Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

The Genius Sings the Blues began as a simple compilation. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singer’s migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles’ greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianist’s indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents.
From the iconic cover art to the distinguished music within, everything about the thematic record is iconic…

The Atlantic Jazz series continues with this slice of mostly '60s jazz-soul treats. Fittingly, the 11-track disc includes a side by one of the prime progenitors of soul, Ray Charles: He and MJQ vibraphonist, Milt Jackson, stretch out on the canonized "How Long Blues." Further expounding on the soul-jazz trajectory, the collection spotlights work by organist Shirley Scott (the Aretha Franklin hit "Think"), Les McCann and Eddie Harris (their classic Montreux Festival cut "Compared to What"), Yusef Lateef ("Russell and Elliot"), and Hank Crawford ("You're the One"). And there's even a bit of boogaloo-enhanced bossa, compliments of trumpeter Nat Adderley ("Jive Samba"). The soundtrack to your next retro-cool shindig.

Ray Charles Raconter l'histoire de Ray Charles, c'est raconter l'histoire d'un génie de la chanson touché, dès sa plus tendre enfance, par la grâce.

Recorded in 1985, The Spirit of Christmas finds Ray Charles performing a variety of holiday favorites with vocal assistance from the Raelettes and an appearance by jazz trumpeter Freddie Hubbard. The ten tracks mix standards and originals, including "Santa Claus Is Coming to Town," "Rudolph the Red-Nosed Reindeer," and the ballad "That Spirit of Christmas," which was featured in the movie National Lampoon's Christmas Vacation. The Spirit of Christmas is perfect background music for any holiday celebration.

Live and Kickin' is a 2003 live album by Willie Nelson, featuring music stars of diverse genres like Eric Clapton, Shania Twain, Elvis Costello, Diana Krall, Norah Jones, Ray Charles, Steven Tyler, Wyclef Jean, ZZ Top, Paul Simon.

Worthy of audiophile treatment. Not every Christmas tune meets that high standard. But each song on this SACD, with each song chosen by Acoustic Sounds owner and CEO Chad Kassem, sound better than it ever has before. These are some of the most familiar - and well-recorded - Christmas tracks ever. We feel we're bringing you a record that you and your family will enjoy every year forevermore. These truly are The Wonderful Sounds Of Christmas. From the peaceful solemnity of Harry Simeone Chorale's "The Little Drummer Boy" to the festive spirit of Jose Feliciano's "Feliz Navidad," The Wonderful Sounds Of Christmas brings you the very best examples of holiday songs ever recorded. With wonderful music in abundance, this Christmas compilation offers a celebration of the season's most joyous and cherished songs. Truly, Christmas has never sounded better!

Ray Charles changed the way the world perceived country music.
Best Of Coutry & Western is a new, stand alone album, with a track-list of iconic songs cherry picked from across Ray's country music recordings. With thoughtful attention to detail, this collection not only showcases Rays unparalleled interpretations of country classics, but also serves as a timely reminder of his role as a cultural pioneer who helped bridge racial divides through the universal language of music.

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

Not a vocal session from Ray Charles, but instead a set that showcases his great abilities in jazz - a side of Charles' talents that Atlantic was focusing on a bit more at the end of the 50s! The record's a collaboration with vibist Milt Jackson, who's nicely more loose and gritty here than in the company of the Modern Jazz Quartet - and in addition to piano, Ray also plays a bit of alto sax too - which comes as a nice surprise! Other players include the great Billy Mitchell on tenor sax, Skeeter Best on guitar, Oscar Pettiford on bass, and Connie Kay on drums.

For this change of pace, singer/pianist Shirley Horn performs 15 songs associated with Ray Charles. Of course, Horn sounds nothing like Charles, but she sometimes captures his spirit on such songs as "Hit the Road, Jack," "You Don't Know Me" (which finds her switching to organ), "Makin' Whoopee" and "How Long Has This Been Going On." Joined by her regular trio (with bassist Charles Ables and drummer Steve Willliams), some of the songs have Ables switching effectively to guitar, while Tyler Mitchell fills in on bass. Altoist Gary Bartz guests on five of the dozen selections. While emphasizing ballads, as one always expects, this is a fun set that includes more medium-tempo tunes than usual for a Shirley Horn set.

My World marked an attempt to somewhat "modernize" Ray Charles by incorporating elements of hip-hop and New Jack swing into his trademark sound. As a result, the record has aged poorly; the highlights are the songs done in Charles' usual inimitable style, including a reading of Leon Russell's "A Song for You" and a soulful rendition of Paul Simon's "Still Crazy After All These Years."

The iconic, game changing Modern Sounds in Country And Western albums, combined into a single release for CD in the 2000s, will be restored and released individually, as originally intended. The significance of these records cannot be overlooked. They are proof that great country music is malleable, and open to interpretation. Volume 1 quickly became one of the best-selling albums recorded by a Black musician of the time, as well as one of the best-selling country albums. It topped the Billboard Pop Album Chart of a month, and spawned four hit singles, including “I Can’t Stop Loving” which reached number one on the Billboard Hot 100, R&B, and the Adult Contemporary Charts, was nominated for Record Of The Year, and won the GRAMMY for Best Rhythm & Blues Recording at the 5th Annual Grammy Awards in 1963. “You Don’t Know Me” met with similar success. Ray Charles remains the first and only Black performer to earn a GRAMMY Award and a #1 Billboard Pop Chart Hit with a country and western song as he did with “l Can’t Stop Loving You.” Volume 2 followed its predecessor by just six months, and is widely regarded as just as strong, if not stronger than the first - the second made with the confidence that this formula or country & soul works. With three hit singles on both the R&B and Pop charts, including the #1 hit You Are My Sunshine, both volumes changed the course of popular music and remain a testament to the genius of Ray Charles.

One of a series of ultra-loose concept albums Ray Charles cut in the '60s, this one is dedicated entirely to songs with titles or lyrical references to crying and tears. It's an excuse for Charles to choose his usual varied menu of upbeat jumpers, slow countrified weepers, and proudly saccharine pop standards. The production, as one might fear, also tends to the lachrymose side on the slow tunes, with the thick strings and backup vocals straight out of TV variety shows. One is almost tempted to think that Charles was toying with audience expectations by mixing unabashedly sentimental slow tunes with the far more bluesy, satisfying, and upbeat numbers, such as "Don't Cry, Baby" and "Baby, Don't You Cry," as well as his surprisingly brassy, punchy treatment of "Cry Me a River." These outings have always played much better with critics than the gloppy pop tunes, and for good reason - they are much better.