Aretha franklin in R&B, Hip Hop & Rap Music

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"The Very Best of Aretha Franklin, the 70's" (02/26/2008) R&B Franklin, Aretha, Rhino Records (USA)Personnel includes: Aretha Franklin (vocals). Producers: Jerry Wexler, Tom Dowd, Arif Mardin, Quincy Jones, Curtis Mayfield. Compilation producer: Gary Stewart. Includes liner notes by Steven Ivory. Digitally remastered by Bill Inglot and Dan Hersch (DigiPrep). Audio Remasterers: Dan Hersch; Bill Inglot. Obviously, anybody who wants the very best of Aretha Franklin would want to have acquire Volume 1 before Volume 2, but that said, this is quite a nice collection of Franklin's strongest material from the '70s, including radio classics like "Rock Steady," "Don't Play That Song," "Day Dreaming," and "Until You Come Back to Me." You also get the underrated but thrillingly bluesy "Spirit in the Dark," and intriguing covers of "Border Song," and "Bridge Over Troubled Waters," in which Franklin gets to the songs' gospel cores that eluded their authors (respectively Elton John and Paul Simon).

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"Platinum & Gold Collection" (05/06/2003) R&B Franklin, Aretha, BMG HeritageProducers include: Jerry Wexler, Narada Michael Walden, Luther Vandross, David A. Stewart, Lauryn Hill. Compilation producers: Rob Santos, Gretchen Brennison. Recorded between 1967 & 1986. Includes liner notes by Bill Dahl. This is part of Arista's Platinum & Gold Collection.

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"Live at the Fillmore West" (12/14/1993) R&B Franklin, Aretha, Atlantic & Atco RemastersPersonnel: Aretha Franklin (vocals, electric piano); Ray Charles (vocals, electric piano); King Curtis (soprano & tenor saxophones); Billy Preston (organ). The Kingpins: Cornell Dupree (guitar); Truman Thomas (electric piano); Jerry Jemmott (bass); Bernard Purdie (drums); Pancho Morales (congas). The Memphis Horns: Andrew Love, Lou Collins (tenor saxophones); Jimmy Mitchell (baritone saxophone); Wayne Jackson, Roger Hopps (trumpets); Jack Hale (trombone). The Sweethearts Of Soul: Margaret Branch, Brenda Bryant, Pat Smith (background vocals). Recorded live at Fillmore West, San Francisco, California on February 5 and 7, 1971. Originally released on Atlantic (7205). Includes liner notes by David Nathan. When Aretha Franklin recorded 1971's LIVE AT FILLMORE WEST, she was backed by a group of veteran session musicians on a mix that included interpretations of popular songs and some of her trademark numbers. Franklin makes Stephen Stills' "Love The One You're With" her own with the help of Billy Preston's joyous organ work, while Bread's saccharine "Make It With You" is injected with a healthy shot of sexy sassiness. Franklin's underrated piano playing and a healthy display of her gospel roots make FILLMORE a special recording in Lady Soul's vast canon. Franklin's skill on the eighty-eights particularly shines on her swinging treatment of the Beatles' "Eleanor Rigby" and the jubilant "Don't Play That Song." Franklin also plays electric piano on "Dr. Feelgood," and from this point on she turns Bill Graham's hall into a Baptist church. The call-and-response of her background singers and King Curtis' skillful band-leading/saxophone playing lead up to the high point where she brings Ray Charles out for the reprise of the testimonial "Spirit In The Dark" followed by the uplifting "Reach Out And Touch (Somebody's Hand)."

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"I Never Loved a Man the Way I Love You" (06/20/1995) R&B Franklin, Aretha, Atlantic & Atco RemastersPersonnel: Aretha Franklin (vocals, piano); Chips Moman, Jimmy Johnson (guitar); Charlie Chalmers, Joe Arnold (tenor saxophone); Willie Bridges (baritone saxophone); Melvin Lastie (trumpet, cornet); Ken Laxton, Ernie Royal (trumpet); David Hood (trombone); Spooner Oldham (electric piano, organ); Arif Mardin (vibraphone); Tommy Cogbill (bass); Gene Chrisman, Roger Hawkins (drums); Carolyn Franklin, Erma Franklin. Recorded at Atlantic Recording Studios, New York, New York on February 8, 14 & 15, 1967; Fame Recording Studios, Muscle Shoals, Alabama on January 24, 1967. Includes liner notes by David Nathan and Jerry Wexler. Personnel: Aretha Franklin (vocals, piano); Chips Moman, Jimmy Johnson (guitar); King Curtis, Charlie Chalmers (tenor saxophone); Willie Bridges (bass saxophone); Melvin Lastie (trumpet, cornet); Dewey "Spooner" Oldham (keyboards); Tommy Cogbill (bass); Gene Chrisman, Roger Hawkins (drums); Carolyn Franklin (background vocals). Recorded at Atlantic Recording Studios, New York on February 8th and 14th, 1967 and at Fame Recording Studios, Muscle Shoals, Alabama on January 24th, 1967. Includes original release liner notes by Jerry Wexler. After the end of Aretha Franklin's five year stint on Columbia Records (who tried marketing her as a jazz vocalist), she signed on with Atlantic Records. Produced by music biz veteran Jerry Wexler, Franklin's Atlantic debut found her flexing creative muscle and making music that forever altered the course of pop and soul. Accompanying herself on piano throughout, Franklin's powerful and passionate vocals garnered comparisons to Ray Charles, while her blend of R&B, gospel and jazz rightfully earned her the moniker "Queen Of Soul."

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"Jazz to Soul" (07/14/1992) R&B Franklin, Aretha, Legacy RecordingsPersonnel includes: Aretha Franklin (vocals, piano); Lord Westbrook (guitar); Al Sears (tenor saxophone); Tyree Glenn, Quentin Jackson (trombone); Ray Bryant (piano); Bill Lee, Milt Hinton (bass); Osie Johnson, Sticks Evans, Belton Evans (drums). Producers: John Hammond, Robert Mersey, Bobby Scott, Clyde Otis, Al Kasha. Compilation producer: John Snyder. Recorded between 1960 & 1964. Includes liner notes by David Nathan. This two-disc set celebrates an often overlooked or wrongly dismissed period of Aretha Franklin's career. Prior to signing with Atlantic in 1966, she spent the first half of the '60s recording for Columbia Records. A variety of musical directions were pursued by the label, showing that while perhaps there wasn't a consensus or about how to best present the young singer, her talents were undeniably enormous. From pop and show tunes to Gospel, Aretha regularly demonstrated herself to be more than equal to all of it--in fact she often turned fair to middling material into something greater by filtering it through her powerfully evocative voice. This is a smartly assembled anthology that makes a strong and clear statement about a then-emerging star who went on to be one of the preeminent singers in the second half of the 20th century.

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"The Early Years" (02/11/1997) R&B Franklin, Aretha, Legacy RecordingsPersonnel includes: Aretha Franklin (vocals, piano); Robert Mersey, Belford C. Hendricks (conductor); Evert Barksdale (guitar, bass); Kenny Burrell (guitar); Buddy Lucas (harmonica, tenor saxophone); Ernie Royal (trumpet); Teddy Harris (piano); Paul Griffin, Ernie Hayes (organ); Teddy Charles (vibraphone); Milt Hinton, James "Beans" Richardson (bass); Hindel Butts, Gary Chester, Panama Francis (drums). Compilation producer: Leo Sacks. Recorded in New York, New York between May 11, 1962 and February 10, 1965. Includes liner notes by Michele Wallace. This is part of Legacy Records' Rhythm & Soul series. Between 1963 and 1965, before she became the undisputed Queen of stripped down R&B and gutbusting Soul, Aretha Franklin recorded six albums for Columbia Records. These are of a markedly different nature from her later work, characterized by polished arrangements, heavy orchestration and a general mood that wants to recall the blues divas of the 40's and 50's, rather than shift to accommodate the raw sound that would electrify the late 60's. What's astonishing about these recordings is Franklin herself; who, in her tender early 20's, had already forged a unique blend of gospel, blues, jazz and R&B and was wielding a fully-developed voice. Even through the overorchestrated funk of "Cry Like A Baby," and "Trouble in Mind," her skill dazzles and delights. Best are the album's blues tracks, such as "Evil Gal Blues" and "Nobody Knows The Way I Feel This Morning," in which minimal arrangements give the vocalist more room to move, with spectacular results. While the Columbia formula was not the best for her (which she thankfully realized in '66 when she went to Atlantic Records), THE EARLY YEARS, is still worthwhile listening. The truth is, though, most any of the Queen's 60's recordings are worthwhile listening.

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"Greatest Hits: 1980-1994" (02/01/1994) R&B Franklin, Aretha, Arista Records (USA)Personnel includes: Aretha Franklin (vocals, piano, keyboards); George Michael, Luther Vandross, Gloria Estefan, Bonnie Raitt, Sylvester, Michael McDonald, Lisa Fischer (vocals); Rick Iantosca (acoustic & electric guitars); Paul Jackson Jr., Dean Parks, Cornell Dupree, Corrado Rustici, Doc Powell (guitar); Marc Russo (alto saxophone); Kenny G. (tenor saxophone); Clarence Clemons (saxophone); Narada Michael Walden (piano, drums, percussion); Babyface (keyboards, programming); David Cole (keyboards, background vocals); Nat Adderley Jr., Burt Bacharach (keyboards); Nathan East (bass); Bernard Purdie (drums); Robert Clivilles, Paulinho Da Costa (percussion); L.A. Reid (programming); Cissy Houston (background vocals). GREATEST HITS (1980-1994) contains all of Aretha's hits since arriving at Arista records in 1980 as well as several new songs recorded for this release. "A Deeper Love" was nominated for Best Female R&B Vocal Performance in the 37th Annual Grammy Awards. This aptly named best-of album collects the creme de la creme of Lady Soul's post-Atlantic Records work, a fruitful period in which she re-invented herself as an all-purpose pop diva. Highlights include several star duets, among them "United Together," a classic Burt Bacharach ballad done with Michael McDonald, and the perky "Doctor's Orders," with Luther Vandross; as well as more urban fare such as the tell-it-like-it-is "Who's Zoomin' Who" and "Jump to It." There's also a show-stopping rendition of "I Dreamed a Dream," the big number from the musical LES MISERABLES, and the brilliant crossover smash "Freeway of Love," an almost-rocker which introduced Aretha to the MTV generation.

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"Love Songs" (01/09/2001) R&B Franklin, Aretha, Legacy RecordingsPersonnel includes: Aretha Franklin (vocals, piano); Robert Mersey (arranger). Producers: Robert Mersey, Clyde Otis. Compilation producer: Leo Sacks. Recorded between April 27, 1962 and February 10, 1965. Originally released on Columbia Records. Includes liner notes by David Ritz. Digitally remastered by Mark Wilder (2000, Sony). Prior to becoming the Queen Of Soul, former gospel prodigy Aretha Franklin made her first foray into secular music in the early '60s, under the auspices of MOR kingpin and Columbia Records head Mitch Miller. LOVE SONGS features material from this era but by virtue of her amazing talents, she emerges sounding more like Dinah Washington than Patti Page. Accompanying herself on piano, the then- 20 year-old tackles lushly orchestrated numbers normally associated with Washington ("What a Difference a Day Makes"), Billie Holiday ("But Beautiful"), and Frank Sinatra ("Only the Lonely"). Aretha even manages to inject some grit into the bluesy "Muddy Water" and "Trouble in Mind," cutting loose against a background of Wes Montgomery-flavored guitar and a swinging rhythm section. Despite Miller's best efforts to sanitize Aretha's sound, LOVE SONGS comes off as a hip collection, tailor-made for cocktails and slow dancing.

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"Gospel Greats" (03/17/1998) R&B Franklin, Aretha, Flashback RecordsPersonnel include: Aretha Franklin (vocals).

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"Who's Zoomin' Who?" (12/2005) R&B Franklin, Aretha, BMG Special ProductsPersonnel includes: Aretha Franklin, Peter Wolf (vocals); Corrado Rustici (guitar, synthesizer); William "Doc" Powell, Steve Khan, Mike Campbell, Ray Gomez, Carlos Santana (guitar); Dizzy Gillespie (trumpet); Clarence Clemons (saxophone); Walter Afanasieff, Preston Glass, Nat Adderley Jr.(keyboards); Benmont Tench (organ); Randy Jackson (synthesizer, bass); Robert Kandor (synthesizer); Louis Johnson, Nathan East (bass); Narada Michael Walden (drums, percussion); Stan Lynch, Yogi Horton (drums); Andy Narell (steel drums); Steve Kroon (percussion); Greg Gonaway (tambourine); The Charles Williams Singers, Carolyn Franklin, Sylvester, Jeanie Tracy, Vicki Randle, Jim Gilstrap, Preston Glass, Kitty Beethoven (background vocals). The Eurythmics: Annie Lennox (vocals, keyboards); David A. Stewart (guitar, keyboards). Recorded at The Automatt, San Francisco, California; United Sound, Detroit, Michigan; The Plant, Sausalito, California; Right Track, New York, New York. Personnel include: Aretha Franklin (vocals); Eurythmics (vocals); Clarence Clemons (saxophone); Peter Wolf. Recording information: 1985. When the Reverend C.L. Franklin passed away in 1984, daughter Aretha (who was close to her father) rebounded from this personal tragedy by cutting 1985's WHO'S ZOOMIN' WHO? with producer Narada Michael Walden. The resulting album is full of famous names, contained three Top 20 singles and was Franklin's highest-charting album since 1972. Hitting the upper reaches of the charts were "Freeway Of Love," the title track and "Sisters Are Doin' It For Themselves," a feminist anthem written by and recorded with the Eurythmics. The Top 5 "Freeway" found Lady Soul backed by the Santana rhythm section and featured a ripping sax solo by Clarence Clemons. Other famous cameos on ZOOMIN' include Dizzy Gillespie playing trumpet on the Franklin-penned "Integrity," and Carlos Santana and Peter Wolf contributing guitar and vocals respectively on "Push. Amidst the flood of slick R&B, Van McCoy's "Sweet Bitter Love" is a slow-burning highlight in which Franklin's exquisite singing cuts through the numerous drum machines and lite funk rhythms populating most of this record.

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"Spirit in the Dark" (12/14/1993) R&B Franklin, Aretha, Atlantic & Atco RemastersPersonnel: Aretha Franklin (vocals, piano); Cornell Dupree, Duane Allman, Eddie Hinton, Jimmy Johnson , Jimmy O'Rourke, Charlie Freeman (guitar); Barry Beckett (electric piano, organ); Dave Crawford, Jim Dickinson, Mike Utley (keyboards); David Hood, Harold Cowart, Tommy McClure (bass instrument); Ray Lucas, Roger Hawkins, Sammy Creason, Tubby Ziegler (drums); Pat Lewis, The Sweet Inspirations, Almeda Lattimore, Brenda Bryant, Margaret Branch, Evelyn Green, Wylene Ivy (background vocals). Recording information: Atlantic Recording Studios, New York, New York (05/26/1969 - 05/27/1969); Criteria Studio, Miami, Florida (10/1969 - 03/1970). SPIRIT IN THE DARK represents Aretha Franklin at the height of her majestic vocal power. This is Southern, gospel-based R&B/soul circa 1969/70, featuring the cream of the genre's players: the Dixie Flyers, the Muscle Shoals Rhythm Section, the under-rated Cornell Dupree, and the late guitar wizard Duane Allman (of the Allman Brothers.). The then-unbeatable production team of Jerry Wexler, Tom Dowd, and Arif Mardin (guys who were clearly concerned with the music, not just the way the balance sheet looked) manned the controls to achieve a clean, undeniably powerful sound. The material is a nice mix of pop ("Oh No Not My Baby"), blues ("The Thrill is Gone"), and mid-tempo soul tunes that balance strut with hurt ("Don't Play That Song"). At the center of each of these tracks, of course, are the Queen of Soul's powerhouse pipes. Here Franklin sings with passion tinged with vulnerability, and an authority that few contemporary singers--even decades after Franklin's heyday--can match. Though not as widely touted as I NEVER LOVED A MAN THE WAY I LOVE YOU or ARETHA NOW, SPIRIT IN THE DARK is among the most consistent and dynamic records of the singer's Atlantic tenure.

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"Jazz Moods: 'Round Midnight" (04/19/2005) R&B Franklin, Aretha, Legacy RecordingsRecording information: 1961 - 1965. Although Aretha Franklin made her name as one of the greatest performers of hard-driving, soulful R&B in the 1960s, there is a compelling, lesser-known chapter in her career. Before her celebrated tenure at Atlantic, during which she was dubbed "the Queen of Soul," Franklin had a deal with Columbia Records, who put the vocalist's powerful, gospel-inflected voice to use singing jazz standards couched in lush arrangements. This material is the focus of Franklin's installation in the JAZZ MOODS: 'ROUND MIDNIGHT series. The funky punch and grit usually associated with Franklin is absent here. Instead, the singer is backed by jazz combos and large orchestras, lending her performances, alternately, the sultry aspect of a smoky nightclub and the glittering, string-sweetened atmosphere of a glamorous ballroom. While the arrangements are formal, Franklin's voice is as passionate and expressive as ever, with her trademark technical prowess showcased on renditions of "Misty," the deeply bluesy "All Night Long," and the gorgeous, lilting "Only the Lonely." Franklin's earthy inflections work surprisingly well in a jazz context, making this collection a satisfying glimpse into the early part of Franklin's catalogue.

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"Music of Your Life: Lady Soul" (07/25/2004) R&B Franklin, Aretha, BCI Music (Brentwood Communication)

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"Soul '69" (12/14/1993) R&B Franklin, Aretha, Atlantic & Atco RemastersPersonnel: Aretha Franklin (vocals, piano); Arif Mardin (arranger, conductor); Jimmy Johnson, Kenny Burrell (guitar); David Newman (flute, tenor saxophone); George Dorsey, Frank Wess (alto saxophone); Seldon Powell, King Curtis (tenor saxophone); Pepper Adams (baritone saxophone); Joe Newman, Snookie Young, Bernie Glow, Ernie Royal, Richard Williams (trumpet); Jimmy Cleveland, Benny Powell, Urbie Greene, Thomas Mitchell (trombone); Junior Mance (piano); Joe Zawinul (electric piano, organ); Spooner Oldham (organ); Jack Jennings (vibraphone); Jerry Jemmott, Tommy Cogbill, Ron Carter (bass); Grady Tate, Roger Hawkins, Bruno Carr (drums); Louie Goicdecha, Manuel Gonzales (percussion); Evelyn Greene, Wyline Ivy (background vocals). Recorded at Atlantic Recording Studios, New York, New York on April 17 & 18 and September 23-27, 1968. Originally released on Atlantic (8212). Includes liner notes by David Nathan. The title is a bit of a misnomer--this album, originally released in 1969, should have been called "Aretha's Jazz" or "The Queen of Soul Swings." Aretha's powerful, authoritative singing is consistent with her best '60s & early '70s work, but here she applies it to an interesting mix of '50s & '60s pop, soul/R&B and jazz standards. The beat tends to swing, sway and "cook" rather than snap, the horn section swells with rich, punchy unison passages rather than riffing or honking and the instrumental solos have a jazzy, thoughtful feel. The background vocals still have that gospel-chorus-derived sound, however, and Aretha's voice still soars to the heavens. She makes every song sound like it belongs to her alone--whether it's Glen Campbell's "Gentle On My Mind"or Smokey Robinson & the Miracles' "Tracks of My Tears." Each track is given a jazz-accented rendition with Aretha's voice redefining the tune's meaning. Not an album for those just getting familiar with the Queen of Soul's body of work, but it will show her fans a rarely-seen side of her talent.

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"One Lord, One Faith, One Baptism" (05/06/2003) R&B Franklin, Aretha, Arista Records (USA)Personnel: Aretha Franklin, Mavis Staples, Joe Ligon, The Franklin Sisters (vocals); Reverend Cecil Franklin, Reverend Jesse Jackson, Reverend Jaspar Williams, Reverend Donald Parsons (spoken vocals); Michael Wright (guitar); Nick Johnson (piano); Earl J. Wright (organ); Lanar Brantley (bass); Dana Davis (percussion); Margaret Branch, Renee Thomas, Ortheia Barnes, Sandra Feva (background vocals). Recorded at the New Bethel Baptist Church, Detroit, Michigan in July 1987. Includes liner notes by David Nathan. This is part of Arista Records "Original Masters" series.

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"This Girl's in Love With You" (12/14/1993) R&B Franklin, Aretha, Atlantic & Atco RemastersPersonnel: Aretha Franklin (vocals, piano); Duane Allman (slide guitar, guitar); Eddie Hinton, Jimmy Johnson, Jerry Weaver (guitar); King Curtis (tenor saxophone); Barry Beckett (organ, electric piano); David Hood (bass); Roger Hawkins (drums); Cissy Houston, The Sweet Inspirations, Sylvia Shemwell, Brenda Bryant, Pat Lewis (background vocals). Producers: Jerry Wexler, Tom Dowd, Arif Mardin. Engineers: Ron Albert, Chuck Kirkpatrick, Tom Dowd, Jerome Gasper. Recorded at Atlantic Recording Studios, New York, New York on January 8 & 9 and October 9, 1969; Criteria Studios, Miami, Florida on October 6, 1969. Originally released on Atlantic (8248). Includes liner notes by David Nathan. Released in 1970, THIS GIRL'S IN LOVE WITH YOU captures Aretha still riding the arc of an extremely powerful, stratospherically successful period. As part of an effort to achieve greater crossover success, the Queen tackles various '60s hits from the Rock and Pop charts. Aretha hit with renditions of " "Let It Be" and "The Weight." The album's real highlights, though are her soulful cover of Bobby Bland's "Share Your Love With Me," the stirring "Dark End Of The Street" and the gut-wrenching, Gospel-tinged "Sit Down And Cry." The album's title track and Franklin's #1 hit "Call Me," while somewhat overwrought, still showcase the singer's incomparable voice, which, as always, soothes like a caress and smashes like a hammer. THIS GIRL'S IN LOVE WITH YOU, while not her strongest album, is still a noteworthy addition to Aretha's Atlantic discography.

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"The Queen in Waiting: The Columbia Years 1960-65" (09/17/2002) R&B Franklin, Aretha, Legacy RecordingsPersonnel includes: Aretha Franklin (vocals, piano); Robert Mersey, Clyde Otis, Belford C. Hendricks, Bobby Scott (arranger, conductor); Keeter Best, Kenny Burrell, Lord Westbrook (guitar); Buddy Lucas, Al Sears (tenor saxophone); Ernie Royal (trumpet); Ernie Hayes (piano, organ); Ray Bryant, Teddy Harris, Ellis Larkins (piano); Paul Griffin (organ); Teddy Charles (vibraphone); George Duvivier, Milt Hinton, Bill Lee (bass); Osie Johnson, Sticks Evans (drums). Producers: John Hammond, Bob Johnston, Robert Mersey, Clyde Otis, Bobby Scott. Compilation producer: Leo Sacks. Recorded at Columbia Recording Studios, New York, New York between 1960 & 1965. Includes liner notes by David Ritz and a poem by Nikki Giovanni. All tracks have been digitally remastered.

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"Sings Standards (Collectables)" (03/14/2006) R&B Franklin, Aretha, Collectables RecordsBetween 1963 and 1965, before she became the Queen of Soul, Aretha Franklin recorded six albums for Columbia Records, where she'd been signed by legendary talent scout John Hammond Sr. These albums were significantly different from her later work; Hammond saw her as a jazz singer with gospel roots, and the albums, characterized by polished arrangements (albeit with concessions to the pop market) mostly recall the blues divas of the '40s and '50s. SINGS STANDARDS is a nicely put-together sampler of Aretha's Columbia work, and although you can hear hints of the style she would develop later in the decade, here she's working very much as a sort of Dinah Washington wannabe--not a bad thing, to be sure, but not the astonishing original she later became. Think of the songs here as cute aural baby pictures.

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"Aretha in Paris" (12/13/1994) R&B Franklin, Aretha, Atlantic & Atco RemastersPersonnel: Aretha Franklin (vocals, piano); Jerry Weaver (guitar); Miller Brisker, Donald "Buck" Waldon (tenor saxophone); David Squire (baritone saxophone); Donald Townes, Russell Conway, Ron Jackson, Little John Wilson (trumpet); Rene Pitts (trombone); Gary Illingworth (piano); Rodderick Hicks (bass); George Davidson (drums); Carolyn Franklin, Wyline Ivey, Charnessa Jones (background vocals). Recorded live at the Olympia Theatre, Paris, France on May 7, 1968. Originally released on Atlantic (8207). Includes liner notes by David Nathan. When Aretha Franklin overcame her fear of flying long enough to swing through Europe for a two-week tour, ARETHA IN PARIS was the brilliant by-product. This exquisite slice of Lady Soul's spectacular presence in a live setting came at a time when she was making her mark as the Queen Of Soul. Backed by a full orchestra and a trio of vocalists that included sister Carolyn, Franklin played a set consisting of material that was barely a year old. On Willie Nelson's "Night Life," the legendary singer can be heard preaching her sorrow to the crowd (she had temporarily separated with husband Ted White that night). Regardless of any pain she may have been going through that night, Franklin's energy never flags as she rips into energetic versions of Ray Charles' "Come Back Baby" and Otis Redding's "Respect." Most impressive are renditions of her own soul classics such as "Dr. Feelgood (Love Is A Serious Business)" and "I Never Loved A Man (The Way I Love You)," both which benefit from slow build-ups and spine-tingling finales.

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"Smooth Sax Tribute to Aretha Franklin" (02/15/2005) R&B Various Artists, Tribute SoundsTributee: Aretha Franklin. Personnel: Walter Chancellor Jr. (saxophone).