Při poskytování služeb nám pomáhají soubory cookie. Používáním našich služeb vyjadřujete souhlas s naším používáním souborů cookie. Více informací

Úvodní stránka » ARCHIVE » Ry Cooder
Ry Cooder — Chicken Skin Music

Ry Cooder — Chicken Skin Music (1976 / Reissue 1999)United States     Ry Cooder — Chicken Skin Music (1976 / Reissue 1999)
•   The title refers to a Hawaiian expression closely allied to "goose bumps," which has to be the most modest instance of hubris on record. I mean, does Ry really believe this is gonna make my skin prickle? Folk eclecticism is a nouveau–jug commonplace, after all, even if most nouveau jugheads do lack Ry's imagination and musicianship, not to mention the capital to dab color from Honolulu and San Antonio onto the same LP. (R.CH.)
Birth name: Ryland Peter Cooder
Born: March 15, 1947, Los Angeles, California, United States
Location: Santa Monica, California  ~ Reed College in Portland, Oregon
Instruments:  Guitar, mandolin, vocals, array mbira, mandola, tiple, slide guitar, bottleneck guitar, bajo sexto, Middle Eastern saz, Hawaiian guitar, slack–key guitar
Genre: Roots Rock, Slide Guitar Blues, Country Rock, Folk, Tex–Mex
Album release: 1976
Record Label: Reprise
Duration:     40:00 
01. The Bourgeois Blues      3:25
02. I Got Mine      4:28
03. Always Lift Him Up / Kanaka Wai Wai      6:03
04. He'll Have To Go      5:09
05. Smack Dab In The Middle      3:19
06. Stand By Me      3:43
07. Yellow Roses      6:12
08. Chloe      3:04
09. Goodnight Irene      4:32 
Written by:
≡   Lead Belly     1
≡   Traditional     2, 3
≡   Audrey Allison / Joe Allison     4
≡   Chuck Calhoun     5
≡   Ben E. King / Jerry Leiber / Mike Stoller     6
≡   Ken Devine / Sam Nichols     7
≡   Neil Moret (Chas. N. Daniels) / Gus Kahn     8
≡   Lead Belly / John A. Lomax     9
•   Audrey Allison Composer
•   Joe Allison Composer
•   George Bohannon Arranger, Horn
•   Oscar Brashear Cornet
•   Chuck Calhoun Composer
•   Red Callender Bass, Guest Artist, Tuba
•   Ry Cooder Accordion, Banjo, Bass, Guitar, Mandolin, Primary Artist, Vocals
•   Ken Devine Composer
•   Chris Ethridge Bass, Guest Artist
•   Bobby Evans Guest Artist
•   Terry Evans Vocals
•   Cliff Givens Vocals
•   Hugo Gonzales Banjo
•   Chet Himes Engineer
•   Milt Holland Guest Artist, Percussion
•   John Ingle Engineer
•   Atta Isaacs Guitar
•   Fred Jackson, Jr. Sax (Tenor), Saxophone
•   Flaco Jiménez Accordion, Guest Artist
•   Herman E. Johnson Vocals
•   Gus Kahn Composer
•   Jim Keltner Drums
•   Ben E. King Composer
•   Bobby King Vocals
•   Terry King Guest Artist
•   Lead Belly Composer
•   Jerry Leiber Composer
•   John A. Lomax Composer
•   Neil Moret (Chas. N. Daniels) Composer
•   Sam Nichols Composer
•   Henry Ojeda Bass
•   Gabby Pahinui Guest Artist, Guitar (Steel), Vocals
•   Benny Powell Trombone
•   Pat Rizzo Sax (Alto), Saxophone
•   Mike Stoller Composer
•   Russ Titelman Banjo, Bass, Producer, Vocals
•   Traditional Composer
Billboard Albums
•   1976 Chicken Skin Music The Billboard 200     #177
•   He was ranked eighth on Rolling Stone magazine's 2003 list of "The 100 Greatest Guitarists of All Time". A 2010 ranking by Gibson placed him at number 32.
Review by Brett Hartenbach;  Score: ****
•   Ry Cooder has always believed in the "mutuality in music," and this may be no more evident in his career than with his fifth album, Chicken Skin Music (a Hawaiian colloquialism, synonymous with goosebumps). Even more than usual, Cooder refuses to recognize borders — geographical or musical — presenting "Stand By Me" as a gospel song with a norteño arrangement, or giving the Jim Reeves country–pop classic, "He'll Have to Go," a bolero rhythm, featuring the interplay of Flaco Jimenez's accordion and Pat Rizzo's alto sax. Elsewhere, he teams with a pair of Hawaiian greats — steel guitarist and singer Gabby Pahinui and slack key guitar master Atta Isaacs — on the Hank Snow hit "Yellow Roses" and the beautiful instrumental "Chloe." If Cooder's approach to the music is stylistically diverse, his choice of material certainly follows suit. Bookended by a couple of Leadbelly compositions, Chicken Skin Music sports a collection of songs ranging from the aforementioned tracks to the charming old minstrel/medicine show number "I Got Mine" and the syncopated R&B of "Smack Dab in the Middle." Also included is Appalachian songwriter Blind Alfred Reed's "Always Lift Him Up," complete with a Hawaiian gospel tune, "Kanaka Wai Wai," woven into the instrumental section. As he explains in the album's liner notes, Cooder understands the connection between these seemingly disparate styles. This is not merely eclecticism for its own sake. Chicken Skin Music is probably Ry Cooder's most eccentric record since his first, but it's also one of his most entertaining.
Artist Biography by Steve Huey
•   Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooder's chameleon–like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex–Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. The 16–year–old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short–lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy. Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere & the Raiders. During his subsequent career as a session musician, Cooder's trademark slide guitar work graced the recordings of such artists as Captain Beefheart (Safe as Milk), Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones (Let It Bleed, Sticky Fingers), Taj Mahal, and Gordon Lightfoot. He also appeared on the soundtracks of Candy and Performance.
•   Cooder made his debut as a solo artist in 1970 with a self–titled album featuring songs by Leadbelly, Blind Willie Johnson, Sleepy John Estes, and Woody Guthrie. The follow–up, Into the Purple Valley, introduced longtime cohorts Jim Keltner on drums and Jim Dickinson on bass, and it and Boomer's Story largely repeated and refined the syncopated style and mood of the first. In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow–up, Chicken Skin Music, showcased a potent blend of Tex–Mex, Hawaiian, gospel, and soul, and featured contributions from Flaco Jimenez and Gabby Pahinui. In 1979, Bop Till You Drop was the first major–label album to be recorded digitally. In the early '80s, Cooder began to augment his solo output with soundtrack work on such films as Blue Collar, The Long Riders, and The Border; he has gone on to compose music for Southern Comfort, Goin' South, Paris, Texas, Streets of Fire, Alamo Bay, Blue City, Crossroads, Cocktail, Johnny Handsome, Steel Magnolias, and Geronimo. Music by Ry Cooder (1995) compiled two discs' worth of highlights from Cooder's film work.
•   In 1992, Cooder joined Keltner, John Hiatt, and renowned British tunesmith Nick Lowe, all of whom had played on Hiatt's Bring the Family, to form Little Village, which toured and recorded one album. Cooder turned his attention to world music, recording the album A Meeting by the River with Indian musician V.M. Bhatt. Cooder's next project, a duet album with renowned African guitarist Ali Farka Touré titled Talking Timbuktu, won the 1994 Grammy for Best World Music Recording.
•   His next world crossover would become one of the most popular musical rediscoveries of the 20th century. In 1997, Cooder traveled to Cuba to produce and play with a group of son musicians who had little exposure outside of their homeland. •   The resulting album, Buena Vista Social Club, was a platinum–selling international success that made stars of Compay Segundo, Ibrahim Ferrer, and Rubén González, and earned Cooder another Grammy. He continued to work on projects with his Buena Vista bandmates, including a collaboration with Manuel Galbán in 2003 titled Mambo Sinuendo. His other work in the 2000s included sessions with James Taylor, Aaron Neville, Warren Zevon, and Spanish diva Luz Casal.
•   In 2005, Cooder released Chavez Ravine, his first solo album since 1987's Get Rhythm; the album was the first entry in a trilogy of recordings about the disappearance of Los Angeles' cultural history as a result of gentrification. Chavez Ravine was followed by My Name Is Buddy in 2007, and the final chapter in the saga, I, Flathead in 2009. In 2010, Cooder was approached by Paddy Moloney of the Chieftains to produce an album. Moloney had been obsessed with an historical account of the San Patricios, a band of immigrant Irish soldiers who deserted the American Army during the Mexican–American War in 1846 to fight for the other side, against the Manifest Destiny ideology of James Polk's America. Cooder agreed and the end result was San Patricio, which brings this fascinatingly complex tale to life. In early 2011, Cooder was taken by a headline about bankers and other moneyed citizens who'd actually profited from the bank bailouts and resulting mortgage and economic crisis, and wrote the song "No Banker Left •   Behind," which became the first song on 2011's Pull Up Some Dust and Sit Down, an album that reached all the way back to his earliest recordings for musical inspiration while telling topical stories about corruption — political and social — the erasure and the rewriting of American history, and an emerging class war. A month after its release, Beat poet Lawrence Ferlinghetti's fabled City Lights publishing house issued Cooder's first collection of short fiction entitled Los Angeles Stories. He continued to follow his socio–political muse with Election Special, released in the summer of 2012, and in 2013 released Live in San Francisco, his first live album in 35 years, with Corridos Famosos (son Joachim on percussion, Flaco Jimenez on accordion, Robert Francis on bass, and vocalists Terry Evans, Arnold McCuller, and Juliette Commagere). The ten–piece Mexican brass band La Banda Juvenil also guested. In 2014, Rhino Records offered an epic–scale look at Cooder's work in film scoring with Soundtracks, a seven–disc box set compiled from his movie music of the '80s and '90s.
Robert Christgau, Score:  B
Website: http://www.nonesuch.com/artists/ry-cooder

Ry Cooder — Chicken Skin Music (1976 / Reissue 1999)




Peter Cat Recording Co.






Jesca Hoop — Stonechild


Dire Wolves


Outer Spaces — Gazing Globe



Trixie Whitley — Lacuna (April 10, 2019)
Tais Awards & Harvest Prize
Za Zelenou liškou 140 00 Praha 4, CZE