RY COODER: "Boomer's Story"

Original released on LP Reprise MS 2117

(US, November 1972)

"Boomer's Story", Ry Cooder's third record, continues his archeological dig through music's familiar and forgotten past. As was the case with his previous recordings, he not only looks to the masters - including blues legend Sleepy John Estes, songwriter Dan Penn (both of whom appear here) and the great Skip James - for material, but to lost and neglected pieces of American folk and blues, as well. Cooder adds the traditional title-track, which opens the album, and Lawrence Wilson's "Crow Black Chicken," which dates back to the late 1920s, to this collection of discoveries - both of which are handled with just the right balance of personality and reverence. Elsewhere, he injects a dark irony into the jingoistic "Rally 'Round the Flag," with its slow, mournful piano (played by Randy Newman) and slide guitar, while the Joseph Spence-style guitar arrangement of the World War II standard "Comin' in on a Wing and a Prayer" has a sense of hope and conviction. Often criticized for possessing a less than commanding voice, Cooder steps back from the microphone for four of the album's ten tracks - three instrumentals and one featuring Sleepy John Estes on his own "President Kennedy." And while all of the instrumentals presented here are fine renditions of great tunes, it's "Dark End of the Street" which truly stands out. Here, Cooder realizes that the only thing in his arsenal that can do justice to James Carr's definitive version is his own remorseful slide guitar. Without uttering a single lyric, he's able to convey the shame and deep regret of the Dan Penn/Chips Moman classic. Thanks to moments like this, along with Cooder's consistently strong choice of material and brilliant guitar work, "Boomer's Story" - less eccentric than his first, and less eclectic than "Into the Purple Valley" - ranks among his best work. (Brett Hartenbach in AllMusic)

RY COODER: "Into The Purple Valley"

Original released on LP Reprise MS 2052

(US, February 1972)

Ry Cooder is known as a virtuoso on almost every stringed instrument, and on "Into the Purple Valley", he demonstrates this ability on a wide variety of instruments. The main focus of the music here is on the era of the Dust Bowl, and what was happening in America at the time, socially and musically. Songs by Woody Guthrie, Leadbelly, and a variety of others show Cooder's encyclopedic knowledge of the music of this time, combined with an instinctive feel for the songs. 'Phenomenal' is the descriptive word to describe his playing, whether it is on guitar, Hawaiian "slack key" guitar, mandolin, or the more arcane instruments he has found. This is a must for those who love instrumental virtuosity, authentic reworkings of an era, or just plain good music. (Bob Gottlieb in AllMusic)

RY COODER Debut Album

Original released on LP Reprise RS 6402

(US, December 1970)

Already a seasoned music business veteran at the age of 22, Ry Cooder stepped out from behind the shadows of the likes of Jackie DeShannon, Taj Mahal, the Rolling Stones, and Captain Beefheart, signing his own deal with Warner Brothers records in 1969. Released the following year, Cooder's eponymous debut creates an intriguing fusion of blues, folk, rock & roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker's idiosyncratic production; and Parks and Kirby Johnson's string arrangements. And while he's still finding his feet as a singer, Cooder puts this unique blend across with a combination of terrific songs, virtuosic playing, and quirky, yet imaginative, arrangements. For material, Cooder, the son of folklorist parents, unearths ten gems - spanning six decades dating back to the 1920s - by legends such as Woody Guthrie, Blind Blake, Sleepy John Estes, and Leadbelly, as well as a current Randy Newman composition. Still, as great as his outside choices are, it's the exuberant charm of his own instrumental "Available Space" that nearly steals the show. Its joyful interplay between Cooder's slide, Van Dyke Parks' music hall piano, and the street-corner drumming creates a piece that is both loose and sophisticated. If "Available Space" is the record's most playful moment, its closer, "Dark Is the Night," is the converse, with Cooder's stark, acoustic slide extracting every ounce of torment from Blind Willie Johnson's mournful masterpiece. Some of the eccentric arrangements may prove to be a bit much for both purists and pop audiences alike, but still, Cooder's need to stretch, tempered with a reverence for the past, helps to create a completely original work that should reward adventurous listeners. (Brett Hartenbach in AllMusic)