One of the iconic voices of the 1970s, renowned for her transformative reinterpretations, has passed away at the age of 88.

At a 1997 concert in New York, Roberta Flack described her voice as a “blessed instrument,” and for countless listeners, it truly was: a captivating force that could convey cool elegance, luxurious depth, or swell with suggestive power—all within a single song.

Flack, who passed away on Monday at the age of 88, began her journey as a schoolteacher, deeply rooted in classical music and the traditions of Black church singing. She emerged as one of the defining voices of the 1970s, achieving multiple No. 1 hits that solidified her status as a star of interpretive pop-soul, enchanting both radio audiences and critics.

A master of reinvention, Flack’s first hit, “The First Time Ever I Saw Your Face,” transformed a simple folk ballad by Ewan MacColl into a slow, stirring expression of eroticism. While Peggy Seeger’s 1957 rendition featured a brisk, airy quality, Flack’s interpretation showcased a controlled vocal range that shifted from delicate whispers to powerful, evocative memories.

She worked her magic again in 1973 with “Killing Me Softly With His Song,” originally by Lori Lieberman. Flack’s version became a hypnotic meditation, later inspiring Lauryn Hill and the Fugees to reimagine it two decades later.

With those iconic tracks, Flack made history as the first artist to win the Grammy Award for Record of the Year two consecutive times, with “The First Time Ever I Saw Your Face” in 1973 and “Killing Me Softly With His Song” in 1974.

These are just a couple of her most celebrated recordings. Flack's career also featured memorable collaborations with artists like Donny Hathaway and Peabo Bryson, as well as ventures into jazz standards. Here are 11 essential tracks that showcase her extraordinary talent.

“The First Time Ever I Saw Your Face” (1969)

Although it took nearly three years for this track from Flack’s debut album to gain popularity—thanks in part to its inclusion in Clint Eastwood’s film Play Misty for Me—it perfectly encapsulated Flack’s prowess as a vocalist and interpreter. She transformed Ewan MacColl’s folk ballad into a rich, amorous incantation, skillfully controlling her voice with delicate restraint. Flack’s delivery swells from a near-whisper to an evocative cry, revealing a profound passion beneath the surface. The song reached No. 1 and was crowned the top song of 1972, solidifying her place in music history.

“Compared to What” (1969)

Flack’s first single was a powerful protest song, written by Gene McDaniels and initially recorded by Les McCann, who discovered Flack and brought her to Atlantic Records. “Compared to What” features a compelling soul-jazz groove and incisive lyrics like, “The president, he’s got his war/Folks don’t know just what it’s for.” Flack’s rhapsodic vocal flights showcased her immense potential and set the stage for her impactful career.

“Let It Be Me” (1970)

This track serves as another stunning testament to Flack’s interpretive power and her role in shaping a new pop songbook in the 1970s. Flack reimagines this modern standard, originally made famous by the Everly Brothers, infusing it with soft blue notes and a masterfully calibrated range of vocal dynamics. Her rendition captures the emotional depth of the song, highlighting her ability to convey profound feelings through her voice.

“Will You Still Love Me Tomorrow” (1971)

When Flack released her cover of this classic by The Shirelles in late 1971, Carole King had already put her own slowed-down spin on the song in her bestselling album Tapestry. However, Flack’s rendition stands out as a haunting showcase for her exceptional vocal ability, complemented by her delicate and entrancing piano arrangement. Her interpretation captures the song's emotional complexity, making it a memorable addition to her repertoire and further demonstrating her artistry as both a singer and musician.

“Freedom Song” (1971)

In 1971, Flack graced an Independence Day festival in Ghana, sharing the stage with notable artists like Ike and Tina Turner, the Staple Singers, Wilson Pickett, and Santana. Her a cappella rendition of the spiritual “Oh Freedom” is nothing short of breathtaking, blending elements of a moaning prayer with a sense of rapture. Despite its profound impact, the soundtrack has largely faded into obscurity, never having been released on CD in the United States and remaining unavailable on streaming services. Flack’s performance, however, remains a testament to her ability to convey deep emotion and spirituality through her music.

Roberta Flack & Donny Hathaway, “Where Is the Love” (1972)

Donny Hathaway, a talented yet troubled singer-songwriter, emerged as one of Flack’s key collaborators, contributing to early tracks and arranging songs for her second album. In 1972, they joined forces for the collaborative LP Roberta Flack & Donny Hathaway, which became a defining work of '70s romantic soul. Their duet “Where Is the Love” not only soared to No. 1 on the R&B charts but also remains a staple on radio playlists. The song beautifully encapsulates a tale of lost romance, with its rich harmonies and emotional depth making it feel like a sweet, enduring treat. Flack and Hathaway's chemistry in this track exemplifies the magic of their partnership and the timeless appeal of their music.

“Killing Me Softly With His Song” (1973)

Roberta Flack took a surprising song choice and transformed it into one of her signature hits with “Killing Me Softly With His Song.” She first encountered Lori Lieberman’s folky original while on a plane, and from there, she reworked the chord structure and added a soaring interlude, turning the song into a soulful odyssey. During a concert with Quincy Jones, she performed it, and he famously advised her, “Ro, don’t sing that daggone song no more until you record it.” This encouragement led to the recording becoming her second No. 1 hit. The song gained renewed popularity when the Fugees covered it in 1996, further cementing its status as a timeless classic. Flack’s rendition is celebrated for its emotional depth and vocal prowess, showcasing her ability to breathe new life into a song.

“Feel Like Makin’ Love” (1974)

Roberta Flack showcased her artistic vision by producing her sixth studio album herself, under the name Rubina Flake. The title track, “Feel Like Makin’ Love,” became her third No. 1 hit, exemplifying her smooth and sensuous style. Despite the song's success, the album faced challenges during its production, with months of strained recording sessions leading to a delayed release in early 1975. Unfortunately, upon its release, the album did not achieve the commercial success expected, marking it as a relative flop. Nevertheless, “Feel Like Makin’ Love” remains a standout track in Flack’s discography, celebrated for its romantic allure and Flack's captivating vocal delivery.

Roberta Flack With Donny Hathaway, “The Closer I Get to You” (1977)

Originally not written as a duet, “The Closer I Get to You” brought Roberta Flack and Donny Hathaway back together for another ethereal crossover hit. The song achieved remarkable success, reaching No. 1 on the R&B charts and No. 2 on the Hot 100. Their harmonious blend and emotional delivery made the track a standout in the realm of romantic soul. Tragically, before Hathaway's untimely death in 1979, the duo had started working on another duets album, which was ultimately released the following year as Roberta Flack Featuring Donny Hathaway. This collaboration not only solidified their musical partnership but also left a lasting legacy in the world of soul music.

Peabo Bryson and Roberta Flack, “Tonight, I Celebrate My Love” (1983)

In 1983, Roberta Flack teamed up with Peabo Bryson for the romantic duet “Tonight, I Celebrate My Love.” This collaboration marked a new chapter for Flack, as Bryson’s smooth baritone complemented her rich vocals beautifully. While his sound was often seen as radio-friendly and polished—sometimes drawing criticism for being overly “squeaky-clean,” especially in his Disney soundtrack appearances—the pairing proved successful. The song, written by Goffin and Michael Masser, served as the lead single from their joint album Born to Love and reached the Top 20 on the charts. Their chemistry and vocal interplay made “Tonight, I Celebrate My Love” a memorable addition to the landscape of romantic soul music.

“Angel Eyes” (1994)

On her album Roberta, which features a collection of jazz and soul standards, Roberta Flack offered a unique and captivating interpretation of “Angel Eyes.” Traditionally associated with Ella Fitzgerald, this song tells a poignant story of lost love, infused with a sense of melancholy. Flack’s version stands out with its unorthodox approach; she sings over a jazz combo at a deliberate, ponderous tempo, allowing the music to breathe. The arrangement is rich with blue notes, and Flack expertly bends the lyrics, creating moments that draw listeners in and keep them engaged. Her ability to luxuriate in the melody showcases her artistry and deep emotional connection to the song, making it a memorable highlight of her later work.