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: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Question: Can you tell me a little about the Conception of the album?
Answer: Charles sought to experiment with country music.

Problem: Background: Woodes Rogers was the eldest son and heir of Woods Rogers, a successful merchant captain. Woodes Rogers spent part of his childhood in Poole, England, where he likely attended the local school; his father, who owned shares in many ships, was often away nine months of the year with the Newfoundland fishing fleet. Sometime between 1690 and 1696, Captain Rogers moved his family to Bristol. In November 1697, Woodes Rogers was apprenticed to Bristol mariner John Yeamans, to learn the profession of a sailor.
Context: Rogers encountered financial problems on his return. Sir William Whetstone had died, and Rogers, having failed to recoup his business losses through privateering, was forced to sell his Bristol home to support his family. He was successfully sued by a group of over 200 of his crew, who stated that they had not received their fair share of the expedition profits. The profits from his book were not enough to overcome these setbacks, and he was forced into bankruptcy. His wife gave birth to their fourth child a year after his return--a boy who died in infancy--and Woodes and Sarah Rogers soon permanently separated.  Rogers decided the way out of his financial difficulty was to lead another expedition, this time against pirates. In 1713, Rogers led what was ostensibly an expedition to purchase slaves in Madagascar and take them to the Dutch East Indies, this time with the permission of the British East India Company. However, Rogers' secondary purpose was to gather details on the pirates of Madagascar, hoping to destroy or reform them, and colonise Madagascar on a future trip. Rogers collected information regarding pirates and their vessels near the island. Finding that a large number of the pirates had gone native, he persuaded many of them to sign a petition to Queen Anne asking her for clemency. While Rogers' expedition was profitable, when it returned to London in 1715, the British East India Company vetoed the idea of a colonial expedition to Madagascar, believing a colony was a greater threat to its monopoly than a few pirates. Accordingly, Rogers turned his sights from Madagascar to the West Indies. His connections included several of the advisers to the new king, George I, who had succeeded Queen Anne in 1714, and Rogers was able to forge an agreement for a company to manage the Bahamas, which were infested with pirates, in exchange for a share of the colony's profits.  At the time, according to the Governor of Bermuda, the Bahamas were "without any face or form of Government" and the colony was a "sink or nest of infamous rascals". Until Rogers obtained his commission, the islands had been nominally governed by absentee Lords Proprietor, who did little except appoint a new, powerless governor when the position fell vacant. Under the agreement that underlaid Rogers' commission, the Lords Proprietor leased their rights for a token sum to Rogers' company for twenty-one years.  On 5 January 1718, a proclamation was issued announcing clemency for all piratical offences, provided that those seeking what became known as the "King's Pardon" surrendered not later than 5 September 1718. Colonial governors and deputy governors were authorised to grant the pardon. Rogers was officially appointed "Captain General and Governor in Chief" by George I on 6 January 1718. He did not leave immediately for his new bailiwick, but spent several months preparing the expedition, which included seven ships, 100 soldiers, 130 colonists, and supplies ranging from food for the expedition members and ships' crews to religious pamphlets to give to the pirates, whom Rogers believed would respond to spiritual teachings. On 22 April 1718, the expedition, accompanied by three Royal Navy vessels, sailed out of the Thames.
Question: did he ever resolve his financial difficulties?
Answer: