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Topic: Ry Cooder

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	Ry_Cooder_-_Biography_Background
		Cooder enjoyed a brief, but fruitful, association with Captain Beefheart And His Magic Band; his distinctive slide work is apparent on the group's debut album, Safe As Milk, but the artist declined an offer to join on a permanent basis.
		Cooder also contributed to the Rolling Stones' album Let It Bleed, and was tipped as a likely replacement for Brian Jones until clashes with Keith Richard, primarily over the authorship of the riff to "Honky Tonk Woman", precluded further involvement.
		Cooder recorded one further album in Cuba with local guitarist Manuel Galban, of popular doo wop ensemble Los Zafiros, for which he was granted a special exemption from state department rules by outgoing US president Bill Clinton.
	www.rycooder.nl /pages/ry_cooder_background_biography.html (857 words)

	Ry Cooder - Wikipedia, the free encyclopedia
		Ryland "Ry" Peter Cooder (born on March 15, 1947) is an American guitarist, singer and composer, known for his slide guitar work, his interest in the American roots music and, more recently, for his collaborations with traditional musicians from many countries.
		Cooder has worked as a studio musician and has also scored many film soundtracks, of which perhaps the best known is that for the 1984 Wim Wenders film Paris, Texas.
		Cooder is mentioned in one of The Tragically Hip's songs entitled "At the 100th Meridian".
	en.wikipedia.org /wiki/Ry_Cooder (684 words)

	Rockument Radio - Session Heroes - Ry Cooder
		Ry Cooder is one of the masters, an icon among session heroes.
		Cooder is a virtuoso on virtually every string instrument, from Mexican tiple to Middle Eastern saz to Hawaiian "slack key" guitar, but is mostly known for his country-blues-style mandolin, electric and acoustic guitar, and slide guitar.
		Ry Cooder's most famous session as a slide guitarist was with the Rolling Stones on this song, in which he played his classic and most well known electric slide guitar riff.
	www.rockument.com /session_Cooder1.html (1489 words)

	Ry Cooder (Site not responding. Last check: 2007-10-11)
		Born on March 15th of 1947, Ry Cooder began his career in 1963 at the ripe old age of 16 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal.
		Ry Cooder's contributions to slide guitar, both electric and acoustic are on par with masters from Son House to Muddy Waters.
		Ry Cooder doesn't use any picks, he prefers the sound of fingertips and natural fingernails on the strings.
	www.schematicheaven.com /deltabluesland/artists/ry_cooder.htm (418 words)

	Ry Cooder Discography - Joe Sixpack's Guide To Hick Music
		Cooder is almost out of his depth here, seeking to match his slide style to the uniquely complex tonalities of Indian classical music.
		Bhatt and Cooder hit a gorgeously sympathetic groove, with Cooder subsuming himself to the classical style for the first half of the disc, then moving in the second part to more overtly define the melodies in terms of the Delta blues riffs that he is a master of.
		Cooder tackles the topic from a variety of perspectives, and even ties the postwar push for gentrification and whitening-up of LA with political topics like the postwar "red scare" that led the Congressional House Un-American Activities Committee to subpoena local civic activists and community leaders.
	www.slipcue.com /music/country/countryartists/rycooder.html (1823 words)

	Ry Cooder - Biography - AOL Music (Site not responding. Last check: 2007-10-11)
		The 16-year-old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy.
		Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere and the Raiders.
		In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow-up, Chicken Skin Music, showcased a potent blend of Tex-Mex, Hawaiian, gospel, and soul music, and featured contributions from Flaco Jimenez and Gabby Pahinui.
	music.aol.com /artist/ry-cooder/3959/biography (641 words)

	Ry Cooder - Rock at Randy's Rodeo (Site not responding. Last check: 2007-10-11)
		Ry Cooder is a talented multi-instrumentalist with an insatiable appetite for music - from American roots music of many stripes to indigenous music from Hawaii, Mexico, Cuba, and Africa.
		Cooder provided accompaniment on the Stones' Sticky Fingers and Let It Bleed, and he appeared on the oft-maligned Jamming With Edward LP (1972), the product of an impromptu 1969 studio session.
		Ry Cooder's career can be loosely divided into three kind-of chronological sections - his solo albums, his soundtrack work, and his collaborations with other top-billed artists.
	www.randysrodeo.com /rock/cooder.php (666 words)

	Ry Cooder
		Cooder took 10 seconds and his warmup was so pretty it seemed like his first number.
		Cooder talked about how he got started musically (listening to Josh White records), how he had moved away from the solo performer role to do studio work, and how, now, having learned his way around the studio and developed his music, he's back to performing on his own.
		My memories of the day also include the fact that Ry missed his wife so much he spent all the money he made on every gig calling home; he was the kind of guy who was happy to ride in the back seat of the car; the evening of his performance, he patted Mr.
	home.earthlink.net /~ggsurplus/cooder.html (934 words)

	RY COODER (Site not responding. Last check: 2007-10-11)
		By all accounts, Cooder thoroughly enjoyed the time he spent working on Let It Bleed, but his experiences recording the Candy soundtrack were to have the more profound effect on his career.
		Meantime, such was his reputation as a session player that he sealed a deal with Warner/Reprise, and released Ry Cooder (1970), a blues- and folk-inflected rock album, covering songs by the likes of Woody Guthrie.
		Cooder's second album, Into The Purple Valley (1972), with the slide to the fore, was a big enough commercial success to allow him the luxury of experimentation.
	www.telecaster.demon.co.uk /docs/cooder_r.htm (837 words)

	Ry Cooder at Culture Planet
		Cooder and a cast of seminal Chicano artists present a song cycle that conjures an era of UFOs, the Red Scare, and political machinations that leveled the Chavez Ravine barrio to lure the Brooklyn Dodgers to Los Angeles.
		Ry Cooder, well versed in domestic and world guitar styles, is the perfect counterpoint in these extended songs/jams, his sinewy slide guitar intertwining with his partner's in a super world summit without barriers or borders.
		Ry Cooder's name has helped bring attention to this session, but it's the veteran Cuban son musicians who make this album really special.
	www.cultureplanet.com /cooder.htm (398 words)

	Filmtracks: Last Man Standing (Elmer Bernstein/Ry Cooder)
		Ry Cooder only writes film scores on the periphery in his career, and while his score on the surface might sound like something George S. Clinton or even Randy Edelman might write, his music here is nothing less than atrocious considering the era and location of the film.
		Cooder's title theme is a rocking electric guitar and saxophone motif that tears at the lowest ranges of both instruments.
		Cooder's most interesting point includes a bizarre pipe organ and female vocal effect with the guitar in "Drive to Slim's." The entire endeavor seems pointless without the pizzazz of the opening theme, and Cooder's work offers nothing memorable.
	www.filmtracks.com /titles/last_man.html (1046 words)

	Ry Cooder - Jazz - (Ry Cooder discography) (Site not responding. Last check: 2007-10-11)
		Jazz is one of Cooder's most ambitious and satisfying works - a paean to the glorious days of jazz that captures both the spirit and the genius of the pioneering jazz men of the '20s and early '30s.
		A producer, composer, multi-instrumentalist and respected musicologist, Ry Cooder first attracted attention on the Southern California blues and folk circuit in the early '60s as a member of the Rising Sons.
		Cooder's unmistakable style gave new meaning to the term "ethnic music", remaining true to the source of these sounds, while setting them in dynamic new contexts for modern ears.
	www.rylanders.free-online.co.uk /RySite/RyPages/Jazz.html (1090 words)

	Tiny Mix Tapes: Ry Cooder (Site not responding. Last check: 2007-10-11)
		When last we heard from Ry Cooder, he was picking up a Grammy for his work spearheading the Buena Vista Social Club project that painted an aural portrait and resurrected the lost dreams of Cuban musicians prior to Castro's takeover in the early '60s.
		Cooder obviously brought so much energy for authenticity and regaining the lifeblood of his topic that the resulting work stands far greater than a recorded album.
		Cooder's spare, repetitive guitar lines are filled with as much longing as the narrator.
	www.tinymixtapes.com /musicreviews/c/ry_cooder.htm (459 words)

	BBC - Awards for World Music 2006 - Ry Cooder
		Cooder's solo career began in 1970 with a self-titled album featuring songs by Woody Guthrie and Leadbelly that proved him as a versatile blues interpreter.
		Then Cooder was hired to produce and play on what became Buena Vista Social Club - suddenly he found himself enjoying the greatest success of his career.
		Ry has to be one of the most eclectic musicians to come out of the LA scene and whilst not everything he has recorded can be said to be brilliant, there are some absolute gems in his back catalogue
	www.bbc.co.uk /radio3/worldmusic/a4wm2006/a4wm_cooder.shtml (528 words)

	jefitoblog (Site not responding. Last check: 2007-10-11)
		As Cooder’s first unified “concept” album, it’s neither as eclectic nor as immediately accessible as its predecessors; nor is it as overtly commercial as its immediate successors, which is why it’s in this group.
		Cooder, if you hadn’t guessed, isn’t talking about Jazz in the bowdlerized Kenny G sense, or even in the Miles Davis sense of the word — this album reaches further back, into the catalogs of artists like Jelly Roll Morton.
		Cooder uses a lot of the same technique he brought to John Hiatt’s Bring the Family — as well as Family drummer Jim Keltner —; and the result is his fattest, nastiest-sounding album (no small feat, considering it was recorded and released in 1987).
	jefitoblog.com /blog/?p=412 (3472 words)

	NPR : 'Mambo Sinuendo': Ry Cooder Returns to Cuba
		Ry Cooder in concert with his Buena Vista Social Club collaborators.
		All Things Considered, January 27, 2003 · Ry Cooder's name has become synonymous with Cuban music since he produced the hit CD Buena Vista Social Club.
		Before Buena Vista Social Club, Cooder was widely respected for his guitar prowess and his ability to fuse so-called "world music" harmonies and rhythms with mainstream sensibilities, making world music more accessible to a wider audience.
	www.npr.org /templates/story/story.php?storyId=941610 (336 words)

	Ry Cooder @ Filmbug (Site not responding. Last check: 2007-10-11)
		Ry Cooder launched a successful solo recording career in the early 1970's with a string of well-received albums featuring his unique blues-flavored slide guitar.
		Cooder worked with Walter Hill on the gritty urban drama, TRESPASS, in 1992 before re-teaming with Hill in 1993 for GERONIMO: AN AMERICAN LEGEND and again in 1996 for LAST MAN STANDING, starring Bruce Willis.
		Ry has always been something of a music traveler, having devoted most of his career to an exploration of different areas and aspects of music.
	www.filmbug.com /db/342798 (461 words)

	Amazon.ca: Music By Ry Cooder: Music: Ry Cooder (Site not responding. Last check: 2007-10-11)
		Ostensibly a collection of Cooder's film music, the two-CD Music by Ry Cooder delivers the cinematic quality of a good soundtrack album but packs the kind of ferocious jams--featuring crack players such as John Hiatt, Jim Keltner, David Lindley, and Jim Dickinson--that you'll never hear on a John Williams score.
		Cooder's melancholy acoustic and electric-slide moans are a constant, though the material shifts from the plaintive piano tune "I Like Your Eyes" (from Johnny Handsome) to the border-town ballad "Across the Borderline" (featuring Freddy Fender) to the grit-and-spit stomp of "Bomber Bash" (from Streets of Fire).
		Granted, there are more cohesive soundtrack recordings by Ry Cooder in the catalog; however, anthologies and best-ofs by their very nature are not as stylistically unified.
	www.amazon.ca /Music-Ry-Cooder/dp/B000002N0X (1240 words)

	Guitar Player - Oeuvre Easy: Ry Cooder
		Born to folklorist parents, Ry Cooder’s penchant for historically informed forays into traditional American music was already evident in the folk and blues covers chosen for his debut solo album.
		Cooder has also collaborated with artists throughout the world—most famously on the Buena Vista Social Club projects—and the following are highly recommend: Ry Cooder & V.M.Bhatt, A Meeting by the River (1993); Ali Farka Toure with Ry Cooder, Talking Timbuktu (1994); and Ronu Majumdar/Jon Hassell/Ry Cooder, Hollow Bamboo (2000).
		Cooder has largely disowned this curious disc of Ragtime and Vaudeville tunes, and while not exactly tired, it is a major departure from his other work.
	www.guitarplayer.com /story.asp?storycode=11817 (620 words)

	Amazon.com: Mambo Sinuendo: Music: Ry Cooder,Manuel Galban,Ry Cooder & Manuel Galban (Site not responding. Last check: 2007-10-11)
		Cooder and Galbán (a key compatriot in the American guitarist's Buena Vista Social Club project) invent a back-to-the-future sound--twin guitars fronting a Cuban rhythm section of two drum kits, congas, and bass--whose dreamy swing quotient is matched only by its sense of mirthful abandon.
		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.
		Ry Cooder's rootsy guitar is just as much a character in this music as Manuel Galaban and the different Cuban musicians he worked with on Mambo Sinuendo.
	www.amazon.com /Mambo-Sinuendo-Ry-Cooder/dp/B00007H1Y2 (1493 words)

	Long Road Home
		Cooder's remarkable new album is titled Chavez Ravine, and this little neighborhood is Solano Canyon, the last intact section of the 400-acre district that gave the project its name.
		But the real estate lobby (which Cooder calls "hideous villains") saw an opportunity, and cast the idea of public housing as "creeping socialism." They accused the Los Angeles Housing Authority's Frank Wilkinson of being a communist agent, and the FBI stepped in to squash the project.
		RY COODER HIMSELF seems vaguely out of time; in his checked shirt and slip-on Vans, speaking steadily but in no hurry, he exudes something like a beatnik cool (he even says "I dig it" with some frequency).
	www.motherjones.com /arts/feature/2005/07/long_road_home.html (1326 words)

	Amazon.com: Chavez Ravine: Music: Ry Cooder (Site not responding. Last check: 2007-10-11)
		Ry Cooder's Chavez Ravine is-a post-World War II-era American narrative of "cool cats," radios, UFO sightings, J.Edgar Hoover, red scares, and baseball.Using real and imagined historical characters, Cooder and friends creates an album that recollects various aspects of the poor but vibrant hillside Chicano cummunity, which was bulldozed by developed in the interest of "progress."
		It's not just that Ry Cooder has been producing albums for more than 35 years -- many of them solidly thematic, like the 1971 "Into the Purple Valley." He's more than a terrific guitarist (slide, originally, but now almost anything within the guitar world, and including, now, at least a dozen other instruments).
		Ry Cooder's Guitar and vocals are only a part of the magnificent Rock and Blues Opera that commences from track one all the way through to the end.
	www.amazon.com /Chavez-Ravine-Ry-Cooder/dp/B0009353IW (2260 words)

	Forever digging up roots, Ry Cooder breathes life into a lost neighborhood
		But that tact actually has been Cooder's approach throughout his entire 35-year career, almost all of which flew under the mainstream pop radar before the 1998 Buena Vista Social Club breakthrough.
		All of Cooder's records feed off this interplay between the music being performed and the social roots out of which it grows; on most perhaps that's not as immediately evident as the records he did in Cuba, or his latest.
		His own 1970 solo debut revealed Cooder's thunderous bottleneck playing, a verbose, raucous guitar sound that would serve as a touchstone throughout all his rock records.
	www.sfgate.com /cgi-bin/article.cgi?f=/c/a/2005/06/18/DDGA7D9MFE1.DTL (890 words)

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