Ry Cooder
Keith Richards
says that for thirty-five
years in the Stones, he and
Ron Wood have been trying
to do with four hands what
Cooder can do with two

'Pull up some dust and sit down'
'Pull up some dust and sit down'

Ry Cooder

Ryland Peter "Ry" Cooder (born March 15, 1947)

American slide guitarist, singer and composer. He is known for his interest in roots music from the United States, and, more recently, his collaborations with traditional musicians from many other countries.

His solo work has been eclectic, encompassing folk, blues, Tex-Mex, soul, gospel, rock, and much else. He has collaborated with many musicians, including Larry Blackmon, The Rolling Stones, Van Morrison, Neil Young & Crazy Horse, Randy Newman, Earl Hines, Little Feat, Captain Beefheart, The Chieftains, John Lee Hooker, Pops and Mavis Staples, Flaco Jiménez, Ibrahim Ferrer, Freddy Fender, Vishwa Mohan Bhatt and Ali Farka Touré. He formed the band Little Village with Nick Lowe, John Hiatt, and Jim Keltner.

Ry Cooder produced the Buena Vista Social Club album (1997), which became a worldwide hit. Wim Wenders directed the documentary film of the same name (1999), which was nominated for an Academy Award in 2000.

He was ranked eighth on Rolling Stone magazine's 2003 list of "The 100 Greatest Guitarists of All Time". A 2010 ranking by Gibson placed him at number 32.

During the 1960s, Cooder briefly attended Reed College in Portland, Oregon. Cooder first attracted attention in the 1960s, playing with Captain Beefheart and the Magic Band, after previously having worked with Taj Mahal and Ed Cassidy in the Rising Sons. He also played with Randy Newman at this time, including on 12 Songs. Van Dyke Parks worked with Newman and Cooder during the 1960s. Parks arranged Cooder's "One Meatball" according to Parks' 1984 interview by Bob Claster.

Cooder was a session musician on various recording sessions with the The Rolling Stones in 1968 and 1969, and his contributions appear on the albums 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! Cooder also played slide guitar for the 1970 film soundtrack Performance, which contained Jagger's first solo single, "Memo from Turner". The 1975 compilation album Metamorphosis features an uncredited Cooder contribution on Bill Wyman's "Downtown Suzie."

( Cooder had been hired to augment the Rolling Stones during the recording of “Let It Bleed.” He was playing by himself in the studio, goofing around with some changes, when Mick Jagger danced over and said, How do you do that? You tune the E string down to D, place your fingers there, and pull them off quickly, that’s very good. Keith, perhaps you should see this. And before long, the Rolling Stones were collecting royalties for “Honky Tonk Women,” which sounds precisely like a Ry Cooder song and absolutely nothing like any other song ever produced by the Rolling Stones in more than forty years. According to Richards in his recent autobiography, Cooder showed him the open G tuning which became his mainstay and accounts for the full-bodied chordal declarations that characterize songs such as “Gimme Shelter,” “Jumpin’ Jack Flash,” “Start Me Up,” and “Brown Sugar.” The most succinct way I can think of to describe the latticed style that Keith Richards says he has sought to achieve with Ron Wood is to say that for thirty-five years the Stones have been trying to do with four hands what Cooder can do with two.
With thanks to rylander-rylander )

Ry Cooder also collaborated with Lowell George of Little Feat.
With thanks to Wikipedia

The 'Coodercaster'
Ry's famous hot-rod Stratocaster.

The 'Coodercaster' Ry's main blues and bottleneck guitar. A hot-rod hybrid with a unique sound, made from bits and pieces of other guitars.
Ry says they "just got lucky"

Ry used a cheap early 60's Teisco Gold Foil pick-up in the neck position and a Valco pickup from a Hawaiian Guitar in the bridge position.
The body: a Fender Stratocaster Buddy Holly artist series
Bridge pickup: An Oahu/Valco lap-steel pickup assembly, the body was routed out to accomodate that and is notched for the Fender tailpiece.
Neck pickup: Teisco pickup he got from David Lindley.
The Neck: A "C" model he got from David Lindley, wide with lots of mass, some say it is from an early Japanese Squier.
The Strings : flatwound, tuned in G.

Ry and the 'Coodercaster'

Above - A fantastic sound interview, Ry talks about his Daphne Blue Strat and his Coodercaster
With thanks to HoneyBoy


copyright © SlideGuitarist.com - all rights reserved