Tell Me :
Talk
Though I must say, Ry's recent songwriting has been aces. His last four studio albums (Chavez Ravine, My Name is Buddy, I Flathead and the new one, Pull Up Some Dust and Sit Down) are quite good and well worth investigating.
No No No. I can't disagree more with this! Who had ever even HEARD of Cuban musicians before Ry got interested. Stealing music from other cultures? He who PLAYS that music never has to worry about stealing it. He is frigging playing it! Get real. Ry has diverse tastes and who can blame him for looking around the world for new vibrations! That is honorable work my friends. Stealing is what you guys probably did when you discovered Napster. As far as the hey your Cuban comment goes, that's just human nature. Ask the Stones. Hey your in the Rolling Stones? can you play Jumpin Jack Flash? Ry not only gave the Cubans an international fan base he gave them MONEY. Grow up. peace.
eloquently said my friend, I couldn't agree more. peace.
It was GREAT. Show and audience. Lots of famous faces in the crowd, he had a way of bringing out the musicians and in SF is was obvious. I sat right next to the lovely and talented Bonnie Raitt and we (literally) bounced hips when the groove was right. Anytime Bonnie, anytime....Once the show started all eyes and ears were well entertained.
Ry looked very healthy, always searching for the groove, gray bangs cascading over his eyes, face lost in the music. His left shoulder rolled up over his instrument like some kind of loving protective embrace.
He played crazy bout an automobile first... then two songs from his new album one about jesse james and one called no banker left behind. He punctuated the show with easy loving banter with and to the voclists. He had two soulful black cats singing. tido on the asccordinan, his son wakin on the drums, a young bass player and a rhythm guitarist. He gave his son and the bassist alot of room. Stand up bass and tenor sax upstairs in balcony above stage! Very , very rich soulful tones ...delightful.
Didn't play any stones. After the show, after the greet and beat , he fondly rubbed my hair and smiled when I told him the folks on the Rolling Stones fan board were having a day with him. The look said something like "wtf are you talking about kid? and who are the rolling stones?" We retreated to a nearby pink hotel and I sat by the pool a listened to other people talking mostly. That City is a noisy place, even in the middle of the night.
Ok more later ...maybe. peace.
Edited 1 time(s). Last edit at 2011-09-02 01:21 by Naturalust.
Wow Gazza , I am as honored by your reply as I was to be hanging with Bonnie last night. You are legendary on this site over 27000 posts, wowzer! You are the kind of fan that makes performers want to keep performing. A beam of light in a dark world. The hypocracy of Stones fans calling a true American musicain a theif is too funny but right on the mark. I'm surprised you had to remind me of that. Hate is only a small paradigm shift from love so I'm not too concerned. peace.
Man... how cool is that? bouncing hips with Bonnie Raitt... WOW!!!
Thank you for the review, sounds like you had a GREAT night
My pleasure 62, I'm still working out all the licks I stole from him by watching and listening from the audience. He is a tone king, that's for sure, has a direct connection to the heart strings. Clapton has always underwhelmed me live and recorded except maybe his solo in 'Badge', Tears in Heaven, a couple from 461 Ocean Blvd. and a couple from Derek and the Dominoes. He is a good singer but together with the guitar he is just too cliche for my tastes. He's got balls to go on after Ry though I must say. I read the book by his old lady and that further reinforced my "whateva" opinion of him. peace.
I would have been just as happy to bounce hips with the hot chick she was accompanied by.. ....both of em were smokin hot, dressed for the town , having fun , intent on the music and the show. She was stealing licks and tricks from Ry's fretboard and hands just like I was. Sweet, gracious ladies, and its nice to see stars like Bonnie falling over themselves and acting like the rest of us fans! peace.
yeah, most of us are stuck with beer audiences, sometimes a queer audience, rarely as dear an audience. peace.
I call bull crap. Country Honk TOTALLY sounds like Honky Tonk Women.
The Memo licks where recorded AFTER HTW was recorded. But indeed it is Ry Cooder on Downtown Suzie, not Richards.
Mathijs
Memo was recorded before HTW.
... and I Can't Be Satisfied and a few others.
Indeed. If he 'stole' it as is so ludicrously suggested here, how come he's not even the credited artist on the album - but the producer.
Idiotic comment.
I must confess I've never heard Downtown Suzie before, until this thread popped up this morning with the clip on the first page. Indeed, that completely sounds like a song from one of Ry's first albums.
Edited 1 time(s). Last edit at 2013-10-05 15:46 by Koen.
Really? The money lick in HTW is what Ry plays here and on Memo from turner. The song isnt Ry Cooders.
Talk about your favorite band.
For information about how to use this forum please check out forum help and policies.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
ab
()
Date: September 1, 2011 11:36
Quote
Munichhilton
I like Ry. His stuff with Hiatt is tops.
But Ry never wrote anything even similar to Gimme Shelter or Can't You Hear Me Knocking. All Down The Line and Soul Survivor. Between the two, Ry has written some pretty laughable songs. I guess he needed a front-man like Hiatt. Even Sonny Landreth wrote better songs than Ry [writer's opinion].
Though I must say, Ry's recent songwriting has been aces. His last four studio albums (Chavez Ravine, My Name is Buddy, I Flathead and the new one, Pull Up Some Dust and Sit Down) are quite good and well worth investigating.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Redhotcarpet
()
Date: September 1, 2011 12:03
"At 18, Ry Cooder was a studio musician, recording with groups as disparate as Captain Beefheart's Magic Band, Paul Revere and the Raiders, Little Feat (that's his slide on "Willin' ") and the Rolling Stones. He taught Keith Richards to play slide, and the open G tuning favored by John Lee Hooker. Richards once said, "I took Ry Cooder for everything I could get," a compliment that may explain the fact that the money lick in "Honky Tonk Women" is pure Cooder-by-way-of-Hooker. "
Link
[www.songfacts.com]
Taj Mahal 1968:
Link
[www.songfacts.com]
Taj Mahal 1968:
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 1, 2011 20:37
Quote
dcba
" The trademark of Ry's career has been going around the world and stealing music from other cultures, like the Buena Vista Social Club, and putting his name on it"
Yep I totally agree with that : believe it or not the Buena Vista Social Club thing was bad for contemporary Cuban musicians because it stuck them into a situation where nobody wants to hear new stuff. It's more like "hey you're Cuban, can you play Chan Chan"
No No No. I can't disagree more with this! Who had ever even HEARD of Cuban musicians before Ry got interested. Stealing music from other cultures? He who PLAYS that music never has to worry about stealing it. He is frigging playing it! Get real. Ry has diverse tastes and who can blame him for looking around the world for new vibrations! That is honorable work my friends. Stealing is what you guys probably did when you discovered Napster. As far as the hey your Cuban comment goes, that's just human nature. Ask the Stones. Hey your in the Rolling Stones? can you play Jumpin Jack Flash? Ry not only gave the Cubans an international fan base he gave them MONEY. Grow up. peace.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 1, 2011 20:58
this message has been deleted...
Edited 1 time(s). Last edit at 2011-09-03 04:07 by Naturalust.
Edited 1 time(s). Last edit at 2011-09-03 04:07 by Naturalust.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
djgab
()
Date: September 1, 2011 22:00
Naturalust I go with you on with one
the Ry's "world music" projects are done with great respect, mood and musical vibes, from Cuba, Mali, India to Mexico ...
he has to pay a lot of taxes for Buena Vista due to blocus between US and Cuba
I saw him two years ago in Paris and it was a very good show
the Ry's "world music" projects are done with great respect, mood and musical vibes, from Cuba, Mali, India to Mexico ...
he has to pay a lot of taxes for Buena Vista due to blocus between US and Cuba
I saw him two years ago in Paris and it was a very good show
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 1, 2011 22:13
Quote
djgab
Ry's "world music" projects are done with great respect, mood and musical vibes,
eloquently said my friend, I couldn't agree more. peace.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Stones62
()
Date: September 1, 2011 23:19
Naturalust, I'd love to hear your review of the show. How was it?
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 1, 2011 23:49
Quote
Stones62
Naturalust, I'd love to hear your review of the show. How was it?
It was GREAT. Show and audience. Lots of famous faces in the crowd, he had a way of bringing out the musicians and in SF is was obvious. I sat right next to the lovely and talented Bonnie Raitt and we (literally) bounced hips when the groove was right. Anytime Bonnie, anytime....Once the show started all eyes and ears were well entertained.
Ry looked very healthy, always searching for the groove, gray bangs cascading over his eyes, face lost in the music. His left shoulder rolled up over his instrument like some kind of loving protective embrace.
He played crazy bout an automobile first... then two songs from his new album one about jesse james and one called no banker left behind. He punctuated the show with easy loving banter with and to the voclists. He had two soulful black cats singing. tido on the asccordinan, his son wakin on the drums, a young bass player and a rhythm guitarist. He gave his son and the bassist alot of room. Stand up bass and tenor sax upstairs in balcony above stage! Very , very rich soulful tones ...delightful.
Didn't play any stones. After the show, after the greet and beat , he fondly rubbed my hair and smiled when I told him the folks on the Rolling Stones fan board were having a day with him. The look said something like "wtf are you talking about kid? and who are the rolling stones?" We retreated to a nearby pink hotel and I sat by the pool a listened to other people talking mostly. That City is a noisy place, even in the middle of the night.
Ok more later ...maybe. peace.
Edited 1 time(s). Last edit at 2011-09-02 01:21 by Naturalust.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Gazza
()
Date: September 2, 2011 00:01
Lovely review. Thanks. The new album is IMO his best since 'Get Rhythm'.
He's 100% my favourite guitarist and has been for about 25 years, even though I never got to see him live until two years ago. He could play nursery rhymes and I'd still enjoy listening to him.
I find this notion that he 'steals' from other cultures to be incredulous. And from fans of a group of white Englishmen who made black American music popular? Far from 'putting his name' all over Buena Vista Social Club, it was actually very low key. It wasnt even marketed as a Ry Cooder album.
Edited 1 time(s). Last edit at 2011-09-02 00:02 by Gazza.
He's 100% my favourite guitarist and has been for about 25 years, even though I never got to see him live until two years ago. He could play nursery rhymes and I'd still enjoy listening to him.
I find this notion that he 'steals' from other cultures to be incredulous. And from fans of a group of white Englishmen who made black American music popular? Far from 'putting his name' all over Buena Vista Social Club, it was actually very low key. It wasnt even marketed as a Ry Cooder album.
Edited 1 time(s). Last edit at 2011-09-02 00:02 by Gazza.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 2, 2011 00:13
Quote
Gazza
Lovely review. Thanks. The new album is IMO his best since 'Get Rhythm'.
He's 100% my favourite guitarist and has been for about 25 years, even though I never got to see him live until two years ago. He could play nursery rhymes and I'd still enjoy listening to him.
I find this notion that he 'steals' from other cultures to be incredulous. And from fans of a group of white Englishmen who made black American music popular? Far from 'putting his name' all over Buena Vista Social Club, it was actually very low key. It wasnt even marketed as a Ry Cooder album.
Wow Gazza , I am as honored by your reply as I was to be hanging with Bonnie last night. You are legendary on this site over 27000 posts, wowzer! You are the kind of fan that makes performers want to keep performing. A beam of light in a dark world. The hypocracy of Stones fans calling a true American musicain a theif is too funny but right on the mark. I'm surprised you had to remind me of that. Hate is only a small paradigm shift from love so I'm not too concerned. peace.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Stones62
()
Date: September 2, 2011 02:56
Thanks for the review Naturalust. Sounds like a great experience. The last and only time I saw him was in 1983 when he opened for Eric Clapton. He did a great show during which he played a slide solo so sublime and beautiful that I wept. When Clapton came out an opened with a slide guitar number I was...'underwhelmed'.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Max'sKansasCity
()
Date: September 2, 2011 04:14
Quote
Naturalust
....I sat right next to the lovely and talented Bonnie Raitt and we (literally) bounced hips when the groove was right. Anytime Bonnie, anytime....
Man... how cool is that? bouncing hips with Bonnie Raitt... WOW!!!
Thank you for the review, sounds like you had a GREAT night
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 2, 2011 06:02
Quote
Stones62
Thanks for the review Naturalust. Sounds like a great experience. The last and only time I saw him was in 1983 when he opened for Eric Clapton. He did a great show during which he played a slide solo so sublime and beautiful that I wept. When Clapton came out an opened with a slide guitar number I was...'underwhelmed'.
My pleasure 62, I'm still working out all the licks I stole from him by watching and listening from the audience. He is a tone king, that's for sure, has a direct connection to the heart strings. Clapton has always underwhelmed me live and recorded except maybe his solo in 'Badge', Tears in Heaven, a couple from 461 Ocean Blvd. and a couple from Derek and the Dominoes. He is a good singer but together with the guitar he is just too cliche for my tastes. He's got balls to go on after Ry though I must say. I read the book by his old lady and that further reinforced my "whateva" opinion of him. peace.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 2, 2011 06:12
Quote
Max'sKansasCityQuote
Naturalust
....I sat right next to the lovely and talented Bonnie Raitt and we (literally) bounced hips when the groove was right. Anytime Bonnie, anytime....
Man... how cool is that? bouncing hips with Bonnie Raitt...
I would have been just as happy to bounce hips with the hot chick she was accompanied by.. ....both of em were smokin hot, dressed for the town , having fun , intent on the music and the show. She was stealing licks and tricks from Ry's fretboard and hands just like I was. Sweet, gracious ladies, and its nice to see stars like Bonnie falling over themselves and acting like the rest of us fans! peace.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
djgab
()
Date: September 2, 2011 11:53
hi
thanks for the review, I felt like in SF for a few moments
"he had a way of bringing out the musicians and in SF is was obvious."
at least he has a peer audience
thanks for the review, I felt like in SF for a few moments
"he had a way of bringing out the musicians and in SF is was obvious."
at least he has a peer audience
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Naturalust
()
Date: September 2, 2011 16:15
Quote
djgab
at least he has a peer audience
yeah, most of us are stuck with beer audiences, sometimes a queer audience, rarely as dear an audience. peace.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
djgab
()
Date: October 4, 2013 22:42
Naturalust did say in 2011
"Hey people, I'm going to see Ry TOMORROW during and after his show in San Francisco."
it seems that these show is out these days
I just bought the double LP set
I will let you know how it sounds
"Hey people, I'm going to see Ry TOMORROW during and after his show in San Francisco."
it seems that these show is out these days
I just bought the double LP set
I will let you know how it sounds
Re: not OT: Ry Cooder article in New Yorker
Posted by:
treaclefingers
()
Date: October 4, 2013 22:50
Quote
duke richardsonQuote
Stones62
Thanks for the link Duke. Where in the article does it imply that the 5 string G tuning belonged to Ry? I didn't see it.
it sure reads like they stole something from Ry Cooder doesn't it:
one version of it anyway—the most widely known example I can think of comes from the period when Cooder had been hired to augment the Rolling Stones during the recording of “Let It Bleed.” He was playing by himself in the studio, goofing around with some changes, when Mick Jagger danced over and said, How do you do that? You tune the E string down to D, place your fingers there, and pull them off quickly, that’s very good. Keith, perhaps you should see this. And before long, the Rolling Stones were collecting royalties for “Honky Tonk Women,” which sounds precisely like a Ry Cooder song and absolutely nothing like any other song ever produced by the Rolling Stones in more than forty years. According to Richards in his recent autobiography, Cooder showed him the open G tuning which became his mainstay and accounts for the full-bodied chordal declarations that characterize songs such as “Gimme Shelter,” “Jumpin’ Jack Flash,” “Start Me Up,” and “Brown Sugar.” The most succinct way I can think of to describe the latticed style that Keith Richards says he has sought to achieve with Ron Wood is to say that for thirty-five years the Stones have been trying to do with four hands what Cooder can do with two.
Read more [www.newyorker.com]
I call bull crap. Country Honk TOTALLY sounds like Honky Tonk Women.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
DandelionPowderman
()
Date: October 4, 2013 23:13
Monkey Man is standard tuning.
Brian played open G tuning on LRR.
Brian played open G tuning on LRR.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
djgab
()
Date: October 5, 2013 11:47
The live in San Francisco is great, really
good sounding, good songs and lot of slide
the guitar on "why don't you try me" is amazing
we met old fiends like Terry Evans and Flaco Jimenez
the backing brass band "la banda juvenil" is also very good
and the LP is well done
what else ?
[www.nonesuch.com]
good sounding, good songs and lot of slide
the guitar on "why don't you try me" is amazing
we met old fiends like Terry Evans and Flaco Jimenez
the backing brass band "la banda juvenil" is also very good
and the LP is well done
what else ?
[www.nonesuch.com]
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Mathijs
()
Date: October 5, 2013 12:38
Quote
Redhotcarpet
Sure but the Memo-licks were copied and pasted onto HTW. It's the same lick Ry used on acoustic on Downtown Suzie.
The Memo licks where recorded AFTER HTW was recorded. But indeed it is Ry Cooder on Downtown Suzie, not Richards.
Mathijs
Re: not OT: Ry Cooder article in New Yorker
Posted by:
DandelionPowderman
()
Date: October 5, 2013 12:48
And the notes are not rocket science. Keith put them together differently as well
Re: not OT: Ry Cooder article in New Yorker
Posted by:
His Majesty
()
Date: October 5, 2013 14:26
Quote
MathijsQuote
Redhotcarpet
Sure but the Memo-licks were copied and pasted onto HTW. It's the same lick Ry used on acoustic on Downtown Suzie.
The Memo licks where recorded AFTER HTW was recorded. But indeed it is Ry Cooder on Downtown Suzie, not Richards.
Mathijs
Memo was recorded before HTW.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
His Majesty
()
Date: October 5, 2013 14:27
Quote
DandelionPowderman
Brian played open G tuning on LRR.
... and I Can't Be Satisfied and a few others.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Gazza
()
Date: October 5, 2013 15:21
Quote
NaturalustQuote
dcba
" The trademark of Ry's career has been going around the world and stealing music from other cultures, like the Buena Vista Social Club, and putting his name on it"
Yep I totally agree with that : believe it or not the Buena Vista Social Club thing was bad for contemporary Cuban musicians because it stuck them into a situation where nobody wants to hear new stuff. It's more like "hey you're Cuban, can you play Chan Chan"
No No No. I can't disagree more with this! Who had ever even HEARD of Cuban musicians before Ry got interested. Stealing music from other cultures? He who PLAYS that music never has to worry about stealing it. He is frigging playing it! Get real. Ry has diverse tastes and who can blame him for looking around the world for new vibrations! That is honorable work my friends. Stealing is what you guys probably did when you discovered Napster. As far as the hey your Cuban comment goes, that's just human nature. Ask the Stones. Hey your in the Rolling Stones? can you play Jumpin Jack Flash? Ry not only gave the Cubans an international fan base he gave them MONEY. Grow up. peace.
Indeed. If he 'stole' it as is so ludicrously suggested here, how come he's not even the credited artist on the album - but the producer.
Idiotic comment.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Koen
()
Date: October 5, 2013 15:46
Quote
MathijsQuote
Redhotcarpet
Sure but the Memo-licks were copied and pasted onto HTW. It's the same lick Ry used on acoustic on Downtown Suzie.
The Memo licks where recorded AFTER HTW was recorded. But indeed it is Ry Cooder on Downtown Suzie, not Richards.
Mathijs
I must confess I've never heard Downtown Suzie before, until this thread popped up this morning with the clip on the first page. Indeed, that completely sounds like a song from one of Ry's first albums.
Edited 1 time(s). Last edit at 2013-10-05 15:46 by Koen.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Redhotcarpet
()
Date: October 5, 2013 21:28
Quote
mccpartyQuote
duke richardson
[www.newyorker.com]
Stones content is shallow, but worth arguing about. The 5 string tuning didn't belong to Ry Cooder. its a banjo tuning fer chrissakes
Correct, Ry Cooder did not invent the tuning, but he sure took it to the next level! Thanks for the heads up. Go Ry Go!
And Ry Cooder sure took it to Keith.
Edited 1 time(s). Last edit at 2013-10-05 21:29 by Redhotcarpet.
Re: not OT: Ry Cooder article in New Yorker
Posted by:
roundnround
()
Date: October 6, 2013 03:41
Downtown Suzie is one of the worst songs ever recorded by the Stones. If this is Ry's influence, it is not a good one...
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Gazza
()
Date: October 6, 2013 03:42
Its hardly his fault that they wrote it!
Re: not OT: Ry Cooder article in New Yorker
Posted by:
Redhotcarpet
()
Date: October 6, 2013 11:14
Quote
roundnround
Downtown Suzie is one of the worst songs ever recorded by the Stones. If this is Ry's influence, it is not a good one...
Really? The money lick in HTW is what Ry plays here and on Memo from turner. The song isnt Ry Cooders.
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