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I Never Loved a Man the Way I Love You: Aretha Franklin, Respect, and the Making of a Soul Music Masterpiece Paperback – Bargain Price, January 24, 2006
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Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.
“A standout in the current crowd of classic-album histories.” --Booklist
Top Customer Reviews
The book doesn't try to make anyone out to be totally bad. I was impressed by the author's take on Ted White, not totally making him out to be the evil guy everyone said he was. I'm not saying he was perfect, just human with flaws.
There is a chapter on the so-called trouble that went along with the session. Just about everyone has had their say on what happened almost 40 years ago. The author wisely collects several different accounts and doesn't try to definitively define what happened.
I wish more people would write books about the music, rather than deal with the tabloid details of an artist's life. I understand that a person's personal life is woven into their life as an artist and I believe that the author balanaces out both in discussing Aretha Franklin, her life and music.
I thought is was very interesting to read about Franklin's musical influences. If you have never listened to Dinah Washington, you should check her out and hear how she influenced Aretha Franklin.
For music fans, this is a good read. Let's have more books like this regarding Motown and other soul music!
I NEVER LOVED A MAN THE WAY I LOVE YOU is not just a biography. Instead, it is a detailed analysis of Aretha's rise to superstardom and the recording sessions during what some would argue is Aretha's finest hour. Dobkin interviewed many of the direct participants of the recording of I Never Loved a Man The Way I Love You to inject the history needed to make telling this story a success. However, he also included thoughts from the great poet Nikki Giovanni (her descriptions of both Aretha's presence and the tumultuous era in question were remarkable) and other contemporaries of the Queen of Soul for added context.
The album, I Never Loved a Man The Way I Love You, included such cuts as "Do Right Woman," "Save Me," "Dr. Feelgood," (one of my favorite Aretha songs) and the female anthem, "Respect," an Otis Redding song that Aretha covered and made her own. But, as Dobkin seems to relay, one of the most important aspects of this recording was that it was interracial; most of the musicians on the album were young white men from Muscle Shoals, Alabama or neighboring cities. Dobkin also notes that the musical process that was utilized on this album (Aretha at the piano, leading the show) would become her M.O. for making music from that day forward.Read more ›
I do differ with some of this author's interpretations. He seems to feel that Muscle Shoals' FAME Studios was a critical part of this album's sound. Dobson takes great pains early on in the book to stress the "three white men" who played important roles in making this music happen. In many cases, such as Wilson Pickett's work for Atlantic, Muscle Shoals and its integrated country influenced soul did provided a core studio sound. Yes, the musicians added key riffs to the tunes. Reading into some of the details of this book, however, we see that in many ways Aretha and her husband were key catalysts in radically altering the relationship between Jerry Wexler's Atlantic Records and FAME Studios. Dobkin does a good job of talking about "the incident" where the racial tensions between an all-white studio band and a redneck trumpet player lead to conflict and a fight with Aretha's husband.Read more ›
Most Recent Customer Reviews
This is a wonderful book I truly enjoyed reading it.I will recommend it to all my friends to read now.Published 23 months ago by Patricia Ford
Matt Dobkin is not just any Aretha fan, he's totally devoted and knows the complete Franklin discography. He can probably recite it, chronologically, backwards and forwards. Read morePublished on August 15, 2009 by Loves the View
I disagree with the reviewer who said Franklin could have made this album with any musicians. There was a reason Aretha, the Staple Singers, Paul Simon, Rod Stewart, Bob Seger, Bob... Read morePublished on December 3, 2008 by kperk