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His first early hit, the tender vocal and light, romantic mood owes a large debt to smooth bluesman Charles Brown.
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"Baby Let Me Hold Your Hand"
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A release that helped begin to bring Ray to national attention - his last hit before moving to Atlantic Records.
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His first bona-fide smash (R&B #5), the tuneful lament is a strutting blues number kick-started by a woebegone vocal and punchy horn arrangement.
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Recorded in an Atlanta radio station - the cautionary Ray original ruminates on the perils and pitfalls of gambling and losing. An R&B Top 10
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Cut during the same sessions as "Blackjack"- A revolutionary recording that successfully dismantled the barriers of church and pop with its incessant gospel rhythms and devilish blues-flecked horns. His first R&B #1.
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Ray delivers an anguished, gut-wrenching dark-night-of-the-soul tale of woe and pity. Another R&B #1.
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"Hallelujah I Love Her So"
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A testament to the joyous release of love, featuring a sophisticated horn arrangement, and memorable tenor sax solo (by Don Wilkerson). Peggy Lee, Eddie Cochran and later, Humble Pie would successfully cover the song.
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Written by mighty Tin- Pan Alley tunesmith Doc Pomus in homage to famed gospel act The Pilgrim Travelers - Ray's first song to feature a tenor solo from longtime band-member and renowned jazzman David "Fathead" Newman.
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"Swanee River Rock (Talkin' 'Bout That River)"
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Ray makes a bid for the teenage rock and roll market and wins - An unexpected conga rhythm gives way to a hand-clapped groove punctuated by the Raelettes and another juicy "Fathead" solo.
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An exhilarating album captures Ray's triumphant July 5, 1958 live appearance at the prestigious Newport Jazz Festival.
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What can you say? Three legendary minutes and eleven seconds of moaning, groaning and release. One of the first R&B songs to successfully "crossover to the pop/rock charts - it peaked #6 on the pop charts in August 1959, and will surely live forever as one the greatest songs of the 20th Century.
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A watershed release, the Grammy Award-winning record displayed the staggeringly versatile and eclectic universe of Mr. Charles. Aided by members of Duke Ellington and Count Basie's bands, along with a string orchestra, this is Ray at the top of his interpretative powers. Includes such soul benchmarks as "Let The Good Times Roll" "Just For a Thrill," and "Don't Let the Sun Catch You Crying."
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"(Night Time Is) The Right Time"
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A joyful ode to nighttime pursuits, Ray's powerful vocal is sweetly bolstered by the Raelettes, Fathead Newman, baritone sax-ace Hank Crawford and the illustrious Afro-Cuban percussionist Mongo Santamaria.
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A sentimental, string-sweetened song so gracefully emotional it quickly became one of Ray's signature tunes. Awarded the Grammy for Best Male Pop Vocal, it was eventually honored as the official song of the state of Georgia.
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Backed by several jazz luminaries, features some of The Genius' leanest and meanest Hammond B-3 organ playing on record. Includes the intoxicating soul-jazz Quincy-Jones arranged smash "One Mint Julep." - An all-time classic soul-jazz excursion.
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Written by his close friend Percy Mayfield, Ray delivers another one for the ages. Tough-as-nails, the song is keenly undercut by the Raelettes and its own sly good humor: A pop #1 and Grammy Award winner for R&B Recording and Best R&B Performance.
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A unique pairing of two completely original vocal styles, highlighted by a fantastic rendition of "Baby, It's Cold Outside."
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Colored by an irresistible Latin-rhythm, the song is a soulfully swinging plea to the heavens - The Genius at his best.
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A monumental crossover release that showed Ray was as at home with country as he was with R&B, jazz, blues and rock. On the strength of the smash-hit singles "I Can't Stop Loving You," and "You Don't Know Me," the album remarkably topped the pop album charts for almost three straight months.
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This simple ditty written by Louisiana Governor Jimmie Davis provided further proof that Ray could sing any song in any idiom and make it his own.
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Featuring a blustery big-band arrangement, the tune ably demonstrated his knack for melding humor with pathos. It was yet another multiple Grammy winner.
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Penned by Bakersfield country kingpin Buck Owens, the cry-in-your-beer-glass weeper was one Ray's finest and most heartfelt ballad performances.
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Written by the yet-to-be-famous team of Ashford and Simpson, the song's playful, larger-than-life sound earned him yet another artistic feather in his cap.
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"In The Heat Of The Night"
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Ray memorably turns in a searing performance of the title song for the acclaimed and controversial film.
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Along with "Yesterday," "Something," and "The Long and Winding Road" - "Eleanor Rigby" was a standout in a string of successful Beatles covers.
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Volcanic Action of My Soul
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Explosive early '70s release, capped by a haunting version of Jimmy Webb's "See You Then" and a sophisticated take on the blues classic "Feel So Bad."
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A rendition so perfect, many have lobbied to make it the new National Anthem.
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An ambitious and wholly successful take on Gershwin's American operatic masterpiece.
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The Genius meets Xmas! - essential holiday listening.
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"Seven Spanish Angels" (with Willie Nelson)
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A wonderfully winning ballad duet from two American masters.
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"I'll Be Good To You" (w/ Chaka Khan)
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A Grammy-winning hit taken from Quincy Jones' Back On The Block album.
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Heartfelt take on Leon Russell's meditative love ballad, it netted another Grammy for Best Male R&B Performance.
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Relaxed and grooving triumphant final release featuring superstar disciples Elton John, Bonnie Raitt, Van Morrison, James Taylor, Johnny Mathis, B.B. King, Diana Krall, Norah Jones and Willie Nelson.
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