| | Ry Cooder Chicken Skin Music CD Ry Cooder Discography of CDs
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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. ~ Brett Hartenbach
Live Recording
Personnel: Ry Cooder (vocals, guitars, mandolin, Hawaiian guitar, mandola, bajo sexto, French accordion); Bobby King, Terry Evans, Herman Johnson, James Adams, Cliff Givens (vocals); Atta Isaacs (guitar); Russ Titelman, Hugo Gonzales (bajo sexto); Gabby Pahinui (steel guitar, vocals); Flaco Jimenez (accordion); Pat Rizzo, Frank Villarreal (alto saxophone); Fred Jackson, Jr. (tenor saxophone); Oscar Brashear (cornet); George Bohanon (baritone horn); Benny Powell (trombone); Chris Ethridge, Red Callender, Henry "Red" Ojeda (bass); Jim Keltner, Isacc Garcia (drums); Milt Holland (drums, percussion).
Engineers: Loyd Clifft, Chet Himes, John Ingle, Lee Herschberg.
Uncut (12/02, p.164) - "...CHICKEN SKIN MUSIC is a record that expanded the definition of rock'n'roll. And how many albums can you say that about?..." Chicken Skin Music Music | List Price | $11.98 (You save $1.09) | | Category | Rock Albums, R&B CDs, Rock/Pop, Country Rock | | Label | Reprise | | Orig Year | 1976 | | All Time Sales Rank |  10740  | | CD Universe Part number | 1099057 | | Discs | 1 | | Release Date | Mar 09, 1989 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Ry Cooder | | Recording Time | 39 minutes | | Personnel | Jim Keltner
Ry Cooder - vocals, guitars, mandolin, Hawaiian guitar, mandola, bajo sexto, French accordion
Oscar Brashear - cornet
George Bohanon - baritone horn
Benny Powell - trombone
Fred Jackson Jr. - tenor saxophone
Terry Evans
Pat Rizzo
Bobby "Blanco" King
Russ Titelman
List all 24 contributors
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Ry Cooder Chicken Skin Music Songs Chicken Skin Music Music Review Purchase Chicken Skin Music CD To buy, Click on price to add to cart | Ry Cooder Into The Purple Valley CD (1971)
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| | Ry Cooder Paradise And Lunch CD (1974)
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Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn't afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, ...
| | Ry Cooder Jazz CD (1978)
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Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the "coon songs" of the early part of the next century, to the ragtime and "Spanish" music ...
| | Rio De Janeiro Jazz Trio Bop Till You Drop CD (1979)
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This was the first all-digital recording released by a major label.
Following his conceptual 1978 release, Jazz, Ry Cooder returned the next year with the R&B/soul-based Bop Till You Drop. The first major-label, digitally recorded album, Bop is a nice set of moderately known to obscure tunes from the '50s and '60s (along with a Cooder/Tim Drummond original) that doesn't always live up to its promise. Cooder and his excellent band, which ...
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| | John Phillips Pay Pack & Follow CD (2001)
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The Mamas and the Papas' founding member, John Phillips, released his second solo effort 20 years after the fact. The result of a series of recording sessions that span the years 1973-1979, Pay Pack & Follow was begun while Phillips was in England scoring the soundtrack for the David Bowie film The Man Who Fell to Earth. Following completion, the album's master tapes were misplaced several times before they were finally recovered from a Brooklyn storage space for the disc's 2001 release. Produced by Mick Jagger and Keith Richards, the set is a mixed bag of space pop, blues, and psychedelic ditties. Richards' always engaging guitar ...
| | Markus James Nightbird CD (2001)
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An incredibly wide variety of pop music can be found on the African continent. Some styles of African pop can be exuberant and relentlessly energetic, including soukous, zouk, and makossa. But moody, dusky, and haunting are some of the adjectives that describe a lot of the Afro-pop that has come from Ethiopia, the Sudan, and Mali. On Nightbird, San Francisco singer/songwriter Markus James successfully finds the parallels between Malian pop, rock, and the blues, specifically, the sort of dusky, haunting blues that worked so well for John Lee Hooker and Lightnin' Hopkins. Recorded in Bamako, Mali, during the summer of 2000, this excellent CD isn't easy to categorize. Blues, rock, and Malian pop are all influences, and on Nightbird, slide guitar sounds perfectly natural alongside traditional African instruments like the calabash, the njarka, and the tama. The people joining James (whose earthy vocals have a Mick Jagger-ish quality) range from Malian musicians (including Afro-pop artist Mama Sissoko) to American singer Sarah Baker. Bring all of these different artists and influences together and the end results are as enriching as they are intriguing. Nightbird could be described as Mick Jagger meets John Lee Hooker meets Habib Koite (who is one of Mali's ...
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| | Low Frequency In Stereo Travelling Ants Who Got Eaten CD (2005)
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Instrumental rock has come in a variety of forms over the years, ranging from '60s surf groups like the Ventures to the folk-rock fingerpickers (acoustic guitarist John Fahey and his numerous disciples) to the Steve Vai/Joe Satriani/Randy Coven school of hard rock shredders. But Low Frequency in Stereo is an instrumental group that doesn't fall into any of those categories -- well, at least they are instrumentalists most of the time. Recorded in 2003 and released in 2005, Travelling ...
| | Charlotte Hatherley Grey Will Fade CD (2004) Bonus DVD; Bonus Tracks; Japan
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GREY WILL FADE is a 2004 release by the indie-rock artist Charlotte Hatherley.
Having joined the successful Irish band Ash in 1997 as bass player, in 2004 Charlotte Hatherley felt it was time to attempt a first album of her own. The results justified her feeling that her own ideas were more expansive than the mostly straight-ahead rock approach of Ash. Supporting her in her self-assurance were two well established musicians (known from collaborations with PJ Harvey and many others), Eric Drew Feldman (playing keyboards and producing), and Rob Ellis (on drums). Moreover, the album was recorded not, as one would expect, in Britain, but in Los Angeles. Although the album proves that Hatherley is a talent in her own right, it does get off to a shaky start. It begins with a bow to "Kim Wilde" (a slightly unsettling surprise ...
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Chicken Skin Music album
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