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Ray Charles The Complete ABC Recordings 1959-61 (3-CD)

catalog number: CD242190

weight in Kg 0,300


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Ray Charles: The Complete ABC Recordings 1959-61 (3-CD)

(2012/CHANT DU MONDE) 56 tracks, digipac with 40 page booklet.


Charles, Ray - The Complete ABC Recordings 1959-61 (3-CD) CD 1
1: Them That Got
2: Who You Gonna' Love
3: My Baby! (I Love Her, Yes I Do)
4: Georgia On My Mind
5: Moonlight In Vermont
6: Moon Over Miami
7: Blue Hawaii
8: Chattanooga Choo-Choo
9: Basin Street Blues
10: Deep In The Heart Of Texas
11: Mississippi Mud
12: Alabamy Bound
13: California, Here I Come
14: New York's My Home
15: Carry Me Back To Old Virginia
16: I Wonder
17: Sticks And Stones
18: Worried Life Blues
Charles, Ray - The Complete ABC Recordings 1959-61 (3-CD) CD 2
1: Nancy (With The Laughing Face)
2: Ruby
3: Stella By Starlight
4: Cherry
5: Candy
6: Diane
7: Margie
8: Sweet Georgia Brown
9: Hardhearted Hannah
10: Rosetta
11: Marie
12: Josephine
13: I've Got News For You
14: Mister C
15: Stompin' Room Only
16: From The Heart
17: Moanin'
18: Strike Up The Band
Charles, Ray - The Complete ABC Recordings 1959-61 (3-CD) CD 3
1: Birth Of The Blues
2: Let's Go
3: One Mint Julep
4: I'm Gonna Move To The Outskirts Of Town
5: Goodbye/We'll Be Together Again
6: Alone Together
7: Ev'ry Time We Say Goodbye
8: For All We Know
9: Cocktails For Two
10: You And I
11: Takes Two To Tango
12: Side By Side
13: Baby, It's Cold Outside
14: Together
15: People Will Say We're In Love
16: Just You, Just Me
17: Unchain My Heart
18: Hit The Road Jack
19: The Danger Zone
20: But On The Other Hand Baby,


Artikeleigenschaften von Ray Charles: The Complete ABC Recordings 1959-61 (3-CD)

  • Interpret: Ray Charles

  • Albumtitel: The Complete ABC Recordings 1959-61 (3-CD)

  • Format CD
  • Genre R&B, Soul

  • Music Genre Rhythm & Blues
  • Music Style Rhythm & Blues
  • Music Sub-Genre 251 Rhythm & Blues
  • Title The Complete ABC Recordings 1959-61 (3-CD)
  • Release date 2012
  • Label HARMONIA

  • SubGenre R&B Music - Classic R&B

  • EAN: 3149024219023

  • weight in Kg 0.300

Artist description "Charles, Ray"

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


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