Johnny Handsome is a 1989 American crime drama film directed by Walter Hill and starring Mickey Rourke, Ellen Barkin, Forest Whitaker and Morgan Freeman. The film was written by Ken Friedman, and adapted from the novel The Three Worlds of Johnny Handsome by John Godey. The music for the film was written, produced and performed by Ry Cooder.
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.
Collection includes: 'Ry Cooder' (1970) # 7599-27510-2, 'Into the Purple Valley' (1971) # 7599-27200-2, 'Boomer's Story' (1972) # 7599-26398-2.
California may be the largest state in the Union, but it's only one state nuzzling one ocean, with only so many people living near the coastline, and a small minority of them have attempted to navigate waves on a board, much less possess the fetching physique to do so in public. Obviously, then, surf music isn't for surfers. If it were, Rhino would put out a greatest-hits EP instead of a four-disc box set. Cowabunga! is all the permanent-wave stuff most people will ever need.
Mambo Sinuendo is a collaboration between Ry Cooder and Buena Vista alum (and formerly of many other groups as well) Manuel Galban. The album attempts to catch an old style popularized in Cuba by Galban, and was, surprisingly, never followed up on by anybody after Galban. It's a guitar-based romp closely based in the pop/jazz crossovers of the 1950s-1960s (Henry Mancini, Nelson Riddle, etc). There's a touch of exoticism here and there, and a larger touch of a relatively Hawaiian feel throughout the whole via the guitar techniques employed by the pair. It's all somewhere in a form between lounge, mambo, and Esquivel's old space-age-bachelor-pad music. In rare instances, there's even a little bit of a house drum loop added in by the percussionists.
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".
Though this release carries the deceptive subtitle Another Record by Ry Cooder, the virtuosic guitarist and ethnomusicological adventurer has never released another album quite like this. And neither has anyone else. After brilliant side trips into the music of pre-Castro Cuba and pre-baseball Chavez Ravine, Cooder returns to the Depression-era and Dust Bowl ballads that marked his earliest solo releases of the 1970s. Yet most of this material is original, offering a populist parable of three fellow travelers: Buddy Red Cat, Lefty Mouse, and the Reverend Tom Toad. The tradition of putting pointed social commentary in the mouths of animals extends from Animal Farm to Pogo, and Buddy seems like a feline cross between Woody Guthrie and Joe Hill–a troubadour of union solidarity, interspecies brotherhood, and radical populism.
Five CD collection containing a quintet of albums from the acclaimed singer-songwriter housed in mini-LP sleeves. Includes the albums Randy Newman (1968), 12 Songs (1970), Sail Away (1972), Good Old Boys (1974) and Little Criminals (1977).
Decades before Corey Harris, Guy Davis, and Keb' Mo' wed the Delta blues to various folk forms, there was Taj Mahal. Almost from the very beginning, Mahal provided audiences with connections to a plethora of blues styles. Further, he offered hard evidence connecting American blues to folk styles from other nations, particularly, but not limited to, those from the West Indies and various African countries, bridging gaps, highlighting similarities, and establishing links between many experiences of the African diaspora…