1 - A Meeting by the River (10:03)
2 - Longing (11:56)
3 - Ganges Delta Blues (9:57)
4 - Isa Lei (7:39)

Vishwa Mohan Bhatt – Mohan veena, performer, slide guitar
Joachim Cooder – dumbek
Ry Cooder – bottleneck guitar, guitar, performer
Sukhvinder Singh Namdhari – table

A Meeting by the River can best be described as a spontaneous outpouring of music, unhindered by convention or form, brought into being by musicians so supremely capable that the music is never labored, the technique of their craft always subservient to the final product. Cooder and Bhatt are genuine masters of the guitar and mohan vina, respectively. The latter, an instrument created by Bhatt himself, is a sort of hybrid between a guitar and a vichitra vina, and is played with a metal slide. This fact is just one of the many things that connect Bhatt's playing to Cooder's, who plays nothing but bottleneck guitar here. The musical interplay between Cooder and Bhatt is nothing short of astounding, especially so considering that they met for the first time only a half-hour before the recording of this album. The voices of the two instruments blend marvelously, first alternating melodic statements, then doing so together, each dancing around the other, playing cat and mouse, probing, answering, reflecting. They are ably accompanied by a pair of percussionists: tabla player Sukhvinder Singh Namdhari and Cooder's own son, Joachim, on dumbek. A Meeting by the River is one of those few cross-genre albums in which the listener never feels for a second that there is some kind of fusion going on; one does not hear the component parts so much as the integrated whole. However, one can theoretically separate guitar from vina, America from India, the Mississippi from the Ganges. Once this is done, the resulting music makes more sense than ever before, the combination of two traditions of stringed instruments that use slides to produce sound and value improvisation and voice-like phrasing. As good as this sounds on paper, the actual results are even more impressive. The splendor of the music is aided in its transmission by the fact that, like all Water Lily Acoustics releases, this album is masterfully recorded; each instrument is clear, distinct, and three-dimensional sounding. A Meeting by the River is a must-own, a thing of pure, unadulterated beauty, and the strongest record in Cooder's extensive catalog. --- Daniel Gioffre, Rovi

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01. Police Dog Blues (3:53)
02. F.D.R In Trinidad (3:24)
03. If Walls Could Talk (4:02)
04. Tamp 'em Up Solid (3:48)
05. Ax Sweet Mama (4:11)
06. Billy The Kid (6:14)
07. Vigilante Man (5:06)
08. How Can A Poor Man Stand Such Times And Live (6:36)
09. Tattler (3:59)
10. Comin' In On A Wing And A Prayer (5:17)
11. Alimony (4:08)
12. Teardrops Will Fall (3:34)
13. I'm A Pilgrim (2:55)

1974 Record Plant, Sausalito, CA

I tried this after being rather disappointed with Live In San Francisco Live In San Francisco and I think it's a much better live album. It's from a radio broadcast in 1974 and it's excellent. The sound is clear and well balanced (as you'd expect from a recording made in a radio studio) with a small, enthusiastic and unintrusive audience. This means that you hear Ry Cooder and his small band playing live but in almost studio quality.

It's the playing which really matters, though, and it's first-rate. There's some superb guitar work from Cooder (of course) and the band are tight and solid with great backing vocals. There are fine versions of old favourites like How Can A Poor Man Stand Such Times And Live and Vigilante Man and plenty of others. I have to say that I'm not sure they really get the calypso of FDR In Trinidad right, but it's the only track which sounds at all weak to me.

I would warmly recommend this album. It's Ry Cooder at his best a lot of the time - and that's really saying something. --- Sid Nuncius, amazon.com

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1. Ry Cooder and Corridos Famosos - Crazy 'Bout an Automobile (5:08)
2. Ry Cooder and Corridos Famosos - Why Don't You Try Me (5:28)
3. Ry Cooder and Corridos Famosos - Boomer's Story (4:42)
4. Ry Cooder and Corridos Famosos - Lord Tell Me Why (6:18)
5. Ry Cooder and Corridos Famosos - Do Re Mi (5:43)
6. Ry Cooder and Corridos Famosos - School Is Out (5:01)
7. Ry Cooder and Corridos Famosos - The Dark End of the Street (7:31)
8. Ry Cooder and Corridos Famosos - El Corrido de Jesse James (6:16)
9. Ry Cooder and Corridos Famosos - Wooly Bully (4:59)
10. Ry Cooder and Corridos Famosos - Volver Volver (6:30)
11. Ry Cooder and Corridos Famosos - Vigilante Man (8:18)
12. Ry Cooder and Corridos Famosos - Goodnight Irene (7:06)

Personnel:
Ry Cooder – guitar
and
The Corridos Famosos:
Terry Evans, Arnold McCuller, and Juliette Commagere - vocals
Joachim Cooder -  drums
Robert Francis - bass 
Flaco Jimenez -  accordion 
Mexican brass band La Banda Juvenil.

Nonesuch / Perro Verde Records release Ry Cooder’s first live record in more than 35 years, Live in San Francisco, on September 10, 2013. Recorded in 2011 during a special two-night engagement at San Francisco’s Great American Music Hall, the album includes 12 songs and was produced by Cooder. The Corridos Famosos band includes Joachim Cooder on drums; Robert Francis on bass; vocalists Terry Evans, Arnold McCuller, and Juliette Commagere; Flaco Jimenez on accordion; and the ten-piece Mexican brass band La Banda Juvenil.

Live in San Francisco is available to pre-order on vinyl and CD in the Nonesuch Store with an instant download of the track “Lord Tell Me Why,” as well as a download of the complete album available on release day; preview the full track below. The vinyl edition includes the complete album on two 140-gram LPs with a CD in the sleeve.

Live in San Francisco includes original songs and interpretations of other material ranging across Cooder’s entire career, from classics like “Boomer’s Story” and “Dark End of the Street” to more recent originals such as “Lord Tell Me Why” and “El Corrido de Jesse James,” with a detour for Sam the Sham and the Pharaohs’ “Wooly Bully” and Lead Belly’s “Goodnight Irene." Cooder’s only previous live album was the 1977 release Show Time, on which Evans and Jimenez were also featured. Show Time was also recorded at San Francisco’s Great American Music Hall. --- nonesuch.com

Producent niezapomnianego albumu "Buena Vista Social Club", legenda muzyki folkowej, country, country rocka i americany, prezentuje swój pierwszy album koncertowy po ponad 35-letniej przerwie! "Live In San Francisco" to cudowny przekrój przez karierę Ry'a Coodera.

W sierpniu 2011 roku ukazała się płyta "Pull Up Some Dust And Sit Down". Zaledwie kilka tygodni po jej premierze Ry zagrał dwa specjalne koncerty w San Francisco, dokładnie w Great American Music Hall (31 sierpnia i 1 września). Co ciekawe, dokładnie w tym miejscu w 1977 roku Cooder zarejestrował materiał na swój poprzedni krążek studyjny "Show Time". Tym razem wspierali go muzycy, którzy występowali pod wspólnym szyldem Corridos Famosos. Wśród nich był syn artysty Joachim Cooder na perkusji i instrumentach perkusyjnych. W koncercie udział wziął także 10-osobowy meksykański zespół dęty La Banda Juvenil.

Na wyprodukowanym przez Ry'a pojedynczym krążku znalazł się tuzin utworów, które stanowią idealny przekrój przez wielką karierę Amerykanina. Od klasyków w rodzaju "Boomer's Story" i "Dark End Of The Street" do nowszych, jak "Lord Tell Me Why" albo "El Corrido de Jesse James". Są i przeróbki – "Wooly Bully" Sam The Sham And The Pharaohs oraz "Goodnight Irene" legendy bluesa Huddiego "Leadbelly'ego" Ledbettera. Ry Cooder był w tych dwóch dniach w wyśmienitej dyspozycji. Podobnie towarzyszący mu muzycy. Nagrali wspaniały album koncertowy, który wywołuje w słuchaczu wrażenie, jakby siedział w Great American Music Hall i doświadczał koncertu na własne oczy. --- warnermusic.pl

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1. No Banker Left Behind 3:36 
2. El Corrido De Jesse James 4:17 
3. Quick Sand 3:17 
4. Dirty Chateau 5:29 
5. Humpty Dumpty World 4:18 
6. Christmas Time This Year 2:49 
7. Baby Joined The Army 6:35 
8. Lord Tell Me Why 3:01 			play
9. I Want My Crown 2:37 			play
10. John Lee Hooker For President 6:08 
11. Dreamer 5:06 
12. Simple Tools 5:07 
13. If There's A God 3:06 
14. No Hard Feelings 5:52

Personnel:
Ry Cooder –bajo sexto, banjo, bass, composer, guitar, keyboards, mandola, mandolin, marimba, vocals
Rene Camacho – bass
Edgar Castro – bass drums, snare drums, percussion, timbales
Juliette Commagere – background vocals
Joachim Cooder – bass, drums
Raúl Cuellar – violin
Terry Evans – background vocals
Robert Francis – bass
Arturo Gallardo – alto saxophone, clarinet, saxophone
Carlos Gonzalez – trumpet
Willie Green – background vocals
Jesus Guzman – violin
Ismael Hernandez – violin
Flaco Jiménez – accordion
Jimmy Cuellar – violin
Jim Keltner – composer, drums
Arnold McCuller – background vocals
Pablo Molina – alto horn, sousaphone
Erasto Robles – trombone

Pull Up Some Dust and Sit Down, issued between two national election cycles, is the most overtly political album Ry Cooder has ever released, and one of his funniest, most musically compelling ones, too. Cooder looks deeply into his musical past using his entire Americana musical arsenal: blues, folk, ragtime, norteño, rock, and country here. Opener "No Banker Left Behind" updates Civil War-era marching music. Cooder's guitar, banjo, bass, and mandola lead drummer (and son) Joachim through a scathing indictment of the the financial bailout in 2007. The marching rhythms are punched through with sharp banjo and mandola riffs as Cooder's signature electric guitar sound frames them. "El Corrido Jesse James" has the outlaw speaking from heaven in waltz time. Accompanied by Flaco Jimenez's accordion and a horn section, James claims that while he was a bank robber, he never "turned a family from their house," and asks God for his trusty .44 to "put that bonus money back where it belongs." "Quick Sand" is a shuffling electric rocker that addresses the plight of illegal immigrants crossing into Arizona. "Christmas Time This Year" is the most incendiary anti-war song in a decade, presented innocently as a Mexican polka. "Lord Tell Me Why" borrows production techniques from Tom Waits, with co-writer and drummer Jim Keltner who assists in getting across this biting, ironic gospel tune: "Lord tell me why a white man/Ain't worth nothin' in this world no more...." An 11-piece band assists in "I Want My Crown," a scorching, growling blues with Cooder's nasty guitar leading the charge. It's followed by the album's finest moment, "John Lee Hooker for President," where Cooder does a shockingly accurate impression of the late bluesman, in fine boogie mode, paying a visit to the White House, not liking what he sees, and deciding to run for office: "I'm compastatic. I ain't Republican or Democratic." He names Jimmy Reed as Veep and Johnny Taylor Secretary of State. His campaign promises swift retribution for injustice and a "groove time" for the nation. If only. The depth of Cooder's rage is quieter but more direct as the album draws to a close. In "If There Is a God," God's been driven from heaven by redistricting; he, "Jesus, Mary and Joe" all hit the road for Mexico. God goes so far as to say he thinks the "Republiklan" legislature wants to bring back Jim Crow laws. Cooder's sorrow about the environment is pervasive in the final corrido, though he, like the Buddha, leaves room for tolerance, wishing his enemies "No Hard Feelings." Those who've followed Cooder from the beginning will find much to love on Pull Up Some Dust and Sit Down. Those music fans unfamiliar with his work but looking for a comrade in arms will find one here. That said, this is revolution music; worthy of dancing to, learning from, and singing along with: who says topical music has to be boring? ---Thom Jurek, Rovi

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01. La Iguana 
02. La Golondrina 
03. A La Orilla De Un Palmar 
04. Danza De Concheros 
05. El Chivo 
06. San Campio 
07. The Sands Of Mexico 
08. Sailing To Mexico 
09. El Caballo 
10. March To Battle (Across The Rio Grande) 
11. Lullaby For The Dead 
12. Luz De Luna 
13. Persecucion De Villa 
14. Cancion Mixteca (Intro) 
15. Cancion Mixteca 
16. Ojitos Negros 
17. El Relampago 
18. El Pajaro Cu 
19. Finale

"In equal measure a curio, a lament, a history lesson and a hoedown, San Patricio is one of those albums that happily transcends its parts. If you only buy one Irish-Mexican album this year, in fact, The Chieftains and Ry Cooder should do you nicely.

The Californian guitarist and the Irish folk heavyweights are seasoned collaborators as well as inveterate globetrotters. It was while they were recording together in Havana in the 1990s that the Irishmen introduced Cooder to the musicians who would star in his nostalgic world music bestseller, the Buena Vista Social Club.

This time, though, the focus is on another historical gem: the little-known story of the Irish conscripts who deserted from the American army to fight with Santa Anna's Mexicans in the 1840s border war. And while the first hearing of tin whistles with Mexican guitars is a little disorienting, Chieftains founder Paddy Moloney brews up a winning mixture.

Bumping cheeky mariachis up against Celtic ballads, and abutting the warm warble of Cooder's tenor with the stately harmonies of Los Cenzontles, the stellar cast includes Linda Ronstadt (with a song learned from her Mexican grandfather), legendary arranger Van Dyke Parks, the sensational Mexican singer Lila Downs, Moya Brennan from Clannad, and battalions of crack instrumentalists.

Among the highlights are the ribald capering of Latin Grammy winners Los Tigres del Norte, and the mournful, sashaying bolero sung by 90-year-old Chavela Vargas. And if the production doesn't attain the all-embracing smoky ambience of the Buena Vista record, it fiercely affirms that “Guinness or tequila“ these are two musical cultures that know how to party.

It's a coming thing, too, this business of music as narrative documentary. Moloney first tried it in the 1970s, addressing matters Irish-French on the 15-minute Bonaparte's Retreat. At an hour, though, the Irish-Mexican theme could frankly do with more storytelling; Liam Neeson's effective but brief reading, March to Battle, is no substitute for the sort of explanation Cooder superbly wove into his earlier Chavez Ravine.

Still, this is a transatlantic musical campaign whose virtuosity, verve and sheer eccentric heart make it hard to resist." ---BBC Review

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1.  Video Drive-By [1:55] 
2.  Main Title [1:38] 
3.  East St. Louis [2:01] 
4.  Orgill Bros [1:44] 
5.  Goose and Lucky [3:35] 
6.  You Think It's On Now [1:41] 
7.  Solid Gold [0:58] 
8.  Heroin [4:13] 
9.  Totally Boxed In [6:48] 
10.  Give 'em Cops [2:06] 
11.  Lucy in the Trunk [1:27] 
12.  We're Rich [2:26] 
13.  King of the Street [3:59]

Personnel:
Ry Cooder - Composer, Guitar, Producer, Vocals
Bunny Andrews - Vocals (Background)
Black Sheep - Composer, Producer, Vocals
Junior Brown - 	Guitar, Guitar (Steel), Vocals
Donald D - Mixing, Producer, Vocals
Daddy Nitro - Chant
Nathan East - Bass
Gang Starr - Vocals
Jon Hassell - Trumpet
Ice-T - 	Composer, Producer, Vocals
Jim Keltner - Composer, Drums, Producer
David Lindley - Fiddle
Lord Finesse - Vocals
Mooseman - Bass
Van Dyke Parks - Piano
Penthouse Players Clique - Vocals
Public Enemy - 	Vocals
Sir Mix-A-Lot - Composer, Producer, Vocals
Larry Taylor - Bass
WC and the Maad Circle – Vocals

This first soundtrack album from Trespass (there is also an album of Ry Cooder's score) contains "music from the motion picture" "plus bonus tracks." It is a gangsta rap sampler featuring Ice-T and Ice Cube, who star in the film, along with Public Enemy and others. In other words, there's a lot of rage, many threats of violence, and a generous helping of obscenities, all set to some busy rhythms. ---William Ruhlmann, Roci

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1.  Boomer's Story — 4:13 
2.  Cherry Ball Blues — 4:10 
3.  Crow Black Chicken — 2:14 
4.  Ax Sweet Mama — 4:23 
5.  Maria Elena — 4:30 
6.  Dark End of the Street — 3:25 
7.  Rally Round the Flag — 3:34 
8.  Comin' in on a Wing and a Prayer — 3:00 
9.  President Kennedy — 4:39 
10.  Good Morning Mr. Railroad Man — 4:30

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