Election Special is the 15th studio album by American singer-songwriter and multi-instrumentalist Ry Cooder. It was released on August 16, 2012, by Perro Verde and Nonesuch Records. Cooder recorded and produced the album mostly at Drive-By Studios in North Hollywood, performing all of the instrumentation, including bass, guitar, and mandolin, with the exception of drums, which were played by his son Joachim.
Based in American roots and blues rock music, Election Special features upbeat melodies, simple instrumentation, and sparse arrangements as a backdrop for protest songs that continue the topical storylines of Cooder's previous album Pull Up Some Dust and Sit Down (2011). Displeased with the Republican Party and its financial supporters, Cooder wanted to write an album that would address listeners during the United States presidential election of 2012, which he believed would be a critical event in the country's history. A deeply political album, Election Special expands on its predecessor's socio-political musings and current event topics with forthright, satirical lyrics and song-form vignettes. Cooder's songwriting also exhibits liberal and populist sentiments, while drawing on older musical sources such as broadside ballads and country blues.
Released one week before the 2012 Republican National Convention, Election Special was met with generally positive reviews from critics, who applauded its topical protest songs and Cooder's musicianship. The album peaked at number 164 on the US Billboard 200, but charted significantly higher in other countries. Cooder did not tour in promotion of the album, citing a lost interest in both playing large concert venues and the commercial aspect of releasing records.
Background
In 2011, Cooder recorded Pull Up Some Dust and Sit Down after being inspired by a headline about bankers and other affluent people profiting from bank bailouts and the resulting recession during the late-2000s.[1] Released in August to critical acclaim,[2] it showcased Cooder's return to his early work's musical style and told topical stories about political and social corruption, various economic victims, and an emerging class war.[1][3] With the album finished, Cooder had developed a penchant for writing such songs and wanted to continue writing more storyline-inspired songs.[4] A month after the album's release, Cooder had his first short-story collection, Los Angeles Stories, published by City Lights Bookstore.[1] In June 2012, he joined Time political columnist Joe Klein on the latter's road trip across the United States, speaking out to people in towns about the state of the nation and its forthcoming presidential election in 2012.[5]
Writing and recording
I have to find little storylines. I have to have something I can play and sing, in some style or some instrumental point of view – a country tune or a blues tune – updating these things that I grew up listening to... it seemed that the more I did it, the better I got at it, like anything. It's an acting job. You put yourself into the spirit of the thing, the character of the thing.
With Election Special, Cooder wanted to write an album with direct lyrics and encourage urgency in listeners during the US presidential election of 2012.[6][7] He felt that the election season was "the time of decision in this country... the most critical time in the history of the country".[8] When asked about concerns over "preaching to the choir", Cooder said in an interview for the Los Angeles Times, "I thought I should have a record that says, 'This here record is for you during election time.' Rather than be vague and poetic, let's just call this what it is. That way I may get people's attention. That's the idea."[7] Cooder drew on music he grew up listening to such as Depression-era songs and sought to appropriate contemporary subject matter to them.[4] When writing the album, he also touched on the Occupy movement,[3] which he felt optimistic about, saying that "There's a sign of something. Those people are having conversations, and the conversations become issues and the issues become talked about. Pretty soon, the rest of the world picks up on it, even the politicians."[7]
Cooder's displeasure with the Republican Party and its financial supporters, particularly the Koch Brothers,[9] also inspired his songwriting.[10] He found the party to be "insanely dangerous" to Barack Obama's presidency and the US,[8] and said of them in an interview for The Guardian, "in case anybody thinks Michele Bachmann or Sarah Palin are clowns because they misspeak or don't know their history or they say silly things: that's just an act, and it's a useful act. Everything is a distraction from the core truths which are, first of all, that corporations have taken over the country."[8] He viewed that his songs for the album provide a more convenient alternative for citizens who do not research politicians, saying that "I don't write books and give speeches but with a four-minute song you can use allegory and other means to suggest a different point of view. It's like looking around the corner, and that's what songs are good at sometimes. They hit you with a new thought – assuming that people will listen."[8]
Cooder recorded most of Election Special at Drive-By Studios, the living room of engineer Martin Pradler's house in North Hollywood.[4][11] Sessions also took place at Wireland Studios in Chatsworth, California.[11] Pradler later mixed and mastered the album at both recording locations.[11] The album was produced entirely by Cooder.[11] He performed most of the album himself,[12] playing bass, guitar, and mandolin.[11] His son Joachim contributed on drums,[12] and session musician Arnold McCuller sung harmony vocals on the song "Take Your Hands off It".[11] At Drive-By Studios, Cooder recorded songs in a series of unrehearsed, single-take performances, which he felt helped him channel the songs' respective characters more efficiently.[4] He later said of his approach to developing the songs, "The way I think these songs can work is if you don't ponder over it too hard, because the tunes wanna have a spontaneous-combustion effect. What I want to do is get a certain attitude in the voice, and I can only do that once. By take two, I'm startin' to think about it. By take three, I'm startin' to map it out – it's gone. It's spoiled, y'see? So I need to get through this fast."[4] He first recorded the song "The Wall Street Part of Town" in November 2011.[13] On June 7, 2012, the album's release was announced for a date in August,[14] intended to be a week before the 2012 Republican National Convention.[4]
Election Special is an American roots and blues rock album of protest songs.[7][12][15] It is characterized by upbeat melodies,[16] simple instrumentation, and swinging,[17] sparse arrangements.[3] Music journalist Robin Denselow describes Election Special as "musically... very much a DIY album,"[16] while Matt Snow of Mojo compares Cooder to Tom Waits as a "gloves-off DIY soundscapist in wood, steel, and string."[18] The album's music also incorporates folk, roots rock, and, most prominently, blues styles.[12] Music writers compare the album's mix of folk and blues styles to Cooder's earlier, distinguishing albums.[15][19] Zeth Lundy of the Boston Phoenix characterizes Cooder as a "Keith Richards/Woody Guthrie hybrid" on Election Special.[20]
The deeply political album expands on the socio-political musings of Pull Up Some Dust and Sit Down.[1][4][8] Cooder's forthright lyrics exhibit satire,[19] dark humor, and bitter,[21] apprehensive feelings about current events,[15] including Guantanamo Bay, the Occupy movement, the killing of Trayvon Martin,[6]Barack Obama's plight as US President, and the election of 2012.[3][22] He addresses these topics through song-form vignettes, which express his anti-Republican party perspective.[10] Cooder's songwriting also reappropriates lyrics from older musical sources, including protest songs, broadside ballads, and country blues.[9] Nick Coleman of The Independent describes it as "heartfelt and unencumbered with musicological pedantry",[23] while the newspaper's Andy Gill comments that Cooder "employs demotic" language and "variations of the blues... to carry his broadsides."[24] Jeff Schwager of PopMatters cites Robert Johnson and Woody Guthrie as influences on Cooder's songcraft for the album.[19]
Music writers characterize Cooder's sentiments and political stance on the album as liberal and populist.[9][21][23][24] Joseph Jon Lanthier of Slant Magazine observes "liberal convictions" and a "bleeding heart" in his lyrics, which he says express "reductive sympathy for President Obama and suspicions that fat cats are perverting the Bill of Rights".[3] Music essayist Robert Christgau writes that Cooder "reappl[ies] the Popular Front mindset to the messy compromises of electoral politics, and all the must-hears illuminate the 2012 presidential election rather than merely referencing it".[22] Bud Scoppa of Uncut calls the album "an impassioned screed against the dumbing down of America" and comments that Cooder eschews conventional "preaching" for "three-dimensional characters whose beliefs and opinions span the political spectrum of America in 2012."[4]Allmusic's Thom Jurek cites it as "the most overtly political album of Cooder's career" to due its "soapbox style" and feels that the songs "express what he considers to be, as both an artist and a pissed-off citizen, the high-stakes historical gamble of the 2012 presidential and congressional contest."[12]
"Mutt Romney Blues" is a three-chord,[3] acoustic Delta blues song.[3][12] Drawing parallels between the Mitt Romney dog incident and his political "plans and schemes",[19] the song criticizes Republican presidential nominee Mitt Romney and is sung from the perspective of the Romney family's dog.[15] Cooder was inspired by Al Sharpton's quote "how he treated his dog tells you a lot about him",[6] and found the dog to be "a useful character... when you view it in the light of the blues. Like a servant, a yardman, someone very low in the social order. He's just begging to be let down [from the car roof]."[25] Bud Scoppa of Uncut characterizes the song as "the musical equivalent of a political cartoon".[4] "Brother Is Gone" is poignantly styled as a sad folktale and features a haunting mandolin riff,[12][26] a rueful tone, and wounded vocals.[4] Its lyrics attribute the conservative Koch Brothers to the Deal with the Devil myth,[12] which Cooder adapted from Robert Johnson's "Cross Road Blues".[9] The lyrics cite their "crossroads" as "the prairie town of Wichita",[19] where Koch Industries is headquartered.[27] He said in an interview that "the only logical explanation for the Brothers I could come up with is, they made their deal at the crossroads with Satan."[6]AllMusic's Thom Jurek cites it as "among the finest songs [Cooder]'s written."[12]
"The Wall Street Part of Town" incorporates mandolin,[24]Americana guitar riffs,[28] and offers encouragement to protesters.[16] Literary journalist Alec Wilkinson writes that the song's narrator is "looking for refuge in the part of town where the wind always blows at your back and the ground tilts in your favor."[21] "Guantanamo" features cascading guitar by Cooder and handclaps.[4][28] The song is about the nadir of human depravity.[20] A slow, 12-bar blues lament,[4][28] "Cold Cold Feeling" features juke joint,[29]bottleneck guitar, and lyrics placing Barack Obama as the narrator singing his blues in the White House.[3][22] Cooder meant to draw sympathy from listeners for Barack Obama.[6] Geoff Cowart of musicOMH draws similarities of the song to "the voodoo blues of Screaming Jay Hawkins".[28] "Going to Tampa" is a string band country song in Alla breve meter.[12] Using scathing humor and burlesque lyrical elements,[22] the song's farcical lyrics depict a fictional hijacking of the 2012 Republican National Convention by the Tea Party, as Cooder accuses both parties of racism and social engineering.[12]
Titled after the "drinking the Kool-Aid" metaphor,[10] "Kool-Aid" has a dark electric blues style,[12] noir musical vibes,[4] and lyrics about the politically misguided lower middle class who support Republican tax cuts for the rich.[19] The song's narrative follows a young American who accepts the Bush administration's pro-war stance, heads off to a foreign land willing to fight any person of color, and returns to his home jobless.[4] According to writer James C. McKinley, Jr., the song continues a theme Cooder established on Pull Up Some Dust and Sit Down: "the idea of poor whites who have been let down by the politicians they have supported."[25] It also paraphrases the lyrics to the Western swing standard "Cocaine Blues",[9] and touches on the controversial stand-your-ground law,[16] which Cooder viewed as "new Jim Crow laws – the stand-your-ground law is already responsible for about 80 shooting deaths of African Americans."[8] "The 90 and the 9" repurposes the gospel hymn of the same name and the worker songs of Joe Hill with apocalyptic themes, an anti-war narrative,[12][22] and a depiction of modern union workers as part of the lower 99% of income distribution in the US.[4] Cooder was inspired to write the song by military recruitment of high schoolers in his native Los Angeles.[6] "Take Your Hands off It" has a defiant tone, prominent guitar,[4] and lyrics that rousingly defend constitutional rights.[16]
Release and promotion
"Mutt Romney Blues" and its music video satirized then-Presidential nominee Mitt Romney.
Cooder's fifteenth album,[30]Election Special was first released in the Netherlands on August 16, 2012.[31] It was subsequently released as a digital download to iTunes on August 17 by Perro Verde Records and Nonesuch Records.[32] The album's physical release in Germany was also on August 17.[33] It followed on August 20 in the United Kingdom and Ireland,[34] and on August 21 in North America and Australia.[35][36] Its pre-order from Nonesuch Records' website was bundled with a campaign button and bumper sticker designed similarly to the album artwork.[37]
Cooder released "The Wall Street Part of Town" as a free download on November 21, 2011.[13] The song, which he wrote in support of the Occupy movement, was also aired that month on Democracy Now! and Jon Wiener's radio show on KPFK in Los Angeles.[13] After reading her article on Larry McCarthy's affiliation with the pro-Romney Restore Our Future group, Cooder sent "Going to Tampa" to Jane Mayer of The New Yorker in February 2012; the song makes reference to McCarthy's Willie Horton ad during the 1988 presidential campaign.[26] Mayer subsequently posted the song on SoundCloud and the magazine's website on February 10.[26] Cooder also sent "Mutt Romney Blues" to Brave New Films, who subsequently produced a music video for the song.[38] Released virally on February 17, the video features clips of Romney and a cartoonish depiction of the 1983 incident with his dog, who is in a car rooftop carrier singing the song.[38]
Prior to the album's release, Cooder played a union hall in San Francisco for a longshoremen's union, which according to him, "got every turn of phrase. They'd never heard of me before or any of my records, but they understood all of these lyric things immediately. Because they've been educated in the union, you know what I mean? Because they lived it."[9] On October 14, Cooder performed at This Land Is Your Land, a concert at the Kennedy Center in Washington, D.C. in tribute to Woody Guthrie.[39] Cooder did not tour in promotion of Election Special, as the Kennedy Center was his last show.[40] In an interview for The Strand at the time, he expressed disinterest in playing larger concert venues for the album, finding them more suitable for "fame" purposes rather than spreading a political message.[10] Cooder remarked on the album's potential with listeners in general in an interview for Uncut, saying that:
"Who can say anymore? We're talking about an arcane pursuit. I mean, making records, are you kidding me? Some people would say, 'Why are you doing this?' I would say that it's the only thing I like to do. I'm finally where I'd like to be in my ability. It only took fucking forever, 60-odd years of trying to get good at this, for God's sakes. So what else would I do, whether or not people ever hear it or buy it? When I get 'em, I give 'em away to people. I know they're not gonna buy the damn things. But we'll see."[4]
Election Specialcharted at number 164 on the US Billboard 200, on which it spent one week.[41] It was Cooder's fourth-highest charting album in the US.[42] It attained higher charting in other countries.[43] In the United Kingdom, the album debuted at number 41 on the UK Albums Chart,[44] and at number five on the Official Record Store Chart.[45] It also debuted at number 25 on the Scottish Albums Chart.[46]Election Special reached its highest position in Norway, where it peaked at number nine.[43] It has charted for four weeks and reached number 28 in the Netherlands.[43]
Election Special was met with generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 77, based on 17 reviews.[30]
In Rolling Stone, David Fricke called the record a "vigorously partisan gem of gritty picking and black humor... protest music delivered with a patriot's gifts – the American-roots beauty and expert fire in Ry Cooder's playing – and long memory."[15] Desmond Traynor from State hailed Cooder as a "master craftsman" and declared, "social comment once again becomes high art, in the finest American tradition."[51] Nick Coleman of The Independent found the album engaging and stated, "You might even argue that this and its predecessors... represent the most cogent work of [Cooder's] long career."[23] Robin Denselow of The Guardian said that Cooder uses humor and melodies to complement his "anger, protest and concern".[16] Jeff Schwager of PopMatters found its stories "timeless" and commented that "it's guaranteed to please anyone inclined to give it a sympathetic listen".[19]AllMusic's Thomas Jurek wrote that the album "serves two purposes: one is that it is the most organic record he's issued in almost two decades; and, more importantly, it restores topical protest music to a bona fide place in American cultural life."[12] James C. McKinley, Jr. of The New York Times cited both Election Special and its predecessor as the "most topical" albums Cooder has recorded,[25] while Bud Scoppa of Uncut asserted that he "has never before made an album as immediate as Election Special" because of immediate and cleverly written narratives.[4]
Less impressed was Christgau, who wrote in MSN Music that protest songs in general are "hard to nail even in the moment" and felt that some of the album's songs "just don't twist the screw tight enough". He nonetheless gave Cooder "extra credit for both preaching to the converted and doing his damnedest to rally the holier-than-thou."[22]Q was more critical of Cooder's "means of conveying" his message: "The fine lyrics have to fight against some weary-sounding arrangements."[49]Slant Magazine's Joseph Jon Lanthier found the lyrics "limp" and the album "misfiring, wannabe agitprop", writing that, "though Cooder's clearly singing and playing from his bleeding heart on Election Special, the results make one wish that he'd pass both his mic and his guitar back to his brain."[3] Geoff Cowart from musicOMH found its message and music to be "weak" and Cooder to be "overly preachy," commenting that "despite some first-class guitar playing... the tunes come off second-best to the partisan grudge match."[28]
Track listing
All songs were written and produced by Ry Cooder, except where noted.[11]
No.
Title
Length
1.
"Mutt Romney Blues"
3:45
2.
"Brother Is Gone"
5:03
3.
"The Wall Street Part of Town"
3:43
4.
"Guantanamo"
3:29
5.
"Cold Cold Feeling"
5:26
6.
"Going to Tampa"
3:58
7.
"Kool-Aid"
4:10
8.
"The 90 and the 9"
5:16
9.
"Take Your Hands Off It" (written by Joachim Cooder and Ry Cooder)
3:48
Personnel
Credits for Election Special adapted from liner notes.[11]
Joachim Cooder – composer, drums, photography
Ry Cooder – art direction, bass, composer, guitar, mandolin, producer, vocals
Ryland Peter Cooder is an American musician, songwriter, film score composer, record producer, and writer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in traditional music, and his collaborations with traditional musicians from many countries.
Buena Vista Social Club was a musical ensemble primarily made up of Cuban musicians, formed in 1996. The project was organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González. They named the group after the members' club of the same name in the Buenavista quarter of Havana, a popular music venue in the 1940s. To showcase the popular styles of the time, such as son, bolero and danzón, they recruited a dozen veteran musicians, some of whom had been retired for many years.
Buena Vista Social Club is a studio album by Buena Vista Social Club, an ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder. Produced by Cooder, it was recorded at Havana's EGREM studios in March 1996 and released on September 16, 1997, through World Circuit internationally and Nonesuch Records in the United States. It is the only standard studio album exclusively credited to the Buena Vista Social Club.
Nonesuch Records is an American record company and label owned by Warner Music Group, distributed by Warner Records, and based in New York City. Founded by Jac Holzman in 1964 as a budget classical label, Nonesuch has developed into a label that records critically acclaimed music from a wide range of genres. Robert Hurwitz was president of the company from 1984 to 2017.
Joseph Spence was a Bahamian guitarist and singer. He is well known for his vocalizations and humming while playing the guitar. Several American musicians, including Taj Mahal, the Grateful Dead, Ry Cooder, Catfish Keith, Woody Mann, and Olu Dara, as well as the British guitarist John Renbourn, were influenced by and have recorded variations of his arrangements of gospel and Bahamian songs.
Crossroads is a 1986 American musical drama film inspired by the legend of blues musician Robert Johnson. Starring Ralph Macchio, Joe Seneca and Jami Gertz, the film was written by John Fusco and directed by Walter Hill and features an original score by Ry Cooder featuring classical guitar by William Kanengiser and harmonica by Sonny Terry. Steve Vai appears in the film as the devil's virtuosic guitar player in the climactic guitar duel.
"The Bourgeois Blues" is a blues song by American folk and blues musician Lead Belly. It was written in June 1937 in response to the discrimination and segregation that he faced during a visit to Washington, D.C. to record for Alan Lomax. It rails against racism, the Jim Crow laws, and the conditions of contemporary African Americans in the southern United States. The song was recorded in December 1938 for the Library of Congress and re-recorded in 1939 for commercial release.
The Great American Music Hall is a concert hall in San Francisco, California. It is located on O'Farrell Street in the Tenderloin neighborhood on the same block as the Mitchell Brothers O'Farrell Theatre. It is known for its decorative balconies, columns, and frescoes and for its history of unique entertainment, which has included burlesque dancing as well as jazz, folk music, and rock and roll concerts. The capacity of the hall is 470 people.
Chicken Skin Music is Ry Cooder's fifth studio album, released in 1976, on the Reprise label.
Bop Till You Drop is Ry Cooder's eighth album, released in 1979. The album was the first digitally recorded major-label album in popular music, recorded on a digital 32-track machine built by 3M.
My Name Is Buddy: Another Record by Ry Cooder is the thirteenth studio album by Ry Cooder. It is the second social-political concept album by Ry Cooder. Cooder has described it as the second in a trilogy that began with Chávez Ravine and concluded with I, Flathead. The album is packaged in a small booklet that includes a brief story and drawing to accompany each song. Both the songs and the stories relate tales from the viewpoint of the characters, Buddy Red Cat, Lefty Mouse, and Reverend Tom Toad. The liner notes ask listeners/readers to join them as they "Journey through time and space in days of labor, big bosses, farm failures, strikes, company cops, sundown towns, hobos, and trains... the America of yesteryear."
"Little Sister" is a rock and roll song written by Doc Pomus and Mort Shuman. It was originally released as a single in 1961 by American singer Elvis Presley, who enjoyed a No. 5 hit with it on the Billboard Hot 100. The single also reached No. 1 in the UK Singles Chart. Lead guitar was played by Hank Garland and the rhythm guitar was played by Scotty Moore with backing vocals by the Jordanaires featuring the distinctive bass voice of Ray Walker.
"How Can a Poor Man Stand Such Times and Live?" is an American folk song originally recorded on December 4, 1929, in New York City. It was written, composed, and performed by Blind Alfred Reed, accompanying himself on the violin. The song tells of hard times during the Great Depression. It is considered an early example of a protest song. In 2020, the song was added to the Grammy Hall of Fame.
I, Flathead: The Songs of Kash Buk and the Klowns is the fourteenth studio album by Ry Cooder. It is the final concept album by Ry Cooder. It is the third in his "California trilogy", which began with Chávez Ravine (2005) and My Name Is Buddy (2007).
Ali Ibrahim "Ali Farka" Touré was a Malian singer and multi-instrumentalist, and one of the African continent's most internationally renowned musicians. His music blends traditional Malian music and its derivative, African American blues and is considered a pioneer of African desert blues. Touré was ranked number 76 on Rolling Stone's list of "The 100 Greatest Guitarists of All Time" and number 37 on Spin magazine's "100 Greatest Guitarists of All Time".
A Meeting by the River is an album recorded by Ry Cooder and Vishwa Mohan Bhatt; it was recorded in September 1992 and released in April 1993 through the record label Water Lily Acoustics. This improvised, collaborative album features Cooder on slide guitar and Bhatt on the Mohan veena, a stringed instrument created by Bhatt. A Meeting by the River was produced by Kavichandran Alexander and Jayant Shah, engineered by Alexander, and mastered by Kevin Michael Gray and Paul Stubblebine. It peaked at number four on Billboard's Top World Music Albums chart, and earned Cooder and Bhatt Grammy Awards for Best World Music Album at the 36th Grammy Awards in 1994. The album is included in Tom Moon's 2008 book 1,000 Recordings to Hear Before You Die.
Pull Up Some Dust and Sit Down is the fourteenth studio album by American singer-songwriter and multi-instrumentalist Ry Cooder. It was released by Nonesuch Records on August 30, 2011, and written and produced by Cooder, who recorded its songs at Drive-By Studios, Ocean Studios, and Wireland Studios in California. He played various instruments for the project while working alongside studio musicians such as Flaco Jiménez, Juliette Commagere, Robert Francis, and Jim Keltner.
Live in San Francisco is a collaborative live album by Ry Cooder and Corridos Famosos released in September 2013 by Nonesuch Records and Perro Verde. The album was recorded in 2011 at the Great American Music Hall in San Francisco, California. Cooder produced Live in San Francisco and recorded with members of Corridos Famosos, which included vocalists Juliette Commagere, Terry Evans, and Arnold McCuller, Joachim Cooder on drums, Robert Francis on bass, Flaco Jiménez on accordion, and the ten-piece Mexican brass band La Banda Juvenil. It was his first live album since Show Time (1977), which Cooder also recorded at the Great American Music Hall with Jiménez and Evans.
"Denomination Blues" is a gospel blues song composed by Washington Phillips (1880–1954), and recorded by him in 1927.
The Prodigal Son is a 2018 studio album, the sixteenth to be released by American singer-songwriter and multi-instrumentalist Ry Cooder. The album was released on May 11, 2018, by Concord and Perro Verde record labels. The record also produced two singles.
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