“(Turn Out The Light And) Love Me Tonight”

Ray Charles never strayed too far from country music. Even in the 1970s, when he largely steered clear of the genre in favor of R&B, jazz, disco, and even a 1930s musical, he added a cover of “(Turn Out The Light And) Love Me Tonight” to his 1979 LP Ain’t It So. It’s the last track on the album, and finishes up the adventurous multiple styles of music therein on a melodically lovely and warmly musical note.

“(Turn Out The Light And) Love Me Tonight” was a #1 hit for country artist Don Williams in 1975 (for a single week). It was composed by songwriting legend Bob McDill.

The song is a heartfelt plea for sex. In classic country tradition, there’s a shameless element of desperation in the lyrics, one that provides a backdrop for the protagonist urging his woman to turn the TV off and pull down the shade already. Ray Charles’ take feels different than Don Williams’ version, however.

Don Williams’ original version from 1975.

What’s Unique About Ray Charles’ “(Turn Out The Light And) Love Me Tonight”

The two most important aspects to Ray’s version of “(Turn Out The Light And) Love Me Tonight” are the choral vocals and the synthetic feel of the music.

First, the singers: there are quite a few of them, and they’re all Ray. He often liked to overdub his voice multiple times in support of his own lead vocal; the effect is especially noticeable on this song. The backing Rays are mixed high, almost competing with the main take. Those voices are warm though, all dollops of rich molasses flowing over the equally smooth music.

As for the music: A horn section sustains long notes through much of the performance, but they’re clearly synthesizers. As such, they don’t really sound like horns, but it’s ok: the backing Rays aren’t disguised either. You’re supposed to simply get lost in the comforting electronic tones, which hum through the song. And that’s what sets this version of “(Turn Out The Light And) Love Me Tonight” apart from the original: the woe-is-me desperation is dialed way down, and the sensuality way up. (Ray’s sparkly electric piano solo takes the effect even further.)

Furthermore, behind all this sly, friendly seduction are subtle remnants of the disco elements that Ray had been adding to his music for the preceding couple of years. The occasional wah-wah guitar note, just noticeable in one speaker maybe, adds urgency to the song. As a whole, “(Turn Out The Light And) Love Me Tonight” doesn’t slide down into lethargy; it’s kept snappy and alert by those lively touches. Sure, Ray is playfully looking for love – but he’s focused. It’s a great way to end a great album.

Listen to “(Turn Out The Light And) Love Me Tonight”

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