The late Esther Phillips unquestionably falls into the realm of great singers who never received recognition for what was a lifelong contribution to contemporary music.
Born Esther Mae Jones in Galveston, Texas, she began singing in church as a young child. When her parents divorced, she divided time between her father in Houston and her mother in the Watts area of Los Angeles. It was in Los Angeles, in 1949, that her sister entered her in a talent show at a nightclub belonging to blues man Johnny Otis. So impressed was Otis with the 13-year-old that he brought her into the studio for a recording session with Modern Records and added her to his live revue. Billed as Little Esther, she scored her first success when she was teamed with the vocal quartet the Robins (who later evolved into the Coasters) on the hit single "Double Crossin' Blues.”
It topped the R&B charts in early 1950 and paved the way for "Mistrustin' Blues," "Misery," "Cupid Boogie," and "Deceivin' Blues." In 1951, Little Esther and Otis had a falling out, reportedly over money, which led to her departure from his show, In 1954, she returned to Houston to live with her father, having experimented with hard drugs developing a definite addiction to heroin. Short on money, Little Esther worked in small nightclubs around the South, punctuated by periodic hospital stays in Lexington, Kentucky, stemming from her addiction.
In 1962, Kenny Rogers got her signed to his brother’s Lenox label rediscovering her while singing at a Houston club. She re-christened herself Esther Phillips, choosing her last name from a nearby Phillips gas station. Phillips recorded a country-soul rendition of the soon-to-be standard "Release Me," which was a smash, topping the R&B charts and hitting the Top Ten on both the pop and country charts. Back in the public eye, Phillips recorded a country-soul album of the same name, but Lenox went bankrupt in 1963. Thanks to her recent success, Phillips was able to catch on with R&B giant Atlantic.
Her remake of the Beatles song "And I Love Him" (naturally, with the gender changed) nearly made the R&B Top Ten in 1965 and the Beatles flew her to the U. K. for her first overseas performances. Encouraged, Atlantic pushed her into even jazzier territory for her next album, but none of the resulting singles really caught on and the label dropped her in late 1967. With her addiction worsening, Phillips checked into a rehab facility; while undergoing treatment, she cut some sides for Roulette in 1969 and upon her release, she moved to Los Angeles and re-signed with Atlantic.