Ray Charles True Genius Sides Of Ray (2-LP)

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catalog number: LPTRC2108
weight in Kg 0.3

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(Tangerine Records) 24 tracks, gatefold cover, the most important recordings of his career,... more

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Ray Charles: True Genius Sides Of Ray (2-LP)

(Tangerine Records) 24 tracks, gatefold cover, the most important recordings of his career, remastered

Article properties: Ray Charles: True Genius Sides Of Ray (2-LP)

Interpret: Ray Charles
Album titlle: True Genius Sides Of Ray (2-LP)
Genre R&B, Soul
Vinyl record size LP (12 Inch)
Artikelart LP
Label Tangerine Records
EAN: 0708857210817
weight in Kg 0.3

Charles, Ray - True Genius Sides Of Ray (2-LP) LP 1
01	Hit the Road Jack	Ray Charles
02	I Don't Need No Doctor	Ray Charles
03	Unchain My Heart	Ray Charles
04	No One	Ray Charles
05	Hide Nor Hair	Ray Charles
06	I've Got a Woman (Live)	Ray Charles
07	Let's Go Get Stoned	Ray Charles
08	I'm Gonna Move to the Outskirts of Town	Ray Charles
09	Smack Dab in the Middle	Ray Charles
10	Them That Got	Ray Charles
11	One Mint Julip	Ray Charles
12	I've Got News For You	Ray Charles

Charles, Ray - True Genius Sides Of Ray (2-LP) LP 2
01	Here We Go Again	Ray Charles
02	You Are My Sunshine	Ray Charles
03	Crying Time	Ray Charles
04	Take These Chains from My Heart	Ray Charles
05	Ring of Fire	Ray Charles
06	I Can't Stop Loving You	Ray Charles
07	Georgia on My Mind	Ray Charles
08	Eleanor Rigby	Ray Charles
09	Busted	Ray Charles
10	Till There Was You	Ray Charles
11	Hallelujah I Love Her So (Live)	Ray Charles
12	A Song for You	Ray Charles

Ray Charles Ray Charles Losing Hand (Charles Calhoun) Atlantic 1037 Ray... more

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"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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