Aretha Franklin was one of the most dynamic soul singers of all time. She passed away from pancreatic cancer August 16, 2018 but her legacy continues to shine. Time magazine named her one of the 100 most influential people in its original 1998 special. Know as the "Queen of Soul", Franklin held the record For Billboard Hot 100 singles by a woman for 40 years, was awarded 17 Grammys, was the first woman inducted into the Rock and Roll Hall of Fame, performed "My Country 'Tis of Thee" at the the first Inauguration of President Barack Obama and held honorary doctorates from Harvard and Yale amongst a mountain of other accomplishments.

50 years ago after a 10 year hiatus from gospel she released an album that would solidify her illustrious career. This would be a different kind of album, recorded and filmed live in church on January 13 and 14, 1972. SOUL kept close by as always, covering the rehearsals and two days of performance. SOUL Publisher Regina Jones and Managing Editor Judy Spiegelman were dispatched to cover this monumental performance.

The following is written by Matthew Jones adapting from Judy Spiegelman's article titled "After Ten Years Aretha Brings it Back Home" published in SOUL Newspaper February 28, 1972.

Aretha's Musical Beginnings

Known primarily as a soul singer, Franklin was rooted in gospel. She had honed her craft from a young age in her father C.L. Franklin's New Bethel Baptist Church of Detroit. When she recorded her first record she ever made for Chess in 1955 she already had ten years of experience under her belt.

Aretha cut "Never Grow Old" and "Precious Lord", but she didn't make any huge waves along the gospel circuit, however, she warmed many hearts with her deep, rich delivery and her apparent devotion to God. By 1960 Aretha went to New York to study music and dance. She recorded standards, jazz, novelty tunes and while she often seemed just a breath away from stardom, it never happened.

During the five year period she recorded nine albums, among them, "Laughing On the Outside" came closest to a classic example of the deep, mysterious gift Aretha's voice would be to the world. Although she appeared at several concerts and night clubs, most of her engagements during this period were along the "chitlin' circuit," where some of the clubs were so rough, a frightened Franklin often sang to the floor.

Jerry Wexler and Atlantic Records

In this period Aretha developed a segment in her act which gave her a refuge. She would move to the piano and accompany herself, while singing her toe-tapping, hand- clapping, gospel-flavored songs, several of which she wrote herself.

It was this style that impressed Atlantic Records' Executive Vice President, Jerry Wexler when he signed her in 1966 and began to personally supervise her every recording session. Her first single on Atlantic, the legendary Ronnie Shannon tune, "I Never Loved A Man," was an immediate 1,000,000 seller. The record had gospel changes, background voices that came in like a church choir, and the powerful, driving emotion-laden voice that is Aretha's freedom and womanhood bursting forth.

From that point on she was a legend. Aretha was known the world over for hit after hit that touch the heart and move the soul. The rest of the music world seemed to take notice also. Many recording artists began to seek God and salvation in music but Aretha brought an untouchable flavor and authenticity. She never truly left gospel but rather repackaged it for a bigger audience.

James Cleveland

When Rev. Cleveland formed the Southern California Community Choir, Aretha has always greeted him with, "James, when are we going to get together and do that album?" For two years, Cleveland smiled and replied, "Whenever you're ready, Baby.'

Cleveland took Franklin under his wing as a child, teaching her how to sing and play piano and helped her sing gospel at church so it was only fitting that he be the go to guy for this endeavour.

In 1971 the same conversation took place, but James Cleveland was surprised to hear from Atlantic Records one week later. First a date was chosen, then contracts drawn up, then a place chosen. The collaboration between Aretha, James and the Community Choir was moving forward.

Cornerstone Institutional Baptist Church Rehearsals

"Aretha has always sung gospel," said Clara Ward, standing in the doorway of Reverend James Cleveland's Cornerstone Institutional Baptist Church, where the rehearsal was going on. "She's kept her same style since she was a child, only the words were different." Clara Ward had come by to hear the arrangements of her "Old Landmark" and "How I Got Over" that Aretha had selected for the new album. Carolyn Franklin bounded in next, and made a bee-line for the fried chicken, the usual mischief twinkling in her eyes. "No, I'm not gonna sing on this one," she laughed. "I'm gonna try to keep my mouth shut and just watch and listen."

It was Wednesday evening, and the last rehearsal session before the recording sessions would begin at New Temple Missionary Baptist Church on Broadway in the heart of Los Angeles and ready to let loose.

Aretha wandered around the room shyly, smiling here, chatting there, politely avoiding any deep conversations. She sat for a while with an acquaintance discussing children and offering coffee, and then returned to the microphone. The choir was seated and the band took to their instruments Chuck Rainey on bass, Bernard Purdy on drums, Cornell DuPree on guitar, Dick Richards on congas. Reverend Cleveland was at the piano, eighteen year old Kenneth Lupper rotated with Dave Crawford on organ with choir director/arranger Alexander Hamilton at the helm. Hamilton recently passed away in February of 2022.

Aretha Records Amazing Grace

Thursday evening found many people at the New Temple Missionary Baptist Church surprised. The converted movie theater was wired for sound, lights, and camera as the entire session was filmed by Sydney Pollack hired by Warner Brothers Studio. Jerry Wexler greeted guests and ticket-holders at the door. Jerry Wexler greeted guests and ticket-holders at the door. Amongst the crowd were Candice Bergan, Altovise Davis (Spouse of Sammy Davis Jr.) and Mira Walters.

Addressing the assemblage James Cleveland asked God's blessing on the venture, and profoundly thanked Aretha for her choice of his choir to record with her.

Rev. Cleveland's choir lived up to its reputation. The voices, rich and splendid, gleamed almost visually as Alexander Hamilton's ballet-like directorial style guided them through the arrangements. At times, he seemed rather to float on their voices, somewhere above them.

The choir marched down the aisle and then Aretha entered. The song "Amazing Grace" highlighted the first recording session, seconded by "You've Got A Friend," and then, too soon, it was over until Friday night.

Aretha wore African styled gowns both nights, her hair in the neat and most becoming natural she has been wearing lately. The second night, Aretha's audience included her father, Reverend C.L. Franklin, who flew out after hearing about what Thursday night was like. It was also notably attended by Mick Jagger and Carlie Watts of the Rolling Stones. Jagger had been a fan of soul and gospel for some time and often spoke of its influence on his own music.

One of the tunes Aretha chose was "Never Grow Old" and the spirit seized the church. Aretha "went in" and drew with her Clara Ward and her mother, who ran to the singer, moved by the music and the spirit. The song itself was a rare experience with Aretha singing at ballad tempo. The film's director and members of the crew were frequently drawn in and moved to clap to the beat. Seldom finding it, they proved an amusing diversion but they showed a lot of heart in trying.

Rev. Franklin was invited to speak and his voice broke with pride as he praised his daughter's talents. Reverend Franklin emphasized that Aretha takes the church with her wherever she sings. "The way she sings in this church tonight, is the way she sings any place she sings." Aretha sat, moved with pride.

The musical and spiritual experience would conclude. Filming would end. The audience would leave gobsmacked. SOUL's cover story on the event ran in February of 1972. On June 1, 1972 the record was released by Atlantic Records. The double album sold over two million copies in the United States alone and earned a double platinum certification. Franklin won the 1973 Grammy Award for Best Soul Gospel Performance. It was the best-selling disc of Franklin's career as well as the highest-selling live gospel music album of all time. The footage, however, would go unseen for almost fifty years.

Why was Amazing Grace Not Produced?

Clappers are a tool used at the beginning of takes when filming to synch up visuals and audio even in documentaries and Pollack had overlooked this. It made editing the footage almost impossible and the studio shelved the project. A simple oversight would throw all of Aretha's vision on the backburner. Aretha was also frustrated with Hollywood. She wanted this film to catapult her presence in the music world as well as in Hollywood looking to other singer/actresses such as Diana Ross and Barbara Streisand. The handling of the project left a bad taste in Aretha's mouth and the footage would drift into obscurity.

Alan Elliott and the Release of the Amazing Grace Film

Alan Elliott, a composer, producer and musicophile took on the monumental task of breathing life into this once shelved project. He purchased the footage in 2007. Technology had now made the once impossible task of editing possible but Aretha was still against its release. It was planned to be released in 2011 but was haulted by a lawsuit filed by Franklin. It was stopped again by Franklin after another attempt to release the film in 2015. Franklin, still weary about its release was able to be shown the film before her passing while battling cancer and loved it. Movement on the film was haulted during this time. Once she passed, the family agreed to its release in 2018. In an interview with the BBC, Elliott explained, "Aretha Franklin was denied the chance to be a movie star, and that was her whole problem with the release of the movie. She wasn't against it, she just had very big expectations and she also wanted to get a lot more money than anyone ever paid for a documentary."

The film itself is beautiful, capturing a truly authentic look not only into Aretha's music but black culture in 1972. It does serve as a bit of a final homage to one of the greatest singers of all time. SOUL Publisher Regina Jones praised the film and Elliott's dedication to the project. The film titled "Amazing Grace" covers both nights if performance and premiered in 2018. It was finally released in 2019 to critical acclaim winning an NAACP Image Award for Outstanding Documentary.