Etta James
Etta James began her career singing blues, jazz, country, gospel and pop hits in the early 1950s, from the suggestive dancehall favorite "Roll With Me, Henry" to her signature ballad "At Last." She began singing professionally when she was a teenager. The hits stopped in the 1970s, but James kept performing and, in the late 1980s and '90s, she saw her career rebound, and was recognized as a musical legend (she was inducted into the Rock and Roll Hall of Fame in 1993).
Etta James has been described as “the greatest of all modern blues singers...the undisputed Earth Mother.” Her raw, unharnessed vocals and hot-blooded eroticism made disciples of singers ranging from Janis Joplin to Bonnie Raitt. Her pioneering 1950s hits -- “The Wallflower” and “Good Rockin’ Daddy” -- assure her place in the early history of rock and roll alongside Little Richard, Chuck Berry and Ray Charles. In the Sixties, as a soulful singer of pop and as a blues diva, compared easily to the likes of Dinah Washington and Billie Holiday, she truly found her musical direction and made a lasting mark.
To borrow a line from her hit recording of “Something Got A Hold On Me,” something did, indeed, get a hold of her and that thing was music, borne out of gospel traditions instilled in her at the age of 5 and culminating in her receiving four Grammys and seventeen Blues Music Awards, induction into the Rock & Roll Hall of Fame, the Blues Hall of Fame and the Grammy Hall of Fame.
Few R&B singers have endured the monumental level of heartbreaking struggles that Etta James had and remained on earth to talk about it. But her personal problems seldom affected her singing. James hung in there from the age of R&B and doo wop in the mid-'50s through soul's late-'60s heyday and right up into the '90s and 2000s (where her 1994 disc Mystery Lady paid loving jazz-based tribute to one of her idols, Billie Holiday). Etta’s voice deepened over the years, coarsened more than a little, but still conveyed remarkable passion and pain.
She was born Jamesetta Hawkins on January 25, 1938, in Los Angeles, California. Her mother, Dorothy, was only 14 years old when Jamesetta was born, and she never directly revealed the identity of Jamesetta's father. In her 1995 autobiography, Rage to Survive, James put forth her belief that pool legend Minnesota Fats was her real father. Because Dorothy Hawkins led a somewhat wild, Bohemian lifestyle, Jamesetta was left in the care of a middle-aged couple named Rogers. She became especially close to her foster mother, Lula "Mama Lu" Rogers.
To borrow a line from her hit recording of “Something Got A Hold On Me,” something did, indeed, get a hold of her and that thing was music, borne out of gospel traditions instilled in her at the age of 5 and culminating in her receiving four Grammys and seventeen Blues Music Awards, induction into the Rock & Roll Hall of Fame, the Blues Hall of Fame and the Grammy Hall of Fame.
Few R&B singers have endured the monumental level of heartbreaking struggles that Etta James had and remained on earth to talk about it. But her personal problems seldom affected her singing. James hung in there from the age of R&B and doo wop in the mid-'50s through soul's late-'60s heyday and right up into the '90s and 2000s (where her 1994 disc Mystery Lady paid loving jazz-based tribute to one of her idols, Billie Holiday). Etta’s voice deepened over the years, coarsened more than a little, but still conveyed remarkable passion and pain.
She was born Jamesetta Hawkins on January 25, 1938, in Los Angeles, California. Her mother, Dorothy, was only 14 years old when Jamesetta was born, and she never directly revealed the identity of Jamesetta's father. In her 1995 autobiography, Rage to Survive, James put forth her belief that pool legend Minnesota Fats was her real father. Because Dorothy Hawkins led a somewhat wild, Bohemian lifestyle, Jamesetta was left in the care of a middle-aged couple named Rogers. She became especially close to her foster mother, Lula "Mama Lu" Rogers.
Jamesetta's powerful singing voice began to gain attention when she was still a small child. As early as age five, she was singing solos with her church choir, and soon she was even performing gospel music on local radio. As she got older, she began taking an interest in the smooth doo-wop music that was becoming popular on the streets. When Jamesetta was about 12, Mama Lu died after a series of strokes.
After the death of Rogers in 1950, James went to live with relatives in San Francisco. According to an article in Essence magazine, James was "a restless woman-child, in and out of girl gangs and singing groups." Increasingly, she sought refuge in music. When James was still a teenager, she formed a singing group called The Creolettes with two other girls. West Coast rhythm and blues titan Johnny Otis discovered James in 1954. "We were up in San Francisco," Otis recalled in Rolling Stone, "for a date at the Fillmore. That was when it was black. … I was asleep in my hotel room when … my manager phoned. He was in a restaurant and a little girl was bugging him: she wanted to sing for me. I told him to have her come around to the Fillmore that night. But she grabbed the phone from him and shouted that she wanted to sing for me NOW. I told her that I was in bed—and she said she was coming over anyway. Well, she showed up with two other little girls. And when I heard her, I jumped out of bed and began getting dressed. We went looking for her mother since she was a minor. I brought her to L.A., where she lived in my home like a daughter." Despite her determination to audition for Otis in his hotel room, James remarked later in Rolling Stone, "I was so bashful, I wouldn't come out of the bathroom."
Otis took the Creolettes to Los Angeles—with the forged permission of the underage Jamesetta's mother—and put them into his revue. He renamed the group The Peaches, and reversed Jamesetta's name, creating what has remained her stage name ever since: Etta James.
Otis took the Creolettes to Los Angeles—with the forged permission of the underage Jamesetta's mother—and put them into his revue. He renamed the group The Peaches, and reversed Jamesetta's name, creating what has remained her stage name ever since: Etta James.
In 1955, James made her first recording with the Peaches on the Modern Records label. Originally titled "Roll with Me Henry," the song was an answer to Hank Ballard and the Midnighters' hit "Work with Me Annie." Since "Roll with Me Henry" was considered too racy a title for radio airplay, the song was renamed "The Wallflower." It eventually made it into the top ten on the R&B charts, reaching the #1 spot where it stayed for four weeks.
Although "The Wallflower" was a hit for James, it made an even bigger splash when it was subsequently recorded as "Dance with Me Henry" by white singer Georgia Gibbs. Although Etta collected a share of the songwriter royalties, split three ways between Otis, Ballard and James, she was outraged to see another singer get most of the glory for her song.
Although "The Wallflower" was a hit for James, it made an even bigger splash when it was subsequently recorded as "Dance with Me Henry" by white singer Georgia Gibbs. Although Etta collected a share of the songwriter royalties, split three ways between Otis, Ballard and James, she was outraged to see another singer get most of the glory for her song.
The record’s success led to the Peaches going on tour with Little Richard. “I was so naïve,” she told Rolling Stone. “Richard and the band were always having those parties. I’d knock on the door and they’d shout ‘Don’t open it! She’s a minor!’ Then one day, I climbed up on a transom and the things I saaaaaaaaw…”
The follow-up to “The Wallflower” was a second record for Modern, this one called, “Hey Henry.” Unlike its predecessor, this release did not make the charts.
Although The Peaches and Etta soon parted company, this did not put an end to her career. She continued to record and release albums throughout much of the decade, and enjoyed more success. "Good Rockin' Daddy" was released and became another hit in 1955, reaching #6 on the Billboard R&B charts.
The follow-up to “The Wallflower” was a second record for Modern, this one called, “Hey Henry.” Unlike its predecessor, this release did not make the charts.
Although The Peaches and Etta soon parted company, this did not put an end to her career. She continued to record and release albums throughout much of the decade, and enjoyed more success. "Good Rockin' Daddy" was released and became another hit in 1955, reaching #6 on the Billboard R&B charts.
Over the ensuing few years James, who was also known as Miss Peaches, toured the country on bills with stars such as Bo Diddley, Little Richard, Marvin Gaye, zydeco accordionist Clifton Chenier, Johnny "Guitar" Watson, Minnie Riperton, and Chuck Berry. Her association with Berry would lead to a longstanding friendship. With her ripe, whiskey-cured, brawling belts, Etta James was well on her way to becoming queen of the blues.
While on the road, she encountered a wide range of responses, from admiration to racism and intimidation. She found herself performing before large, eager crowds, even though her fame had dimmed somewhat since her 1955 hits. One of the highlights of this time was when James shared the stage with Billie Holiday and Count Basie as part of an National Broadcasting Company radio show in New York called Jazz Plus Blues Equals Soul. The performance occurred in the late 1950s, near the end of Holiday's life. In her autobiography James describes Holiday as looking old, tired, and weak, with swollen hands and feet. The encounter stayed with Etta, who, despite Holiday's physical challenges, saw in the singer a strong and uncompromising survivor - qualities she also saw in her mother Dorothy.
After “Good Rockin’ Daddy,” Etta released nine more singles, between 1955 and 1959 (“W-O-M-A-N,” “Number One,” “Shortnin’ Bread Rock,” “Tough Lover,” “Good Lookin’,” “The Pick-Up,” “Come What May,” “Sunshine Of Love,” and “I Hope You’re Satisfied”). None of them made it onto the charts.
While on the road, she encountered a wide range of responses, from admiration to racism and intimidation. She found herself performing before large, eager crowds, even though her fame had dimmed somewhat since her 1955 hits. One of the highlights of this time was when James shared the stage with Billie Holiday and Count Basie as part of an National Broadcasting Company radio show in New York called Jazz Plus Blues Equals Soul. The performance occurred in the late 1950s, near the end of Holiday's life. In her autobiography James describes Holiday as looking old, tired, and weak, with swollen hands and feet. The encounter stayed with Etta, who, despite Holiday's physical challenges, saw in the singer a strong and uncompromising survivor - qualities she also saw in her mother Dorothy.
After “Good Rockin’ Daddy,” Etta released nine more singles, between 1955 and 1959 (“W-O-M-A-N,” “Number One,” “Shortnin’ Bread Rock,” “Tough Lover,” “Good Lookin’,” “The Pick-Up,” “Come What May,” “Sunshine Of Love,” and “I Hope You’re Satisfied”). None of them made it onto the charts.
In the late 1950s, Etta She made the move to Chess and then to Chicago with Fuqua's help. Fuqua is best known as the founding vocalist of The Moonglows. James was in love with Fuqua, but he did not return her affection. In fact, he left Chicago for Detroit and Motown, where he met and married Gwen Gordy, sister of Motown mogul Berry Gordy. Ironically, James's first recording for Chess about a jilted lover was co-written by Gwen Gordy.
As the 1950s drew to a close, James frequently found herself on the road and penniless. Landing in Chicago, began an association with Chicago's Chess Records, recording several numbers on Chess's subsidiary label, Argo, an emerging company that was making a name for itself with artists like Chuck Berry and Bo Diddley.
As the 1950s drew to a close, James frequently found herself on the road and penniless. Landing in Chicago, began an association with Chicago's Chess Records, recording several numbers on Chess's subsidiary label, Argo, an emerging company that was making a name for itself with artists like Chuck Berry and Bo Diddley.
During the early 1960s, James scored a string of major hits for Chess and its subsidiary labels, making her one of the biggest stars on the R&B scene. In 1960, two James songs made the R&B charts. Four more reached the charts the following year, including the soulful ballad "At Last," which peaked at number two. In 1962, James' "Something's Got a Hold on Me" reached the number four spot, the highest of her three hits that year. She also recorded several duets with Harvey Fuqua of the Moonglows, with whom her relationship was romantic as well as professional. James was in love with Fuqua, but he did not return her affection. In fact, he left Chicago for Detroit and Motown, where he met and married Gwen Gordy, sister of Motown mogul Berry Gordy. Ironically, James's first recording for Chess about a jilted lover was co-written by Gwen Gordy.
The material that James recorded for Chess exhibited the full range of her stylistic capabilities, from tender love ballads to heavy blues to easy-on-the-ears pop. Although the people at Chess kept her career alive, they also exploited her, as they did many artists, finding ways to withhold royalties and grabbing the publishing rights to musicians' original material.
In those early days, James, Gaye, Curtis Mayfield, and many other fledgling greats lived in Chicago's low-budget Sutherland Hotel. "We were hungry, starving musicians," James revealed in Rolling Stone. This changed abruptly, however, when James hit the mother lode with ten chart-making hits from 1960 through 1963. In 1960 two of her songs made the rhythm and blues charts. With producer Jerry Wexler, she recorded jazz tunes and soul ballads and ran up a string of hits for Chess's subsidiary label, Argo. In 1961 four of her songs hit the charts, including the slow and soulful number-two hit "At Last." In 1962 three of James's songs landed on the charts, including "Something's Got a Hold on Me," which went to number four.
By the time she was 21, James was addicted to heroin, and she struggled in relationships with abusive and violent men. Her addiction was so disruptive that she stopped recording almost completely between 1964 and 1966, but then pulled herself together enough to record Call My Name, an acclaimed blues album. She also recorded some duets with a childhood friend, Sugar Pie DeSanto, which resulted in the hit song "In the Basement." In 1967 James went to work for Alabama's Fame Studios, where she recorded a classic album that was well received; Tell Mama contains the standout ballad "I'd Rather Go Blind."
In spite of her popularity, however, James was never able to break out of the black entertainment market in the 1960s. Ironically, her singing style of purring, pointing, and little-girl pouting was copied by singer Diana Ross, who was able to score hits in the white music market.
In those early days, James, Gaye, Curtis Mayfield, and many other fledgling greats lived in Chicago's low-budget Sutherland Hotel. "We were hungry, starving musicians," James revealed in Rolling Stone. This changed abruptly, however, when James hit the mother lode with ten chart-making hits from 1960 through 1963. In 1960 two of her songs made the rhythm and blues charts. With producer Jerry Wexler, she recorded jazz tunes and soul ballads and ran up a string of hits for Chess's subsidiary label, Argo. In 1961 four of her songs hit the charts, including the slow and soulful number-two hit "At Last." In 1962 three of James's songs landed on the charts, including "Something's Got a Hold on Me," which went to number four.
By the time she was 21, James was addicted to heroin, and she struggled in relationships with abusive and violent men. Her addiction was so disruptive that she stopped recording almost completely between 1964 and 1966, but then pulled herself together enough to record Call My Name, an acclaimed blues album. She also recorded some duets with a childhood friend, Sugar Pie DeSanto, which resulted in the hit song "In the Basement." In 1967 James went to work for Alabama's Fame Studios, where she recorded a classic album that was well received; Tell Mama contains the standout ballad "I'd Rather Go Blind."
In spite of her popularity, however, James was never able to break out of the black entertainment market in the 1960s. Ironically, her singing style of purring, pointing, and little-girl pouting was copied by singer Diana Ross, who was able to score hits in the white music market.
Although Chess certainly played a hand in bringing her name back to the forefront of the industry, James complained that Wexler and Allen Toussaint, who produced her record Changes, while extremely talented, were both controlling. She felt there was too much tinkering and direction. Despite favorable critical reviews for the recordings she produced, James felt on edge in the studio.
Following this success, James became an on-demand concert performer though she never again reached the heyday of her early-to-mid 1960s success. She continued to chart in the R&B Top 40 in the early 1970s with singles such as "Loser Weepers" (1971) and "I Found a Love" (1972). Though James continued to record for Chess, she was devastated by the death of Chess founder Leonard Chess in 1969. James ventured into rock and funk with the release of her self-titled album in 1973 with production from famed rock producer Gabriel Mekler. The album, known for its mixtures of musical styles, was nominated for a Grammy Award. The album didn't produce any major hits, neither did the follow-up, Out On the Street Again, in 1974, though like Etta James before it, the album was also critically acclaimed. James continued to record for Chess releasing two more albums in 1978, Etta Is Betta Than Evah and Deep in the Night, which saw the singer incorporating more rock-based music in her repertoire. That same year, James performed at the Montreal Jazz Festival. Following this brief success, however, she left Chess Records and didn't record for another ten years as she struggled with drug addiction and alcoholism for the better part of a decade.
James's broad stylistic range was demonstrated in the material she recorded at this time, which included straight blues, romantic ballads, and pop. Blues-rock great, Janis Joplin, who was influenced by James, dropped by one of her recording sessions to observe the veteran blues singer in action.
Although life for James was out of control by the early 1970s, she was able to arrive at live performances and recording sessions when necessary. To support her burgeoning heroin habit, she indulged in petty crime, including writing bad checks and forging prescriptions. She was even known to steal from friends and associates at times. In 1974, facing several years in prison, James finally entered a drug rehabilitation program as a resident at Tarzana Psychiatric Hospital, just outside of Los Angeles, California.
Ultimately, James was able to win out over her addiction, and then slowly began to rebuild her career. She busied herself with performances in small venues, often singing at gay clubs during the early 1980s. In her autobiography she credited these jobs giving her the encouragement to keep her going and noted that gay people related to her style.
Following this success, James became an on-demand concert performer though she never again reached the heyday of her early-to-mid 1960s success. She continued to chart in the R&B Top 40 in the early 1970s with singles such as "Loser Weepers" (1971) and "I Found a Love" (1972). Though James continued to record for Chess, she was devastated by the death of Chess founder Leonard Chess in 1969. James ventured into rock and funk with the release of her self-titled album in 1973 with production from famed rock producer Gabriel Mekler. The album, known for its mixtures of musical styles, was nominated for a Grammy Award. The album didn't produce any major hits, neither did the follow-up, Out On the Street Again, in 1974, though like Etta James before it, the album was also critically acclaimed. James continued to record for Chess releasing two more albums in 1978, Etta Is Betta Than Evah and Deep in the Night, which saw the singer incorporating more rock-based music in her repertoire. That same year, James performed at the Montreal Jazz Festival. Following this brief success, however, she left Chess Records and didn't record for another ten years as she struggled with drug addiction and alcoholism for the better part of a decade.
James's broad stylistic range was demonstrated in the material she recorded at this time, which included straight blues, romantic ballads, and pop. Blues-rock great, Janis Joplin, who was influenced by James, dropped by one of her recording sessions to observe the veteran blues singer in action.
Although life for James was out of control by the early 1970s, she was able to arrive at live performances and recording sessions when necessary. To support her burgeoning heroin habit, she indulged in petty crime, including writing bad checks and forging prescriptions. She was even known to steal from friends and associates at times. In 1974, facing several years in prison, James finally entered a drug rehabilitation program as a resident at Tarzana Psychiatric Hospital, just outside of Los Angeles, California.
Ultimately, James was able to win out over her addiction, and then slowly began to rebuild her career. She busied herself with performances in small venues, often singing at gay clubs during the early 1980s. In her autobiography she credited these jobs giving her the encouragement to keep her going and noted that gay people related to her style.
Struggling to pull her career together, James hopped from record label to record label, including Warner Bros., where she worked with Wexler, and T-Electric, where she worked with Toussaint. At the Fantasy label in 1986, she teamed with tenor sax legend Eddie "Cleanhead" Vinson and recorded two outstanding jazz albums, Blues in the Night and The Late Show. She was also affiliated with the Island and Elektra labels. James then toured with the Rolling Stones and performed at blues and jazz festivals, with the result that white listeners finally began to buy her albums. She sang during the Olympic opening ceremony in 1984, and her debut hit "The Wallflower" became part of the soundtrack to the hugely popular movie Back to the Future. The singer even made some guest appearances on television programs.
By her own account, James fell back into drug addiction after becoming involved with a man with a habit, and she went back to playing club dates when and where she could until she kicked again thanks to a stay at the Betty Ford Center.
By her own account, James fell back into drug addiction after becoming involved with a man with a habit, and she went back to playing club dates when and where she could until she kicked again thanks to a stay at the Betty Ford Center.
Though she continued to perform, little was heard of Etta James until 1987 when she was seen performing "Rock & Roll Music" with Chuck Berry on his Hail! Hail! Rock 'n' Roll documentary. In 1989, James signed with Island Records and released the album, The Seven Year Itch, which was noted for bringing back the older raw sound of previous records. The album was produced by Jerry Wexler, who had worked on Deep in the Night. The next year she received the W. C. Handy Award and the Rhythm and Blues Foundation's Pioneer of the Year Award. In 1990, the National Association for the Advancement of Colored People (NAACP) honored her with two awards: an Image Award, and an award for best blues artist for her second 1989 album release, Stickin' to My Guns.
Also in 1989, James joined rap singer Def Jef in the song "Droppin' Rhymes on Drums," from his album, Just a Poet with a Soul, which mixed James' jazz vocals with hip-hop. In 1992, James released The Right Time on Elektra Records and the following year, James was inducted into the Rock and Roll Hall of Fame. James signed with Private Music Records in 1993 and recorded the Billie Holiday tribute album, Mystery Lady: Songs of Billie Holiday. The album later set a trend for James' music to incorporate more jazz elements. The album won James her first Grammy Award for best jazz vocal performance in 1994. In 1995, she released her autobiography, A Rage to Survive (co-authored by David Ritz), and recorded the album, Time After Time. Three years later she issued the Christmas album, Etta James Christmas, in 1998.
Having reinvented herself as a jazz singer, James seemed to have finally fulfilled the promise that some in the music industry had always seen in her. Perhaps the same demons that haunted and hindered her career for so long have simultaneously fueled her drive to succeed. As James observed in her autobiography, "I've learned to live with rage. In some ways, it's my rage that keeps me going. Without it, I would have been whipped long ago. With it, I got a lot more songs to sing."
James' demons caught up with her over the years, however. She piled on weight until she had difficulty walking. For years she was helped onto stage in a wheelchair for knee problems exacerbated by her weight. But when she fell on a New York City sidewalk and had trouble getting her nearly 400-pound body back up, James knew she needed help. She had gastric bypass surgery in 2002 and dropped approximately 200 pounds. James told Ebony that she credits her doctor for having "saved my life."
James' demons caught up with her over the years, however. She piled on weight until she had difficulty walking. For years she was helped onto stage in a wheelchair for knee problems exacerbated by her weight. But when she fell on a New York City sidewalk and had trouble getting her nearly 400-pound body back up, James knew she needed help. She had gastric bypass surgery in 2002 and dropped approximately 200 pounds. James told Ebony that she credits her doctor for having "saved my life."
More than regaining her mobility, however, James discovered a new voice within herself. She told Ebony that after the surgery she was able to sing "lower, higher, and louder." With her "new" voice James embraced both touring and studio sessions, traveling the country to perform and recording new albums. For her contributions to blues music, James was inducted into the Blues Hall of Fame in 2001. In 2003 James was honored with a lifetime achievement Grammy award, her own star on Hollywood's walk of fame, as well as a Grammy for best contemporary blues album the next year for Let's Roll. James became especially inspired by Martin Scorsese's documentary The Blues, produced by PBS, and recorded a selection of traditional blues songs on her 2004 album Blues to the Bone, for which she won a Grammy in 2005. Also in 2004, Rolling Stone magazine ranked her #62 on their list of the 100 Greatest Artists of All Time.
James performed at the top world jazz festivals in the world, such as the Montreux Jazz Festival in 1977, 1989, 1990 and 1993, performed nine times at the legendary Monterey Jazz Festival, and the San Francisco Jazz Festival five times. She also performed often at free city outdoor summer arts festivals throughout the US.
In 2006, James released her 28th studio album, All The Way. Attemping to tackle the easy-listening genre with a diverse set of ballads that span the range from Frank Sinatra to songs by Prince, Simply Red, John Lennon, and R. Kelly, many critics found it a letdown following the previous two, powerhouse albums.
James performed at the top world jazz festivals in the world, such as the Montreux Jazz Festival in 1977, 1989, 1990 and 1993, performed nine times at the legendary Monterey Jazz Festival, and the San Francisco Jazz Festival five times. She also performed often at free city outdoor summer arts festivals throughout the US.
In 2006, James released her 28th studio album, All The Way. Attemping to tackle the easy-listening genre with a diverse set of ballads that span the range from Frank Sinatra to songs by Prince, Simply Red, John Lennon, and R. Kelly, many critics found it a letdown following the previous two, powerhouse albums.
Christina Aguilera and Etta James
At nearly 70 years old, James, who had long shared her love of music and continued to wow audiences with her raucous and enthusiastic concerts, showed no interest retiring any time soon. Through the years, she has influenced such artists as Rod Stewart, Keith Richards of the Rolling Stones, Diana Ross, Beyoncé, Bonnie Raitt, Shemekia Copeland, Christina Aguilera, and Hayley Williams of Paramore, Elkie Brooks, Amy Winehouse, Paloma Faith, Joss Stone and Adele.
In 2008, James was loosely portrayed by Beyoncé Knowles in the film, Cadillac Records, loosely based on the rise and fall of James' label of 18 years, Chess Records, and how label founder and producer Leonard Chess helped the career of James and other label mates, though it was noted that James was successful prior to her signing with Chess Records. The film also portrayed that "At Last" was a huge pop hit upon its release but the single was only a minor charted single when it was initially released and James had bigger hits following its release. It also indicated James and Chess, who were realistically 21 years apart from each other, were lovers but that was also inaccurate. Though James and Knowles were later seen at a red carpet event following the film's release embracing each other, James expressed her displeasure with Knowles at a Seattle concert in January 2009 after Knowles sang her song, "At Last", at the frst inaugural ball for Barack Obama a few days before claiming she "can't stand Beyoncé" and that Knowles would "get her ass whipped." James later said that her remarks about Knowles was a joke, but admitted she was hurt that she was not invited to sing her song and that she could've performed it better.
In April 2009, the 71-year-old James made her final television appearance performing "At Last" during an appearance on Dancing with the Stars. In May 2009, James was awarded as the Soul/Blues Female Artist of the Year by the Blues Foundation, the ninth time James had won the award.
In April 2009, the 71-year-old James made her final television appearance performing "At Last" during an appearance on Dancing with the Stars. In May 2009, James was awarded as the Soul/Blues Female Artist of the Year by the Blues Foundation, the ninth time James had won the award.
It was announced that Etta James’ 2011 release, The Dreamer, would be her final album. In his review for Allmusic, Thom Jurek wrote, “She re-creates these songs not as mere touchstones or mementos from a career, but as signposts to the living, breathing tradition that bears the signature and considerable influence of her life upon them. The Dreamer is a fitting -- if not perfect -- bookend to one of American popular music's most iconic lives.”
The forces bringing her recording and performing career to a halt were found in a January 14, 2011, announcement that James had been diagnosed with leukemia and was undergoing treatment. She was hospitalized in May 2011 with a urinary tract infection and the blood infection known as sepsis. On December 16, 2011, it was announced that she was under 24-hour care and was terminally ill from the cancer she has been battling throughout the year. Her manager, Lupe De Leon, stated to the media that she is "in the final stages of leukemia," has been diagnosed with both dementia and Hepatitis C, has been placed on oxygen, is receiving constant care from her husband, and is being visited regularly by her sons. De Leon went on to say, "We're all very sad. We're just waiting..." On December 19, 2011, James's husband and sons reached a deal on managing her estate and medical care. A judge ruled that the amount of money available to Artis Mills, her husband and estate conservator, was to be $350,000 USD. On December 23, 2011, James was rushed to the hospital after having breathing problems and was placed on a breathing machine. On December 30, 2011, she was taken off of the machine after being able to breathe on her own. De Leon said the singer's blood pressure had also returned to normal. But in the following weeks, it was clear that her ailments had taken their toll. Etta James died on January 20, 2012.
The forces bringing her recording and performing career to a halt were found in a January 14, 2011, announcement that James had been diagnosed with leukemia and was undergoing treatment. She was hospitalized in May 2011 with a urinary tract infection and the blood infection known as sepsis. On December 16, 2011, it was announced that she was under 24-hour care and was terminally ill from the cancer she has been battling throughout the year. Her manager, Lupe De Leon, stated to the media that she is "in the final stages of leukemia," has been diagnosed with both dementia and Hepatitis C, has been placed on oxygen, is receiving constant care from her husband, and is being visited regularly by her sons. De Leon went on to say, "We're all very sad. We're just waiting..." On December 19, 2011, James's husband and sons reached a deal on managing her estate and medical care. A judge ruled that the amount of money available to Artis Mills, her husband and estate conservator, was to be $350,000 USD. On December 23, 2011, James was rushed to the hospital after having breathing problems and was placed on a breathing machine. On December 30, 2011, she was taken off of the machine after being able to breathe on her own. De Leon said the singer's blood pressure had also returned to normal. But in the following weeks, it was clear that her ailments had taken their toll. Etta James died on January 20, 2012.
Etta James began her long career as a singer early, singing doo-wop as a teenager in the 1950s. She has endured highs and lows, hampering her own success at times through a reckless existence that included heroin abuse, but she ultimately conquered her addiction, redirected her struggles back into her music, and became an R&B legend. She has enjoyed equal success crooning blues ballads, belting out rhythm and blues and rock and roll, or interpreting jazz. While the ease with which she can navigate these various styles demonstrates her impressive skill, it has also served to confound the music industry as to how to categorize her. In the late 20th century and into the next, James has finally been widely acknowledged as one of the most talented singers of her era.
James may have surprised herself by living long enough to become a big star. Her singing career, more than 50 years long, has included more highs and lows than her vocal range. For decades she subverted her own success by maintaining a reckless lifestyle that included serious drug abuse and a number of questionable love-life decisions. At various career stages she has been a rhythm-and-blues belter, a blues crooner, and a rock-and-roll screamer. Although her powerful voice has handled each type of material with equal skill, this style-hopping has made it hard for the music industry to categorize her. In the 1990s, James finally gained widespread recognition as one of the most gifted singers of her time, much to the delight of hardcore fans who have remained loyal since she recorded her first hits as a teenager in the 1950s. By the turn of the century, James had become a legend.
Although she left behind a rich legacy of recorded magic, when her life came to an end, it was a tragic loss to anyone who loves good music and Etta James, in the purest sense of the term, was good music.
James may have surprised herself by living long enough to become a big star. Her singing career, more than 50 years long, has included more highs and lows than her vocal range. For decades she subverted her own success by maintaining a reckless lifestyle that included serious drug abuse and a number of questionable love-life decisions. At various career stages she has been a rhythm-and-blues belter, a blues crooner, and a rock-and-roll screamer. Although her powerful voice has handled each type of material with equal skill, this style-hopping has made it hard for the music industry to categorize her. In the 1990s, James finally gained widespread recognition as one of the most gifted singers of her time, much to the delight of hardcore fans who have remained loyal since she recorded her first hits as a teenager in the 1950s. By the turn of the century, James had become a legend.
Although she left behind a rich legacy of recorded magic, when her life came to an end, it was a tragic loss to anyone who loves good music and Etta James, in the purest sense of the term, was good music.
Click here to return to the Why I Sing The Blues main page.