If I had to choose a favorite Aretha Franklin album--had being the operative word--I simply couldn't do it. It can't be done. Sure, there are albums that are stronger song-for-song than others but I adore the Queen of Soul too much to play favorites. Aside from "This Girl's In Love With You," "Young, Gifted And Black" is an Aretha Franklin album that I always come back to most frequently. It is the album I have purchased as gifts for friends, and one that holds a special place for me in my ever-growing, already-crowded pantheon of must-have music. Overcrowding of music is impossible, unless it's garbage, which unfortunately is subjective. Taste may be relative, but genius is exclusive.
When it was released in 1972, "Young, Gifted And Black" was as poignant then as it is now. I feel that this album is especially important in this moment of civil unrest--putting it mildly! When Aretha was preparing for this album, she was at a time of rebirth--creatively and emotionally. She had ended her marriage to an abusive husband, given birth to her fourth son and was emerging from a chrysalis of introspection. She was in a creative rapture, writing four songs of her own for this record, only her second record to include as many personal compositions behind 1970's "Spirit In The Dark." Most of all, she flourished with a new sense of self-acceptance and self-confidence and she was ready to shout it from the rooftops: "You are young, gifted and you're black, we must begin to tell our young. There's a world waiting for you! Yours is the quest that's just begun."
The album title and song come from another genius woman, Nina Simone, with lyrics by Weldon Irvine. Written for Simone's friend Lorraine Hansberry author of "Raisin In the Sun," the song appeared on Nina Simone's 1970 album "Black Gold" and was subsequently recorded by Mr. Donny Hathaway for his 1970 debut "Everything Is Everything" (an album that will make a Gem Of A Jam appearance). With Nina having a more underground audience and Donny Hathaway on the cusp of breaking through, Aretha was well established as a mainstream artist to get this message out to her masses. As quoted in the 1993 Atlantic Master's cd liner notes, via 1973 Essence Magazine, Aretha stated:
"Being black means being beautiful. It also means struggles, and it also means pain. And every black woman knows of that struggle, that pain and she feels it whenever she looks at her man and her sons. Being black also means searching for oneself and one's place among others. There is so much we need to find. Like more purpose in life, and more self-love. That must come first. It certainly had to come first for me."
Understanding that this was the theme of what "YGAB" was created on 42 years ago, it's remarkable and prophetic that its sentiment would still be felt today; which is what makes this album virtually timeless. Because of this depth, Aretha casts herself in the role of singer/songwriter in the same realm as Joni Mitchell and Carole King--writing more autobiographically than ever before. This is an album where Aretha not only had something to sing; she had something to say.
It is because of young, gifted and black artists that I have a rich love of music. It is also thanks to gifted and black artists that the United States has it's very own rich musical history and musical form--Jazz. We must "begin to tell our young" no matter what their race, the contributions that gifted and black people have given our culture and society. I believe the breakthrough to peace is through music. Especially ARETHA!
Glancing at the track listings, there is a wonderful mixture of self-love headiness and reflective honesty in these songs. Opening the album with "Oh Me Oh My (I'm A Fool For You Baby)," a song that was first popularized by the Scottish songstress Lulu but is, in my opinion, perfected here, Aretha is in full love hangover. Everything about this arrangement and vocal is perfection. I only wished they elongated the end as she had in this 1973 Soul Train performance, one of my all-time favorite Aretha performances:
It doesn't get any better than "Day Dreaming," a self-penned ode to a famous R&B crooner that Aretha had a crush on (allegedly Dennis Edwards of The Temptations). Donny Hathaway is playing electric piano on this track. To quote Mariah Carey, this song is "heady and sublime!"
How can anyone resist "Rock Steady," a groove so slick it gets me in a dancing mood every time. My lovely and talented big sister Kel, who considers this jam part of her karaoke repertoire, first introduced me to this song. Another Aretha-written song, everything about this record is firing on all cylinders. From its cowbell clack to it's call and response background singers "what it is!" this was and is an instant classic. Excuse me while I "step and move my hips with a feeling from side to side."
"All The King's Horses," a personal song about a relationship falling apart, is one of the most personal songs Aretha has composed. The arrangement is quite elaborate; at once a slow jam, erupting into a fiery gospel spiritual and back again!
One of Aretha's favorite songs ever is "A Brand New Me." Written by Thom Bell, Jerry Butler, and Kenneth Gamble of the Gamble & Huff "Philly Soul," the song was popularized first by Dusty Springfield in a gorgeous, sweeping version. Aretha related strongly to the song with her new sense of self that she had wished she recorded it first. Nevertheless, she does a reading of it here that is equally as melodic, with a fiery wail!
One of my favorite songs on this record and perhaps the most personal song Aretha has written at this point in her career is "First Snow In Kokomo." Reminiscing on the family home of her then current beaux and father of her newly born fourth son, this song is perhaps what set Aretha on a whole new level as a singer/songwriter. Not many know that Aretha has been a proficient pianist since the days in her father's church and has written songs sporadically throughout her 50-plus year career!
The album closes with cover songs, a church-going reading of The Beatle's "The Long And Winding Road" followed by a sometimes maligned but personal favorite "Didn't I (Blow Your Mind This Time)." I'm a sucker for Aretha's gospel wail and here it is in full effect. In addition, 'Retha's version is a different attitudinal take on The Delfonics' version. Whereas their version is very heartbroken and lovelorn, Ms. Franklin's is a kiss-off that leaves her lover hanging out to dry. "Didn't I put it on ya?" she breaks it down on the bridge. This has to be one of my favorite Aretha covers EVER. I usually stand alone on this one. The closing "Border Song (Holy Moses)" written by Elton John has Lady Soul doing what she does best: anointing us in a song-sermon as we make our way out of the church that is the Gem Of A Jam "Young, Gifted And Black."
A note on the producers of this record: Jerry Wexler, Atlantic Records' most prolific producer coined the term "rhythm and blues." He worked with Aretha at the very beginning of her Atlantic career. He is the driving force behind bringing out the best in Aretha and he managed to do it for 9 or so albums! Tom Dowd was also as prolific as recording engineer on Aretha's sessions. Lest I forget Mr. Arif Mardin, arranger and conductor here. You may recognize his name from previous GOAJ blog posts (see Bette Midler).