A song above the clouds
Roberta Flack first encountered “Killing Me Softly with His Song” as a listener. In her own recollection, she heard Lori Lieberman’s recording on an airline entertainment programme in 1972. She recognised a song she wanted to sing herself. The decisive next step took place at the piano: Flack changed harmonic details and turned the song she had heard into her own interpretation.
Released in 1973, Killing Me Softly extends well beyond its famous opening. Working with producer Joel Dorn over an extended period, Flack assembled a programme connecting soul, songwriter material and her experience as a classically trained pianist. The album is dedicated to multi-instrumentalist Rahsaan Roland Kirk.
A voice shapes the space
On the title song, follow the transitions between lines: where does Flack hold a syllable, and where does she release the next thought early? Her treatment of the harmony also changes the effect of the familiar melody. The recording’s apparent ease rests on decisions about chords, tempo and the weight given to words.
The album’s musical circle includes Ron Carter, Grady Tate, Ralph MacDonald and Eric Gale. Accompaniment need not continually move into the foreground to influence a song’s course. Listen for the small responses behind the voice and for the way those responses carry a phrase forward.
From Janis Ian to Leonard Cohen
Janis Ian’s “Jesse” offers a different kind of intimacy: an address to someone absent. Gene McDaniels’ “River” takes the repertoire in another direction again. Flack treats these songs as individual narratives. The album title connects them without prescribing a single emotional register.
Leonard Cohen’s “Suzanne” comes last. Flack’s version runs for almost ten minutes and receives a full side on this edition. That also changes the anticipation when putting the record on: after three sides containing several songs, a longer, self-contained conclusion begins. This ending is a particularly good reason to hear the album without approaching it solely through its hit single.
The Atlantic 75 edition
Analogue Productions presents AAPA 054-45 as two 180-gram LPs at 45 RPM, pressed at QRP and packaged in a Stoughton tip-on gatefold. “Suzanne” occupies side four alone. The publisher’s product page identifies neither a mastering engineer nor a specific tape source for this edition, so those details remain unassigned here.
Michael 45 keeps the goods in Germany and ships from Hilden, so customers in Germany and the EU can avoid arranging a personal US import and waiting for customs clearance.
More from the series: Atlantic 75 Series
Also on SACD: Killing Me Softly
Customer questions: Atlantic 75: which titles are worth buying? · Buying Analogue Productions records in Europe
Series: Atlantic 75 Series – all 75 albums, time journey and the people behind Atlantic
Musicians
Documented selection of participating musicians. Personnel may vary by track; this list does not claim to be complete.
| Name | Instrument / role |
|---|---|
| Roberta Flack | Vocals, Piano |
| Eric Gale | Guitar |
| Ron Carter | Electric bass |
| Grady Tate | Drums |
| Ralph MacDonald | Percussion, Tambourine, Congas |
| Kermit Moore | Cello |
| Eumir Deodato | Conductor |
| Don Sebesky | Conductor, Horn |
How Michael hears this edition
Listening impression · paraphrased from the video
Michael highlights the clarity of this 45 RPM edition. To him, the bells in the title track Killing Me Softly appear in the middle of the room. The broader comparison with other editions in the video comes from a customer and is not presented here as Michael’s own comparison.
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