Reviews (1)

Jazz Expertise in a Handy Take Along Package
This 1989 collection was released as a sampler for Columbia's outstanding series of jazz reissues. But it works alone as an alphabet of sorts for understanding the music.

The collection reaches back more than 60 years for early recordings of American icons Bessie Smith and Louis Armstrong (whose also represented by peak 50s work), to swing from Woody Herman and Count Basie (heard solo and with Duke Ellington's band). You also get cool jazz masters (and fierce rivals) Miles Davis, Charles Mingus, and Dave Brubeck, along with vocal classics from Billie Holiday and Lambert, Hendricks and Ross. (See how much Manhattan Transfer you hear in "Charleston Alley.")

This cannot be considered a complete look at jazz; too many of the style's seminal figures did not record for Columbia (and even Holiday is represented by less than peak works). But "Jazz Masters" fulfills its purpose; it is a compact, fun collection that leaves you smarter about the music and hungrier for more. ... Read more

Amazon.com

Former Rolling Stones bass player Bill Wyman wants to enlighten people about the great blues of America's musical past. Drawing on his stash of 1,300 albums, the two-CD set Bill Wyman's Blues Odyssey makes a strong case for the lasting eloquence of the African American blues music recorded in the oppressive South during the Depression and on till 1951. (Wyman has also co-authored a history of the American blues called Bill Wyman's Blues Odyssey: A Journey to Music's Heart & Soul.) Blues novitiates and devotees alike will be served well by Wyman's knowing selection of songs, 46 in all, covering an array of styles. Among his heroes are the famous (Bessie Smith, Robert Johnson) and semi-famous (Lonnie Johnson and Memphis Slim, to name two), as well as the unjustly forgotten (several pianists and cross-dressing singer Frankie "Half-Pint" Jaxon). --Frank-John Hadley ... Read more

Reviews (4)

Good In Small Doses
This compilation of Bill Wyman's favorite blues songs gives a decent history of blues music. While listening to this music, it is quite interesting to note the influence it had on many rock n roll bands.

However, the versions presented here are a stark in arrangement. Although they are performed well, usually its just a guitar and a vocal or a piano and a vocal. A few instrumentals thrown in for good measure. Unfortuantely after a while it all sounds pretty similar in spite of some good performances.

Truthfully, I would prefer a smaller compilation of blues standards as opposed to this extensive batch. Nonetheless, big time fans of blues music might want to at least preview this collection.

Bill Wyman is giving Ken Burns a run for the money here
For all of you who enjoyed Ken Burns' epic Jazz series, former Stones bassist Bill Wyman follows it up here with his own study and insight on the musical genre that he obviously loves, the Blues. Besides the handsome coffee table book, this 2 CD set contains most of the legends of the American blues spread over 46 tracks, from Papa Charlie Jackson's 1925 recording of "All I Want is a Spoonful" to 1951 blues tracks from Elmore James and B.B. King. No, "The Thrill is Gone" isn't covered here nor are the newer blues artists like Robert Cray or Stevie Ray Vaughan, just the old masters.

One thing I was reminded of was that the blues did not begin with Robert Johnson who emerged in the mid-'30s. Of course! Just like rock and roll didn't begin with Elvis. Get this collection and check out Wyman's commentary on each of the artists. It's very informative and easy to get a grasp on what for many is an arcane musical genre.

And yes, as Wyman states, "the Blues are perfect however you feel."

A Noteworthy Compilation
I'm rarely in someone's Amen Corner, but I can't disagree with anything the previous reviewer wrote. Rather, let me expand on it. The Rolling Stones, particularly in their salad days, were heavily influenced by black American blues as were many of their British contemporaries. Here the listener has the chance to hear 46 of the songs which influenced that generation of musicians and which touched Wyman in particular.
Bill Wyman has put together a fine group of old blues that feature a wide range of musicians, both famous and obscure, playing a wide range of blues styles. Rock fans who have never listened to traditional blues will recognize a number of these songs which have been covered by artists ranging from Van Morrison to John Mayall.
The 2-CD set includes an informative booklet containing short biographical sketches of each featured artist. It also contains many rare photos obtained from various sources.
Hats off to Bill Wyman! Blues Odyssey is a noteworthy compilation, very well remastered, that is worth every penny of its price. If you love the blues, buy this one today.

Leave it to a Rolling Stone...
Leave it to a Rolling Stone to assemble the most generous, distinctive collection of classic blues issued this year. I purchased this set on impulse because I love early blues recordings and heard that Bill Wyman, of the Rolling Stones, had just produced a broadcast series based on the lives and works of early blues musicians. To be honest, there aren't many early blues recordings on CD that have been as carefully researched or as beautifully remastered. There are two disks and 46 cuts on this bargain-priced collection, only about a third of which are performed by die-hard favorites like Bessie Smith, Robert Johnson, Charlie Patton, Big Maceo, Lonnie Johnson, Muddy Waters, John Lee Hooker, Memphis Minnie and Blind Lemon Jefferson. The balance of the collection includes performances by musicians you may not have ever heard, or at least listened too very often, from Mamie Smith and Bo Carter to Casey Bill Weldon and Georgia White. But there isn't a bad cut in the bunch. As with most of Wyman's recorded projects, there is a distinctive, laid-back feel to the compilation. The music is intensely personal, and very listenable. Originally remastered in the UK by Denis Blackham, the warmth and presence of the collection is startling. Add to all of this a booklet that is handsome and informative, and I couldn't imagine a better way to spend 20 bucks. PS. You don't have to love the blues to enjoy most of these performances. Anyone who loves vintage jazz or roots music can dive right in. Very strongly recommended. ... Read more

Reviews (7)

Pretty Good!
For the most part,this is a good Cd.There are a few places that could be better(I think "Cry me a river",for example could have been better),but it's not too bad.This CD isn't one of Etta's better CDs,but if you really like her,it will be ok enough.Oh,and I must say that her mother's part doesn't do the disc justice,either.Sorry,Etta!!

In response to the last review
Etta James is not dead! Perhaps you are thinking of Etta Jones?

Rather Etta than Ella anytime...
All I know about EJ is what's on this recording. I wish I had listened to her long before. But she has the right combination of tenderness and sweaty hot sexy soul and it just suits me fine. I don't think the album will ever get tired.

Favorite tracks: "In My Solitude" and "Cry Me a River" but all the rest are close behind. There is a great intimate sax solo on "...Solitude."

I don't see how I could go wrong in buying more music from the superb Etta James.

Look out Krall - Let the PRO take over!
If you're thinking about Diana Krall - stop. Let Etta James show you how Jazz should REALLY be done. Don't hesitate - click "BUY NOW". Great stuff!

You Can't Go Home Again
I thought this CD would contain her classic performances -- instead I learn it was recorded last year and in early 2001. Ms. James is long past her prime. Her voice now calls for orchestral support, warmth. Instead, we get Cedar Walton's notion -- rhythm section with brass dominated by fluegel horn(!). Almost unlistenable. Everything mixed at same level, no layering, no subltely. I blame Walton's arrangements -- boring, stilted, unimaginative, lazy. Poor Etta. ... Read more

Album Description

The 100 tracks in this box set range from solo performersof the stature of Mahalia Jackson and Sister Rosetta Tharpe to the legendary quartet leads like Archie Brownlee. 4standard jewel cases in a hardcover slipcase. 2002. ... Read more

Reviews (2)

A Bountiful Gospel Meal
There are many collections of black gospel re-issues on CDs.Most typically, there are only one or two tracks of each singer or group, and too often, they are the best known tracks.That means that for any collection you buy, you already have most of the recordings.It also means that you have no sense of the breadth of material and styles of a singer or group.Having collected black gospel for many years and having a large collection,there are very few of these 100 tracks that I already have.Even the well-known singers like Mahalia Jackson and the Soul Stirrers are repesented by mostly unfamiliar tracks.This is not a "greatest Hits" collection, and it has the best cross section of the full range of black gospel I've ever heard.

Whether you are looking for an introduction to black gospel, or are filling holes in a large collection, this is a fine collection.. the reproduction has been done caringly, and the booklet is a delight.

Jerry Rasmussen

Reissue Heaven
This four CD treasure chest of gospel's golden age combines superb song selection, packaging and reproduction with Proper Records amazing bargain pricing. You can quibble about omissions-Marion Williams, The Caravans, only one brilliant flash of Sam Cooke..... (And if that would spur production and another such marvelous set, quibble away!)
I recently picked up Revenant's essential Raw Pre-War Gospel. Together, these collections offer a perfect foundation for any gospel library. Good News indeed! ... Read more

Reviews (4)

Not to be Missed
This is what it's all about -- a blues perfomance for all times by two of the best: Etta Jame and Eddie "Cleanhead" Vinson. Sound quality is excellent. The disk and it's companion, Late Show, are must haves for any blues, Etta James or Eddy Vinson fans. Not to be missed.

Strong Live Album From Eddie, Etta and Band...
....how it's sp'ozed to be done. I found this in '88 or '89 thereabouts and have been in silent glee whenever I play "I Just Wanna Make Love To You" and follow it up with the duet "Please Send Someone to Love" for my friends and they wanna steal it from me. I direct them to Amazon for their own copy,'course. I can honestly say once you've heard Etta on this live album, you'll be a fan for life.

MAN, I LOVE THIS!
THIS RIGHT HERE IS WHAT MUSIC IS ALL ABOUT: CRAFTSMANSHIP AND ORIGINALITY FROM THE ARTIST AND ENTHUSIASM AND PARTICIPATION FROM THE CROWD! THIS WOMAN MAKES ME CRY WHEN I'M HAPPY!

You can Feel this cd!
Etta James is my absolute favorite artist! So, when I saw this CD ( and the other volume of the same performance) with eddie Cleahead Vincent I wanted it but I felt a little aprehensive about eddie being on there. Was I Mistaken! Eddie is the male counterpart to Etta. You can feel the two of them working this crowd together. Th music is Jammin' and the whole band is tops in their field! I wish etta did more stuff like this. I own Macaroni Joe's Pasta House in Amarillo, TX. If you ever get by here I'll let you hear some of it. When we play Etta James at the Restaurant we have at least 3 or 4 tables ask us to write down her name so they can go buy this CD...I think you will like it..Let me know..Jeff

Macjoetx@aol.com ... Read more

Amazon.com

Come a Little Closer is a surprisingly effective mating of a distinctive singer with seemingly incongruous material and production. Helmed by Gabriel Mekler, who'd produced Steppenwolf and Three Dog Night, the record features Etta James supported by a slew of hotshot L.A. session men (including Little Feat's Lowell George). The song selection ranges from "St. Louis Blues" to Randy Newman's perverse "Let's Burn Down the Cornfield" to the dramatic, melismatic "Feeling Uneasy," in which the junk-hungry James improvised wordlessly over an otherwise blues progression. Here's more evidence that Etta is one of the most versatile vocalists of her era. --Steven Stolder ... Read more

Reviews (1)

Etta's second best recording
Whenever one is to discover Etta James...they first must complete the sampling of 2 recordings. Come a Little Closer and Deep in the Night. Without, you haven't heard what Miss James is really all about. Come a little closer captures her raw, with a deep delta feel that is enhanced by song writers, producing and as always, background singers.

Particular to this Cd is the title track, come a little closer....deep growls, fierce vocal affectation that is souly Etta and a production which is only slightly polished. It, at it's best lets Etta sing...after all that is what she does best. The orgasmic sound of Feeling Uneasy is the only true song the lets you know that a true lover hesitates at nothing to believe...and to believe in Etta James, one need to listen to no other recording to hear her at her most vulnerable and unigue best! ... Read more

Reviews (3)

Esther Where Have I Been?
Never heard of Esther Phillips until I saw her name in a newspaper article. Checked her out on Amazon, bought this 2-CD album and can barely bring myself to play any of my other favorite CD's. She has an "Eartha Kitt" sound at first, until you hear her out and, wham, she's country, she's soul and she's
blues. If you want something to stir your bones, hear her out!

One of higlights of Esther Phillips discography
Dear Esther Phillips,I really have a soft spot for her.The best part of excellent "Rhino" compilation "The best of Esther Phillips 1962-1970" were four songs taken from her long unavailable country LP,finally here in a full glory.Because great Dinah Washington died before she ever recorded country album herself,this would be the closest we will ever come to imagine what would Dinah sound with this kind of repertoire.Just like Ray Charles before her,Phillips had a great feeling for country music and the combination of soul/R&B vocal style touch in a very straightforward country material was a brilliant idea (many years later done again on "Rythm,Country and Blues" album with Patty Labelle and Natalie Cole between other stars participating in duets with country singers).Esther Phillips country album is absolutely first-class,must-have CD but unfortunately second CD here was just another "Atlantic" mix of desperate search of hit single - curse of Phillips versatility.(Almost like young Aretha's "Coumbia" days) Its nice to have both LP's but for me the whole reason of buying this CD is Esther Phillips excellent country album finally available on CD format.

a good pairing of Esther Phillips albums
To my knowledge, this is the first US cd issue of the "Country Side of Esther Phillips". "Set Me Free" was previously issued by Atlantic, though they omitted one track which is now restored on this issue. Though Esther did have a few hits, she certainly deserved a higher level of commercial success than she received. As the liner notes indicate, she was likened to Dinah Washington in her day, but in retrospect it is obvious that Esther was one of a kind. Her delivery is always very soulful. Her tone is quite different than Aretha's, but the passion is similar. Curiously the running order of the "Set Me Free" album is different than Atlantic's earlier reissue; I don't know which matches the original album, or if either actually does. More curious is the packaging which states "2 albums on 1 cd". This is a 2-cd set. The first album is only about a half-hour long but the latter is nearly 74 minutes long. The two albums are on two separate discs.

Remastering was done well, certainly an improvement over the previous "Set Me Free". ... Read more

Amazon.com

To point out that Koko Taylor is the queen of Chicago blues is a bit like mentioning that the sky is blue: it's something that anyone with a passing familiarity with the genre knows, even if they've been living under a rock for the past 30 years. This record is a reissue of her self-titled 1969 debut, which definitively marked the beginning of her reign. In truth, she'd already been making waves on the scene for several years, teaming with producer Willie Dixon to record the classics "I Got What It Takes" and "What Kind of Man Is This" in 1964, but this album includes what would become her signature tune, "Wang Dang Doodle," recorded in 1965. Other songs that would develop a permanent association with Taylor's gut-deep, growling delivery include "I Love a Lover Like You" and the salty "Twenty-Nine Ways," but there are other gems here as well. Not the least of these is the downright spooky duet "Insane Asylum," with Dixon, as well as the previously unreleased "Love Sick Tears" and "He Always Knocks Me Out." The record also includes session appearances from some of the other household names of Chicago blues; Sunnyland Slim, Buddy Guy, Johnny Shines, Walter Horton, and, yes, Dixon himself doing bass and vocal duties. Although some of the material is somewhat dated, there's a timeless quality to Taylor's performance thatillustrates why she's reigned for so long. --Genevieve Williams ... Read more

Reviews (2)

What we can do?Jus't clap our hands!
Koko Taylor is an amazing blues woman,and was superb on this cd.She have one of the most fantastic nasal tone voice of all of the history of the music! The participation of great Willie Dixon enriched this,with great performances and great lyrics. Highly recomended for those that like good,really good and intense music!

This is an excellent example of the potential of Koko Taylor
When I first heard Koko's amazing ability to sing, I was astonished! Koko has the ability to reach down into the soul of the blues, and give an edge never before seen by a blues performer. She is an inspiration to classical blues, and I think this album, which was recorded in the late 60's gives way to a whole new generation of blues singing. I would highly suggest to the avid blues enthuist to at least listen to a sample of Koko's songs and see for yourself. If the blues are not in your soul, you cannot enjoy some of the best female vocalist blues of this century. ... Read more

Amazon.com

Esther Phillips was 14 when she first began hitting the R&B charts; this collection of recordings for Lenox, Atlantic, and Roulette finds her trying to maintain her success in the face of changing trends. The stylistically diverse material and arrangements are held together by Phillips's powerful voice and vulnerably intuitive phrasing; among the highlights are smoky covers of Beatles and Stones ballads ("And I Love Him" and "As Tears Go By," respectively), remakes of Nashville hits ("Release Me," "Am I That Easy to Forget"), the sophisticated soul of "Some Things You Never Get Used To," and the jumping "Cry Me a River Blues," with Phillips free-associating verse after verse of the American songbook from Bessie Smith to Julie London. --Rickey Wright ... Read more

Reviews (7)

Fascinating Overview of an Aimless Period
Does it even the score if Atlantic was as misguided and directionless with the great Esther Phillips as Columbia was with Aretha Franklin?

The earliest work on here was recorded for independent label Lenox records under the tutelage of Kenny Rogers' brother Leland Rogers (later responsible for the 13th Floor Elevators!). This material is an excellent mix of country/soul in the style popularized by Ray Charles. If, like me, the only version of "Release Me" you have ever heard is the sappy Engelbert Humperdinck take, Esther's offering will be a revelation. Not even the terminally square Anita Kerr Singers in the background can damage this fantastic performance. However, once Atlantic got its mitts on Ms. Phillips she was put to work on lounge/supper club things with overblown showbiz backings. She's good at this material, but this is unquestionably NOT what Esther Phillips is all about. While the person writing the annotations seems to think that she transformed Lennon/MacCartney's "And I Love Him" and Jagger/Richards' "As Tears Go By," her versions sound very ill at ease. They make me want to go back and listen to "Release Me" again.

Things improve dramatically with the second disc. There's a smoking sex-changed version of Percy Sledge's signature song ("When a Woman Loves a Man"), a set of timeless live cuts that finally unleash all the blues in Esther's voice, and a perfect update on the country/soul approach with Bob Dylan's "Tonight, I'll Be Staying Here With You." Ah, but by the time of this last track, Esther had moved to Roulette Records and been reunited with Lelan Rogers who obviously had not forgotten how to produce her. Along the way, Esther places her inimitable stamp on "Moody's Mood for Love" and a string of really decent late 1960's/early 1970's singles. After hearing this occasionally bewildering collection, you have to marvel at how well her musical career was taken in hand by Creed Taylor in the 1970s.

The annotations are great and include some very funny stories about the woman. The sound quality is up to Rhino's usual excellent standard.

In response to music fan from LA
The title of the song you're looking for is "Home is where the Hatred Is". This song was originally done by Gil Scott Heron, but Esther's version is more powerful.

esther phillips
i'm really looking for the title of one of esther's songs..the only words i can think of in the beginning of it is "junky walking through the midnight" but i don't know the title can some please help? thank you..

What a discovery!!!!!!!!!!!!!!
Thanks to amazon.com I had ordered this beautiful CD thinking its just another obcure diva, but I can't stop playing it again and again, since this is realy awesome collection.She is like a little crazy sister of Dinah Washington, Nina Simone and Carmen McRae, possesed very strong, recognisable voice and a style that could be emoployed in very various musical settings.It is little painfull to listen how desperately her producers wanted to find right direction for her, because she was such a talent that couldn't be put in one category.I love her early country recordings and I think she was really great doing just that.But than comes the blues.And then disco.If she is still alive, who know what she could be up to?

It doesn't get any better
Esther Phillips was one of the greatest vocalists that comes once in a lifetime. During her lifetime she was underated and unappreciated, hopefully this CD will give her the respect she deserves. ... Read more

Amazon.com's Best of 1998

On Life, Love & the Blues, Etta James 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. --Rickey Wright ... Read more

Reviews (16)

Contempory Blues Cd
Etta James is fantastic. She has made a great contempory Blues album while still retaining an authentic rootsy sound. Only someone with the experience and chops of the very talented lady could pull this off. She is backed by musicians equally talented and experienced on this Cd. Bobby Murray plays a wide variety of styles and always sounds tasteful. Great stuff, keep it up!

Blues album of the year!!!
This is what the blues is all about. Etta make this a party down blues set that you'll listen to over and over. Great tunes are covered here such as; Running Out Of Lies, Here I Am and I Want To Ta Ta You Baby. The band is right there too pumping out a mean groove. Hats off to Etta for her CD Life Love & The Blues.

Solid but not Spectacular
There are far worse ways to spend an hour than letting Etta James wail and croon her take on the blues and R&B numbers she appropriates on "Life, Loves, & the Blues." Still, one has to concede that her takes are not really all blues or all R&B but a hybrid propelled by lots of bluesy sounding guitar riffs and plenty of horns to fill out the songs. Her band and guests musicians cook up a thick gumbo that bubble along mostly in the background.

Solid throughout but never quite spectacular, this session is largely driven by formula, for neither Ms. James nor her band take many chances with the arrangements and delivery no such chestnuts as Spoonful. A few tracks, such as the overly long reworking of Marvin Gaye's Inner City Blues and Hoochie Coochie Gal, overstay their welcome.

On the other hand, Ms. James and her band sound vital and fresh on the title track, the one original number. And it's impossible not to tap along with the infectious energy of If You Want Me to Stay. Even if this recording does not win Ms. James many new fans, it should satisfy her core fans and make a few converts.

Love it!!
This is one of the best Etta CD's I own. As you can see by the other Etta fans here, you really need to check this one out. I had the honor of seeing Etta sing live, and listen to her sing "I Want to Ta Ta You Baby" on this CD brings me right back to that magical moment in time. What a fabulous artist she is!

This is the best female blues recording ever produced!
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. ... Read more

Reviews (2)

a GREAT INTRODUCTION TO THIS BLUES LEGEND
MANY NELEIVE MAMIE'S HUGE HIT CRAZY BLUES, WAS THE 1ST BLUES EVER RECORDE, ALTHOUGH TAHT IS NOT TRUE, BECAUSE MARION HARRIS WAXED SOME BLUES IN THE TEENS, THIS ARTIST STILL DESERVES CREDIT FOR PUTTING BLUES ON THE MAP AND STARTING A NATIONAL BLUES CRAZE.AFTER MAMIE'S RECORDING, EVERYONE EVEN VAUDEVILE ENTERTAINERS LIKE EDDIE CANTOR BEGAB RECORDING BLUES.

ACTUALLY THE STORY GOES, THAT A PRODUCER WANTED MISS SOPHIE TUCKER TO SING SOEM BLUES SESSIONS AND MISS TUCKER RECOMENDED TAHT MAMIE RECORD THEM INSTEAD.THANSK SOPHIE, BECAUSE WE NOW CAN CELEBRATE THSI LEGENDARY BLUES ARTIST, ALTHOUGH SHE WAS MORE A CABARET SINGER, AND AS MUCH A "WHITE" SOUNDING SINGER AND AS MUCH A VAUDEVILLIAN AS SOPHIE TUCKER, SHE SINGS THE BLUES WITH CLASS AND ELEGANCEAND PERFECT DICTION(ACTUALLY SOPHIE TUCKER SOUNDS MORE BLACK THEN MAMIE SMITH, AND TUCKERS RECORDINGS FROM THSI ERS SHOUDL NOT BE OVERLOOKED EITHER).

THIS CD IS A GOOD SAMPLER, BUT SERIOUS FANS ALREADY OWN ALL HER CD'S ON DOCUMENT RECORDINGS IN THIER COMPLETE ENTIRETY, HOWEVER THE SOUDN ON THSI DISC IS MUCH BETETR THEN THE CLASSICS, BUT TRUE FANS WILL WANT ALL THAT 78 HISSING NOICE, AND WON'T LIEK THSI CD AS MUCH AS THE DOCUMENT CD'S. NONETHELESS CASUAL BLUES FANS SHOUDL LOVE THIS GREAT RE-ISSUE, IT'S ABOUT TIME WE SEE SOME MAMIE IN STORES ON MAJOR US RELEASES!

bUY IT

aLSO BUY:SOPHIE TUCKER: LAST OF TEH RED HOT MAMAS(TAKE TWO RECORDS)

The First Lady Of The Blues Returns To The Scene!
It is time for Mamie Smith fans and collectors to rejoice. Columbia Legacy has released a set of the best of her performances for the label and it is perfection! The remastering makes Mamie Smith's singing totally accessable for the first time and she was a powerful and expressive singer. This lady was the first vaudeville blues singer to record and she set the stage and standard for all who would follow her. These would include Bessie, Clara, Trixie, and Laura Smith (none related) as well as Rosa Henderson, Hazel Meyers, Ethel Waters, and many others.Mamie was a great entertainer and her recordings tend to feature "showstoppers" rather than strictly mournful blues. Buy this CD for the wonderful photographs of Mamie as well as the ads, some seen for the first time since original publication.If you have the four volume complete Mamie Smith released on Document, you will still need this set for the first rate booklet notes and superior sound.
Buy it and Mamie will help you "Keep A Song In Your Soul"! ... Read more

Reviews (7)

A Great Disc.
Amongst the scores of Lady Day's discs, this is a sure bet. It features the same tracks as the Chronological Classics series of 1940-42, and is much easier to obtain and better value $$. The sound is quite excellent. Billie's voice is clear and relaxed, accompanied by small ensembles. The titles speak for themselves. Playing time is good. Can't go wrong with this disc.

A wonderful sample of Billie Holiday's best work.
I have been in love with the sound of Billie HolidayÕs voice for decades, and own several now out-of-print collections of her work on vinyl. But I put off buying anything by her on CD, mainly because I wasnÕt sure where to begin. I knew I would be wasting my money on any one or two disk "best of" collection, because Holiday simply made many more brilliant recordings than you can squeeze into a couple of disks.

Then I discovered this series Ð nine volumes of songs she recorded between 1933 and 1942, from her first record, with Benny GoodmanÕs Orchestra, to the peak of her powers. Of course, nine CDs is a lot of music, and a lot of money Ð too much for a one-time purchase. So IÕm buying the whole series bit by bit over time. I started with this one, and having now bought four of the nine volumes, I still think this is one of the best, and a great place to begin exploring HolidayÕs work.

I donÕt think you can choose a "best" CD in the series, but this one is fabulous. Of its eighteen tracks, at least a dozen are classic, must-have performances. "Georgia On My Mind," "God Bless The Child," "Am I Blue?" "Until The Real Thing Comes Along" Ð these are some of the best recordings Billie Holiday made, some of the best performances any singer has ever given.

Of course, two of the worst songs she ever recorded are also on this disk. "Wherever You Are" is a piece of World War II patriotism better suited to Kate Smith than Billie Holiday. Historically interesting, but still a lousy song. And "Mandy Is Two" is so sappy and sweet it could give you diabetes. But with a singer of HolidayÕs caliber, even dreadful songs are interesting to listen to.

And the good ones (or even the mediocre ones Ð Billie Holiday could get more out of a so-so song that most singers could out of brilliant ones) are stunners. Someone once said that the worse Billie Holiday felt, the better she sang. ThereÕs a lot of truth in that, and this CD has several of her most beautiful heartbreakers. But I think sheÕs even better on songs where she seems to be singing two emotions at the same time, or at cross-purposes to the spirit of the lyrics. "Romance In The Dark," for example, is a cheerful little love song, but thereÕs a touch of sadness in BillieÕs voice that tells you she does not believe for an instant that the romance is going to last. On the other hand, she sings all the sadness in the old torch song "Am I Blue?Õ but like the best blues singers, sheÕs got anger and determination in her voice, too. She may be blue, but you hear her pulling herself out of it as she sings.

Every half-decent female singer who comes along gets compared to Billie Holiday, but few have sung with either the intensity or the emotional complexity she did. This album is a great sample of her artistry.

More of the best.
This is the last in a series of nine CDs documenting Billie Holiday's 1933-42 recordings for Columbia Records. She had really started to come into her own by this time, and they were finally giving her quality songs, as opposed to the nonsense Tin Pan Alley ditties that weighed down her earlier work. It starts off with two songs originally recorded by her idol, Bessie Smith ("St. Louis Blues" and "Loveless Love"), which are both fantastic versions of these classics. She puts forth a definitive version of the Gershwins' "All of Me," and contributes a song of her own, the classic "God Bless the Child" (the version here is superior to her later Decca version, which featured that god-awful choir). "Gloomy Sunday" was later cited by Billie as one of her favorite of her own recordings. She also delivers a convincing version of "Love Me or Leave Me," which was later recorded by Lena Horne. It's not as jazz-oriented as some of the earlier CDs in the collection, as she was beginning to pattern herself as a torch singer, but the music is still gorgeous, and this is a must-have CD.

"Simply Beautiful"
I would like to say that I have everyone of Billie`s cds that she recorded during this period of her life. Each time I went out to buyone, I had to get another, until I found myself just wanting to buy everything she recorded because I was never disappointedwith any of her work and she wasalways full of surprises. You never knew what to expect of her next. It`s hard for you to have afavorite when she gives her all toeach reording, however I do have a few favorites, but they almost equal the others.I never have to worry about whether I`m getting my money`s worth because I always feel that I`ve got it on the first song. No matter what song of hers I listened to, It always gives mea trill, and her music is very soothing and relaxing.It makes me feel as if I knew her personallyand considering the time period for some of he music, she sure sounds as though she`s right up to date. She is my favorite female vocalist and will never get tired of listening to her music. She is ruly the "essence of cool

Wonderfully Warm and Clear Billie
This CD no doubt has found its way to many homes because of the classic tracks "God Bless the Child", "I Cover the Waterfront", and "Solitude", the first time Billie waxes these, even before she recorded definitive versions for Decca. Yet I find her versions here more fresh and moving compared to her 1940's version. Her voice sounds fresh, still undeterred by her drug habit, which would unfortunately pick up in a few years. Throughout Billie's recording career, nowhere have I found her more soulful, moving, warm and soothing than the sides she waxes for this volume. Recording quality is beyond reproach, it is clear and full, just like Billie's voice. I wish her voice had kept these qualities of warmth and clarity for much longer before her drug habits kicked in. These are beautiful performances captured in a nostaglic time in American history (World War II). If it hasn't found its way yet to your CD player, it should. Be prepared that no real swingers are on this volume, most of the tracks are medium to slow tempo. Only track that gets the feet moving is "Let's Do It". Billie by this time had found the way to your ears was thru your heart. Listen to this CD on a rainy day in front of the fireplace or with a significant other on a romantic evening. It should put you in the mood for love. ... Read more

Amazon.com

"The blues is my business and business is good," Etta James growls over a churning rhythm section on the appropriately titled "Let’s Roll." Although not entirely a rock & roll album, the disc is a rousing reminder of the gritty "Tell Mama"/"Roll with Me Henry"-style of tough R&B that caught the world’s attention more than 30 years ago. From this disc’s swampy "Wayward Saints of Memphis" to the brazen "Lie No Better" and the Stones/Faces boozy slap of "Somebody to Love" (all co-penned by Delbert McClinton), James, now in her mid-60s, is back in her element. With a brassy, sassy attack more powerful than that of vocalists half her age, the singer--who also produced--works her wiles on a stunning collection culminating in a gutsy eight-minute version of Billy Wright’s "Stacked Deck." Declaring, "the Queen, that’s me, and I’m about to wear my crown," there’s no doubt that Etta James is blues-rock royalty and definitely on a roll. --Hal Horowitz ... Read more

Reviews (11)

Etta's back at the right moment
When professor James Earle Hines took five-year-old gospel prodigy Jamesetta Hawkins under his wing at the Los Angeles Baptist church choir, the World Trade Center wouldn't even be conceived for nearly three decades, and it would be half a century before the towers came roaring unforgettably down. Even Johnny Otis wouldn't know Jamesetta's name for another nine years, when he became so enamored of the 14-year old's soon-to-be hit, "Roll With Me Henry," that he had her record the song with he and his band. The song topped 1955's R&B charts, Otis inverted her first name to create the stage presence that would come to be known as Etta James, and the rest is history.

In the years since Ms. Hawkins blossomed into the self-poclaimed "Matriarch of the Blues," many epochs, both personal and national, have drifted in and out of James's life. Tirelessly recording her way out of a long bout with drug addiction, Etta James's musical persona underwent several incarnations. From 50's doo-wop to 60's soul to 70's rock, funk and disco, Etta James reemerged in 1988 with the soulful Seven Year Itch on Island records. A series of mixed albums for various labels followed, including Elektra's The Right Time, produced by Jerry Wexler in 1992.

2000's Matriarch of the Blues saw James returning to form and command with a snarling collection of R&B rockers and ballads, covering everyone from Ray Charles to the Rolling Stones. Among the album's standouts was an invigorated rendition of Bob Dylan's "Gotta Serve Somebody," a preachy tune from Dylan's born again years that served as the perfect invitation for James to revisit the days of the L.A. Baptist church choir. The album foreshadowed things to come, with sons Danto and Sametto lending their hands to Etta's rediscovered disposition.
With the drum, bass and percussion work of Danto and Sametto at her side again, Etta James offers the self-produced Let's Roll, titled in tribute to 9/11 hero Todd Beamer, a passenger on flight 93 that day who, after issuing the final words "let's roll," reportedly brought the plane down before it reached some more disastrous destination. "Over the years, I've sung jazz and blues and pop but I'm really a rock and roller at heart," James says of her latest release. The woman's not kidding. As Let's Roll explodes into the opening "Somebody to Love," one of two Delbert McClinton tunes featured on the album, Etta James seems poised to replace Mick Jagger as the Rolling Stones' leading voice and tongue. Known for wild stage antics verging on the obscene during live performances, such a shift in gears would likely suit James just fine.

Guitarists Bobby Murray and Josh Sklain of James's "Roots Band" sizzle throughout, rivaling Robert Quine and Fernando Saunders of Lou Reed's famously blistering Blue Mask days. Singeing through standout rockers like the opening and immediately catchy "Somebody to Love," the ruggedly bluesy "The Blues is My Business," and the rollicking, textured "Old Weakness," Murray and Sklain slip unexpectedly into searing jams, bursting out of nowhere on the atmospheric ballad, "On The 7th Day." "On the seventh day, God made the blues," James intones.

Time and trouble have entrenched themselves into James's voice, deepening it into the kind of pathos-ridden holler that lends itself perfectly to the album's onslaught of emotionally beleaguered lyrics. It is a lot to say that James, after all this time and struggle, can still approach the triumph of her trademark "At Last," her monumental 1961 soul hit, but throughout "Let's Roll," James revisits themes of passion and consequence with the unmistakable sincerity borne of so many wounds. "Passion will burn, burn like gasoline," James sings in her robust, embattled croon on "Please, No More," the album's most wrenching ballad:

We start a fight
Who knows what for
Who knows who's winning
Who's keeping score
You say it's alright
As you slam the door
All I can say is

Please, please no more

While James's penchant for balladry endures, age has also proven unsuccessful in subduing her capacity for ripping into a tune. The uproarious "Strongest Weakness" sounds like some early 80's Eurythmics power ballad, minus the weird hair and synthesizer. One of the album's many fine pieces of production, "Strongest Weakness" illustrates the artful minimalism that allows each song to speak for itself.

With many artists returning to the roots of rock and blues these days-John Mellencamp's folkish Trouble No More, Van Morrison's R&B laden Down the Road, and Richard Thompson's abandonment of recent, slicker albums in favor of his new, stripped-bare Old Kit Bag, to name a few-it seems that Norah Jones's appealingly understated Come Away With Me was more of a barometer of the contemporary listener's appetite than a one-time fluke. Etta James's resurgence, then, comes at precisely the right moment. Let's Roll's unremittingly raw approach seems just the thing the people want. But while the aforementioned artists strain to capture those traditional sounds lurking vaguely beneath the surface of their musical achievements, Etta James is merely unleashing the ghosts that have inhabited her voice since the first day she stepped into that L.A. church choir. This is no "return" to roots; these ARE the roots, in all their simple luster.

Grammy Winner
Just to update a previous review, "Let's Roll" received the 2004 Grammy for Best Contemporary Blues Album.

Maybe her best ever.
Since the day in 1962 when I borrowed an LP titled "At Last" I have been addicted to the voice and style of Etta James; I've amassed everything she's ever recorded. We have been the benefactor of her incredible strength in overcoming serious personal problems and returning to us in the 80s.

If you've never actually experienced this dynamic lady but would like to begin, I would recommend you begin with "Let's Roll". This recent release captures Etta James at her most powerful and sensuous best. Every cut demonstrates her trademark style. If after experiencing "Let's Roll" you don't immediately seek out many of her other recordings, I can only assume you were born without a central nervous system. I believe this may be the best she's ever done. Now in her 60s, the lady can still bring it.

ONE OF ETTA'S RECENT BEST!
This CD is a must for Etta fans! Her voice is
in excellent shape, the band cooks like nobody's
business, and the songs--most of which are new,
not covers--suit her well. Several of them
have an almost "swamp rock" feel that reminded
me of Creedence's classic LP's. The liner notes
talk about it being a "rock" recording, but it's
basically Etta's trademark style, which as you
know is 1000% pure soul. ENJOY!

Etta still has it!!!!
This is a strong cd, yet some of the songs are alittle "uneven" Etta's voice is strong as ever!!! the best songs "A change is gonna do me good", "Somebody to love", "The blues is my business" displays Etta's strong gifts!!! ... Read more

Reviews (2)

Outstanding Blues
This album is a must for the true "Blues" enthusiatist. Etta projects her vocals with the precision and enthusiam for which she is so famous. The sax riffs by Hank Crawford and Harvey Thompson are SO right on; and Steve Cropper gives his all on the guitar...

"Give It Up" with Steve Winwood adding to the vocals gives me shivers...what a match...Steve and Etta!!!!

If you don't enjoy this album, you're not a blues fan!! It's Etta at her best!!!! Five stars, totally!

authentic blues
a hot summer evening, sitting on the porch watching the fireflies type blues. I first heard Etta James on the weekend blues station in Seattle and was hooked. A tell it like it is singer with depth and soul supported by a precision band. A cornerstone of any good blues collection. ... Read more

Amazon.com

There's no doubting the power and passion of Etta James's voice. That alone is enough for her to give Aretha Franklin a run for her money, and on Heart of a Woman she gives that voice free rein. Something of a companion to 1998's Life, Love & the Blues, Heart of a Woman takes what feels like a deliberately feminine approach, from the selection of the material to its arrangement. If there's a weakness to the result, it's that James's voice often overpowers the music, leaving the mood-setting piano and gentle guitar in the dust. The strongest moments occur when the music rises to match James's singing, as with the sax solo on "My Old Flame," the smoky piano on "I Got It Bad and That Ain't Good," and the overall building of intensity toward the end of "You Go to My Head." Another highlight is a reworked version of James's classic "At Last." --Genevieve Williams ... Read more

Reviews (16)

This album will save you money
"Heart of A Woman" is like nothing else you will hear simply because there are very few singers who understand what they're doing as well as Etta James. Her style on the album is direct, honest and so rewarding that your expectations for what you should get for your CD money will change.

Just as an aside, I was at a listening station in the store and had just finished sampling Diana Krall's new album, which I had come in intending to buy. After listening to a couple of Etta's cuts I realized what "experience" must mean in the vocalist's craft. In about 35 yars Diana may be as good as Etta.

Great Music
This is the perfect album to listen too at night when you are relaxing. Etta James has a great voice and I found this album very good. The one song I found surprisingly well was her version of the Alice Cooper song, "Only Women Bleed". The album has a jazzy vocal sound to it as oppossed to straight easy listening. "You Dont Know What Love Is", "Sunday Kind Of Love", "I Got It Bad And That Ain't Good", are a few more of the outstanding songs found here in this collection. the one thing that will have listeners playing this over and over is the sound of Etta's amazing voice.

Gut Wrenching!
This CD grabbed my heart. This is a must for any woman who is in love or has ever been in love (isn't that all of us?). Also works if you need a good cry. :-)

Just... bad.
Etta James' voice remains superb, but the arrangements of this CD are poor and bad. Hammond B-3 organ, modern bass and drums give us the strange impression of being listening to an Etta James' imitator. The album is dedicated to Dinah Washington, Billie Holiday, Sarah Vaughn and Carmen McRae. Unfortunately, it's a bad hommage. Just listen to the samples and decide.

I love this CD!!
The songs on this disc are great.Also,They have a contemporary sound and it sounds really good.Etta's voice has deepened with age,but she's still great and can really sing.I highly recommend this disc. ... Read more

Reviews (5)

Etta James -Live as I can get
Having never seen Etta James live, I am thrilled to have in my possession her cd Live from San Francisco and I play it often. I love the live vitality that this recording displays. Until hearing Etta's version of "Take it to the limit" I wouldn't have believed that the Eagles wrote anything close to a blues song. Her version is fabulous. Etta also does wonderful versions of such classics as "I just want to make love to you", 'Baby What you Want me To Do' and "Tell Mama".

I recommend this cd for capturing the spirit of a live Etta James performance.

Almost Perfect
Etta howls & growls her way through a nearly perfect set including the bluesy shuffle of "Baby What You Want Me to Do", a gospelly cover of the Eagles' "Take It to the Limit" (10 times better than the original), the pounding "I Just Want to Make Love to You", & the classic slow blues "I'd Rather Go Blind". The only drawback here is the dreary "Sugar on the Floor", clocking in at a much too long 6:05. But otherwise, this one has plenty of energy & emotion. Very much recommended.

San Francisco brings out the best in Etta James!
This saucy live performance is a must hear and we can only be thankful that Etta's manager, Lupe DeLeon, was able to scrape up enough money to hire a sound truck to record this great gem. From the start, you can tell that this performance is on Eta's terms; she turns her soul inside out and lets loose on every song. As far as I'm concerned, this CD puts Etta James in a class of her own -- she is one of the greatest female R&B singers around. Add this one to your collection of classics!

the greatest ive heard from her yet..
my wife puts this cd on every time she turns the stereo on.. we think every song on its great..she put her talent and heart into every cut..we love it... we would love to purchase more cds like it...can you HELP us out with any sugestion...thanks etta WE WANT MORE AND MORE...YOUR BLUES FANS IN CALIFORNIA please put us on your mailing list...

Absolutely the best I've ever heard her - not to be missed
From the opening track, you know you have hit upon something unlike any other Etta James recording. She did this one herself and was about as comfortable as any singer has ever been. Every track belongs, there are no 'throw aways' on the entire album. The band is cookin' and the very end when the audience is chanting 'Etta - Etta - Etta' you just want to join in and scream her name too. I wish there were more like this out there. "I'd Rather Be Blind" is the best version she ever did. and "Sugar On The Floor" makes you want to cry! ... Read more

Reviews (2)

What? No Babs!
Everyone's bound to have quibbles with a collection such as this one. I would much prefer to have Mabel Mercer's version of "Ballad of the Sad Young Men," for instance (although Rod McKuen's is lovely), and I regret the absence of certain gay "standards" such as Mott the Hoople's "All the Young Dudes" and Dusty Springfield's "Quiet, Please, There's a Lady on Stage." But it's all fun, not mention educational, and I'm grateful to Marshall Blonstein and Richard Oliver for a magnificent effort, which is destined to take its place next to classics of the literature such as William J. Mann's "Behind the Screen" and "The Gay and Lesbian Literary Heritage"--not to mention the collected works of Barbara Streisand! To underscore their sense of history, the producers have included a near-100 page booklet with the 4-disc set that even features a bibliography of recommended reading and viewing. There are also generous notes on the songs and songsters, period essays, and some great photos. There are, as well, a few miscalculations, including a numerical listing of the songs in the booklet that doesn't correspond to the list on the box. The recording dates for some of the songs are given as "unknown" (where did these transfers come from?), and the dating itself (a "Cabaret" medley from the '20s?) is eccentric. But these are minor, well, quibbles, and I admire Blonstein and Oliver their daring in attempting such a project. If I may, I'd like to suggest that these gentlemen do a 4-CD set every year or so (how about an exerpt from Diamanda Galas' "Plague Mass" for the classical disc?), if only to demonstrate how un-Verboten gay music by gay musicians has become.

A Musical Time Capsule
starting out with a scratchy ditty from the roaring twenties, this excellent historical collection manages to span a variety of musical genres, from rousing broadway musical to intimate diva-wrung blues to classical orchestra. some may carp about choices, and some are obvious, there are rarities here among the cliches. this is an invaluable historical document as well as an entertaining collection of tunes. ... Read more

Reviews (1)

Great introduction to a fabulous swing singer
Mildred Bailey is one of the great "lost" figures in the history of American swing jazz, a vocalist who helped discover, promote and influence the careers of Billie Holiday, Bing Crosby and Tony Bennett (to name a few), and who recorded prolifically throughout the 1920s, '30s and '40s, before falling into poverty and ill health in the early 'Fifties. Her music was, quite simply, nothing short of stunning -- fans of Billie Holiday's sprightly early swing recordings will be amazed at the similarity between these two singers... But make no mistake: Bailey was there first, and to fans, her work is certainly on a par with that of the better-remembered Lady Day. This is a well-selected, generously programmed 18-track single-CD selection of some of Bailey's best recordings on Columbia, featuring her big hit, "Rocking Chair," and other lively swing tunes. Sure, you could quibble about this song or that being left out, but for the casual record buyer, this is a great introduction to Bailey's work, and a nice glimpse of her belting 'em out during her prime. Highly recommended! ... Read more

Reviews (4)

stickin' to my guns
etta james is a classic and there are some very good songs on this album. if you like etta you will probably like this cd, but i don't think it is one of her best. my major complaint was i thought the production and arrangements on many of the songs were too polished and lacked spontaneity. as such, they didn't seem to be well matched to etta's vocal style. perhaps this was an effort to make her more accessible to a wider, more rock oriented audience.

Raw & Funky!!
This cd contains some of Etta's most raw vocal performances!!! a mix of blues, rock, R&B, country and rap! one jamming set!

Ettas comeback trail
This was the first etta james album I ever listened to and fell in love with her soulful voice. I have all of her cds now from the 60s to present. Her version of your good thing is about to end has a haunting quality to it. Production on this album is also quite good. I would buy this album for that one song.

Absolutely Awful
Think of fingernails screeching on a blackboard, amplified through a microphone, and you still wouldn't be able to imagine the horrid sound of this CD. Avoid it at all costs and listen to her Chess recordings instead. ... Read more