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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Paris, Texas: Original Motion Picture Soundtrack Review

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Paris, Texas: Original Motion Picture Soundtrack ReviewOne of the immortal scenes: Harry Dean Stanton in the desert, scrambling out of nowhere, a tortured Everyman in search of solace. And then Ry Cooder`s slide guitar notes, modeled on Blind Willie Johnson`s " Dark was the night" - when have so few notes said so much? The music and the film images fit like hand and glove. I do not know whether "Paris, Texas" is a great movie, but I do know that it, for me and a host of others, is one of the most unforgettable movies ever, with images and feelings that refuse to let go, creeping under the skin and staying there. The music underlines this feeling, with not a surplus note, every little vibrato inuitively perfectly suited to the atmosphere conveyed in the movie - love and loss, union and aloneness, and, above all, compassion . If the music doesn`t reach these feelings, the experience may be that of the 1-star reviewer quoted. But to me, this music is one of the most durable selections I have in my 1000-piece collection, one of the few that always brings rewards and new nuances when listened to.Paris, Texas: Original Motion Picture Soundtrack OverviewCD > POPULAR MUSIC > MOVIE SOUNDTRACK

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Ry Cooder Review

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Ry Cooder ReviewWhen I saw Ry Cooder live in the early seventies, he was wearing baggy blue silk pants, pink satin pumps, a bandana, and a Hawaiian shirt. Eclectic garb? You bet. But somehow it all went together, a perfect sartorial analogue to his musical eclectism.
As far as the best debut ever, it's gotta be either this or Little Feet's. Nobody was doing this roots stuff back then, and nobody's ever done it better. The opening bars of "Alimony" are perfect. "How Can a Poor Man Stand Such Times and Live" and "Available Space" are transcendent. One marvels at the clarity of musical vision from one so young. Everything here's absolutely top drawer: overall concept, arrangements, production values, musicianship. It all continues with Into the Purple Valley (probably Cooder's best) and Boomer's Story, but to my ears he slips up with Boarderline. Wait a minute. As great as Into the Purple Valley is, Paradise and Lunch gets the nod as his best ever, because it's his most eclectic and has soooo many killer tunes on it. Chicken Skin Music is also great (if you can get by the obnoxious cover art, thankfully much smaller in the CD format)--check out especially "Stand by Me." "Mexican Divorce" from Paradise and Lunch is my all-time favorite Cooder cut; it always puts me in mind of my all-time favorite Byrds song, "Tulsa County Blue" (from their somewhat neglected masterpiece, Ballad of Easy Rider).
Of course, Buena Vista Social Club is also essential Cooder, as is Meeting by the River, with Indian maestro Vishwa Mohan Bhatt, and Talking Timbuktu, with Malian bluesman Ali Farka Toure. Also worth checking out: Fascinoma (with the unlikely but brilliant combination of Jacky Terrasson and John Hassell) and Hollow Bamboo. I'm not wild about all of his film music, but all in all, he's had quite a remarkable career. And I guess that's why Cooder gets the nod over Little Feet for the best ever debut--his subsequent career outshines Little Feet's, although they went on to produce some great stuff. Who knows where they might've gone but for Lowell George's untimely death.Ry Cooder Overview

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Mambo Sinuendo Review

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Mambo Sinuendo ReviewHas any musician, dead or alive, appeared in a wider variety of musical settings than Ry Cooder? None comes to mind. The amazing thing about his cross-culturalism is how effectively he picks up the basic vibe of the music he's exploring while still putting his own stamp on the proceedings, all the while maintaining a deep (yet not slavish) respect as he playfully deconstructs and reassembles it.
His latest, Mambo Sinuendo, a dual project with Cuban guitar legend Manuel Galabán, strikes me as the finest Cooder record to date. I've listened to this remarkable album many times, and each listen has revealed something new: Cooder's tuba-like sound on "Bodas de Oro"; the nimble acoustic bass of Orlando "Cachaíto" Lopez, always establishing the perfect rhythmic underpinning; the deep swing melded to relaxed yet intense interaction that suffuses the whole record; the tricky rhythmic shifts that relocate a piece from Latin America to the American Southwest to Hawaii. It's because Cooder has (seemingly effortlessly) acquired such a broad and deep musical vocabulary that he's able to musically jet, as it were, from country to country with such ease.
Highlights for me include a very tender reading of the chestnut "Secret Love," the Al Caiola-meets-Sonny Chillingworth vibe of "Drume Negrita," "Los Twangueros," with Ry making his recorded debut on vibes (!) and sounding, if I may say so, like an inebriated south of the border denizen in hat and sneakers, the old Pérez Prado number, "Patricia," given an affectionately funky reading and coming across, strangely, at once hoary and impossibly modern, "Caballo Viejo," a cumbia-like piece featuring some very tasty farfisa-organ-sounding guitar and killer drum work by the dual drum team of Jim Keltner and Joachim Cooder. The title cut shines brightest, with some way whacked-out organ, tasty chick background vocals, a guest appearance by Herb Alpert (who sounds surprisingly nimble), and Joachim all over his drum kit. But it's all good.
One small irritation: I don't think all the musicians are listed. For example, I can clearly hear an uncredited piano on "Bolero Sonámbulo." But that's a small matter, certainly not enough to topple this astounding record from the position it holds for as the premier release of the millennium so far.Mambo Sinuendo OverviewAs Cooder has written - ''You can look at this as a roadtrip through different worldless fantasy landscapes.Sometimes you're in bright daylight, sometimes the streetsare dark & empty. You're riding with the Conjunto Sinuendo- drummers Jim Keltner & Joachim Cooder, Conga-player''Anga'' Diaz, & bassist Cachaito Lopez, to hold you on the road. High performance Twang!'' Slipcase. Nonesuch. 2003.

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Guitar Man Review

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Guitar Man ReviewWhen this recording started I was wondering what was wrong with my balance on my system. The production on the first track must have been done by a drummer. Overkill on the drums drowns out an easily overwhelmed voice of the man, JJ Cale. What a relief when the second track reverted to a familiar mix that highlighted Cale's guitar and voice. Really great guitar work on this one, making the title appropriate. However for this fan it's the feel of Cale's recordings that soothes my soul. Great stuff.Guitar Man Overview1988 import reissue of Cale's 1981 album. 10 tracks. EMI.

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Talking Timbuktu Review

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Talking Timbuktu ReviewI have 6 or 7 CDs of music from Mali and find myself listening to this one most often. While I love them all --- the combination of musicians: Ali Farka Toure and Ry Cooder is unbeatable. Track #1 "Bonde" sung in Peul begins with a fantastic guitar introduction by Ali Farka Toure. Each note is drawn out just right to hook the emotions. The congas played by Oumar Toure provides an infectious rhythm. One male voice begins while a chorus responds in rhythmic unity, telling the story of why some women are unsuitable for marriage. Track #2 "Soukara" is sung in the Bambara language ... it has the sound and feeling of music from the Caribbean with a suitable ambient melody. The male vocalist pours his heart out to his lover at night, so say the liner notes. Another favorite track is #5 "Amandral" sung in the Temasheck language. The rhythms and sounds of this desert tribe is familiar. They are unforgetable on the CDs "Festival in the Desert" and "Radio Tisdas Sessions" both of which are highly recommended. As each guitar note is plucked, the feelings of the listener are hooked. The feelings rise ... ever higher in resonance with the melody and mood expressed on the slide, acoustic and bass guitars, drums, calabash, and congas.
Without exaggerating, I feel this CD contains some of the finest guitar playing on the planet. Other favorites are: #6, "Lasidan" (#6) which has a peppy, cheerful and upbeat tempo and #7, "Keito", which has musical elements of India and Pakistan or is it the Meditarranean? Ry Cooder plays the tamboura, Ali Farka Toure plucks and strums the electric guitar. There is a syncopated rhythm played on the congas and calabash. The music of Mali is highly distinct and very appealing. It is the best music from Northern Africa, and to this listener, the best from the whole continent of Africa. Erika Borsos (erikab93)Talking Timbuktu OverviewGuitar greats of two continents, Ry Cooder and Ali Farka Toure, collaborate on this session that crosses cultural boundaries from delta blues to Malian dialects.No Track Information AvailableMedia Type: CDArtist: TOURE/COODERTitle: TALKING TIMBUKTUStreet Release Date: 03/29/1994

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