Background: 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.
Context: 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.
Question: When did the album come out
Answer:

Background: Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 - March 5, 1963) was an American country music singer and part of the Nashville sound during the late 1950s and early 1960s. She successfully "crossed over" to pop music and was one of the most influential, successful, and acclaimed vocalists of the 20th century. She died at age 30 in the crash of a private airplane. Cline was known for her rich tone, emotionally expressive and bold contralto voice, and her role as a country music pioneer.
Context: On June 14, 1961, she and her brother Sam were involved in a head-on collision on Old Hickory Boulevard in Nashville. The impact threw Cline into the windshield, nearly killing her. Upon arriving at the scene, Dottie West picked glass from Cline's hair, and went with her in the ambulance. When help arrived, Cline insisted that the other car's driver be treated first. She later said she saw the female driver of the other car die before her eyes. West witnessed this too, and the impression left upon her may have contributed to an unfortunate decision she made some three decades later. In 1991, when West was seriously injured in a car accident, she insisted that her driver be treated first. West died from her injuries, possibly because she had declined to be treated immediately. Cline spent a month in the hospital, suffering from a jagged cut across her forehead that required stitches, a broken wrist, and a dislocated hip. Her friend Billy Walker, who died in a vehicle accident in 2006, said Cline rededicated her life to Christ while in the hospital, where she received thousands of cards and flowers from fans. When she was released, her forehead was visibly scarred. (For the rest of her career, she wore wigs and makeup to hide the scars, along with headbands to relieve the pressure that caused headaches.) Six weeks later, she returned to the road on crutches with a new appreciation for life. A series of recordings titled Patsy Cline: Live at the Cimarron Ballroom, from her first concert after the crash, were released in 1997 and feature Cline interacting with the audience, reviewing her live performances. Recorded in Tulsa, Oklahoma, as a sound check, these archives were found in the attic by a later owner of one of Cline's residences and were given to the family.
Question: Was anyone injured?
Answer: The impact threw Cline into the windshield, nearly killing her.

Background: Gregory Allen Kurstin (born May 14, 1969) is an American record producer, musician and songwriter. Described as "the consummate DIY writer and producer", Kurstin has been associated with releases which have cumulatively sold more than 60 million albums worldwide. He has won five Grammy Awards, including Producer of the Year (Non-Classical) in 2017 and 2018. Kurstin co-wrote, produced and played most of the instruments on the record-breaking 2015 Adele single, "Hello".
Context: In 2004, Kurstin was introduced to singer Inara George by a mutual friend, Mike Andrews. Then producing George's solo debut, Andrews hired Kurstin as a pianist for the album. Kurstin and George clicked musically in the studio and together they formed The Bird and the Bee (stylized as "the bird and the bee"). Shortly thereafter, they were signed by Blue Note Records chairman Bruce Lundvall. Described by Entertainment Weekly as "space-age pop that cunningly combines bossa nova languidity with Beach Boys-style lushness", they have since released four albums and an EP. Kurstin was nominated for a Grammy Award for Best Engineered Album for the Bird and the Bee's 2015 release, Recreational Love. After working on tracks with artists including Peaches, All Saints, Pink, the Flaming Lips, and Kylie Minogue, Kurstin was introduced to Lily Allen. Along with other musicians, co-writers, producers and engineers, he worked on her 2006 debut, Alright, Still, which went on to achieve platinum status. For her second album It's Not Me, It's You, Allen worked exclusively with Kurstin; he co-wrote every song and played all of the instruments on the record, which he also engineered and produced. The album's first single, "The Fear", spent four weeks at number 1 in the UK, and the album hit number 5 in the US and charted in the top 10 in eight other countries. With Allen, Kurstin won three Ivor Novello Awards for his work on the double-platinum It's Not Me, It's You. Based in part on the album's success, as well as his work on a bird and the bee record, Kurstin was nominated for his first Producer of the Year Grammy in 2010. Kurstin's first commercially available collaboration with Sia was "Death by Chocolate", released on her 2008 album Some People Have Real Problems. In 2010, he produced Sia's fifth album, We Are Born. It reached number 2 in Australia and number 37 in the US. It won ARIA Music Awards for Best Pop Album and Best Independent Release.
Question: Did Some People Have Real Problems win any awards?
Answer:
It reached number 2 in Australia and number 37 in the US. It won ARIA Music Awards for Best Pop Album and Best Independent Release.