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Reviews I, Flathead - Ry Cooder Sunday, July 13, 2008 Regardless of the concept behind the project, Cooder’s own playing is as awesome as ever. By Brian Wise
I, Flathead
Ry Cooder
Nonesuch
The mere mention of the term ‘concept album’ usually produces a shudder in music fans and evokes thoughts of Thick As A Brick, Dark Side Of The Moon or worse! Apparently, Ry Cooder has no such problem and the fact that he has now made a trilogy of such albums – and made them work brilliantly.
In fact, has Cooder ever made less than a brilliant album? One might see him as a pioneer of world music but also as the ‘father’ of what has come to be known as ‘Americana.’ His albums in the ‘60s and ‘70s brought genres such as blues, Western swing, Tex-Mex and even gospel to a mass audience when those musical forms were in danger of being shunted aside.
I, Flathead concludes what is said to be Cooder’s 'California Trilogy,’ following his exploration of Mexican-American Los Angeles on Chavez Ravine in 2005 and last year's journey to the Depression era and its Dust Bowl Ballads on My Name Is Buddy. The new album is musically quite different but stands tall alongside the previous works.
The conceptual approach has also had the unexpected bonus of spurring Cooder to be almost prolific with his own work. Add that to his recent productions for Ersi Arvizu and Mavis Staples and he has reached an almost frenetic pace. Cooder recently told me (see the feature in next month’s Rhythms) that he was trying to record as much as possible before the whole music industry collapses!
The deluxe edition of the new album comes with booklet containing a 95-page novella written by Cooder. The story is populated by some strange characters led by drag racer Kash Buk who pursues the life of a country musician. The storyline allows Cooder to explore differing genres – some of which have echoes of his solo albums of the ‘70s.
In fact, the opening two songs 'Drive Like I Never Been Hurt' and ‘Waitin’ For Some Girl’ are two of the best things he has recorded: the former with mariachi horns, the latter featuring just Cooder and drummer Martin Pradler. ‘Johnny Cash’ is an unabashed tribute to a hero, while 'Ridin' With The Blues' is about as rocking as Cooder has been in decades and is followed by the almost equally energetic ‘Pink-O-Boogie.’
The wonderful ‘Filipino Dance Hall Girl’ reunites him with accordionist Flaco Jimenez while ‘Steel Guitar Heaven’ pays homage to a musical golden age. The Western swing of ‘Spayed Kooley’ also takes a dig at the current political situation in America. The intriguingly titled ‘My Dwarf Is Getting Tired’ is an eerie ballad that actually tells the tale of retired circus performers while ‘5000 Country Songs’ features some of Cooder’s most effective singing. ‘Flathead One More Time’ features Jon Hassell’s shimmering trumpet.
Regardless of the concept behind the project, Cooder’s own playing is as awesome as ever. Helped out by a small ensemble that includes his son Joachim on drums (also co-writer of three songs), along with Jim Keltner and bassist Rene Camacho the music is rich without being cluttered. As with other Cooder albums there is enough happening to make listening a constant pleasure.
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