“My guiding force throughout the record was ‘What would Aretha say? What would Otis say?’”

— Morgan James

Soul singer Morgan James is releasing a new album, “Memphis Magnetic,” recorded on analog tape in Memphis at a new studio of the same name. “Memphis Magnetic” will appear Feb. 7. The Wall Street Journal called James “the most promising young vocalist to come along so far this century.” Many fans have heard this praise before. That promise has been realized.

Fans of Morgan James who heard her concert last March at the Stephen’s Performing Arts Center will recall her singing covers of two celebrated albums, “Blue” by Joni Mitchell and the “White Album” by the Beatles. “Memphis Magnetic” is a new direction with 12 original songs. The songs are well crafted and deeply compelling. The titles of the songs are self-explanatory, anticipating the lyrics. Using seasoned Memphis musicians and working with her husband, guitarist and composer Doug Wamble, “Memphis Magnetic” is magnetic, indeed, with high production values and flawless performances.

Here is Morgan James’ assessment of the album:

“I am always influenced by every album I’ve ever heard — like a good author having the brain library and memory of every book they’ve ever read. But ingredients-wise, this is a soul album, through and through.”

Last year at Sun Valley, Morgan James, who was raised in Pocatello, performed in a Gershwin tribute concert, and I suspect the ghost of Aretha Franklin was whispering in her ear, even then.

The first song, “Give You Up,” is a soul rocker with horns and back up singers. It is a perfect dance tune, as well, which is something a “soul” song can deliver. (Think “Respect.”) It is followed by “All I Ever Gave You”, a slower tempo song about losing someone after much pain and personal sacrifice. For Morgan James, her favorite is “I Don’t Mind Waking Up (to a Love This Good)”, a duet with Ryan Shaw. This song has a full band: piano, organ, bass, drums, percussion, two guitars, trumpet, saxophone and a string quartet. It is a love ballad with a dramatic build, an element throughout the album. The two voices harmonize as only two professional singers with a magical connection can. The effect reminded me of John Lennon’s vocals on some of his tender love ballads.

Doug Wamble’s song, “No Love No Life,” with strings and a dominant piano, has this striking lyric: “I have no memory of a life without you.” It is simple, but effective, and a contrast to the playful but accusatory thrust of “I Wish You Would,” not unlike another finger pointing song, “Mr. Big Stuff” By Jean Knight.

There really isn’t a weak song on the album. “You Won’t Let Me” is about a controlling love, and there is “Better Me,” with a nice hook: “No one can ever come close.” “Love Ain’t Worth Living” struck me as a little conventional but features Marc Broussard in a duet. For this reviewer, however, the real gem is “The Lark,” an instrumental interlude of strings played by the Memphis String Quartet, Ann Lesser’s cello taking the lead voice. It is somewhere between a sonata for strings and a romantic film score. This segues into “Who’s Gonna Listen to You (When You’re Crying Now),” a poignant if dark ballad with James’ voice backed by an echoing guitar and strings.

“The lark is singing something and the starlight’s in your eyes

And the moon is in the treetops and the tired evening sighs

And the lies you told are leaving little lines upon your brow

Tell me who’s gonna listen to you when you’re crying now.”

Morgan James commented on the process of this song: “‘The Lark’ is a little interlude Doug wanted to write to bridge the worlds of the whole album and ‘Who’s Gonna Listen to You’ and the poetry therein. Doug studied a lot of scores/arrangements by Clare Fisher, who did all the string arrangements for Prince. ‘Who’s Gonna Listen to You’ was a poem written by Chris Barron, (the lead singer of the Spin Doctors), and Doug and Chris and I had a few writing sessions together and wrote the music to go along with it. It felt like a very contemplative otherworldly way to end the record.”

I agree. It has the feeling of a Shakespearean ballad that leaves a haunting impression on the listener.

I sent downloads of the album to Idaho musicians, including singer-songwriter, Steve Eaton. His reaction was direct: “I love her. … I think she’s awesome.”

Eaton recognized the Aretha Franklin-Bonnie Raitt influence but also heard the unique quality in the Morgan James sound. Local lead guitarist Fred Anderson also echoed praise for James’s gift: “What a vocalist.” Then he asked a poignant question that I often ask: “Why isn’t she selling hit records? She is great.”

The answer might be that to get airplay, especially for an indie album without a major label, it takes endless promotion, connections and big money. Any truly authentic work will eventually surface, somewhere, but can the artist wait that long — and can we? Of Memphis Magnetic, James says, “I’m hoping that the album will speak to people.” I believe it will — if it’s heard.

Here is a link to Morgan James’ website, touring schedule and “Memphis Magnetic”: www.morganjamesonline.com.

Michael Corrigan of Pocatello is a San Francisco native and a retired Idaho State University English and speech communication instructor. He studied screenwriting at the American Film Institute and has authored seven books, many about the Irish American experience.