RY COODER DAVID LINDLEY
''THE FAMILY TOUR, DISC TWO''
WITH JOACHIM COODER & ROSANNE LINDLEY
STATE OPERA HOUSE IN VIENNA, JULY 6 1995
1995
139:30
********************
DISC ONE (69:37)
1 Promised Land 07:32
2 Jesus On The Mainline 06:11
3 Mercury Blues 07:12
4 Afindafrindrao 05:44
5 Si Beg Si Mhor 03:53
6 Paris Texas - Vigilante Man 14:27
7 The Girls From Texas 07:42
8 All Shook Up 05:20
9 How Can A Poor Man 06:56
10 Leave Home Blues 04:35
**********
DISC TWO (69:53)
1 I'm A Lonesome Man 03:49
2 Me And My Chauffeur 04:14
3 Ain't No Way 04:55
4 Breaking Up Somebody's Home 04:04
5 Little Sister 04:11
6 Play It All Night Long 06:42
7 If Walls Could Talk 08:13
8 Hold That Snake 05:48
9 Talk To The Lawyer 05:47
10 Goodnight Irene 09:14
11 The Very Thing That Makes You Rich 06:33 I
12 Do You Want My Job 06:18
********************
Ry Cooder : Vocals, Guitar, Accordian, Bouzouki, Tambour, Mandolin
Joachim Cooder : Drums, Percussion
David Lindley : Vocals, Guitar, Bajo-sexto, Bouzouki, Tambour
Rosanne Lindley : Vocals, Guitar
********************
BIOGRAPHY/AMG/DAVID LINDLEY
Craig Harris
David Lindley is the consummate musician's musician. A much-respected session player, Lindley has added his melodic string playing to albums by a lengthy list of artists, including Bob Dylan, Rod Stewart, Linda Ronstadt, Rory Block, Ry Cooder, Warren Zevon, Terry Reid, David Blue, James Taylor, David Crosby, and Graham Nash. From 1971 until 1981, Lindley played a guiding role on Jackson Browne's recordings and concert performances. Lindley's eclectic approach provided the foundation for his own bands, Kaleidoscope (1967 -- 1970) and El Rayo X (1981 -- 1990).
A native of Southern California, Lindley began playing banjo as a teenager and soon added the fiddle. By his late teens, he had acquired a reputation as California's best young instrumentalist, winning the Topanga Canyon banjo and fiddle competition five times.
After playing with a series of traditional folk and bluegrass bands, including the Smog City Trestle Hangers, the Mad Mountain Ramblers, and the Dry City Scat Band, Lindley joined a rock band, the Rodents. When the group disbanded, he formed his own group, Kaleidoscope, that blended traditional music with rock influences.
Bop Till You Drop
Accepting an invitation to join Jackson Browne's band in 1971, Lindley remained with the singer/songwriter's group for a decade. When not touring or recording with Browne, he continued to explore a variety of projects. In 1979, he began working with Ry Cooder, contributing heavily to his albums Bop Till You Drop and the soundtrack to the film The Long Riders. The collaboration continues and in the early '90s, Lindley and Cooder toured as a duo.
Lindley found time to work on his music, as well. Shortly after releasing a solo album, El Rayo-X, he formed a band of the same name with Bernie Larsen (guitar), Jorge Calderon (bass), Ian Wallace (drums), and Ras "Baboo" Pierre (percussion).
In 1990, Lindley began performing in a duo that he shared with Jordan-born percussionist Hani Naser. The two musicians continued to tour and record together until 1995.
Lindley has collaborated with avant-garde guitarist and ethnomusicologist Henry Kaiser on several albums based on their field recordings. A two-week field recording expedition to Madagascar in 1991 yielded six albums of Malagasy music, including the award-winning, two-volume set A World Out of Time. A trip to Norway in 1994 inspired two CDs, Sweet Sunny North, Vol. 1 & Vol. 2.
********************
BIOGRAPHY/AMG/RY COODER
Steve Huey
Safe as Milk
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.
Into the Purple Valley
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.
Bring the Family
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.
Buena Vista Social Club
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.
Chavez Ravine
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.
********************
TO THE TOP
********************
''THE FAMILY TOUR, DISC TWO''
WITH JOACHIM COODER & ROSANNE LINDLEY
STATE OPERA HOUSE IN VIENNA, JULY 6 1995
1995
139:30
********************
DISC ONE (69:37)
1 Promised Land 07:32
2 Jesus On The Mainline 06:11
3 Mercury Blues 07:12
4 Afindafrindrao 05:44
5 Si Beg Si Mhor 03:53
6 Paris Texas - Vigilante Man 14:27
7 The Girls From Texas 07:42
8 All Shook Up 05:20
9 How Can A Poor Man 06:56
10 Leave Home Blues 04:35
**********
DISC TWO (69:53)
1 I'm A Lonesome Man 03:49
2 Me And My Chauffeur 04:14
3 Ain't No Way 04:55
4 Breaking Up Somebody's Home 04:04
5 Little Sister 04:11
6 Play It All Night Long 06:42
7 If Walls Could Talk 08:13
8 Hold That Snake 05:48
9 Talk To The Lawyer 05:47
10 Goodnight Irene 09:14
11 The Very Thing That Makes You Rich 06:33 I
12 Do You Want My Job 06:18
********************
Ry Cooder : Vocals, Guitar, Accordian, Bouzouki, Tambour, Mandolin
Joachim Cooder : Drums, Percussion
David Lindley : Vocals, Guitar, Bajo-sexto, Bouzouki, Tambour
Rosanne Lindley : Vocals, Guitar
********************
BIOGRAPHY/AMG/DAVID LINDLEY
Craig Harris
David Lindley is the consummate musician's musician. A much-respected session player, Lindley has added his melodic string playing to albums by a lengthy list of artists, including Bob Dylan, Rod Stewart, Linda Ronstadt, Rory Block, Ry Cooder, Warren Zevon, Terry Reid, David Blue, James Taylor, David Crosby, and Graham Nash. From 1971 until 1981, Lindley played a guiding role on Jackson Browne's recordings and concert performances. Lindley's eclectic approach provided the foundation for his own bands, Kaleidoscope (1967 -- 1970) and El Rayo X (1981 -- 1990).
A native of Southern California, Lindley began playing banjo as a teenager and soon added the fiddle. By his late teens, he had acquired a reputation as California's best young instrumentalist, winning the Topanga Canyon banjo and fiddle competition five times.
After playing with a series of traditional folk and bluegrass bands, including the Smog City Trestle Hangers, the Mad Mountain Ramblers, and the Dry City Scat Band, Lindley joined a rock band, the Rodents. When the group disbanded, he formed his own group, Kaleidoscope, that blended traditional music with rock influences.
Bop Till You Drop
Accepting an invitation to join Jackson Browne's band in 1971, Lindley remained with the singer/songwriter's group for a decade. When not touring or recording with Browne, he continued to explore a variety of projects. In 1979, he began working with Ry Cooder, contributing heavily to his albums Bop Till You Drop and the soundtrack to the film The Long Riders. The collaboration continues and in the early '90s, Lindley and Cooder toured as a duo.
Lindley found time to work on his music, as well. Shortly after releasing a solo album, El Rayo-X, he formed a band of the same name with Bernie Larsen (guitar), Jorge Calderon (bass), Ian Wallace (drums), and Ras "Baboo" Pierre (percussion).
In 1990, Lindley began performing in a duo that he shared with Jordan-born percussionist Hani Naser. The two musicians continued to tour and record together until 1995.
Lindley has collaborated with avant-garde guitarist and ethnomusicologist Henry Kaiser on several albums based on their field recordings. A two-week field recording expedition to Madagascar in 1991 yielded six albums of Malagasy music, including the award-winning, two-volume set A World Out of Time. A trip to Norway in 1994 inspired two CDs, Sweet Sunny North, Vol. 1 & Vol. 2.
********************
BIOGRAPHY/AMG/RY COODER
Steve Huey
Safe as Milk
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.
Into the Purple Valley
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.
Bring the Family
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.
Buena Vista Social Club
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.
Chavez Ravine
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.
********************
TO THE TOP
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Obrigado!!!
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