Customer Reviews

Young, Gifted and Black

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I can remember where I was when I first heard certain Aretha Franklin songs: outside an ice cream parlour on a hot July day hearing Spanish Harlem from the shop girl's radio; driving down a dusty country road at night under a canopy of stars and groovin' to Rock Steady and lying on a beach in Tunisia, this beautiful country of ancient Carthage and mosques and hearing Don't Play That Song For Me. Young, Gifted and Black was a pivotal album for me. From the jazzy strain of the first song Oh Me Oh My, the sweet and sensual Day Dreaming, the sexy, funky groove of Rock Steady to the stirring Black consciousness raising song, Young, Gifted and Black. The covers of songs from artists Otis Redding, the Beatles, Burt Bacharach and Elton John are remarkable. In the song, I've Been Loving you too Long, hear the desperate/defiant pleading in her voice, "I've been loving and loving you too long, don't make me stop now." The raw emotion she projects gets to me every time. With the Beatle's, Long and Winding Road and Elton John's, Border Song, she takes these songs to Church, fills them with gospel fervour and testifies with them. Aretha is accompanied by the cream of session musicians, Richard Tee, Billy Preston, Grady Tate and Cornell Dupree, and vocal backing by the incomparable Sweet Inspirations. Every song on this album is a gem, a minor miracle. Aretha Franklin reached her zenith with this album. This is a timeless classic, and an essential Aretha Franklin recording.

I have to echo Tall Paul's comments above. I'm a dabbling soul fan, and a friend recently recommended "Rock Steady." When he asked me if I knew it I kept thinking of some other "Rock Steady." You know the mid 90's RNB-groove-one? It's by "The Whispers," Google just told me so. That's what came to mind when he said "Rock Steady." He gave me a funny look.

At the same time, it popped up in the great book Yes, Yes Y'all: Oral History of Hip Hop's First Decade. Aforementioned friend gave me a disc of mp3 music with "Rock Steady" on it. Now I understand that funny look. I fell immediately in love with it's funky soul, and it's quite possibly my favorite song at this moment.

So today I'm driving through town, and I see a funky red sign on the sidewalk reading "Estate Sale - Vintage Vinyl." Lucky for me, it was my day off, and I resolved to stop in.

Inside a failed coffee shop stands its owner with some random "estate sale" detritus and 10 boxes of vinyl. You never know what you'll see in those kinds of boxes. Of course, there are the regulars: the apparently much loved and apparently much left such as Sergio Mendez and Brazil '66 (and/or '77), Sing Along with Mitch, the "Hooked on Swing" comps, and plenty of faceless instrument records with exclamatory titles like "Conga Brass!" or "Powerful Percussion!" But in between those, there's always something else, and if you're lucky, you find something great.

Today I was lucky. I found it: "Young, Gifted and Black," in "A" condition. Based on first listen and what the estate guy said, this record may never have been played before tonight. Apart from "Rock Steady," I hadn't heard it yet. Now I'm so grateful for the opportunity to have just heard this record for the first time.

Aretha is abolutely perfect. Thrilling. She soars on each song, hitting especially amazing heights on the title cut in particular. In terms of pure melodic precision, I can't think of a voice so, well, PURE, save maybe Ella Fitzgerald. I don't think the musicians and arrangements could be any better. Bernard Purdie on drums, Donny Hathaway on keys; these are good names to find. To top it off, this record (all but two tracks) have Tom Dowd at the controls. That means the recording sounds absolutely fantastic. I learned about Mr Dowd through a wonderful documentary I recently (still on the TIVO!) saw on IFC. In it are pictures of Tom and Aretha, probably from these very sessions!

For me today, upon the first listen of this record, it's as though the planets have aligned and this record is the result. That's just barely hyperbole. It truly delights me that there are still musical gems like this, 34 years old, that I can still experience with virgin ears. After the experience, I can say with total confidence that for any fan of black music (go ahead and get upset if you must, but you shouldn't), this album is ABSOLUTELY ESSENTIAL.

(And Tall Paul is right, I think this record must be heard on vinyl for best results, and he eplained why well. So do yourself a favor and dust off the old turntable, your ears will thank you.)

It was a extraordinary task. A monumental one, yet I have finally come up with a favorite Aretha album/cd. "Young, Gifted and Black" has won the honor. I love this album because of the beautiful choice of songs and the blend of gospel infused soul music mixed with some of her sophisticated pop songs chosen for this project.

Aretha is in fine vocal form. Here you don't experience the gritty hoarse notes that are evident on some of the earlier releases ala "Dr. Feelgood" and others. Those recordings have their own charm and soulful beauty. They rushed Aretha into the ears and hearts of many appreciative listeners and made them fans. "Young, Gifted and Black" cemented Aretha as the Queen of Soul. Here, Aretha is sharp, clever and versatile. Her writing is inspired; "Daydreaming" and "First Snow in Kokomo" (one of my all time favorite Aretha compositions). Her interpretations are equal, even better than the originals in most cases; "Brand New Me"; with Aretha's jazzy piano jam and her scat-like vamp; A KILLER! "Oh Me Oh My (A Fool For You) is a soulful and restrained version of original artist Lulu's rendering. Listen to Aretha sing ..."I really don't care" into the second line of the second bar. You'll believe she is tellin' the truth. When Aretha sings the chorus with that vampy harmonized female background it is the epitome of soul. Soul music is less about the subject matter and the style of singing than it is about the portrayal of real emotion projected into the interpretaion of the lyric. Aretha hits almost all the points on this projects with just one notable exception....

Aretha's failed version of the Delphonic's "Didn't I Blow Your Mind This Time?" is really and truly a mess. Aretha overplays her hand with a overly ambitious background vocal arrangement which sounds like an early rehearsal tape of what it was meant to become. The voices don't blend here. One second soprano with a wide open vibratto is the chief offensive participant. She strains to sing the first soprano part and it sounds awful. Her own lead is at the top of her register and nearing vocal histrionics. Too much. She all but obliterates the beautiful melody. Leaving the original version the definitive version.

Aretha's turn at Dionne Warwick's "April Fools" is an ambitious attempt to show versatility and an appreciation for an absolutely beautiful lyric. Her overblown arrangement obscures the stunning sentimentality of the words. This song needed the sophistication and subtle approach that the writers intended. Dionne caught and mastered it. Sorry 'Ree.

This project is an excellent presentation of Aretha's vocal virtuosity; her composition skill and her funky piano genious. Many of her hits; "Respect", "Natural Woman", "Think", "Since You Been Gone" and many others can be heard on radio every day. These under-appreciated stylings are seldom heard anywhere other than a true Aretha officionado's turntable or CD player. A Classic in every sense of the word. If you don't have this. Your collection is incomplete.

I remember this album from youth. My mother had the original on vinyl and found solace, inspiration and truth in this blissfully soulful offering from Ms. Franklin, the undisputed best female voice America has ever produced. To say that my mother almost wore a hole in this record is an understatement. At the ripe old of 5 I could sing Day Dreaming, All the King's Horses and Rock Steady from memory. And my mother made sure that I knew that I was indeed young, gifted and black! I'm 35 years older now and was happy to find that not only did I still remember the words but now I truly understand what they mean. I can appreciately Ms. Franklin's interpretation of the Beatles' Long and Winding Road as well as Elton John's Border Song. I can feel and identify with the emotions that she imbues into each and every song. More importantly I can truly appreciate Aretha's true gift of soul and artistry. This is one of my favorite albums not only because of the sentimental memories I've attached to it but for the pure beauty of it! If you want to hear Aretha Franklin at her best (not just the hits) get this CD!

A very special affection attaches itself to this Franklin album for me - it's the one whose hit singles (and Aretha's were always two-sided!) saw me through senior year of high school: "Rock Steady" & "Oh Me Oh My" came in October 71, the album itself on January 24, 1972, "Day Dreaming" & "I've Been Loving You Too Long" in February, and "All The Kings Horses" & "April Fools" in May. Like any self-respecting Franklin fan, I bought the album AND the 45s. By the time graduation rolled around, Aretha's astonishing first gospel set for Atlantic, "Amazing Grace" was in the record stores too. (Aretha had some great company vying for our attention that year: the "Shaft" soundtrack, the Chi-Lites breaking through with "Have You Seen Her" & "Oh Girl," the Staple Singers' "Respect Yourself" & "I'll Take You There," the rise of Al Green and Michael Jackson's first solo outings, and so much more...) Guess where all my disposable income went.

I hope today's young music fans and the recording artists they make successful, have the same experience with time. For baby-boomer lovers of soul music, this album is a generational touchstone, transporting you back to who you were, and where you were when it was new, every time it plays. With this one, Aretha's repertoire was expanding to include more jazz and pop element shadings and it was, and still is, a delight among her many works. "Border Song" was already familiar as a November 1970 single, and "A Brand New Me" rode the B-side (and got good airplay itself) of the "Bridge Over Troubled Water" 45 in March of 71.

The sublime bonus on the LP was the added length (about a minute) that "Day Dreaming" had over it's 45 version, with a longer intro, and an angelic repeating of the title as the song reached it's conclusion that vocally seemed to aim for the stratosphere. But don't drift off; because "Rock Steady" came next to bring you right back to funky earth.

It's seems the only means I have of thanking Miss Franklin for the soundtrack that she's provided my life, is to keep spending on her work, and recommending it to others. That's what I'm doing. ("Young, Gifted & Black" was originally Atlantic LP No. 7213).

Yep, YGB is one of the soul masterpieces of the early 70's. I can't possibly add anything more to all of the excellent reviews here, except this:

The 3 cuts that SHOULD have been released with this reissue from the beginning as bonus material are now finally available on the 'Rare and Unreleased Recordings From The Golden Reign Of The Queen Of Soul' set. (Smooth title, eh? Whew.)

Those cuts -- Heavenly Father, I Need A Strong Man, and My Cup Runneth Over -- were recorded during the YGB sessions, according to the excellent liner notes written by David Nathan. Each of them are easily the equal of anything that made it to the final album.

The 'Golden Reign' is essential for any Aretha fan on its own merits. But if you specifically like the sound Aretha had on YGB, you should check it out for those 3 tracks (or purchase them on iTunes or something). You will wonder how in the world they were left off the original YGB release!

OK this album was orignally released when I had just turned five. Although these songs were playing in the background of my early years, I now have the opportunity and the understanding to really hear these songs.

From Oh me Oh My to the final selection Border Song. Aretha does not miss a beat. I have not yet listened to all of Franklin's albums, but this is the best I've heard so far. I recommend this album for anyone who has an appreciation for "real" music. On this CD you can hear why her voice is considered a natural treasure and understand why she is a legend.

Songs, Lyrics, Musicians, and Voice all come together in perfect form. Aretha you are a legend and this CD is a masterpiece.

Incredible almost unbelievable recording from Aretha. This is it! If you are into Soul this is an essential recording. Aretha's best album. Its a shame to buy this on CD, you must hunt down the vinyl and experience the Soul in analog. The tune Spanish Harlem was suppose to be on this album but they put it on Aretha's Greatest Hits instead I guess to boost album sales. Just imagine if Spanish Harlem was on this album! Wow!

Aretha Franklin made some of the best music of our era, of the 20th Century. Some may be more known than Young Gifted and Black. None tops Young Gifted and Black.

By its 1971 recording and 1972 release, social themes in soul were acceptable, recording technology had improved, and Franklin worked it to the hilt. She upgraded her band with the best soul musicians like Eric Gale, Bernard "Pretty" Puride, and superbassist, Chuck Rainy. Her music became more melodic, and more heavy, at once.

Listen to the keyboards shimmering into the heavens to introduce "Daydreamin." "Daydreamin'" eases into a soul bossa nova, filled with melody, grace, garnished with glimmer by Herb Law's flute. Pair that with Aretha's cover of Burt Bacharach's "April Fools," a ballad that kicks uptempo. The two tracks work differently, but show Franklin's ability to make music where the heart is touched by sincerity, not sentimentality, melody and not sap. Franklin refuses the easy path with ballads, but through Young Gifted and Black, the risk pays tenfold.

"Rock Steady," is no ballad. The band and its leader do exactly what the title says. Thumping hard and heavy and funky and lowdown enough to make it to 1972 FM radio. There is a lesson in "Rock Stedy;" What the best musicians in the world can do when locking together for the pure sake of rhythm and groove.

The title track is a cover of Nina Simone, and if "Young Gifted and Black" was ever protest, Franklin turns it into pure elation. Gospel elation. Listen to the organ and the course backing the Queen as she declares "You are young, gifted in black, you got your
soul in tact."

There is no common theme to Young Gifted and Black, but the thread that binds it is the amazing musicality Franklin brings to all of the material. Every track has elegance and melody to the point of being regal.

Sometimes a classic can simple mean every song is a winner, and here, that is more than enough.

While Aretha is best known for her 60's classics, like Respect, Chain of Fools, and You Made Me Feel Like a Natural Woman, the 70's seemingly gave her room to grow even more and to experiment. This album best demonstrates this. To me, it is by far one of the best she's done, period. She's at the top vocally speaking, and the pure raw passion and emotion just oozes out of each song. Aretha sneaks once again into Otis Redding's closet and stills another of his songs, namely "I've Been Loving You to Long" . Aretha is at her best when she is paired up with obviously motivated background singers, live instruments (including some brass that refuses to let up), and lyrics that she can relate to. Her take on April Fools, a David/Bachrach song that was recorded at a much slower subdued pace by Dionne Warwick, is in a word, awesome. This is one of the few cds where I can listen to in it's entirety without impatiently pressing the track key to move along to the next track. This cd deserved a lot more attention than it received, not just for the better known hits, like Daydreaming and Rock Steady, but also for the lesser know gems like the aformentioned ones. If you are an Aretha fan, you cannot possibly exclude this one from your collection.