By Daniel Margrain
By Daniel Margrain
By Daniel Margrain
By Daniel Margrain
Paris, Texas (1985) | Ry Cooder | |
Ry Cooder’s slide-guitar work that’s the foundation for the soundscape Paris, Texas is based on Blind Willie Johnson’s Dark Was the Night (Cold Was the Ground). Cooder’s brilliantly arranged and composed theme that formed the soundtrack to the film of the same name, is a haunting and atmospheric piece that reconstitutes definitive eras and styles. The result is a work of profound metaphysical and existential beauty. In the words of one critic, “Cooder has a unique talent to internalize the ethnic traditions of other peoples, to turn them into a universal voice discharged through sophisticated arrangements but, to synthesize nostalgic regret and scientific philology. The stamp is his job.” |
By Daniel Margrain
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Mirror Man (1971) | Captain Beefheart And His Magic Band |
Mirror Man showcases The Magic Band at it’s most deliberately shambolic and free. Long ‘live’ primordial rambling jams extend the notion of the Blues standard to its limits. Structurally, Beefheart (Don Van Vliet) and his band game-play in the Delta-Blues tradition adding satirical and infantile elements over a creative carpet of complex rhythms and free Blues arrangements. The result is an extraordinary work of pyrotechnical brilliance. With its combination of a bedlam of guitars and tribal percussion, Mirror Man was the first rock album to shape an aesthetic of ‘anti-music’. Beefheart’s revolutionary artistic vision transcends the superficiality of the acid trip by servicing it to the musical theatre of the absurd. As one critic put it:“This music is the most faithful expression of the Freak culture, of its marginalization more than its rebellion, of its inexhaustible creativity, of its academic disgust, of its infantile ferocity of its desecrating vision of the world” |
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