Musik-Streaming
Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität
Testen Sie Qobuz kostenlos und hören Sie sich das Album anHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Abonnement abschließenHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Download
Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen.
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
Sie hören derzeit Ausschnitte der Musik.
Hören Sie mehr als 100 Millionen Titel mit unseren Streaming-Abonnements
Hören Sie diese Playlist und mehr als 100 Millionen Tracks mit unseren Streaming-Abonnements
Ab 12,49€/Monat
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
DISC 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
Albumbeschreibung
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
Informationen zu dem Album
- 2 Disc(s) - 24 Track(s)
- Gesamte Laufzeit: 01:13:38
- Künstler: Ray Charles
- Komponist: Various Composers
- Label: Concord Records
- Genre: Soul/Funk/R&B Soul
© 2009 The Ray Charles Foundation ℗ 2009 The Ray Charles Foundation
Auszeichnungen:
Verbesserung der AlbuminformationenWarum Musik bei Qobuz kaufen?
-
Streamen oder downloaden Sie Ihre Musik
Kaufen Sie ein Album oder einen einzelnen Track. Oder hören Sie sich mit unseren hochqualitativen Streaming-Abonnements einfach den ganzen Qobuz-Katalog an.
-
Kein DRM
Die heruntergeladenen Daten gehören Ihnen ohne jegliche Nutzungsbeschränkung. Sie können sie sooft herunterladen wie Sie möchten.
-
Wählen Sie das Format, das am Besten zu Ihnen passt
Sie können beim Download Ihrer Einkäufe zwischen verschiedenen Formaten (FLAC, ALAC, WAV, AIFF...) wählen.
-
Hören Sie Ihre Einkäufe mit unseren Apps
Installieren Sie die Qobuz-Apps für Smartphones, Tablets und Computer und hören Sie Ihre Musikeinkäufe immer und überall.