From the opening bars of Satisfaction, you're into serious territory here; there have been comments by other reviewers (and indeed Jerry Wexler!) that the band here is outright nasty and the arrangements too fast, but those comments are missing the point. There's no doubt that this isn't a technically perfect set, but soul music has never been about that- it's about the feel, and the energy here makes you think of an amphetaminised MC5 getting down- you could describe this as a garage classic.
"Don't let me lose this dream" and "Groovin'" are especially pleasing, but overall, it's hard to pick out a bad selection- the vibe is remarkable and the recording a real live demonstration of the breaking down of genre and race barriers between soul, blues and rock n roll.
Does the performance lack an emotional edge for all it's haste? Yes, probably it does, but it makes up for lost heartbreak in it's sheer sense of urgency and the feeling that the performers would crush all before them. The anger of hip hop doesn't sound that far away, and the Queen of Soul may as well be the Godmother of rap too.
Yet despite it's aggressive advantages, there is no resorting to bombast or dull repetition, and it's in keeping with other late sixties organic art/pop such as the Byrds' "Artifical Energy" from their "Notorious" set.
Little wonder that the Beatles were to write "Let It Be" for Aretha, and how much more adaptable she proved at tackling the Lennon / McCartney canon than EmmyLou Harris, who spent the Seventies failing in that one respect so spactacularly.
Not just a document or a simple record of a night in Paris, but a truly moving sweaty soul/funk classic played at lightning speed.