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38 • AUGUST 24, 2018 • LOSANGELESBLADE.COM

MUSIC

Aretha Franklin: an appreciation Soul legend spun magic despite uneven musical output By JOEY DiGUGLIELMO

An assistant to Aretha Franklin handed out these autographed 8x10 glossies to fans gathered outside a stage door at Pittsburgh’s Heinz Hall during the singer’s ‘The Queen is On’ tour on Oct. 25, 2003. It was billed at the time as her farewell tour, but Franklin continued concertizing throughout the next 14 years. Photo by Kwaku Alston / Courtesy Arista Records

Aretha Franklin’s career accomplishments were, of course, impressive — 18 competitive Grammys (only Beyonce with 22 and Alison Krauss with 27 have her beat among women), first woman inducted into the Rock & Roll Hall of Fame and a cultural gravitas in the culture that meant when the U.S. wanted to put its best foot forward — Obama’s inauguration, Pope Francis’ stateside visit — Franklin was the go-to performer (oddly, those two performances were among her less memorable musically). In a way, Franklin’s accomplishments are a bit curious. She was more a singles-oriented artist, so her various albums (often cobbled together from various recording stints not necessarily recorded with any cohesive statement in mind) never went through the roof. When the 1985 title “30 Greatest Hits” reentered the Billboard chart last week at No. 7 upon news of her death, it was her highest-charting album since her landmark gospel masterpiece “Amazing Grace” made it to no. 7 way back in 1972. There were also long stretches where Franklin went eons between albums and even when she did release them, they sometimes barely made blips on the charts. Beyonce is, of course, an arbitrary comparison in many ways — she and Franklin are of different eras — but a Beyonce album is always an event. All six of her studio albums have hit the top spot, while Franklin never once had a no. 1-selling album. During her hottest era upon first signing with Atlantic in the late ‘60s, the top spot proved evasive with 1967’s “I Never Loved a Man” peaking at no. 2, “Aretha Arrives” at no. 5, “Lady Soul” at no. 2 and “Aretha Now” at no. 3. Later releases sometimes tanked for decent records like “Through the Storm” (no. 55) and “What You See is What You Sweat” (no. 153), unthinkable numbers for a Beyonce or a Mariah Carey. Franklin was 47 when “Through the Storm” came out in spring, 1989. Carey was 45 when her last album, 2014’s “Me. I Am Mariah …” made it to no. 3. For some hard-to-pinpoint reason, Franklin never developed the fiercely loyal fan base that ensures veteran acts top 10 album releases even decades after their heydays. And although Franklin’s overall Billboard Hot 100 chart heft is impressive — she held the women’s record with 73 entries until Nicki Minaj broke it (mostly with a legion of “featured artist” cameos) last year — she only hit the no. 1 spot twice (with “Respect” and “I Knew You Were Waiting For Me,” a George Michael duet) compared to Carey’s 18 no. 1 Hot 100 hits, Rihanna’s 13 and Madonna and the Supremes’ 12 each. Franklin did rack up a bounty with 20 no. 1s on the R&B chart. And Franklin had a relatively meager three platinum (1 million copies certified) albums in her whole career (two were for compilations) and just one certified double platinum album (“Amazing Grace”). She never had a monster-selling legendary album like a “Rumours” (Fleetwood Mac, 20x platinum), a “Come On Over” (Shania Twain, 20x platinum), or a “Jagged Little Pill” (Alanis Morissette, 16x platinum). And yet could you imagine Twain or Morissette being called upon to perform for the pope or a historical presidential inauguration? Hardly. What I’m getting at is that despite an impressive track record in all the usual ways we measure music industry success, Franklin’s stats are not quite what you’d think they would be considering her cultural impact. There’s no question about it — her output is uneven. It’s hard to pinpoint why, but put any of her studio albums on at random and track for track, you’re just as likely to encounter filler as grandeur. There are moments to enjoy on them all — all of which I own — but efforts like “Hey Now Hey,” “You,” “Sweet Passion,” “Almighty Fire” and “La Diva” are erratic. “A Rose is Still a Rose” (1998) was her last great album although 2003’s “So Damn Happy” is underrated and quite good. Later efforts like “This Christmas Aretha” (2008) and “A Woman Falling Out of Love” (2011) are almost painfully bad despite glimmers of magic. So what gives exactly? In some ways I feel Franklin was underrated; in other ways I think it’s remarkable what she managed to achieve considering how up and down her overall quality — admittedly a subjective assessment — was. Franklin, especially in later years, did things her way. She would never have handed over a project to an outside producer the way, say, Loretta Lynn with her classic “Van Lear Rose” album that Jack White produced in 2004 or the way Johnny Cash did with his American Recordings series with Rick Rubin which gave him a nice victory lap in his final years. Impresario Clive Davis held some sway with Franklin — we can largely thank him for Franklin’s final studio effort, 2014’s solid “Aretha Franklin Sings the Great Diva Classics,” but only to a point. Even some of the ‘80s work they collaborated on like “Jump To It” (1982) and “Get it Right” (1983) (both of which Luther Vandross produced) are hit and miss. But while Franklin’s choice of material was often uneven, her interpretive abilities were nearly peerless. She knew how to unfurl her trademark improvised melismas with a finesse that never sounded overwrought as it often does in lesser hands (I’ve heard singers whoop and dip so recklessly they end up in different keys than they began). Were a lesser singer (and many have) to have taken the luxuries of tempo and pacing Franklin did on the title cut of her “Amazing Grace” album, for example, for most, it would sound ridiculously self-indulgent and extreme. Continues at losangelesblade.com

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