Etta James: the story of an unclassifiable voice

At Blues Actu, we enjoy covering the latest developments in the blues world. But today’s artists would be nothing without those who came before them. When we received Etta James 1955-1962, the box set published by Frémeaux & Associés, we simply couldn’t pass up such a great opportunity to talk about Etta James. We met with Olivier Julien, who coordinated this three-CD anthology, to revisit the early years of an artist whose influence continues to shape American music.

Etta James before At Last!

When people talk about Etta James, one song almost always comes up: At Last!. This moving ballad, which became an international standard, has endured for decades to the point of overshadowing part of the story of the woman who made it immortal. Yet when the song appeared in 1960 on her debut album, Etta James was already far from being a newcomer. Several years of recordings, rhythm and blues hits, and musical experimentation had already shaped her artistic identity.

That is precisely the period explored by this box set, a period that remains relatively unknown, even among many European fans. “Creating a complete Etta James anthology would have been a monumental undertaking and probably impossible from a legal standpoint due to the large number of record companies and producers she worked with. This first period nevertheless reflects the full extent of her talent through the variety of musical styles she explored,” explains Olivier Julien.

In other words, Etta James’ story does not begin with At Last!. “The record that includes At Last! is Etta James’ first proper album. Before that, she had already released nearly thirty songs scattered across various singles that had already laid the foundations of her musical universe. These records were not released in Europe. French audiences had to wait until 1965 for a Barclay single and until 1973 for the first album pressing. Europe discovered Etta James during the second half of her career.”

Always ahead of her time

This observation is far from insignificant. While European audiences were gradually discovering Etta James during the 1960s and 1970s, Americans had known her for years. Behind the future interpreter of At Last! stood a teenager from Los Angeles, born Jamesetta Hawkins, raised on gospel, doo-wop and rhythm and blues. A young singer with a strong personality who was about to record her first major hit.

In 1955, she was only seventeen when she entered the studio to record The Wallflower. The song quickly became a success and already revealed a remarkable personality. “One can highlight her first recording, The Wallflower, which addressed sexual relationships in puritanical America and was remarkably forward-thinking. W.O.M.A.N. can also be seen as an early feminist anthem. Etta James co-wrote both songs, recorded in 1955, whereas At Last! was written by Harry Warren and Mack Gordon.”

Long before becoming a soul icon, Etta James was already a free-spirited artist willing to tackle subjects that very few female singers dared approach at the time. That artistic independence and refusal to conform would never leave her.

Powerful allies: Johnny Otis and Leonard Chess

As is often the case in the history of blues and rhythm and blues, a career is also built on decisive encounters. For Etta James, the first key figure was Johnny Otis. “Johnny Otis was the person who opened the doors of the recording studio for her. His role as a talent scout can be compared to that of Sam Phillips.”

The comparison is not exaggerated. Musician, producer and talent scout, Johnny Otis played a fundamental role in launching the young singer’s career. Without him, the story might have unfolded very differently.

A few years later, another key figure would help transform her destiny: Leonard Chess. “The co-founder of Chess Records guided Etta James toward more classic ballads that were perhaps more accessible to a wider audience. He also helped her reach another level through the resources he invested in her recording sessions, including string sections and orchestral arrangements.”

Her arrival at Chess Records marked a major turning point. Alongside artists such as Muddy Waters, Howlin’ Wolf, Chuck Berry and Bo Diddley, Etta James found an environment capable of supporting her ambitions. The arrangements became more sophisticated, the productions more ambitious, while her vocal intensity remained intact.

An artist impossible to categorize

Listening to the box set chronologically reveals another obvious truth: Etta James was never simply a soul singer. “Her beginnings were rooted in rhythm and blues before she turned toward rock, partly thanks to her encounter with Elvis Presley. She later explored jazz and gospel with a mastery equal to the greatest performers. Soul is therefore not necessarily the genre that defines her best.”

Doo-wop, rhythm and blues, rock’n’roll, blues, jazz, gospel and soul: Etta James moved between genres with astonishing ease.

Her trajectory also mirrors the evolution of African American music during the late 1950s, a period when musical boundaries were beginning to fade. “Etta James was a bridge between two eras. Her early successes reflected the energy of post-war rhythm and blues, initially aimed at Black audiences. As her career progressed, she accompanied the convergence of Black and white markets. At Chess Records, she became an artist capable of navigating blues, R&B, gospel, pop and emerging soul. Her versatility reflected the rise of a more ambitious and visible form of Black music in American culture.”

A voice like no other

If Etta James could move so effortlessly between styles, it was also because she possessed a truly unique instrument. “Her unmistakable voice, with its naturally rough edges, gave her a distinctive place from the very beginning, far removed from the ‘girly’ voices commonly heard at the time and, with the exception of Nina Simone, closer to those of white female singers.”

That voice remained the common thread throughout her career. It evolved and matured, but always retained the quality that made it instantly recognizable. “Yes, her style evolved across different genres, but her voice remained the cornerstone of her identity and career. Over time, one can hear a growing mastery of her instrument.”

A few seconds are enough to recognize Etta James. Despite her immense talent, she never occupied the same place in popular culture as Aretha Franklin or Tina Turner. “I believe her ‘bad girl’ image and fiery temperament probably limited the recognition she deserved as much as her peers. Her struggles with alcohol and drugs likely did not help either.”

Yet her influence is everywhere. Tina Turner recorded All I Could Do Was Cry. Later, Beyoncé portrayed her in Cadillac Records and performed At Last! at the inauguration of Barack Obama.

A sound that still feels modern

When discussing what makes Etta James still relevant today, the answer extends well beyond music. “Her freedom of expression anticipated feminism and girl power long before either became common concepts. Her legacy is also immense within the African American community. Beyoncé not only portrayed Etta James in Cadillac Records, she also performed At Last! at Barack Obama’s inauguration.”

More than seventy years after her earliest recordings, Etta James’ voice continues to resonate. Not simply because she recorded one of the greatest standards of the twentieth century, but because she embodied a form of total artistic freedom long before many others.

Listening to this box set, one conclusion becomes unavoidable: the story of Etta James did not begin with At Last!. It began much earlier, in the clubs, recording studios and 45 rpm singles of the 1950s. That is where one of the most distinctive voices in American music was forged. An essential collection.