Ray Charles is an icon - hugely popular and widely regarded as being influential, not least for being "The Genius" responsible for developing soul music. No one person developed soul - soul music is a continuum of RnB and gospel which began in the 1940s and continues today, and Ray Charles was not a soul performer (though he dipped his toe into it in the same way he dipped his toe into other music styles popular in the 50s and 60s, such as swing, jazz, country & western, and to a lesser extent the blues). His main thrust was to be a popular performer, and so he was. In the 1950s he played decent RnB, sometimes with a soul feel, and some minor moody instrumental jazz - these recordings were released on Atlantic. After releasing the astonishing "What'd I Say", a very funky piece of RnB, he became very popular, and followed that up with an album, The Genius of Ray Charles (Oct 1959), of pop standards backed by swing brass and pop strings which was a hit. At that point he switched labels to ABC, and recorded mainstream, smooth pop. Atlantic continued to release his earlier RnB and jazz recordings at the same times as ABC were releasing the pop standards, which makes it hard to follow his career chronologically as the releases are all mixed up. After the 1959 Genius album, he stopped writing original songs, and his arrangements were bold and brassy or lush with strings. Despite his lack of writing or performing soul songs or soul music he is seen as being the main influence on shaping and popularising soul, and because of that is thought of as one of the top 25 important figures in 20th century music.
AllMusic:
Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.
Blind since the age of six (from glaucoma), Charles studied composition and learned many instruments at the St. Augustine School for the Deaf and the Blind. His parents had died by his early teens, and he worked as a musician in Florida for a while before using his savings to move to Seattle in 1947. By the late '40s, he was recording in a smooth pop/R&B style derivative of Nat "King" Cole and Charles Brown. He got his first Top Ten R&B hit with "Baby, Let Me Hold Your Hand" in 1951. Charles' first recordings came in for their fair share of criticism, as they were much milder and less original than the classics that would follow, although they're actually fairly enjoyable, showing strong hints of the skills that were to flower in a few years.
In the early '50s, Charles' sound started to toughen as he toured with Lowell Fulson, went to New Orleans to work with Guitar Slim (playing piano on and arranging Slim's huge R&B hit, "The Things That I Used to Do"), and got a band together for R&B star Ruth Brown. It was at Atlantic Records that Ray Charles truly found his voice, consolidating the gains of recent years and then some with "I Got a Woman," a number-two R&B hit in 1955. This is the song most frequently singled out as his pivotal performance, on which Charles first truly let go with his unmistakable gospel-ish moan, backed by a tight, bouncy horn-driven arrangement.
Throughout the '50s, Charles ran off a series of R&B hits that, although they weren't called "soul" at the time, did a lot to pave the way for soul by presenting a form of R&B that was sophisticated without sacrificing any emotional grit. "This Little Girl of Mine," "Drown in My Own Tears," "Hallelujah I Love Her So," "Lonely Avenue," and "The Right Time" were all big hits. But Charles didn't really capture the pop audience until "What'd I Say," which caught the fervour of the church with its pleading vocals, as well as the spirit of rock & roll with its classic electric piano line. It was his first Top Ten pop hit, and one of his final Atlantic singles, as he left the label at the end of the '50s for ABC.
Charles remained extremely popular through the mid-'60s, scoring big hits like "Busted," "You Are My Sunshine," "Take These Chains From My Heart," and "Crying Time," although his momentum was slowed by a 1965 bust for heroin. This led to a year-long absence from performing, but he picked up where he left off with "Let's Go Get Stoned" in 1966. Yet by this time Charles was focusing increasingly less on rock and soul, in favor of pop tunes, often with string arrangements, that seemed aimed more at the easy listening audience than anyone else. Charles' influence on the rock mainstream was as apparent as ever; Joe Cocker and Steve Winwood in particular owe a great deal of their style to him, and echoes of his phrasing can be heard more subtly in the work of greats like Van Morrison.
One approaches sweeping criticism of Charles with hesitation; he was an American institution, after all, and his vocal powers barely diminished over his half-century career. The fact remains, though, that his work after the late '60s on record was very disappointing. Millions of listeners yearned for a return to the all-out soul of his 1955-1965 classics, but Charles had actually never been committed to soul above all else. Like Aretha Franklin and Elvis Presley, his focus was more upon all-around pop than many realize; his love of jazz, country, and pop standards was evident, even if his more earthy offerings were the ones that truly broke ground and will stand the test of time. He dented the charts (sometimes the country ones) occasionally, and commanded devoted international concert audiences whenever he felt like it. For good or ill, he ensured his imprint upon the American mass consciousness in the 1990s by singing several ads for Diet Pepsi. He also recorded three albums during the '90s for Warner Bros., but remained most popular as a concert draw. In 2002, he released Thanks for Bringing Love Around Again on his own Crossover imprint, and the following year began recording an album of duets featuring B.B. King, Willie Nelson, Michael McDonald, and James Taylor. After hip replacement surgery in 2003, he scheduled a tour for the following summer, but was forced to cancel an appearance in March 2004. Three months later, on June 10, 2004, Ray Charles succumbed to liver disease at his home in Beverly Hills, CA. The duets album, Genius Loves Company, was released two months after his death. The biopic Ray hit screens in the fall of 2010 and was a critical and commercial success, with the actor who portrayed Charles in the move, Jamie Foxx, winning the 2005 Academy Award for Best Actor for his role. Two more posthumous albums, Genius & Friends and Ray Sings, Basie Swings, appeared in 2005 and 2006 respectively. Charles' recordings began reappearing in various facsimile editions, reissues, re-masters, and box sets as his entire recorded legacy received the attention that befits a legendary American artist.
Wikipedia:
Ray Charles Robinson (September 23, 1930 – June 10, 2004) was an American singer, songwriter, pianist, and composer. Among friends and fellow musicians he preferred being called "Brother Ray." He was often referred to as "The Genius." Charles was blinded during childhood due to glaucoma.
Charles pioneered the soul music genre during the 1950s by combining blues, rhythm and blues, and gospel styles into the music he recorded for Atlantic. He contributed to the integration of country music, rhythm and blues, and pop music during the 1960s with his crossover success on ABC Records, notably with his two Modern Sounds albums. While he was with ABC, Charles became one of the first black musicians to be granted artistic control by a mainstream record company.
Charles' 1960 hit "Georgia On My Mind" was the first of his three career No. 1 hits on the Billboard Hot 100. His 1962 album, Modern Sounds In Country And Western Music, became his first album to top the Billboard 200. Charles had multiple singles reach the Top 40 on various Billboard charts: 44 on the US R&B singles chart, 11 on the Hot 100 singles chart, 2 on the Hot Country singles charts.
Charles cited Nat King Cole as a primary influence, but his music was also influenced by Louis Jordan and Charles Brown. He had a lifelong friendship and occasional partnership with Quincy Jones. Frank Sinatra called Ray Charles "the only true genius in show business," although Charles downplayed this notion. Billy Joel said, "This may sound like sacrilege, but I think Ray Charles was more important than Elvis Presley".
Charles is a 17-time Grammy Award winner. He was honoured with the Grammy Lifetime Achievement Award in 1987; 10 of his recordings have been inducted into the Grammy Hall of Fame. In 2002, Rolling Stone ranked Charles No. 10 on their list of the "100 Greatest Artists of All Time," and No. 2 on their list of the "100 Greatest Singers of All Time" in 2008.
The albums
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| Ray Charles (1957) |
The first Ray Charles album is, as was typical for debut albums in the 50s, a compilation of the singles released in the years previously. "Mess Around" (1953) was Charles' first hit - it is a copy of the New Orleans boogie instrumental "Cow Cow Blues" by Cow Cow Davenport with lyrics by Ahmet Ertegun.
Dean Martin - This Time I'm Swingin'
Bing Crosby and Louis Armstrong - Bing & Satchmo
Julie London - Around Midnight
Sammy Davis Jnr - I Gotta Right To Swing
Ella Fitzgerald - Let No Man Write My Epitaph - not orchestral, but an example of emerging soulful singing of pop standards.
I looked into orchestrated country music and country music which incorporated jazz and/or swing. And I found Western swing, a music style that developed in the 1920 and 30s. The most prominent figure in Western swing was Bob Wills, who had a number of hits in the 40s, including "Ida Red", which Chuck Berry used as the basis for "Maybelline". A representative album is Round Up from 1949. He had a resurgence in the early 60s, starting with Together Again (1960).
I'm still unsure about this album. It's smooth, and it's well done, and Charles has an attractive voice, but it's rather boring old fashioned easy listening Sunday Family Favourites stuff, and in the same style as other swing albums of the time.
Rolling Stone
Wikipedia
AllMusic:
Score: 4
1970
1971
Marvin Gaye releases What's Going On, so Ray Charles releases an album of songs themed by social consciousness. As though there's no difference between social conscious songs and country & western songs or crying songs or humorous songs or songs about travelling. Just one more theme album to sell to the masses to make more money for Stevens. Sigh. The irony is that this is actually a listenable album full of soul, without the usual bombastic syrupy strings that dominated the bulk of Charles' 60s recordings.
Discogs
AllMusic: 5
Score: 4 1/2
Through the Eyes of Love
1973
1974
1975
1976
1977
1978
1979
1980
1983
1984
1985
1986
1988
1990
1993
1996
2002
1972
1973
1974
1975
1976
1977
1978
1979
1980
1983
1984
1985
1986
1988
1990
1993
1996
2002
The last album Ray Charles recorded, released two months after his death in June 2004. It is, as during his popular peak in the 60s, an album of pop standards, though this time recorded as a set of duets with a range of people, similar to the 1999 Tom Jones Reload album, though not as good. Charles's voice is tired, and there is a general tired feeling about the whole album, despite the illustrious cast. That's not to say the album is a dud. There are strong moments ("It Was A Good Year" with Willie Nelson works well), and the whole thing is done, as usual, with a slick and professional polish an an eye for commercial appeal. But it's not a great album. It's an album you can listen to as one of the better Ray Charles albums in his long career, but given how little life and soul he genuinely brings to this set of tunes that's a sad epitaph.
What'd I Say (
This is it. If Ray Charles didn't do anything else, he'd be remembered for this. It works. There is an RnB feel about it, there is an intense call and response, though the rhythm is a rumba.
Shake A Tail Feather (Blue Brothers - 1980)
Popular RnB number done in a lively tongue-in-cheek manner during the film. It's very cool, and the filming has the keyboards reflected in Ray's sunglasses.
I Can't Stop Loving You (Modern Sounds Vol 1 - 1962)
Big hit. This is very cheesy slick commercialism. It is so cheesy it has an ironic, albeit limited, charm. The arrangement is the same as Don Gibson's original, though with added strings and cheese. I suspect it is the sweeping production that causes people to swoon over Charles' version, as the original is more moving and tasteful. However, Charles does have an attractive, warm voice. In later life he played it with more soul. This version from a TV show in 1972 has more feeling than his 1962 version.
Hit The Road Jack (Single - June 1961)
Appealing RnB number that Charles played live with style, humour and affection as befits such a simple song. It had an appealing direct, driving rhythm, and an anthemic topic. I like it. The song was written by Percy Mayfield who did a crude but effective demo of it in 1960, which indicates that it is the song itself rather than Ray Charles which works, because even this awful demo, with the female vocalist coming in at the wrong time, and with such a weak voice, and echoey finger snaps to keep the beat, it has magic.
Georgia On My Mind (The Genius Hits The Road - 1960)
Charles' first big hit. That set the tone for all his 60s work with ABC. Sentimental mush. It works, but it's not great music. The song was written and originally sung by Hoagy Carmichael in 1930.
You Don't Know Me (Modern Sounds Vol 1 - 1962)
Busted (Ingredients - 1963)
Best songs - sources
Forum
AXS
GQ
Telegraph
CRH
TopTen
Plexus
EW
Zoom
Links
* Discography
* Southern soul
* Telegraph obituary
AllMusic:
Score: 5
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| The Great Ray Charles (1957) |
This is a quiet, instrumental jazz record. It was Charles' first album created from a dedicated recording session. Other tracks from the session were released as The Genius After Hours in 1961. This recording on Spotify combines the tracks, putting them in a new order. It's a modest album.
AllMusic:
Score: 3 1/2
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| Soul Brothers / Soul Meeting (June 1958) |
More modest, tasteful instrumental bluesy jazz. It's listenable, but not remarkable. Two jazz guys having a pleasant Sunday afternoon gently riffing. This CD includes Soul Meeting, an album released by Atlantic in 1961 which used tracks from the same recording sessions.
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| Ray Charles at Newport (Nov 1958) |
Live albums were quite popular for RnB and jazz in the late 50s early 60s. This is the first live album by Charles - recorded at the Newport Jazz Festival in July 1958. It's a decent RnB performance, nicely recorded. Cool. Charles plays sax at places, and also piano.
AllMusic: 9
Score: 5
 |
| Yes Indeed! (Oct 1958) |
A compilation of singles from 1952 to 1958. It's pleasant enough RnB, but is secondary after the 1957 debut compilation.
Wikipedia
AllMusic:
Score: 4
Wikipedia
AllMusic:
Score: 4
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| What'd I Say (Sept 1959) |
We're on different fucking planet with this album! From the opening bars of "What'd I Say" this hits as something fresh and funky. Finger snapping RnB! I like this.
Wikipedia
AllMusic: 6 (no review)
Score: 6 1/2
Wikipedia
AllMusic: 6 (no review)
Score: 6 1/2
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| The Genius of Ray Charles (Oct 1959) |
There's still RnB and jazz here, but it's enriched with brass and strings to create something very commercial and appealing. Actually, there's some great songs on here - not written by Charles though. This is a very smoothly done pop record.
Wikipedia
AllMusic:
Score: 5 1/2
Wikipedia
AllMusic:
Score: 5 1/2
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| Ray Charles in Person (May 1960) |
Charles had signed a recording contract with ABC in November 1959, and they would release all his new pop-oriented material. Atlantic would, however, continue to release material they owned, which mostly consisted of RnB and occasional instrumental jazz. This is a live RnB album recorded in 1959 around the time he was making the pop album The Genius of. It's a decent live album. The live version of "What'd I Say" is good, though not as hot as the studio version: "What'd I Say", perhaps partly due to the muddy recording of the live set. Charles' voice is quite wild and passionate at times, picking up on ideas from Little Richard and other wild RnB and rock and roll performers.
Charles signs a record deal with ABC and Paramount, which gives him more control over the music and the recordings, and more money. This is the first release by ABC. Despite the title, it's not a live album - the songs on the album are selected because the titles mention places in America. Not really a concept as such, but certainly a themed album, which seemed a popular thing at the time, led by some of Sinatra's album. Indeed, the album is in Sinatra style swing, and Charles is singing in Sinatra style. All the songs are covers of old standards, all pre-1950s, and most from the 20s. It reminds me of BBC radio before Radio One was formed. It is pleasant, but a bit cheesy. It's kinda second rate Sinatra. It's the album I've liked least so far. But from this album came "Georgia On My Mind", his first number 1 hit, and that success seemed to lock Charles into recording mush for most of the 60s.
Wikipedia
AllMusic:
Score: 3
Wikipedia
AllMusic:
Score: 3
 |
| Dedicated to You (Jan 1961) |
Continuing the ABC pop standards albums, this one on the theme of songs named after women. It is very cheesy. Wear a nose plug when listening to this because it stinks!
After Charles signed to ABC, Atlantic would release material they owned which had been recorded in the 50s. Soul Meeting was a release of tracks recorded during the same sessions for the 1958 release, Soul Brothers. It's the same style of laid back casual bluesy jazz.
Wikipedia
AllMusic: 9
Score: 3 1/2
Wikipedia
AllMusic: 9
Score: 3 1/2
 |
| Genius + Soul = Jazz (March 1961) |
Smooth big band jazz arranged by Quincy Jones. Pleasant, but fairly standard stuff.
Wikipedia
AllMusic:
Score: 2 1/3
Wikipedia
AllMusic:
Score: 2 1/3
 |
| The Genius After Hours (June 1961) |
Tracks recorded for The Great Ray Charles (1957) but not used, released by Atlantic because they had lost Ray Charles to ABC. It's the same modest quiet instrumental jazz as the 1957 album, so this isn't an improvement. Indeed, it's just a tad more boring.
Wikipedia
AllMusic:
Score: 3
Wikipedia
AllMusic:
Score: 3
 |
| Ray Charles and Betty Carter (July 1961) |
This duet album with jazz singer Betty Carter throws away the promise of the two of them singing together for a pop standards approach with strings and superficial pop swing. It is occasionally pleasant, but on the whole this is a simple commercial recording which lacks oomph.
Wikipedia
AllMusic: 8
Score: 3
AllMusic: 8
Score: 3
 |
| The Genius Sings the Blues (Sept 1961) |
Another Atlantic release of old recordings. This one focuses on tracks with a particular blues approach. The recordings are from Charles' peak period, and have a raw feeling, with a certain authentic touch that is missing on the glossy pop work of the Sixties. The album has a good sound, and the music, despite being spread over several years worth of recording, has a feel of unity, so it comes across as perhaps one of the most focused of Charles' albums outside of the instrumental jazz recordings. The debut album has a better collection of songs, and the 1959 What'd I Say has the most power and impact, but this has a better cohesion.
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| Ray Charles Greatest Hits (1962) |
An ABC greatest hits compilation of his pop standards. It's notable that when he started to record for ABC he either gave up writing, or he no longer had songs credited to him. There's a lot of fluff on this "greatest hits" compilation.
This has a huge reputation as an album that brought country into the mainstream and modernised it. I'm not quite getting the country sound on this album - it sounds like the same old pop swing that he's been doing since 1959. Looking at the writers of the songs, they were mostly writers of country songs. Reading the story of the album. a bunch of country songs were selected for Charles, who went through them to find those he liked , and they were then given the Ray Charles "genius" touch of lush strings or upbeat jazzy pop brass. The album was a popular success, and has acquired a solid critical reputation recently as a landmark album in American music history. I'm not quite there yet with the appreciation. Certainly the album was popular, but I'm not sure what impact musically the album had. Did it change anything? The songs are good. They are successful and popular songs, and looking at the history of each song, they were more successful and most are still today associated with other performers than Ray Charles. You put "Bye Bye Love" into YouTube and Google, and it's the Everly Brothers version that comes up top, along with others, but not Ray Charles. "Half as Much" brings up Rosemary Clooney and Hank Williams, but not Ray. "I Love You So Much It Hurts" brings up Patsy Cline, then Ray, then Merle Haggard. "Just a Little Lovin' (Will Go a Long Way)" brings up Eddy Arnold then Ray.
Compare with other pop/swing orchestral albums released around the same time:
| No. | Title | Original | Ray |
|---|---|---|---|
| 1. | "Bye Bye Love" | Everly Brothers '57 Webb Pierce '57 | Ray |
| 2. | "You Don't Know Me" | Eddy Arnold ' 56 Lenny Welch '60 | Ray |
| 3. | "Half as Much" | Hank Williams '52 Rosemary Clooney '52 | Ray |
| 4. | "I Love You So Much It Hurts" | Patsy Cline '61 Floyd Tillman '48 | Ray |
| 5. | "Just a Little Lovin' (Will Go a Long Way)" | Eddy Arnold '48 Bing Crosby '52 | Ray |
| 6. | "Born to Lose" | Ray |
| No. | Title | Original | Ray |
|---|---|---|---|
| 1. | "Worried Mind" | Ted Daffan, Jimmie Davis | 2:54 |
| 2. | "It Makes No Difference Now" | Floyd Tillman, Jimmie Davis | 3:30 |
| 3. | "You Win Again" | Hank Williams | 3:29 |
| 4. | "Careless Love" | Bessie Smith | Ray |
| 5. | "I Can't Stop Loving You" | Don Gibson | Ray |
| 6. | "Hey, Good Lookin'" | Hank Williams | Ray |
Compare with other pop/swing orchestral albums released around the same time:
Dean Martin - This Time I'm Swingin'
Bing Crosby and Louis Armstrong - Bing & Satchmo
Julie London - Around Midnight
Sammy Davis Jnr - I Gotta Right To Swing
Ella Fitzgerald - Let No Man Write My Epitaph - not orchestral, but an example of emerging soulful singing of pop standards.
I looked into orchestrated country music and country music which incorporated jazz and/or swing. And I found Western swing, a music style that developed in the 1920 and 30s. The most prominent figure in Western swing was Bob Wills, who had a number of hits in the 40s, including "Ida Red", which Chuck Berry used as the basis for "Maybelline". A representative album is Round Up from 1949. He had a resurgence in the early 60s, starting with Together Again (1960).
I'm still unsure about this album. It's smooth, and it's well done, and Charles has an attractive voice, but it's rather boring old fashioned easy listening Sunday Family Favourites stuff, and in the same style as other swing albums of the time.
Rolling Stone
Wikipedia
AllMusic:
Score: 4
 |
| Modern Sounds in Country and Western Music Volume Two (1962) |
This is more of the same as Vol One. Dean Martin was doing the same thing: Country Style (1963), which shows that it was popular. This middle of the road sappy pop has never really been my thing. I like pop, but I like it more breezy and fresh.
Wikipedia
AllMusic:
Score: 3
Wikipedia
AllMusic:
Score: 3
 |
| Ingredients in a Recipe for Soul (1963) |
This is more of the same - American pop standards like Ol' Man River, Over The Rainbow, You'll Never Walk Alone, covered with the syrupy style of heavy strings and cheese typical of the period.
 |
| Sweet & Sour Tears (March 1964) |
Syrupy again, but there's a bit of soul in the delivery. Take away the strings, and this could be acceptable. The theme is songs with tears or crying in the title. For fuck's sake....
Round about now I'm thinking that Charles is a rather old fashioned middle of the road pop entertainer who lacked authenticity and credibility. He was employing 40s swing dressed up with syrupy strings when more adventurous and committed musicians were developing soul, rock, funk, jazz, and RnB. He dabbled in those, but never embraced them. When he signed to ABC he even gave up on the effort of writing songs, simply performing other people's songs, and gave up on arranging, letting others do that as well. Heck, he mostly didn't even chose the songs himself! He wasn't an artist, he was simply a cash machine, a juke box to poke and watch perform. But then along comes the occasional album, like this 1965 Live in Concert, in which he performs with such tenderness and warmth, and the music is easy and attractive, that I can see the pull. He does the smokey nightclub vibe so well. But then, so do others. And others do a little more with it than Charles. What is particularly sad about this album is that the best tracks are the songs he wrote years ago, the best is just make weight covers. Pleasant, but trivial. Yes, it's a listenable and enjoyable album. But it's supposed to be listenable and enjoyable. And there are hundreds of listenable and enjoyable albums in this vein. What I really want is either something new and interesting, something creative, or something very well done. This is none of those things. This is just going through the motions and raking in the money. But, while it's on the turntable, it works just fine. What can you do?
I can't find a copy of the album online, just the title track. It seems to be more of the same old same old.
Wikipedia
AllMusic:
Score: 2 1/2
Wikipedia
AllMusic:
Score: 2 1/2
 |
| Crying Time (1966) |
More of the same.
I can only find one track from this album. An instrumental.
Wikipedia
AllMusic:
Score: 2 1/2
Wikipedia
AllMusic:
Score: 2 1/2
 |
| Invites You to Listen (June 1967) |
The 60s was an interesting time when music and society was changing and developing. You get absolutely no sense of that at all from Ray Charles' albums. It's just the same old same old pop standards covered in the same old same old creaking swing style. This is so dated. No, wait, there's a cover of a Beatles song. Sorry, a cover of the old fashioned McCartney song, "Yesterday". The most covered song in the world.
 |
| A Portrait of Ray (1968) |
Another album. He did a lot. Mostly the same. Covers.
1970
1971
Marvin Gaye releases What's Going On, so Ray Charles releases an album of songs themed by social consciousness. As though there's no difference between social conscious songs and country & western songs or crying songs or humorous songs or songs about travelling. Just one more theme album to sell to the masses to make more money for Stevens. Sigh. The irony is that this is actually a listenable album full of soul, without the usual bombastic syrupy strings that dominated the bulk of Charles' 60s recordings.
Discogs
AllMusic: 5
Score: 4 1/2
Through the Eyes of Love
1973
Later years
1974
Come Live with Me
1975
1976
Porgy and Bess (with Cleo Laine)
1977
1978
Love & Peace
1979
Ain't It So
1980
Brother Ray Is at It Again
1983
Wish You Were Here Tonight
1984
A duets album. It's a fairly country focused album, both in terms of the style of the music, and the artists selected as vocal partners - the obligatory Willie Nelson. Johnny Cash, Hank Williams, etc. It feels more like a Willie Nelson album than a Ray Charles album. It's OK, but fairly ordinary and low key.
Wikipedia
AllMusic:
Score: 3
Wikipedia
AllMusic:
Score: 3
1985
The Spirit of Christmas
1986
From the Pages of My Mind
1988
1990
Would You Believe
1993
My World
1996
Strong Love Affair
Berlin '62
Berlin '62
2002
Thanks for Bringing Love Around Again
Ray Charles' last album, released two months after his death in June, 2004. This is an album of pop standards (as usual) but done as duets with a variety of performers such as Elton John, Willie Nelson, Van Morrison and Gladys Knight. It's a weak and weary album, but given the timing of the release and those involved it sold well.
Summary
(to be done)
Voice/Musicianship (15), Image/Star quality (10), Lyrics/Music (20), Impact/Influence (10), Popularity (5), Emotional appeal (5), Authenticity (25), and Legacy (10). Total: 100Discography
Atlantic releases
Ray Charles at Newport (1958) 5
Yes Indeed! (1958) 4
Ray Charles Greatest Hits (1962) 3
Modern Sounds in Country and Western Music (1962)
Modern Sounds in Country and Western Music Volume Two (1962)
Modern Sounds in Country and Western Music (1962)
Modern Sounds in Country and Western Music Volume Two (1962)
Invites You to Listen (1967)
A Portrait of Ray (1968)
I'm All Yours Baby! (1969)
Doing His Thing (1969)
My Kind of Jazz (1970)
Love Country Style (1970)
Volcanic Action of My Soul (1971)
1972
Message From the People
Through the Eyes of Love
Through the Eyes of Love
1973
Later years
1974
Come Live with Me
1975
1976
Porgy and Bess (with Cleo Laine)
1977
1978
Love & Peace
1979
Ain't It So
1980
Brother Ray Is at It Again
1983
Wish You Were Here Tonight
1984
Do I Ever Cross Your Mind
Friendship
Friendship
1985
The Spirit of Christmas
1986
From the Pages of My Mind
1988
1990
Would You Believe
1993
My World
1996
Strong Love Affair
Berlin '62
Berlin '62
2002
Thanks for Bringing Love Around Again
 |
| Genius Loves Company (2004) |
Best Ray Charles songs
What'd I Say (
This is it. If Ray Charles didn't do anything else, he'd be remembered for this. It works. There is an RnB feel about it, there is an intense call and response, though the rhythm is a rumba.
Shake A Tail Feather (Blue Brothers - 1980)
Popular RnB number done in a lively tongue-in-cheek manner during the film. It's very cool, and the filming has the keyboards reflected in Ray's sunglasses.
I Can't Stop Loving You (Modern Sounds Vol 1 - 1962)
Big hit. This is very cheesy slick commercialism. It is so cheesy it has an ironic, albeit limited, charm. The arrangement is the same as Don Gibson's original, though with added strings and cheese. I suspect it is the sweeping production that causes people to swoon over Charles' version, as the original is more moving and tasteful. However, Charles does have an attractive, warm voice. In later life he played it with more soul. This version from a TV show in 1972 has more feeling than his 1962 version.
Hit The Road Jack (Single - June 1961)
Appealing RnB number that Charles played live with style, humour and affection as befits such a simple song. It had an appealing direct, driving rhythm, and an anthemic topic. I like it. The song was written by Percy Mayfield who did a crude but effective demo of it in 1960, which indicates that it is the song itself rather than Ray Charles which works, because even this awful demo, with the female vocalist coming in at the wrong time, and with such a weak voice, and echoey finger snaps to keep the beat, it has magic.
Georgia On My Mind (The Genius Hits The Road - 1960)
Charles' first big hit. That set the tone for all his 60s work with ABC. Sentimental mush. It works, but it's not great music. The song was written and originally sung by Hoagy Carmichael in 1930.
You Don't Know Me (Modern Sounds Vol 1 - 1962)
Busted (Ingredients - 1963)
Best songs - sources
Forum
AXS
GQ
Telegraph
CRH
TopTen
Plexus
EW
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Summary
Voice/Musicianship (15), Image/Star quality (5), Lyrics/Music (20), Impact/Influence (10), Popularity (5), Emotional appeal (5), Authenticity (15), Art (5), Classic albums/songs (5), Originality/Innovation (5), and Legacy (10). Total: 100Links
* Discography
* Southern soul
* Telegraph obituary
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