Etta "Miss Peaches" James, "I'm a Fool" c/w "Number One," Modern 45x984 (rel. 3/1956)

Soulful...Tuesday? Rhythm and blues comprise the largest part of my 45-RPM collection, so this theme is bound to dominate at times. Today we hear from Etta James, early in her long career, when she recorded for Modern Records, a label with some sketchy business practices. The four Bihari brothers, who founded this and other labels in the post-war r&b boom, got their cut of the pie in every situation. On any of their labels, you'll see recurring songwriter names of"Taub," "Josea" and "Ling." Those are the brothers getting a piece of the royalty action. At times, the brothers would erase the name of the real composer and pop those two pen-names on. 
    Nonetheless, the Biharis introduced a plethora of great Black musical talent to the world. They attempted to horn in on Sam Phillips' action in Memphis with their Meteor label, but their poor recording facility doomed that coup within a few years.
    LA was their home turf, and local performers who wanted to get on records and attract a wider audience tolerated the Bihari bhull. Once they got a couple of hits, they jumped ship to greener pastures. The Biharis owned their early recordings and recycled them on el cheapo LPs on their Crown subsidiary.
    They had singer-songwriter-producer Richard Berry in their corner, as artist and in the studio to supervise recordings. He wrote and produced for this early 1956 single which captures Etta James, future Chess Records artiste, at her early best. Modern's studio got a gritty, high-impact sound and theirs are some of the best r&b records of the era.
    This was Etta's fifth Modern single. She got into recording via Johnny Otis, Greek-American entrepreneur who passed for Black and was a helping hand to r&b and jazz talent in LA. Otis suggested her stage name, based on her mouthful of a moniker, Jamesetta Hawkins. Etta James read well on theater marquees and record covers, and helped her click with a fickle public. She had a major r&b hit with "The Wallflower," also known as "Dance with me, Henry," at the start of 1955. On today's platter, she works the pop side of r&b with stellar results,
    "I'm a Fool," written by Richard Berry, has her backing group, The Peaches, in strong vocal support, with Maxwell Davis' orchestra as the bedrock. The male voice in the vocal chorus is Richard Berry. This rockin' good time is a sadder song than its swinging melody and arrangement suggests. Etta was never a sob sister; she acknowledges hurt and sadness but toughs it out and moves onto something better. This song captures her personality well; Berry had made a good study of the performer and translated his observations into a fine piece of work.

 

Cash Box approved single; driving jump that the kids will love.

https://www.dropbox.com/scl/fi/m5v3z35qjd05ytlps3xt8/2778a.mp3?rlkey=wwxrzvsbtqen1tvch49zm5jh8&st=cvc5baaa&dl=0

"Number One" had its real songwriter credit erased. It might be Richard Berry. I think Berry is on piano on this swingin' jazz-flavored happy romp, which sends The Peaches back to their orchard for a solo fling with Davis' orchestra sassy and light.
    Etta's wailin' stand is mesmerizing; the song has the flavor of Ray Charles' early sides and Ms. James' more confidential tone suggests she'd been diggin' some of Brother Ray's Atlantic singles. Her low-volume finale--quiet but loaded with tension--is most impressive. I'm hard-pressed to pick a favorite side on this record; both are top-tier stuff and tailored for her style to perfection.

https://www.dropbox.com/scl/fi/xhs0n8zvu2b5rcco80m7g/2778b.mp3?rlkey=tt1g6cr7nsfyo45u3qt485ove&st=wjn7ea5i&dl=0

I hope to acquire other early Etta sides; her Argo recordings have been featured her a few times in the past. She's a keeper!

Tomorrow: the first of two days of Jack Nitzsche-arranged records. His wife Grazina sings as 'Sammi Lynn' on a pair of songs written and arranged by Mr. N for Sue Records in 1962.