Aretha Franklin, the undisputed Queen of Soul, left behind an unparalleled legacy in music history. Her voice, a force of nature capable of conveying both raw emotion and breathtaking technical skill, defined generations and continues to inspire awe. From gospel beginnings to pop chart domination, Franklin’s discography is rich with iconic tracks. This list explores 30 Aretha Franklin Songs that not only represent her evolution as an artist but also underscore her enduring impact on music and culture. Each song is a testament to her unique ability to interpret and transform music, making it indelibly her own.
30. United Together (1980)
“United Together” reflects a period of transition in Aretha Franklin’s career during the early 1980s. While some critics viewed it as a departure from her signature soul sound towards a more mainstream MOR (middle-of-the-road) ballad style, the song undeniably showcases her vocal prowess. Franklin’s voice remains powerful and captivating, imbuing the lyrics with a depth of emotion that transcends genre boundaries. Despite being considered by some as a step away from her roots, “United Together” is a reminder of her consistent vocal excellence.
29. Holdin’ On (2003)
“Holdin’ On,” from her final Arista album “So Damn Happy,” marked a significant moment in Aretha Franklin’s later career. Released after a 23-year tenure with Arista, this album signaled a return to some of her earlier musical inclinations. She engaged more deeply with the creative process, playing piano, contributing to songwriting, and creating an atmosphere of comfortable familiarity. Co-written and arranged with Mary J. Blige, “Holdin’ On” serves as compelling evidence of Franklin’s undiminished vocal capabilities well into her 60s, bridging generations and styles.
28. Freeway of Love (1985)
The 1985 album “Who’s Zoomin’ Who?” was a deliberate effort to revitalize Aretha Franklin’s chart presence, and “Freeway of Love” was central to that strategy. The album was characterized by its contemporary production and featured numerous guest appearances, including the hit duet “Sisters Are Doin’ It for Themselves” with Eurythmics. “Freeway of Love,” with its overt nod to 60s Motown, was strategically remixed to broaden its appeal to a wider, specifically “rock”—code for white—audience. Regardless of the era-specific production, the song’s infectious energy and Franklin’s exuberant performance make it an enduringly fantastic track.
27. It’s Gonna Get a Bit Better (1979)
Aretha Franklin’s foray into disco with the album “La Diva” was initially met with skepticism from some of her fanbase. However, a closer listen reveals that the album, and particularly her rendition of Lalomie Washburn’s “It’s Gonna Get a Bit Better,” is far more compelling than its negative reputation suggests. Franklin’s version is undeniably funky and robust, showcasing her ability to adapt to the disco sound without sacrificing her signature soulfulness. It’s a track that stands out as genuinely energetic rather than a mere attempt to jump on the disco bandwagon.
Alt text: Aretha Franklin in recording studio, photographed in black and white, showcasing her soulful artistry.
26. Something He Can Feel (1976)
The soundtrack for the 1976 film “Sparkle,” masterminded by Curtis Mayfield, is a hidden treasure within Aretha Franklin’s extensive catalog. Mayfield’s songwriting is exceptional, and the soundtrack’s lush, proto-disco sound is a genuine delight. “Something He Can Feel” was originally intended for the 60s girl group depicted in the film, but its sophisticated composition and nuanced emotion elevate it far beyond pastiche. Franklin’s rendition brings a depth and maturity to the song, making it a standout track.
25. I Never Loved a Man (The Way I Love You) (1967)
Upon signing with Atlantic Records, Aretha Franklin was granted unprecedented artistic freedom. As she recounted, the label simply encouraged her to “sit at the piano and sing.” Her response was the title track of her 1967 album, “I Never Loved a Man (The Way I Love You),” a raw blues ballad. In this song, Franklin seemed to channel the personal turmoil of her marriage to Ted White, pouring her pain and vulnerability into every note, creating a deeply resonant and emotionally charged performance.
24. A Rose Is Still a Rose (1998)
The late 1990s saw an attempt to modernize Aretha Franklin’s sound by incorporating hip-hop and neo-soul influences. While the overall makeover was somewhat uneven, the Lauryn Hill-penned title track, “A Rose Is Still a Rose,” proved to be a notable exception. Despite the contemporary beats and lyrical references to “flossin’,” Franklin sounds completely at ease. Her performance is coolly controlled and confident, demonstrating her ability to adapt to new styles while maintaining her artistic core.
23. Every Girl (Wants My Guy) (1983)
Aretha Franklin’s albums from the early 1980s are often overlooked in discussions of her imperial phase of the late 60s and early 70s. While not consistently flawless, these albums are nonetheless filled with hidden gems. “Every Girl (Wants My Guy),” from the Luther Vandross-produced LP “Get It Right,” is a prime example. It’s a wonderfully sassy and energetic slice of post-disco boogie that showcases Franklin’s playful side and vocal agility.
22. Soulville (1964)
During her tenure at Columbia Records, there was a palpable sense that the label didn’t quite know how to fully utilize Aretha Franklin’s immense talent. Her career there was marked by stylistic experimentation and some missteps. However, moments of her undeniable power did break through, as exemplified by “Soulville.” This frantic, high-energy take on Dinah Washington’s 1963 hit is significantly edgier and more thrilling than the MOR and jazz-pop material Columbia often steered her towards, hinting at her true potential.
21. Night Life (1967)
Aretha Franklin’s interpretation of Willie Nelson’s poignant song “Night Life,” which reflects on his early struggles in Nashville, is deeply immersive. Her performance perfectly captures the weary yet strangely compelling atmosphere of a late-night, dimly lit club. Franklin’s vocal delivery shifts seamlessly between exhaustion and a peculiar kind of relish, embodying the song’s central paradox: “The night life ain’t no good life, but you know it’s my life.”
20. A Deeper Love (1992)
“A Deeper Love” represents Aretha Franklin’s successful foray into house music, produced by Clivillés and Cole of C&C Music Factory fame. Set against a relentless, high-energy groove typical of the era, Franklin delivers a characteristically phenomenal vocal performance. Drawing out the underlying religious themes in the lyrics, she transitions effortlessly from scat singing to fervent gospel sermonizing. The full force of this track is especially evident in the a cappella intro of C&C’s Deeper Mix, showcasing her vocal dynamism.
19. Young, Gifted and Black (1972)
When Aretha Franklin decided to record Nina Simone’s black power anthem, “Young, Gifted and Black,” she faced some initial resistance. It was organist Billy Preston who championed her ability to “crush it,” and his faith was well-placed. Franklin transformed the song by taking the intro to church, extending it into a powerful, soul-stirring prelude that consumed nearly half the track. She smoothed out Simone’s staccato delivery, infusing it with an exultant quality that made it uniquely her own.
18. Sweet Bitter Love (1985)
Amidst the MTV-friendly sheen of “Who’s Zoomin’ Who,” there lies a revisited version of the Van McCoy ballad “Sweet Bitter Love,” which Aretha Franklin had first recorded in the 1960s. While this 80s rendition might not surpass the rawness of the original demo, Franklin’s vocal performance remains captivating. The track serves as a potent connection to her musical roots, anchoring her 80s pop phase in her deeper soul and R&B foundations.
17. Chain of Fools (1967)
“Chain of Fools” is remarkably audacious in its construction, built entirely around a single chord. In theory, it could easily have become monotonous, but Aretha Franklin’s soaring vocals, combined with the intricate guitar interplay between Joe South and Jimmy Johnson, transform it into something utterly compelling. Adding to its significance, Franklin herself arranged the song, though she went uncredited, showcasing her multifaceted musical talent.
Alt text: Aretha Franklin captivating audience in concert at Madison Square Garden, 1968, powerful stage presence.
16. Mr. DJ (5 for the DJ) (1975)
The album “You” is often cited as a turning point where Aretha Franklin’s creative momentum began to wane. While the album’s overall material may not match the heights of the preceding “Let Me in Your Life,” the opening track, “Mr. DJ (5 for the DJ),” is undeniably magical. This horn-infused, call-and-response vocal strut is irresistibly danceable, defying anyone within earshot to remain still. It’s a vibrant reminder of Franklin’s ability to ignite energy in her music.
15. Do Right Woman, Do Right Man (1967)
The recording sessions for Aretha Franklin’s debut Atlantic album were fraught with tension. At one point, a heated argument involving Ted White led to the temporary abandonment of the sessions, leaving “Do Right Woman, Do Right Man” unfinished. Franklin later completed the song in a single take. Perhaps influenced by the preceding turmoil, her performance is both calm and resolute, precise yet commanding, embodying the song’s themes of strength and conviction.
14. The Weight (1969)
“The Weight” stands out as perhaps the most exceptional among Aretha Franklin’s consistently brilliant reinterpretations of contemporary rock songs. Her versions of Simon & Garfunkel’s “Bridge Over Troubled Water” and Elton John’s “Border Song” are also noteworthy, but her take on The Band’s “The Weight” is particularly sublime. She transforms it into tender country soul, imbued with a gospel fervor that seems to contradict her own claim that she didn’t fully grasp the lyrics’ meaning.
13. Drown in My Own Tears (1967)
Even within Aretha Franklin’s own discography of vocal masterpieces, her performance on “Drown in My Own Tears” is exceptional. It’s a profound evocation of pain and inconsolable sorrow. The song gradually builds momentum, reaching a breathtaking peak of desperation around the three-minute mark, where her repeated wails of “drown” are genuinely chilling and intensely moving.
12. I Say a Little Prayer (1968)
In a recurring pattern, Aretha Franklin took a recent hit song—Dionne Warwick’s million-selling “I Say a Little Prayer”—and completely reinvented it as her own. Initially released as a B-side, Franklin’s version was significantly tougher and more grounded, lacking the easy-listening orchestration of Warwick’s original. Burt Bacharach, one half of the song’s writing team, later lauded Franklin’s rendition as the definitive interpretation.
11. Call Me (1970)
“Call Me” was the sole original composition by Franklin on her 1970 album “This Girl’s in Love With You,” but it was a remarkable one. Her piano playing beautifully straddles soul and jazz influences, complemented by Arif Mardin’s pillowy yet sophisticated orchestral arrangement. Franklin’s vocal performance is filled with both longing and a resilient, bruised optimism, making “Call Me” a deeply personal and resonant song.
Alt text: Aretha Franklin photographed before 2015 Kennedy Center Honors concert, elegant and poised.
10. What Y’All Came to Do (2007)
Aretha Franklin’s final decade was marked by powerful live performances, notably at the 2015 Kennedy Center Honors. However, her studio recordings during this period were less consistent due to health challenges. “What Y’All Came to Do,” a duet with John Legend recorded seemingly as a contractual obligation, was an unexpected triumph. Upfront and wildly funky, it stood out as arguably the most vibrant and engaging recording she had produced in two decades, showcasing her enduring musical vitality.
9. Until You Come Back to Me (That’s What I’m Gonna Do) (1974)
Aretha Franklin’s sister Erma famously praised her ability to “transform extreme pain to extreme beauty,” a quality vividly present in “Until You Come Back to Me (That’s What I’m Gonna Do),” co-written by Stevie Wonder. While the song is ostensibly about romantic obsession, Franklin elevates it into something transcendent and enraptured. Her voice is tender and soft, and the backing is warm and inviting, creating an atmosphere of both longing and hope.
8. Angel (1973)
The collaboration between Aretha Franklin and Quincy Jones held immense promise, but their 1973 album “Hey Now Hey” fell somewhat short of expectations overall. However, “Angel” is a shining exception. If the entire album had maintained the level of “Angel,” it would have been a definitive masterpiece. Every element of the song is sublime, from the silky smooth arrangement to Franklin’s emotionally nuanced vocal performance, which transitions from vulnerability to resolute strength.
7. Day Dreaming (1972)
Reportedly inspired by Aretha Franklin’s affair with The Temptations singer Dennis Edwards, “Day Dreaming” is a mesmerizing piece of music. Languid and sensual, its wistful mood is amplified by Donny Hathaway’s ethereal electric piano, the sporadic, abstract flute flourishes, and a prolonged, slightly eerie beat-less outro. The song creates a dreamlike soundscape that perfectly captures its title and theme.
6. Spirit in the Dark (1970)
“Spirit in the Dark,” the self-penned title track from Aretha Franklin’s 17th studio album, encapsulates the inherent tension between the sacred and secular at the heart of soul music. Later sampled by Kanye West, the song is both beautiful and episodic. Its sonic foundation is rooted in gospel, yet the lyrics subtly hint at more earthly desires and pleasures, exploring the complex interplay between spiritual and physical realms.
Alt text: Aretha Franklin performing “Think” in The Blues Brothers movie with John Belushi and Dan Aykroyd, iconic scene.
5. Think (1968)
“Think” is ostensibly a song about a relationship marred by gaslighting, but it resonates with a much deeper emotional and social context. Recorded just a week after Aretha Franklin sang at Martin Luther King Jr.’s funeral, the repeated cry of “Freedom!” and the urgent call to “let yourself be free” clearly carry broader, more profound implications. This historical backdrop imbues the song with a palpable sense of urgency and power, making it far more than just a relationship song.
4. You Make Me Feel Like a Natural Woman (1967)
When Aretha Franklin’s career ascended, it did so with remarkable speed. Within four months of “Respect” becoming a national anthem, renowned songwriters Carole King and Gerry Goffin were crafting material specifically for her. Even after five decades, the impact of “You Make Me Feel Like a Natural Woman” remains undiminished. The way Franklin transitions from the controlled verses to the euphoric release of the chorus is still breathtaking, showcasing her unparalleled vocal dynamics and emotional depth.
3. Rock Steady (1972)
Aretha Franklin demonstrated an extraordinary ability to seamlessly incorporate new musical trends into her signature sound. “Rock Steady,” self-penned, is her dynamic response to the burgeoning funk movement. It’s built on an exquisitely tight yet sinuous groove, highlighted by a phenomenal bassline, and Franklin’s vocal performance is both raw and perfectly controlled. The addictive call-and-response chorus further cements its status as a funk classic.
Alt text: Aretha Franklin in a scene from “Amazing Grace” concert film, gospel music performance, spiritual intensity.
2. Amazing Grace (1972)
From the double live gospel album “Amazing Grace,” recorded in 1972, one could arguably select any track to represent the pinnacle of Aretha Franklin’s vocal artistry. The album as a whole contains some of the most extraordinary vocal performances of her career. However, the title track, “Amazing Grace,” may just be the most sublime of them all. It is a ten-minute display of potent, intuitive, and profoundly moving improvisation, without a single moment feeling superfluous or wasted.
1. Respect (1967)
Aretha Franklin’s rendition of “Respect” transcended simply being a cover; it became a cultural landmark. While Otis Redding’s original version was impactful, Franklin’s take was simultaneously tougher and more broadly appealing. The iconic “Sock it to me” refrain and the spelling of “R-E-S-P-E-C-T” were Franklin’s innovative additions. Crucially, her performance fundamentally shifted the song’s meaning, transforming it from a man’s demand for respect from his wife into a powerful, assertive demand for equality. This resonated deeply with both the women’s rights and black power movements, propelling soul music into a new era of social consciousness intertwined with commercial success. Otis Redding himself acknowledged the song’s transformation, stating, “The girl has taken that song from me. From now on, it belongs to her.”
