Etta James and producer Ralph Bass had each just come to the Chess/Argo operation when they gave the world this timeless gem. Bass had spent a long stint at Cincinnati’s King label, immersed in doo-wop, and a time with New Jersey’s Savoy Records prior to that, during the bebop age. James had been on the west coast-based Modern label, selling sporadically and touring endlessly. She had just turned twenty-two and Leonard Chess wanted to see her expand beyond blues shouting. Bass selected this 1942 Harry Warren song from the score of the film Orchestra Wives to begin James’ crossover effort. From the swell of the string section to the piano triplets to James’ trembling delivery, the result is breathtaking.
12.) Time Is Tight – Booker T. and the MGs (1969)
This song is the perfect example of how r&b can make simplicity stunning. It’s a rather straightforward one-four-five progression, but it’s made of sixth chords (instead of the sevenths usually found in blues and soul), giving the whole thing a bright feel. The MGs never sounded tighter, propelled as they were by Al Jackson’s high-hat-driven beat. The climb of Booker T. Jones’ organ into the pure sunshine of Steve Cropper’s fade-out guitar arpeggio sends out the classic Stax soul era at the end of a tumultuous decade in a tense city (Memphis). It’s a note of harmony that is the kind of moment that’s all too rare in this torn world.
13.) Call It Stormy Monday – T-Bone Walker (1947)
This goes here because it is the greatest work by the man who did for blues what Charlie Christian did for jazz: assert the place of single-string electric guitar playing. This is also one of those songs that epitomizes the way those transplanted Texans like Walker, Percy Mayfield and Charles Brown sounded so cool and cocktail-lounge backed by those urbane Los Angeles arrangements. Walker had been in the swing ensembles of Milt Larkin and Les Hite and was completely at home in a milieu of low-moaning saxophones and growling muted trumpets. This was cut for the Black & White label, between Walker’s Capitol and Imperial periods.
14.) Reach Out I’ll Be There – The Four Tops (1966)
This tune shows off everything that made classic-era Motown so mighty. It’s all here: an echo-drenched arrangement that showcases the galloping bass of James Jamerson, first-rate songwriting by Holland-Dozier-Holland, and a gritty, seasoned, supremely manly vocal performance by Levi Stubbs. It was never better.
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