She's Billie Holiday. No, she's Ella Fitzgerald. No, wait, she's Dinah Washington. The conventional wisdom on Aretha Franklin's tenure at Columbia Records is that the label didn't know what to do with her, and that may be true, but you can't say they didn't try. On these 39 recordings, spread across two discs and cut between 1960 and 1965, Franklin and her producers look for ways to frame her obvious vocal talents, but always in terms of uptown jazz and non-pop/rock formats. Much of the result is appealing, and it's only in ...
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She's Billie Holiday. No, she's Ella Fitzgerald. No, wait, she's Dinah Washington. The conventional wisdom on Aretha Franklin's tenure at Columbia Records is that the label didn't know what to do with her, and that may be true, but you can't say they didn't try. On these 39 recordings, spread across two discs and cut between 1960 and 1965, Franklin and her producers look for ways to frame her obvious vocal talents, but always in terms of uptown jazz and non-pop/rock formats. Much of the result is appealing, and it's only in light of the transcendent soul music Franklin made from her first day at Atlantic Records in 1967 that this work comes across as merely exploratory. "Show me the way to get to Soulville," she demands in 1964. She finally found the way, and that was that. ~ William Ruhlmann, Rovi
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