the king is gone but he's not forgotten

https://www.wuvt.vt.edu/playlists/set/35088

Time		Artist	Track	Album
09:01:47		Aretha Franklin	People Get Ready	Lady Soul
09:05:22		The Stylistics	Can't Give You Anything (But My Love)	The Very Best
09:08:33		Stevie Wonder	I Call It Pretty Music But the Old People Call It The Blues	The Complete
09:11:12		B.B. King	Why I Sing The Blues	The King Of The Blues
09:20:08		James Brown	Out of the Blue	STAR TIME Mr. Dynamite
09:22:27		Elvis Presley	Rip It Up	I Was The One
09:24:27		Tony Sheridan with The Beatles	My Bonnie	Anthology 1
09:26:58		The Rolling Stones	Now I've Got A Witness	The Rolling Stones
09:29:38		Elvis Costello	Loveable	King Of America
09:32:34		The Soft Boys	That's When Your Heartaches Begin	Live At The Portland Arms
09:36:03		Willie Nelson	Always on My Mind	Always on My Mind
09:39:41		The Kinks	A Rock 'n' Roll Fantasy	MIsfits
09:44:37		Neil Young	My My, Hey Hey (Out Of The Blue)	Rust Never Sleeps
09:52:08		The Jam	In the Crowd	All Mod Cons
09:57:28		The Jeff Beck Group	All Shook Up	Beck-Ola
10:02:23		Paul Simon	Graceland	Graceland
10:07:05		Richard Thompson	From Galway To Graceland	Acoustic Classics
10:11:02		Warren Zevon	Porcelain Monkey	LIfe'll Kill Ya
10:14:28		Drive-By Truckers	Carl Perkin's Cadilac	The Dirty South
10:19:39		Jack White	Power Of My Love	single
10:23:58		The Ramones	I Wanna Be Your Boyfriend	Ramones
10:26:26		The Beatles	While My Guitar Gently Weeps	The Beatles
10:34:13		Genesis	The Lamb Lies Down On Broadway	The Lamb Lies Down On Broadway
10:38:56		Peter Gabriel	Solsbury Hill	Peter Gabriel 1: Car
10:44:10		U2	Elvis Presley and America	The Unforgettable Fire
10:50:35		Kevin Ayers	Song For Insane Times	Insane Times: 25 British Psychedelic Artyfacts From The EMI Vaults
10:54:36		Kevin Ayers	Stranger in Blue Suede Shoes	Whatever She Brings We Sing
10:58:03		Soft Machine	Joy of a Toy	The Soft Machine
11:01:02		Mick Ronson	Love Me Tender	Slaughter on 10th Avenue
11:05:28		John Cale	Heartbreak Hotel	Guts
11:08:32		The Mekons	Memphis, Egypt	Rock 'n' Roll
11:12:05		Black Oak Arkansas	Rock n' Roll	Balls Of Fire
11:19:43		The Stooges	Down on the Street	Fun House
11:23:14		The Clash	1977	Clash On Broadway
11:27:28		The Smiths	His Latest Flame/Rusholme Ruffians	Rank
11:28:37		The Saints	Kissin' Cousins	(I'm) Stranded
11:30:33		Dead Kennedys	Viva Las Vegas	Fresh Fruit for Rotting Vegetables
11:33:11		Living Colour	Elvis Is Dead	Time's Up
11:37:02		Mojo Nixon & Skid Roper	Elvis Is Everywhere	Bo-Day-Shus!!
11:42:56		Neil Young	My My, Hey Hey (Into The Black)	Rust Never Sleeps
11:48:11		INXS	The Swing	The Swing
11:51:57		Madonna	Express Yourself	Like a Prayer
11:56:44		Iggy Pop	Real Wild Child (Wild One)	Blah Blah Blah
12:00:14		Elvis Presley Vs JXL	A Little Less Conversation	Number 1 Hits

spirit in the dark

Aretha Franklin went back to her gospel roots and took four different bands to church movin and groovin with this serious southern soul.    Already established as "The Queen of Soul",  she had released nineteen albums over fourteen years (Songs of Faith in  1956; Aretha: With The Ray Bryant Combo in 1961;    The Electrifying Aretha Franklin   and The Tender, the Moving, the Swinging Aretha Franklin in 1962; Laughing on the Outside in 1963;     Unforgettable: A Tribute to Dinah Washington   and Runnin' Out of Fools  in 1964; Yeah!!!   in 1965;
1966 Soul Sister  in 1966;    Take It Like You Give It, I Never Loved a Man the Way I Love You,   Aretha Arrives, and Take a Look  in 1967;     Lady Soul,   Aretha in Paris,  and    Aretha Now in 1968; Soul '69 and  Soft and Beautiful in 1969; and This Girl's in Love with You  already in 1970)  with twenty-eight top thirty singles on the R&B chart (eight of them chart toppers) and eight top ten singles on the pop chart.  


After years of physical abuse, Franklin divorced her husband and manager Ted White in 1969 and gave birth to her son Kecalf Cunningham (with Ken Cunningham) in March of 1970.    She would express at the time:   "I am an old woman in disguise.  Trying to grow up is hurting, you know. You make mistakes. You try to learn from them and when you don't it hurts even more. And I've been hurt – been hurt bad."

'Spirit in the Dark' was recorded during May of 1969 and March of 1970 with such luminaries as Duand Allman,  the Dixie Flyers, and the Muscle Shoals Rhythm Section ("the swampers")  at Atlantic South-Criteria Studios in Miami, Florida.   The sessions were produced by  Tom Dowd, Arif Mardin, and Jerry Wexler  and featured:    Aretha Franklin on vocals and piano;      Howard "Buzz" Feiten, Jimmy Johnson, Jay O'Rourke, Jimmy O'Rourke,  Cornell Dupree, Charlie Freeman, Eddie Hinton, and Duane Allman on guitar;     Dave Crawford on organ;    Jim Dickinson and Mike Utley on keyboards;   Barry Beckett on organ and electric piano;    Tommy McClure, Harold "Hog" Cowart, and  David Hood on bass;    Sammy Creason,  Ronald "Tubby" Ziegler,  Roger Hawkins,  and  Ray Lucas on drums;     and     Wyline Ivy, Margaret Branch, Almeda Lattimore, Pat Lewis, Evelyn Greene, Brenda Bryant, and  The Sweet Inspirations on background vocals.   


'Spirit in the Dark' reached number sixty-eight in Canada, twenty-five in Australia and the US, and number two on the US R&B album chart.  






http://www.aretha-franklin.com/

http://www.arethafranklin.net/






"Spirit in the Dark"
https://www.youtube.com/watch?v=uc0bHrffNrE

with Ray Charles
https://www.youtube.com/watch?v=nSaAjzgt_CI






'Spirit in the Dark' 
full album:
https://www.youtube.com/watch?v=ZQEuVKDJx1I&list=PL5QGdCJcpgGmbd7FLXSW3EL-PejYX_JKg

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


00:00  "Don't Play That Song (You Lied)" (Ahmet Ertegün, Betty Nelson) 
02:59  "The Thrill Is Gone (From Yesterday's Kiss)" (Rick Darnell, Roy Hawkins) 
07:39  "Pullin'" (Carolyn Franklin, Jimmy Radcliffe) 
11:18  "You and Me" (Aretha Franklin) 
14:53  "Honest I Do" (Ewart Abner, Jimmy Reed) 
18:15  "Spirit in the Dark" (Aretha Franklin) 
22:19  "When the Battle Is Over" (Jessie Hill, Malcolm Rebennack) 
24:58  "One Way Ticket" (Aretha Franklin) 
27:52  "Try Matty's" (Aretha Franklin) 
30:25  "That's All I Want from You" (Fritz Rotter) 
33:12  "Oh No Not My Baby" (Gerry Goffin, Carole King) 
36:05  "Why I Sing the Blues" (Dave Clark, Riley King) 

lady soul

Aretha Franklin found her crowning achievement with the passionate performances of this landmark soul classic.  'Lady Soul' was the proper follow-up to her Atlantic Records debut 'I Never Loved a Man (The Way I Love You)' with her signature hit song 'Respect'.  Atlantic had quickly thrown together 'Aretha Arrives' in the meantime with another hit 'Baby I Love You'.  

Franklin considered the success of her move from Colombia to Atlantic:   "I started off there with more powerful material – very similar to the kind of thing I'm recording now with Atlantic – and went on to slower music. But I can say that my big records and my success have been due to the backing which Atlantic have put behind me. I can say that I wouldn't have had these hit records if it wasn't for Atlantic, and their organisation...Oh, we had good times right enough. I was in a group, a gospel group with my sisters Erma and Carolyn. Carolyn is with me here as part of my backing group. We split up and went our separate ways, to do different things. My big ambition later on, when I was with Columbia, was to have a big record. Ted and I have written quite a few songs – but the name on the label credits would be 'White' – we write under my married name. I like writing, and don't confine myself to just the words, or just the music. But I don't particularly write songs with myself in mind."

'Lady Soul' was recorded at Atlantic Studios in New York City with producer Jerry Wexler and featured Aretha Franklin on vocals and piano; Jimmy Johnson, Joe South, Bobby Womack on guitars; Spooner Oldham on electric piano and organ; Tommy Cogbill on bass; Roger Hawkins and Gene Chrisman on drums; plus Eric Clapton on guitar obbligato; Warren Smith on vibraharp; Melvin Lastie, Joe Newman, and Bernie Glow on trumpet; Tony Studd on bass trombone; King Curtis and Seldon Powell on tenor saxophone; Frank Wess on tenor saxophone and flute; Haywood Henry on baritone saxophone; and The Sweet Inspirations: Carole & Erma Franklin with Ellie Greenwich on background vocals; with Cissy Houston on vocal obbligato.  Arif Mardin did the horn arrangements and the strings were conducted by Ralph Burns.  

With its energetic mix of rock, soul, gospel, and funk, 'Lady Soul' went to number twenty-five in the UK, three on the US jazz chart, two on the US pop chart, and number one on the US R&B album chart.  It sold over a million copies and has been certified gold.  









http://www.arethafranklin.net/









"(You Make Me Feel Like) a Natural Woman" felt its way to thirty-six in Australia, eleven in Canada, eight on the US pop chart, and number two on the US R&B chart.  

Looking out on the morning rain
I used to feel uninspired
And when I knew I had to face another day
Lord, it made me feel so tired
Before the day I met you, life was so unkind
But you were the key to my peace of mind
'Cause you make me feel, 
You make me feel, 
You make me feel like
A natural woman
When my soul was in the lost-and-found
You came along to claim it
I didn't know just what was wrong with me
Till your kiss helped me name it
Now I'm no longer doubtful of what I'm living for
'Cause if I make you happy I don't need no more
'Cause you make me feel, 
You make me feel, 
You make me feel like
A natural woman
Oh, baby, what you've done to me
You make me feel so good inside
And I just want to be close to you
You make me fell so alive
'Cause you make me feel, 
You make me feel, 
You make me feel like
A natural woman






"Chain Of Fools" broke through to fifty-one in Australia, forty-three in the UK, four in Canada, two on the US pop chart, and number one on the US R&B chart. The song won her the second of eight consecutive Grammy Awards for Best Female R&B Vocal Performance.  

Chain, chain, chain
(Chain, chain, chain)
Chain, chain, chain
(Chain, chain, chain)
Chain, chain, chain
(Chain, chain, chain)
Chain of fools
For five long years
I thought you were my man
But I found out
I'm just a link in your chain
You got me where you want me
I ain't nothin' but your fool
Ya treated me mean
Oh you treated me cruel
Chain, chain, chain
(Chain, chain, chain)
Chain of fools
Every chain, has got a weak link
I might be weak yeah
But I'll give you strength
Oh, hey
You told me to leave you alone
My father said, "Come on home"
My doctor said, "Take it easy"
Oh but your lovin' is much too strong
I'm added to your
Chain, chain, chain
(Chain, chain, chain)
Chain, chain, chain
(Chain, chain, chain)
Chain, chain, chai-i-in
(Chain, chain, chain)
Chain of fools
One of these mornings
The chain is gonna break
But up until the day
I'm gonna take all I can take, oh hey
Chain, chain, chain
(Chain, chain, chain)
Chain, chain, chain
(Chain, chain, chain)
Chain, chain, chai-i-in
(Chain, chain, chain)
Chain of fools
Chain, chain, chai-i-in
Chain, chain, chain
Chain, chain, chai-i-in
Chain of fools






"Since You've Been Gone (Sweet Sweet Baby)" ran up to seventy-six in Australia, forty-seven in the UK, six in Canada, five on the US pop chart, and became her fifth number one on the US R&B chart in just over a year. 

Baby baby, sweet babyThere's something that I just got to say
Baby baby, sweet baby
You left me hurtin' in a real cold way
Speak your name
And I'll feel a thrill
You said I do
And I said I will
I tell you that I'll stay true
and give you just a little time
Wait on me baby,
I want you to be all mine
I just get so blue
Since you've been gone, baby
(why'd you do it? why'd you have to do it?)
Since you've been gone
(why'd you do it? why'd you have to do it?)
Baby baby, sweet baby
I didn't mean to run you away
It was pride on my lips,
But not in my heart
To say the things that made you stray
But ah, babe
Hear me now
(hear me)
I don't know what I'm gonna do
(hear me)
Got to get you back somehow
(hear me now)
Oooh, take me back,
consider me please
If you walk in that door,
I can get up off my knees
I just been so blue
Since you've been gone
(why'd you do it? why'd you have to do it?)
Since you've been gone
(why'd you do it? why'd you have to do it?)
Well I've been so lonely
(sweet sweet - sweet sweet baby)
Baby, since you've been gone
(sweet sweet - sweet sweet baby)
I've been so lonely
(why'd you do it? why'd you have to do it?)
Since you've been gone
(why'd you do it? why'd you have to do it?)
Baby baby baby been so lonely
(sweet sweet - sweet sweet baby)





'Lady Soul'

full album:




Side One
1. "Chain of Fools" (Don Covay) 2:46
2. "Money Won't Change You" (James Brown, Nat Jones) 2:09
3. "People Get Ready" (Curtis Mayfield) 3:42
4. "Niki Hoeky" (Jim Ford, Lolly Vegas, Pat Vegas) 2:31
5. "(You Make Me Feel Like) a Natural Woman" (Gerry Goffin, Carole King, Jerry Wexler) 2:44
Side Two
1. "(Sweet Sweet Baby) Since You've Been Gone" (Aretha Franklin, Ted White) 2:25
2. "Good to Me As I Am to You" (Aretha Franklin, Ted White) 3:56
3. "Come Back Baby" (Walter Davis) 2:25
4. "Groovin'" (Felix Cavaliere, Eddie Brigati) 2:57
5. "Ain't No Way" (Carolyn Franklin) 4:17

respect

The Queen of Soul took care of business and earned her title with this classic feminist call for consideration.  Otis Redding wrote 'Respect' for Speedo Sims and his Singing Demons; but decided to record it himself when they couldn't get a good version.  He said:   "That's one of my favorite songs because it has a better groove than any of my records. It says something, too: 'What you want, baby, you got it; what you need, baby, you got it; all I'm asking for is a little respect when I come home.' The song lines are great. The band track is beautiful. It took me a whole day to write it and about twenty minutes to arrange it. We cut it once and that was it. Everybody wants respect, you know."

Producer Jerry Wexler brought the song to Aretha Franklin and she recored her version with her sisters, Carolyn and Erma, singing backup.  Franklin said:  "I could see more potential in Respect – in fact, I can say I knew that would be a hit song. Sometimes I can't get a song right in the recording studio, though. We usually work things out beforehand, not like the Memphis studio where they don't plan things like that, but can end up with a master. We usually know what we're going to do. I sing and the musicians kind of fit things around me."

Franklin came up with a new arrangement, added the bridge with the spelling out of the title and the "sock it to me" line, and even played piano on the track.  Engineer Tom Dowd had also worked on Redding's version: "I walked out into the studio and said, 'What's the next song?' Aretha starts singing it to me, I said, 'I know that song, I made it with Otis Redding like three years ago.' The first time I recorded 'Respect,' was on the Otis Blue album, and she picked up on it. She and Carolyn were the ones who conceived of it coming from the woman's point of view instead of the man's point of view, and when it came to the middle, Carolyn said, 'Take care, TCB.' Aretha jumped on it and that was how we did 'Respect.'"

Wexler recalled:  "The fervor in Aretha's voice demanded that respect; and more respect also involved sexual attention of the highest order. What else would 'sock it to me' mean?" Franklin's version was a cultural phenomenon, establishing her as the voice of the feminist movement.  It went to number ten in the UK, seven in Italy, two in Canada, and topped the charts in Australia, as well as on the US pop and R&B charts.  'Respect' also won her two Grammys for  "Best Rhythm & Blues Recording" and "Best Female Rhythm & Blues Solo Vocal Performance".   When Otis Redding heard Aretha's version of 'Respect' he said, "I just lost my song. That girl stole my song." 








http://www.arethafranklin.net/









(Ooh) What you want
(Ooh) Baby, I got
(Ooh) What you need
(Ooh) Do you know I've got it
(Ooh) All I'm askin'
(Ooh) Is for a little respect when you come home (Just a little bit)
Hey baby (Just a little bit) when you get home
(Just a little bit) mister (Just a little bit)

I ain't gonna do you wrong while you're gone
Ain't gonna do you wrong (Ooh) 'cause I don't want to (Ooh)
All I'm askin' (Ooh)
Is for a little respect when you come home (Just a little bit)
Baby (Just a little bit) when you get home (just a little bit)
Yeah (Just a little bit)

I'm about to give you all of my money
And all I'm askin' in return, honey
Is to give me my profits
When you get home (Just a, just a, just a, just a)
Yeah baby (Just a, just a, just a, just a)
When you get home (Just a little bit)
Yeah (Just a little bit)

Ooh, your kisses (Ooh)
Sweeter than honey (Ooh)
And guess what (Ooh)
So is my money (Ooh)
All I want you to do (Ooh) for me
Is give it to me when you get home (Re, re, re ,re)
Yeah baby (Re, re, re ,re)
Whip it to me (Respect, just a little bit)
When you get home, now (Just a little bit)

R-E-S-P-E-C-T
Find out what it means to me
R-E-S-P-E-C-T
Take care... TCB

Oh (Sock it to me, sock it to me,
sock it to me, sock it to me)
A little respect (Sock it to me, sock it to me,
sock it to me, sock it to me)
Whoa, babe (Just a little bit)
A little respect (Just a little bit)
I get tired (Just a little bit)
Keep on tryin' (Just a little bit)
You're runnin' out of foolin' (Just a little bit)
And I ain't lyin' (Just a little bit)
(Re, re, re, re) 'spect
When you come home (Re, re, re ,re)
Or you might walk in (Respect, just a little bit)
And find out I'm gone (Just a little bit)
I got to have (Just a little bit)

A little respect (Just a little bit)

Otis Redding's version went to number thirty-five on the pop chart and number four on the R&B chart in 1965.