RY COODER - Little Sister
- Length: 5:43
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- Author: MusicMeanMachine
Tags: BLUES ELECTRIC ETC FOLK GOSPEL SOUL TEX-MEX
"LITTLE SISTER" - Recorded 1979. RY COODER, Ryland "Ry" Peter Cooder (born 15th March 1947, in Los Angeles, California) is an American guitarist, singer, and composer. He is known for his slide guitar work, his interest in the American roots music, and, more recently, for his collaborations with traditional musicians from many countries. Cooder was ranked number 8 on Rolling Stone's "The 100 Greatest Guitarists of All Time." During the 1960s, Cooder briefly attended Reed College in Portland, Oregon[citation needed]. Cooder first attracted attention in the '60s, playing with Captain Beefheart and the Magic Band, after previously having worked with Taj Mahal in The Rising Sons. He also played with Randy Newman at this time, including on 12 Songs and possibly Newman's first album, Randy Newman. Van Dyke Parks worked with Newman and then with Cooder during the 60s. Parks arranged Cooder's "One Meatball" according to Parks' 1984 interview by Bob Claster. He was a guest session guitarist on various recording sessions with the Rolling Stones in 1968 and 1969, and Cooder's contributions appear on the Stones' Let It Bleed (mandolin on "Love in Vain"), and Sticky Fingers, on which he contributed the slide guitar on "Sister Morphine". During this period, Cooder joined with Mick Jagger, Charlie Watts, Bill Wyman, and longtime Rolling Stones sideman Nicky Hopkins to record "Jamming with Edward". Shortly after the sessions, Cooder accused Keith Richards of musical plagiarism, but has since refused to comment on his accusations. Cooder also played slide guitar for the 1970 movie, Performance, which contained Mick Jagger's first solo single, "Memo from Turner". The 1975 Rolling Stones compilation album Metamorphosis features an uncredited Cooder on Bill Wyman's "Downtown Suzie", which is also the first Rolling Stones song played and recorded in the open G tuning. Ry Cooder is credited on Van Morrison's critically acclaimed 1979 album, Into the Music for slide guitar on the song, "Full Force Gale". Throughout the 1970s, Cooder released a series of Warner Bros. Records albums that showcased his guitar work. Cooder, like a musicologist or treasure hunter, explored bygone musical genres and found great old-time recordings which he then, as a musician, personalized with sensitive, updated reworkings. Thus, on his breakthrough album, Into the Purple Valley, he chose unusual instrumentations and performed his own arrangements of old Black blues and gospel songs, a Calypso, white country music songs (giving a tempo change to the waltzing cowboy ballad, "Billy the Kid"), and — to open the album — a protest song, "How Can You Keep on Moving (Unless You Migrate Too)" by Agnes "Sis" Cunningham about the Okies who were not welcomed with open arms when they migrated to escape the Dust Bowl in the 1930s — to which he gave a rousing-yet-satirical march accompaniment. Cooder's later '70s albums (with the exception of Jazz) do not fall under a single genre description, but — to generalize broadly — it might be fair to call Cooder's self titled first album blues; Into the Purple Valley, Boomer's Story, and Paradise and Lunch, folk and blues; Chicken Skin Music and Showtime, a unique melange of Tex-Mex and Hawaiian; Jazz, 1920s jazz; Bop Till You Drop, '50's R&B; and Borderline and Get Rhythm, eclectic rock-based excursions. Cooder's 1979 album Bop Till You Drop was the first popular music album to be recorded digitally. It yielded his biggest hit, an R&B cover version of Elvis Presley's 1960s recording "Little Sister". Cooder has worked as a studio musician and has also scored many film soundtracks including Wim Wenders film Paris, Texas (1984). Cooder based this soundtrack and title song "Paris, Texas" on Blind Willie Johnson's "Dark Was the Night (Cold Was the Ground)", which he described as "The most soulful, transcendent piece in all American music." "Dark Was the Night, Cold Was the Ground" was also the basis for Cooder's song "Powis Square" for the movie Performance. His other film work includes Walter Hill's The Long Riders (1980), Southern Comfort (1981), Brewster's Millions (1985), Last Man Standing (1996), Hill's Trespass (1992) and Mike Nichols' Primary Colors (1998). Cooder dubbed all guitar parts of Ralph Macchio in the 1986 film Crossroads In 1988, Cooder produced an album by Bobby King and Terry Evans on Rounder Records titled Live and Let Live. He contributed his stellar slide guitar work to every track. He also plays extensively on their 1990 self produced Rounder release Rhythm,
Muppet race mania music - Swamp
- Length: 2:14
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- Author: mezerian
Tags: mania MRMOST Muppet muppets music OST playstation pond race robin swamp theme
The backround music for the Swamp stage.I never thought I'd hear such a catchy banjo.
The Mozart Genius
- Length: 0:0
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- Author: AGIntermedic
Tags: Classical heavenly Mozart perfect Religious soul spirit spiritual WA
Music for our Soul
J Guy Ropartz: Nos. 15 & 13 from 'Au Pied de l'Autel' (at the Foot of the Altar)
- Length: 5:20
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- Author: PSearPianist
Tags: Breton classical france French pianist Piano sussex
15 - Adagio(arrangement of a Breton folk song)13 - Molto lento---------------------------------The Breton composer and poet (Joseph) Guy (Marie) Ropartz (1864-1955) studied composition with Massenet at the Paris Conservatoire, and later with Franck, and tought at the conxervatoires of Nancy and Strasbourg. He wrote stage works, symphonies, choral, vocal and chamber music. 'Au Pied de l'Autel' is a set of 100 short pieces written in 1916-7 at Nancy for harmonium (or organ manuals) and intended for use as voluntaries in church services. As such, they are never likely to get many performances because - at least in the UK - because few churches use harmoniums these days (they use electronic keyboards instead), and the pieces can sound dull on pipe organ manuals. There are some most attractive pieces in the set, some using Breton folk melodies, and I have sought to adapt them ('on the fly') for performance on piano by such devices as selective octave doubling, some arpeggiation of long held chords, and subtle repetition of tied pedal notes. I may also have used slightly faster tempi than would be used on a sustaining instrument. The piano can at least observe Ropartz' dynamics and bring out the contrapuntal voices in some of the pieces. Given the current popularity in a secular context of comtemplative works by John Tavener, Arvo Pärt and others, one wonders if there could be a new life for other non-vocal liturgical music. For more information on Ropartz, see the site of the Association Guy Ropartz:http://guyropartz.chez-alice.fr/For an idea of the sound of the sort of instrument that these pieces might originally have been played on, see:http://ie.youtube.com/watch?v=3-uTDhtWvOQ----------------------------------------Played by Phillip Sear (Sussex, UK)http://www.psear.co.uk
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