Ry Cooder

If taste were a toe, Ry would be a foot. Ry Cooder's music is often heard as the backdrop on many movies, like "Paris Texas" and others. He has recorded several albums, and promoted many artists as well. His slide playing is smooth incredibly tasty and choice of songs is very eclectic. One of my personal favorites. His rendition of "Rally 'Round the Flag Boys" is moving and a fine expampe of some of the early American tunes that he finds and lends his glass bottleneck to.

Ry Cooder— 

One of the world's most diverse and most talented musicians, Ry Cooder's career has spanned three decades of unusually rich, fun musicmaking. Before recording as a solo artist, Cooder had already racked up impressive credits as a studio musician, backing the likes of Randy Newman, Little Feat, Van Morrison, Maria Muldaur, and the Rolling Stones, back in their early-70s prime. Cooder's records were a staple of '70s "free-form" FM radio programming, and helped inspire the country/stringband renaissance that continues to this day. Drawing on several traditions at once, Cooder typically weaves together country music, the blues, Tin Pan Alley pop and rock'n'roll sass. He has also worked with master musicians from Hawaii, Mexico, Mali, India, and -- most recently -- has had phenomenal success with the Cuban Buena Vista Social Club.

"Ry Cooder" Warner Brothers, 1970 After gigging around with Taj Mahal and playing on various studio sessions in the late '60s, Cooder got his chance at a solo album, and he made the most of the occasion. This features his memorable versions of Tommy Tucker's "Alimony", and the classic "One Meat Ball," as well as a slew of blues tunes from the likes of Sleepy John Estes, Blind Willie Johnson and Leadbelly. He's paying tribute to the past, but his individual stamp is clearly on these recordings. There's a fluidity and warmth here that few of his fellow blues aficianados then or now could ever hope to match. It's interesting, though, to hear the uncharactistically hippie-boogie rhythm of the band on tunes like "Do Re Mi" -- it wouldn't be long before Cooder had greater control over the sound and style of his recordings.

"Boomer's Story" Warner, 1972 Another solid example of Cooder's blues revivalism, with several slinky, sly numbers. Ry combines acoustic guitar with New Orleans-y piano, tuba and drums to build a unique sound. Most of the songs on here come from deep in the blues and R&B tradition -- his version of "Dark End of The Street" doesn't hit the heights of James Carr's original but that would be asking a lot, anyway... Also, his soft, hushed take on "Maria Elena" hints at his wider interests in Latin American music. Another great Ry record.

"Paradise And Lunch" Warner, 1974 Another one of Ry's early masterpieces. For some reason, this features a bunch of songs about marriage, from "Married Man's A Fool" to "Mexican Divorce..." On the similarly-themed "Tattler," Cooder introduces his trademark echo-y slide sound, and is backed by the lush vocal harmonies of Bobby King, who would remain a staple of Ry's sound for manhy years to come. The song selection here is all first rate, and the vibe is, quite simply, one of pure, unmitigated fun... The lineup is pretty amazing, too -- highlights include an acoustic reggae version of Bobby Womack's "It's All Over Now" and the explosively joyful "Ditty Wah Ditty," which features some old-time jazz heavyweights, including Plas Johnson, Red Callendar and even the venerable Earl "Fatha" Hines! on piano. As usual, Cooder's a real class act.

 Ry Cooder