Customer Reviews

Thanks for Bringing Love Around Again

5 star:		(2)
4 star:		(1)
3 star:		(5)
2 star:		(1)
1 star:		(4)

 

 

whose 'Modern Sounds In Country & Western Music' is one of the most important recordings all time. This is the same Ray Charles whose "What I'd Say" (which is sorely covered here) is one of the all-time greatest--not to mention most recognizable--hooks in history. So why does this latest album sound like it was recorded with one of the first Casios on the market instead of the horn section it needs? And whoever can answer that must also know the reason why those amemic keyboards are supported with such paper-thin mechanical percussion. I was truly looking forward to new material from Ray Charles, but was almost immediately let down simply by the mere sound of this production. The songs are not bad at all--melodies and lyrics are up to the standard of someone who's set so many standards himself. Charles is in superb voice throughout, as well. I did consider rating this three stars on those merits alone, but Mr. Charles should have known better; something should not have sounded right during playback. An old cat should stick to what he does typically better than the best, and that's earthy, honest R&B--or whatever else Ray Charles might be in the mood for. Applying the whiney, wheezing, and ultimately whimpy technology to this otherwise winning collection of songs has taken any muscle comepletely away from them. If you're new to the music of Ray Charles, the aforementioned title and his Rhino best-of collections are the logical places to begin exploring his genius. This latest is perhaps a curiosity for established fans or newer ones who have done their homework first.

"Thanks For Bringing Love Around Again" is Ray Charles' best album since 1988. Even in his early 70s, the intricacies that make his voice so soulful and endearing continue to evolve and his singing is wisely placed as the centerpiece of the album. Billy Osborne gave Ray a selection of songs that puts him back in his old gospel-influenced element that allowed him to shine so brightly on his Atlantic and early ABC sides. It is apparent that Osborne very purposefully constructed these songs based on the chord patterns of those classic tunes. The listener can sense how comfortable Ray is with these structures, especially when Ray shouts improvisational lines on top many of the chorus, just as he used to do on many of his tunes during his golden years. With the exception of "Mother," the lyrics aren't as touching or insightful as those of Ray's past choices for ballads, such as "Brightest Smile in Town," "Drown in My Own Tears," or "You Don't Know Me", and are nowhere near as clever as the Percy Mayfield tunes such as "Hide Nor Hair" or "Unchain My Heart." However, the words are mindless and fun enough to transport you back to many of the Ray originals of the 1950s, thus they work on the level that Osborne probably intends them. Osborne cements these suspicions when he borrows a theme from Ray's "Hallulajuh I Love Her So" on the funky gospel, mid-tempo jam, "How Did You Feel the Morning After": "After the night is gone and the sun comes up / You bring me coffee, girl, in my favorite cup".

While Osborne is mostly successful in his writing, he and Ray unfortunately failed in giving the songs the production that they deserve. This album could have easily been considered a Ray Charles "comeback" album. All that would have been needed is a real drummer and a horn section. The keyboard horns Ray uses in place of an authentic horn section fall flat despite the well-constructed arrangements. It is frustrating to listen to the synth-horn lines and imagine how well they would have worked with a tight horn section. To ask for a return to an authentic band is far from the same as asking Ray to stop trying to move forward. These songs could have still captured the contemporary sound Charles has been after for the past 12 years without the drum machines and cheesy synthisizers, and probably much more successfully than they do as they are now. It's a shame that Ray and Osborne failed to realize this. The trick to falling in love with this album despite all its faults, as this reviewer has, is being able to look past these ill-conceived choices and hearing the songs for what they are at their core: a long overdue return to the gospel-blues that will always be Ray's true element.

Every single Ray Charles album has always had at least one special gem that makes the entire set worthwhile, even if one has difficulties looking past all the weaknesses that have plagued them since the 1970s. On "Thanks for Bringing Love Around Again," that track is "Mother." "Mother" is more influenced by modern gospel choirs than it is by the classic gospel-blues sound that dominates most of the other songs. It's a beautifully soft and haunting melody, and for the only time on the album Osborne lyric's reach straight into Ray's life and soul: "And I surely still do miss my Mother / Doesn't matter how old that I grow / Mother's love will stay with me all through life no matter where I go." Ray has been known to shed tears when singing an especially touching lyric, and his emotion and cries can be heard and felt stronger than ever on this track. His vocal performance on "Mother" is his best in years, and once again his improvisation asides sung over the choruses bring everything back home for Ray and his audience.

"Thanks For Bringing Love Around Again" might be best viewed as an album that takes two steps forward and one step back. Ray is still more than capable of an album that is strong on every level. Unfortunately, the world will not be blessed with another until Ray develops the patience for recording in a real band setting again, no matter how good the songs may be.

I've always been a Ray Charles fan and will ever be, but his latest album is very disappointing. His fans are always willing to listen, but will Ray for one time be ready to listen to his fans? Nobody likes those electronic sounds 'out of a box': why doesn't Ray surround himself with say five or six good studio musicians and record an 'unplugged' album? But as we all know, Ray is a stubborn man and 'nobody has to tell him'...

I have a large collection of Rays albums stretching from the late fifties up until the present time. Although Ray hasnt produced anything ground breaking since the mid to late 1960's, on the whole, his later lp's always contain a couple of gems. Even Rays run in with the hard funk/disco sound in the late 70's early 80's had interesting and entertaining moments. At their core they were new ways or presenting Ray's inherent soul and grit.

This particular cd is awfull im afraid. Weak songs, terrible production, nasty mixing, etc. Its an all round mess and in my opinion its a miracle Ray released it. No soul, no atmosphere, no tunes.

A lot of loud mod rock beats and band is so loud that Ray Charles can hardly be heard. Not at all what I like about Ray Charles music. Someone talked him into singing rock music and it doesn't work for me. Very,Very,Very disappointing. I will give this album away. It is not Ray Charles' unique sound.

As my title says, this is an album for Ray Charles completists only... not for the casual fan and not even for the more than casual fan.

I fall into the second category... more than just a casual fan, owning about 6 or 7 Ray Charles albums (and loving them all dearly), I fished this CD out of a bargain bin at the local drug store. That should have set off warning alarms, but I thought, "How could anything by Ray Charles be bad?"

This stuff is bad. It's certainly a curious CD... Ray's vocals are fine, but they are drowning in a sea of what genuinely sounds like the soundtrack from an old Nintendo game. Hearing the synthesized blips and bleeps will make you nostalgic for the aura of an arcade hall, if you grew up during the right era.

Honestly, I found it near impossible to listen to all the way through. Ray alone with his piano would have been brilliant. Ray stuck inside Mega Man 3 is just a waste of time.

I was organizing my music when I came upon this album again. I bought back when I was just starting realize what I was missing in music and that most of my peers had horrid taste! Listening to it again I am saddened that such a great artists was reduced to what sounds not much better than old C64 midi files. The songs are fine lyrically and certainly suit him but the production is L-A-M-E I hope beyond hope of hopes that hey re-release this album with new production and an actual band! Ray needs real horns some Caribbean house bands canned sax and trombone!

It would be such an awesome album if it had a live band.

On the plus it is Ray and that is something. He will always be a pioneer and legend even if young people today blindly ignore anything that came before.

No! It's not one of Ray's landmark albums, in fact this is one of the most Contemporary recordings in his career! Machine produced, Yes!, but there are some shining moments with cuts: "Can You Love Me Like That" which is a Duet with Brenda Lee Egar. The last time I checked her last name is spelled EAGER, or maybe through the years she's changed the spelling???, anyway it's the SAME voice that graced the #3 Gold Billboard Charting Single with Jerry Butler entitled "Ain't Understanding Mellow". Since that Brenda's voice has been heard as a Background Vocalist on at least 200+ recordings! It would be real for some company to sign her to a recording contract because she STILL got it! This cut along with "I Love You More Than I Ever Have" are BOTH cute finger-snappers with witty storylines.

Now for your money's worth the Title Track "Thanks For Bringing The Love Back Around" is real nice tucked away Gem!. The excellent "Ensemble" is a Duet with Ginie Line sung in French & English is a FANTASTIC LOVE SONG! (Although I don't know what's she's saying...It still sounds pleasing to my ears). This track just simply proves just how versital Ray Charles was, Oh! by the way this cut has REAL STRINGS on it!

There's even more! "New Orleans", which could work well during Mardi Gras. In fact even in a commercial or a movie backdrop. "Mr. Creole" has a cute jazzy feel with Ray talking about WHO Mr. Creole is. Although "New Orleans" was released as the B-Side of "Mother", it could have worked (Even now) if released as a Single! In case you've forgetten New Orleans is STILL NOT OUT OF THE RED yet!. On the last track entitled "Mother"...I'll put it this way...Ray put his heart and soul into this track! It did manage to grace the Billboard Singles Chart at #72, and did even better on Billboard's Pop Singles Airplay Chart at #9!. Overall this album IS a keeper, in spite of the critics and reviewers have said about it!...At least on 6 (Six) cuts.

...why not order this as well? It's surprisingly uptempo, and finds Ray in better health and better spirits. The songs are mostly originals, and quite enjoyable. Why not play Mr. Charles's last disc of new music for every two or three times you play "Genius"' also-fine revisiting of past glories. If you really want to consider yourself a fan, you need both these discs to get the fuller picture of latter-day Ray.

This disc has no superstar guests, and like many of his LPs/CDs over the years could have benefitted from better production (read: no syndrums!). However, Brenda Lee Eger (is this the Brenda Lee Eager who used to sing with Jerry Butler?) appears on a couple of tracks, and there is an uncanny Celine Dion sound-a-like named Ginie Line on "Ensemble."

I had an additional reason for buying this: the record's closer, "Mother." It was available somewhere as a single, though I could never find it, and reached the 70s on the R&B chart in 2002. I've only been without my mother for 2 years and five months; Mr. Charles had been getting through without his for much longer when he did this song. I am grateful for songs like this because they help me feel a little less alone in my pain: "Ever since the Lord called and she left us/Thoughts of her flow through me every day/God has taken her/But no one could ever take Mother's love away."

Perhaps this CD doesn't reflect the old Ray Charles, but the track "I Just Can't Get Enough of You" has struck a chord with east coast beach music fans. This tune hit the Top 40 Beach Music Chart a short while back rising to #12 and staying on the Top 40 for over 20 weeks. Due to this popularity, reviewers within this specialized genre were saying that Ray with this CD and James Brown with his "Next Step" album together produced the most refreshing and "baddest" sounds within the soul genre today. Surprisingly, they were among the oldest of recording artists at the time of these releases. Ray will be greatly missed.