ETTA JAMES
''HEART & SOUL: A RETROSPECTIVE, DISC ONE''
OCT 18, 2011
HIP-O SELECT
BOX SET, COMPILATION
282:55
1/The Wallflower (aka Roll with MeHenry)/Ballard, James, Otis/3:05
2/Good Rockin' Daddy/Berry, Bihari/2:26
3/Crazy Feeling/Josea/3:17
4/W-O-M-A-N/Hawkins, James, Mallory, Mitchell/2:45
5/Tough Lover/James, Josea/2:09
6/The Pick Up/Batiste, Johnson/2:21
7/Every Night (aka Baby Baby Every Night)/Johnson, Rae, Townsend/2:23
8/Sunshine of Love/Davis, Josea/2:25
9/Strange Things Happening Every Day/James/2:30
10/All I Could Do Was Cry/Davis, Gordy, Gordy/2:56
11/My Dearest Darling/Bocage, Gayten/3:03
12/If I Can't Have You/Fuqua, James/2:50
13/I Just Want to Make Love to You/Dixon/3:07
14/My Heart Cries/Fuqua, James/2:35
15/Spoonful/Dixon/2:49
16/A Sunday Kind of Love/Belle, Leonard, Prima, Rhodes/3:17
17/At Last/Gordon, Warren/3:00
18/Stormy Weather/Arlen, Koehler/3:08
19/Trust in Me/Ager, Schwartz, Weaver/2:59
20/Don't Cry Baby/Bernie, Johnson, Unger/2:26
21/Fool That I Am/Hunt/2:57
22/Waiting for Charlie (To ComeHome)/Bacharach, Hilliard/2:06
23/Next Door to the Blues/Kirkland, Woods/2:49
24/Something's Got a Hold on Me/James, Kirkland, Woods/2:50
25/These Foolish Things (RemindMe of You)/Link, Marvell, Strachey/3:59
''HEART & SOUL: A RETROSPECTIVE, DISC TWO''
1/Stop the Wedding/Johnson, Kirkland, Woods/2:51
2/Pushover/Clarke, Davis/2:56
3/Would It Make Any Differenceto You/Forshee/2:40
4/Pay Back/Davis/2:40
5/Two Sides (To Every Story)/Clarke, Davis/3:02
6/Baby, What You Want Me to Do/Reed/4:17
7/Lovin' You More Every Day/Mitchell/3:21
8/I Wish Someone Would Care/Thomas/2:36
9/Breaking Point/McAlister, Vail/2:26
10/Only Time Will Tell/McAlister, Vail/3:22
11/It's Here for You/Daryll/3:04
12/Do I Make Myself Clear?/DeMell, Parham/3:00
13/Lover Man (Oh Where Can You Be?)/Davis, Ramirez, Sherman/3:53
14/In the Basement, Pt. 1/Davis, Miner, Smith/2:22
15/I Prefer You/Dollison, Higgins/3:04
16/It Must Be Your Love/Bernard, Dollison, Foster, Higgins/2:59
17/842-3089 (Call My Name)/Dollison, Foster, Higgins/3:00
18/I'd Rather Go Blind/Foster, Jordan/2:34
19/Tell Mama/Carter, Daniel, Terrell/2:22
20/Do Right Woman, Do Right Man/Moman, Penn/2:59
21/The Same Rope/Caston, Webster/2:39
22/Security/Redding, Wessen/2:29
23/Almost Persuaded/Sherrill, Sutton/3:21
24/You Got It/Covay/2:25
25/The Soul of a Man/Sain/3:13
''HEART & SOUL: A RETROSPECTIVE, DISC THREE''
1/Miss Pitiful/Cropper, Redding/2:25
2/Losers Weepers, Pt. 1/Bonds/3:01
3/I Found a Love/Pickett, Schofield, West/3:29
4/Never My Love/Addrissi, Addrissi, Davis/3:53
5/Sail Away/Newman/4:00
6/Down So Low/Nelson/3:43
7/All the Way Down/Lawrence, Mekler, Williamson/5:37
8/God's Song (That's Why I Love Mankind)/Newman/3:39
9/Feelin' Uneasy/Lawrence, Mekler/2:46
10/St. Louis Blues/Handy/4:31
11/Let's Burn Down the Cornfield/Newman/3:44
12/Lovin' Arms/Jans/3:50
13/Only Women Bleed/Cooper, Wagner/4:11
14/Take It to the Limit/Frey, Henley, Meisner/4:08
15/Please Send Me Someone to Love/Mayfield/5:08
16/How Strong Is a Woman/Crutcher/3:26
17/Damn Your Eyes/Bogard, Wyrick/4:10
18/Higher Ground/Wonder/3:54
HEART & SOUL: A RETROSPECTIVE, DISC FOUR''
1/What's Wrong/4:03
2/I've Got Dreams to Remember/Redding, Redding, Rock/4:29
3/Whatever Gets You Through the Night/Lindsey, Penn, Whitsett/3:49
4/Out of the Rain/White/4:33
5/A Lover Is Forever/Goodman, Knobloch/3:19
6/There's Something on Your Mind/McNeely/6:00
7/The Man I Love/Gershwin, Gershwin/4:24
8/Don't Explain/Herzog, Holiday/5:15
9/Don't Go to Strangers/Evans, Kent, Mann/5:00
10/If I Had Any Pride Left at All/Greenbaum, Seals, Setser/3:48
11/Love Letters/Heyman, Young/4:00
12/The Blues Is My Business/Bowe, Cherney/3:32
13/On the 7th Day/Bowe-Kostas/4:58
14/The Sky Is Crying/James, Lewis, Robinson/3:58
15/I Believe I Can Fly/Kelly/5:08
16/Ashes by Now/Crowell/3:17
Joyce Austin/Vocals (Background)
Carl Banks/Organ
Rick Baptist/Flugelhorn
Gene Barge/Sax (Tenor)
Eddie Bayers/Drums
Barry Beckett/Keyboards, Organ, Producer
Leard Bell/Drums
Richard Berry/Vocals
Milton Bland/Piano
James Bolden/Trumpet
Reggie Boyd/Bass
Ben Branch/Sax (Tenor)
Oscar Brashear/Trumpet
Freeman Brown/Drums
Gary Burnette/Guitar (Rhythm)
Ronnie Buttacavoli/Flugelhorn, Trumpet
Thomas Cain/Vocals (Background)
Larry Carlton/Guitar (Rhythm), Rhythm Arrangements
Charles Chalmers/Saxophone
Carol Chase/Vocals (Background)
Gene Ciprinano/Horn
John Clayton/Bass
Merry Clayton/Vocals (Background)
Ashley Cleveland/Vocals (Background)
Clifford Clark/Sax (Alto)
Gary Coleman/Percussion
Tony Coleman/Percussion
Gavrell Cooper/Sax (Tenor)
Vonzell Cooper/Organ
Maritto Corea/Percussion
Steve Cropper/Guitar
George Davis/Piano
Maxwell Davis/Producer, Saxophone
Quitman Dennis/Horn
Sugar Pie DeSanto/Duet, Vocals
Denny Diante/Producer
Charles Dinwiddie/Horn
Michael Doster/Bass
The Dreamers/Vocals (Background)
David Allen Duke/Horn
Tony Dumas/Bass
Al Duncan/Drums
Cornell Dupree/Guitar
Esmond Edwards/Producer
Gordon Edwards/Bass
Alfred "Pee Wee" Ellis/Arranger
Morris Ellis/Trombone
Caleb Emphrey, Jr./Drums
Ricky Fataar/Bass, Producer
Charles Findley/Horn
Rob Fraboni/Producer
Paul Franklin/Guitar (Steel)
Reuben Franklin/Vocals (Background)
Harvey Fuqua/Duet, Vocals
Steve Gadd/Drums
Burgess Gardner/Trumpet
Lowell George/Guitar
Dobie Gray/Vocals (Background)
Kenny Greenberg/Guitar
Jack Hale/Horn
Jack Hall/Horn
Rick Hall/Producer
Alexander Hamilton/Arranger, Leader
Lawrence Hamilton/Drums
Riley Hampton/Conductor, Orchestration
Jimmy Haskell/Horn Arrangements, String Arrangements
Roger Hawkings/Drums
Roger Hawkins/Drums
Michael Haynes/Horn
David Henderson/Bass
Willie Henderson/Trombone
Monk Higgins/Producer
Delbert Hill/Sax (Baritone)
Mabon "Teenie" Hodges/Guitar (Rhythm)
Red Holloway/Associate Producer, Bandleader, Saxophone
David Hood/Bass
Jim Horn/Horn, Horn Arrangements, Saxophone, Saxophone Arrangement
Dann Huff/Guitar (Electric)
Paul Humphrey/Drums
Gilbert Ivy/Vocals (Background)
Henry Jackson/Vocals (Background)
Melvin Jackson/Saxophone
Donto James/Drums, Percussion, Producer, Vocals (Background)
Etta James/Additional Production, Producer, Vocals, Vocals (Background)
Sametto James/Bass, Producer, Vocals (Background)
Don Johnson/Trumpet
Jimmy Ray Johnson/Guitar
Keith Johnson/Piano (Electric)
Plas Johnson/Saxophone
Ralph Jungheim/Producer
Bobby Keyes/Horn
Kraig Kilby/Trombone
King Errisson/Conga
B.B. King/Duet, Guitar, Vocals
Walter King/Horn Arrangements, Music Direction, Saxophone
Danny Kortchmar/Guitar
Mike Lawler/Synthesizer
Trevor Lawrence/Horn, Horn Arrangements, Production Support
Albert Lowe Jr./Guitar
Steve Madaio/Horn
Ken Marco/Guitar
Carl Marsh/Fairlight III
Arik Marshall/Guitar
David K. Mathews/Keyboards, Strings
Cash McCall/Guitar
Lew McCreary/Horn
Jack McDuff/Organ
Andy McKaie/Producer
Terry McMillan/Percussion
Gabriel Mekler/Keyboards, Producer
Gene "Bowlegs" Miller/Trumpet
Abby Mitchell/Vocals (Background)
James Mitchell/Saxophone
Jean Mitchell/Vocals (Background)
Jonell Mosser/Vocals (Background)
Matt Murphy/Guitar
Bobby Murray/Guitar, Piano (Electric)
Larry Nash/Keyboards
Steve Nathan/Keyboards
Art Neville/Keyboards, Vocals
Floyd Newman/Saxophone
Dewey Oldham/Organ, Piano
Tamara Oliver/Vocals (Background)
Raymond Orr/Trumpet
Johnny Otis/Drums
Shuggie Otis/Guitar
Ralph Penland/Drums, Percussion
Sidney Pinchback/Guitar
Tom Poole/Horn Arrangements, Trumpet
Jeff Porcaro/Drums
Don Potter/Guitar (Acoustic)
Ron Powell/Percussion
Jim Pugh/Keyboards, Piano
Chuck Rainey/Bass
Brian Ray/Guitar, Slide Guitar
Richard Reid/Bass
Danny Rhodes/Guitar (Rhythm)
Michael Rhodes/Bass
Kenneth "Spider Webb" Rice/Drums
Tom Roady/Percussion
Brent Rowan/Guitar (Electric)
Josh Sklair/Arranger, Assistant Producer, Guitar, Guitar (Electric), Music Direction, Musical Director, Producer, Rhythm Arrangements
William Smith/Keyboards
William D. Smith/Keyboards
The William Smith Singers/Vocals (Background)
John Snyder/Producer
Louis Spears/Bass
Charles Stepney/Vibraphone
Richard Tee/Keyboards, Organ, Piano
Marvell Thomas/Piano
Phillip Thomas/Percussion
Lee Thornburg/Horn Arrangements, Trombone, Trumpet
James Toney/Keyboards
Aaron Varnell/Saxophone
Eddie "Cleanhead" Vinson/Duet, Vocals
David T. Walker/Guitar
Cedar Walton/Arranger, Piano
Leon Warren/Guitar (Rhythm)
Richard Waters/Drums
Murray Watson/Trumpet
Wah-Wah Watson/Guitar
Willie Weeks/Bass
Jerry Wexler/Producer
Devonia Williams/Piano
Randy Williams/Vocals (Background)
Jimmie Wood/Harmonica
Bob Wray/Bass
Marion Wright/Bass
Big Jim Wynn/Sax (Baritone)
John Young/Piano
Reggie Young/Guitar
Jimmy "Z" Zavala/Harmonica, Saxophone
REVIEW
by Steve Leggett
Because of her blues-based comeback in the '90s, Etta James is usually thought of by the general public as a blues singer, but there's a good deal more to the picture than that, and this well-chosen and stunningly varied four-disc anthology, the first extensive survey of her entire career from 1955 to 2008, makes clear that Etta James has long been one of the best singers of her generation -- in any style. In many ways James resembles a female Ray Charles in her unerring ability to tackle (and sometimes combine) all of the strands of American popular music, from rock & roll to R&B, blues, country, gospel, jazz, and pure pop and soul, while still maintaining a distinct feel and sound that is all her own, and she has done this throughout a five-decade career that is astounding for its consistency. There’s so much to marvel at here, beginning with 1955's "The Wallflower" (an answer song to Hank Ballard's "Roll with Me Annie") and ending with a previously unreleased version of Rodney Crowell's “Ashes by Now” from 2008. In between, this set shows off the range of this impressive artist, who tackles everything from orchestral pop (her signature "At Last" from 1960), torch songs ("Don't Cry Baby" from 1961), gospel ("Something's Got a Hold on Me" from 1962), and heart-wrenching soul ("Tell Mama" and "I'd Rather Go Blind," both from 1967) to the unclassifiable (Randy Newman's gothic and lusty "Let's Burn Down the Cornfield" from 1974). It’s all here, drawn from James' incredible recording career on the Modern, Argo, Chess, Warner Bros., Fantasy, Island, Private Music, and RCA Victor imprints. Yeah, Etta James can sing the blues. She can sing anything she wants to, and there’s plenty of proof of that in this welcome (and long overdue) retrospective.
BIOGRAPHY
by Bill Dahl
Few R&B singers have endured tragic travails on the monumental level that Etta James has and remain on earth to talk about it. The lady's no shrinking violet; her autobiography, Rage to Survive, describes her past (including numerous drug addictions) in sordid detail.
But her personal problems have seldom affected her singing. James has hung in there from the age of R&B and doo wop in the mid-'50s through soul's late-'60s heyday and right up into the '90s and 2000s (where her 1994 disc Mystery Lady paid loving jazz-based tribute to one of her idols, Billie Holiday). Etta James' voice has deepened over the years, coarsened more than a little, but still conveys remarkable passion and pain.
Jamesetta Hawkins was a child gospel prodigy, singing in her Los Angeles Baptist church choir (and over the radio) when she was only five years old under the tutelage of Professor James Earle Hines. She moved to San Francisco in 1950, soon teaming with two other girls to form a singing group. When she was 14, bandleader Johnny Otis gave the trio an audition. He particularly dug their answer song to Hank Ballard & the Midnighters' "Work With Me Annie."
Against her mother's wishes, the young singer embarked for L.A. to record "Roll With Me Henry" with the Otis band and vocalist Richard Berry in 1954 for Modern Records. Otis inverted her first name to devise her stage handle and dubbed her vocal group the Peaches (also Etta's nickname). "Roll With Me Henry," renamed "The Wallflower" when some radio programmers objected to the original title's connotations, topped the R&B charts in 1955.
The Peaches dropped from the tree shortly thereafter, but Etta James kept on singing for Modern throughout much of the decade (often under the supervision of saxist Maxwell Davis). "Good Rockin' Daddy" also did quite well for her later in 1955, but deserving follow-ups such as "W-O-M-A-N" and "Tough Lover" (the latter a torrid rocker cut in New Orleans with Lee Allen on sax) failed to catch on.
James landed at Chicago's Chess Records in 1960, signing with their Argo subsidiary. Immediately, her recording career kicked into high gear; not only did a pair of duets with her then-boyfriend (Moonglows lead singer Harvey Fuqua) chart, her own sides (beginning with the tortured ballad "All I Could Do Was Cry") chased each other up the R&B lists as well. Leonard Chess viewed James as a classy ballad singer with pop crossover potential, backing her with lush violin orchestrations for 1961's luscious "At Last" and "Trust in Me." But James' rougher side wasn't forsaken -- the gospel-charged "Something's Got a Hold on Me" in 1962, a kinetic 1963 live LP (Etta James Rocks the House) cut at Nashville's New Era Club, and a blues-soaked 1966 duet with childhood pal Sugar Pie De Santo, "In the Basement," ensured that.
Although Chess hosted its own killer house band, James traveled to Rick Hall's Fame studios in Muscle Shoals in 1967 and emerged with one of her all-time classics. "Tell Mama" was a searing slice of upbeat Southern soul that contrasted markedly with another standout from the same sessions, the spine-chilling ballad "I'd Rather Go Blind." Despite the death of Leonard Chess, Etta James remained at the label into 1975, experimenting toward the end with a more rock-based approach.
There were some mighty lean years, both personally and professionally, for Miss Peaches. But she got back on track recording-wise in 1988 with a set for Island, Seven Year Itch, that reaffirmed her Southern soul mastery. Her following albums have been a varied lot -- 1990's Sticking to My Guns was contemporary in the extreme; 1992's Jerry Wexler-produced The Right Time, for Elektra, was slickly soulful, and her most other '90s outings have explored jazz directions. In 1998, she also issued a holiday album, Etta James Christmas. She was inducted into the Blues Hall of Fame in 2001, and in 2003 received a Grammy Lifetime Achievement Award. That year also saw the release of her Let's Roll album, followed in 2004 by a CD of new blues performances, Blues to the Bone, both on RCA Records. James then shifted gears and released an album of pop standards, All the Way, on RCA in 2006.
In concert, Etta James is a sassy, no-holds-barred performer whose suggestive stage antics sometimes border on the obscene. She's paid her dues many times over as an R&B and soul pioneer; long may she continue to shock the uninitiated.
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