RY COODER QUICKSAND YOUTUBE SKIN
Several listens later, my aching head surmised this: Listening to feedtime is not unlike drowning in a bucket of quicksand lined with rusty nails that poke, prod and pierce the skin in such a manner that is not only violating, but also just downright ill-mannered.īorn out of the frenetic Stooges-influenced Sydney punk movement of the late 1970s, feedtime -Rick Johnson (guitar/vocals) Allen Larkin (bass/vocals) and Tom Sturm (drums)- rip roared onto the scene with a series of raw and nasty live shows before releasing their seminal self-titled debut. That first listen to their utterly contemptuous for anything structured and oblique self-titled album was a complete nauseating blur. Listening to feedtime for the first time, one can’t help but feel super squeamish and, if I was to be completely honest, a tad petrified. From the decades-old piss stench of an inner city degenerate’s bar, all the way down the train line to my mediocre world of suburban wet dreams and mind-numbing household chores for Mother, the name feedtime -the band simply refuses to use a capital “F” in front of their name, something that to this day still makes this writer squirm in his sweaty chair- had hit me like a savage brick to the back of the head. But still, to me there can’t have been a hell of a lot more to really discover of such a confined playing style that for the better part of a century had been done to absolute death. Don’t get me wrong, I have always loved the warming effect the slide has on one’s soul Ry Cooder’s “Paris, Texas” soundtrack, Johnny Winter’s insanity on his perverted version of Dylan’s “Highway 61 Revisited” and of course, anything by bottleneck master Son House. Very cool, indeed.Up until a certain juvenile point in my music education, I was of the stern belief that the slide guitar was a restrictive medium, narrowed only for the purpose of adding texture to an otherwise dull country ballad or a standard and repetitive blues tune. The above painting was created by San Antonio-based artist Vincent Valdez specifically to accompany the single, all proceeds from which will go to the Mexican American Legal Defense and Education Fund. The song will be available on iTunes beginning June 29, and features Cooder’s son Joachim on drums, along with backing vocals courtesy of Lucina Rodgriguez and Fabiola Trujillo of the Mexican roots band Los Cenzontles. Never one to shy from controversy, the ragged and bitter Quicksand chronicles six people attempting to cross from Mexico to Arizona via The Devil’s Highway. Cooder has recorded a new single in response to Arizona’s controversial Immigration Law SB1070. Basically, you never know what Ry Cooder is going to do next. Today, his impressive track record allows him to do pretty much what he damn well pleases, as witnessed by his recent records about a “lost” neighborhood of incalculable cultural importance ( Chavez Ravine), a talking cat recounting tales of the Dust Bowl 30s ( My Name Is Buddy) and the extraterrestrial adventures of a salt-flats racer named Kash Buk ( I, Flathead). From his humble beginnings with Jackie DeShannon to his legendary session work ( Let It Bleed, Sticky Fingers, Headand Scarecrow to name a few) to his classic 70s records to his work as a producer, most notably with Buena Vista Social Club, Cooder’s body of work is beyond reproach. Ry Cooder is the ironman of American music. Ry Cooder Los Cenzontles Vincent Valdez Mexican American Legal Defense and Education Fund Listen to Quicksand 12.6Fresh LaundroMatinee Session: Overcoats at LUNA music.12.8Charley Crockett : Lil G.L.’s Blue Bonanza.1.11Photo Recap: Ryley Walker and Mute Duo at The White Rabbit Cabaret.1.22Fresh LaundroMatinee Session: Sleeping Bag at LUNA music.2.5Hinterland Music Festival announces Jason Isbell, Brandi Carlile, Kacey Musgraves & More.2.14Fresh LaundroMatinee Session: Kevin Krauter at LUNA music.
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