"Those who cannot remember the past are condemned to repeat it."
George Santayana (1863-1952)
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▓▓▀▄▄█▀▀▀ ▄▄███▓▓▓▒▒▒░░░░ ░░░░ ░░░ ░░▒ ▒▒▓█▓▓▓███▓▓▄▄▓▄███▀▀▀▀██
▓██▀ ░▀▄ ▄▄████▀▀▐▒▓▓▒▒▒▒░░░░ ░░░░ WASHED ░ ░░░▒▒▓▓██▓███████▀▀░ █
██▀▀▓▄▄▄▓████▀ ▄ ░█▓▓▒▒▒▒▒░░░░ ░░░░ UP ░░ ▒▒▒▒▓▓██▓█████▓░░ ░░ ▐
█ ▒ ▐████▌ ▐▓▐▒▓▓▒▓░▒▒▒░░░░ ░░░ SCENESTERS ░░ ▒▒▓▓▓▓██▓██████▄▒▄ ▄█
▓ ░ █████▄▄▓▓▐▒▓▓▓▓▌░▒▒▒▒░░░░░ ░░░ MMViii ░░░▒▒▓▓▓██▓▓██████▓▒▒▀▀█▓▓
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█▒▓█▌ ░░▒▒▓▓▓ ░▒▐▓▒▒█ ░░▀▓███▓▓▓▀▀ ███ ▄▀▀▄▄▄█████▀ ░░▒▒▓█▓▓████▄░ ░ █
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▓▒▒▒▒▓▓▓▓▓▓▓▓▓░:░ Release notes ░▒▓▓▓▓▓▒▒░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░▓▒░
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▒▒ ▀ ▄ ■ ▀ ▒▒
▒░ ▀ ░▒
▒░ Aretha Franklin - You Grow Closer ░░
░░ ░░
░░ Artist ....: Aretha Franklin ░░
░░ Album .....: You Grow Closer ░░
░░ Genre .....: R&B ░░
░░ Label .....: Universal ░░
░░ Catalog # .: MCAD11850 ░░
░░ Language ..: English ░░
░░ ░░
░░ Source ....: CDDA ░░
░░ Size ......: 40,7 MB ░░
░░ ░░
░░ Rel. date .: Feb-03-2008 ░░
░░ Str. date .: xxx-xx-1998 ░░
░░ ░░
░░ http://www.cduniverse.com/productinfo.asp?pid=1072917 ░░
░░ ░░
░░ ----------------------------------------------------------------------- ░░
░░ ░░
░░ 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 40 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 the 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 and ░░
░░ 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. ░░
░░ ░░
░░ ░░
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░░ THIS IS *NOT* A SUBSTITUTE OF THE ORIGINAL. ░░░
░░ --------------------------------------------------------------------- ░░░
░░ ░░░
░░ NB TRACKNAMES: LENGHT: ░░░
░░ ░░░
░░ 01. Precious Lord, Pt 1 03:26 ░░░
░░ 02. Precious Lord, Pt 2 02:53 ░░░
░░ 03. Never Grow Old 02:56 ░░░
░░ 04. You Grow Closer 02:44 ░░░
░░ 05. The Day Is Past and Gone 04:57 ░░░
░░ 06. He Will Wash You Whiter Than Snow 04:18 ░░░
░░ 07. While The Blood Runs Warm 03:05 ░░░
░░ 08. Yield Not To Temptation 02:58 ░░░
░░ 09. There Is A Fountain Filed with Blood 04:28 ░░░
░░ 10. Your Mother Loves Her Children 03:34 ░░░
░░ 35:19 min ░░░
░░ --------------------------------------------------------------------- ░░░
░░ TO THE INVOLVED ARTIST(S), CONSIDER THIS AS A FREE WORLDWIDE ░░░
░░ PROMOTION CAMPAIGN. TO THE END USER, SUPPORT THE ARTIST(S) OR DEL! ░░░
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▓▒░▒▓▒░▒▒▒░░░░▒▒░░▒▒░░░░ ░░ ░▒░░░░░░░ ░ ▒▀▀▀▀▓▓▓▓▓██▄▄▄ ░▒░░
█▓▒▒█▓▒▒▓▒▒░░▒▒▒▒▒▓▒▒▒▒▒▒░░▒▒░▒▓▒▒▒▒▒▒▒░░░░▒░░░░ ░░▒▒▒▒▒▒ ▀▀▀▓▓▓▓▓▓▒▒ ▒▓░░
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██████▀▀▀▀ ▀ ▀ ▒ ░▒▒░ ▓▓▒▒░ ▓█▓▒ ▀▀▀▀▀▀▀▓███████▓▓▓▒▒░░
▓██▀ "Oi" to: ░▒▒░ ░ ▓▓▒▒░░ ▀▓▓▒▒▒░░░ ▀▀▓██▓▒▒░░
▓█▌ ░▒▒░░ ▀▓▓▓▒▒▒░░ ▀▀▓▓▓▓▒▒▒▒░░ ░▓█▓▒░
▒█░▒▓▓▓▒▒▒▒▒▒▒▒▒▒░░░░░░░░░░░ ░░░ ░ ░░▒▒░░ ▀▀▓▓▓▒▒▒▒▒▒▒▒▒▒▒▓▓▓▓▓▄░░░▓▓░░
▒█ ░░▒▒▒░░░░░▀▀▀▀▀▀▀▀▀▀▓▓▓▄▄▀▀▓▓▄▓▓░░
▒▓ ░ ▀▀▓▓▄░▀▓▓░░
░▓ ▀▓▓░░▓░░
░▓ █▓░▓░░
░▒ 4 HORSEMEN, █▓▓░░
░▒ 801, █▓░░
░▒ ADDiCTED TO MUSiC, APOCALYPSE PRODUCTiON CREW, AUDiO ARCHiVE FORCE, ▓░░
░░ BEAT MASTERS iNTERNATiONAL, BEATS iN CONTROL, ▒░░
░░ CHROMANCE, CiTADEL CREW MP3 DiViSiON, COMPRESS DA AUDIO, CRiSiS, ▒░░
░░ CSWCN, ░░░
░░ DA OLDSCHOOL CREW, DEAFNESS, DECiBEL, DiGiTAL SOUND PROPHETS, ░░
░░ DiSSiDENT, ░░
░░ EViGHET, ░░
░░ FRENCH SOUND PROViDER, ░░
░░ iMAGiNE, iMPULZ, iNDECENT XPOSURE, iNTERNET MUSiC PiRATE GUiLT, ░░
░░ JAZ, ░░
░░ KiLOHERTZ, ░░
░░ LOGOS, ░░
░░ MUSiC AND DECiBELS, MUSiC TO MASSES, ░░
░░ NEW WORLD ORDER MP3, NORDiC MUSiC ENSEMBLE, ░░
░░ NUTRiCiOUS HEARiNG SUPPLiES, ░░
░░ OTAKU, ░░
░░ PROViDERS OF SOUND, PSiLOCiBiN, ░░
░░ RABiD NEUROSiS, radial, RARE MUSiC FiNDER, REVOLUTiON, ░░
░░ ROCKERS' BREWiNG CORP, ROTATiON, RUDE BWOY KUTZ, ░░
░░ SCHOOL OF THE OLD, STRONGER THAN ALL, SYNTHESiS MEDiA, ░░
░░ THE FLAME ARROWS MP3, TOUCHDOWN, TWEE, ░░
░░ WALL OF SOUND, WE LOVE WAREZ MP3, ░░
░░ ░░
░░ FAITHMUSE, MCKENNA, MORGOTH, MISTAHWAX, SDL & ░░
░░ ░░
░░ *ALL* of our friends and family. ░░
░░ ░░
░░ ░░
░░ ░░
░░ ▄▄█▓▀ ▄▄ - If you don't like our release(s): ░░
░░ ▄▄▓███▓▓▓░░███▓▓▓▄▄▄ FUCKING ENCODE IT YOURSELF! ░░
░░ ▄▓████▀░░▒▒▒▒▒▓▓▒▒▒▒▒▒▓█▄▄ ░░
░ ▄▀▀▄░░░▒▒▒▓▓▓▓▓▓▓▓▓▓▓▓▒▒▓▓██▄ - We shit on ALL scene-idiots: ░░
░ ▄░░▒▒▓▓▓▓█▀▀▀▀▀▓▓██▀▓▓▓▓▓▒▒▓█ h8ers, nukers, just to name a few... ░░
░ █▓▓▓▀██▓▀▀▀▄▓▒░░▄██▌░░ ▓▀▓▓▓▓█ ░░
█▓▓▀▄▓█▓▓░░░░█████▓█▓▄▄▄█▓ ▀▓▀▓▓ - We only believe NOW is good music. ░░
█▀ █▓▀▓███▄▄▄███▓▓▓█████▓█▀▄▐▌ █ ░░
█ ▐█████▀ ████▓▓█▌▀██▓▓ ▐▓ ░░
░ ███▀ ▐████▓█▓ ▐▓▀ ▀ Furthermore, we want to affil 1+Gb/s- ░░
░░ ▓ ███▓███▓ ▀ 3+Tbs sites with 0sec attitude that manage ░░
░░ ▐███▓▓██▌ to remain up for <12 months! PLZ AFFIL US!!! ░░
░░ ██▓▓▓▓█▌ ░░
░ ▓█▓▒▒▓█ Lastly, to those who think they are in charge: ░░
░░ ██▒▒▒▓█▌ PLZ give us some RiAA2k8 encoding standards, as we ░░
░░ ▐█▌░▒▒▓██ rightfully need a _6th_ rule change ever! ░░
░░ ▐█▌░░▒▓█▌ ░░
░░░ ██▒░▒▓█▌ ▓ ▄■ PLZZZZZZZZZZZZZ!!!!!!! ░░
░▒░ ▐█▌▓▀▓█▌ ▓▄▓ · As usual, iCQ US. ░░
░▒▒ ░██▌▒▒▓█▓▌▓▒█▀·▄■▄ ▄ ▓▓▄▄▄ ░░
░▒▒▌ ▒▒██▒▒▓▓░█▓▒▒▒▀▒▒▄▄ ▄ ██▓▓███▄▄▄▄▄ WUZZiES' iNK░░
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THIS IS NOT PIRACY.