This great album from 1971 reminds me of Elvis Presley's "On Stage February, 1970." What these disks have in common is rather than focusing on their own hits, Aretha and Elvis perform songs that were popular at the time, and almost regardless of the quality of the original, turn them into classics, purely by application of their unique artistry.

From Aretha's catalogue, this album features a zippy version of "Respect" that shows off the band; a sensual version of "Dr. Feelgood"; her hit at that time, "Don't Play That Song"; and an extended version (featuring Ray Charles!) of "Spirit in the Dark" that is soul royalty personified. The rest of the disk comprises versions of the treacly Bread song "Make it With You," the silly Stephen Stills song, "Love the One You're With," the Diana Ross diva exercise "Reach Out and Touch Somebody's Hand," and the classic Beatles and Simon and Garfunkel songs, "Eleanor Rigby" and "Bridge Over Troubled Water."

These covers are all genius. The lesser songs like "Make it With You," are lavished with the best that Lady Soul has to offer. She treats these dumb tunes as if they were revelations of the inner workings of the human soul--and in Aretha's hands they are. Meanwhile, she completely reconcieves the great McCartney and Simon tunes, making the original versions sound like underachievers by comparison--which is really saying something since these are two of the classic productions of the 60s.

The difference is the singing. God gave Aretha a voice that is possessed with all the power, pain and pleasure of the entire human experience. A simple, banal statement like "I want to make it with you," in her voice becomes the embodiment of a basic human urge to love. A promise like, "I will lay me down" in her voice becomes a covenant that transcends time and space. No one has ever been more ribald than Aretha in "Dr. Feelgood," no one has ever been more in awe of God's majesty than Aretha in "Spirit in the Dark," no one has ever been lonelier than Aretha as "Eleanor Rigby." These tracks, and the rest of her classic performances, take human emotions to their essence in a way that goes far beyond the words she sings.

As if that weren't enough, she's backed by a great band on this record, led by the sax wizard King Curtis, the Beatle organist Billy Preston, the great jazz/R&B drummer Bernard Purdie, and a large horn section that stays in the background until you need them most.

The liner notes suggest this concert was somewhat of a foray into the hippie audience in San Francisco, and perhaps that's why she chose some of these songs--white stoners could relate. But early on the disk, she makes a promise to them that by the end of the concert, they will be happy, and she surely delivered.

When Aretha Franklin recorded 1971's LIVE AT FILLMORE WEST, she was backed by a group of veteran session musicians on a mix that included interpretations of popular songs and some of her trademark numbers. Franklin makes Stephen Stills' "Love The One You're With" her own with the help of Billy Preston's joyous organ work, while Bread's saccharine "Make It With You" is injected with a healthy shot of sexy sassiness.

Franklin's underrated piano playing and a healthy display of her gospel roots make FILLMORE a special recording in Lady Soul's vast canon. Franklin's skill on the eighty-eights particularly shines on her swinging treatment of the Beatles' "Eleanor Rigby" and the jubilant "Don't Play That Song." Franklin also plays electric piano on "Dr. Feelgood," and from this point on she turns Bill Graham's hall into a Baptist church. The call-and-response of her background singers and King Curtis' skillful band-leading/saxophone playing lead up to the high point where she brings Ray Charles out for the reprise of the testimonial "Spirit In The Dark" followed by the uplifting "Reach Out And Touch (Somebody's Hand)."

What a live album ought to be. Great performances by the Queen and her courtiers (and what a group she assembled: Ray Charles, Billy Preston and the late great King Curtis (in his last recording).

One of the few live albums to capture the spirit of the performance. When she and Ray Charles cut loose on an extended "Spirit in the Dark", she burns down the Filmore West!

A must have.

When you look at the credits you realize that this was a great album even before the musicians played the first note. Aretha has simply helped herself to arguably the best musicians available - a virtual who's who of the r&b world. King Curtis, Billy Preston, Cornell Dupree, Bernard Purdie, The Memphis Horns and the incomparable Jerry Jemmott - The Kingpin. When you put the best band together with the best vocalist what you have is this album.

This is why you can't just rely on one of those little singles machines. You need to hear the progression of song to song on that whole night. It was glorious. Paul Simon must have been thrilled with this version of "Bridge Over Troubled Water", which gives the song a whole different (gospel) dimension. If you don't know Aretha, or you don't know what soul music was all about (it had EVERYBODY stoked!), this will give you the clearest vision. Then try Otis Redding.