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I Never Loved a Man the Way I Love You: Aretha Franklin, Respect, and the Making of a Soul Music Masterpiece, by Matt Dobkin
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The album that earned soul legend Aretha Franklin her first major hits, I Never Loved A Man the Way I Loved You was a pop and soul music milestone. Apart from its status as a hit record, the album also had a much wider cultural impact. By early 1967, when the album was released, the Civil Rights movement was well underway; Aretha's music gave it its theme song. And the single "Respect" became a passionate call to arms for the burgeoning feminist movement.
Dobkin has unearthed a wonderful story of the creation of an album that goes far beyond anything that's been written about The Queen of Soul before. With scores of fresh interviews--including ones with the session musicians from Muscle Shoals who recorded with Aretha--I Never Loved A Man the Way I Love You is the story of a great artistic achievement. It's also a biography of a star who is both more complex and determined than her modern image as a diva indicates.
- Sales Rank: #3241386 in Books
- Published on: 2006-01-24
- Released on: 2006-01-24
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .66" w x 5.50" l, .85 pounds
- Binding: Paperback
- 288 pages
- ISBN13: 9780312318291
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
About the Author
Matt Dobkin is the author of Getting Opera. He is the former classical music editor at Time Out New York, and his work has appeared in New York magazine, Bazaar, Out, and a variety of other publications. He lives in New York City.
From The Washington Post
"I don't know anybody that can sing a song like Aretha Franklin," Ray Charles once said. "Nobody. Period." But it took her 10 albums to finally reach a wide national audience. In I Never Loved a Man the Way I Love You: Aretha Franklin, Respect, and the Making of a Soul Music Masterpiece (St. Martin's Griffin, $14.95), music journalist Matt Dobkin describes how that 10th, groundbreaking 1967 album -- which included such iconic songs as "Respect" and "I Never Loved a Man" -- was made. "A brash Jew from the Bronx, a lock-jaw old-money heir, and a southern country boy from Alabama -- these were the figures who ... helped a young girl in her twenties from Detroit, a mother since her teens who hadn't completed high school, become the embodiment of black womanhood." These music professionals -- Franklin's producer at Atlantic Records, the Columbia executive who first "discovered" her and the owner of a tiny studio in Muscle Shoals, Ala. -- helped her move from being "smothered ... under a phalanx of lush strings" to showing "the world that forty-one minutes ... of church-influenced soul music could be [a] lasting work of passion and craftsmanship." But Franklin led the way. One member of the "killer house band of fiercely funky white guys" remembers how she took control: "She kinda looks around, like, Nobody's watchin' me. I thought she thought for just a second, Is this not my session? And with all the talent she had, she just hit this unknown chord. Kind of kawunka-kawunka-kawung! Like a bell ringing. And every musician in the room stopped what they were doing, went to their guitars and started tunin' up. They knew someone had come who was gonna cut somethin' heavy on that day." Flash forward 34 years to journalist Touré's profile of Alicia Keys -- "Neo-Soul's newest princess" -- whose career didn't really take off until she "took the weight of writing and producing on herself." The profile appears in Never Drank the Kool-Aid (Picador, $15), a collection of Touré's profiles and essays. A longtime chronicler of the hip-hop world, Touré (yes, that's his full name) says he never drank the Kool-Aid: "I never bought into the philosophy of the rappers, singers, and celebrities I wrote about. I wasn't there to help extend their brands and the story they were selling. I was there to try to understand who they were beyond the image they want us to think they were." After all, he continues, "journalism is about truth-telling, but when you bring those instincts to the world of Black entertainment you step into a community that's not interested in or prepared for honesty. They don't want to hear the truth about their emperors' wardrobe." Nevertheless, in profiles of Biggie Smalls, Eminem, 50 Cent and many others, Touré tries to bring it home. But it gets complicated. When Tupac Shakur was shot (not, sadly, for the last time) while he was on trial for sexual assault, rumors went around that the police had set it up. Touré wrote an article for the Village Voice -- included here -- suggesting that it was just as likely that Shakur had set himself up: "In theory, and it was just a theory, it seemed plausible: Pac rolled away from the shooting physically unscathed, his reputation for bravery and boldness and badassness maximized. This gave us indisputable proof that he was indeed a modern phoenix, able to survive a rain of bullets." But the rapper told another journalist that when he read the piece, he cried. "I took him at his word and deconstructed his body and his life like they themselves were part of an art show," writes Touré. "But art doesn't cry if it gets a bad review." But sometimes the artist's life is the art. Or the art is what the artist wants his life to be. The subject of Joshua Gamson's The Fabulous Sylvester: The Legend, the Music, the Seventies in San Francisco (Picador, $15) knew he was destined to be famous from his early childhood in South Central Los Angeles. "He seemed to have made a decision very early on that he would be heard. 'If you said no,' his mother said, 'he was determined to let it be yes.'" As a teenager, Sylvester James, Jr., known as Dooni growing up and just Sylvester later on, found his way to the Disquotays, partying drag queens that "were a cross between a street gang and a sorority." And "in a world where 'ridiculous' was the highest of compliments, Miss Dooni was the most ridiculous of them all." He, or she, did become famous, her exuberant style coinciding perfectly with the 1970s. Disco, Sylvester said once, was about how "everyone can be strange and live out their fantasies on the dance floor ... . I've always lived out my fantasies of being whatever I wanted to be." Sylvester had a short life -- dying of AIDS in 1988 -- but it was a fabulous one. -- Rachel Hartigan Shea
Copyright 2006, The Washington Post. All Rights Reserved.
From the Back Cover
"I Never Loved a Man the Way I Love You," Aretha Franklin's first album for Atlantic Records and famed producer Jerry Wexler, was a pop and soul music milestone that jump-started Franklin's languishing career. Almost overnight, Aretha became a top-selling recording artist and a cultural icon. Matt Dobkin has unearthed fascinating details about the recording session in Muscle Shoals, Alabama: about the volatile behavior of Aretha's manager/husband, Ted White; about Aretha's reaction to the lack of black musicians in the session; and about how tempers and alcohol almost derailed the session with only a track and half in the can.
This book goes far beyond anything that's been written about "The Queen of Soul" or her music before. I NEVER LOVED A MAN THE WAY I LOVE YOU is the story of a great achievement and includes scores of fresh interviews, including Wexler, the session men from Muscle Shoals and Aretha's own musicians. It gives insight into a star more complex and determined than her modern diva image would seem to indicate. Aretha, a teenage mother and daughter of a commanding preacher father, rose above her circumstances and transformed them into art. She gave the Civil Rights movement, already well underway in 1967 when the album came out, a passionate call to arms. And with "Respect" she provided the burgeoning feminist movement with an enduring theme song.
The first serious, non-biographical look at Aretha Franklin's work, I NEVER LOVED A MAN THE WAY I LOVE YOU will deepen even ardent fans' understanding of one of the great soul artists of our time, a direct descendant of Bessie Smith and Billie Holliday.
"Effusive writing...about her sublime musicianship and the impact of her songs on feminism and the Civil Rights movement...opens an enlightening window on the creative process."
--Publishers Weekly
Most helpful customer reviews
6 of 6 people found the following review helpful.
Very good book - Concentrates mostly on music!
By Music Lover
Just read this after finding it in the library. The book is mostly about the recording of Aretha Franklin's "I Never Loved A Man" single and album. I love hearing the details about recording and music. The author has interviewed several of the original musicians, Jerry Wexler and even Ted White (Franklin's ex-husband).
The book doesn't try to make anyone out to be totally bad. I was impressed by the author's take on Ted White, not totally making him out to be the evil guy everyone said he was. I'm not saying he was perfect, just human with flaws.
There is a chapter on the so-called trouble that went along with the session. Just about everyone has had their say on what happened almost 40 years ago. The author wisely collects several different accounts and doesn't try to definitively define what happened.
I wish more people would write books about the music, rather than deal with the tabloid details of an artist's life. I understand that a person's personal life is woven into their life as an artist and I believe that the author balanaces out both in discussing Aretha Franklin, her life and music.
I thought is was very interesting to read about Franklin's musical influences. If you have never listened to Dinah Washington, you should check her out and hear how she influenced Aretha Franklin.
For music fans, this is a good read. Let's have more books like this regarding Motown and other soul music!
4 of 4 people found the following review helpful.
I Need Aretha
By The RAWSISTAZ Reviewers
If there is anything that remains constant in my life, it is knowing that Aretha Franklin is a sister spirit and that her voice can help to calm me in the most torrential times. It seems that when I listen to Aretha she is speaking directly to me, telling me she knows what I am going through and that everything will turn out fine. Matt Dobkin revisits the recording of a 1967 album that shot Aretha Franklin to the highest level of stardom and changed the voice of soul music forever and changed my life forever.
I NEVER LOVED A MAN THE WAY I LOVE YOU is not just a biography. Instead, it is a detailed analysis of Aretha's rise to superstardom and the recording sessions during what some would argue is Aretha's finest hour. Dobkin interviewed many of the direct participants of the recording of I Never Loved a Man The Way I Love You to inject the history needed to make telling this story a success. However, he also included thoughts from the great poet Nikki Giovanni (her descriptions of both Aretha's presence and the tumultuous era in question were remarkable) and other contemporaries of the Queen of Soul for added context.
The album, I Never Loved a Man The Way I Love You, included such cuts as "Do Right Woman," "Save Me," "Dr. Feelgood," (one of my favorite Aretha songs) and the female anthem, "Respect," an Otis Redding song that Aretha covered and made her own. But, as Dobkin seems to relay, one of the most important aspects of this recording was that it was interracial; most of the musicians on the album were young white men from Muscle Shoals, Alabama or neighboring cities. Dobkin also notes that the musical process that was utilized on this album (Aretha at the piano, leading the show) would become her M.O. for making music from that day forward.
Aretha has numerous albums to her credit, ranging from a Dinah Washington tribute album, recorded during her stint at Columbia Records, to the Atlantic Records late-sixties masterpiece that is the focus of this book. Dobkin seemed to know what he was talking about when retelling the story of the album's birth, and he provided much needed groundwork to help the reader understand just how important that album was in 1967 and still is today. I Never Loved a Man The Way I Love You ushered in the reign of the Queen of Soul and widely introduced this timeless voice to the favorites list of music lovers worldwide. Dobkin gave Aretha her demanded Respect and took it a step further by praising her musical virtuosity.
Reviewed by CandaceK
of The RAWSISTAZ™ Reviewers
2 of 2 people found the following review helpful.
The stories behind the making of Respect, Dr. Feelgood, and I Never Loved a Man
By J-Rock
"I Never Loved a Man" is a music journalist's take on Aretha Franklin's groundbreaking album. Dobkin comes from a background in opera writing, and he writes with great appreciation and sensitivity about the music. You can tell that he enjoys listening to the music and trying to conquer the challenging task of describing tones with prose. He also interviews some of the key figures in the story such as Jerry Wexler of Atlantic Records, Aretha's ex-husband, Ahmet Ertegun, and many of the key performers on the album. He takes an informal tone at times with his interviewees and tries to go beyond reporting their reflections on the album and treating them as characters in themselves. Those interested in Jerry Wexler, the executive at Atlantic who produced the sessions, will gain from his perspective and the musicians' responses to hearing about Jerry Wexler.
I do differ with some of this author's interpretations. He seems to feel that Muscle Shoals' FAME Studios was a critical part of this album's sound. Dobson takes great pains early on in the book to stress the "three white men" who played important roles in making this music happen. In many cases, such as Wilson Pickett's work for Atlantic, Muscle Shoals and its integrated country influenced soul did provided a core studio sound. Yes, the musicians added key riffs to the tunes. Reading into some of the details of this book, however, we see that in many ways Aretha and her husband were key catalysts in radically altering the relationship between Jerry Wexler's Atlantic Records and FAME Studios. Dobkin does a good job of talking about "the incident" where the racial tensions between an all-white studio band and a redneck trumpet player lead to conflict and a fight with Aretha's husband. That led to an integrated band and a plot to steal FAME's musicians for Atlantic in the New York sessions that were later held to finish the album.
Regardless, Aretha would have made this kind of music with anyone. It's her church, her Dinah Washington, and her Clara Ward and the fire within her bones coming out at one time. I firmly believe that Aretha Franklin was a force of nature in the studio, and she, unlike other vocalists such as Diana Ross, would have achieved greatness with any quality studio support. She would have been Aretha at Stax or even RCA as long as the producer was smart enough to be like Jerry Wexler and largely get out of her freakishly gifted way. In many ways, the most feminist thing about these sides is that these are early examples of a woman producing herself in a male-dominated industry and then hitting a home-run with overwhelming chart-topping success. Unfortunately, Aretha did not have the business sense to carve out producer or co-producer credit for her efforts in bandleading and directing musicians until later on in her career.
Nikki Giovanni is a key voice in this book as well. For those who see her solely as "that black feminist poet", it's fun to see her as just a fan of the Queen of Soul.
Dobkin sums up his agenda early on in the book: to provide a snapshot of what Aretha when she was crowned Queen of Soul at Atlantic. Minor complaints aside, he does an excellent job providing a lasting testimony to a great vocalist, artist, and symbol of soul power. Here's hoping that Aretha opens up a little as she enters her twilight years and improves on her biography or a biographer can do justice to the full scope of her life. Until then, books like "I Never Loved a Man" will provide great insight into the nature of her gift.
Strongly recommended...
--4 stars
--SD
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