"I Never Loved A Man The Way I Love You" by Aretha Franklin (March, 1967)

Dad's Take:

First of all, that's one long album title. It doesn't exactly roll off the tongue, does it? But this is Aretha, and she can call her album whatever she wants. I mean, this thing starts with her version of "Respect," after all. We've heard that one before on our list, but from the first word on, she owns this song and always will.

"Respect" is clearly the star here. But don't let that fool you. This is a solid collection. After the album rock of The Doors, this feels like an old-school record, a collection of songs not unlike other soul albums we've heard. Mixed among the great songs are some filler tunes, which are saved by Aretha's performance. The album provides two top ten hits, with "Respect" (of course) going to the top of the charts.

While I kind of agree with Rolling Stone's 1967 review, which said that the songs lacked versatility by the sidemen, the showcase here is Aretha's voice and the album has her name on it. On a few songs, like the jazzy "Good Times," the band starts to groove a bit more than on many of the songs. If this had been a 1964 album, I don't think I'd complain. But this is '67 and I want to hear the band show their chops a bit more.

One of the surprises on this album was "Do Right Woman - Do Right Man," which Aretha sings in a lower key. Although her higher, somewhat screechy voice is incomparable, I like hearing her occasionally down in the lower register of that song, with a more subtle delivery. But after a song like that one, which I thoroughly enjoyed, I'm ready for her to sock it to me sock it to me sock it to me again. And the next song, "Save Me," gave me what I was looking for, a classic Aretha delivery and head-bopping bass line, even if the song itself is a little weaker than some of the others. But I can't help moving.

Our list of classic albums would be incomplete without Aretha Franklin, and this is the Aretha album you have to pick. I admit that, for the most part, this one doesn't blow me away the way, say, the Ike and Tina Turner album we reviewed a while back did, it's a solid listening experience and a true classic, and would be even if "Respect" was the only worthwhile song on the record. Your soul collection isn't complete without this record, and when it comes down to it, that's the true definition of a classic.

Brad's Take:


Aretha damn Franklin...

It took me a long time to think of what else to write after that. There really isn't much else to say. Aretha Franklin just rules. The passion in her voice is just amazing. Whether she's yelling it and making the microphone levels peak or singing quietly, she's just great!

She performs perfectly on this album. However, some of the song choices and arrangements don't really impress me much. The album is lacking in memorable songs. It's got a couple hits, for sure, but the majority of the record feels like an album from the 50s or very early 60s, where it's got 2 or 3 singles (1 really huge one), and then just a bunch of filler songs mixed in to make it long enough to call "an album." It's unfortunate though since Aretha is such a huge talent. You know there's talent here on every one of these recordings, the moment you hear her voice, but it's the actual song selection that makes this fall a little flat.

With some of our past reviews, there were albums that I just knew I was going to have to buy after listening to them, as if a Greatest Hits album for the artist wasn't even going to suffice since the album itself was just so perfect. For example, Sinatra's In The Wee Small Hours, Muddy Waters' Folk Singer, and Miles Davis' Kind of Blue. All serious classics, in my eyes (or ears...) but after listening to this album, I think a Greatest Hits compilation would probably be better when it comes to listening to Miss Franklin.

"Green Onions" by Booker T and the MGs (October 1962)

(Note: I noticed when I was nearly finished with this one that our MP3 files are misnamed for this album, so any titles that are mentioned, especially in Brad's review, are likely incorrect. For example, when Brad writes about "Mo Onions," he really means "Green Onions." "Stranger on the SHore" is actually "Mo Onions." I hate it when that happens. --Dad.)

Brad's Take:


Tina Turner, Ray Charles, Booker T. and the MGs... Wait, what?! Green Onions??? This obviously came out of complete left field for me. I've never heard of this group before, and I immediately laughed at the ridiculous album name and cover art. I didn't know what to expect before I put it on, but I eventually stopped laughing, sat back, took a deep breath, and hit play...

This isn't what I expected an album called Green Onions would sound like. Booker T. Jones fronts the instrumental R&B band with his trusty organ. His band, his MG's, shines just as much as Booker, but that organ is definitely the loudest instrument on the album showing that it's the true star.

I didn't know what to make of this album for the first few songs. It's just wild organ-lead blues songs that make your foot bounce like crazy. It wasn't until track 4 ("Mo Onions") when I recognized a song. I remember that song being in one of my favorite childhood movies, The Sandlot. I'm just impressed that I actually knew a song from this band! I thought "Stranger On The Shore" was another one I knew, but then I realized it's basically just the same as "Mo Onions." Almost an identical bassline, and the same chord progression.

In the end, I surprisingly really liked this album a lot, for what it was. The organ sound gets a little irritating after a few songs, but fortunately when the headache begins to start, the next song is one that isn't so organ driven. So you have time to let your eardrums heal for a couple minutes. After laughing at the band and album name, and the ridiculous cover, I have learned the ways of Booker T. and the MGs.

Dad's Take:

I, of course, am very familiar with the hit, "Green Onions." I've no doubt heard it hundreds of times. And I know that Booker T and the MGs are in the Rock and Roll Hall of Fame. I've also heard them described as the ultimate studio backing band. But I still only know the one song. So I wondered what it was about that band that could possibly place them on a list next to so many other great albums.

I can see why they had so much success as a backing band. They have a tight sound, with excellent musicianship, and an interesting roots-music sound behind that ever-present organ.

It's curious that they put "Green Onions" and the very similar "Mo Onions" on the record. This reminds me of the two versions of "The Banana Boat Song" with different names on the Belafonte album we listened to earlier. I guess two onions are better than one. But I think I need a good, strong breath mint.

If I were to rank all the albums we've listened to so far, this one likely would not finish in the top half. It's not that I don't dig it. These are some excellent blues and R&B jams with some very cool guitar playing, but I guess I prefer my electric organ in smaller doses. I've always liked that early sixties organ sound, but this is an awful lot of a good thing. It's kind of like cake: the first few bites are heavenly, but the rest of the piece is, well, just cake.

"The Soul of Ike & Tina Turner," by Ike & Tina Turner (October, 1961)

Dad's Take

This is Ike & Tina before Phil Spector's pop stylings. This album highlights the soul sound that brought them to fame. Ike had been around since before rock and roll had a name, with such early songs as "Rocket 88," but the smartest move he ever made was teaming up with Tina.

Musically, this album is a lot like Ike's early R&B music, with its roots firmly in the fifties. But it's Tina's vocal power and soul that makes this record a classic. Song after song, whether rocker or ballad, Tina sings, growls, and screams her way into the listener's soul. How can you not believe her sincerity, her feelings, and her pain, when she puts so much into her performances? Even the largely spoken (and less exciting) "Letter From Tina" had me saying, "Yeah, Tina, you're right. I'm sorry. Whatever you say."

Sonically, these aren't the clearest recordings ever. They sound like they're from an older studio. But it really doesn't matter. The somewhat muddy sound of some tracks adds to the grit of Tina's voice. It just wouldn't sound right with pristine digital clarity.

When you listen to this record (and if you haven't, you really should), there is no doubt that Tina is here to stay, that she's a force who will either self-destruct or be around for decades. As it turns out, Ike and Tina's relationship nearly destroyed them both, but Tina survived it and increased her status as a legend.

This early Ike & Tina record shows that Ike's R&B formula still worked, and that Tina is incomparable, in a tiny class with other legendary soul singers like James Brown and very few others.

Turn it up and marvel.

Brad's Take:


Now we're talking! After reviewing a couple albums that I didn't love, this is a breath of fresh air. I'm loving this album.

The opening song "I'm Jealous" is the perfect one to kick off an album like. It introduces you to Tina Turner's incredibly powerful voice right from the beginning. I couldn't help but get a huge smile on my face when she does her loud scratchy screams. It's great!

I love the overall vibe of this album. It's got soul, R&B, and early pop all mixed together to form one fun album from front to back. Ike and Tina really compliment each others styles.

Tina's vocals are my favorite thing about this album though. She has so much emotion and power in her voice that you feel intimidated by her. I'd never want to make her upset. You can tell that she doesn't need anyone else in order for her to shine.