Customer Reviews

Genius Loves Company

5 star:		(103)
4 star:		(60)
3 star:		(15)
2 star:		(14)
1 star:		(23)

 

 

Ray Charles truly gave back to the world of music. In his last album, a series of duets, aptly titled "Genius Loves Company", Charles and his collaborators give us that eclectic mix of styles he was known for.

There are a couple of tracks, recorded early in 2004, when Ray was ill, where his voice and manner are notably subdued. There are three miscalculations of the choice of songs that he made with his collaborator. There are the inevitable difficulties of harmonizing with Ray -- (a man who had a knack for never singing a song the way you expect someone to), and those come through in some of the duets, although most feature echo singing and response, and little harmony.

What a thrill to be asked to work with Ray on one of his previous hits....Gladys Knight is his featured partner in his gospel classic, "Heaven Help Us All". Backed by a choir, Ray and Gladys mix richly. Ray has several blues cuts on the CD -- the best of these is "Sinner's Prayer" with BB King. Ray jams on the piano and BB gives Lucille a workout, with some background Hammond B3 by the legendary Billy Preston. Ray and BB have a natural mix on one of Ray's oldest songs. Some close harmony in the country blues cut "Do I Ever Cross Your Mind?" shines through in the featured song with Bonnie Raitt -- produced by Phil Ramone, it is a great mix of vocals and blues guitar. Ray first did the song at the beginning of his career. There's a changeup from country in the old Eddy Arnold standard, "You Don't Know Me" with Ray and Diana Krall. Ray first did it in 1962, and the song is made richer with the jazzy counterpoint of Krall's flawless voice--another contribution from Phil Ramone. And starting the album, Ray collaborates with a relative newcomer, Norah Jones, in his 1967 blues hit - "Here We Go Again". The song is strong throughout, but fades a bit at the end where Ray and Norah struggle trying to mix harmony. Preston's contribution on the Hammond B3 is flawless in this collaboration.

Even better than being asked to work with Ray on one of his own songs is the honor of having Ray want to sing one of yours in a duet. Ray introduced and inducted masterful songwriter Van Morrison into the Songwriters Hall of Fame in the summer of 2003, and their resulting duet, to Morrison's "Crazy Love" (from his amazing album, "Moondance") kick started the whole duet album concept. It is the only live performance on the CD, and it amazes in that Morrison completely changes his approach to the song given the way that Ray begins it. A flawless exercise (again, with Ramone producing) in musicianship!

Another pop icon, Elton John, contributed the last song recorded, and the one where Ray's voice is the most feeble, but yet haunting. True to form, his lead in the song gives Elton John an opportunity to sing his part in a completely different manner than his original recording. The song is silk, with a full string accompaniment and a brooding, sultry feel that is perfect for both.

The third artist who contributed a song and a duet is the wonderful James Taylor. I've never been a fan of his ditty, "Sweet Potato Pie", and although it seems a logical choice for he and Ray -- it is one of only three "passable" songs.

The other two songs that didn't quite cut it? Both are classics, and in both, Ray works with another genius. Unfortunately, both songs are overproduced and the mix of styles and voices doesn't work well. With Johnny Mathis in "Over the Rainbow" -- Ray can't get Johnny to leave the standard melody and presentation of the old song. Ray's bluesy counterpoint doesn't blend well, and the song is regrettably, just ordinary. One can't help but contrast it to the amazing Eva Cassidy version of the same song. Perhaps the weakest duet on the album is a contrast in style and song, with Willie Nelson on the Sinatra standard, "It Was A Very Good Year". In an overblown, orchestra-laden approach, arranger Victor Vanacore leaves you feeling the production had nothing to do with the singers....it was a la Sinatra. Either Ray or Willie could have done a credibly different version of the song as a solo, but together, the mix didn't work.

One of Ray's favorite songs was a 60's pop tune called "Hey Girl"...wisely, he performs with a king of blue-eyed soul, Michael McDonald. Strangely, Ray takes the high part, and McDonald, known for his incredible range in the high register, gets to exercise his lower range, although at one point, he lets his pipes fly. With a full power orchestra, this song works, and the playful, tongue in cheek way in which Ray approaches it, makes it a highlight.

But, saving the best for last, the only real jazz combination on the CD is Ray's duet with Natalie Cole on the classic, "Fever". They are smooth as velvet and in perfect combination on the song. "Fever" is known as a jazz torch song for a woman, but somehow, this duet, more playful and and unique than any version I've heard, is my favorite of all the songs on the CD.

So, 9 great collaborations, and some exceptional liner notes and photos of Ray's last days ...far away offset a few of the lesser notes on this, the last effort of one of the finest performers of the last century.

Buy, enjoy.

I've been listening to Ray Charles since I was about 15 years old, when I first heard "What'd I Say." His voice, the electric piano and the song were about the freshest things I had ever heard, and I immediately loved him. That love never ended.

While I reluctantly agree with a few other reviewers that Ray's voice on some of the tracks is not what it once was, he still is absolutely wonderful and Genius Loves Company is a must for long-time Ray Charles fans like me. The selection of stars with whom he sings duets is varied and interesting and the musicianship and arrangements on the CD are outstanding. Everyone will find a different track that they like best and will feel Ray is particularly good with one artist or another. But, while there are certain tracks that appeal most to me, I actually think they all are good and the guest artists all put in excellent performances -- seemingly a heartfelt tribute to Ray --one of the greatest ever.

My personal favorites are "Fever" with Natalie Cole, who I think sounds as good as I've ever heard her, "Sorry Seems To Be The Hardest Word" with Elton John, which some other reviewers have not liked but I think is particularly good, "Sinner's Prayer" with B.B. King--perhaps the best track on the CD, "Heaven Help Us All" with Gladys Knight, "Over The Rainbow" with Johnny Mathis (I think Johnny sounds as good as he did 40 years ago) and "Crazy Love" with Van Morrison.

While Ray has sounded better on other CDs, this is still a classic by a man at the end of his life and one which I'm glad I own and which will be played frequently.

It's a cliche to use the term "overproduced" in critiquing music, but that's the word that consistently comes to mind with many of the songs on "Genius Loves Company". To me, much of Ray Charles' catalog suffers from this- too many syrupy strings, horns and background singers. I don't have a problem with orchestrations- they work to great effect on old Capitol-era Sinatra records and the Ella Fitzgerald "Songbook" series- but they walk a fine line between sounding lush and overwrought. Sadly, many of the songs on this, Mr. Charles' final studio album, fall into the latter category. His voice and piano/keyboard playing are powerful enough by themselves, and don't need to be overshadowed by such sappy sounds that instantly make this brand new album sound terribly dated. That's been a complaint of mine about most of what I've ever heard from Ray Charles, and I'm disappointed that this CD is no exception.

To be fair, there are some true gems on this album. While some of the arrangments might overpower and reduce the timelessness of the music, most of the duet partners seem to complement Mr. Charles quite nicely. Standout tracks are those with Norah Jones, Diana Krall, BB King, Gladys Knight and Van Morrison. They have just the right mix of jazz, soul and blues to give them a touch of the class and elegance of which Ray is so deserving. Elton John isn't bad, but his singing has become so over the top in the past decade or so as to become almost self-parodying. And there are many songs in Elton's catalog that would have better suited the pair. Willie Nelson is actually beginning to sound old. That by itself isn't a bad thing, but the attempt to replicate the orchestrations on the Sinatra version of "It Was A Very Good Year" just sound terrible. The Michael McDonald track is just excruciating, and epitomizes the overproduced sound that I'm talking about, with the muted trumpets and synths. So while there are certainly good songs here, only half the songs on a 12 song CD being listenable makes this a collection of questionable value. Sure, it's Ray Chalres, which for completists will be enough. But for more casual fans, well...listen to some samples first to see what you think.

What I would like to hear is a collection of Ray Charles on soulful vocals and piano, with minimal backing. If anyone is aware of such a CD, please click on my profile and e-mail me. I've often had the Atlantic recordings recommended to me; they do sound good but don't have Ray at the peak of his vocal abilities. While I should have known what to expect on a duets collaboration, I was hoping that this CD would have a more consistent, timeless sound. Sadly, it doesn't deliver. Even more sadly, unless there are hidden gems lurking in the vaults, this is the last original recording we're ever going to have from Ray Charles.

(And for people who take some of these reviews so seriously- LIGHTEN UP! The ones comparing Ray Charles unfavorably to Avril Lavigne, Vanilla Ice and the Backstreet Boyz are obviously written sarcastically or cynically. There seem to be regular Amazon reviewers who post such absurd, cynical reviews. Some of them are actually funny, some not. But if a review sounds too over the top to be real, chances are it's a joke. And if they're serious, well, are they really worth your time?)

Very few of us die doing what we love. Genius Loves Company is evidence that Ray Charles did just that. Aware that cancer was taking its final toll, he assembled luminaries Willie Nelson, B. B. King, Elton John, Bonnie Raitt, Van Morrison, Norah Jones, James Taylor, Diana Krall, Natalie Cole, Michael McDonald and Gladys Knight.

Although his voice is obviously weakened by his disease, the results are magical. Too often a CD released following the death of a legend generates a sense of mourning among the legend's faithful followers. This collection, however, gives comfort. While we mourn our loss, it grants solace, placing Ray Charles' great career in perspective.

Life's richness is in what is handed down from one life to the next. Ray Charles undoubtedly impacted and changed music during his six decade career. It celebrates his contributions and those who were influenced by his life and art.

This was the last project for Ray Charles, the innovator of soul, an icon and legend who's career spanned over 50 yrs. Each song is a duet with a different artist.

1. Here We Go Again with Norah Jones. This is a nice song to start the album. A relative newcomer, Jones, starts the song. She is very talented and her voice works well with Ray. It has a touch of a country feel to it

2. Sweet Potato Pie with James Taylor. The background music works with the voices so well. This song uses more jazz than most of the other songs.

3. You Don't Know Me with Diana Krall. This song was always one of my favorites. I love the duet too. It starts the same way as the original, but Krall adds a different feeling to it. Her voice contrasts with Ray's so nicely.

4. Sorry Seems to be the Hardest Word with Elton John. I always want to cry when I hear this song. I hear Ray differently than I ever heard him before. Part of it is his illness/old age which humble his voice, making it much more emotional. He sings from his heart so powerfully with this song. Elton is emotional in this song as well making it so powerful.

5.Fever with Natalie Cole. This song is one of the faster songs. It has some cute dialoge in it between Natalie and Ray. I like the reference to Pochahontas.

6. Do I Ever Cross Your Mind? with Bonnie Raitt. This song has a country feel to it. Anyone who bought Ray Charles does Country and Western will love this song. I love it.

7. It Was a Very Good Year with Willie Nelson. This is more of a story than song, but it rhymes. It's not one of my favorites, but it's ok.

8. Hey Girl with Michael McDonald. This is a sweet, slow song. It's very peaceful.

9. Sinners Prayer with B.B. King. This song reminds me of the jazz clubs that Ray would play in. I like it.

10. Heaven Help us All with Gladys Knight. Stevie Wonder's gospel song is back and it's great.

11. Over the Rainbow with Johnny Mathis. This song has a very different tone from Ray solo, but I like it as well. It's slower and softer.

12. Crazy Love with Van Morrison. The perfect song to end with, it's lively, well done and simply fabulous. The perfect note to think about Ray on. Overall, this CD is amazing and I beseech all Ray fans to buy it.

I have never written a review on any musician or music that I have bought in 50 years. Ray Charles was the first little 45's that I owned and from the first note I was hooked. He gave us so much and took so little. I am going back through my music library and listening all over again and must admit shedding some tears for what we are going to miss. God speed Brother Ray and give heaven an earful. Genius Loves Company needs to be a part of every music lovers library as it is a gift from Ray Charles.

This CD is a fine document of where Ray Charles was during the last period of his life...a little older, a little slower, but as rich and soulful as ever. He is always genuine, always Ray, even when paired with a wide variety of artists. Standout tracks include "Here We Go Again" with Norah Jones, "Sweet Potato Pie" with James Taylor, "You Don't Know Me" with Diana Krall, "Do I Ever Cross Your Mind" with Bonnie Raitt, "It Was a Very Good Year" with Willie Nelson (two unique icons doing a signature song by another icon...ya gotta love it), a brilliant "Hey Girl" with Michael McDonald, "Sinner's Prayer" with BB King, "Heaven Help Us All" with Gladys Knight, and "Crazy Love" with Van Morrison. Even at the end, his voice had more soul and sass in one note than some singers manage in an entire career. For fans of great, timeless music, this CD is a nice catch.

To all those "gangsta's" who think 50 cent is actually an artist, or even worth a 50 cent purchase, here's a little history lesson - Mr. Charles' was, and still is a GIANT among boys when it comes to music. Perhaps when you grow some facial hair you will begin to understand this.

The voice, the sound, the man. Ray Charles will live on, while 50 cent and others will be remembered as mere insects splattered on the windshield of sound.

I bought Genius Loves Company after I saw the movie 'Ray' and had the pleasure of being able to picture him as I heard him sing with Bonnie Raitt. Their recording was premier on the CD but I am very partial to Bonnie and her excellent slide guitar work. Van Morrison put aside his tendency to be stern and his scat work was good. James Taylor, the southern man, enjoyed his performance. I could hear it.

I've known and loved Ray Charles' music since he formed the Raylettes and crossed over into mainstream music when I was about fifteen. I've enjoyed each song he's recorded, bought many '45s, LPs and CDs, have my favourites and it wasn't until the 1980s that I discovered the double LP of his earliest years dating back to 1949. I bought the CD as soon as it became available.

There wasn't a song I was unhappy with on "Genius". I am not an expert on arrangement, orchestration or other technical bumpf, but I am knowledgeable regarding good sound. It sounded excellent to me and I didn't catch his tiredness. I especially enjoyed Somewhere Over The Rainbow with Johnny Mathis and You Don't know me with Norah Jones. Johnny Mathis and Ray singing together took me back to my teens and I will be sixty this year. I can imagine the fun he had recording those cuts.

That is what I got from this final recording. Fun. Ray's incredible capacity for fun throughout his life and struggles was one of the facets of his great persona that he has left with us.

He didn't have a disability when he sat at his piano and began to sing. I saw him in an outdoor concert venue once and wept with love and sheer delight. That is feeling I had when I bought his final recording. He is one in a million and as long as we have this technology we will have The Genius with us.

Ray Charles is a legend and with good reasons....The reasons he became a legend are not so evident on this overtly commercial, syrupy, sappy, overproduced, and highly stylized characterization of Ray by Ray and this label on this album . . . . many of the guest stars don't belong on the same stage let alone in the same studio.

I understand the success of this and how this works so well for the Krall fan or Norah fan who wants Ray lite.... but I must say: The duets feel so phony, so sterile that it is a disappointment.

This isn't so much music as it is candy, prepared for commercial sale on a vast scale. Gives me cavities. Makes my tummy hurt. ask a musician - call me if you find one who cares for this album.

Oh Ray , we miss you so. I'm sure you'd have really enjoyed all this success and the huge success of the movie.

I love Ray, just don't expect this album to represent him so well. There are so many better albums and tracks from his career and from those musicians that particpated..... This is cheese

This is a prefab confab. Go delve in and get the real thing and develop a soul!

(written after this has sold about 10 million worldwide- whats the point:)