Music By Ry Cooder Review

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Music By Ry Cooder ReviewI think some of the reviewers here miss the point: this is background music, which means that unlike some of Cooder's other, greater albums like PARADISE AND LUNCH, CHICKEN SKIN MUSIC, or INTO THE PURPLE VALLEY. Unlike these albums, the music here isn't supposed to call direct attention to itself. It is supposed to create mood and generate atmosphere. You can't listen to individual cuts with the same kind of attention that you would to his recording of Woody Guthrie's "Vigilante Man." I don't mean to denigrate the album by representing this as background music. That is simply what it is, and you have to judge it by different standards than music that is meant to perform a different function.
I derive enormous enjoyment from this album by employing it for the same purposes that it served in the various movies for which it was recorded. Reading, taking a bath, working, writing a friend to a letter: this is great music for any of those and a multitude of other activities. We sometimes want every piece of music to conform to a single use, but that simply isn't realistic.
I do want to make two general comments about this album. One is that the highpoint for me is the absolutely stunning song from the Jack Nicholson film THE BORDER (one of his greatest performances) entitled "The Borderline," written by Jim Dickinson and sung by Freddy Fender. It is simply a great song, and unlike the rest of the album, in no sense background music. The other remark is that a complaint that I have is that so little music from THE LONG RIDERS soundtrack was included. The best music that Cooder ever did for a movie was for that one, and I could have stood to have a great deal more included here. We get three cuts, but I would have enjoyed 4 or 5 more. Anyone enjoying those, however, should search out the entire soundtrack.Music By Ry Cooder OverviewRy's instrumental virtuosity, versatility and his ability to transcend genre have made him one of the most in-demand soundtrack composers over the last two decades of American cinema, and this 2-CD set collects the best of his unfailingly evocative film scores. Includes excerpts from Paris, Texas; Alamo Bay; The Long Riders; Geronimo; Crossroads; The Border; Blue City; Johnny Handsome; Trespass , and more, plus the first release of material from Southern Comfort and Streets of Fire . Notes, too!

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