Etta James was fighting serious substance-abuse problems when this album was recorded, commuting to the sessions from a rehab center. It was a triumph simply to complete the record at all. But although James' life may have been in rough shape outside of the studio, she delivered a fairly strong set that fused forceful '70s soul arrangements with some rock (Randy Newman and John Kay both contribute compositions), jazz, and New Orleans R&B. Some of the material is routine, but there are some very strong cuts here, like a rousing "Sookie Sookie" and "Out on the Street Again", with its slightly sinister funk groove. "Feeling Uneasy", in fact, counts as one of the unsung highlights of her career, with a wrenching, near-wordless scat-moan vocal over a suitably languorous, melancholy blues-jazz arrangement. The CD reissue adds a couple of interesting bonus tracks: the 1975 single "Lovin' Arms", a good rootsy ballad, and a single edit of one of the tracks from the album, "Out on the Street Again".
Blues to the Bone is a 2004 album by Etta James. The album contains a selection of twelve blues standards which are among her favourites. James and her sons Donto and Sametto James produced the album, which reached number four in the Billboard Top Blues chart. The album was given a Grammy Award in 2005 for Best Traditional Blues Album.
Simply one of the greatest live blues albums ever captured on tape. Cut in 1963 at the New Era Club in Nashville, the set finds Etta James in stellar shape as she forcefully delivers her own "Something's Got a Hold on Me" and "Seven Day Fool" interspersed with a diet of sizzling covers ("What'd I Say," "Sweet Little Angel," "Money," "Ooh Poo Pah Doo"). The CD incarnation adds three more great titles, including an impassioned reprise of her "All I Could Do Was Cry." Guitarist David T. Walker is outstanding whenever he solos.
After returning to the U.S. from London, where he fronted the blues band Mainline, Rick James cut one album with White Cane before he turned to his own solo venture. By 1977, he'd begun working with the Stone City Band, emerging at the end of the year with an album's worth of delicious funk-rock fusion. Released in spring 1978, Come Get It! was a triumphant debut, truly the sum of all that had gone before, at the same time as unleashing the rudiments of what would become not only his trademark sound, but also his mantra, his manifesto – his self proclaimed punk-funk.
Originally released on Warners Brothers to scant acclaim in 1978, this Jerry Wexler-produced masterpiece finds James in astounding voice with a batch of great material to apply her massive interpretive powers to. The band, including the cream of the late-'70s Los Angeles session hot-shots (Cornell Dupree, Jeff Porcaro, Chuck Rainey, Plas Johnson, Jim Horn), lays it down soulful and simple and the result is a modern-day R&B classic. Highlights abound throughout, but special attention must be turned to James' takes on "Only Women Bleed" and the Eagles' "Take It to the Limit."