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Ry Cooder Listening Party With Robert Scheer

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Posted on Oct 2, 2011
Nonesuch Records

The celebrated musician talks about select tracks from his new album, “Pull Up Some Dust and Sit Down,” as well as his musical and political influences, with Truthdig’s Robert Scheer and Kasia Anderson.

The first part of this interview originally aired on Truthdig Radio in May. This is an extended interview featuring clips from Cooder’s album, which is now available, and an expanded discussion on politics and music.

An excerpt from Ry Cooder’s new book, “Los Angeles Stories,” out now from City Lights Publishers, is available on Truthdig here.

Click here to enter our Power of Protest Music contest for a chance to win a copy of the album and book.

Truthdig Radio is a collaboration between Truthdig and KPFK Los Angeles, where this discussion was recorded.


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A full transcript is available below.


Kasia Anderson: This is Kasia Anderson, associate editor at Truthdig. I’m here with Robert Scheer, our editor in chief, and also the musician Ry Cooder, who has written a song based on one of Bob Scheer’s recent columns, called “No Banker Left Behind.” And before we get into our discussion, let’s play that track.


Kasia Anderson: That was “No Banker Left Behind.” And as I understand it, Ry, there’s a bit of an origin story behind this track. Can you tell us about it?

Ry Cooder: Yeah, sure. We at the house, we read Truthdig pretty regularly. And I like to get up in the morning and find it there on the computer and open it up and see what’s what. And I saw this heading—this was during the bank…the whole business with the bailout. And, “No Banker Left Behind”—I said, that’s the voice of Uncle Dave Macon speaking to me. Uncle Dave, who was the very … at one time very well-known medicine show country musician—you’d have called him a banjo player—just the greatest, par excellence. And he had a great gift for making simple statements about life and about society. And this was also during the Depression; he was very popular at that time, made hundreds of records. And so he would take a thing like this and reduce it down to one little statement, and you heard this and you understood it completely, and by the end of the song you’d learned something. He was very entertaining; he’d dance while he played the banjo, and lived to be a very old man. So I thought, “No Banker Left Behind,” by Uncle Dave Macon … who …no banker left behind, what? The train. OK, they’re on the train, the train’s leaving. Why? Because it’s a rich train for only bankers. They’ve got all the money, they get on the train, the train pulls out, and the rest of us all stand there watching and saying, where’d it all go? You know, how did they make off with all this loot? And then it was a matter of telling a little story of going to the White House, what they’re going to eat when they get on the train, and with Uncle Dave in mind. So it was a pretty simple little thing to do, to get the record started.

Robert Scheer: You know—and it’s not even my favorite track on your record—you know, it’s interesting. I was saying before, sometimes your friends work on movies or they make records or write books. And then they want you to listen to it or look at it. And you just don’t want to say the wrong thing if you don’t like it. And somebody once told me if you see your friend’s movie and you didn’t like it at all, you say to them, “You must be very proud.” [Laughter] There’s a couple of screenwriters told me that once, and that gets you off the hook. And so when you gave us this record—and it’s coming out in September—and you know, I was flattered that you said one of the songs was inspired … well, I listened to it, and I could not stop listening to it. I listened to it over and over again. And I paid you a compliment … where as far as the content, I think it’s right up there with John Lennon’s “Working-Class Hero,” which I think trumps just about anything else as far as taking serious political observations and putting them into music. I just do, I think it’s just a great album. And I listened to this over and over, and the range of content—I’m not talking about the music, now; I think the music also has great variety and is fabulous, but that’s to be expected. But you deal with immigration; you deal with war and peace; you deal with the financial crisis; you actually deal with race. It’s startling. This is an intensely political album, you know. So what is this? Is this your manifesto?

Ry Cooder: Yeah. Well, some of this must come from me being quite frustrated and feeling sort of marooned in all of this—you know, like, helpless. I get so angry. And I try not to dwell in that, because it’s bad mental health; it’s bad for you. The best thing I can do is to take an issue or a story, or something that’s coming up in current events, or something I know about—such as recruiting children in the military in poor schools in Los Angeles, the most heinous kind of atrocious thing there ever could be. So you sit and pound the table and feel terrible—I said, no, make a song out of it. At least then you can record it, and go through the exercise of doing that, and the thought of doing that, and the creativity. And it’s fun, besides; I like to do it. So by the time I get done with one of these songs, it feels somehow, you know, that there’s something good about it rather than just something terrible coming in. And then, after we get a few of them, maybe it’s a record; you know, maybe we can call it a record.

Robert Scheer: You know, what’s happening to this industry? We’re here doing this recording at Pacifica, and when we’re done we’re going to have an appeal for funds and keep this station on the air. And we have this appeal for Truthdig, to keep it going. But you’ve been—Rolling Stone said you’re No. 8 on the list of the hundred greatest guitar players and, you know, maybe you’re the greatest living guitar player. And yet I was surprised—you told me your, really, one big success was the Buena Vista Social Club, the Cuban, the old Cuban guys that you pulled together.

Ry Cooder: Yeah. That was the one that people seemed to like the best, yeah.

Robert Scheer: Yeah. And that, you know, that it’s hard to get a record out there.

Ry Cooder: Very hard.

Robert Scheer: It’s hard. So what’s happening to this industry ...?

Ry Cooder: Well, I grew up at a time—and I know you did, too—the heyday of the record business, which my friend Chris Strachwitz of Arhoolie Records believes is a one hundred year business: started with Caruso in 1908, or 1906, if you like—first million seller; was done, basically in a shambles, by 2006 or so. So during that time, and especially after World War II when the LP was developed and radio began to play a great part in promoting these songs, and people wanted to buy them—I did; I’d hear a song on the radio and go out and ask the guy in the record store. And record stores were everywhere, and the little single cost 99 cents, or 50 cents some places; and the records, the LPs, cost $5.99. And I got my first John Lee Hooker record—and I guess I was in junior high school—in a drugstore, on the rack; we used to call them rack jobbing. And this thing cost, I think, $3.99. It was a whole world, there, of sound. And I sat down and tried to learn to do it. So I guess every day of my life, from early childhood on, you know, I spent with these records and the instruments, trying to understand it; trying to absorb it. And it never occurred to me that this was the music of the days of your life. You talk about John Lennon, for instance, or Walter Gieseking on piano, whichever you prefer. And it could be anything, depending on your state of mind or what you’re thinking of—what you’d like to see in your mind, the beautiful visualization that music brings. The understanding that it brings; the insight from great music. I mean, my goodness, at a price anyone could afford, you know, anytime you wanted. How can you improve on that? It’s fantastic—and now it’s all gone. It was records, radio and retail—the three R’s. So the retail outlets basically dried up; the radio is not about that anymore. This radio station is all, I guess, there is. I mean, I listen to Mexican radio stations, it’s true, because I like to hear banda and I like to hear norteño. But I mean, for content and for inspiration, it’s getting kind of hard now. But I still do this, because it’s … it’s all I’m equipped to do, you know.

Kasia Anderson: I’ve got a question. Just listening to the album, there’s quite a mélange of different styles going on. Can you tell us a little bit about your songwriting process? Do you have a concept first and then choose the style of music, or does it all kind of come to you?

Ry Cooder: Yeah … first you need an idea. No banker left behind, Uncle Dave Macon—let’s go there. We’re going to work pretty well. Then, if you’re going to have, let’s say, “The Corrido of Jesse James” where Jesse James asks bilingually: God, give me back my gun, so I can go down to Wall Street and in the manner that I was accustomed to, take care of business—he doesn’t realize that one man, one gun doesn’t work anymore. He’s kind of a naive fellow, Jesse James. So that’s going to be in that accordion style, the conjunto style; I added banda horns in there because it’s exciting. And so I saw that pretty clearly. John Lee Hooker running for president, infomercial about his campaign—you do it in the style as much as you can. I spent a lot of years playing along with his records and knowing him, even, personally. So I thought I’d try that, you know, and see if you can evoke that feeling. But that’s what musicians do, looking for inspiration through the music, through the instruments. But you do need—these are topical songs, so we need the themes; you know, the girl in the army, enlisting in the army; the person trying to cross the border in Sonoita, Arizona, and getting busted by the … that’s everywhere. We hear this story all the time. So … the maid arguing with the guy in the big house, about values, and what life’s all about.


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By Record labels, April 2, 2012 at 2:59 am Link to this comment

It seems like quite a good album. I heard some good tunes on it that might end up stuck in my head. He is the kind of person that has done music all his life, and music being his greatest passion, it shows in his music. I wonder which record label signed him in his youth.

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By warren leming, October 4, 2011 at 2:15 pm Link to this comment
(Unregistered commenter)

cooder is one of the great slide players and his work on the “performance” sound track with jagger et. al. - is absolutely fantastic. his parents were folk-lorists and he grew up with the tradition. the new lost city ramblers ‘depression’ album he mentioned is an encyclopedia of early country music when it was aggressively political, progressive and radical. thats all gone now- but the album remains a classic-tho unknown: but it will tell you what happened to american music- its corporate dumbing down, and the sad state of radio play today.

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By Daniel del Solar, October 3, 2011 at 7:11 pm Link to this comment
(Unregistered commenter)

Change will come when Ry gets onto Saturday Nght Live….

Wonder how that would work? Should happen, he and his group should be on the
air there or on the Rachel Madden show. 

Keep on!

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By Chemist, October 3, 2011 at 4:47 pm Link to this comment
(Unregistered commenter)

Things happening now remind me of the 60’s, with worldwide demonstrations & now Occupy Wall Street. Problem now is tighter corporate control of media. It will be interesting to see if Robert Scheer’s vision of open media will be enough. A wonderful documentary that shows the arc of the sixties from optimism to collapse, that has important lessons for today (be careful radicals, as Thomas Merton said, Uncle Sam has a long right arm) is Phil Ochs: There But for Fortune. In the early sixties, after Dylan had rejected poltics,  Ochs songs were anthem - for instance “I ain’t marching anymore” was sung at numerous antiwar rallies and actually inspired burning of draft cards in Chicago.

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By bluesman, October 3, 2011 at 1:18 pm Link to this comment

One of my favorite blues guys is Joe Bonamassa, and Joe was influenced and learned the slide guitar from Ry Cooder. I only started listening to Cooder recently and have to say I love his stuff.

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By bob zimway, October 3, 2011 at 12:30 pm Link to this comment

Ry’s analogy of the train leaving the station without us is the kind of imagery that
gets through.

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By Bobi6, October 3, 2011 at 10:54 am Link to this comment
(Unregistered commenter)

I am a huge fan of Ry Cooder and when I saw the headline this AM I
listened to it all. Next I either download the album or go out and buy it at
a music store - are there still places to buy albums? I once heard a
commentator refer to Cooder and a musical anthropologist/sociologist.
My favorite is “Third Base, Dodger Stadium” - it really touches me that
someone finally gave tribute to the community that was broken up and
scattered to build Dodger Stadium. To me it said what would downtown
‘Very Serious People” (Paul Krugman’s description of the idiots who make
big decisions). And all of his music - a huge range.

So here to day - two of my favorite people, Robert Scheer and Ry Cooder.
Observers par excellence. More, More, More

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By Carol Simonet, October 3, 2011 at 5:34 am Link to this comment
(Unregistered commenter)

It isn’t easy leaving money-making behind and going only for doing the right thing… but Ry Cooder drives home the Truth in the Dig - creativity is critical to solving the enormous problems that plague us…every bit as much as Cassandra Hedges’ powerful words and Robert Scheer’s managing editor talents.

Money? - a Cree Prophecy - you’ve heard it a thousand times…
When all the trees have been cut down,
when all the animals have been hunted,
when all the waters are polluted,
when all the air is unsafe to breathe,
only then will you discover you cannot eat money.

TruthDig is the best.  Don’t give up easy, please.

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EmileZ's avatar

By EmileZ, October 3, 2011 at 1:51 am Link to this comment

I am a great fan of Woodie Guthrie, and I know there are a whole lot of folk songs from before his time which Mr. Cooder speaks of.

After Mr. Guthrie,(and before) I am not so knowledgable, or in the case of Dylan and Lennon, interested. I am more into the civil rights and post civil rights black music like Curtis Mayfield with and without The Impressions as the supreme example which I believe led to Bob Marley and so much else here in the states.

It seems it has been diluted and continues to be diluted (whatever that means).

I am very interested in any recomendations (no matter how obscure, from any culture) Mr. Cooder may have from pre 1960’s folk music.

My recommendation for the thread or whatever is a documentary called “The Wobblies”.

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