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Ray Charles Genius Loves Company (2-LP, 180g Vinyl, Ltd.)

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(2004/Pure Audiophile) 12 tracks - Pure Audiophile Records, Ltd. is printed on the spine, back... more

Ray Charles: Genius Loves Company (2-LP, 180g Vinyl, Ltd.)

(2004/Pure Audiophile) 12 tracks - Pure Audiophile Records, Ltd. is printed on the spine, back cover and each record label. Issued under the exclusive license to Concord Records is printed on both the back cover as well as each record label. Manufactured and Distributed by Pure Audiophile Records, Ltd. is printed on the back cover.

Video von Ray Charles - Genius Loves Company (2-LP, 180g Vinyl, Ltd.)

Article properties: Ray Charles: Genius Loves Company (2-LP, 180g Vinyl, Ltd.)

  • Interpret: Ray Charles

  • Album titlle: Genius Loves Company (2-LP, 180g Vinyl, Ltd.)

  • Genre R&B, Soul

  • Year of publication 2004
  • Geschwindigkeit 33 U/min
  • Vinyl Size LP (12 Inch)
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • 180g Vinyl
  • Edition 2 Limited Edition
  • Label Pure Audiophile

  • Artikelart LP

  • EAN: 0187337000009

  • weight in Kg 0.6
Charles, Ray - Genius Loves Company (2-LP, 180g Vinyl, Ltd.) LP 1
01 Here We Go Again (with Norah Jones)
02 Sweet Potato Pie (with James Taylor)
03 You Don't Know Me With (with Diana Krall)
04 Sorry Seems To Be The Hardest Word (with Elton John)
05 Fever (with Natalie Cole)
06 Do I Ever Cross Your Mind (with Bonnie Raitt)
Charles, Ray - Genius Loves Company (2-LP, 180g Vinyl, Ltd.) LP 2
01 It Was A Very Good Year (with Willie Nelson)
02 Hey Girl (with Michael McDonald)
03 Sinner's Prayer (with B.B. King)
04 Heaven Help Us All (with Gladys Knight)
05 Over The Rainbow (with Johnny Mathis)
06 Crazy Love (with Van Morrison)
Ray Charles Ray Charles Losing Hand (Charles Calhoun) Atlantic 1037   Ray... more
"Ray Charles"

Ray Charles

Ray Charles

Losing Hand

(Charles Calhoun)

Atlantic 1037

 

Ray Charles had only recently joined the roster of Atlantic Records when he waxed the mournful blues Losing Hand on May 17, 1953 with a New York session crew consisting of saxists Dave McRae, Freddie Mitchell, and Pinky Williams, bassist Lloyd Trotman, drummer Connie Kay, and guitarist Mickey Baker, whose slippery chords cascade downward like thick, murky molasses. Brother Ray didn't use a guitarist on his subsequent Atlantic sides, making Baker's presence quite unusual (arranger Jesse Stone wrote the song under his alias of Charles Calhoun). Ray had yet to explode with his groundbreaking gospel/blues synthesis, although his impassioned vocal and two-fisted piano offered clues as to his immediate future.

"He still was being recorded in the conventional way, like you'd record almost any single singing artist," said Ray's late co-producer, Jerry Wexler. "We got the backing musicians, we got the arranger Jesse Stone, we rehearsed, and so on."

Born in Albany, Georgia on September 23, 1930 but raised in Greenville, Florida, Ray Charles Robinson lost his sight as a child but gained a love for music—blues, boogie-woogie, jazz, country—that was unshakable. He left the state school for the blind at 15, his piano skills already formidable, and somehow made his way cross-country from Jacksonville, Florida to Seattle. Jack Lauderdale of Swing Time/Down Beat Records brought Charles and his McSon Trio aboard in 1949. His first release was a hit and two more after that too, though his predilection for imitating Nat King Cole and Charles Brown hadn't been tamed yet.

Swing Time was experiencing financial difficulties in 1952, so Lauderdale peddled Charles' contract to Atlantic. There Ray would transform R&B with his daring gospel/blues synthesis on the smashes I've Got A Woman, Hallelujah I Love Her So, and What'd I Say (speaking of advancements in electric instrumentation, he played a Wurlitzer piano on the latter). His sessions were like no other at Atlantic.

"They were exciting, edifying, thrilling," said Wexler. "We're talking about Ray Charles. There were no downers. I mean, there was never anything negative or worrying, because Ray Charles had the whole thing figured out from beginning to end. And so, as would be the case with many other sessions, when there had to be some direction from us because we weren't going anywhere, or some changes to be made, that wasn't the case with Ray."

Of course, Ray's ceaseless musical experiments rendered him a superstar right up to his June 10, 2004 death. No wonder they called him a genius.

- Bill Dahl -
Chicago, Illinois

PLUG IT IN! TURN IT UP!

Electric Blues 1939-2005. - The Definitive Collection!

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