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I Never Loved A Man The Way I Love You

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Page Artiste Aretha Franklin


Produits fréquemment achetés ensemble

  • I Never Loved A Man The Way I Love You
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  • Lady Soul
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  • Aretha Now
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Détails sur le produit

  • CD (30 juin 1995)
  • Nombre de disques: 1
  • Label: Rhino Record
  • ASIN : B0000033IS
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 35.631 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Respect
  2. Drown in my own tears
  3. I never loved a man the way I love you
  4. Soul serenade
  5. Don't let me lose this dream
  6. Baby baby baby
  7. Dr feelgood love is a serious business
  8. Good times
  9. Do right woman do right man
  10. Save me
  11. A change is gonna come
  12. Respect stereo version
  13. I never loved a man the way I love you stereo vers
  14. Do right woman do right man stereo version

Descriptions du produit

Descriptions du produit

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Après plusieurs années passées chez Columbia, où John Hammond avait voulu en faire une chanteuse de jazz, Aretha Franklin entrait chez Atlantic et s'imposait comme la nouvelle diva du rhythm'n'blues. Cette consécration est à mettre au crédit de la chanteuse elle-même, nourrie aux sources du gospel, mais aussi à celui de Jerry Wexler qui, tout à la fois conscient du potentiel d'Aretha et exalté à l'idée d'élargir les frontières du rhythm'n'blues, la fit enregistrer au coeur du Deep South, précisément dans les Fame Recording Studios de Rick Hall à Muscle Shoals. Premier album d'Aretha, I Never Loved A Man (The Way I Love You) est le fruit de ces séances. "Respect", "Drown In My Own Tears", "A Change Is Gonna Come"... en puisant tour à tour dans le répertoire d'Otis Redding, Ray Charles et Sam Cooke, ou bien en créant des oeuvres aussi fortes que "Dr. Feelgood" et la chanson titre, la fille du révérend Franklin venait d'accéder au sommet de sa créativité. En 1967, elle était déjà devenue pour tout le monde "Lady Soul". --Philippe Margotin

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Par earthlingonfire TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 13 décembre 2004
Format: CD
Après des débuts un peu hésitants chez Columbia, Aretha Franklin se métamorphose en sortant son premier album chez Atlantic en 1967. Dès la première chanson, on est abasourdi par la capacité d'Aretha à faire la différence : entre l'ancienne Aretha et la nouvelle, et entre une chanson originale et sa reprise par Aretha. Respect, une petite chanson pas très marquante d'Otis Redding, devient un monument de swing : Aretha lui a apporté son sens du rythme, de l'accentuation et du phrasé, donné un vrai galbe et une vraie respiration à la mélodie. Ce génie de la reprise est resté une des caractéristiques d'Aretha. Il faut dire que grâce à Jerry Wexler la chanteuse est entourée d'une équipe sur mesure pour elle, avec Roger Hawkins à la batterie, Spooner Oldham aux claviers et le "clan" (Carolyn, qui co-signe Baby, Baby, Baby et Erma, ainsi que Cissy Houston), mais en fait tout part d'elle, l'accompagnement sort tout droit de son piano, même si elle n'a pas écrit les orchestrations. Sur cette base plus que solide, la voix coule, crémeuse, lumineuse malgré le grain, à travers le grain. Et le phénomène n'est pas que musical, car Aretha chante avec une passion débordante, volcanique, avec une intensité ravageuse, elle ose l'émotion dans son expression la plus violente, sans jamais verser dans le déballage trivial à la Janis Joplin. Un des plus grands disques d'une grande artiste de la deuxième moitié du vingtième siècle.
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Par earthlingonfire TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 11 décembre 2004
Format: CD
Après des débuts un peu hésitants chez Columbia, Aretha Franklin se métamorphose en sortant son premier album chez Atlantic en 1967. Dès la première chanson, on est abasourdi par la capacité d'Aretha à faire la différence : entre l'ancienne Aretha et la nouvelle, et entre une chanson originale et sa reprise par Aretha. Respect, une petite chanson pas très marquante d'Otis Redding, devient un monument de swing : Aretha lui a apporté son sens du rythme, de l'accentuation et du phrasé, donné un vrai galbe et une vraie respiration à la mélodie. Ce génie de la reprise est resté une des caractéristiques d'Aretha. Il faut dire que grâce à Jerry Wexler la chanteuse est entourée d'une équipe sur mesure pour elle, avec Roger Hawkins à la batterie, Spooner Oldham aux claviers et le "clan" (Carolyn, qui co-signe Baby, Baby, Baby et Erma, ainsi que Cissy Houston), mais en fait tout part d'elle, l'accompagnement sort tout droit de son piano, même si elle n'a pas écrit les orchestrations. Sur cette base plus que solide, la voix coule, crémeuse, lumineuse malgré le grain, à travers le grain. Et le phénomène n'est pas que musical, car Aretha chante avec une passion débordante, volcanique, avec une intensité ravageuse, elle ose l'émotion dans son expression la plus violente, sans jamais verser dans le déballage trivial à la Janis Joplin. Un des plus grands disques d'une grande artiste de la deuxième moitié du vingtième siècle.
Remarque sur ce commentaire 5 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: HASH(0x968d9090) étoiles sur 5 88 commentaires
29 internautes sur 30 ont trouvé ce commentaire utile 
HASH(0x96b3663c) étoiles sur 5 R-E-S-P-E-C-T: Giving The Queen Her Propers 13 juin 2000
Par David W. Coleman - Publié sur Amazon.com
Format: CD
Aretha Franklin always had the tools. She was the daughter of a minister and grew up singing in the church. She could also play a mean piano, whether slow and soulfully, or fast and rollicking. At the age of 18 she signed with Columbia Records. For the next 6 years, she recorded a huge body of work, ranging from jazz and blues, to standards and pop, to straight R&B and soul. The label didn't seem to know what to do with her, in terms of consistent direction. But all of that dues-paying singing Aretha did in those early years would soon pay off in a big way. When her CBS contract expired, Atlantic Records snapped her up faster than you can say "Gold Records." The rest, as they say, is history. This album changed things all at once for Aretha. Its release proved to be both a coming-out party and a coronation. And a singer who, to that point, was considered an also-ran amidst the landscape of soul-singing Sisters, took her rightful place as The Queen of Soul. It is a place she still holds today. No one could do it like Aretha! This landmark set contained two singles that changed the face of pop music. The title cut set the tone with its first biting line: "You're a no good heartbreaker!" But, of course, Aretha loves him. In that way, she was like a lot of other women, especially Black women. That's really the key to Aretha's success: she knows how to talk to women. Sisterhood has really always been where she was coming from. The next single, "Respect," is considered by most to be the greatest pop single of all time. Which is amazing, considering that its writer, Otis Redding, had a big R&B hit with the song only 2 years prior. The story goes that when Otis first heard Aretha's version, he told his producer, "That girl done stole my song!" He was right. Aretha, singing and playing her heart out, was all over "Respect." She demanded her propers not only for herself, but for Black women, for women worldwide, for Black people, and for oppressed people everywhere. The album's third single, "Do Right Woman, Do Right Man," is another classic. And this deep, deep set also contains favorites like "Don't Let Me Lose This Dream" and "Soul Serenade." And Aretha showcases all she learned singing the blues at CBS, with her self-penned "Dr. Feelgood," which is still one of her biggest numbers at live shows. One listen to this song, and you can't help but say, "Right on, Sister!" or "You go, Girl!" In case you don't know, this album routinely makes the top ten of lists of the best albums ever. I rank it just behind "What's Going On" by Marvin Gaye, as the second-best soul album of all-time.
17 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x968d9930) étoiles sur 5 One of the best albums ever 15 juillet 2001
Par slomamma - Publié sur Amazon.com
Format: CD
A lot of people have called this the best soul album ever. That's selling it short. Certainly Aretha Franklin's voice and piano playing, along with those fat horns behind her, are the very definition of soul. But this album is so good that if you made a list of the best albums of all times in ANY genre this one would have to be on it.
Even if you own one of the greatest hits collections, or even the boxed set, you need this album (and probably "Lady Soul" as well). It just all hangs together so beautifully.
"Respect" starts it off with a great big blast of horns and Aretha's commanding voice. Then she slows down and breaks your heart with "Drown In My Own Tears." Most of the rest of the songs on the album are more emotionally complicated, combining the qualities of the first two songs. They mine the pain of deep love and at the same time demand respect and decent treatment (You have to understand that this album came out in 1967 - several years before the modern feminist movement began - to realize how remarkable that is. And to this day I don't think any singer other than Lauryn Hill has captured women's simultaneous need for love and dignity as well).
The album ends on a perfect note: Sam Cooke's "A Change Is Gonna Come." Cooke originally wrote the song as a kind of response to Bob Dylan's "The Times They Are A-Changing." Cooke was more optimistic than Dylan, and the song suggests that despite the pain and turmoil of the sixties, better days were ahead, particularly in the area of civil rights. It's also a deeply religious song. When Aretha sings it, she holds out the same hope and optimism for the country that Sam Cooke did. But in the context of the album, it seems to take on a more personal meaning as well. It's not just about different races learning to get along, but about men and women learning to give each other respect as well. I literally can't listen to her sing it without crying. If this song doesn't set your soul on fire, you haven't got one.
All in all, this is one of those rare albums, in the same category as Kind of Blue, Sgt. Pepper, and Blonde on Blonde, that you just have to own and listen to over and over again. It's not just great popular music, it's a work of art.
15 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x96b38a14) étoiles sur 5 the Queen, indeed 10 septembre 2004
Par J. Brady - Publié sur Amazon.com
Format: CD
So much has been written about this album that it's really tough to add anything new. And the term "classic" is thrown around so much these days that it's hard to put it into any useful perspective. But the bottom line is this: any serious fan of music should have a copy of this; it trascends all labels, all boundaries. It is a must have. And there is a reason Rolling Stone Magazine gives this 5 stars and calls this "the Best Soul Album Ever Recorded" ( it says so right on the cd package.) From the instantly recognizable sass and strut of "Respect", to the blues belter "Dr Feelgood", through the Bossa Nova-flavoured "Don't Let Me Lose This Dream", every song is a winner. Miss Franklin even had a hand in writing several of the tracks on this album, showing she is much more than just "the world's greatest soul singer." There are more classic songs on this album than you can shake a stick at. Just read the tracklisting and see for yourself. Franklin is backed by the Muscle Shoals house band on this album, although only one song ( the incredible title track ) was recorded entirely in the famous Alabama studio, and they really deliver the goods. As good as some of her mostly overlooked Columbia Records material was ( and a lot of it was very good, although it was more "adult" in that it was more jazz oriented ) her Atlantic debut has a passion - grit and soul- that had never before been captured on tape. And Franklin has a gift of interpretation ( only hinted at during her 5 years with Columbia Records, where she mostly sang big band, jazz, blues, soul and pop covers, as well as a small handfull of self-penned originals ) that is unequaled in the world of popular music. Her covers of Otis Redding's "Respect, of "Drown In My Own Tears" ( previously recorded by both Dinah Washington and by Ray Charles ) and of Sam Cooke's beautiful ballad "A Change Is Gonna Come" make you forget the orginals. The Reign Begins Here.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x96aca090) étoiles sur 5 I was glad to purchase the CD 1 novembre 2014
Par Glen - Publié sur Amazon.com
Format: CD Achat vérifié
For all Aretha Franklin fans and those who appreciate the soulful sounds of Aretha, this is a must have CD. Your collection can not be completed unless this CD is included. This CD never grows old. All the cuts on this CD are must haves. I bought the original LP when it was first released... over the years since then some things get lost and abused. I was glad to purchase the CD. I'm enjoying it now as it sounds just as good now as it did then. This CD is a "MUST HAVE".
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x96bccdb0) étoiles sur 5 Timeless soul diamond 13 janvier 2007
Par Elliot Knapp - Publié sur Amazon.com
Format: CD
Worth checking out on the merit of transcendent hit "Respect" alone, "I Never Loved A Man The Way I Loved You" is one of my favorite soul albums for three main reasons: Aretha's voice, of course, the ripping backing band she's got, and the songs.

Anyone with a radio has probably heard Aretha belt out "Respect" and other hits, but checking out an entire album really enhanced my appreciation of her remarkable voice. Her range and power are extraordinary, and to think of her pounding the keys while singing out her anguish and happiness really makes the album magic. Her lively wailing on "Drown in My Own Tears" is soaked in authenticity, and her sultry readings of the title track and "Dr. Feelgood" make it a surprisingly steamy affair. It's great to hear Aretha pour her sweat, heart, and guts into these songs and hear the soft, hard, fiery and sweet sounds her voice is capable of.

The backing band is tight and spot on--there's some really gnarly blues guitar, for instance, on the title track, and "Save Me" doesn't drop a funk-soaked beat. Throughout the whole album, the saxes and brass shine and accentuate the spaces between Aretha's confessions, illustrating the soul truth that simple is powerful. The background singers also help support Aretha's power with soft harmonies (like on the jazzy "Don't Let Me Lose This Dream").

Last, the songs are stupendous. Not only does Franklin conquer Otis Redding's "Respect" and cut the definitive version, she also reimagines Sam Cooke's "Good Times" and gives the man a run for his money on her tender reading of "A Change is Gonna Come." Along the way, she also manages to make soul classics out of a few other songwriters' tunes ("Do Right Woman") AND co-write some soul classics of her very own. Serious business indeed.

I love this CD and listen to it all the time--no matter how radio-overplayed "Respect" is, this album still glitters with the magic that created it and remains part of the bedrock of my modest soul collection.
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