“The Ry Cooder Story“ delves deep into the legendary career of master guitarist Ry Cooder. Prepare to embark on a journey spanning 60 years of musical genius. From his humble beginnings as a session musician with the likes of The Rolling Stones or Randy Newman, to his rise as a solo artist (“Bop Till You Drop“), film composer (“Paris, Texas“), or world musician (Buena Vista Social Club), Ry Cooder's contributions to the world of music are unparalleled. Each episode provides comprehensive insights into Cooder’s creative process, collaborations, and profound influence on countless artists.
This podcast uses a new production method. Thanks to a text-to-speech generator, all voices are spoken by an AI. But don't worry: it sounds like good radio, with pleasant sound, changing voices, and - most importantly - decent English.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
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“The Ry Cooder Story“ delves deep into the legendary career of master guitarist Ry Cooder. Prepare to embark on a journey spanning 60 years of musical genius. From his humble beginnings as a session musician with the likes of The Rolling Stones or Randy Newman, to his rise as a solo artist (“Bop Till You Drop“), film composer (“Paris, Texas“), or world musician (Buena Vista Social Club), Ry Cooder's contributions to the world of music are unparalleled. Each episode provides comprehensive insights into Cooder’s creative process, collaborations, and profound influence on countless artists.
This podcast uses a new production method. Thanks to a text-to-speech generator, all voices are spoken by an AI. But don't worry: it sounds like good radio, with pleasant sound, changing voices, and - most importantly - decent English.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
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We are proud to present our brand new Cooder book! "I Sing You a True Song: The Ry Cooder Story" is now available! Listen to this short trailer to learn more, including an excerpt from the preface.
I Sing You a True Song on Amazon
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Voices produced with text-to-speech AI
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In our final episode for now, we discuss Cooder's brief U.S. tour with Rosanne Cash, titled "The Music of Johnny Cash," as well as his latest collaboration with Taj Mahal, Get On Board. On this album, they pay tribute to two of their early musical heroes, Sonny Terry and Brownie McGhee. We're still hoping for a sequel, but this could be a fitting conclusion to their long careers.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Voices produced with text-to-speech AI
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In 2015, Cooder went on tour with bluegrass legend Ricky Skaggs and Sharon White of the renowned country band The Whites. The tour featured a lot of gospel music and directly inspired Cooder's presumably final solo album, The Prodigal Son. It's a great and fitting farewell, and there is much to say about it, as well as the subsequent North American and European tours.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Voices produced with text-to-speech AI
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Ry Cooder making The Prodigal Son on YouTube
Ry Cooder - Everybody Ought to Treat a Stranger Right (Live in studio) on YouTube
Ry Cooder - The Prodigal Son (Live in studio) on YouTube
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Hard as it is to believe, 2013's Live At The Great American Music Hall was only Cooder's second official full-length live album. As with 1977's Show Time, he had no intention of putting the emphasis on a new album, but instead performed a great mix of his live classics. His band consisted almost entirely of old friends like Flaco Jiménez and Terry Evans, and family members like son Joachim, Juliette Commagere, and Robert Francis. In this episode, we introduce them – and a few others – and the albums they made with Cooder in the years that followed.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Voices produced with text-to-speech AI
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A year after the deeply political Pull Up Some Dust And Sit Down, Cooder went one step further and made Election Special, his contribution to the 2012 presidential election in the United States. Clearly on Obama's side and genuinely angry about the corporate takeover of society, he made an album in the tradition of Woody Guthrie, Joe Hill and Pete Seeger: a collection of folk and rock songs for the modern depression. It is as relevant today as it was then, to say the least.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Voices produced with text-to-speech AI
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In response to the Bush presidency, Cooder produced what could be described as the modern-day equivalent of the kind of dustbowl ballads Woody Guthrie once sang. On Pull Up Some Dust and Sit Down, he took aim at politicians, corporate greed and military action – all issues close to Guthrie's heart in the 1930s and '40s.– In this episode we also talk about Cooder's first and only book, and a few other things.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Voices produced with text-to-speech AI
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On I, Flathead, the final part of his California trilogy, Cooder turns his attention to the blue-collar types of the fifties and their music. It is about the kind of workers who toiled in the old Santa Monica airplane factory a few blocks from his childhood home, and the country, honky-tonk, and western swing he listened to so intently on the radio as a boy.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Voices produced with text-to-speech AI
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2007 brought us not only Cooder's solo effort My Name Is Buddy, but also some very interesting contributions. He composed film music for Wong Kar-wai's My Blueberry Nights. And with Mavis Staples, he made an album that's right up there with his best productions. We’ll Never Turn Back is not one hundred percent Cooder, but it's certainly ninety-nine and a half. We also take a look at some more session work.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
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Two years after Chávez Ravine, My Name Is Buddy was a return to folk and dustbowl blues. In other words, to the kind of music Cooder had begun his career with. It is a song cycle set in the 1930s, but with clear references to the present – another California opus that would become the middle part of a full-fledged trilogy. Needless to say, it was another masterpiece.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
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"Chávez Ravine" can mean many things. Obviously, there is an area in Los Angeles by that name. But there is also a book, a short documentary, and a Ry Cooder album, in that order. Cooder's 12th solo effort wouldn't exist without the book or the documentary. Like the Buena Vista Social Club, it came about almost by accident. And again, it was an opportunity he knew how to seize. It became his own ode to a lost Shangri-La – a masterful street-corner opera.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
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Chávez Ravine: A Los Angeles Story on YouTube
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At the beginning of the new millennium, Cooder was once again deeply involved in world music. He released two back-to-back collaborative albums, this time with Indian flutist Ronu Majumdar and Cuban guitar wizard Manuel Galbán. As with his collaborations with V.M. Bhatt and Ali Farka Touré ten years earlier, he mostly took a back seat and helped them do their own thing. We also talk briefly about the Cuban follow-ups of the Buena Vista Social Club and some of Cooder's other session projects.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music by Quincas Moreira
Voices produced with text-to-speech AI
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Cooder said goodbye to Hollywood in 1998 with his score for Primary Colors. Based on Joe Klein's originally anonymous book, the film tells the story of Bill Clinton's rise to the White House. Cooder's musical contribution is brief and eclectic, a mix of reinvented American classics, some ingenious recycling, and a few original compositions.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
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Shot after Cooder recorded the Buena Vista Social Club album in Havana, but before the production of the accompanying documentary, The End Of Violence has a great score that gives the film a real grandeur. The main theme is excellent as always, and there are some very interesting forays into the realm of electronic music.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
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Watch The End Of Violence at the Internet Archive
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The Buena Vista Social Club was by far Cooder's biggest commercial success. At the time, he probably thought it was business as usual – working with a bunch of interesting and skilled musicians from a different musical culture, as he'd done so many times before. But this time he hit the jackpot. The importance of the album and the subsequent documentary cannot be overstated. It is the most popular recording of Cuban music in history, and it opened up the island's culture to the West as never before.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music by Jimmy Fontanez, Quincas Moreira
Voices produced with text-to-speech AI
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Last Man Standing, Cooder's last collaboration with Walter Hill, was a remake of a Japanese classic, 1961's Yojimbo. Hill and Cooder let loose once again, creating a dark, nihilistic action film starring Bruce Willis as the man with no name. Though very unconventional and focused almost exclusively on atmosphere, Cooder's score is surprisingly diverse and varied. - In this episode we also talk about the 1995 Family Tour with David Lindley and Cooder's session work in the mid-90s.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music The Mini Vandals
Voices produced with text-to-speech AI
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For Cooder, the mid-nineties were a period of astonishingly numerous world music collaborations. Between 1993 and 1995 alone, he worked with Indian string legend V.M. Bhatt (A Meeting By The River), Ali Farka Touré of Mali (Talking Timbuktu), Nenes and Shoukichi Kina of Okinawa (The Great Music Experience), The Chieftains of Ireland (The Long Black Veil), and Nusrat Fateh Ali Khan of Pakistan (Dead Man Walking). So in this episode we take a trip around the world (kind of) and tell the story of all these very exciting collaborations.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music The Mini Vandals
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Geronimo – An American Legend, released in 1993, was Cooder's eighth score for director Walter Hill. The movie is about the last resistance of the Native Americans against the superiority of white civilization. It's very serious and pretty dark. After the jazzy Trespass, this was something completely new for Cooder. For the first time, he composed something like a classical film score, a real tapestry of sound. And while the movie opts for the narrative perspective of the white soldiers, Cooder chooses a strict musical duality between a Native American and a white Western part.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music The Mini Vandals
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Walter Hill's gritty 1992 action film Trespass flew under the radar at the time, but Cooder again broke new ground with his score. The music is unlike anything he had done before, and it heralds a phase closely associated with a new collaborator: jazz trumpeter Jon Hassell. In this episode we also look at Cooder's session work from the late eighties and early nineties. Having long since outgrown his role as a mere contract worker, Cooder now became more of a mentor and producer.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music The Mini Vandals
Voices produced with text-to-speech AI
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In this episode we tell the story of Little Village, a band that existed for a short time in 1991-92. It consisted of Ry Cooder, John Hiatt, Jim Keltner and Nick Lowe, who had played together on Hiatt's album Bring The Family a few years earlier. Together they made another great album, but one that sounded different for a number of reasons. It wasn't a real hit, but it wasn't a disappointment either, just another ingenious effort from four very special musicians. We also take a quick look at Cooder and David Lindley's 1990 tour.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music The Mini Vandals
Voices produced with text-to-speech AI
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We're back for our third season! Episode 25 focuses on 1989's Johnny Handsome, another underrated but truly spectacular Walter Hill film. Cooder's score is one of his best, if not THE best. It's surprising, moving, and has a great interplay between slide guitar, keyboards, and horn section. We also take a look at several other productions, including Pecos Bill, Tales From The Crypt, The Ghost Of Faffner Hall, several session albums, and the great Bobby King and Terry Evans debut, Live And Let Live!, which is as close to a Cooder album as you can get without actually being a Cooder album.
This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.
Written, produced and edited by Frank Schnelle
Theme and background music by Chris Haugen
Additional background music The Mini Vandals
Voices produced with text-to-speech AI
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Hosted on Acast. See acast.com/privacy for more information.
