Covering Ray Charles would be a risky endeavor for any band or artist. Arguably, Charles is the greatest soul singer ever. Yet, Austin’s Band of Heathens, though not evoking the same soul as Brother Ray because that’s just not possible; do instill a very comforting and, in its own way, soulful feeling to this project, revisiting Charles’ 1972’s A Message from the People. Quincy Jones, the album’s original producer and Charles biographer David Ritz have already weighed in with affirmative reviews.
You’ve heard many, if not all these tunes before. Certainly, the album’s centerpiece, Charles’ rendition of “America the Beautiful” is an enduring classic as is his interpretation of the folk tune “Abraham, Martin, and John.” Yet, the original was out of print until it was re-issued in 2009.
The album also featured these songs, that we’ve often heard – “Lift Every Voice and Sing,” “Heaven Help Us All,” “Look What They’ve Done to My Song, Ma” and John Denver’s “Take Me Home Country Roads.” Others like “Seems Like I Gotta Do Wrong” and “Hey Mister” may seem familiar too.
The Band of Heathens (BOH) was moved to record their own version after listening to the album while on tour in 2017. As their conversation revolved around troubled social issues and divisiveness in the country, the opening notes to the first track, “Lift Every Voice and Sing” hit home. They felt like Charles was speaking to us and the issues of today from the past. The Band of Heathens embraced the messages of the album feeling that it offered moving commentary on social justice, abuse-of-power, and its vision for a more unified America. Hence, a portion of the proceeds of the album will be donated to Rock the Vote and others to charitable organizations that promote social justice. As Quincy Jones said, “it’s a great interpretation and I admire their spirit to give it to charity!”
In December 2017 The Band of Heathens were working as a backing band on several projects for other artists. The sessions were held at the Finishing School, a studio built by their close friend and collaborator, the late George Reiff, who had lost his battle with cancer in May 2017. The studio had been dark since his passing. With the family’s blessing, they activated the studio and had four remaining days to work on their own material. They began to dabble in revisiting some of the material from the Ray Charles album and soon found, working alongside their close friend and Reiff’s go-to studio man, Steve Christensen, that there was a special, peaceful feeling that inspired them to keep going and do the album in its entirety. Unlike some of Charles’ previous country work, this album had more complex and lush arrangements beyond what most five-piece units could execute yet the BOH pull it off.
In the spirit of early 1970s black music, Ray had some messages to convey on this album. “America The Beautiful,” arranged by Quincy Jones, became Ray’s fourth signature song (after “What’d I Say”, “Georgia” and “I Can’t Stop Loving You.”) Ray removed some verses and emphasized those that spoke about the beauty of the country and the bravery of the soldiers. “Then I put a little country church backbeat on it and turned it my way.” The album took “quite some years of preparation,” Ray said at his first guest appearance at the Dick Cavett Show.
In addition to Jones =Mike Post and Sid Feller were credited as arrangers. And though originally the musicians were uncredited, we’ve since learned that Don Peake was on guitar and Donnie Eubanks played congas along with these impressive names: Freddie Hubbard, Joe Newman, Ernie Royal – trumpets; Hubert Laws, Jerome Richardson – reeds; Eric Gale, Jim Hall, Toots guitars; Toots Thielman-harmonica, Carol Kaye (on #6, #7, #8 and #10)- drums, Bob Cranshaw, Chuck Rainey – electric bass; Ray Brown – upright acoustic bass; Grady Tate – drums; uncredited – strings; The Raelettes (almost certainly: Vernita Moss, Susaye Green, Mable John, and Dorothy Berry; maybe also Estella Yarbrough).
It’s remarkable that the BOH deliver such a faithful delivery of “America the Beautiful” with upright piano, swirling B3 and a full choir. Even the lead vocal does a decent job of recreating Charles’ phrasing. They also manage to capture the urgency of the Charles versions. “Look What They’ve Done to My Song, Ma” was originally recorded by Melanie but Charles improvised some wordplay and wit into the tune which BOH echoed. “Hey Mister” has a somewhat dated arrangement but timeless lyrics as it rails against legislation just as “Seems Like I Gotta Do Wrong” speaks to the lonely and powerless. — glidemagazine.com