Ry Cooder: Paris, Texas - Soundtrack (LP, 180g Vinyl, Ltd.)
(Real Gone Music) 10 tracks
Seldom has any artist captured that ineffable 'high, lonesome
sound' quite as beautifully as Ry Cooder did on his landmark soundtrack
to Wim Wenders’ film Paris, Texas. Not quite blues, not quite bluegrass,
not quite ambient, Cooder’s haunting, evocative score mirrors the
existential journey of Harry Dean Stanton’s Travis Henderson as he
wanders through the empty Texas prairie landscape in pursuit of his
irretrievable past. With the able help of multi-instrumentalists David
Lindley and Jim Dickinson, Cooder crafts a soundscape (much of it based
on Blind Willie Johnson’s 'Dark Was the Night, Cold Was the Ground' - that is profoundly sad yet leavened with bits of humor and whimsy. Clear vinyl edition - limited to 480 copies.
Video von Ry Cooder - Paris, Texas - Soundtrack (LP, 180g Vinyl, Ltd.)
Artikeleigenschaften von Ry Cooder: Paris, Texas - Soundtrack (LP, 180g Vinyl, Ltd.)
recorded 1971 at Warner Bros. Amigo Studio, 11114 Cumpston Avenue, North Hollywood, California; produced by Jim Dickinson and Lenny Waronker
with Ry Cooder: vocal, guitar; Van Dyke Parks: piano; Jim Dickinson: harmonium; Chris Ethridge: bass; Jim Keltner: drums
Reprise MS 2052 (LP)
Like Linda Ronstadt and later Emmylou Harris, Ry Cooder was a song collector. In fact, not just songs, but styles. On his first LP, Cooder revived an ancient anti-establishment hillbilly tune, How Can A Poor Man Stand Such Times And Live? On his second, he reinterpreted a late nineteenth century populist broadside, The Farmer Feeds Us All. Fiddlin' John Carson and Pete Seeger had recorded it, as had several others, but it was probably written by Knowles Shaw, a mid-western singing evangelist best known for Bringing In The Sheaves. It appeared in a folio dated 1874, so it was at least that old, but an exhaustive biography of Shaw dating to 1879 fails to mention the song. Carl Sandburg's epic American Songbag and B.A. Botkin's Treasury of American Folklore featured it. The latter version was doctored up by Pete Seeger's father and came closest to the lyrics that Cooder employed. These days, when country music's political agenda is somewhere to the right of Genghis Khan, it's worth remembering the music's populist, anti-capital roots.
Cooder's association with the Rolling Stones, Randy Newman, Captain Beefheart and others had made him into an underground legend. Those of us who analyzed and internalized LP credits knew that he had authored many of the slide guitar solos we treasured, not least the one preceding this track. Taxes On The Farmer came from his second album, 'Into The Purple Valley.' It seemed as if Cooder, more than anyone else, truly understood the American credo E Pluribus Unum. Let's flip through some of the songs on the LP: FDR In Trinidad (Attila the Hun, calypso), Denomination Blues (Washington Phillips, black gospel), Teardrops Will Fall (Dickey Doo & the Donts, white doo wop), Money Honey (Clyde McPhatter & the Drifters, black doo wop), On A Monday (Leadbelly, pre-blues), Great Dreams From Heaven (Joseph Spence, Bahamanian gospel), Vigilante Man (Woody Guthrie, folk), etc. In this age of infinite availability, it's too easy to dismiss the intellectual curiosity and perseverance that led Cooder to this mix. The LP was recorded at Snuff Garrett's former studio, Amigo, and the cover art featured Cooder and his wife, Susie.
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