Etta James Albums (34)
'To Go: Stick It in Your Ear'
Release Date 1/1/2006
Tracks 6
Label Geffen
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What The Critics Say
These days, the blues market often functions as a sanctuary for R&B artists who still provide soul and/or funk as we knew it in the '60s and '70s. Sounding a lot like Sam & Dave or Wilson Pickett won't get you on urban contemporary radio -- actually, it will probably keep you off urban radio -- but it might result in a gig at the Chicago Blues Festival or a contract with Alligator Records. For Etta James, refusing to embrace urban contemporary-style R&B has meant two things: (1) zero airplay on modern black stations, and (2) an enthusiastic following in the blues market. James has always been more of an R&B singer than a blues singer, but because she's so rootsy by today's standards, this 2003 release will get much of its support from blues fans. James, who turned 65 on January 25, 2003, is in fine form throughout the CD. Over the years, James has worked with a variety of producers, but she produced Let's Roll herself -- and the result is one of her most rock-minded releases. A few of the tracks have a blues-rock outlook, including "The Blues Is My Business" and a gutsy performance of Billy Beck's early-'50s hit "Stacked Deck." But much of the time, James favors a rock-influenced approach to Southern soul. In fact, many of the selections recall Ike & Tina Turner's '60s and early-'70s output, especially "Strongest Weakness," "Lie No Better," and "Somebody to Love" (not to be confused with the psychedelic Jefferson Airplane classic). James' longtime fans will be happy to know that she is very much on top of her game throughout this excellent CD. ~ Alex Henderson, All Music Guide
'Burnin' Down the House: Live at the House of Blues'
Release Date 5/7/2002
Tracks 12
Label Private Music
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What The Critics Say
Playing Burnin' Down the House right after you have listened to some of Etta James' early recordings is quite revealing. The veteran soul/blues singer was only 16 when, in 1954, she made her first recordings for Modern records; she was 63 when this excellent live album was recorded at the House of Blues in West Hollywood, CA, in December 2001 -- and it is obvious that vocally, she didn't lose anything along the way. Backed by a tight and rock-solid band, James demonstrates that her big, full voice lost none of its richness between 1954 and 2001. The Los Angeles native sounds as vital as ever, and she has no problem going that extra mile on gutsy performances of "Something's Got a Hold on Me," "I'd Rather Go Blind," "At Last," and other hits. For the most part, this is a soul concert; however, James makes a triumphant detour into electric urban blues on "I Just Want to Make Love to You" (one of the many Willie Dixon gems that Muddy Waters recorded for Chess in the '50s) and B.B. King's "Rock Me, Baby." The veteran singer pleasantly surprises us with some unlikely medleys; "I Just Want to Make Love to You" is successfully combined with Steppenwolf's "Born to Be Wild," and even more intriguing is her ability to unite the standard "My Funny Valentine" with two of Al Green's '70s hits ("Love and Happiness" and "Take Me to the River"). Some longtime fans may be disappointed to learn that she doesn't perform either "Tell Mama" or "Roll with Me, Henry," aka "The Wallflower"; regardless, Burnin' Down the House is an exciting and powerful document of James at 63. ~ Alex Henderson, All Music Guide
What The Critics Say
The legendary blues singer indeed lives up to the silly cliché about being able to sing the phone book and make it sound rich, meaningful, and soulful. Still, it's always exciting to hear her tackle materials she's missed before. Here she shifts gears impressively into the intimate jazz club mode, performing beautifully arranged takes on a wide variety of standards (from "Come Rain or Come Shine" to "Cry Me a River") under the direction of producer John Snyder and arranger/pianist Cedar Walton. Those two gathered a handful of great jazz players and recorded the initial tracks without James, who had a touch of the flu. A few months later she had recovered and did the amazing vocal sessions which truly sound live and in synch with the music. Beginning with the redemptive theme of "This Bitter Earth," each song allows her to explore both tenderness and guttural emotions, even a little irony on clever twists like "He's Funny That Way." There are also perfectly placed spotlights for the featured musicians. "This Bitter Earth" and "He's Funny That Way" feature a thoughtful improvisation by Walton, while Duke Ellington's "In My Solitude" has a passionate interlude by tenor saxophonist Red Holloway. Most of the vocals are textured over a bed of simmering brass, adding to the old school big band flavor that creates the atmosphere for the project. It's certainly common for great artists to thank their parents for various influences, but James goes one step further on the title track, allowing her mom to sing the tune; mom is no match for her daughter, but it's still a unique touch that adds emotional dimension to an already emotionally rich affair. ~ Jonathan Widran, All Music Guide
'Matriarch of the Blues'
Release Date 11/7/2000
Tracks 12
Label Private Music
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What The Critics Say
Having long ago established herself among the royalty of modern blues, Queen Etta seems rather content to sit back on her throne and her laurels and coast through a collection of classic and contemporary compositions. Unfortunately, her descendant band appears equally happy to sit back with her instead of working to shoot up the standards with another round of youthful vitality. The album opens with a rendition of Bob Dylan's "Gotta Serve Somebody" which serves more as a sleepy suggestion than a blues-injected imperative. While Al Green's "Rhymes" sounds very much like the Reverend, Etta's version of "Try a Little Tenderness" does phrase the slow dance in some subtly new directions. The real difference shows up about midway through when the Matriarch takes on the Glitter Twins with a raunchy slink through "Miss You" whose draggier pace and intermittent woofs gives the song that much more sex appeal. Otis Redding's "Hawg for Ya" slops with similar raunch. Ms. James does change things up with an educated and edifying stripped "Let's Straighten It Out" which builds musically as Etta lays down lessons of love and the woman's heart. Another exciting change is the funkification of John Fogerty's "Born on the Bayou" which strains the Clearwater through JB's "Hot Pants." After a gentle shout and sway through Brother Ray Charles' "Come Back Baby," the Queen retakes her throne while taking back her royal pet "Hound Dog" from the King with a swampy rendition of the Lieber and Stoller classic that appears to be more born on the bayou than that track. ~ Matthew Robinson, All Music Guide
What The Critics Say
Heart of a Woman is a great idea for an album. Etta James chose 11 love songs from her favorite female singers -- Billie Holiday, Dinah Washington, Sarah Vaughn, and Carmen McRae -- augmenting the album with a new version of her signature song, "At Last." She has recorded several of these songs before (including Alice Cooper's "Only Women Bleed," which inexplicably became a standard for both her and McRae), but the difference with Heart of a Woman is the context. Here, they're put in a smooth jazz setting, masterminded by James, who has producer credit. There's no denying that Etta James is a powerhouse, one of the finest blues singers of the 20th century, and she still possesses an exceptionally strong voice, robust and filled with passion. ~ Stephen Thomas Erlewine, All Music Guide
'12 Songs of Christmas'
Release Date 8/11/1998
Tracks 12
Label Private Music
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What The Critics Say
It's a little surprising to realize that after decades of recording, Etta James finally released her first holiday album, 12 Songs of Christmas, at the late date of 1998. Thankfully, she decided to make the record something of a special occasion. Working with arrangers Etta and Cedar Walton, producer John Snyder and a terrific lineup of musicians -- including Red Holloway, John Clayton, Billy Higgins, Cedar Walton, Josh Sklair and her son, Sametto -- James has created a terrific Christmas record, one that is firmly in her style yet contains surprises. First of all, she sings "O Holy Night" in both English and French. She also reworks "Silent Night" into a plaintive, bluesy plea. Each song on the album doesn't sound like a traditional carol, even if they're very familiar -- it all sounds like James, and it all sounds good. James fans may not feel like they need a Christmas album from her, but after hearing 12 Songs of Christmas, they'll be quite pleased indeed. ~ Stephen Thomas Erlewine, All Music Guide
'Life, Love & the Blues'
Release Date 1/1/1998
Tracks 12
Label Private Music
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What The Critics Say
Life, Love & the Blues is slick, funky, and thoroughly commercial. The queen of R&B does an admirable job of keeping her head above water on this package of covers. ~ Tim Sheridan, All Music Guide
'Love's Been Rough on Me'
Release Date 4/29/1997
Tracks 10
Label Private Music
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What The Critics Say
Love's Been Rough on Me is a terrific latter-day album from Etta James, capturing her at the peak of her powers. James' voice has diminished only slightly over the course of her career, and she knows how to make such warhorses as "I've Been Loving You Too Long" sound fresh. She also invests contemporary music, including John Berry's contemporary country hit "If I Had Any Pride Left at All," with real soul. The result is a record that delivers the real goods with grace and style. ~ Leo Stanley, All Music Guide
