Aretha Franklin – Love All The Hurt Away (1981/2015) [FLAC 24bit, 96 kHz]

Aretha Franklin - Love All The Hurt Away (1981/2015) [FLAC 24bit, 96 kHz] Download

Artist: Aretha Franklin
Album: Love All The Hurt Away
Genre: R&B, Soul
Release Date: 1981/2015
Audio Format:: FLAC (tracks) 24bit, 96 kHz
Duration: 45:21
Total Tracks: 10
Total Size: 1,03 GB


1-01. Aretha Franklin – Love All The Hurt Away (04:10)
1-02. Aretha Franklin – Hold On I’m Comin’ (05:14)
1-03. Aretha Franklin – Living In The Streets (03:53)
1-04. Aretha Franklin – There’s A Star For Everyone (04:27)
1-05. Aretha Franklin – You Can’t Always Get What You Want (05:17)
1-06. Aretha Franklin – It’s My Turn (05:30)
1-07. Aretha Franklin – Truth And Honesty (04:16)
1-08. Aretha Franklin – Search On (04:48)
1-09. Aretha Franklin – Whole Lot Of Me (03:23)
1-10. Aretha Franklin – Kind Of Man (04:19)


Love All The Hurt Away is an Aretha Franklin album, the singer’s second release for Arista Records. Despite strong reviews, it was a sales disappointment, topping off at approximately 250,000 copies. Aretha’s cover version of Sam & Dave’s classic hit “Hold On! I’m Coming” won Franklin her 11th Grammy Award in the Best R&B Vocal Performance, Female category. It was her first Grammy win since 1974.After making the leap to Arista Records at the dawn of the ’80s, Aretha Franklin united with legendary producer/arranger Arif Mardin for LOVE ALL THE HURT AWAY. The result was a star-studded affair that found Lady Soul combining slick ’80s R&B with more of an adult contemporary sound. Her cover of Sam & Dave’s “Hold On I’m Comin'” updates this classic with background vocals by the Sweet Inspirations and Darlene Love as a mechanized horn section blares away. Likewise for Jagger/Richard’s “You Can’t Always Get What You Want,” where a choir led by the legendary Reverend James Cleveland helps make this a bouncy and surreal remake.

When Franklin slows the tempo down, her impressive pipes remind us why she is the Queen Of Soul. George Benson’s honey-sweet singing makes an effective foil during his duet on the title track and on “It’s My Turn,” Franklin’s vocals cascade over a bed of lighter-than-air strings before some trademark call-and-response with her background vocalists. Equally impressive are the Franklin-penned “Whole Lot Of Me” and “Kind Of Man” which close out the album on a winning note.

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