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| - Ry Cooder (1947) is an American guitarist, singer and composer. He is known for his slide guitar work, his interest in roots music from the United States, and, more recently, his collaborations with traditional musicians from many countries. Cooder appeared in The Ghost of Faffner Hall episode "Music Is More Than Technique" as a janitor. He shares a scene with Piganini, encouraging his violin playing.
- In 1967, Ry Cooder was a member of Captain Beefheart's Magic Band and his slide guitar stylings can be clearly heard on Beefheart's Safe As Milk LP, which Peel constantly enthused over on the Perfumed Garden and in his early Top Gear programmes. Cooder soon grew tired of Beefheart's eccentricities, however, and left the band. For a time he played with Taj Mahal, whose early LPs were also heard on Top Gear in 1968-69. He then gained a reputation as a prolific session player, working on the Rolling Stones LPs Let It Bleed and Sticky Fingers and on recordings by artists associated with Warner/Reprise Records, including Peel favourites such as Randy Newman and Little Feat.
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| abstract
| - Ry Cooder (1947) is an American guitarist, singer and composer. He is known for his slide guitar work, his interest in roots music from the United States, and, more recently, his collaborations with traditional musicians from many countries. Cooder appeared in The Ghost of Faffner Hall episode "Music Is More Than Technique" as a janitor. He shares a scene with Piganini, encouraging his violin playing.
- In 1967, Ry Cooder was a member of Captain Beefheart's Magic Band and his slide guitar stylings can be clearly heard on Beefheart's Safe As Milk LP, which Peel constantly enthused over on the Perfumed Garden and in his early Top Gear programmes. Cooder soon grew tired of Beefheart's eccentricities, however, and left the band. For a time he played with Taj Mahal, whose early LPs were also heard on Top Gear in 1968-69. He then gained a reputation as a prolific session player, working on the Rolling Stones LPs Let It Bleed and Sticky Fingers and on recordings by artists associated with Warner/Reprise Records, including Peel favourites such as Randy Newman and Little Feat. Cooder also recorded a number of solo albums for Warner/Reprise during the 1970s, and Peel played tracks from them on his programmes. On the show of 12 December 1970, Peel played "My Old Kentucky Home" from Cooder's first LP, and said the track sounded a little like "Kevin Ayers meets Captain Beefheart, which can't be entirely bad." The guitarist also became known for his work on film soundtracks, including Performance (1970), which starred Mick Jagger. "Memo From Turner" from the film was released as a single under Jagger's name, featured Cooder's slide guitar and got at least two plays on Peel's shows,in 1970 . Later, Cooder was reunited with his former bandleader when he and Jack Nitzsche hired Beefheart to sing "Hard Workin' Man" on the soundtrack to the 1978 film Blue Collar, directed by Paul Schrader; this track was also played by Peel. In an interview with Andy Peebles for My Top Ten in 1984, Peel mentioned that Ry Cooder was one of the few early 70's artists that made good records: "I keep all of the records in case they come in useful for something. But yes, a lot of the records which I used to play in the early 70s, I can’t really understand now what I used to see in them. But the best of them, the ones that I regarded as being the best, like the Beefheart records or those by Little Feat and bands like that, still sound terrific, or Ry Cooder’s records still sound good. Or other things which I used to play, I think, “That is awful”. The funny thing now is if you listen to Radio Two at all, a lot of them are cropping up on there late at night, you know, most weird.":: Ry Cooder's track 'The Dark End Of The Street' was nominated by Peel at number 42 for his own 1977 Festive Fifty. He also liked Cooder's version of Blind Alfred Reed's "How Can A Poor Man Stand Such Times And Live?", returning to it several times in his later shows. Peel paid less attention to Cooder's post-1980 work, however, although its blend of blues, folk and world music made the guitarist a firm favourite of Andy Kershaw.
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