Aretha Franklin - God Bless Our Easter '2021

Artist	Aretha Franklin Related artists
Album name	God Bless Our Easter
Country
Date	2021
Genre
Play time	1:36:30
Format / Bitrate	Stereo 1420 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	440 MB
Price	Download $3.95

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Tracks list

Tracklist:

01. God Bless The Child
02. That Lucky Old Sun
03. Exactly Like You
04. I Told You So
05. Ac-Cent-Tchu-Ate The Positive
06. Its So Heartbreakin
07. Blue Holiday
08. Lover Come Back To Me
09. Just For You
10. Never Grow Old
11. While The Blood Runs Warm
12. Dont Cry, Baby
13. Precious Lord Pt. 2
14. Try A Little Tenderness
15. Look For The Silver Lining
16. Precious Lord Pt. 1
17. Just For A Thrill
18. I Apologize
19. I Surrender, Dear
20. There Is A Fountain Filled With Blood
21. You Made Me Love You
22. Nobody Like You
23. Rough Lover
24. Rock-A-Bye Your Baby With A Dixie Melody
25. He Will Wash You White As Snow
26. It Aint Necessarily So
27. Im Wandering
28. You Grow Closer
29. The Day Is Past And Gone
30. Yield Not To Temptation
31. Without The One You Love
32. Im Sitting On Top Of The World
33. I Dont Know You Anymore


Â Read Full BiographyFranklins roots in gospel ran extremely deep. With her
sisters Carolyn and Erma (both of whom would also have recording careers), she
sang at the Detroit church of her father, Reverend C.L. Franklin, while growing
up in the 50s. In fact, she made her first recordings as a gospel artist at the
age of 14. It has also been reported that Motown was interested in signing her
back in the days when it was a tiny start-up. Ultimately, however, Franklin
ended up with Columbia, to which she was signed by the renowned talent scout
John Hammond.

Franklin would record for Columbia constantly throughout the first half of the
60s, notching occasional R&B hits (and one Top 40 single, Rock-a-bye Your Baby
with a Dixie Melody) but never truly breaking out as a star. The Columbia period
continues to generate considerable controversy among critics, many of whom feel
that Franklins true aspirations were being blunted by pop-oriented material and
production. In fact, there are a number of fine items to be found on the
Columbia sides, including the occasional song (Lee Cross, Soulville) where she
belts out soul with real gusto. Its undeniably true, though, that her work at
Columbia was considerably tamer than what was to follow, and suffered in general
from a lack of direction and an apparent emphasis on trying to develop her as an
all-around entertainer, rather than as an R&B/soul singer.

When Franklin left Columbia for Atlantic, producer Jerry Wexler was determined
to bring out her most soulful, fiery traits. As part of that plan, he had her
record her first single, I Never Loved a Man (The Way I Love You), at Muscle
Shoals in Alabama with esteemed Southern R&B musicians. In fact, that was to be
her only actual session at Muscle Shoals, but much of the remainder of her 60s
work would be recorded with the Muscle Shoals Sound Rhythm Section, although the
sessions would take place in New York City. The combination was one of those
magic instances of musical alchemy in pop: the backup musicians provided a much
grittier, soulful, and R&B-based accompaniment for Franklins voice, which soared
with a passion and intensity suggesting a spirit that had been allowed to fly
loose for the first time.

In the late 60s, Franklin became one of the biggest international recording
stars in all of pop. Many also saw her as a symbol of Black America itself,
reflecting the increased confidence and pride of African-Americans in the decade
of the Civil Rights movement and other triumphs for the Black community. The
chart statistics are impressive in and of themselves: ten Top Ten hits in a
roughly 18-month span between early 1967 and late 1968, for instance, and a
steady stream of solid medium to large hits for the next five years after that.
Her Atlantic albums were also huge sellers, and far more consistent artistically
than those of most soul stars of the era. Franklin was able to maintain creative
momentum, in part because of her eclectic choice of material, which encompassed
first-class originals and gospel, blues, pop, and rock covers, from the Beatles
and Simon & Garfunkel to Sam Cooke and the Drifters. She was also a fine,
forceful, and somewhat underrated keyboardist.

Franklins commercial and artistic success was unabated in the early 70s, during
which she landed more huge hits with Spanish Harlem, Bridge Over Troubled Water,
and Day Dreaming. She also produced two of her most respected, and earthiest,
album releases with Live at Fillmore West and Amazing Grace. The latter, a 1972
double LP, was a reinvestigation of her gospel roots, recorded with James
Cleveland and the Southern California Community Choir. Remarkably, it hit the
Top Ten, making it one of the greatest gospel-pop crossover smashes of all time.

Franklin had a few more hits over the next few years -- Angel and the Stevie
Wonder cover Until You Come Back to Me being the most notable. Her Atlantic
contract ended at the close of the 70s. She signed with the Clive Davis-guided
Arista and scored number one R&B hits with Jump to It, Get It Right, and Freeway
of Love. Many of her successes were duets, or crafted with the assistance of
contemporaries such as Luther Vandross and Narada Michael Walden. In 1986,
Franklin released her follow-up to Whos Zoomin Who?, the self-titled Aretha,
which saw the single I Knew You Were Waiting for Me, a duet with George Michael,
hit the top of the charts. There was also another return to gospel in 1987 with
One Lord, One Faith, One Baptism. Franklin shifted back to pop with 1989s
Through the Storm, but it wasnt a commercial success, and neither was 1991s new
jack swing-styled What You See Is What You Sweat.

After 1994, Franklin eased into elder stateswoman territory, performing
regularly and releasing albums every few years. A Rose Is Still a Rose went gold
upon its release in 1998, thanks to two number one R&B hits: its title track and
Here We Go Again. It also contained the Grammy-winning song Wonderful. Following
2003s So Damn Happy, Franklin left Arista after A Rose Is Still a Rose -- the
label would release Jewels in the Crown: All-Star Duets with the Queen in 2007;
she formed her own imprint, Arethas Records, for 2008s This Christmas. After
2011s A Woman Falling Out of Love, she reteamed with Clive Davis at RCA, who
connected her with the likes of Babyface and OutKasts AndrÃ© 3000 for 2014s
Sings the Great Diva Classics, where she covered Gladys Knight, Barbra
Streisand, and Adele. A Brand New Me, an archival release featuring classic
Aretha vocals in front of newly created orchestral arrangements by the Royal
Philharmonic Orchestra, appeared in 2017.

Also in 2017, Franklin canceled several concerts due to health problems, but she
managed to appear at a show celebrating the 25th anniversary of the Elton John
AIDS Foundation that November. It turned out to be her last public performance.
Over the course of 2018, her health worsened due to pancreatic cancer. Franklin
started to receive hospice care on August 13 and died at her home in Detroit
three days later. The memorial service held on August 31 at Detroits Greater
Grace Temple featured testimonials from peers, Civil Rights leaders, and
politicians, and was televised around the world.

The first posthumous Franklin release was the compilation The Atlantic Singles
Collection 1967-1970, which appeared in September 2018. It was followed in March
2019 by the re-release of Amazing Grace: The Complete Recordings. The
career-spanning four-disc box set Aretha appeared on Atlantic in July 2021,
timed to coincide with the release of the Jennifer Hudson-starring biopic
Respect. ~ Richie Unterberger