Track listing : 1.You Are My Sunshine (Jimmie Davis, Charles Mitchell)- 03:01 . 2.No Letter Today (Ted Daffan)- 03:01 . 3.Someday (You’ll Want Me to Want You) (James Hodges)- 02:41 . 4.Don’t Tell Me Your Troubles (Don Gibson)- 02:07 . 5.Midnight (Boudleaux Bryant, Chet Atkins)- 03:17 . 6.Oh Lonesome Me (Don Gibson)- 02:10 . 7.Take These Chains from My Heart (Fred Rose, Hy Heath)- 02:57 . 8.Your Cheating Heart (Hank Williams)- 03:35 . 9.I’ll Never Stand in Your Way (Fred Rose, Hy Heath)- 02:20 . 10.Making Believe (Jimmy Work)- 02:52 . 11.Teardrops in My Heart (Vaughn Horton)- 03:04 . 12.Hang Your Head in Shame (Fred Rose, Edward Nelson, Steve Nelson)- 03:16 .
Musicians : Ray Charles – Keyboards, Vocals . The Raelettes .
Production Produced by Ray Charles, Sid Feller . Gerald Wilson – Arranger (big band) . Marty Paich – Arranger (strings) . Frank Abbey – Engineer . Bobby Arnold – Engineer . Bill Putnam – Engineer .
Package : Hugh Bell – Photography . Todd Everett – Liner Notes .
Recorded September 5, 1962 in New York City, NY and September 7, 1962 in Hollywood, CA .
Released in October 1962 by ABC-Paramount.
While it may not be honky-tonk, it’s string-drenched Countrypolitan in keeping with the Nashville styles of the early 60’s; both volumes did a great deal to impact both Charles’ career and country music itself as crossovers both ways started becoming far more prevalent. […]
The songs from Volume 2 have a bit more sonic depth, a thicker string sound and more compelling vocal chorus, focusing more on the songs themselves than on Charles’ own voice. The broad strings of “Born To Lose” wonderfully offset Ray’s voice and his understated piano, creating an atmosphere more at home in the cocktail parties of Manhattan nightlife than in the rough and tumble roadhouses of the South where many of these songs had their birth. […]
In the world it created, not only could a black person sing the American songbook Ella Fitzgerald owned by then, but a country black person could take it over. Soon Charles’ down-home diction, cotton-field grit, corn-pone humor and overstated shows of emotion were standard operating procedure in American music, black and white. […]