Σήμερα, χωρίς ιδιαίτερο λόγο (να έφταιγε το μελαγχολικό φθινοπωρινό πρωινό;), αποφάσισα να ακούσω Ρέι Τσαρλς. Δεν πρόκειται ακριβώς για ξεσκόνισμα αναμνήσεων, μια και κάποτε λιώναμε τους δίσκους του, τόσο που τα περισσότερα τραγούδια είναι σαν τα άκουσα χτες. Έχει ενδιαφέρον όταν από τη δική μας σκοπιά βλέπουμε το ρόλο των μουσικών δημιουργιών στον καιρό τους. Γράφει το Time σ’ ένα παλιότερο αφιέρωμα στα 100 πιο σημαντικά άλμπουμ από το 1954:
Modern Sounds in Country and Western Music
By Josh Tyrangiel Jan. 27, 2010
Artist: Ray Charles
Year Released: 1962
No one did more to integrate the various genres of American music than Ray Charles, and here he doesn’t just link up country with his trademark soul, but stirs in some big band—the opening of “Bye Bye Love” could have been composed by Glenn Miller—jazz and rock and roll, too. As much as this album was a musical labor of love, there was also an obvious subtext given its release at the height of the civil rights struggle. Charles knew that musical integration was a good metaphor for racial integration, and in particular his cover of Eddy Arnold’s “You Don’t Know Me” seems to carry a larger message for white audiences.
http://entertainment.time.com/2006/...e/modern-sounds-in-country-and-western-music/
Εδώ κάποιος καλός άνθρωπος έχει ανεβάσει σε ένα γιουτιουμπάκι και τις δύο συλλογές που κυκλοφόρησαν το 1962.
Για πολλές λεπτομέρειες:
https://en.wikipedia.org/wiki/Modern_Sounds_in_Country_and_Western_Music
https://en.wikipedia.org/wiki/Modern_Sounds_in_Country_and_Western_Music_Volume_Two
Modern Sounds in Country and Western Music
By Josh Tyrangiel Jan. 27, 2010
Artist: Ray Charles
Year Released: 1962
No one did more to integrate the various genres of American music than Ray Charles, and here he doesn’t just link up country with his trademark soul, but stirs in some big band—the opening of “Bye Bye Love” could have been composed by Glenn Miller—jazz and rock and roll, too. As much as this album was a musical labor of love, there was also an obvious subtext given its release at the height of the civil rights struggle. Charles knew that musical integration was a good metaphor for racial integration, and in particular his cover of Eddy Arnold’s “You Don’t Know Me” seems to carry a larger message for white audiences.
http://entertainment.time.com/2006/...e/modern-sounds-in-country-and-western-music/
Εδώ κάποιος καλός άνθρωπος έχει ανεβάσει σε ένα γιουτιουμπάκι και τις δύο συλλογές που κυκλοφόρησαν το 1962.
Για πολλές λεπτομέρειες:
https://en.wikipedia.org/wiki/Modern_Sounds_in_Country_and_Western_Music
https://en.wikipedia.org/wiki/Modern_Sounds_in_Country_and_Western_Music_Volume_Two
