends his guitar to a couple of tracks. Though it doesn't rank with her very best Atlantic LPs, it's an exuberant and remarkably consistent effort. The 1993 CD reissue has detailed liner notes on the songs and sessions byDavid Nathan. AMG.

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