R&B

All-Time Classics #1: Songs in the Key of Life by Stevie Wonder (1976)

bookcase Albums , , , , , , ,

Songs in the Key of Life, Stevie Wonder

For the first entry in my All-Time Greats series of album reviews, we’re going to talk about what I personally consider to be one of the greatest albums ever recorded: Stevie Wonder’s legendary 1976 double-plus-EP album Songs in the Key of Life. At just over 100 minutes in length, there is no shortage of material to discuss, let alone highlight favorites from, but I believe that this masterpiece deserves to have every last minute discussed, praised, criticized, and immortalized. Consisting of two LPs and a bonus “A Little Somethings Extra” EP, this record takes the listener on an unparalleled musical odyssey encompassing a cornucopia of musical styles, moods, and ideas. You’ll always discover something entirely new to love about this album almost every time you hear it all the way through, and there is simply so much artistic genius on display here that multiple listens are practically required. This record deserves every single bit of praise and adoration it has received over the years, and no matter how much I write about it, I’ll never really be able to do the music justice. But I might as well try!

The album opens with a slow-burning, soulful peace ballad, “Love’s in Need of Love Today.” It’s one of the album’s longer cuts, but every second is pure ear-candy. Beautiful vocal harmonies, subdued percussion, and gorgeous synthesizers populate this track’s patient but powerful runtime, gently easing the audience into the following experience in, dare I say it, wonderful fashion. Alright, I apologize, that was pretty terrible. I will refrain from any name-based puns for the remainder of this review. Anyways, the boundaries between organic and synthetic instrumentation is blurred constantly throughout this album’s runtime, with electronic instruments creating breathtaking, warm and organic-feeling soundscapes on the following tracks, “Have a Talk With God” and “Village Ghetto Land.” The former puts lyrics of faith and inspiration over an incredibly cool, hypnotic, gurgling keyboard track with the usual incredible backup singing, while the second sees Wonder singing solo about life in a poverty-stricken ghetto, calling for action regarding inner-city living conditions and lawmaker’s indifference towards the plights of marginalized populations facing such dire situations. What truly makes the track, however, is the fabulous synthetic string-section providing the track’s instrumentation. Miraculously, Wonder somehow manages to make fake strings work even better than real ones would have, and the result is an unforgettable slice of ear-pleasing and politically charged songwriting that would be the clear standout track on any other album. However, this is Stevie Wonder we’re talking about, so of course this is followed by yet another near-perfect track, the dizzying instrumental “Contusion.” Mike Sembello’s guitar playing on this track is just pure technical perfection, playing complex yet captivating solos and riffs throughout. The wordless vocals that come in about halfway through are also a great touch, making what would have been a nice instrumental interlude into an outstanding piece in its own right. The album then segues into “Sir Duke.” Dear. God. This freakin’ song. I can’t even begin to get across how stupidly happy this song makes me. Hell, it might just be my favorite out of all 21 of this album’s tracks. There are very, very few songs ever written that I would consider perfect, and “Sir Duke” is up there near the top of even that selective group. The lyrics are about Duke Ellington, but honestly I don’t really even care what the lyrics are about; they could be about anything and this song would still be absolute perfection. This is in that rare league of songs that are so damn happy they actually make me cry. I’m not ashamed to admit that this song gets me all choked up nearly every time I hear it. I seriously don’t think any other song I’ve ever heard has actually made me cry real tears of joy before. Maybe I’m just a mess, but this song just gets to me in the best possible way.

Side 2 kicks off with “I Wish,” a cool, groovy ode to childhood with a bassline to kill for. Stevie’s singing is flawless here, but then again, isn’t it always? After this is the calm, subdued ballad “Knocks Me Off My Feet.” We all know this by now, but I just need to say it again: Stevie Wonder’s chorus and hook-writing skills are almost completely unparalleled in the entire world of music. It may seem like I’m hyping his talents up a bit too much, but in all honesty I believe this guy to be one of the greatest songwriters of all time. I simply can’t stress enough how good he is at writing a moving, captivating, unforgettable song. “Pastime Paradise” is a trance-like rhythmic jam that makes you feel a bit disoriented, but definitely in a good way. I find this album somewhat exhausting to listen to sometimes for the simple fact that every single song is so damn good that there just isn’t any cooldown time. You don’t get a break, because the very next song is just as good, and then the next one after that, and so on. There are just too many incredible songs here. How he managed to write so many songs that are good enough to be any other artist’s defining song of their entire career, and put them all on the same album is just boggling to the mind. “Summer Soft” is one of the defining examples of how exhaustingly enjoyable this album can be to listen to sometimes. This album has a bit of a habit to create an awesome, goosebump-raising moment and then just hold you there, for an extended period of time. For example, in “Summer Soft,” we have the choruses, where he creates this incredible musical moment, and then escalates it, repeatedly, to an almost self-parodic degree, and the result is a song that’s so awesome it’s actually difficult to get through. And finally, the first LP is closed off with “Ordinary Pain,” a calmly depressing number with an energy-filled extended coda delivered by the incredibly vocally talented Shirley Brewer. After getting through these first 10 tracks, you may think to yourself “if I’m just under halfway through this thing, how could it possibly follow this up with anything even remotely up to the standard of quality this first group of tracks has set?” Well… let’s just say the second LP is more than up to that standard of quality. Oh boy, is it. You’re just too much, Stevie. Gimme a break with all this incredible music, man.

stevie wonder rockhalldotcom

Image source: rockhall.com

The second LP is where Stevie really breaks out the big guns. Of the seven tracks on the LP, only two are under six minutes: that being “Ngiculela – Es Una Historia – I Am Singing,” a tri-lingual synthetic keyboard ballad, and “If It’s Magic,” a brief and haunting piece featuring only vocals and harp, played by Dorothy Ashby.  The LP starts with “Isn’t She Lovely,” a tear-jerking, ultra-heartwarming ode to his newly-born baby daughter. The song features an iconic harmonica line and some of the most impassioned vocals on the entire record, with the second half being occupied by homemade tape recordings of his daughter cooing, struggling to form words, refusing to get in the bath, and generally just being absolutely adorable. The following track, “Joy Inside My Tears,” is both one of the album’s most repetitive and moving cuts. The verse-to-chorus ratio on this one is definitely skewed, with a majority of the track consisting of a seemingly endless chant of the main chorus. On paper this may seem like it would get incredibly tiresome pretty quickly, but in execution, it only gets more profound and emotional with each repetition. Every time the chorus begins again, it seems to get more emotionally intense, which results in all six minutes of this track being some of the most deeply riveting you can find on this record. This is directly followed up with the longest track of the album, “Black Man,” at over eight minutes in length. This track features some of the record’s most potent and rousing political lyrics, consisting mainly of a list of scientific, historical and cultural achievements by people of color that have been largely swept under the rug and forgotten by your typical history class. This track somehow manages to make the listener happy and angry simultaneously, with the lyrics feeling like an incredible celebration of these people’s contributions to the world, but also demonstrating that a good number of these people’s names have been for the most part forgotten by the general population. Names such as Daniel Hale Williams, first person to perform a successful heart surgery, Garrett Morgan, inventor of the gas mask, and Crispus Attucks, first known person to die for the American flag, are listed off in succession, all with an accompanying unspoken question of why these are not names we are all familiar with. This song is truly a highlight on a record of highlights, standing out even next to the other excellent tracks on display.

Next up are the two sub-six-minute tracks mentioned earlier. While these two are great in their own right, they do still feel somewhat like interludes: simple warmups for the two slices of pure bliss to follow. “As” and “Another Star” are somewhat similar to each other, but by virtue of being back to back to each other, they serve as a sort of combined epic finale to the record. I tend to talk about the two as if they were one long song, because in my opinion they just beg to be listened to together. Both songs are over 7 minutes, and combined they are the ultimate fifteen-minute funky freakout to end the album proper. Don’t even start listening unless you plan on hearing the whole thing, because once you start, the driving, repetitive backup vocals and jamming instrumentals make it utterly impossible to pause. Truly, Stevie couldn’t have ended this journey in a better fashion. There are, however, four additional tracks found on the “A Little Somethings Extra” EP that was included with the album. Overall these tracks are of a high quality, with “Saturn” giving us a cinematic and dramatic ballad, “Ebony Eyes” providing a goofy romp of a love song that doesn’t take itself too seriously, “All Day Sucker” creating an incredible, groovy rhythm that begs to be danced to, and “Easy Goin’ Evening (My Mama’s Call)” ending the selection of bonus content with a relaxing, chilled-out instrumental that evokes a night spent with family, watching fireflies from the front porch. These songs are all great, but I wouldn’t consider them part of the album proper. They’re intended more as a little extra treat after the main course, and I think they serve that purpose beautifully.

A 100-minute album with no filler whatsoever is a rare thing indeed, but Stevie Wonder accomplished that feat and so much more with this masterpiece of a record. I’ve said just about all I have to say about this utter classic, so I’ll end this debut All-Time Greats review with this: yes, this album is long as hell, and yes, sitting down and listening to the whole thing is an undertaking, but I truly believe that every fan of music should take the time to accept this album into their listening repertoire. It’s a multi-faceted, emotional and joyous ride from start to finish, and Songs in the Key of Life gets the highest recommendation I can give.

What do you think of this album? I’d love to know, so please, leave your thoughts in the comments!

Album Review #40: Live at the Apollo by James Brown (1963)

bookcase Albums , , , , , , , ,

Live at the Apollo, James Brown

I’m back, everyone! Terribly sorry about the unannounced hiatus. I fully intend on making my posts much more frequent than they have been.

James Brown was known as “the hardest working man in show buisness.” After all, he played a gig almost every single night, (and sometimes even multiple times in a single day,) and the concept of a “break” was pretty much completely alien to him. So for a single 30-minute concert, performed at the Apollo Theater in 1962, to consistently rise above all other sets of the man’s entire career and frequently place on lists of “greatest live albums ever”, it has to be something truly special. Well, worry not, because this album more than lives up to the endless hype. You know you’ve got a hell of an album on your hands when the only complaint you can think of regarding it is that it’s just too short. At just over 32 minutes, it almost always leaves the listener unsatisfied and wanting more. But hey, an album sure can do worse when its only drawback is that there just isn’t enough of it.

Side A

The album starts with a passionate intro from Fats Gonder. He lists off all the songs on the setlist, each one punctuated by a burst of brass that increases in pitch each successive time, creating an awesome sense of buildup and anticipation. After his opening, the band launches into a cool yet crazy-energetic instrumental, with the guitar alternating with the brass section with a great call-and-response style. After a minute of this, the man himself, James Brown, steps up to the microphone and screams out the opening lines to the first song, “I’ll Go Crazy,” with an astonishing raw power only he could pull off. The guitar strums out the opening chords, before the song finally kicks off with hypnotic arpeggios and excellent singing from both Brown and his underrated backup singers. This is probably the single catchiest song on the record, with flawless hooks, melodies, and instrumentals that all work together perfectly to create what is possibly the perfect R&B song. They then seamlessly transition into the next track, “Try Me,” which is much more subdued and calm, but still just as enjoyable as the first. Putting these two tracks right next to each other does a great job of emphasizing Brown’s emotional range: he can sing and scream the loud-and-exciting songs and soulful-and-tender songs with equal effortless proficiency. From this track until the end of the side, there is a brief ten-second bridge between each song performed by the brass section that really serves to maintain the momentum between each song. Because of this, the whole side feels like a sort of epic suite, with even the quiet and calm tracks acquiring a feeling of tension and anticipation. After “Try Me” comes “Think,” a short and rambunctious song with a chaotic rhythm and a jaw-dropping sense of power throughout. Brown’s vocals on this track are barely-coherent and really come off as more of a background to the instruments—unusual for this album, as his singing is usually so demanding of attention that he becomes the centerpiece of any one song—but honestly, in this instance, it really works. His vocals here perfectly complement the unhinged nature of the track. Next comes another slow ballad, “I Don’t Mind,” opening with a very understated, barely audible organ in the background that gives the song a strange, calming-yet-tense vibe that really makes the track stand out among the rest. As always, Brown’s vocals make the song, with an impressive level of sheer intensity delivered in a quiet tone. Even when he brings out the trademark scream, it’s quiet and incredibly controlled. This whole track is, simply put, a masterclass in restraint.

James Brown clickamericana[dot]com

James Brown delivering a riveting vocal performance. Image source: clickamericana.com

Side B

The album’s second half kicks off with the showstopper, the ten-minute soulful blues jam, “Lost Someone.” This is the reason this album is still remembered all these years later, and is frankly worth the price of admission alone. It’s incredible length (which, by the way, is a third of the entire album’s running time) doesn’t hold it down at all: in fact I would argue that it wouldn’t even work with a shorter time frame. It’s an excellent example of repetition in music done right. The band plays, for the most part, the same bassline and trumpet part repeatedly, but with minute variations that keep it engaging, and, of course, James Brown’s once again jaw-dropping vocal performance. His voice really does carry this entire album, and on this track especially he imbues every line with passion. His singing is captivating, emotional, and engaging to no end. The audience simply can’t contain their excitement here, screaming and shouting with him along the way, with James even calling for some screams himself in a brilliant moment of call-and-response. After this ten-minute behemoth, the band transitions into a rapidly-changing medley of several songs, all packed into six minutes of time. Where “Lost Someone” was expansive and took it’s time, this medley moves from melody to melody faster than the listener can even keep track of it. In perfect honesty, I don’t like this track nearly as much as I do the rest of the album. Don’t get me wrong, it’s still great. It’s just that all of the musical ideas aren’t given nearly enough time to develop, and while I recognize that it’s a medley of preexisting songs, I just think it would’ve done better if it had given the song snippets a little more room to breathe. The vocals and band are just as captivating as they are on the rest of the album, but this track still stands out as an “alright” point in an album of incredibles. The album ends on a high note with the classic “Night Train,” with its instantly-recognizable brass part and a truly exhilarating bass and rhythm.

And just like that, the album’s over. Like I said before, the only bad thing I can say about this record is that there just isn’t enough of it. It’s one of the greatest live recordings ever put to record, and if you’ve never listened to this non-stop thrill ride before, you’re doing yourself a huge disservice. Let me know what you thought of the album, I’d love to hear your opinions!

Favorite Tracks: “Lost Someone,” “I’ll Go Crazy,” “I Don’t Mind,” “Think”

9/10 (by the way, starting with this review, I’ve decided to start giving albums numerical ratings out of ten! Let me know what you think about this, I’d really love to know.)

Next Up: Getz/Gilberto by Stan Getz and João Gilberto (1963)

 

Album Review #38: Live at the Harlem Square Club by Sam Cooke (1963)

bookcase Albums , , , , , , , , ,

Live at the Harlem Square Club (v. 1), Sam Cooke

This album is a bit of an interesting one, in that despite it being widely considered a classic 60’s record, it wasn’t actually given an official release until 1985. You can thank the geniuses at RCA Records, who apparently thought the recording was “too rough and gritty” for Sam Cooke’s clean pop image. This would eventually prove to be one of the most baffling record label decisions of all time, as it would become an immediate classic almost as soon as it left the archives 22 years later. The album really is quite astonishing, being without a doubt the greatest showcase of Cooke’s out-of-studio abilities of his entire tragically short career. We may never truly be able to understand record label executive’s thinking, but we can sure understand that they kept from the masses a true classic of live rock and R&B.

Side A

The album kicks off with an incredible intro of roaring, growling saxophone before “Mr. Soul” is introduced onto the stage. He takes a moment getting the crowd riled up before launching into the first song on the setlist: “Feel It.” The music on this record is loose, even a little sloppy, but this style serves the music very well. The energy in his voice is tangible, and the strumming of the guitar and bashing of the drums work together beautifully to create a loud, foot-stomping sound that would make any crowd go crazy. Next up is “Chain Gang,” punctuated by angry grunts and a ridiculously catchy vocal melody. The instrumentals are more of the same, but that’s not really a negative, as they just work so well with pretty much any song Cooke sings. It’s on this track that he first brings audience participation into the mix, with the crowd providing the song’s signature grunts throughout the second half. After that comes a song that’s much more sweet and gentle, the love ballad “Cupid.” I really can’t stress enough just how well Cooke’s voice promotes the music his band plays: be it loud and fast or soft and tender, he pulls it off with utter perfection on pretty much every track. This is even further exemplified by the following track, “It’s All Right / For Sentimental Reasons.” This is probably my favorite of the album’s nine songs. “Is everybody in favor of getting romantic?” Cooke calls to the crowd, with a resounding yes from the crowd. He starts it off with a spoken intro before jumping into his rough-but-powerful vocals, delivering each lyric with emotion and care. “Oh, I like this song!” he interjects between lines, and boy does it show. Probably the best part comes in the track’s second half, where the audience starts shouting out his lines for him. I don’t blame them one bit: his performance is simply so engrossing that, were I there in the crowd that night, I don’t think I’d be able to control my excitement either. The side wraps up with one last fast-and-exciting song, “Twistin’ the Night Away,” and the sheer momentum he’s built up by this point in the set is frankly astounding. The messy but highly enjoyable backing band is in full swing here, accompanying Cooke’s electrifying vocals with pure excellence. He can barely even contain himself onstage, and it’s with this track that I think his sheer talent for live performance is best on display.

Sam Cooke thoughtontracks[dot]com

Cooke in the recording booth, coffee in hand. Image source: thoughtontracks.com

Side B

The record’s second side starts with “Somebody Have Mercy,” yet another passionate track with vocals sung with Gospel levels of emotion. The tense buildup of the second half is great, and its euphoric, explosive climax is simply one of the record’s finest moments. The song then seamlessly transitions into the next, “Bring it on Home to Me,” which takes the previous song’s energy and maintains it incredibly well. Cooke’s vocal melodies are truly one of R&B’s greatest, and this is one of the best places to hear it. The crowd’s still loving it, once again participating in the music with call-and-response shouting and the best sounding singing a large unorganized crowd is capable of pulling off. Up next is “Nothing Can Change This Love.” It’s short compared to the surrounding tracks, but it still proves itself to be a sweet and memorable pop tune that shines bright despite being sandwiched between much more prominent tracks. The final track of the setlist is “Having a Party.” It closes the album off excellently, although the fact that it closes the album off at all could be seen as a negative. “I don’t wanna quit!” he shouts, and you can tell the audience shares the sentiment. This is a performance that you just don’t want to end.

Just over a year after this live album was recorded, tragedy struck. To this day, the circumstances remain shrouded in mystery, but all that is known for sure about what happened can be summarized as the following. On December 11th, 1964, Bertha Franklin, manager of the Hacienda Hotel in Los Angeles, was confronted by Sam Cooke, who burst into her office half naked, seemingly in a daze. Franklin believed he was going to attack her, and in response pulled out a gun and shot Cooke in the chest. She maintained her stance that it was in self-defense, but many to this day refuse to believe her version of the story. Firstly, there were no witnesses other than Bertha Franklin herself. Secondly and perhaps most damningly of all, Cooke’s body was found to have been badly beaten in the autopsy report. To this day nobody knows the truth of what really happened, and both sides carry valid points and arguments. Either way, fans were utterly horrified and distraught. 200,000 people attended Sam Cooke’s funeral a week later, and he remains regarded as one of R&B’s greatest talents.

In spite of the tragedy that loomed in the near future, this live recording remains an engrossing document of a man at the absolute peak of his musical talents. Live at the Harlem Square Club is one of the greatest live recordings of the decade, and any fan of classic rock and R&B owes it to themself to give this record a good listen. This one has my top recommendation.

Favorite Tracks: “It’s All Right / For Sentimental Reasons,” “Somebody Have Mercy,” “Twistin’ the Night Away,” ” Feel It,” “Bring it on Home to Me”

Next Up: The Black Saint and the Sinner Lady by Charles Mingus (1963)

Album Review #32: Green Onions by Booker T. and The M.G.s (1962)

bookcase Albums , , , , , , , , , , , , ,

Green Onions, Booker T and the M G s

If Jimmy Smith broke new ground by opening the gate for the organ to enter the world of mainstream music, Booker T. and The M.G.s were the ones to truly refine it to its peak potential as an artform. Whereas Jimmy Smith used it as a jazz instrument, providing mostly cool backing to the other performers, The M.G.s used it as a Rock and Roll instrument, bringing it to the forefront of the band and unleashing its full potential as an artistic tool. Coupling the organ with an electric guitar, bass, and drums, they created an iconic, instantly recognizable sound that both ties it to its time period and never grows old.

Although the M.G.s changed their lineup quite frequently, it is their original lineup, featured here, that is most well-known. Maintained from their debut until three years later in 1965, it featured Booker T. Jones on the Hammond organ, Steve Cropper on guitar, Lewie Steinberg on bass, and Al Jackson Jr. on drums. While it’s hard to deny that Booker T.’s organ is the highlight of the ensemble, credit must be given to Steve Cropper’s guitar. He has a distinct playing style that compliments the organ quite well. The band’s overall style is unmistakably theirs, and still holds up very well today. It sounds somewhat like a strange marriage of classic rock and roll and baseball stadium music, and it is absolutely a good thing. Even the covers on this record sound more like M.G.s songs than their original artist’s. You could listen to a song of their’s that you’ve never even heard before, and still easily identify it as their song, and that really is the mark of a band who’s perfected their craft.

Booker T. and The M.G.s rollingstonedotcom

From left to right: Booker T. Jones, Steve Cropper, Al Jackson Jr., Lewie Steinberg.

Image source: rollingstone.com

When it comes to tracks, boy does this album pack a punch. Right off the bat there’s the title track, their most successful single and one of the most recognizable songs of the first half of the Sixties. The organ on this track is borderline perfect, providing without a doubt the most memorable melody of the entire record. Cropper’s guitar plays with short, chopped-up notes that go excellently with the organ line underneath it. The whole track really is just a joy to listen to, and is absolutely deserving of its enduring popularity. Up next is “Rinky Dink,” a nice, catchy tune with a great guitar hook, and after that is a superb cover of the Ray Charles staple “I Got a Woman” that more than does the original justice. However, with the exception of the final track “Comin’ Home Baby,” Side B kind of just falls flat, at least compared to Side A. It isn’t bad, but just isn’t really as interesting as the first side. “Comin’ Home Baby” is incredible however, with a quiet, subtle mood and strangely sad organ part that wraps up the album quite nicely.

So even if the second side wasn’t the greatest, this album is more than worth a listen. Even if you’ve never heard of the band before, “Green Onions” and to an extent the songs that follow it are so ingrained in American culture that you’ve more than likely heard it before without even knowing it. And their success is deserving: they created their own style and refined it to perfection, further solidifying the organ as an acceptable instrument in popular music. Even regardless of its importance, it’s just a fun listen. I would highly recommend this one.

Favorite Tracks: “Green Onions,” Rinky Dink,” “I Got a Woman,” “Comin’ Home Baby”

Next Up: Jazz Samba by Stan Getz and Charlie Byrd (1962)

Album Review #31: Modern Sounds in Country and Western Music by Ray Charles (1962)

bookcase Albums , , , , , ,

Modern Sounds in Country and Western Music Ray Charles

Ray Charles’ previous album on this list, The Genius of Ray Charles, was really just a warmup. This is Ray at his peak. Every track is passionate, soulful, and moving, even the fast and upbeat ones. This record is pure innovation at its finest. It’s just bounding with creativity, and each of the twelve tracks on display here are Ray Charles at the absolute pinnacle of his artistic abilities. He takes classic country songs that you would never think would be compatible with his R&B/Big Band style and makes them work beautifully, making the old standards feel new and exciting while retaining the emotion of the original. It’s a perfect fusion of the old and the new, and it holds up marvelously even today.

It was certainly a radical creative decision. His current audience would be averse to the country, and the country crowd would be averse to the jazz/R&B. It seemed, to the record executives at least, to be career suicide. But somehow, against all odds, he pulled it off. It wasn’t chance either. Ray Charles’ genius as a musician turned the album that would never be a success into a cultural phenomenon, winning over the critics, the public, and even his own fans in one fell swoop. Listening to it, his mastery of the artform is impossible to deny. Each and every lyric is sung with emotion and passion so strong you can feel it in your chest, and the arrangements that back his vocals are masterful, perfectly complimenting the lyrics with soul-melting harmony. Most of the album is slow balladry, but the one or two fast big band tunes are exciting as anything on The Genius of Ray Charles. No matter what kind of song it is, Ray just seems to know exactly what to do to make it perfect.

Ray Charles kalamudotcom

Image source: kalamu.com

The album’s first track, “Bye Bye Love,” doesn’t pull any punches. It’s explosive, energetic, and so catchy it should be considered a cognitohazard. That said, at the same time it’s bizarrely sad. The lyrics, like the majority of the album, are a pretty depressing tale of lost love, and despite being completely at odds with the tone of the music, it weirdly works. The backup singers will stick in your head for days, and the percussion drives the song along excellently.The next track, “You Don’t Know Me,” is my personal favorite song off the album. Here, Ray trades out the brass band for a string section, and goes full on depressing string ballad with lyrics about unrequited love and isolation. The chords and harmonies are haunting, and Ray’s vocals are just painfully sad and mournful. He sure does know exactly what to do to pull at your heartstrings in a moment, and he doesn’t hold back. The rest of the album keeps up the standard set by the first two tracks, and even though most of the lyrics deal with the same topic, it still feels fresh throughout. He may not have written the lyrics, but the way he performs them with every inch of his soul, he might as well have. The final track, “Hey Good Lookin’,” ends the album on a more uplifting note, dropping the doom and gloom and leaving the record on a happy, upbeat big band tune that’s a welcome shift from the rest of the record, and does a great job of helping your mood recover before it closes.

This album is indispensable. Not only did it help bridge barriers in a time of severe racial tension, but it also broke down the barrier between genres for future style experimenters, all while simply giving the world an excellent album to enjoy. It’s without a doubt Ray Charles’ greatest achievement, and anyone interested in his music should give this record a listen.

Favorite Tracks: “You Don’t Know Me,” “Bye Bye Love,” “I Love You So Much It Hurts,” “Hey Good Lookin'”

Next Up: Green Onions by Booker T. and The M.G.s (1962)

Album Review #20: The Genius of Ray Charles by Ray Charles (1959)

bookcase Albums , , , , ,

the-genius-of-ray-charles

The Genius of Ray Charles is an interesting record. Split in half stylistically, with Side 1 containing six Big Band Jazz/R&B tunes and Side 2 six soulful string ballads, it tries (and succeeds) to accomplish a lot of different things. It takes a lot of musical skill to pull off something like this,  but luckily for us Ray Charles possesses such a talent, tenfold.

In my opinion, the highlight of the album has to be its opening track, “Let the Good Times Roll.” It’s almost stupidly catchy, and Ray’s vocals are excellent. In all honesty, it’s one of the best songs I’ve heard on the list so far. Also from Side 1, we have “Two Years of Torture” and “When Your Lover Has Gone.” While he saves all the outright ballads for Side 2, these two songs are still pumped full of the blues. His singing throughout the album is filled with emotion and passion, giving weight and meaning to each lyric he sings.

ray-charles-imdb

Image Source: IMDb.com

Side 2 displays a much different style of music from the first. Eschewing the sometimes-harsh, always-loud brass band in favor of a softer string section (plus oboe and backing vocals), for the album’s second half Ray offers the listener an excellent selection of heart-felt ballads. “Am I Blue?” is the best out of all of these, with “Don’t Let the Sun Catch You Crying” being a very close second. As with Side 1, his vocals are excellent, with great amounts of expression in each line.

It may seem a bit egotistical for him to name his album The Genius of Ray Charles. Not so. This album more than justifies its grandiose title. With a perfect 50/50 balance of genres, with each half good enough to be an excellent EP on its own, this record is a true classic that any music lover should hear.

Favorite Tracks: “Let the Good Times Roll,” “Two Years of Torture,” “When Your Lover Has Gone,” “Am I Blue?,” “Don’t Let the Sun Catch You Crying”

Next Up: Kind of Blue by Miles Davis (1959)

Album Review #6: This is Fats Domino! by Fats Domino (1956)

bookcase Albums , , , , ,

This is Fats Domino cover

First off, let me say something: the book has a major error in the entry for this album. It lists the wrong title, citing the admittedly confusingly similar album This is Fats!, released a year after the correct album, This is Fats Domino!. The track listing and accompanying short essay is for the correctly titled album, so that will be the album I review here. Hopefully this will be the only major error made in this book, but I’m only six albums in at this point, so that’s difficult to say.

Anyways, this album didn’t impress me as much as I had hoped. It’s a quality album, don’t get me wrong, but it just didn’t make that much of an impact on me. The opening track, “Blueberry Hill”, is very good, with great jazz instrumentation and a memorable vocal performance. It was one of his biggest hits, and for good reason too. However, this is one of those albums that sadly makes the huge mistake of making the best track the first track, and a lot of the following songs just don’t meet the expectations that “Blueberry Hill” sets. There are still quite a few good songs though, such as “What’s the Reason I’m Not Pleasing You”, “Reelin’ and Rockin'”, “Poor Poor Me”, and the instrumental “The Fat Man’s Hop”. The instrumentation is very good throughout, with particular note going to the piano, saxophone and percussion.

Overall, I wasn’t quite disappointed, but I wasn’t quite impressed either. I don’t have a positive or negative opinion. I’m just kind of indifferent, to be honest. There were several good tracks, but it just didn’t really do much for me. What are your thoughts?

Next up: Songs For Swingin’ Lovers! by Frank Sinatra (1956)