Label: RCA Victor
Blues
Etta James followed her two deeply jazzy mid-'90s albums of torch songs with Love's Been Rough on Me, a flirtation with Nashville writers. On Life, Love & the Blues, she returns to her blues and soul repertoire, enlivening even the hoariest of tunes ("Spoonful," a gender-flopped "Hoochie Coochie Gal") with her growl. The tinges of funk underpinning "Born Under a Bad Sign" are given full room to stretch on a cover of Sly Stone's "If You Want Me to Stay," and James nearly swipes "The Love You Save May Be Your Own," one of Joe Tex's great preaching ballads, from the master.
5 STARS IS NOT ENOUGH!! There is no greater blues recording by a female artist than this! I have played it over & over again and still, a year later, I listen to it every day. It is in my car, my wife has it it her car. I have it in both of my CD jukeboxs in my home stereo systems (bedroom and main room). Everyone who hears it wants to have it. I have an extensive Blues & Jazz collection and have been an avid blues fan since the early 60's. I recommend that you don't even think about buying another blues recording until you own this. People who don't enjoy or listen to the blues always ask what it is that I am playing. If I stop at a traffic light, pull into a parking lot or just drive down the road I constantly have to answer the same question. WHO IS THAT??? I turned a friend of mine onto this recording. She works nights in a convienience store and plays it continuously. She told me that the customers rave about the music. They stop in their tracks frequently and hang out listening until a song or the CD ends. This is the BEST. This is Etta James at her best. The recording is "Life, Love & The Blues". Simply stated, if you have LIFE and are still breathing, whether or not you know LOVE or the BLUES, you will be deeply moved by this recording.
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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.
By Bill Dahl, All Music Guide.
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Etta James- Vocals
Lee Thornburg- Trumpet, Trombone
Mike Finnigan- Hammond B-3 Organ
Josh Sklair- Guitar, Dobro
Bobby Murray- Guitar
Sametto James- Bass
Tom Poole- Trumpet
Donto James- Drums, Percussion
Dave Mathews- Keyboards
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01. Born Under A Bad Sign 3.28
02. I Want To Ta Ta You, Baby 5.56
03. Here I Am (Come And Take Me) 4.55
04. Running Out Of Lies 5.03
05. Inner City Blues (Make Me Wanna Holler 7.01
06. Spoonful 4.09
07. Life, Love & The Blues 5.18
08. Hoochie Coochie Gal 4.24
09. Cheating In The Next Room 4.57
10. If You Want Me To Stay 5.20
11. The Love You Save May Be Your Own 4.01
12. I'll Take Care Of You 4.59
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