Born 25 March 1942, Memphis, Tennessee. Aretha Franklin's music is steeped in the traditions of the church. Her father, C.L. Franklin, was a Baptist preacher who, once he had moved his family to Detroit, became famous throughout black America for his fiery sermons and magnetic public appearances. He knew the major gospel stars Mahalia Jackson and Clara Ward, who in turn gave his daughter valuable tutelage.

At the age of 12, Aretha was promoted from the choir to become a featured soloist. Two years later she began recording for JVB and Checker. Between 1956 and 1960, her output consisted solely of devotional material, but the secular success of Sam Cooke encouraged a change of emphasis. Franklin auditioned for John Hammond, who signed her to Columbia. Sadly, the company was indecisive on how best to showcase her remarkable talent. They tried blues, cocktail jazz, standards, pop songs and contemporary soul hits, each of which wasted the singer's natural improvisational instincts. There were some occasional bright spots - 'Running Out Of Fools' (1964) and 'Cry Like A Baby' (1966) - but in both cases content succeeded over style. After a dozen albums, a disillusioned Franklin joined Atlantic Records in 1966, where the magnificent 'I Never Loved A Man (The Way I Loved You)', recorded in January 1967 in New York, declared her liberation. The album was scheduled to be made in Muscle Shoals, but Franklin's husband Ted White had an argument with the owner of Fame Studios, Rick Hall. At short notice Jerry Wexler flew the musicians to New York. The single soared into the US Top 10 and, coupled with the expressive 'Do Right Woman � Do Right Man', only the backing track of which was recorded in Alabama, it announced the arrival of a major artist.

The releases that followed � 'Respect', 'Baby I Love You', '(You Make Me Feel Like) A Natural Woman', 'Chain Of Fools' and '(Sweet Sweet Baby) Since You've Been Gone' � many of which featured the Fame rhythm section 'borrowed' by Wexler for sessions in New York, confirmed her authority and claim to being the 'Queen Of Soul'. The conditions and atmosphere created by Wexler and the outstanding musicians gave Franklin such confidence that her voice gained amazing power and control.

Despite Franklin's professional success, her personal life grew confused. Her relationship with husband and manager White disintegrated, and while excellent singles such as 'Think' still appeared, others betrayed a discernible lethargy. She followed 'Think' with a sublime cover version of Hal David and Burt Bacharach 's 'I Say A Little Prayer', giving power and authority to simple yet delightful lyrics: 'the moment I wake up, before I put on my make-up, I say a little prayer for you'. Following a slight dip in her fortunes during the late 60s, she had regained her powers in 1970 as 'Call Me', 'Spirit In The Dark' and 'Don't Play That Song' ably testified. Aretha Live At Fillmore West (1971), meanwhile, restated her in-concert power.

The following year, another live appearance resulted in Amazing Grace, a double gospel set recorded with James Cleveland and the Southern California Community Choir. Its passion encapsulated her career to date. Franklin continued to record strong material throughout the early 70s and enjoyed three R&B chart-toppers, 'Angel', 'Until You Come Back To Me (That's What I'm Gonna Do)' and 'I'm In Love'. Sadly, the rest of the decade was marred by recordings that were at best predictable, at worst dull. It was never the fault of Franklin's voice, merely that the material was often poor and indifferent.

Her cameo role in the film The Blues Brothers, however, rekindled her flagging career. Franklin moved to Arista Records in 1980 and she immediately regained a commercial momentum with 'United Together' and two confident albums, Aretha and Love All The Hurt Away. 'Jump To It' and 'Get It Right', both written and produced by Luther Vandross, and Who's Zoomin' Who?, continued her rejuvenation. From the album, produced by Narada Michael Walden, Franklin had hit singles with 'Freeway Of Love', 'Another Night' and the superb title track. In the mid-80s, she made the charts again, in company with Annie Lennox ('Sisters Are Doin' It For Themselves') and George Michael ('I Knew You Were Waiting (For Me)'), which went to number 1 in the the USA and UK in 1987. Franklin's Through The Storm, from 1989, contained more powerful duets, this time with Elton John on the title track, James Brown ('Gimme Some Lovin'', remixed by Prince for 12-inch), and Whitney Houston ('It Isn't, It Wasn't, It Ain't Never Gonna Be'). The album also included a remake of her 1968 US Top 10 title, 'Think'. In 1991, her What You See Is What You Sweat was criticized for its cornucopia of different styles: a couple of tracks by Burt Bacharach and Carole Bayer Sager; a collaboration with Luther Vandross; a fairly thin title ballad; and the highlight, 'Everyday People', a mainstream disco number, written by Sly Stone and brilliantly produced by Narada Michael Walden. Franklin may now lack the instinct of her classic Atlantic recordings, but as her 'return to gospel' One Lord One Faith One Baptism (released in 1987) proved, she is still a commanding singer.

Franklin possesses an astonishing voice that has often been wasted on a poor choice of material. She is rightfully heralded as the Queen of Soul, even though that reputation was gained in the 60s. There are certain musical notes that can be played on a saxophone that are chilling; similarly, there are sounds above the twelfth fret on a guitar that are orgasmic - Aretha Franklin is better than any instrument, as she can hit notes that do not exist in instrumental terms. The 4-CD box set Queen Of Soul, highlighting the best of her Atlantic recordings, confirmed her position as one of the greatest voices in recording history.

Encyclopedia of Popular Music Copyright Muze UK Ltd. 1989 - 1998

LINK ALBUM YEAR Delta Meets Detroit-Aretha's Best 1998 Sings Standards 1998 A Rose Is Still a Rose 1998 This is Jazz: No. 34 1998 Love Songs 1997 The Very Best of Aretha Franklin, Vol. 1 1994 The Very Best of Aretha Franklin, Vol. 2 1994 Greatest Hits (1980 - 1994) 1994 Queen of Soul 1992 Jazz to Soul 1992 After Hours 1987 Who's Zoomin' Who 1985 30 Greatest Hits 1985 Aretha Sings the Blues 1985 Aretha's Jazz 1985 Get It Right 1983 Jump To It 1982 Sweet Bitter Love 1982 Love All the Hurt Away 1981 Aretha 1980 Sparkle 1976 Let Me in Your Life 1974 Never Grow Old 1973 Hey Now Hey (the Other Side of the Sky) 1973 Young, Gifted and Black 1972 Amazing Grace 1972 The Great Aretha Franklin - the First 12 Sides 1973 Live at Fillmore West 1971 Spirit in the Dark 1970 This Girl's in Love With You 1970 Soul '69 1969 Lady Soul 1968 Aretha in Paris 1968 Aretha Now 1968 Aretha Arrives 1967 I Never Loved a Man (the Way I Love You) 1967 Yeah! Aretha Franklin in Person with her Quartet 1965 Unforgettable: A Tribute to Dinah Washington 1964

Delta Meets Detroit-Aretha's Best 1998

Sings Standards 1998

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Rose Is Still A Rose 1998

This Is Jazz No. 34 1998

Love Songs 1997

Vol. 1-Very Best Of Aretha Franklin [1980-1994] 1994

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Vol. 2-Very Best Of Aretha Franklin[1980-1994] 1994

Greatest Hits (1980-1994) 1994

Queen Of Soul 1992

Disc 1

Disc 2

Disc 3

Disc 4

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Jazz To Soul 1992

Disc 1

Disc 2

After Hours 1987

Who's Zoomin' Who? 1985

30 Greatest Hits 1985

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Aretha Sings The Blues 1985

Aretha's Jazz 1984

Get It Right 1983

Jump To It 1982

Sweet Bitter Love 1982

Love All The Hurt Away 1981

Aretha 1980

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Sparkle 1976

Let Me In Your Life 1974

Never Grow Old 1973

Hey Now Hey (Other Side Of The Sky) 1973

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Young Gifted & Black 1972

Amazing Grace 1972

The Great Aretha Franklin-- The First 12 Sides 1972

Live At Fillmore West 1971

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Spirit In The Dark 1970

This Girl's In Love With You 1970

Soul '69 1969

Lady Soul 1968

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In Paris 1968

Aretha Now 1968

Aretha Arrives 1967

I Never Loved A Man The Way I Love You 1967

Yeah! ARETHA Franklin in Person with her Quartet 1965

Unforgettable: Tribute To Dinah Washington 1964