[rating=9.00]
A colleague of mine spoke to Ry Cooder recently and shared how Cooder describes his music, “…it’s nothing special. All music is the same, all that folk stuff. You just play what you know. Let the other guys play, listen and try to complement them as best as you can.” Obviously, that’s a rather humble, even a deflating comment from the iconic guitarist and roots hero. Yet, the best musicians are often both humble and gracious. The truth is, as we all should know by now, that few can capture the roots vibe of American (or even world music for that matter) better than Cooder who absolutely shines here on Prodigal Son.
This album does fit the mold of his quote though. Recorded in Hollywood, CA and produced by Cooder and his son, drummer Joachim Cooder, this is essentially an American folk record. The emphasis, including the three Cooder originals, is traditional gospel, both black and white southern gospel channeled through the Pilgrim Travelers, The Stanley Brothers, Blind Willie Johnson, and Cooder himself. Cooder, who has been directly political in the past, takes a more indirect route here but his intention is to seek some reverence, a revival of moral values and a sense of unity in these divisive times. As with his past efforts, it’s as much about feeling the music as hearing it. The overall impact is amazingly uplifting.
Cooder proves that you don’t need a large aggregation of musicians to achieve this feeling. Cooder, now 71, has a voice that’s become more expressive with age. Playing guitar, mandolin, bass, and keyboards; Ry is joined by Joachim on drums and percussion. His long-time collaborators Bobby King and the late Terry Evans along with Arnold McCuller join on six of the eleven tracks. Sadly, given Evans’ passing in January of 2018, this is likely his last recording. Robert Francis joins on bass and Aubrie Hayne on violin for Alfred Reed’s “You Must Unload.”
The first three tracks, two of which are Cooder originals, carry some Caribbean influence due to the percussive beats. Ry is playing mandolin and banjo on the opening “Straight Street” which has the background singers carries an infectious groove. The single “Shrinking Man” though is just dad and son with the sounds of marimba, bass and electric slide. “Gentrification” oozes a bit of calypso through the bass and keyboards, and whistling.
The strength of the album lies in the middle, primarily the black gospel heard on Blind Willie Johnson’s “Everybody Ought to Treat a Stranger Right” and “Nobody’s Fault But Mine” as well as the title track and Reed’s “You Must Unload.” Ry’s best vocals are on three tunes – “Nobody’s Fault But Mine” where he builds slowly, at first accompanied only by his acoustic guitar as if on a front porch on a spooky summer evening. He sings in a much higher register on the anti-materialistic hymn “You Must Unload” which reaches crescendo after the fiddle break and the entry of the background vocalists. Ry sings in the high lonesome Stanley Brothers’ style on “Harbor of Love” where his slide guitar and banjo sharply accent the overall sound. Cooder assumes the voice of Jesus as he quietly and almost futilely assails the rise of white supremacy and fascism in his own “Jesus and Woody.” Despite that rather mournful dirge “I’ll Be Rested When the Roll Is Called” and the closer “In His Care” provide rousing moments.
Let’s hope we don’t have to wait another six years for a solo Cooder album. In any case, put this on. It’s guaranteed to lift your spirits.
One Response
Nice review. This is a great album and shows yet again how privileged we are to have Ry Cooder still making such brilliant heartfelt music. I feel guilty wishing he would make more albums, he’s surely paid his dues over the years, but selfish or not, I wish he’d get busier!