Streaming ilimitado
Escuche este álbum ahora en alta calidad en nuestras apps
Comenzar mi periodo de prueba gratis y escuchar este álbumDisfrute de este álbum en las apps Qobuz con sususcripción
SuscribirDisfrute de este álbum en las apps Qobuz con sususcripción
When Ray Charles made Modern Sounds in Country and Western Music in 1962, he was operating from a position of power. Two years into his contract with ABC-Paramount, he had already become a fixture in the Top Ten with both his singles and his albums, winning a Grammy for his 1960 single "Georgia on My Mind." Charles had freedom to do whatever he wanted, and he chose to record interpretations of 12 country songs, drawing almost equally from recent hits and older standards. The sly virtuosity within Charles' approach was to treat these tunes as a a songbook to be reinvented, not as songs that were tied to their rural roots. Later, Charles explained that he saw little difference between a country tune and a blues song -- they draw from the same emotions and musical traditions -- but the striking thing about his interpretations on Modern Sounds in Country and Western is that he's not concentrating on the earthier elements of either genre. He's fully focused on playing these songs as he'd play any other, grounding them in jazz and soul, then dressing them in arrangements designed to snag a crossover audience. To latter-day generations, those arrangements -- thick with strings and backing vocals -- may sound slightly schlocky, yet even in 1962 they were a sign of how Charles was as intent on appealing to a mainstream easy listening demographic as he was to his soul and jazz audience. That's the brilliance of the project: it is thoroughly American pop music, blending seemingly disparate elements in a fashion that seems simultaneously universal and idiosyncratic.
Audiences quickly embraced Modern Sounds in Country Music, which lead Charles and producer Sid Feller to record a sequel immediately, rushing it onto the marketplace of October 1962, just six months after the first hit the stars. Time has eroded the differences between the two LPs, and perhaps inevitably so: the two share the same sensibility and arrangers, with the difference being the second volume separates the big band tunes on one side, with the strings and choirs on the other. It's a notable distinction, but the main difference between the two albums is that the first volume retains a sense of discovery, whereas the second is made with the confidence that this particular formula works. In either case, the two albums -- whether heard individually or as a pair, as they so often are -- aren't so much complements but of a piece, music that changed the course of popular music and remains a testament to the genius of Ray Charles.
© Stephen Thomas Erlewine /TiVo
Está escuchando muestras.
Escuche más de 100 millones de pistas con un plan de streaming ilimitado.
Escuche esta playlist y más de 100 millones de pistas con nuestros planes de streaming ilimitado.
Desde $ 4.259,00/mes
Felice Bryant, ComposerLyricist - Sid Feller, Producer - Ray Charles, MainArtist - Boudleaux Bryant, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Cindy Walker, ComposerLyricist - Eddy Arnold, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Curley Williams, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Floyd Tillman, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Zeke Clements, ComposerLyricist - Sid Feller, Producer - Ray Charles, MainArtist - Eddy Arnold, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Frankie Brown, ComposerLyricist - Ray Charles, MainArtist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Buddy Guy, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Jimmie Davis, ComposerLyricist - Floyd Tillman, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Hank Williams, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - W. C. Handy, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Don Gibson, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Hank Williams, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
DISCO 2
Charles Mitchell, ComposerLyricist - Sid Feller, Producer - Ray Charles, MainArtist - Jimmie Davis, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Frankie Brown, ComposerLyricist - Ray Charles, MainArtist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Jimmie S. James Hodges, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Don Gibson, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Chester Atkins, ComposerLyricist - Ray Charles, MainArtist - Boudleaux Bryant, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Don Gibson, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Hy Heath, ComposerLyricist - Sid Feller, Producer - Ray Charles, MainArtist - FRED ROSE, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Hank Williams, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Hy Heath, ComposerLyricist - Sid Feller, Producer - Ray Charles, MainArtist - FRED ROSE, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Lillian Schwope, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Vaughn Horton, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Sid Feller, Producer - Ray Charles, MainArtist - Steve Nelson, ComposerLyricist - FRED ROSE, ComposerLyricist - ED NELSON, ComposerLyricist
℗ 2009 The Ray Charles Foundation under license to Concord Music Group
Presentación del Álbum
When Ray Charles made Modern Sounds in Country and Western Music in 1962, he was operating from a position of power. Two years into his contract with ABC-Paramount, he had already become a fixture in the Top Ten with both his singles and his albums, winning a Grammy for his 1960 single "Georgia on My Mind." Charles had freedom to do whatever he wanted, and he chose to record interpretations of 12 country songs, drawing almost equally from recent hits and older standards. The sly virtuosity within Charles' approach was to treat these tunes as a a songbook to be reinvented, not as songs that were tied to their rural roots. Later, Charles explained that he saw little difference between a country tune and a blues song -- they draw from the same emotions and musical traditions -- but the striking thing about his interpretations on Modern Sounds in Country and Western is that he's not concentrating on the earthier elements of either genre. He's fully focused on playing these songs as he'd play any other, grounding them in jazz and soul, then dressing them in arrangements designed to snag a crossover audience. To latter-day generations, those arrangements -- thick with strings and backing vocals -- may sound slightly schlocky, yet even in 1962 they were a sign of how Charles was as intent on appealing to a mainstream easy listening demographic as he was to his soul and jazz audience. That's the brilliance of the project: it is thoroughly American pop music, blending seemingly disparate elements in a fashion that seems simultaneously universal and idiosyncratic.
Audiences quickly embraced Modern Sounds in Country Music, which lead Charles and producer Sid Feller to record a sequel immediately, rushing it onto the marketplace of October 1962, just six months after the first hit the stars. Time has eroded the differences between the two LPs, and perhaps inevitably so: the two share the same sensibility and arrangers, with the difference being the second volume separates the big band tunes on one side, with the strings and choirs on the other. It's a notable distinction, but the main difference between the two albums is that the first volume retains a sense of discovery, whereas the second is made with the confidence that this particular formula works. In either case, the two albums -- whether heard individually or as a pair, as they so often are -- aren't so much complements but of a piece, music that changed the course of popular music and remains a testament to the genius of Ray Charles.
© Stephen Thomas Erlewine /TiVo
Acerca del álbum
- 2 disco(s) - 24 pista(s)
- Duración total: 01:13:38
- Artistas principales: Ray Charles
- Compositor: Various Composers
- Sello: Concord Records
- Género Soul/Funk/R&B Soul
© 2009 The Ray Charles Foundation ℗ 2009 The Ray Charles Foundation
Premios:
Mejorar la información del álbum