Ray Charles - Modern Sounds in Country and Western Music

I figure that it's about time for me to write about my (near) namesake, Ray Charles's 1962 album Modern Sounds in Country and Western Music. Much of what is written about this album sees it as the initial work in the country-soul connection that would become more obvious a decade later with the rise in both genres of the Muscle Shoals sound. But unlike later country-soul, as exemplified by Mavis Staples and Solomon Burke, both of whom truly fused the sounds of the country and soul genres (or explored overlaps, perhaps), this album largely ignores the sounds of country, instead transforming songs originally recorded in a country or western style into soul and light jazz.

None of this is meant, however, as criticism of Charles or this album. Rather, I feel that this album points out another important similarity between country and soul: their common relationship to the song. In 1962 rock and roll was on the verge of permanently intertwining the songwriter and the performer, the song and the performance. In rock music, the writing of a song and the interpretation of that song in recording are fused into one action; the song is what's on the record and what's on the record is the song.

Imagine rock hits reinterpreted similarly to this album. It's been done of course; Pat Boone's recording of Ozzy Osbourne's "Crazy Train" was heard by many as the theme to The Osbournes, but can only really be regarded as kitsch or a novelty song. The lounge interpretation can perhaps even be seen as violating or betraying the song.

The songs on this album are open to radical reinterpretation, however, because they were written with just that in mind. These songs, by and large, weren't written with a performer, genre, or performance style in mind. They were largely written with total disregard to the manner in which any performer would interpret them.

Soul and country share the same attitude toward the song and toward the value of the performer as interpreter separate from the songwriter. Placing value on interpretation seems radical to those of us thoroughly steeped in the singer/songwriter ideology of rock and roll, but listening to this album shows that its absolutely appropriate to assign authorship for genius interpretation.

Listen:
Ray Charles - Hey, Good Lookin'

Buy:
From Amazon

The Soul of John Black - The Good Girl Blues

Sometimes I think a lot of alt-country types think they own the "roots music" idea. I know I'm guilty of this a lot, assuming that the natural and appropriate method of engaging with popular and folk music history lies somewhere on the continuum between Uncle Tupelo and BR549. But sometimes I get CDs that show me I'm an idiot.

I got The Good Girl Blues by The Soul of John Black a couple months ago. Most of the CDs I get sent are by people I haven't heard of, and scanning down the list of names on this disc and recognizing none, I assumed it was just another indie outfit looking for a good word. As I listened to the CD and thought about how I would review it, how I could comment on the tight integration of acoustic and electric, city and country blues with elements of soul, funk, and hip hop, I realized that I didn't have the vocabulary to discuss these latter, more recent developments in African American music. Then I read the press packet and found out that front man John Bigham played with Miles Davis (even writing one of the songs on Davis' last album) and was a member of Fishbone for nearly ten years.

I guess my point is that my insular view of "roots" as nearly synonymous with alt-country prevented me from seeing strands of influence that should have been obvious and caused me to overlook playing with Miles Davis and Fishbone as legitimate avenues toward this.

Listen:
The Soul of John Black - Fire Blues
The Soul of John Black - Deez Blues

Buy:
From CD Baby

Top 10 of 2006, Part 2

Today we continue the sampling of my top 10 of 2006. Follow the link for more detailed commentary.

7. Old Crow Medicine Show - Big Iron World

Listen:
Old Crow Medicine Show - I Hear Them All

Buy:
From Amazon

6. Solomon Burke - Nashville

Listen:
Solomon Burke - Valley of Tears

Buy:
From Amazon

4. Hank Williams III - Straight to Hell

Listen:
Hank Williams III - D. Ray White

Buy:
From Amazon

Solomon Burke - Make Do With What You Got

I have to admit that when I saw a taping of Conan O'Brien featuring Solomon Burke in the spring of 2001, I had no idea who Solomon Burke was. (Of course, this was before his "comeback" album Don't Give Up On Me (Epitaph, 2002). He was in New York to be inducted into the Rock and Roll Hall of Fame.) I also have to admit that it's only been recently, since the buzz about his upcoming album produced by Buddy Miller, that I've really paid much attention to him.

This album is his 2005 follow-up to Don't Give Up and follows much the same formula: record songs by well known songwriters. Songs from the pens of Dylan, Robbie Robertson, Van Morrison, Jaggar/Richards, and Dr. John appear as well as the Hank Williams gospel tune that I'm including. I don't know what the Buddy Miller-produced album is going to sound like, but this album, although an album I would consider thoroughly soul, shows that country isn't far from Burke's vernacular. As it shouldn't be, since has first Atlantic recordings were soul covers of country songs, records made in much the same spirit as my (almost) namesake album.


Listen:
Solomon Burke - Wealth Won't Save Your Soul

Buy:
From Amazon