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Paradise And Lunch
To download this album via iTunes, click here: 
To buy this album from Amazon.com, click here: Paradise and Lunch
___________________________________________________
Ry Cooder
Paradise And Lunch
1. Tamp 'Em Up Solid 3:19
(Traditional)
2. Tattler 4:14
(Washington Phillips, Ry Cooder, Russ Titelman)
3. Married Man's A Fool 3:10
(Willie McTell)
4. Jesus On The Mainline 4:09
(Traditional)
5. It's All Over Now 4:49
(Bobby & Shirley Womack) Kags Music Corp - BMI
6. Medley: Fool For A Cigarette/Feelin' Good 4:25
(Sidney Bailey) Press Music - BMI (J.B. Lenior, Jim Dickinson)
7. If Walls Could Talk 3:12
(Bobby Miller) Jalynne Corp. - BMI
8. Mexican Divorce 3:51
(Burt Bacharach & Bob Hilliard) Anne-Rachel Music Corp./Walden Music, Inc./U.S. Songs, Inc./Blue Seas Music, Inc./Jac Music Co., Inc. - ASCAP
9. Ditty Wah Ditty 5:42
(Arthur Blake)
All selections arranged and adapted by Ry Cooder
All selections published by Tonopah & Tidewater - BMI except was indicated.
Produced by Lenny Waronker and Russ Titelman
Engineer and mixdown - Lee Herschberg
Assistant Engineers - Bobby Hata, John Neal
Recorded, mixed and originally mastered at Warner Bros. Studios, N. Hollywood
Additional recording at The Burbank Studios
Musicians:
Milt Holland - Drums, percussion
Jim Keltner - Drums
Russ Titelman, Chris Etheridge - Electric Bass
Ronnie Barron - Piano, organ
Red Callendar, John Duke - Bass
Plas Johnson - Alto sax
Earl Hines - Piano on "Ditty Wah Ditty"
Voices:
Bobby King, Gene Mumford, Bill Johnson, George McCurn, Walter Cook, Richard Jones, Russ Titelman, Karl Russell
String arrangements - Nick DeCaro
Horn Arrangement - George Bohanon
Cornet - Oscar Brashear
Painting and photography - Susan Titelman
Production coordinators - Judy Maizel and Trudy Portch
(C) 1974 Warner Bros. Records Inc.
:r
Printed in U.S.A.
___________________________________________________
NOTES
Released in May of 1974, Paradise And Lunch showcases the diverse range of musical styles that distinguish Ry Cooder as one of the most versatile and eclectic artists in pop history. Vintage R&B selections mix with traditional blues, gospel and minstrel-era gems on an album that is both an homage to, and an innovative reworking of, American roots music.
Cooder's formidable musical talents have been recognized and utilized by artists as diverse as the Rolling Stones, Little Feat, Captain Beefheart, Jackie DeShannon and Taj Mahal. A master of all things fretted, including mandolin, slide guitar, banjo, Mexican tiple, Middle Eastern saz and other exotic instruments, Cooder was a respected session player when he landed a solo recording contract in 1969. His self-titled debut album was released a year later.
The critically acclaimed Ry Cooder featured a stack of obscure and esoteric blues and folk material brought to life by Cooder's syncopated slide guitar and distinctive vocals. It was followed, in 1972, by Into The Purple Valley, an album that vividly evoked the hard times of the '30s with such Dust Bowl-era protest songs as "How Can You Keep On Moving," "Taxes On The Farmer Feeds Us All" and Woody Guthrie's haunting "Vigilante Man." Boomer's Story, released that same year, continued Cooder's exploration of indigenous American music and highlighted some of his most accomplished and resonant instrumental work, most notably on the title cut and with a mesmerizing version of "Dark End of the Street."
Produced by Lenny Waronker and Russ Titelman, Paradise And Lunch finds Cooder branching even farther afield for musical inspiration. The LP's nine cuts comprise an evocative journey down some rarely traveled musical backwaters. The traditional gospel standard "Jesus On The Mainline" is given the thumping treatment of a street corner salvation band. "It's All Over Now" captures Cooder's unerring feel for R&B while the cuts "Married Man's A Fool," "If Walls Could Talk" and the early Burt Bacharach composition, "Mexican Divorce" together form a wry commentary on love, marriage and the difference between the two, Cooder's rendering of the classic "Ditty Wah Ditty" ramains the definitive version of the oft-covered tune.
To buy this album from Amazon.com, click here: Paradise and Lunch
___________________________________________________
Ry Cooder
Paradise And Lunch
1. Tamp 'Em Up Solid 3:19
(Traditional)
2. Tattler 4:14
(Washington Phillips, Ry Cooder, Russ Titelman)
3. Married Man's A Fool 3:10
(Willie McTell)
4. Jesus On The Mainline 4:09
(Traditional)
5. It's All Over Now 4:49
(Bobby & Shirley Womack) Kags Music Corp - BMI
6. Medley: Fool For A Cigarette/Feelin' Good 4:25
(Sidney Bailey) Press Music - BMI (J.B. Lenior, Jim Dickinson)
7. If Walls Could Talk 3:12
(Bobby Miller) Jalynne Corp. - BMI
8. Mexican Divorce 3:51
(Burt Bacharach & Bob Hilliard) Anne-Rachel Music Corp./Walden Music, Inc./U.S. Songs, Inc./Blue Seas Music, Inc./Jac Music Co., Inc. - ASCAP
9. Ditty Wah Ditty 5:42
(Arthur Blake)
All selections arranged and adapted by Ry Cooder
All selections published by Tonopah & Tidewater - BMI except was indicated.
Produced by Lenny Waronker and Russ Titelman
Engineer and mixdown - Lee Herschberg
Assistant Engineers - Bobby Hata, John Neal
Recorded, mixed and originally mastered at Warner Bros. Studios, N. Hollywood
Additional recording at The Burbank Studios
Musicians:
Milt Holland - Drums, percussion
Jim Keltner - Drums
Russ Titelman, Chris Etheridge - Electric Bass
Ronnie Barron - Piano, organ
Red Callendar, John Duke - Bass
Plas Johnson - Alto sax
Earl Hines - Piano on "Ditty Wah Ditty"
Voices:
Bobby King, Gene Mumford, Bill Johnson, George McCurn, Walter Cook, Richard Jones, Russ Titelman, Karl Russell
String arrangements - Nick DeCaro
Horn Arrangement - George Bohanon
Cornet - Oscar Brashear
Painting and photography - Susan Titelman
Production coordinators - Judy Maizel and Trudy Portch
(C) 1974 Warner Bros. Records Inc.
:r
Printed in U.S.A.
___________________________________________________
NOTES
Released in May of 1974, Paradise And Lunch showcases the diverse range of musical styles that distinguish Ry Cooder as one of the most versatile and eclectic artists in pop history. Vintage R&B selections mix with traditional blues, gospel and minstrel-era gems on an album that is both an homage to, and an innovative reworking of, American roots music.
Cooder's formidable musical talents have been recognized and utilized by artists as diverse as the Rolling Stones, Little Feat, Captain Beefheart, Jackie DeShannon and Taj Mahal. A master of all things fretted, including mandolin, slide guitar, banjo, Mexican tiple, Middle Eastern saz and other exotic instruments, Cooder was a respected session player when he landed a solo recording contract in 1969. His self-titled debut album was released a year later.
The critically acclaimed Ry Cooder featured a stack of obscure and esoteric blues and folk material brought to life by Cooder's syncopated slide guitar and distinctive vocals. It was followed, in 1972, by Into The Purple Valley, an album that vividly evoked the hard times of the '30s with such Dust Bowl-era protest songs as "How Can You Keep On Moving," "Taxes On The Farmer Feeds Us All" and Woody Guthrie's haunting "Vigilante Man." Boomer's Story, released that same year, continued Cooder's exploration of indigenous American music and highlighted some of his most accomplished and resonant instrumental work, most notably on the title cut and with a mesmerizing version of "Dark End of the Street."
Produced by Lenny Waronker and Russ Titelman, Paradise And Lunch finds Cooder branching even farther afield for musical inspiration. The LP's nine cuts comprise an evocative journey down some rarely traveled musical backwaters. The traditional gospel standard "Jesus On The Mainline" is given the thumping treatment of a street corner salvation band. "It's All Over Now" captures Cooder's unerring feel for R&B while the cuts "Married Man's A Fool," "If Walls Could Talk" and the early Burt Bacharach composition, "Mexican Divorce" together form a wry commentary on love, marriage and the difference between the two, Cooder's rendering of the classic "Ditty Wah Ditty" ramains the definitive version of the oft-covered tune.
