ARETHA FRANKLIN-ARETHA.

dereksmusicblog ♦ July 14, 2012 ♦ Leave a comment

ARETHA FRANKLIN-ARETHA.

By 1978 and the end of Aretha Franklin’s time at Atlantic Records, her career had stalled, lost direction. She wasn’t enjoying the hits that were a regular feature of her early Atlantic. Granted there were occasional bright spots, with Break It To Me Gently, which although it gave Aretha a US R&B number one single, had very little crossover appeal, reaching a lowly eighty-five in the US R&B Charts. Here 1976 album Sparkle had been certified gold. After that, Aretha’s three albums sold in much smaller quantities. Sweet Passion released in 1977 reached just number forty-nine in the US Billboard 200 and number six in the US R&B Charts. Almighty Fire, released in 1978 proved disappointing, reaching just number sixty-three in the US Billboard 200 and number twelve in the US R&B Charts. This was a long way from albums like Lady Soul, Aretha Now and Young Gifted and Black, which were all certified gold. Worse was to come though. La Diva, Aretha’s 1979 album would be her least successful album since 1964, reaching a number 147 in the Billboard 200 and number twenty-five in the US R&B Charts. Having had seven number one albums in the US R&B Charts, this must have been a huge disappointment for Aretha. What was needed was a new start. Clive Davis head of Arista Records was a man who could make this happen, transforming Aretha’s career to the heights she’d enjoyed during the early years of his career. So, Aretha left Atlantic Records, her home since 1967, signing for Arista in June 1980. Four months later, in October 1980, Aretha released her first album for Arista Aretha, which will be rereleased on July 30th 2012 by BBR Records. Would Aretha see Aretha Franklin’s career get back on track?

Now signed to Clive Davis’ Arista Records, work started on rejuvenating Aretha Franklin’s career. This would be very different from the disco-tinged La Diva, produced by Van McCoy. To help relaunch Aretha’s career, two producers were hired Arif Mardin and a man who’d wanted to work with Aretha for over a decade Chuck Jackson. Arif Mardin had an impressive track record, producing Aretha’s 1974 album Everything I Feel In Me, plus producing The Bee Gees’ Main Course and albums by Bette Midler, Carly Simon, The Average White Band and another soul diva Chaka Khan. While Chuck Jackson hadn’t such an impressive production resume, he was a talented songwriter and experienced producer. With the producers in place, all they needed were some songs to record.

Nine tracks were chosen for what would become Aretha. Chuck Jackson cowrote United Together with Phil Perry, while the pair cowrote Together Again with Aretha, who wrote School Days. Mark Gray wrote What It Is, while there were several cover versions on Aretha. One of these was Can’t Turn You Loose written by Otis Redding. Another was a cover of the Doobie Brothers’ What A Fool Believes, written by Kenny Loggins and Michael McDonald. These tracks would be recorded at The Record Plant in New York.

Accompanying Aretha were a band that included a number of high profile musicians and backing vocalists. This included drummer Jeff Porcaro, bassist Louis Johnson, guitarists Steve Williams and Steve Lukather. David Paich played organ, while trumpeter Michael Brecker, trombonist Barry Rogers trombone and baritone saxophonist Lew Delgatto were part of a horn section. Added to this were a string section plus backing vocalists Cissy Houston, Estelle Brown, Myrna Smith and Hamish Stuart. All these musicians and backing vocalists played their part in the recording of the nine tracks that became Aretha. Would Aretha manage to rejuvenate Aretha Franklin’s career?

On the release of Aretha on October 1980, the album reached number forty-seven in the US Billboard 200 and number six in the US R&B Charts. This was Aretha’s most successful album since 1976s Sparkle. United Together was the first single released in November 1980, reaching number fifty-six in the US Billboard 100 and number three in the US R&B Charts. What A Fool Believes was released in February 1981, reaching number seventeen in the US R&B Charts. Come To Me was the final single released from Aretha, reaching number eighty-four in the US Billboard 100 and number thirty-nine in the US R&B Charts. Over the Atlantic in the UK, What A Fool Believes reached number forty-six in the UK in November 1980, giving Aretha her first top fifty single since Until You Come Back To Me (That’s What I’m Gonna Do). I Can’t Turn You Loose was released in UK in February 1981, but failed to chart. Overall, Aretha had rejuvenated Aretha’s career, but why was that? That’s what I’ll tell you when I tell you about the music on Aretha.

I always think that it’s important that the opening track on an album makes an impact. Although Come To Me is a slow ballad, it features a heartfelt vocal from Aretha. A piano plays, before synths and percussion join, with the rhythm section adding to the track’s drama. Their entrance signals Aretha’s vocal growing in power and emotion. She’s accompanied by the rhythm section, lush strings, percussion and piano, while soulful backing vocalists augment her powerful, passionate vocal. The longer the track progresses, the better it gets, especially Aretha’s vocal. This resulting in the desired impact and momentum any album needs with its opening track, keeping the listener interested and wanting to hear much more.

On Can’t Turn You Loose, Aretha rolls back the years to her Atlantic years, delivering a blistering vocal. The tempo is quick, with the rhythm section, sizzling guitars, percussion and keyboards and accompany by punchy horns. Aretha’s vocal is powerful, laden with emotion and passion, while gospel-tinged backing vocalists accompany her. It’s a storming start to Aretha, with Aretha relishing working with Arif Mardin and such a talented band.

United Together is an intriguing track. Swathes of strings cascade, drums and percussion give the track a big, bold sound, before things settle and Aretha’s tender, heartfelt vocal is accompanied by a slow rhythm section, layers of sweeping strings, piano and guitars. Tender backing vocalists compliment Aretha’s vocal, as does the understated arrangement. Gradually, the arrangement builds up, with Aretha’s voice growing in strength, while strings cascade and the rhythm section add bursts of drama. Key to the track are the arrangement, with the strings and backing vocalists playing important roles in the track’s sound and success.

Take Me With You has a much more contemporary sound, allowing Aretha to deliver her vocal with confidence and a little sass. The arrangement has a bigger sound, which when you listen carefully, is influenced by the Philly Sound. Blazing horns, percussion, keyboards and the rhythm section combine, creating a swinging backdrop for Aretha. Her vocal is strong, confident and sassy. She literally struts her way through the track, backing vocalists adding tight harmonies. Of all the tracks on Aretha, this has the catchiest, hook-laden sound. It’s literally impossible to resist its charms and delights. Why it was only the B-side of United Together seems a missed opportunity.

Like Take Me With You, Chuck Jackson produced Whatever It Is. It’s the polar opposite of Like Take Me With You. The arrangement is much more understated as the track opens, with just a piano accompanying Aretha’s tender vocal. Then Chuck adds rasping horns, the rhythm section and lush strings. To this he adds percussion and keyboards combine, as the track grows in power, becoming much bolder. Good as the track is, and it’s a great track, maybe more tracks like the previous track, would’ve attracted a new audience to Aretha’s music. However, it would take two more years before Luther Vandross achieved this.

What A Fool Believes, originally recorded by The Doobie Brothers is one of these tracks you either like or loath. I’ve never been a fan of music like that. It’s far too AOR. However, with Aretha singing the track, I’ll wipe the slate clean, give her a fair chance. Aretha grabs the track by the scruff of the neck, shaking it out of its AOR stupor. Instead, she injects some much needed soul, delivering the vocal in a way the song comes alive. Her band play their part, injecting a mixture of soul and funk. Keyboards, keyboards, percussion and guitars are combined, with the song sounding looser, delivered with a swing. By the end of the track, I find myself enjoying Aretha’s version, especially with the funky bass-line that dances across the arrangement with a blazing horn, with  Aretha’s version is the best I’ve heard.

Producer Chuck Jackson, Phil Perry and Aretha cowrote Together Again, where Aretha turns back time, demonstrating why she was called the Queen of Soul. Aretha arranged the track, with its gospel tinged backing vocalists, lush strings and punchy, rasping horns that accompany her vocal. That vocal is one of the best on Aretha. It’s vintage Aretha. She fuses power, passion and emotion, with joy, sounding as if she’s enjoying herself, has been reinvigorated. The use of top-class backing vocalists like Cissy Houston really helps the track, their experience transforming a great song into one of the highlights of Aretha.

An almost jaunty, jazzy piano solo opens Love Me Forever, before it’s all change. The rhythm section, guitars and gospel-tinged backing vocalists enter. Blazing horns work well, as do the piano which is key to the arrangement. When rocky guitars make a brief entrance, they seem out of place. Then when blazing horns enter, it’s almost as if they’re trying to overpower the guitars. Thankfully, the guitars drop out, allowing Aretha and her backing vocalists to testify. This they do brilliantly, and with her band help the track to swing gloriously along, as Aretha revisits her gospel roots, albeit with a twist.

Closing Aretha is School Days, written by Aretha herself. It’s just Aretha’s thoughtful vocal accompanied by an understated arrangement comprising just piano and punchy backing vocalists. Then all of a sudden, the track explodes. Aretha’s determined to close the album on a high. Blazing horns, a driving rhythm section, piano and percussion accompany Aretha. Her vocal is powerful and joyous, while backing vocalists and swirling strings accompany her as the track reveals it secrets at breakneck speed. Just as I said the track that opens an album needs to make its mark and grab your attention, the track that closes an album should leave you wanting more. School Days leaves you wanting to hear much more of Aretha Franklin on Aretha.

It seems that the change of record label was just the shot in the arm Aretha Franklin’s career needed. Her career had stalled at Atlantic Records, some people might say stagnated. At Arista, Clive Davis arranged for Arif Mardin and Chuck Jackson to produce Aretha. This can be risky, as different producers have different styles. Using two producers can often result in what sounds more like two mini albums. Not here. Aretha flows along, with a mixture of ballads and uptempo tracks. These tracks see Aretha deliver soul, sometimes tinged with gospel, while other tracks are much more dance-floor friendly. Aretha was just the first step in the rejuvenation of Aretha Franklin’s career. After this came 1981s Love All the Hurt Way then 1982s Jump To It, which was certified gold. Jump To It was produced by Luther Vandrosss, who also produced 1983s Get It Right. Then Aretha’s next two albums were certified gold and platinum. Who’s Zooming Who, released in 1985 was certified platinum, while 1986s Aretha was certified gold. However, Aretha, which will be rereleased on July 30th 2012 by BBR Records was the album that relaunched what was an Indian Summer for Aretha Franklin’s career. For fans of Aretha Franklin, then  Aretha, Jump To It and Get It Right are the best albums of this Indian Summer that Aretha Franklin enjoyed. Standout Tracks: Come To Me, Can’t Turn Me Loose, Take Me With You and Love Me Forever.

ARETHA FRANKLIN-ARETHA.