Think

Aretha Franklin's "Think" is a powerful anthem of empowerment, demanding respect and freedom. On a personal level, the song is a direct address to a partner, urging them to consider the consequences of their actions and the oppressive nature of their relationship. The singer asserts her intelligence and awareness, stating that it doesn't take a high IQ to see the harm being done.

Beyond the personal, "Think" has been widely interpreted as a feminist anthem, advocating for women's rights and equality. Released in 1968, during a period of significant social and political change, the song's message of liberation resonated deeply with the burgeoning women's movement. The repeated call for "freedom" also connected with the Civil Rights Movement, especially as the song was released shortly after the assassination of Martin Luther King Jr., a close family friend of the Franklins. The song's insistence on freedom of thought and self-determination speaks to a universal desire for autonomy, making it a timeless and multi-layered piece of social commentary.

A woman is directly addressing her partner, telling him he needs to seriously consider the way he is treating her. She urges him to reflect on his actions and their consequences. She makes it clear that she is not oblivious to his behavior, stating that one doesn't need to be a psychiatrist or a doctor with advanced degrees to understand his detrimental actions. She emphasizes her intelligence and perception, making it known that his attempts to undermine her are transparent.

The singer reminisces about a time before their relationship began, a time when she was free and unburdened by his controlling ways. This reflection serves to highlight the negative transformation their dynamic has undergone. She isn't just asking for a change in his behavior; she is demanding her freedom. The repeated and powerful cries of "freedom" throughout the song are not just a lyrical motif but the very core of her message. It's a plea to be released from the constraints of a toxic relationship and to be able to think and act for herself without being controlled.

She broadens her message to a societal critique, observing people in their everyday lives playing manipulative games and trying to undermine each other. She issues a warning to her partner that in his attempts to make her lose her sanity, he is in danger of losing his own. This observation adds a layer of social commentary, suggesting that such destructive behavior is not just a personal issue but a widespread problem.

The song's climax is a powerful declaration of interdependence. She acknowledges that they need each other, but this is not a statement of codependency. Rather, it's an assertion that a healthy relationship is a partnership of equals. Without mutual respect and support, their connection is meaningless. Her repeated exhortations to "think" are a final, emphatic demand for him to wake up and recognize the damage he is causing to her, to their relationship, and ultimately, to himself. It is a powerful anthem of self-respect and a demand for equality, delivered with unwavering strength and soul.

"Think" was written by Aretha Franklin and her then-husband, Ted White. It was recorded in April 1968 at Atlantic Records' studios in New York City and released as a single on May 2, 1968, from her album Aretha Now. The production was handled by Jerry Wexler, a key figure in Franklin's success at Atlantic Records.

The recording session featured the acclaimed Muscle Shoals Rhythm Section, who had played on many of Franklin's previous hits. The personnel on the original recording included Aretha Franklin on piano, Wayne Jackson on trumpet, Andrew Love and Charles Chalmers on tenor sax, Floyd Newman or Willie Bridges on baritone sax, Spooner Oldham on organ, Jerry Jemmott on bass, Tommy Cogbill and Jimmy Johnson on guitars, and Roger Hawkins on drums. The song's release came less than a month after the assassination of Martin Luther King Jr., a close friend of the Franklin family, which gave the song's message of "freedom" an added layer of political and social resonance.

"Think" features a relatively simple and direct rhyme scheme that prioritizes the clarity and impact of its message over complex poetic structures. The rhymes often occur at the end of lines, such as "me" and "free," which creates a sense of resolution and emphasis. The song's power, however, lies more in its rhythmic drive than its intricate rhyme patterns.

The rhythm is characterized by a propulsive, upbeat tempo that makes the song incredibly danceable. This energetic rhythm, created by the interplay of the drums, bass, and Franklin's piano, stands in powerful contrast to the serious and confrontational nature of the lyrics. This juxtaposition of an infectious rhythm with a message of defiance is a key element of the song's enduring appeal. The call-and-response between Franklin and her backup singers creates a syncopated vocal rhythm that adds to the song's dynamic and energetic feel. The phrasing of the lyrics is often percussive, with short, punchy lines that mirror the song's assertive tone.

Musically, "Think" is a masterclass in the fusion of soul, funk, and gospel. The song is driven by a powerful rhythm section and punctuated by a dynamic horn arrangement. Aretha Franklin's gospel-infused piano playing provides a strong harmonic and rhythmic foundation. Her vocal performance is a tour de force, characterized by its raw power, emotional intensity, and incredible range. She employs call-and-response with the backing vocalists, a technique borrowed from gospel music, which enhances the song's anthemic quality. The song is written in the key of B♭ Dorian, which gives it a unique sound that is similar to a minor key but with a raised sixth note.

Lyrically, the song utilizes direct address, creating an immediate and confrontational tone. The repetition of the word "think" and "freedom" acts as a powerful refrain, drilling the song's central message into the listener's mind. The use of rhetorical questions, such as "what you're trying to do to me," challenges the listener to consider the song's themes from a personal perspective. The simplicity and directness of the lyrics make the song's message universally understandable and impactful.

"Think" became a major commercial success, reaching number 7 on the Billboard Hot 100 and number 1 on the Hot Rhythm & Blues Singles chart. It has since become one of Aretha Franklin's signature songs and a cornerstone of her legacy as the "Queen of Soul." The song's powerful message of empowerment and freedom has allowed it to transcend its time and become an enduring anthem for various social movements, including the feminist and civil rights movements.

One of the most iconic moments in the song's cultural history is its inclusion in the 1980 film The Blues Brothers. Franklin's fiery performance in the movie introduced the song to a new generation of fans and solidified its place in popular culture. The song has been used in numerous other films, television shows, and commercials, often to signify moments of empowerment and defiance. Levi's used the song in a 2018 commercial to encourage voting.

"Think" has been covered by numerous artists, and Franklin herself re-recorded the song in 1989 for her album Through the Storm and for a public service announcement for Mothers Against Drunk Driving in the late 1980s. The song's enduring popularity and its powerful message have cemented its status as a timeless classic and a vital piece of American music history.

The central and most potent symbol in "Think" is the recurring word "freedom." This is not merely a request to be left alone; it's a powerful demand for liberation on multiple levels. In the context of the song's narrative, it symbolizes a break from a controlling and oppressive personal relationship. The singer is not just asking for physical space but for the freedom of her mind and the right to be her own person.

The idea of "thinking" itself is a metaphor for awareness, consciousness, and self-respect. When Franklin sings "You better think," she's urging her partner to engage in a deeper level of introspection about his actions and their impact. The line "I ain't no psychiatrist, I ain't no doctor with degrees" serves as a metaphor to underscore that the wrongdoing is so blatant that it doesn't require professional analysis to be understood. It's a statement of clear-eyed perception in the face of manipulation.

The song also uses the metaphor of "playing games" to describe the manipulative and dishonest nature of the relationship and, on a broader scale, societal interactions. This imagery suggests a lack of sincerity and a destructive competition where one person's gain is another's loss.

The most prominent recurring phrase in "Think" is the title word itself, "think." Its repetition serves as a constant and insistent demand for consideration and self-reflection. Each time it is sung, it gains more power and urgency, evolving from a suggestion to an unequivocal command. This repetition ensures that the core message of the song is impossible to ignore.

The other significant recurring motif is the word "freedom." Chanted by the backup vocalists in a powerful call-and-response with Franklin, "freedom" becomes a mantra-like declaration of independence. Its repetition builds throughout the song, culminating in a powerful climax that solidifies the song's status as an anthem of liberation. The repetition of this single word encapsulates the song's central theme and its connection to broader social and political movements.

Musically, the song features a recurring horn riff that adds to its energetic and memorable quality. This instrumental hook provides a sense of continuity and excitement, punctuating the vocal phrases and driving the song forward.