But it’s such a fantastic song, it hardly matters: Franklin, meanwhile, sounds exuberant. The album’s production is very of its era: the 60s Motown pastiche Freeway of Love was remixed to appeal to “rock” – ie white – audiences. ![]() Laden with guest appearances, home to Sisters Are Doing It for Themselves, 1985’s Who’s Zoomin’ Who restored Franklin to the charts. You can hear it on Holdin’ On, co-written and arranged by Mary J Blige, proof that her vocal ability was undiminished in her 60s. Her last album (after 23 years) on Arista, So Damn Happy made more concessions to Franklin’s past than its immediate predecessors: she played piano, wrote material and sounded more comfortable in her surroundings. ![]() ![]() ![]() But you can’t get away from the fact that she sounds amazing, investing the lyric with undeniable power. In one sense, United Together is symbolic of what went wrong with Franklin’s career in the early 80s – it’s a high-gloss MOR ballad, a world away from the music that made her name.
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