Ry Cooder 1982 The Slide Area (1988 Warner Bros, 7599 23651 2, Germany)

This CD opens with an outrageous and exceedingly funky "UFO Has Landed in the Ghetto," and which seems so out of place with the other material. Yes, it is a rhythm & blues, bordering at times on funk album, and rap is one direction R&B took, but…. Listen to the groove on "Which Came First," and try to keep your body from bobbing to the strong rhythm laid down by Jim Keltner, Tim Drummond, and the background vocalists. While we are on the subject of vocals, this is one of Ry Cooder's best efforts, and his backup vocalists are key here and deserve special recognition: Bobby King, John Hiatt, Willie Greene, and Herman Johnson for most of the CD. The two gems on this are the phenomenal treatments of both "Blue Suede Shoes" and Bob Dylan's "I Need a Woman." Two songs as different in the original forms as pigs and gerbils are converted to R&B hit status. Both contain some memorable slide guitar work, but isn't that what we expect from this master of the guitar family. The album is very good but those two songs make it a gem.

"The Musician's Musician". "The Master of the Eclectic". There are probably a dozen more titles by which this "guitar player" is known. To even refer to him as a guitar player is probably a gross mislabeling of this musician. He defies any sort of categorization; this is his greatest strength and for some his weakness. The theme for these nine cuts is rhythm of all different ilk. I won't even give the parameters because he seems to have none. I wondered how many different instruments he played on this album (I thought I counted five different types of guitar); it only says guitar and vocal for his credits. Listen to his version of "All Shook Up," more bop and rhythm than Elvis could put into four of his songs. It seems musicians line up to play with him, and they feel he did them a favor by letting them play on his albums. He always gives them plenty of space to do what they do. This CD will make the dead start tapping their toes.

Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the "coon songs" of the early part of the next century, to the ragtime and "Spanish" music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke. The only living artist (at the time of release) who's represented here is the great Bahamian guitarist Joseph Spence, who recorded from the '50s through the '80s, and whose syncopated style was extremely influential in Cooder's own development as a guitarist.

Ry Cooder's soundtrack for The Long Riders received a top-notch treatment from Warner Bros. (Japan), who not only did an excellent remastering job, but backed it up with English lyrics to the songs, notes, and a Japanese insert. Cooder was in fine form with this score, using original material, unusual and anachronistic instruments (saz, tamboura, electric guitar), and elements of traditional songs from the Civil War period. As a result, the album can be appreciated as a unique entity, away from the film – and bonded to the film, the music provides grace and power to the onscreen events.

Jaco Pastorius - The Birthday Concert (1981) {Warner Bros. 9 45290-2 rel 1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 465 Mb | MP3 @320 -> 167 Mb
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© 1981, 1995 Warner Bros. | 9 45290-2
Jazz / Fusion / Post Bop / Big Band / Progressive Jazz / Bass

On an irregular basis in the early '80s, the innovative electric bassist Jaco Pastorius led a big band that he called Word of Mouth. This excellent CD documents Pastorius' 30th birthday party, a concert at which he was joined by the Peter Graves Orchestra (consisting of 14 horns, two steel drums, and two percussionists) plus drummer Peter Erskine, Don Alias on conga, and both Michael Brecker and Bob Mintzer on tenors.

With 1980's Borderline, Ry Cooder followed the foray into R&B and soul of his previous effort, Bop Till You Drop, but this time out with a little shot of the Southwest thrown in. At the same time, he also continues the primarily electric sound of that record. As far as his selection of material goes, Borderline may sometimes lack the surprising, esoteric charm of his earlier recordings, but there are still some terrific finds, including the Tex-Mex-flavored "The Girls from Texas," which may be the album's finest moment. Other highlights include one of John Hiatt's best, the written-to-order "The Way We Make a Broken Heart," as well as Billy "The Kid" Emerson's "Crazy 'Bout an Automobile," which Cooder had been performing live for a number of years, and the soulful Maurice & Mac treasure "Why Don't You Try Me." And while it's moments like these that help make Cooder's records special, he also takes on some better-known '50s and '60s offerings with moderate success.

Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn't afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time. No matter when it was written or how it may have been done in the past, the tracks, led by Cooder's brilliant guitar, are taken to new territory where they can coexist. It's as if Washington Phillips' "Tattler" could have shared a place on the charts with Womack's "It's All Over Now" or Little Milton's "If Walls Could Talk".