He completed 64 years today Ryland Peter Cooder , better known as Ry Cooder.
Cooder extended a heartfelt tribute to the people of the Great Depression, the Hoovervilles of the unemployed, the Dust Bowl drought of the great ` 30s.
cover of The Dark End Of The Street (1972), on Boomer's Story (1972), the song is perhaps the most exemplary manner in which Cooder extract emotions from a very humble treatment of the original source.
The next step was to learn how to use the recording studio.
A production made much more accurate for "Paradise And Lunch" (1974) an album more accessible.
Although this album was dedicated to gospel, Cooder let the size of the blues revival and focused on the abstract task of recalling the past (Jesus On The Piglet, the proposal in the movie at the bottom of post).
Cooder then immersed himself in the Hawaiian music with "Chicken Skin Music" (1976), enthralling excursion to waltz and bolero, with the participation of the great accordionist Bolivian Placo Jimenez and a great Hawaiian guitar.
Similarly, "Jazz" (1978) takes aim at the first jazz jazz, the beginning of the century. The central theme of the work
Cooder is humility.
While his skills as an arranger and producer allows him more creative flights, Cooder is getting closer to rhythm and blues and rock and roll with the album "Bop Till You Drop" (1979), "Borderline" (1980) and "The Slide Area" (1982), again with impressive results for authenticity.
The third is unusually rich Cooder's compositions. Starting
epic western cowboys and outlaws painted on "The Long Riders" (1980), he spent the '80s Cooder soundtracks.
were, among others, "Southern Comfort" (1981), "Border" (1981), "Streets Of Fire" (1984), "Paris Texas" (1985), "Alamo Bay" (1985), etc..
Each of these works sheds light on the personality of the archivist and mouse "disco", a craftsman of the "hand made with the taste of a time."
His approach is a mixture of nostalgia and philology.
the intense poetry of this soundtrack is the highlight of his work.
popular fantasies are able to immerse the listener at the outset in the true spirit of an ethnic microcosm.
His inexhaustible passion for the "oldies" meanwhile, continued to fill up albums such as "Get Rhythm" (1987) and especially "Johnny Handsome" (1989).
Ry Cooder was also part of Little Village (1992) with John Hiatt and Nick Lowe. It is of
Hiatt (back to two posts to read him) the single Sex Solar Panel.
But instrumental music suits him much more.
"Music By Ry Cooder" (1995) is an excellent anthology of soundtracks.
also those made by pasting other people's contributions, as "The End Of Violence" (1997) and "Buena Vista Social Club" (1997), seem almost existential meditations on the human condition.
Marginalized by his lofty teaching, Cooder hardly belongs to the history of popular music as it is only dedicated heart and soul to folk music.
Let's see and listen to him.
was born in Santa Monica March 15, 1947, and besides being an incredible guitarist (the Rolling Stones places him at number 8 of the special prize dedicated to the best of all times) is also a singer and composer.
As shown in the movie to follow is also an excellent mandolin player.
began studying guitar at an early age (a only three years), while remaining self-taught, though long in close contact with the English Vincent Gomez will definitely carry it to the world of music.
begins, however, to engage in other musical genres such as folk, country, but especially the blues, going to the Ash Grove in Los Angeles, where he met Gary Davies, who taught him the rudiments of the bottleneck guitar and introduced him to the banjo.
Ry Cooder is one of the manufacturers of sound more inspired of all time.
He began his career in the blues revival Cooder but soon established itself as an arranger and composer, able to create the atmosphere more troubled.
no case will end for preference the shape of the soundtrack. A
age of 17 he joined the Magic Band Captain Beefheart . A form with 19 years
the Taj Mahal Rising Sons and 21 works on his first soundtrack. How
virtuoso slide guitar, it soon became session-man requested by many, including Rolling Stones . For them
Cooder played the mandolin in "Let It Bleed", as the Stones make "Love in Vain" by Robert Johnson (still work with the Stones - this time with the slide guitar - for the piece Sister Morphine).
When finally released a solo album, "Ry Cooder" (1970) was almost a disappointment Cooder merely dusting off old songs remained forgotten for decades.
In fact this was the simplest way to reconstruct a time, as demonstrated, playing with more participation, on the next 'Into The Purple Valley "(1971).
With its chiming guitar, the bare simplicity of his arrangements, the timidity of his melancholy voice, the songs on that record are just as many "snapshots" of the world that no longer exists.
As shown in the movie to follow is also an excellent mandolin player.
began studying guitar at an early age (a only three years), while remaining self-taught, though long in close contact with the English Vincent Gomez will definitely carry it to the world of music.
begins, however, to engage in other musical genres such as folk, country, but especially the blues, going to the Ash Grove in Los Angeles, where he met Gary Davies, who taught him the rudiments of the bottleneck guitar and introduced him to the banjo.
Ry Cooder is one of the manufacturers of sound more inspired of all time.
He began his career in the blues revival Cooder but soon established itself as an arranger and composer, able to create the atmosphere more troubled.
no case will end for preference the shape of the soundtrack. A
age of 17 he joined the Magic Band Captain Beefheart . A form with 19 years
the Taj Mahal Rising Sons and 21 works on his first soundtrack. How
virtuoso slide guitar, it soon became session-man requested by many, including Rolling Stones . For them
Cooder played the mandolin in "Let It Bleed", as the Stones make "Love in Vain" by Robert Johnson (still work with the Stones - this time with the slide guitar - for the piece Sister Morphine).
When finally released a solo album, "Ry Cooder" (1970) was almost a disappointment Cooder merely dusting off old songs remained forgotten for decades.
In fact this was the simplest way to reconstruct a time, as demonstrated, playing with more participation, on the next 'Into The Purple Valley "(1971).
With its chiming guitar, the bare simplicity of his arrangements, the timidity of his melancholy voice, the songs on that record are just as many "snapshots" of the world that no longer exists.
Cooder extended a heartfelt tribute to the people of the Great Depression, the Hoovervilles of the unemployed, the Dust Bowl drought of the great ` 30s.
cover of The Dark End Of The Street (1972), on Boomer's Story (1972), the song is perhaps the most exemplary manner in which Cooder extract emotions from a very humble treatment of the original source.
The next step was to learn how to use the recording studio.
A production made much more accurate for "Paradise And Lunch" (1974) an album more accessible.
Although this album was dedicated to gospel, Cooder let the size of the blues revival and focused on the abstract task of recalling the past (Jesus On The Piglet, the proposal in the movie at the bottom of post).
Cooder then immersed himself in the Hawaiian music with "Chicken Skin Music" (1976), enthralling excursion to waltz and bolero, with the participation of the great accordionist Bolivian Placo Jimenez and a great Hawaiian guitar.
Similarly, "Jazz" (1978) takes aim at the first jazz jazz, the beginning of the century. The central theme of the work
Cooder is humility.
While his skills as an arranger and producer allows him more creative flights, Cooder is getting closer to rhythm and blues and rock and roll with the album "Bop Till You Drop" (1979), "Borderline" (1980) and "The Slide Area" (1982), again with impressive results for authenticity.
The third is unusually rich Cooder's compositions. Starting
epic western cowboys and outlaws painted on "The Long Riders" (1980), he spent the '80s Cooder soundtracks.
were, among others, "Southern Comfort" (1981), "Border" (1981), "Streets Of Fire" (1984), "Paris Texas" (1985), "Alamo Bay" (1985), etc..
Each of these works sheds light on the personality of the archivist and mouse "disco", a craftsman of the "hand made with the taste of a time."
His approach is a mixture of nostalgia and philology.
the intense poetry of this soundtrack is the highlight of his work.
popular fantasies are able to immerse the listener at the outset in the true spirit of an ethnic microcosm.
His inexhaustible passion for the "oldies" meanwhile, continued to fill up albums such as "Get Rhythm" (1987) and especially "Johnny Handsome" (1989).
Ry Cooder was also part of Little Village (1992) with John Hiatt and Nick Lowe. It is of
Hiatt (back to two posts to read him) the single Sex Solar Panel.
But instrumental music suits him much more.
"Music By Ry Cooder" (1995) is an excellent anthology of soundtracks.
also those made by pasting other people's contributions, as "The End Of Violence" (1997) and "Buena Vista Social Club" (1997), seem almost existential meditations on the human condition.
Marginalized by his lofty teaching, Cooder hardly belongs to the history of popular music as it is only dedicated heart and soul to folk music.
Let's see and listen to him.
Jesus On The Mainline
Quote of the Day:
" Imagination governs the world " (Napoleon Bonaparte)
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