Review: “Who’s Zoomin’ Who” by Aretha Franklin (CD, 1985)

Today’s Pop Rescue is 1985’s Who’s Zoomin’ Who – the 30th (!!) studio album by legendary American soul singer, the late Aretha Franklin. Will this album Zoom to your heart, or will you wish they were still on mute? Read on…

Aretha Franklin - Who's Zoomin' Who? (1985) album — Aretha Franklin – Who’s Zoomin’ Who? (1985) album.

This 9 track CD opens with lead single Freeway Of Love and this really is a fantastic showcase of Aretha’s embrace of upbeat pop music. There are hints of a sort-of Motown sound in here, alongside gurgling synths that give it a fresher feel. Production is slick and the verse and chorus effortlessly shift along, with the song building fantastically thanks to a key change, and a saxophone solo from Clarence Clemons. Aretha sounds like she’s having tons of fun with this track, and her vocals soar throughout, backed by perfectly placed backing vocals. The album is off to a brilliant start.. but despite this, the track stalled in the UK, reaching #51 in the singles chart.

Then it’s fourth single Another Night which brings the tempo and mood down to a slower chug, with Aretha sounding a little like Tina Turner here vocally, as she sings in a more subdued way flanked by guitars. The track performed worse than Freeway Of Love, falling at #54 in the UK singles chart, and to be honest, it’s not a very interesting song.

Sweet Bitter Love follows this, and it begins almost like a sermon, with Aretha backed by a piano before she begins singing. This is the first of two songs that Aretha produced herself, and it gives her the chance to show off her vocal range in a more heartfelt, almost gospel, song. She sounds fantastic here, with a simple beat and gentle strings joining here as the song builds.

That leads on to titular track Who’s Zoomin’ Who – the album’s second single. This returns us to the upbeat pop-rock sound, with a catchy piano riff that I instantly recognised without expecting it. Aretha’s backing singers here act a perfect contast to her light vocals that wash over the top wonderfully. The track gave her a #11 UK hit single, but it deserved to at least break the top 10.

Aretha’s collaboration with Eurythmics – Sisters Are Doin’ It For Themselves follows that, and it stood as the album’s third single. This track is a belter from the moment it begins. The guitar gives a sense of urgency, as this wonderfully feminist track bursts out with two of the biggest female musicians of the ’80s sing in turns and in harmonies. Annie Lennox’s vocals sound perfect alongside Aretha, whose vocals sit very comfortably amongst this more Eurythmics sounding track. The single gave these collaborators a #9 UK hit. Perfect! I love the final line that kills the track.

Then it’s on to Until You Say You Love Me, which as you might suspect, is a slower love song. This allows Aretha a nice dreamy-sounding track where her vocals can sit on top of a simple beat, echoing percussion and synths. The track meanders along nicely, but lacks a little catchiness.

Ain’t Nobody Ever Loved You is next, and this track picks up the tempo, and throws a load of steel drums, which gives this track a nice bright sound. Aretha also seems to have a renewed energy to her vocals here, as she delivers these upbeat lyrics. Sadly, this final single from the album, despite its energy, flopped in the UK, reaching #78.

That’s followed by duet Push with Peter Wolf and here we’re given exciting synths and guitar riffs as Aretha shows off some more big pop vocals. There’s occasional disco echoes here in the vocal styles, but it’s worth listening out for when Peter first takes the microphone, as it sounds like Aretha is almost trying to put him off with a wonderful ghost sound (really, do go and listen). A soaring guitar solo comes from legendary guitarist Carlos Santana (who in my opinion is more notable than Peter Wolf). This guitar duels with the synths before more scary (almost comedy) vocals arrive from Peter. It goes a bit weird for a few moments before taking us safely home.

A simple beat signals that the album’s closing song – what else but Integrity – has arrived. This was produced by Aretha herself, and gives us a wonderful return to a vintage sound where Aretha sings with her rich soulful vocals, alongside warm backing vocals and strings. The track also features fellow legend Dizzy Gillespie who gets a trumpet solo. It’s a nice gentle track that gave me some foot-taps after the first chorus. It’s a great ending to the album, reminding us that we have been listening to the Queen of Soul.

Aretha’s lead single ‘Freeway Of Love’ from 1985.

Verdict

Over all, this album is a rich blend of soul meets 80’s pop-rock, and the balance is well found, with Aretha remaining at the centre of it.

The album is essentially made by musical legends – not only are Aretha and the Eurythmics here, as well as Dizzy Gillespie and Clarence Clemons, but tucked away in the credits is serial songwriter and percussionist Narada Michael Walden, bassist Randy Jackson, keyboardist Walter Afanasieff, guitarist Carlos Santana, and vocalist Sylvester. I’m sure there are many more.

There’s no stinkers here, but the highlights are definitely Freeway Of Love, Sisters Are Doin’ It For Themselves, Who’s Zoomin’ Who, and Integrity. Push has some great moments, but it’s a little inconsistent. The only times that the album feels weaker is in Until You Say You Love Me, and single mis-step (in my opinion) Another Night.

The album really is a great listen, and definitely one you should zoom into your ears.