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The sound is terrific, clear and realistic, as is the production by Rick Hall. And those who feel that Etta James' Chess recordings featured too many violins and not enough power need to pick up "Tell Mama" right away!
The original album was top-notch in its own right, featuring the all-time classic soul ballad "I'd Rather Go Blind", excellent covers of Ed Townsend's "I'm Gonna Take What He's Got", Otis Redding's "Security" and Jimmy Hughes' "Don't Lose Your Good Thing", and a couple of driving up-tempo numbers, most notably Don Covay's "Watch Dog" and the magnificent title track.
Etta James never sounded better than during these four 1967-1968 sessions, and the various musicians never set a foot (or a finger) wrong.
There really isn't a single weak track among the twelve songs originally issued. Even practically unknown songs like the swaggering "My Mother In Law" and the slow "It Hurts Me So Much", which have never been covered by anyone and don't appear on any of Etta James' compilation albums, are highly enjoyable, and Etta's rendition of "Just A Little Bit" (AKA "I Just Want A Little Bit") is a supremely funky slice of soul-blues.
And the bonus tracks aren't rejects by any means. They include "Almost Persuaded", "Misty", the rocking "You Took It", a very good interpretation of Sonny Bono's "I Got You Babe", and two soulful takes on "Do Right Woman, Do Right Man", a song which has been interpreted by everybody from Aretha Franklin to the Flying Burrito Brothers.
I'm no big Etta James fan, actually, but this album is something special. I completely fell for it the first time I put it on, and to me "Tell Mama" is the best thing Etta James has ever made, one of the finest, most cohesive soul records of the late 60s.
You really ought to give it a listen.
The sound is terrific, clear and realistic, as is the production by Rick Hall. And those who feel that Etta James' Chess recordings featured too many violins and not enough power need to pick up "Tell Mama" right away!
The original album was top-notch in its own right, featuring the all-time classic soul ballad "I'd Rather Go Blind", excellent covers of Ed Townsend's "I'm Gonna Take What He's Got", Otis Redding's "Security" and Jimmy Hughes' "Don't Lose Your Good Thing", and a couple of driving up-tempo numbers, most notably Don Covay's "Watch Dog" and the magnificent title track.
Etta James never sounded better than during these four 1967-1968 sessions, and the various musicians never set a foot (or a finger) wrong.
There really isn't a single weak track among the twelve songs originally issued. Even practically unknown songs like the swaggering soul stomper "My Mother In Law" and the slow "It Hurts Me So Much", which have never been covered by anyone and don't appear on any of Etta James' compilation albums, are highly enjoyable, and Etta's rendition of "Just A Little Bit" (AKA "I Just Want A Little Bit") is a supremely funky slice of soul-blues.
And the bonus tracks aren't rejects by any means. They include "Almost Persuaded", "Misty", the rocking "You Took It", a very good interpretation of Sonny Bono's "I Got You Babe", and two soulful takes on "Do Right Woman, Do Right Man", a song which has been interpreted by everybody from Aretha Franklin to the Flying Burrito Brothers.
I'm no big Etta James fan, actually, but this album is something special. I completely fell for it the first time I put it on, and to me "Tell Mama" is the best record Etta James has ever made, one of the finest, most cohesive soul and R&B records of the late 60s.
You really ought to give it a listen.
This is an essential reissue, as it includes all of the songs that Etta cut there. The unreleased stuff is nearly as good as the original album. I now find out that most of the original masters were mono only, for some reason. At least we get the stereo masters that exist. It is evident from the pictures and the quotes included in this package that there was a ton of mutual respect between the Muscle Shoals folks and Etta, and it shows in the music. As it turned out, these sessions gave Etta her last big hit, unfortunately. But it certainly wasn't the end of her producing great music; her ongoing career is a testament to that.
I've grown to love almost everything that Etta did for Chess, particularly the earlier stuff, when crossover was the primary aim. Her treatment of standards and ballads was exquisite. But when she came to Alabama, it was to cut Southern-fried soul, and she nailed it!
An essential Etta record, an essential soul record, an essential '60s record. 'Nuff said.
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