Rating: ****(4 stars)
Title: Shades of a Genius
Company: Chess
Catalog: LP-1492
Year: 1965
Grade (cover/record): NM/NM
Comments: was unopened; opened to tape; played once; still in shrink wrap
Available: 1
Price: $120.00
Even during her mid-'60s commercial prime, Mitty Collier never attracted more than a cult R&B audience and was basically unknown to American pop audiences. That's unfortunate since she has an amazing voice and stands as one of the era's most impressive singers. For our money, she's easily as good as such well known luminaries as Fontella Bass, or Etta James.
Collier's bio sounds like something written for a movie of the week. Born in Birmingham, Alabama she started singing in church, eventually joining The Hayes Ensemble who toured extensively throughout Alabama and Georgia. By the late-'50s, while attending Alabama A&M and Miles College, she'd begun singing non-secular material at local clubs to earn spending money. Her big break came in 1959. Visiting a brother living in Chicago, a former French teacher convinced her to enter a talent contest sponsored by Chicago radio station WGES. Collier won the contest six weeks in a row, attracting the attention of Chess Records talent scout Ralph Bass, who promptly signed her to a recording contract.
On Chess, Collier's career started with a series of singles. After several commercial failures, her first chart success came with 1963's "Part Time Love" b/w "" (Chess catalog number ). It was quickly followed by "I'm Your Part Time Love" b/w "Don't You Forget It" (Chess catalog number 1871), "I Had a Talk With My Man" b/w "Free Girl (In the Morning)" (Chess catalog number 1907) and "No Faith, No Love" b/w "Together" (Chess catalog number 1918 ).
Having been with the label for five years, 1965 finally saw Chess Records release a Collier album. Musically "Shades of a Genius" offered up a somewhat haphazard mix of previously released singles and new material. That said, the album stands as a lost soul treasure. Showcasing her wonderfully deep voice, on material like "Would You Have Listened" and "Ain't That Love" Collier's Gospel-influenced delivery recalled a cross between Etta James and Ray Charles (the album included three Charles covers). Produced by Roqual Davis, its one of those rare soul albums that boasts extensive string arrangements that are both subtle and tasteful, complementing Collier's voice, rather than drowning it out. Personal favorite, her roaring cover of Willie Dixon's "My Babe". (In case anyone cares, Mojo magazine (probably the best music oriented publication in the world), chose the LP as number 19 in their list of the top-100 soul albums.)
"Shades of a Genius" track listing:
(side 1)
1.) Come Back Baby (Ray Charles) - 2:50
2.) I Had a Talk with My Man Last Night (James Cleveland) - 2:35
3.) Would You Have Listened (Teddy Powell) - 2:35
4.) I Gotta Get Away from It All (Lloyd Reese) - 3:05
5.) My Babe (Willie Dixon) - 2:20
6.) Hallellujah (I Love Him So) (Ray Charles) - 2:45
(side 2)
1.) Drown In My Own Tears (Henry Glover) - 2:50
2.) No Faith, No Love (Billy Davis - Leonard Caston ) - 3:30
3.) Together (Billy Davis) - 2:30
4.) Let Them Talk (Sonny Thompson) - 2:35
5.) Little Miss Loneliness (T. Clarke - Billy Davis) - 3:05
6.) Ain't That Love (Ray Charles) - 2:40
The next four years saw Collier release a series of sporadic singles for Chess. Dropped by the label in 1968, the following year saw her sign a contract with William Bell's Atlanta-based Peachtree Records. During her brief partnership with Peachtree Collier managed to release a pair of instantly obscure singles "True Love Never Comes Easy" b/w "" (Peachtree catalog number) and "You Hurt So Good" b/w "I Can't Lose" (Peachtree catalog number). Her final non-secular release was a one-shot single for Stax's Entrance Record. The early-'70s saw Collier return to her secular roots, recording a series three LPs; 1972's "The Warning", 1977's "Hold the Light" and 1987's "I Am Love". By the mid-'90s she'd become an ordained minister at a Chicago church.
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