Politics: Ry Cooder

purchase [ Paradise and Lunch  ]

Politics is very muchly on my mind these days. Mind you, I'm not talking about the US elections (I am assuming that is a forgone conclusion). My focus has been on the materials I have used for my work/lessons for many years:

As part of my DigitalCitizenship computer lessons, I direct my students to the WayBack Machine - part of the Internet Archive (archive.org). Aside from the millions of legally free video and music files they host (woohoo! Grateful Dead!!), the WayBack Machine offers a look back to the early days of the Internet - you can call up the Facebook site in its earliest incarnations. The point I try to make to my students is that there is always, somewhere, a copy of that SnapChat photo.

But on to politics... As you might well imagine, a mirror on the past might upset some of the powers that be: we humans may forget that so-and-so said such-and such 30 years ago. The WayBack Machine can prove it one way or another.

And so, to my great  disappointment, this year, as I head into the "Your Internet Footprint" unit, I discover that the local <powers that be> have blocked access to archive.org - I dont know why, but I can surmise that there is information there that might not be ... er ... in our favor.
Music-wise, aside from his "chops", perhaps the thing I most bow down to is Ry Cooder's academics - the way he researches his music. From the very first album, his selections have shown a respect and understanding for the historical perspective: rock music is rooted in its antecedants (IE: cotton field music, which in turn has its roots ....)

As noted above, more often than not, perspective allows one to take a backward look with more information than we previously had. We once thought one way, but now see another: Jim Crow, LBGT, ...

Ry Cooder frequently zeroed in on songs about the poor: dustbowl farmers and such. Often his first albums included songs from previous stars like Woody Guthrie or relative unknowns like Blind Wilie McTell. Much later, he worked to give due credit to the Cuban Buena Vista Social Club. But behind each oevre, there is an academic approach: learn, teach and share. Subtle politics, but political in nature all the same.

Cooder's  repertoire is extensive, but we'll go for a few.
Way back when, Johnny Cash came out with Get Rhythm - a song filled with references to working conditions for African Americans. A few years ago, Cooder upgraded the song

 

first Cash, then Cooder

Way back when, Woody Guthrie sang about the plight of the dustbowl farmer, Ry Cooder upgraded that one too.

Politics? Not directly, but there are commentaries in the lyrics about the man who votes and why he votes the way he does. Politics all the  same ...

Walls/Obstructions: If Walls Could Talk

 

purchase [ Paradise and Lunch  ]

I find myself pre-disposed to prefer the Ry Cooder version of this because that's where I first heard it (and the version I, myself, play in open-D tuning). And because I have posted again and again and again and ... songs by Ry Cooder. My first SMM guest post as a possible SMM writer included a reference to Ry.

Ry Cooder fully credits Bobby Miller (of course he would) on his '74 album Paradise and Lunch, but I never dug deeper into the story of the song. Now that I have, I see that there was much that I missed. I knew that Ry regularly focuses on music that is at the roots of contemporary pop/rock. But without that exploration, I have been missing some great music.

Miller, known as a producer and songwriter, doesn't appear to have left a recording of himself performing the song. Me, I find it hard to imagine that a songwriter didn't also play the song in some version himself, but we'll have to rely on the version he first produced for/with Little Milton back in the '60s. I assume it was what he himself might have played - if in fact he played an instrument. I can also see what might have attracted Ry Cooder to come up with his own rendition. "It's the same old song .." but with a different beat. The original Little Milton version was released on the Checker label, a subsidiary of Chess records.

The notion behind the lyrics is certainly not new. What goes on behind closed doors that the walls could tell us about if only they could speak is a theme as old as ... well... the hills that could also tell a lot of stories. There's a peepin' tom side to it as well as an element of eternal truth about the human condition.

Geraint Watkins and the Dominators have a version

as does Koko Taylor

Here's a version by Dr Feelgood

And another from Duke Robillard that harkens back kind of to the original by Little Milton (at least in the strumming intro)

Oh, yes, and there's also a band of the same name

Elected Officials: FDR in Trinidad

YouTube link to FDR in Trinidad (Attila the Hun)
YouTube link to FDR in Trinidad (Ry Cooder)
Amazon link to purchase Ry Cooder version from Into the Purple Valley

I was wondering why some of our elected officials end up being well-remembered by their initials. You don’t have to be a great historian to know who JFK, LBJ or FDR are, but no one knows Lincoln (arguably equally well-known) as AL. You may well know Bush senior as George H.W. Bush, but you’d be among the elite who could tell us what both the H and W stand for, I suspect.

Name-“plays” related to my posting this week don’t end there. My choice of song this week is a song originally composed by a Fizt MacLean (and that is not a typo). You would be forgiven for wanting to go searching for a “Fritz”. In fact, there is a YouTube take of the great musicologist Ry Cooder getting the name wrong just before he performs one of MacLean’s songs with David Lindley. [after the fact edit: it wasnt Ry with D Lindley and it wasnt Fizt Maclean: It was "Fizz" Fuller and Jackson Browne with David Lindley, but the FDR info appears to remain correct. Sorry.]

Ry Cooder performed the first version I ever heard of my choice of song this week on “Into the Purple Valley”, and other sources indicate that, among others, Van Dyke Parks has also done the song. However, Attila the Hun (nee Raymond Quevedo), calypso musician from Trinidad, first popularized the song in order to commemorate FDR’s 1936 visit to Trinidad. Wikipedia tells us that Attila the Hun championed the poor and eventually made it into politics in Trinadad. It isn’t too hard to see from the lyrics of the song why Quevedo might have latched on: (for the suffering humanity) and attention from the foremost republic espousing it (to make the world safe for democracy).

Getting There: Every Woman I Know (Crazy ‘Bout An Automobile)

Ry Cooder: Every Woman I Know (Crazy ‘Bout An Automobile)

[purchase song]

Every Woman I Know (Crazy 'Bout An Automobile) is quintessential Ry Cooder. This version showcases his best guitar style - just the right number of notes - sparse but still full. The vocal backup is also classic Cooder: a superb 3-part harmony. It is also a great example of his chops on the slide guitar for which he is famed. Like many of the "roots" songs he has chosen to revive, the lyrics tell a story that could be considered slightly politically incorrect in our day and age.

Not only does the song tell a story of the classic age of the car in America (the '50s), it also references indirectly an alternate meaning of "Getting There" (the back seat). This is the age of the Drive-In movie theater: to get there, you had to have a car. Without a car, you couldn't even get a date (he sings: "seems like the women in this town don't pay no attention to you 'less you're drivin'")

William R. (Billy "The Kid") Emerson, who wrote the song in the mid 50s, played his version in more of a rhythm and blues style - almost a big band sound that included a horns section. Cooder's version almost veers to a reggae style but still manages to retain an air of the original. Cooder has played this song with a number of different musicians, including John Hiatt, Nick Lowe and Jim Keltner (in their short-lived group called Little Village) as well as with David Lindley.

posted by KKafa

Elvis Covers Part I: Money Honey

Ry Cooder: Money Honey
[purchase]

For what it's worth, I was brought up equating the subject of our postings this week (The King) with his gyrations: Elvis the Pelvis. As someone who claims Ry Cooder as a great influence, I learned this week how little I really know (one of the ongoing personal benefits I am reaping by joining SMM). I'll take comfort in the quote attributed to Socrates that "wisdom is knowing how little we know."

Money Honey was written by Jesse Stone back in '53 when he was working with/for Ahmet Ertegun at Atlantic Records. The song has been covered by Eddie Cochran, The Jackson 5, The Coasters and Clyde McPhatter (with the Drifters). There's a Bob Dylan version, too, apparently recorded in 1994. Lady Gaga also does a tune of the same name, but it isn't this song. And then there's this version:

Ry has covered other Elvis hits: Little Sister (on Bop Til You Drop -1979), All Shook Up (Get Rhythm -1987), and Blue Suede Shoes (The Slide Area -1982). On his 1971 second album, Into the Purple Valley, he covered Money Honey, a song Elvis did back in 1955. (It's also included on a Cooder "best of" CD called Why Don't You Try Me ..")

The Elvis version is classic late-50s: the guitar is elemental electric (kinda raw); the production is sparse, but the King is in the house with a great song. I confess I never collected Elvis, but I happen to have a copy of the Drifters' version which isn't too far off the mark of the Elvis version. I would like to think that Cooder was partially inspired by the Elvis version and certainly thank him for bringing it to life for me.

Sisters: Little Sister

Ry Cooder: Little Sister
[Purchase]

I had to go way back through the SMM search/archives to be sure that I hadn't posted this song before (it seemed I must have done so - at least once ?! and after my searches I am still not sure) By now, y'all must know that Ry is a favorite of mine (check out the number of times I have posted his songs); plus, this song ranks among his best. [I know this "SMM search" reminder is a repeat, but it can't hurt]: to search SMM, try  sixsongs.blogspot.com/search/lable/YourSearchTermHere

For example: http://sixsongs.blogspot.com/search/label/Sisters

Now, as to "sisters":

One of my favorites - from Ry Cooder's '79 "Bop Till You Drop" album- was once a '50's/'60s Elvis song. Written by Doc Pomus and Mort Shuman (a song-writing pair who were actually related by marriage), the song touches on infidelity and insecurity. It's a case of 2 sisters who've been courted, seemingly neither of them terribly faithful.

Ry's version has so much more verve to it. Granted, the Elvis rendition here is from his later years-in-decline, and this clip shows it. However, it needs to be said that - master that Ry is - a major part of what makes Ry's performance that much better is in large part due to Bobby King's (and friends) backup vocals.


Elvis:

Ry:
 

　

ALONE: ALONE IN THE DARK/JOHN HIATT

John Hiatt is just terrific, one of the best, if not in sales, certainly in terms of influence and output, up there, in my book, with Neil Young and Bruce Springsteen. When he's good, he's very, very good and when he's bad, well, I haven't encountered that yet. And Bring the Family, the album from which this song comes, is possibly one of his best, positively enhanced by the backing band on hand. Backing band? O, just Ry Cooder, Nick Lowe and Jim Keltner. And yet it was born out of near desperation, a banknote or so away from ruin. Alone in the Dark, the feature song of this piece, epitomises the tight but loose feel of the disc, and is often overlooked amongst some of the other goodies on board. The lyrics may reflect a differing loneliness and a differing dark from these dangerous days, but the mood sure fits.

Ahead of this time, Hiatt had been a slogging workaday singer-songwriter, starting his career as a pen for hire. When Three Dog Night hit the top 40 with one of his, a recording contract beckoned, although, over the ensuing seven discs, scattered across various labels, more money came from royalties recouped, as the likes of Roseanne Cash and Willie Nelson recorded his songs, than he made from his own originals. Even the mighty Geffen label tried and failed to break him. This was arguably not helped by Hiatt being a drunken cuss who hadn't endeared himself to label bosses. So, newly sober, with a bunch of songs he had lost faith in, straits were indeed dire. Luckily the maverick UK label Demon still believed in him, and could offer a threadbare budget to record them. (The story of Demon makes for interesting reading, established by the earlier team behind Stiff records, Radar and F-Beat.)

Bring the Family, released in 1987, is a joy, from start to finish, the four musicians laying down a lean muscle honed from their collective road and studio experiences, Hiatt's holler a celebrant to his limited range: who needs more notes when you can do this much with these? Plus the songs, ten gems that can crack open a smile just from memory. Even if you don't know them, you know them, and even if you do, even over know them from the myriad cover versions of many, the freshness and vitality of the originals stand head and shoulder over most of those. It is hard to believe the whole project took only four days, Lowe sharing a motel room with Hiatt to keep costs down, Cooder delaying his departure a few hours as the final song was hastily written.

Neither the schedules of the four musicians, nor, then, the budget could allow this line-up any time on  the road. True, Hiatt rounded up some likely culprits, including perhaps the only man who could reasonably ever deputise for Cooder, bayou slide master, Sonny Landreth, and they hit the trail.  Following in the slipstream of Bring the Family, this crew, the Goners, produced a second deal breaking LP for Hiatt, Slow Turning, only a whisker away from being as good as its predecessor, being merely excellent. Hiatt was on a roll, with these and his next seven records all making substantive waves in the Billboard chart.

But the dream team were not done. In 1992 the diaries of Hiatt, Lowe, Cooder and Keltner finally realigned, and they went back into the studio. This time a band, Little Village, also the name of the sole studio offering, having ditched the earlier, and better, working title of Hiatus, and this time a pooling of resources, rather than just a backing band for Hiatt. The songs were all co-writes between the four, and whilst Hiatt sings the majority, Lowe took lead on two, Cooder on one. Perhaps there was too much hope, but the lightning failed to strike twice, and it was a deeply disappointing set. Nick Lowe later said they were given too much time. The subsequent tour was a little better, live sets testifying to that, allowing a presentation of some Bring the Family favourites, as well as scattering of Cooder's solo repertoire. One could sense a simmer of "sibling" rivalry, maybe some resentment that Hiatt was drawing more focus over Cooder's own sense of entitlement. It all ended, apparently, in tears.

Hiatt remains on the road, as do his former compadres, occasionally sharing a bill with one or another, all now senior statesmen and rightly so. Hiatt's recent work is, in my opinion, still of top quality and can stand close to the height of this period. Give him a go.

Side Projects: Misc. Ry

What you and I might call a side project may not be such a “side” for the musician himself: you could argue that Ry Cooder has been building towards his Cuban work all his life. You could argue that most everything he does is a “side project”.

Ry's work – more than being a collection of side projects – appears to have a focus: I’d say it is to turn us on to the best of many different musics; be it the forgotten American 30s, be it the best of modern Africa or Cuba or …
Although Ry’s main focus over the years has its roots in America (Blind Willie Johnson, Woody Guthrie and more). 

Ry's mission to give us some of the best of the past include songs by Bix Beiderbecke, Jelly Roll Morton on ”Jazz”, Woody Guthrie on “Into the Purple Valley”, Lead Belly on “Chicken Skin Music”.

Yet another “side project” , if you prefer, features his efforts to share with us some of the best of Cuba through his work with the “Moula Banda Aces”, or his sojourn to African music with Ali Farka Toure,or from India with V.M. Bhatt of India, and many more beyond the Cuban style I feature here:


Buena Vista Social Club

When Cooder writes and performs his own work, he tends to criticism, often in support of “the working class”. Arguably, much of his output leans in this direction (How can a Poor Man Stand Such Times, Alimony, and even Fool for a Cigarette in that “the rich don’t smoke”)

I don’t have an inside line to the man’s mind, but I guess it’s true that nothing is “side” to him. Besides, Ry has worked with a number of folks on a regular basis. Again and again, Ry appears with Bobby King, Terry Evans and friends doing supporting vocal backups - hardly a side project. And well he does; their versatile 3-part harmony (and stage show) suit him and his musical choices well. Likewise his repeated collaboration with Flaco Jimenez on the accordion.

Here's yet another, where he is doing some "side work" with Mick Jagger (Memo from Turner). His guitar work absolutely drives the whole song.

Memo from Turner

Impecunious: How Can a Poor Man Stand Such Times and Live

How Can a Poor Man Stand Such Times and Live
Purchase: [Ry Cooder 1970 version]


I tell folks that I could listen to Ry Cooder "all day and all night". Take my statement with a grain of salt, but the fact remains (see my many other posts here that speak to this) that he is one of my music idols. Be it rockin' and rollin', be it bringing back the roots of popular music (or jazz), be it mentoring others - there ain't noone else does what he do.

It was through Ry that I first heard this song about hard (financial) times. In fact, there was more than one Ry tune that came to mind related to this theme- I initially thought "Money Honey" - (I want money, honey), but then recalled several other of his songs that touched on the lack of "scratch".
Perhaps more fitting for a year or two back when the Great Recession was front page news, to me Blind Alfred Reed's 1929 song evokes images not only of the 1920s, the dust bowl and of California but also - of anyman's plight if he ain't got the "do-re-mi".


Bruce Springsteen is online at YouTube with several versions that doesn't do it right. (Comes to mind the line: Prohibition's good if it's conducted right)

Of the Youtube links that I sifted though, my favorite is this first link:

Second in line of the YT versions is this from the New Lost City Ramblers:

And finally, the YT link to a scratchy version by the original author:

 

Eating The Animal Kingdom: Pigmeat

Ry Cooder: Pigmeat

[purchase]

A belated start to this week's theme, but not as late as all that, really, given how closely connected it is to our previous conceit - the difference here is, instead of merely celebrating fauna in all its forms, we find ourselves going for the gastronomical. In doing so, we retroactively include this morning's post featuring Little Feat classic Dixie Chicken, or at least the image accompanying it. Expect more of the same lip-smacking imagery as we move forward into June. Vegetarians, we apologize in advance for any distress.

This mess of a tune - originally by Huddie Ledbetter, swung here by master guitarist, composer, and one-time Rolling Stones studio sideman Ry Cooder - is a perfect thematic reboot, and not solely for the barely buried innuendo it hides under its sloppy, juicy performance. Pig meat, indeed. See also Cooder's One Meat Ball (pasted below), a tin pan alley cover from the same self-titled debut solo album, for thematically related though sonically distinct thrills.

Work: Do You Want My Job

David Lindley: Do You Want My Job
purchase link: [Amazon]

Once again, I'll stretch the limits of this week's theme with this post: Job, work .. It's all the same. As the man says, "I hump the stuff, I take the cash/So my kids can wear Adidas" . If it aint Adidas that you're paying for, it isnt far removed (world-wide McDonalds burgers and Pepsi Cola...) Ain't got no job, ain't got money? ... you are definitely in a downward spiral. (I speak from personal experience: you need fortitude. And luck to escape the vortex.)

I first came across David Lindley though my love of Ry Cooder. David Lindley has periodically provided backup support for Ry and others. His 1981 album El Rayo X includes Bill Payne (Little Feat), Jackson Browne, Garth Hudson (the Band) and various others who wanted to be a part of his musicality.

Known both for his musical writing as well as his minimal-style guitar chops, on stage he seems to prefer a folk/picking method with lots of well-chosen "electronic chorus effect" enhancements to boost the depth. This clip seems to me a prime example.

Lindley has worked with Ry Cooder, Linda Rondstadt, Bob Dylan and Rob Stewart among many others. Alternate versions of this song include those by Little Village, John Hiatt, Jim Keltner and more.

In the post above, we have Wally Ingram doing the "drums". You often think of drumming as intense/sweaty beating on skins, but this comes across as much more focused. Beat: yes. Intense: no. More supportive than directive.

As to the lyrical content... It's all about work: we are exploited for profit, and most of us dont really care so long as we can make ends meet: after all, it is my monthly bills that matter, no? In this age of "green", Lindley's lyrics about environmental spoilage - backed by the song's island lilting/Hawaian style, offer a thought-provoking addendum to Al Gore's "Inconvenient Truth"- at what expense future energy?

Civics Lessons: One Cat, One Vote, One Beer

Ry Cooder: One Cat, One Vote, One Beer

[purchase]


One Cat, One Vote, One Beer is from Ry Cooder's 2007 concept album, My Name Is Buddy. The main protagonist is Buddy Red Cat, a hobo tabby who sings, "I just got my suitcase in my hand, walked across the tracks, caught me the end of an old freight, train and never did look back" and the two friends he makes along the way: union rodent Lefty the Mouse and the Reverend Tom Toad, a blind, gospel-singing, guitar-playing amphibian, chased from his home by the Ku Klux Klan.

The liner notes asks the audience to join along as they "Journey through time and space in days of labor, big bosses, farm failures, strikes, company cops, sundown towns, hobos, and trains... the America of yesteryear."

The line up of musicians is incandescent, featuring Van Dyke Parks, Pete and Mike Seeger, Flaco Jimenez, Paddy Maloney, Roland White and Jim Keltner.

One Cat, One Vote, One Beer addresses the election process, backed with haunting trumpet accompaniment by Jon Hassell. While crying in his beer, Buddy bemoans being turned away from the voting booth on Election Day. This is a treat of a tune, I hope you enjoy it as much as I do.

Long Songs : Diaraby

Ali Farka Touré & Ry Cooder : Diaraby

[purchase]

I first thought of posting the great Ethiopian singer Mahmoud Ahmed, but then to my surprise I realized that his song "Era Mèla Mèla" was less than 7 minutes long, so I'll save it for another theme. I first heard him on a great German compilation called Desert Blues, along with a lot of artists that became favorites of mine.

But there are other great long tracks on these two CDs, and of course, this famous Ali Farka Touré/Ry Cooder duet. Ali Farka, when this record came out, was hastily advertised by marketing executives as "the source" of the blues, while the Malian griot himself claimed that one of his masters was … John Lee Hooker. The perfect "round trip" influence between the old and the new world.

Anyway, this music makes me long for the dusty and red roads of Mali and Burkina Faso, where I made wonderful trips and made many friends in 1996 and 1999. Now I'm older, I have young kids, and cannot travel so far for the moment. But just looking at a picture or listening to such a song takes me back there for a while.

now the question is : will this post recieve more than the "0 comments" I usually get when posting something that is a little bit too "foreign" or non folk or rock ? (please consider that as a friendly teasing and an invitation to comments)

The Accordion: Flaco Jimenez

 

 

Buy "The Best of Flaco Jimenez"

 

Ry Cooder is the kind of eclectic musician that would include an accordion from time to time. He also would include a tuba, and you can hear them both in on his 1976 Chicken Skin Music album. Among other unusual instruments that he has included are the cimbalom, the tiple, the bajo sexto, the laud, the mandola - many of which he himself plays.

Since way back in the Chicken Skin Music days, his go to man for the accordion has been Flaco Jimenez. Jimenez also plays on the 1994 Rolling Stones' Voodoo Lounge. It shouldn’t be a surprise that Jimenez has played with David Lindley - kind of from the Ry Cooder camp. Or with Los Lobos because, of course, the accordion features heavily in Mexican music.

The paring of Mexican & accordion has a curious and circuitous history. A PBS show called Accordion Dreams relates how the ostensibly German accordion made its way into Mexican music via German settlers moving to Texas in the mid 18 hundreds. The Tejano music which resulted is a mix of polka inspirations and Mexican band. That's a simplification, of course. Mexican music includes all sorts of styles, but the accordion does seem to have been brought that far by Texas Germans. It's also a simplification to call it accordion music: there are several different types of accordion.

 

If all you came here for is the accordion, you can cut to Jimenez's solo at about the 7 minute mark.

 

Middle: Smack Dab in the Middle

purchase [ Chicken Skin Music ]

I only know of Charles Calhoun/Jesse Stone from digging through the  Internet. Maybe if I had held on to my vinyl 33's, I could have gone back and looked at the jackets for track details, but like most everyone else, I shifted away - in fact, I gave my rather large collection of maybe 700 LPs to a local radio station. For free, in the hopes that they would make better use than myself (sitting on a shelf for 20 years)

"Chuck" Calhoun (you'll need to search for Jesse Stone as well), seems to have had a pretty long life (1901-1999). What he did with that time is even more impressive:
He is credited with writing this post song: "Smack Dab in the Middle", but is  also the author of "Money Honey" - another Ry Cooder "hit".

It looks like Calhoun got around in the 30s and 40s - his songs were performed by Duke Ellington, Guy Lombardo, Benny Goodman and more - no wonder Ry Cooder came across his music: he's hard to miss if you do a little research. His version of "Shake, Rattle and Roll" appears to have been a chart topper that lead to "Rock Around the Clock"

Charles Calhoun (aka Jesse Stone) appears to have also been the first black musician to join Atlantic records - via Ahmet Ertegun (and that  leads us back to my home city of Istanbul, Ertugun being Turkish)

Other version of possible interest:

 

The above claims to be the man himself in 1955, I can't verify, but it seems to fit.

and then, there's .. Ray

 

and the Deep River Boys:

 

and on and on the list goes. You want more? Do a YouTube search for the title .. Looks like there could be 50 or so there.

Spoken Word: Linin' Track

Taj Mahal: Linin' Track

[purchase]

Taj Mahal has been doin' his thang for many a year. His early recordings, back in the 60s, focused on the blues, when he turned out his formative albums like the Natch'l Blues and Recycling the Blues. Over the years, in addition to the blues, he's covered jazz and folk, reggae and African.

Like my main man Ry Cooder, he has researched and aimed to keep alive music of various traditions. He's a veritable scholar and ethnographer of music. In fact, musically, he's all over the place. The man has worked with the Rolling Stones, Howlin' Wolf and Muddy Waters, Ry Cooder, Eric Clapton, Doc Watson and Toumani Diabate (and if you haven't heard this Malian musician, you are missing some great sounds. Check out a free listen to Queen Bee with the two of them on the radio channel at (http://www.tajblues.com/.)

Not posessing the most musically "soaring" voice, Taj still packs a great deal of emotion into what he's he's been gifted with. His is a rasping kind of voice, well suited to the blues, but it's also the kind of voice that works well for telling a story (a la Tom Waits), and that is what this week's focus is all about: telling or speaking a song.

There are many spots of Linin' Track where Taj's voice trends more to the musical than the spoken. However, in other places, his vocals are very much spoken - or certainly not musically tonal. This is a song credited to Huddie Ledbetter, better known as Leadbelly.

Speaking of the blues and apropros of the economic woes many of us are living through, the lyrics of Linin' Track include the words: "talkin' 'bout the money I aint made" may ring true for a number of us. Or maybe, considering the Arab Spring (Israel, Egypt and environs), maybe you can relate to the lyrics: "Moses stood on the Red Sea shore, smotin' that water with a 2 by 4" ... are more to the point. The line continues, "if I could I surely would ...". A positive outlook for our times, me thinks.

Guest post by KKafa

Base/Bass: Ry Cooder's Chavez Ravine

purchase  [Chavez Ravine]

File under: Songs that reference baseball

Ryland P Cooder has always gone out of his way.
Gone out of his way to promote music that most others would not. See his JAZZ album that includes non-traditional instruments such as: cimbalo, tuba ...  See various songs from Into the Purple Valley, Paradise and Lunch, Chicken Skin Music, Bop Till You Drop

Gone out of his way to bring back music that others forgot. Hawaii, Carribean ...

Gone out of his way to speak up for others who had only a small voice. (How's about Down in Hollywood, for that perspective?) Then there's the Buena Vista Social Club project that -  in and of itself  -revived an entire genre of music.

Among the issues he has raised (because raising issues through his music is what he does) is the <Chavez Ravine> story.

Now .. you're about to ask what the relation to the theme is?
<3rd Base, Dodger Stadium> is about BASEball, because the Chavez Ravine area was torn up by eminent domain in order to build the baseball stadium, and its mostly Latino residents were left out in the open - the land eventually ending up as the ball park.

Cooder's song highlights one of the displaced residents who eventually ends up with a job tied to the new ball park venue: parking cars around the stadium. (His house was 3rd base, folks!)  But, at least in Cooder's version he takes it with a grain of salt, without the kind of chip on his shoulders that you and I might have had...                                      

The song relates how his home was located at the spot where 3rd base ended  up. He lost his home, but found work right there all the same.


Muy Fifi from that album:

POLITICS: FDR's Secretary of State

purchase [ FDR in Trinidad]

I would have preferred to post this 24 hours earlier: hate to be accused of tilting the votes one way or another.

Rather than ramblin’ off on a tangent about how the state of the poor in the US is a result of politics and dragging Ry Cooder into the whole business, I might have gone directly to some Cooder politics in my previous post.

An article published via NPR a while back noted that Barack Obama was only the 2nd US president to visit Trinidad. He was preceded by FDR. To follow up on FDR's visit, Atilla the Hun composed a song.

To me, Cooder's <Into the Purple Valley> is about the time he solidified what I see as his style: crisp guitar of a semi-jazz style, assertive vocals, unusual backing bands and song-choice/themes that bring (musical) history to life.

Several others have taken up the song (van Dyke Parks and Ry among them).

The NPR story noted that FDR's Secretary of State received a certain amount of credit in the song (it was Cordell Hull), and the article continued by asking if Obama's Secretary of State (at that time) would have gotten as much credit today (need I tell you who that was?)

Now, we know a little about Obama’s musical taste - see the various artists he has invited to the White House, and we know that FDR became a fan of calypso following his visit to the island. But how much do we know about his Secretary of State’s (AT THAT TIME) musical preferences? Hope the results wont skew your votes either way!