Janis Joplin to James Brown: the five best covers performed by Etta James
You could ask 100 people who the greatest vocalist of all time is, and you would receive 100 different answers. However, the likelihood is that the unforgettable tones of Etta James would feature within that list. Across her six-decade career, the LA-born singer repeatedly affirmed her distinctive ability to transcend genre, incorporating elements of R&B, gospel, blues, and rock, among many other styles. James proved her transgressive qualities both through her own tracks and the various cover songs she performed over the years.
James herself was often covered, with the iconic ‘At Last’ being reimagined by everybody from Beyoncé to Stevie Wonder. Although the piece was originally written by Mack Gordon and Harry Warren in 1941, it was Etta James’ R&B arrangement that became the definitive version of the song. Her vocal performance unsurprisingly dwarfed the efforts of Warren and Gordon, sparking the imaginations of countless future artists who took on the track.
Those same vocals that made ‘At Last’ such an iconic number soon lent themselves to a variety of popular works. James could not be bound by the limitations of genre, moving disparately from the traditional R&B and gospel that had established her as a regular of the charts to the rock and roll stylings of countercultural groups like The Rolling Stones or Big Brother and the Holding Company.
Over the years, James recorded over 250 cover tracks, ranging from complete reimaginations to faithful recreations. The cover song is a tricky beast to tame, but James never seemed to have much difficulty in imbuing pieces with new life, speaking to the star quality that she so perfectly encapsulated. So, with that in mind, we have selected five highlights from Etta’s long list of cover songs, which form some of the most interesting points in the singer’s entire body of work.
Etta James’ five best covers:
‘Ball and Chain’ – Big Mama Thornton
Although originally penned by the blues legend Big Mama Thornton, ‘Ball and Chain is probably best remembered for being an anthem of 1960s counterculture, recorded by Janis Joplin with her group Big Brother and the Holding Company. James recorded this stunningly beautiful version for a tribute album to Joplin, released in 1997 as Blues Down Deep.
Taking on one of the greatest songs ever put onto tape is surely a daunting task, but James seemingly took it in her stride. On this cover, she is as effortlessly cool and extraordinarily emotional as ever. As the listener, you find yourself hanging on each and every word as if they came directly from the heart of James. The cover is not only an exceptional tribute to Joplin and Big Mama Thornton but also to the intensity of James’ vocal talents.
‘(In My) Solitude’ – Duke Ellington
A jazz standard written by none other than Duke Ellington, ‘Solitude’ was perfected by Billie Holiday. Lady Day was an unavoidable influence on Etta, with the singer covering Holiday numerous times throughout her career, though ‘Solitude’ remains a definite highlight. Of course, nobody could eclipse the intense talent of Billie Holiday herself. The jazz star is often hailed as one of the greatest singers and performers of all time, but James’ cover remains an incredible homage to her hero.
Featured on the 2001 album Blue Gardenia, composed entirely of jazz standards, James’ rendition of ‘Solitude’ does not stray too far from the original. Occurring later on in the singer’s career, her weathered, experienced voice lends more emotional weight to the heartbreaking song. It seems impossible to listen to the piece without imagining yourself in some smoky jazz club in New York, drinking red wine and gazing longingly into the eyes of your nearest and dearest.
‘Inner City Blues (Makes Me Wanna Holler)’ – Marvin Gaye
Originally featured on the seminal album What’s Going On by Marvin Gaye, ‘Inner City Blues’ marked the Motown star’s departure from pithy pop songs to a socially conscious and politically active soul icon. Detailing life in the ghetto and the poverty that disproportionately affects Black Americans, it is a funky yet incredibly impactful piece – made all the more so affecting by the vocal performance of Etta James.
Released on her 1998 record Life, Love & the Blues, which was made up largely of cover songs, her version of Gaye’s classic is less bass-heavy than the original but does not lose any of the funk or lyrical impact. Although James is not often considered to be a politically conscious singer, at least not in the same way as Marvin Gaye, this cover affirms her social awareness and consciousness – though it is fairly depressing that the track is as relevant today as when she recorded it in the 1990s, or when Gaye penned the original in 1971.
‘It’s a Man’s Man’s Man’s World’ – James Brown
All the Way was a fairly strange album to come from Etta, the 2006 effort composed entirely of covers that don’t seem to have much relevance to her career. However, one of the highlights to come from the record is her cover of James Brown’s problematic classic ‘It’s a Man’s Man’s Man’s World’. Incorporating Spanish guitar, the cover is a slow, brooding retelling of Brown’s chauvinistic song.
Given that the piece was allegedly first written by backing singer Betty Jean Newsome, it seems fitting that a woman like Etta James should perfect Brown’s song. Her version is lacking in the soulful brass horns of Brown’s original, which does mean it loses some of its original appeals, though James’ vocals more than makeup for that loss.
‘Money (That’s What I Want)’ – Barrett Strong
James was no stranger to covering Motown classics, though they weren’t always as deep as Marvin Gaye. Written by label boss Berry Gordy Jr, ‘Money’ is among the most recognisable tracks of early Motown, thanks largely to the performance of Barrett Strong. The song has been covered countless times over the years, with everybody from The Beatles to The Flying Lizards having a crack at the materialistic anthem. For James’ version, she stuck fairly closely to the original, though her vocals put Barrett Strong to shame.
The cover was featured on Etta James Rocks the House, her first live album, and speaks to the unbelievable quality of her performance in a live setting. The impactful, often strained vocals are representative of her early material, which was endearing in its somewhat lo-fi quality – at least in comparison to the high-budget polished productions of her later work.
