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Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.
Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

Who did he work with on the recording?

Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller,

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Love is an American rock group that was most prominent in the late 1960s and early 1970s. They were originally led by singer/songwriter Arthur Lee, who wrote most of the songs, although some of their best known songs were written by Bryan MacLean. One of the first racially diverse American bands, their music drew on a diverse range of sources including folk rock, hard rock, blues, jazz, flamenco and orchestral pop. While finding only modest success on the music charts, Love would come to be praised by critics as one of the finest and most important American rock groups of their era.
Signed to the Elektra Records label as their first rock act, the band scored a minor hit single in 1966 with their version of Burt Bacharach and Hal David's "My Little Red Book". Their first album, Love, was released in March 1966. The album sold moderately well and reached No. 57 on the Billboard 200 chart. In August 1966 the single written by Arthur Lee "7 and 7 Is", notable for the exceptional guitar work of Johnny Echols and proto-punk styled drumming by Pfisterer, became their highest-charting single at No. 33 in the Billboard Hot 100. Two more members were added around this time, Tjay Cantrelli (real name John Barbieri) on woodwinds and Michael Stuart on drums. Pfisterer, never a confident drummer, switched to harpsichord. Their musical reputation largely rests on the next two albums, Da Capo and Forever Changes. Da Capo, released in November 1966, included "7 and 7 Is" as well as the subsequent singles "She Comes in Colors" and "!Que Vida!" and MacLean's "Orange Skies". Cantrelli and Pfisterer soon left the band, leaving it as a five-piece once again. Forever Changes, released in November 1967 and recorded and co-produced by Bruce Botnick is a suite of songs using acoustic guitars, strings, and horns that was recorded while the band was falling apart as the result of various substance abuse problems and tension between Arthur Lee and Bryan MacLean, who wanted more of his songs on the album. The band recorded the album in only 64 hours, though many professional session players were utilized, including some who replaced the actual band members in some songs. Writer Richard Meltzer, in his book The Aesthetics of Rock, commented on Love's "orchestral moves", "post-doper word contraction cuteness", and Lee's vocal style that serves as a "reaffirmation of Johnny Mathis". Forever Changes included one hit single, Bryan MacLean's "Alone Again Or", while "You Set the Scene" received airplay from some progressive rock radio stations. By this stage, Love were far more popular in the UK, where the album reached No. 24, than in their home country, where it could only reach No. 154. More recently the album has received recognition as one of the greatest rock albums of all time, appearing on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, being inducted into the Grammy Hall of Fame and being added to the National Recording Registry.

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Rolling Stone magazine's list of The 500 Greatest Albums of All Time, being inducted into the Grammy Hall of Fame and being added to the National Recording Registry.