What The Hell Does A Person Have To Do To Get Some R.E.S.P.E.C.T. Around Here...

[KID ROCK1]

I won't do it I tell ya...I just won't!!!

I got this PM saying that the cool people at this board are the ones who spend a minimum of 6 hours a day posting...I wanna be accepted into the Lit. family with open arms and I was hoping to one day get a seat at the popular peoples table in the Lit. Lunchroom but the requirements to earn some R.E.S.P.E.C.T. around here are demanding...

I really do inspire to one day rub elbows with with the ones who devote 1/4 to 1/3 or more of each day to racking up such impressive post totals...Seriously, who wouldn't be impressed by someone who goes against the norm. and will alot 240+ hours a month to posting...It has to be a god given gift at birth to explain how some people can literaly shut out huge chunks of their day and focus on posting superiority...For some of you to be so unselfish and totaly submerge yourselves into the Lit. community deserves a congressional award...I can only hope that one day i'll be an elite member of this board and my PM box will overflow with messages each day...I want my troll count to be higher than anyone else at this board so that I have earned the right to eat off of the fine Lit. china instead of paper plates...

The PM I got listed quite a few names of people that I should observe and study if one day I shall be one of the few and the proud who can wake up each day and say those ever famous words, "Literotica completes me"...

~i~
PS...I'll be sifting thru all the 1000's of applications that have sat on my desk for over a year now from those of you who have wanted to join my fanclub...Who knows, maybe you'll get a t-shirt and a monthly newsletter from KID ROCK1...

 

[Guest]

Sad.

 

[Guest]

 

[lovetoread]

Ive heard the name.

Then you are one up on me.

 

[Lasher]

"Hey! You said early, Man."

 

[Guest]

leave

 

[mritsme]

sorry reminds me of the song "only god knows why"

 

[Guest]

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records--"Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others--earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work--outside of her recordings for Atlantic in the late '60s and early '70s--is erratic and only fitfully inspired, making discretion a necessity when collecting her records.

Franklin's 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 1950s. 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 Aretha 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 Forty 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 Aretha's true aspirations were being blunted by pop-oriented material and production. In fact there's a reasonable amount 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. It's 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 session actually 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 actually 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 Aretha's 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 Franklin as a symbol of Black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for he 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 mid-to-large-size 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.

Franklin's 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 & the Southern California Community Choir. Remarkably, it made the Top Ten, counting as 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--but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.

Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store. -- Richie Unterberger


RESPECT

What you want (hooo) baby I got it
What you need (hooo) you know I got it
(Hooo) all I'm asking (hooo) is for a little respect
( Just a little bit) when you come home
(Just a little bit) hey baby ( Just little bit)
When you come home ( Just a Little Bit) Mister

I ain't gonna do you wrong while you're gone
I ain't gonna do you wrong 'cause I don't wanna
All I'm asking is for a little respect when you come home
(Just a Little Bit) Baby ( Just a little bit )
When you come home ( Just a little Bit) Yeah

I'm about to give you all my money
And all I'm asking in return honey
Is to give me my profits when you get home
(Justa Justa Justa) Yeah baby when you get home

( Just a little Bit ) Yeah ( Just a little bit )

Hooo your kisses sweeter than honey and guess what so is my money
All I want you to do for me is give it to me whn you get home
( Re re re re spect) Yeah baby whip it to me
( Just a little bit) when you get home now ( Just a little bit)

R-E-S-P-E-C-T find out what it means to me
R-E-S-P-E-C-T take out the TCP ohhhh (Sock it to me,etc.)

A little respect oh yeah ( Just a little bit)
A little respect ( Just a little Bit)

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records--"Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others--earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work--outside of her recordings for Atlantic in the late '60s and early '70s--is erratic and only fitfully inspired, making discretion a necessity when collecting her records.

Franklin's 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 1950s. 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 Aretha 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 Forty 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 Aretha's true aspirations were being blunted by pop-oriented material and production. In fact there's a reasonable amount 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. It's 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 session actually 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 actually 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 Aretha's 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 Franklin as a symbol of Black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for he 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 mid-to-large-size 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.

Franklin's 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 & the Southern California Community Choir. Remarkably, it made the Top Ten, counting as 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--but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.

Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store. -- Richie Unterberger


RESPECT

What you want (hooo) baby I got it
What you need (hooo) you know I got it
(Hooo) all I'm asking (hooo) is for a little respect
( Just a little bit) when you come home
(Just a little bit) hey baby ( Just little bit)
When you come home ( Just a Little Bit) Mister

I ain't gonna do you wrong while you're gone
I ain't gonna do you wrong 'cause I don't wanna
All I'm asking is for a little respect when you come home
(Just a Little Bit) Baby ( Just a little bit )
When you come home ( Just a little Bit) Yeah

I'm about to give you all my money
And all I'm asking in return honey
Is to give me my profits when you get home
(Justa Justa Justa) Yeah baby when you get home

( Just a little Bit ) Yeah ( Just a little bit )

Hooo your kisses sweeter than honey and guess what so is my money
All I want you to do for me is give it to me whn you get home
( Re re re re spect) Yeah baby whip it to me
( Just a little bit) when you get home now ( Just a little bit)

R-E-S-P-E-C-T find out what it means to me
R-E-S-P-E-C-T take out the TCP ohhhh (Sock it to me,etc.)

A little respect oh yeah ( Just a little bit)
A little respect ( Just a little Bit)

 

[Off]

Why don't you brag to the newbies about your superior posting skills....





















*snicker*

 

[Guest]

http://www.globalvillageidiot.net/Aretha-Franklin-Singing.jpg

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records--"Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others--earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work--outside of her recordings for Atlantic in the late '60s and early '70s--is erratic and only fitfully inspired, making discretion a necessity when collecting her records.

Franklin's 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 1950s. 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 Aretha 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 Forty 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 Aretha's true aspirations were being blunted by pop-oriented material and production. In fact there's a reasonable amount 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. It's 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 session actually 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 actually 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 Aretha's 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 Franklin as a symbol of Black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for he 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 mid-to-large-size 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.

Franklin's 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 & the Southern California Community Choir. Remarkably, it made the Top Ten, counting as 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--but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.

Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store. -- Richie Unterberger


RESPECT

What you want (hooo) baby I got it
What you need (hooo) you know I got it
(Hooo) all I'm asking (hooo) is for a little respect
( Just a little bit) when you come home
(Just a little bit) hey baby ( Just little bit)
When you come home ( Just a Little Bit) Mister

I ain't gonna do you wrong while you're gone
I ain't gonna do you wrong 'cause I don't wanna
All I'm asking is for a little respect when you come home
(Just a Little Bit) Baby ( Just a little bit )
When you come home ( Just a little Bit) Yeah

I'm about to give you all my money
And all I'm asking in return honey
Is to give me my profits when you get home
(Justa Justa Justa) Yeah baby when you get home

( Just a little Bit ) Yeah ( Just a little bit )

Hooo your kisses sweeter than honey and guess what so is my money
All I want you to do for me is give it to me whn you get home
( Re re re re spect) Yeah baby whip it to me
( Just a little bit) when you get home now ( Just a little bit)

R-E-S-P-E-C-T find out what it means to me
R-E-S-P-E-C-T take out the TCP ohhhh (Sock it to me,etc.)

A little respect oh yeah ( Just a little bit)
A little respect ( Just a little Bit)

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records--"Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others--earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work--outside of her recordings for Atlantic in the late '60s and early '70s--is erratic and only fitfully inspired, making discretion a necessity when collecting her records.

Franklin's 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 1950s. 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 Aretha 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 Forty 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 Aretha's true aspirations were being blunted by pop-oriented material and production. In fact there's a reasonable amount 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. It's 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 session actually 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 actually 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 Aretha's 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 Franklin as a symbol of Black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for he 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 mid-to-large-size 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.

Franklin's 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 & the Southern California Community Choir. Remarkably, it made the Top Ten, counting as 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--but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.

Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store. -- Richie Unterberger


RESPECT

What you want (hooo) baby I got it
What you need (hooo) you know I got it
(Hooo) all I'm asking (hooo) is for a little respect
( Just a little bit) when you come home
(Just a little bit) hey baby ( Just little bit)
When you come home ( Just a Little Bit) Mister

I ain't gonna do you wrong while you're gone
I ain't gonna do you wrong 'cause I don't wanna
All I'm asking is for a little respect when you come home
(Just a Little Bit) Baby ( Just a little bit )
When you come home ( Just a little Bit) Yeah

I'm about to give you all my money
And all I'm asking in return honey
Is to give me my profits when you get home
(Justa Justa Justa) Yeah baby when you get home

( Just a little Bit ) Yeah ( Just a little bit )

Hooo your kisses sweeter than honey and guess what so is my money
All I want you to do for me is give it to me whn you get home
( Re re re re spect) Yeah baby whip it to me
( Just a little bit) when you get home now ( Just a little bit)

R-E-S-P-E-C-T find out what it means to me
R-E-S-P-E-C-T take out the TCP ohhhh (Sock it to me,etc.)

A little respect oh yeah ( Just a little bit)
A little respect ( Just a little Bit)

 

[ShyGuy68]

KR1 you lost a lot off people respect here when you started to behave real badly. And I for one can understand why you won't earn it again.

 

[Laurel]

Sing it, Aretha!

 

[MissTaken]

You can sit here for hours at a time and post like a crazy person and still not get respect.

If you really want respect, you would do something worthy of respect.

Even then, from personal experience, you aren't likely to get it.

So, there is no answer.


But I do so love Aretha!

 

[KID ROCK1]

It doesn't take much before the Lit. F-Troop is sent out to do battle...Not to worry, you may be anklebiters but at least you have some R.E.S.P.E.C.T. and for that you should be proud...

~i~

 

[MissTaken]

IN my post, "You" was in general terms.

I don't know you KR, I have only read the old stuff.

I don't do anklebiting.

 

[Guest]

It is all true what you read. And more.

 

[MagicMan]

With my short experience here I've found you gain respect when you give respect. Same as in real life

 

[Angel]

And I thought you just wanted to post and have fun instead of what you did last time.

 

[fgarvb1]

if you want some respect

SHITHEAD, take your head out of your ass and at least act like a grown up human being with the IQ of at a piss ant.

While your at it go look up respect.

let me be the first to say go fuck yourself. (some more.)

 

[KID ROCK1]

WTF!!!

MissTaken, you don't know me?

I must have been gone longer than I thought...

Lets get on with the formalities...

Hello MissTaken...I'm KID ROCK1...Its a beautiful day here in Texas...I enjoy drinking beer, watching sports, racing my 79 Rally Sport Camero, and getting a reaction out of people...My tactics are considered evil by some and ingenious by others but I don't really care what anyone thinks...Its been a pleasure to meet you and have a great day...

~i~

 

[Guest]

He forgot to mention posting private information, posting pictures without permission, playing head games with any female stupid enough to believe his lies.

And the list goes on and on.

 

[Pyper]

Wait, who considers your tactics either evil or ingenious? I thought the consensus was "moronic".

 

[KID ROCK1]

Tis the real joy in returning...

I make a generalized post stating some ridiculous, but well worded, mumbo jumbo and without pointing a single finger at anyone or dropping a single name, out of the woodworks comes people defending themselves and trying to diss me on a freakin board...

Did I "Offend" you with my topic? Sheesh, I sure as hell hope not...

Did my comments hit close to home? If so then maybe what I posted is true for some people here...

Is it my past that still ruffles your feathers? Get over it...Its been over a year since I toyed with this place...

Now then, I got some baby back ribs a grillin, cold beer, and a NFL game to enjoy so y'all try and not be so defensive...Have a wonderful evening doing whatever it is you do...

~i~

 

[Spinaroonie]

R-E-S-P-E-C-T take out the TCP

RESE?

 

[Spinaroonie]

With my short experience here I've found you gain respect when you give respect. Same as in real life

Great av.