NEW YORK – In a time when musical styles are merging more than ever, it’s fascinating to reflect on a time when the boundaries between genres were more rigid. A deep dive into Roberta Flack’s prolific career exemplifies a seamless blend of musical diversity that was ahead of its time. Flack, a defining figure in the music industry during the 1970s and beyond, left an indelible mark with her intricate vocal style after passing away on Monday. Her extensive catalog defies easy categorization, with her debut album “First Take” weaving together threads from soul, jazz, flamenco, gospel, and folk textures into a cohesive artistic masterpiece.
Her legacy is encapsulated in timeless classics like “The First Time Ever I Saw Your Face” and “Killing Me Softly with His Song,” though her artistic range extends far beyond those popular titles. Each of her songs tells a story, effortlessly spanning across musical boundaries.
Flack’s 1969 version of Leonard Cohen’s “Hey, That’s No Way to Say Goodbye” from “First Take” showcases her ability to transform an existing song into something uniquely hers. Remarkably, this deeply expressive piece, like the rest of the album, was recorded in just 10 hours at Atlantic Studios in New York.
Another noteworthy track from “First Take” is “Angelitos Negros,” performed in Spanish and based on a narrative poem by Venezuelan writer Andrés Eloy Blanco. This soaring piece, accompanied by a robust string section and guitar melodies, also stands as an anthem against racial discrimination, epitomizing Flack’s boundary-pushing approach.
A turning point in her career came in 1972 when her emotive interpretation of “The First Time Ever I Saw Your Face” featured in Clint Eastwood’s film “Play Misty for Me” and subsequently topped charts. Flack brought her intimate understanding of the song—having taught it during her time with a glee club—to her rendition, which went on to win a Grammy for record of the year.
“Killing Me Softly with His Song,” perhaps Flack’s best-known hit, originally by Lori Lieberman, enchanted audiences soon after she first heard it and decided to cover it during a tour with Quincy Jones. Her neo-soul R&B rendition defined an era, earning her consecutive Grammy Awards, a feat echoed when the Fugees later revived the song with Lauryn Hill’s iconic voice.
In 1975, Flack earned her third number one hit with “Feel Like Makin’ Love,” a song embodying romantic seduction, further cementing her status in R&B and jazz circles. Her evocative performance captures intimate moments with delicacy.
Her 1978 duet with Donny Hathaway, “The Closer I Get to You,” though poignant and beautiful, is also tinged with sadness due to Hathaway’s tragic passing. Their collaboration remains a powerful testament to their artistic and personal relationship.
The 1980s saw Flack experimenting with soft rock as shown by her successful duet with Peabo Bryson, “Tonight, I Celebrate My Love.” This song intertwined genres with a timeless appeal, a notable achievement in an era dominated by synthesized sounds.
Flack’s later works continued to resonate with contemporary audiences, such as the glossy pop creation “Set the Night to Music” with Maxi Priest in 1991. In that same year, her cover of “You Make Me Feel Brand New” by The Stylistics bridged classic and modern R&B, showcasing her enduring versatility as an artist.
