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James Carr (with Betty Harris) sings 'I'm a Fool for You' from his 1968 Goldwax album (Bell in UK) 'A Man Needs a Woman'. The lyrics are below with comments about the singers. Note: Betty Harris is not credited on the album or single version of this song - her singing surely raises the song a notch. Images of one of the song's five credited songwriters, George Jackson, appear in the video - with him standing on railroad tracks. [Vinyl/10-Images/WAV] I'm a Fool for You (Singers: James Carr & Betty Harris) Oh, I'm a fool for you I'm a fool for you If you want me to, baby I'll break some rules for you (Means I'm a fool for you I'll be a tool for you) It ain't nothing, baby I wouldn't do for you Now listen I'd walk through the Burning desert sand Just to walk beside you And hold your little hand I'd make you A rainbow in the sky Just to master the facts Of how they glitter in your eye I'm a fool for you, baby I'm a fool for you If you want me, baby I'll break all the rules for you (Means I'm a fool for you I'll be a tool for you) It ain't nothing, baby I wouldn't do for you (Maybe work two jobs Seven days and nights a week You can do me most anyway Yours to do whatever you please) Yes, I'm a fool for you I'm a fool for you It ain't nothing in this world I wouldn't do for you You can use me You can accuse me (Use my heart For a stepping stone) Take my soul, baby I'm yours to hold now (I'd cut myself Right down to the bone) I'm a fool for you, baby I'm a fool for you I'm a fool for you, baby I'm a fool for you Songwriters: Dan Greer, Earl Cage, Jr., George Jackson, Quinton Claunch, Rudolph V. "Doc" Russell [Lyrics from genius.com] Wikipedia states: James Edward Carr (June 13, 1942 – January 7, 2001), was an American rhythm and blues and soul singer, described as "one of the greatest pure vocalists that deep Southern soul ever produced." Born to a Baptist preacher's family in Coahoma, Mississippi, he moved with his parents to Memphis, Tennessee, at the age of three. Carr began singing in church, and performed in gospel groups including the Harmony Echoes, at the same time as making tables on an assembly line in Memphis. After being turned down by Stax, he made his first recordings for Goldwax Records, a small Memphis-based independent record label, in 1964. He released several singles for the label before achieving his first success in 1966, when "You've Got My Mind Messed Up" reached number 7 on the Billboard R&B chart and number 63 on the pop chart. He also released the successful and critically acclaimed album You Got My Mind Messed Up. Carr continued to have chart entries with his later singles on Goldwax, including "Pouring Water on a Drowning Man", but his greatest success and most critically acclaimed performance came in 1967 with his original recording of "The Dark End of the Street", written by Dan Penn and Chips Moman. The song reached number 10 on the R&B chart and number 77 on the pop chart. Carr continued to record for Goldwax until the label closed in 1969 but failed to reach the same heights with his subsequent releases, though "A Man Needs a Woman" in 1968 reached number 16 on the R&B chart and number 63 on the pop chart, and he recorded an album of the same title. After Goldwax closed down in 1969, he released a single on Atlantic Records in 1971, and another on his manager Roosevelt Jamison's River City label in 1977. Betty Harris (born September 9, 1939 in Orlando, Florida, United States) is an American soul singer. Her recording career in the 1960s produced three hit singles that made the US Billboard R&B and Billboard Hot 100 charts: "Cry to Me" (1963), "His Kiss" (1964) and "Nearer to You" (1967). However, her reputation among soul music connoisseurs far exceeds her commercial success of the 1960s, and her recordings for the Jubilee and Sansu record labels are highly sought after in the 2000s by fans of Northern soul and deep soul.
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within African American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was starting to become more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a pi...
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