Franklin’s voice transcended religion. As an artist, she contributed to the secularization of gospel music—echoes of which are still heard today on pop and hip-hop radio. Her performance of “Amazing Grace” went on to sell over two million copies, becoming the highest selling gospel album of all time. But this performance? Even if you don’t believe in a higher power, after listening to Aretha work her way through the hymn, you’d be hard pressed not to wonder if she has some kind of connection up there.

After receiving her own Kennedy Center Honor 21 years before, the Queen of Soul returned to the stage to honor Carole King, the writer of one of her most recognizable hits. King immediately leapt to her feet as Aretha started the song. By the time the song ended, Franklin had shed her fur coat, President Obama was wiping tears, and every person in the place was on their feet.

After legendary opera singer Luciano Pavarotti had to pull out of the 40th annual Grammy Awards following throat problems, the Grammys had to make a quick move. Two hours before the performance, Aretha stepped up to the challenge. What resulted was a performance for the ages. Moving back and forth between Italian and English, Aretha’s soul-infused rendition of the aria from the opera Turnadot was one of the most surprising moments in Grammy, and music, history.

Having originally released the song in 1956, “Precious Lord” had a long history in Aretha’s life. Her mentor, Mahalia Jackson, sang it at Martin Luther King, Jr’s funeral. Four years later, Franklin would sing it at Jackson’s, as well as the dedication of the MLK memorial in Washington D.C.

For President Obama’s first inauguration, his choice to have Aretha sing “My Country ‘Tis of Thee” was a powerful moment in American history. Here was one of the greatest singers in history—one who’s made great strides for women and people of color—singing at the inauguration of the first black president. No matter what comes next, her performance of the patriotic 1831 song will remain a proud moment in this country’s history.

President Obama wasn’t the first Commander in Chief with the good idea to pull in the talents of Aretha Franklin. The Les Misérables showstopper is admittedly a strange choice for a presidential inauguration, but if anyone has the ability to make it work, it’s Aretha Franklin. The giant Broadway number grows even bigger with her raspy voice and soulful infusion, ending in yet another standing ovation.

A voice like this can do any genre. And as the first woman inducted into the Rock and Roll Hall of Fame, she absolutely covered rock music, too. Her cover of The Rolling Stones’ “(I Can’t Get No) Satisfaction,” highlights the blues roots of the hit, connecting it to the origins of rock music and Franklin’s own training as a gospel musician.

Recorded a year before by Dionne Warwick, Aretha revamped Burt Bacharach and Hal David’s “Say a Little Prayer” with a burst of energy that set it apart from the original recording. As a guest on This Is Tom Jones, she performed the song effortlessly, cementing it as another single in a long list of successes.

If Aretha Franklin had to be summed up into one song, there’s a pretty good chance it would be “Respect.” While recorded versions and later live performances were a bit slower, the original live performances turned “Respect” up several notches. This performance came right as Aretha’s career was hitting meteoric status. The breakdown after the bridge is just one example of why Aretha is and always will be a live performance master.

Choosing a favorite performance from her concert at Fillmore West is nearly impossible. But alongside covers of “You’re All I Need To Get By” and “Eleanor Rigby,” it always comes back to the most-soul driven performance of the bunch. Taking to the piano and slowing the song down a bit to really tear into those big notes, Aretha’s performance of the Simon & Garfunkel classic is proof that even the most well-known songs can benefit from the gift that is Aretha’s voice.