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Etta James|Queen Of Soul

Queen Of Soul

Etta James

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In part because it didn't have any of her biggest hits, the 1964 album Queen of Soul is a relatively overlooked one in Etta James' discography, even for an artist whose LPs weren't all that well known. The ten songs are dependable early soul music, though the material isn't quite on the level of her best mid-'60s work. "I Wish Someone Would Care" is about the best tune, but James was beaten to the punch on that score by Irma Thomas, who not only recorded the original and superior version, but also wrote the song. The one track to bear a James writing credit ("Bobby Is His Name," co-penned with Ed Townsend) is a pretty lightweight, almost teen pop-influenced number; "That Man Belongs Back Here with Me," co-composed by noted tunesmith Clint Ballard, is fair but not great pop-soul with a jazzy touch; "Flight 101" has a tinge of melodrama, though James' typically strong vocal saves it. "Loving You More Every Day" has a satisfying blues-gospel feel, but much of this has dated orchestration, even the closing "Mellow Fellow," which has one of her trademark, throaty, drawn-out testifying openings. Perhaps some of the album's overall unevenness can be attributed to it having been taken from sessions done over a period of two years.

© Richie Unterberger /TiVo

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Queen Of Soul

Etta James

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1
Bobby Is His Name (Single Version)
00:03:30

Ed Townsend, ComposerLyricist - Etta James, MainArtist, ComposerLyricist - Leonard Chess, Producer

℗ 1964 UMG Recordings, Inc.

2
I Wish Someone Would Care
00:02:36

Irma Thomas, ComposerLyricist - Etta James, MainArtist - Leonard Chess, Producer

℗ 1964 UMG Recordings, Inc.

3
That Man Belongs Back Here With Me
00:02:27

Clint Ballard Jr., ComposerLyricist - Etta James, MainArtist - Leonard Chess, Producer - Angela Riela, ComposerLyricist

℗ 1964 UMG Recordings, Inc.

4
Somewhere Out There
00:02:44

Billy Davis, ComposerLyricist - Carl Smith, ComposerLyricist - Etta James, MainArtist - Wilfred McKinley, ComposerLyricist - Leonard Chess, Producer

℗ 1965 UMG Recordings, Inc.

5
Breaking Point (Single Version)
00:02:26

Billy Davis, Producer - Etta James, MainArtist - McAllister, ComposerLyricist - Terry Vail, ComposerLyricist - Leonard Chess, Producer

℗ 1964 UMG Recordings, Inc.

6
Flight 101
00:03:27

Robert Higginbotham, ComposerLyricist - Etta James, MainArtist - Cathy Lynn, ComposerLyricist - Leonard Chess, Producer

℗ 1965 UMG Recordings, Inc.

7
Lovin' You More Every Day
00:03:19

James Mitchell, ComposerLyricist - Etta James, Vocals, MainArtist, AssociatedPerformer - Leonard Chess, Producer - Phil Chess, Producer

℗ 1964 UMG Recordings, Inc.

8
Do Right
00:01:59

Leroy Kirkland, ComposerLyricist - Pearl Woods, ComposerLyricist - Fred Johnson, ComposerLyricist - Etta James, MainArtist - Leonard Chess, Producer

℗ 1965 UMG Recordings, Inc.

9
I Worry 'Bout You
00:03:14

Norman Mapp, ComposerLyricist - Etta James, MainArtist - Leonard Chess, Producer

℗ 1962 UMG Recordings, Inc.

10
Mellow Fellow
00:02:59

Ed Townsend, ComposerLyricist - Etta James, MainArtist - Leonard Chess, Producer

℗ 1964 UMG Recordings, Inc.

Album review

In part because it didn't have any of her biggest hits, the 1964 album Queen of Soul is a relatively overlooked one in Etta James' discography, even for an artist whose LPs weren't all that well known. The ten songs are dependable early soul music, though the material isn't quite on the level of her best mid-'60s work. "I Wish Someone Would Care" is about the best tune, but James was beaten to the punch on that score by Irma Thomas, who not only recorded the original and superior version, but also wrote the song. The one track to bear a James writing credit ("Bobby Is His Name," co-penned with Ed Townsend) is a pretty lightweight, almost teen pop-influenced number; "That Man Belongs Back Here with Me," co-composed by noted tunesmith Clint Ballard, is fair but not great pop-soul with a jazzy touch; "Flight 101" has a tinge of melodrama, though James' typically strong vocal saves it. "Loving You More Every Day" has a satisfying blues-gospel feel, but much of this has dated orchestration, even the closing "Mellow Fellow," which has one of her trademark, throaty, drawn-out testifying openings. Perhaps some of the album's overall unevenness can be attributed to it having been taken from sessions done over a period of two years.

© Richie Unterberger /TiVo

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