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Ryan Cain & The Chaotics The Border - Alamo Bay - The Soundtracks

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Artikel-Nr.: CDRV209

Gewicht in Kg: 0,100


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Ryan Cain & The Chaotics: The Border - Alamo Bay - The Soundtracks

(2006/RAVEN) 22 tracks (68:51) 1982/1985 with 12 page booklet.


Ryan Cain & The Chaotics - The Border - Alamo Bay - The Soundtracks Medium 1
1: Earthquake  
2: Across The Borderline  
3: Maria  
4: Texas Bop  
5: Highway 23  
6: Palomita  
7: Rio Grande  
8: Too Late  
9: No Quiero  
10: Skin Game  
11: El Scorcho  
12: Building Fires  
13: Nino  
14: Theme From Alamo Bay  
15: Gooks On Main Street  
16: Too Close  
17: Klan Meeting  
18: Sailfish Evening  
19: The Last Stand (Alamo Bay)  
20: Quatro Vicios  
21: Search And Destroy  
22: Glory  


Artikeleigenschaften von Ryan Cain & The Chaotics: The Border - Alamo Bay - The Soundtracks

  • Interpret: Ryan Cain & The Chaotics

  • Albumtitel: The Border - Alamo Bay - The Soundtracks

  • Artikelart CD

  • Genre Rock 'n' Roll

  • Music Genre Rock 'n' Roll
  • Music Style Instrumental Rock & Roll - Beat
  • Music Sub-Genre 277 Instrumental R&R/Beat
  • Erscheinungsjahr 2006
  • Label RAVEN

  • SubGenre Rock - Rock'n'Roll

  • EAN: 0612657020920

  • Gewicht in Kg: 0.100

Interpreten-Beschreibung "Cooder, Ry"


Taxes On The Farmer Feeds Us All

(traditional-Arr. Ry Cooder)

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.


Various - Truckers, Kickers, Cowboy Angels Vol.04, The Blissed-Out Birth Of Country Rock 1971 (2-CD)

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