Ray Charles’ rendition of “Compared To What” stands as a powerful testament to his musical versatility and his ability to infuse social commentary into popular genres. Released in 1980, this track, featured on his album Brother Ray Is At It Again, took Gene McDaniels’ politically charged 1969 composition and reimagined it through a disco-funk lens. While disco’s mainstream popularity was waning, Ray Charles used the genre to deliver a serious message, proving his late-career muse was as potent as ever.
“Compared To What” was initially penned by singer-songwriter Gene McDaniels in 1969, a year marked by social and political upheaval. Roberta Flack was the first to record and release it, offering a version that was subtly powerful, characterized by a restrained yet poignant delivery. However, it was the electrifying performance by pianist Les McCann and saxophonist Eddie Harris at the Montreux Jazz Festival in 1969 that catapulted the song to widespread recognition. Their extended, jazz-infused rendition, driven by McCann’s raw and impassioned vocals, became a million-selling hit, setting a high bar for future interpretations.
Ray Charles, in his 1980 version, embraced the disco sound that he had been experimenting with in his recent albums like Love And Peace and Ain’t It So. Yet, “Compared To What” was distinct. It wasn’t about the glitter and glamour often associated with disco; it was about substance. The lyrics, originally penned during the Vietnam War era, tackle weighty issues such as injustice, abortion, and racial inequality. This was dance music with a conscience, a stark contrast to the escapist themes prevalent in many Studio 54 anthems of the time.
Interestingly, Ray Charles adapted the lyrics to reflect the slightly shifted political landscape of 1980. With Jimmy Carter, a fellow Georgian, in the presidential office and the Vietnam War concluded, he omitted the original verse referencing Nixon and the war. However, the core message of social critique remained fiercely intact. He also incorporated vocal ad-libs, notably “sock it to me!”, echoing the energetic delivery style of Les McCann’s famous rendition, further grounding his version in the song’s protest roots.
Musically, Ray Charles’ “Compared To What” is a dynamic fusion of disco and funk, expertly arranged by Mike Post, a producer known for his eclectic work across genres, from Dolly Parton to Van Halen. The relentless synthesized disco beat propels the song forward, mirroring the urgency of the lyrics. The song’s hook lies in the powerful, repeated question at the end of each verse: “Trying to make it real – compared to what?” Here, the music punctuates Ray Charles’ outrage with forceful staccato bursts, a technique directly borrowed from the McCann/Harris version, emphasizing the enduring relevance of the song’s message over a decade later.
Adding an unexpected dimension to the track is a searing electric guitar solo midway through, a departure from the typical instrumentation in Ray Charles’ discography. Furthermore, showcasing the evolving sonic landscape of the era, the song features a synth solo towards its conclusion. This synth solo explores the then-new pitch-bending technology, offering a glimpse into the electronic textures that would become more prominent in Ray Charles’ music in the 1990s.
“Compared To What” was released as an A-side single in August 1980, with “Now That We’ve Found Each Other” as the B-side, further highlighting the album Brother Ray Is At It Again. For those captivated by Ray Charles’ powerful take on “Compared To What”, exploring Les McCann and Eddie Harris’ Swiss Movement album is highly recommended to appreciate their distinct yet equally compelling interpretation. Ray Charles’ version serves not only as a danceable disco track but also as a potent reminder of the power of music to address social issues, proving that even within the realms of disco, profound messages can resonate deeply.
You can find “Compared To What” on 45, LP or MP3 from Amazon. Explore more Ray Charles songs A to Z for a deeper dive into his musical legacy.
