Ray Charles - Modern Sounds In Country And Western Music (1962)

There's a store near me - appropriately named The Archive - that sells used books, comics, magazines, old trading cards, old post cards, records, CDs, DVDs, video games, toys, pop culture memorabilia and more. Are you looking for old Mad Magazines? They have them. Old Atari game cartridges? It's a possiblity. The place looks, feels and smells just like the musty warehouse it is, and I love it.

None of The Archive's music is ever sold at collector's prices. Anyone can go in and pay a buck a piece for CDs and even their more in-demand vinyl is nicely priced. I visit there on occasion just to see what I can find. That's where I discovered the genre bending, classic album by Ray Charles, Modern Sounds in Country and Western Music, originally released by ABC-Paramount Records on a 12-inch LP way back in 1962 and on CD by Rhino Records in 1988 with three bonus tracks.

First, a little background for those of you who are unaware of the original release's significance. Charles wanted complete control of his music, something rarely awarded to recording artists in those days, and almost never to Black musicians. Reluctantly, ABC gave the already huge star his wish after he left Atlantic, but they warned him that releasing a country record could alienate his R&B audience. Charles believed that if the record was made his way he might earn more listeners than he'd lose. In the end, many people have credited him and this album with helping to popularize country music among people who normally wouldn't pay attention to it.

Charles believed that all genres of music are related and influenced by each other. He told Peter Guralnick - a well-known author who frequently writes about rock 'n roll's early years: "You take country music, you take black music, you got the same goddamn thing exactly."

Modern Sounds has mostly been described as a country record, and there's some truth in that statement because that's where all of the selections' roots lie, but that doesn't make it a country album. There are no guitars, banjos, fiddles, mandolins, dobroes, harmonicas or any of the genre's traditional instruments to be found anywhere, but there are several big band arrangements that have a jazz or blues vibe. It's obvious that Charles adapted them to fit his style. Among them are "Half as Much," "It Makes No Difference Now," "Careless Love," "Just a Little Lovin'," and even Hank Williams' "Hey, Good Lookin'" receives a complete overhaul. The singer's cover of Phil and Don Everly's "Bye Bye Love" definitely has more in common stylistically with "Hit the Road Jack" than it does with the brothers' 1957 rockabilly hit.

During the first half of the sixties, it was common for mainstream country and pop songs to feature string ensembles and choruses as background. "I Can't Stop Loving You," "Born to Lose," "I Love You So Much It Hurts," "You Win Again," "Worried Mind," and "You Don't Know Me" are all arranged in this manner. These tracks are closer to country, but the star's passionately soulful vocals make them feel more like earthy R&B ballads.

I love this legendary release by The Genius, but labeling it as "country and western" is almost a misnomer. If a bluegrass band covered "Freebird" no one would call it a rock record. It would be a bluegrass version of a hard rocking song.

"I Can't Stop Loving You" went to #1 on the pop chart, "You Don't Know Me" just missed the top spot at #2, and "Born to Lose" and "Careless Love" both made the Hot 100.

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