All language subtitles for RY COODER - Artists Who Changed Music Ry Cooder [DownSub com]

in his heyday raikuda was by far the

best slide guitarist in the world

normally such a statement would invite

controversy but for three decades from

the late 60s to the late 90s kuda really

was head and shoulders above every other

slide guitarist in the world

when cuda was listed in 2003 at number

eight on the rolling stones list of 100

greatest guitarists of all time above

jimmy page keith richards and jeff beck

nobody argued cuda is a master of both

the acoustic and the electric guitar and

countless other stringed instruments he

has integrated many rock elements into

his blues and folk based playing in his

rhythm playing is distinctive as his

soloing cuda possesses immaculate feel

timing and pitch a wonderful sense of

melody and an amazing capacity to play

the right notes at the right time notes

that sound entirely natural and original

and that serve to enhance the music

the guitarist plays with his fingers and

is also a master of the finger style

guitar whether he plays with or without

a slide when playing slide he alternates

between playing with a bottleneck and

fretting his left hand fingers giving

him a huge variety of options someone

wrote perceptively his bending and

blending of notes can make the

instrument sound like it's talking or

crying or laughing

[Music]

[Applause]

cooler has a truly unique instantly

recognizable sound and throughout his

career his guitar skills have been in

huge demand

he was the guest performer on recordings

by countless top artists including the

rolling stones

van morrison

stevei

eric clapton and many others cuda also

wrote the soundtracks for 17 movies some

of which became legendary

he made pioneering and influential

albums with musicians from india

africa cuba hawaii and ireland

most of all he created a stunning ovra

of 17 highly regarded solo albums that

taken together can match that of any

great a-list artist for all these

reasons cuda is sometimes simply called

an american genius he has been

recognized with six grammy awards

honorary doctorates from queen's

university in canada and the california

institute of arts and a bbc lifetime

achievement award cuda is 74 and has in

recent years scaled down his activities

his also for most of the century stepped

back from his guitar hero role focusing

more on playing accompanying parts on

albums he has released but his playing

continues to have an enormous influence

on guitarists all over the world

while his solo albums remain treasure

troves of outstanding music it is why we

are taking a closer look at the man and

his career in this video

ryland peter cuda was born on march the

15th 1947 in santa monica los angeles

his father bill kuder was a liberal

lawyer and a folk singer and his mother

emma cassaroli

was of an italian descent

an accident when he was only three years

old shaped much of cuda's life

he accidentally struck a knife in his

left eye while trying to fix a toy car

and spent a year in dark rooms and

hospitals his eye could not be saved and

he ended up with a glass eye one night

after the accident while he was lying in

his bed with the room darkened a family

friend entered and laid something on the

boy's stomach when the boy asked what it

was the friend replied it's a guitar

playing the guitar became one of his

main ways for the one-eyed young boy of

expressing himself

the young kuda practiced incessantly

initially playing the four-string guitar

given to him and then a martin guitar

his father bought for him when he

noticed his son's aptitude

he hated school and playing guitar

offered yet another refuge

cuda became so good so quickly that his

father reportedly quit

playing guitar when his son was only

five

because junior was already out playing

him in his teenage years kuda spent a

lot of time in the guitar shop on pico

boulevard in santa monica called

mccabe's

and at the ash grove a local folk club

he would sit in the front row closely

watching the performers who included

john farhi

lightning hopkins

tom paley

doc watson

sleepy john estes and reverend gary

davis

in part inspired by his folk singer dad

the young cuda practiced woody guthrie

and pete seeger songs and he started

playing the blues picking up slide and

finger-picking techniques from

recordings by legendary players like

elmore james

josh white

sun house

blind willie johnson

lightning hopkins

robert johnson and many others

amazingly a few years ago a recording

surfaced from 1963 of a 16 year old kuda

accompanying singer jackie deshannon

during a concert at the ash grove

playing traditional folk and blues songs

it's the first known recording featuring

cuda and his feel is already

recognizable even at this early stage

[Music]

around this time cuda also performed as

part of a blue grass trio with bill

munro and doc watson it extended the

instruments he played to banjo and led

cuda to add banjo tunings and the three

finger role to his guitar techniques by

1965 at the age of 17 kuda had become a

much sought-after local guitarist in

that year he formed a group called

rising suns with fellow guitarists tal

shimahal and jessie lee kincaid bassist

gary marker and drummer ed cassidy they

signed to columbia records and recorded

one album produced by terry melcher

it was not released until 1992

and called rising songs featuring taj

mahal and raikuda clearly piggybacking

on the fame

mahal and kuda by this time enjoyed in

1967 don van vliet leader of captain

beef art and his magic band asked kuda

to step in because the band's guitarist

had suffered a nervous breakdown cuda

featured on the band's debut album safe

as milk in 1967. one notable

contribution being his arrangement of

the tune grown so ugly however at one

point the band's original guitarist

turned up with a loaded crossbow and

cuda feared for his life

after more erratic behavior this time

from van vliet himself

just before the band was scheduled to

perform at the monterey pop festival in

june 1967 cuda quit the band by this

stage kuda was receiving regular calls

to play as a session musician

he was still supposed to attend high

school and was at one point called in to

justify his absences

when he explained that he had made five

thousand dollars per week for some

sessions the response was kurt and to

the point then what are you still doing

here as part of his session career cuda

played on recordings by neil young

the monkeys and the rolling stones he

played mandolin on the stone's cover of

robert johnson's tune love in vain which

appeared on let it bleed in 1969.

apparently he showed keith richards the

open g tuning which the stone's

guitarist went on to use for much of his

career kudo is also rumored to be the

originator of the rift for the single

honky tonk woman

although he's never been credited

there were more guest performances on

albums by randy newman 12 songs gordon

lightfoot

littlefeet's debut album

judy collins

arlo guthrie

the everly brothers stories we could

tell and so on kudo again worked with

the stones on sticky fingers in 1971

playing slide guitar on sister morphe

and in 1969 he took part in a studio jam

with mick jagger charlie watts bill

wyman and pianist nikki hopkins produced

by glenn johns it was released in 1972

as the album jamming with edward by 1970

being a session musician stopped being

kuda's main focus producer lenny

warrenka judged that kuda could be a

successful solo artist and he signed a

warner's reprise label his first album

produced by wanaka and van dyke parks is

simply called raikuda

and was released by the end of the year

the album is in many ways a blueprint

for many of kuda's solo career it

contains mostly older blues folk rock

and roll and pop songs by the likes of

woody guthrie blind blake

and blind willie johnson played by an

eclectic collection of session musicians

including pianist van dyke parks

bassist chris etheridge and drummers

milt holland and richie hayward keeping

the disparate elements on the album

together were kuda's inimitable guitar

playing and his voice

which was not attractive by traditional

standards but suited the music and most

of all was full of swagger and attitude

cuda had unearthed several forgotten

gems from the past just like he would do

for most of his solo career one example

is how can a poor man stand such times

and live by alfred reed first recorded

in 1929. it has since cuda's discovery

been covered by the likes of bruce

springsteen ub40

joe bonamassa and the song was added to

the grammy hall of fame in 2020.

[Music]

second album a masterpiece into the

purple valley released in 1972 was built

on similar principles

the focus this time was on protest songs

from the 1930s dust bowl era

set in unusual arrangements based on

blues calypso

folk gospel rock and country it features

a song by bahamian guitarist joseph

spence who had become a major influence

on cuda the album was called a tour de

force

and his playing phenomenal it was

regarded as his commercial breakthrough

even if sales continued to be relatively

low cuda's third solo album boomer's

story was called an archaeological dig

through american folk and blues music

and saw him work for the first time with

drummer jim keltner who became one of

america's top session drummers and

continued playing with cuda for decades

the album's standout track is the dark

end of the street

a soul song from 1967 written by dan

penn and chip's moment it became a

staple of cuda's live performances

[Music]

paradise and lunch in 1974 was next it

combines forgotten songs from the past

with contemporary material by bobby

womack and bert bacharach it also

features horn and string arrangements

and for the first time extensive backing

vocals which became a defining feature

of kuda's solo music cuda showed a

penchant for picking songs with amusing

lyrics and titles like

married man's a fool

if wolves could talk and ditty way ditty

the album also contains the traditional

jesus on the main line which also became

part of kuda's regular live repertoire

[Music]

chicken skin music released in 1976 saw

kuda blend tex-mex and hawaiian music

with latin blues folk jazz and gospel it

marks the first time he played with

recordings

flacco himanus cuda himself played bajo

sexto

mandola bottleneck guitar french

accordion electric guitar

slack key guitar tipple and hawaiian

guitar his solo cover of bourgeois blues

a lead belly protest song from 1937

about discrimination and segregation is

an album highlight

[Music]

i don't wanna be mistreated

showtime in 1977 was kuda's first live

album recorded at the great american

music hall in san francisco at the end

of 1976

with a live band that featured flacca

jimenez and regular backing vocalists

bobby king and terry evans cuda's

acoustic guitar playing on jesus on the

main line is amazing as is his solo on

the dark end of the street which is sung

by his backing vocalist kuda's playing

on the entire album is

spectacular with not only outstanding

slide solos but also stunning rhythm

playing that sets the entire band alight

[Music]

jazz released in 1978 is arguably kuda's

most ambitious and strangest album as he

set out to recreate jazz music from the

early 20th century with dixieland

ragtime

vaudeville and tim pan alley elements

kudu even uses a big band on some tracks

the album features music by jelly roll

morton

bix by debeck and joseph spence and one

of the highlights is nobody a song from

1905 with a wonderful threated guitar

seller cuda plays masterful acoustic

guitar throughout the arguably flawed

but very enjoyable album

[Music]

i ain't never done nothing

to nobody

by this stage some storm clouds were

gathering over cuda's career jazz was

received with reservations by critics

because they felt cuda had followed old

arrangements too closely cuda himself in

a 1983 interview called the album a

stupid pompous horrible thing a wretched

mistake in retrospect that seems a bit

harsh

although kuru's work before jazz had

been highly and universally acclaimed

and he was at the peak of his powers as

a guitarist

singer and producer his record still did

not settle particularly well

there was also his 1976 tour which had

resulted in showtime but ended in

catastrophe cuda recalled in an

interview from 1981 that band members

relatives were dying musicians were

falling ill and he added we had a bus we

couldn't pay for so we lost it and we

had to drive cars which would break down

in the snow i was sick for two years

after that exhausted

debilitated demoralized i believed in it

and i thought it was going to happen it

was so great who could not like it but

it turned out that very few people did

like it those were dark days a change of

direction was needed and this arrived

with this next album bop till you drop

released in 1979 it's an almost entirely

electric affair with rhythm and blues

soul and rock and roll songs from the

50s and the 60s it sounded more current

and suitable for mass consumption with

covers of songs made famous by the likes

of elvis presley and icantina turner the

album also was the first ever major

label release recorded to digital

a 3m multi-track machine at warner

brothers recording studios in north

hollywood

legendary engineer lee hershberg was

behind the controls he had worked with

kudo on several albums and suggested

that the at the time groundbreaking move

to all digital

in an interview in billboards soon after

the album's release cuda said no one

knew what would happen but the

difference was incredible over the big

studio speakers and once we heard it

there was no question it's very dramatic

especially on drums because of the peaks

lows and highs for guitars you get this

real finger chord skin sounds on vocals

you can really hear the edge i'll never

go back to 24 analog again

cuda also mentioned that the tape

recorder occasionally ate an entire drum

part in an early indication of some

early digital pitfalls perhaps he was

slightly blinded by the novelty of

digital because he did

record to analogue again and over the

years the album has received criticism

for sounding sterile and lifeless

however today the album still sounds

fresh and clear and far better than many

digital records made soon afterwards

despite of or perhaps because of cuda

trying to be more accessible bob tilly

drop contains some of his greatest work

from his cover of presley's little

sister

to the gorgeous lilting guitars in the

instrumental i think it's going to work

out fine

most outstanding is another prize winner

in the great titles category

the very thing that makes you rich will

make me poor which apparently was

written by an unknown memphis taxi

driver who cuda had met by accident it

became one of the defining songs of

cuda's solo career

but you drop indeed turned out to be

more commercially successful and little

sister was a minor hit

cuda redid the entire exercise with his

next album borderline in 1980 which

again mined 1950s and 60s rhythm and

blues and rock and roll territory

with some reggae and tex-mex influences

thrown in borderline also saw him work

with guitarist and singer john hyatt for

the first time however the 3m digital

sound on boardline was tinny and the

choice of songs was not as inspired

the album nevertheless contained another

cuda live classic and great title

contender crazy about an automobile

every woman i know

as well as the wonderful why don't you

try me tonight

[Music]

in an interview in 1981 cuda commented

on what could be called the pop phase of

his career promoters don't book you

because they like you they do it because

there's good business to be done bop

till you drop pulled me out of a weird

hull it's crazy to make records nobody

buys it's just a waste of time once you

make a decision to cut a record you

figure that there's a public gesture and

you want to get the record out there

with bop i finally did that it sold

about 300 000 copies which is six times

what the rest of them have ever sold

it was just in the nick of time too

warner brothers had a big blackboard and

an eraser

and a lot of names were suddenly

disappearing cuda was at the top of his

game in many respects and by now enjoyed

worldwide guitar legend status in an

interview around this time he explained

that he possessed 50 guitars some of the

main acoustic guitars he uses are a

gibson roy smeck from the 1930s and

1950s martin triplo 18 a gibson sj 200

attack amini j 15e

a k craft

a kona hawaiian guitar

a vos flat top cutaway that has been

turned into a mando guitar and a 1930s

gibson master tone banjo

kuda's electrics in those years included

a 1967 daphne blue fender stratocaster

tuned in open d and nicknamed cudacaster

it was sold in 2020 with an asking price

of a hundred and fifty thousand dollars

he also plays a 1960 strat tuned in g

a grech

six one two zero

a 1960s gaia tone lg 200t

a 1949 gibson es9

a ripley stereo guitar

and a k semi-acoustic from the same year

cuda uses amps by fender

standell

dumble

highwat and others

he plays with a variety of open guitar

tunings and has gone on record stating

it does not like the sound of new

strings and so he tries to change the

strings as rarely as he can in the early

1980s things were seemingly going well

with cuda's career but inwindly he was

struggling with the role of front man

and guitar hero and the pressures of

commercial success he was wildly popular

in several european countries for

example selling out the hammerstein's

odeon in london eight nights in a row

and i went and it was amazing

but when he returned to the us he was

barely able to make a living cuda

recorded two more solo albums as a

leader during the 1980s the slide area

in 1982 which he tried his hand at

writing more of the songs with uneven

results and get rhythm in 1987 on which

he had a heavily distorted electric

guitar sound the latter album contains

three of his best ever recordings his

amazing version of johnny cash's get

rhythm his equally impressive and very

funny all acoustic cover of chuck

berry's 13 question method and the

masterful across the borderline which he

co-wrote with jon hyatt and jim

dickinson

the latter song contains one of the most

soaring and evocative slide guitar solos

[Music]

but as time went on the pressures of his

artist frontman guitar hero role and the

difficulties of making a living from it

became too much

cuda would not release a solo album for

18 years for unknown reasons he even

refused to give permission for the

release of an

astonishingly good registration of a

concert in santa cruz in 1987 by

filmmaker les blanc called rykuda and

the moola bander rhythm aces let's have

a ball it was broadcast abroad on tv a

few times and the audio on fm radio but

it has since only been available as a

bootleg

years later cuda explained i gave up on

pop music

as far as the commercial entity as far

as pop music goes i quit i absolutely

threw in the towel i couldn't handle it

i couldn't do it i couldn't be what they

need you to be

the record thing drove me insane i

couldn't figure it out i finally had to

stop making these darn solo records

because they just didn't happen

something was missing and commercially

it was useless anyway pretty much

non-viable

for most of the 80s 90s and 2000s kudos

career would therefore consist of a

zigzag course in which he tried his hand

at anything but being the front man and

guitar hero part of his focus was on

creating soundtracks for movies which he

said made him far more money his

soundtrack career had started in 1970

with three tracks for the movie

performance which starred mick jagger

his next ventures were soundtracks for

four movies by director walter hill the

long riders in 1980 southern comfort in

1981 the border in 1982 and streets of

fire in 1984 his soundtrack for the long

riders is regarded as a masterpiece that

can be listened to by itself and stands

up to his best solo work in 1985 cuda

finally achieved household name fame

with his haunting score for vin vendors

road movie paris texas

as the main characters travel through

the american southwest with the movie

following them at a very slow pace

kuda's sparse ambient acoustic slide

playing evokes the grandeur and

stillness of the epic landscapes on the

screen

the film and the soundtrack were huge

critical and commercial successes so

it's a journey in in this guy's mind and

and the story develops from that and

that's what needs accompaniment

and especially because he doesn't talk

so you figure well if he doesn't talk

does he hear anything and if he were to

convert that into sound or melody this

is what it is

you take the little theme and each time

it's a little more or it's a little

different and it and the slightest

little nuance is going to push it this

way or that way and harry dean's all on

his face he's not using his voice for

the first half so you don't have that to

consider the audience has to

somehow

go with his pace and and and other

things other than direct information

like speak cuda's most striking next

movie project was his score for water

hills crossroads in 1986

with the title and significant elements

of the movie inspired by the story of

robert johnson cuda played all parts

performed by the movie's main character

ralph marchio most famously in the

guitar duel with steve ai only marchio's

super fast bark inspired arpeggios

toward the very end were performed by vi

[Applause]

[Music]

[Applause]

[Music]

kudo never was a guitar player who went

for virtuosity or great speed

over the next years kuda wrote the

soundtrack to another eight movies most

notably water hills geronimo and

american legend in 1993 and vim vendors

the end of violence in 1997.

there's also a guest performances on

albums by van morrison into the music in

1979

eric clapton money and cigarettes in

1983

john hyatt bring the family in 1987

masterpiece

john lee hooker mr lucky 1991 another

great one

aaron neville warm your heart in 91 and

many many more

1988 brought kuta his first grammy award

ironically not for his stellar solo

career but in the best recording for

children category for his music

accompanying the storybook classic

pekka's bill narrated by robin williams

cuda did briefly try to resurrect his

guitar slinger career with the

supergroup little village in 1992

together with john hyatt bassist nick

lowe and jim keltner however their

self-titled debut album was not well

received and the project folded for the

most part cuda's 90s were taken up with

three major collaborative projects with

each more influential and high profile

than the former the first was a meeting

by the river released in 1993 which

features kuda on acoustic guitar and

vishwa mohan bart playing a mohan veena

which is an arch top hawaiian guitar

modified for use in indian music with 20

strings

in four instrumental tracks they are

accompanied by

sukhvinda singh

naamdhari on tabla and kuda's son

joachim on dumbbell

the music is more or less a jam which

took place in christ the king chapel

saint anthony's seminary in santa

barbara it was recorded by kavi chandran

alexander waterlily acoustics label

owner with all analog equipment a lot of

it designed and made by tim paris

vertini of esoteric audio research the

album struck a chord and was

exceptionally well received it earned

cuda and bart grammy awards for best

world music album and is still regarded

as a world music classic a year later

kuda collaborated with legendary malayan

guitarist ali farka torre on talking

timbuk2 other musicians included

clarence gate mouth brown on electric

guitar and viola

john patatucci on bass and again jim

keltner on drums in addition to his

usual acoustic and electric guitars cuda

plays an array of instruments including

electric mando guitar a large h-string

mandolin an acoustic toy guitar marimba

mandolin

kumbas a moroccan banjo and tambora an

indian sitar-like instrument talking

timbuktu is full of rolling rhythms and

intricate guitar work informed by

american folk and blues and torres

malayan music cuda remarks the africans

don't have the melancholy blues not even

in their bluesier bits ali's blues is

different in field and american blues

but it's still got that expressive mode

between major and minor that comes from

the blues the stuff we call blues has

been around for a long time talking

timbuktu was also a critical and

commercial success and again earned kuda

a grammy for best world music album kudo

also collaborated extensively with

fellow guitarist david lindley and in

1995 with the chieftains on their album

the long black veil but his most

attention-grabbing and earth-moving

project was buena vista social club

which put cuban music on the world map

the album was a result of a chance

encounter with mostly elderly musicians

when cuda visited cuba in 1997 breaking

the u.s trade and travel embargo the

recordings took place over six days at

havana's eg rem studios which still

looked exactly as it had done in the

1950s

buena vista social club in 1997

contained traditional cuban music mostly

in the trova and

in genres enhanced with the sympathetic

modern production by cuda who also

played guitar it became a major hit

selling over 8

million copies worldwide

and received countless accolades

including the 1998 grammy award for best

traditional tropical latin album the

musicians involved including kuda went

on a short world tour in 1998 which was

immortalized by vin vanders in a movie

that is also called buena vista social

club

[Music]

cuda's collaborations after these three

major successes were far lower in

profile among them were hollow bamboo in

2000 with trumpeter john hassell and

flautist ronald maddunda and

mambu

sinuendo 2003 with cuba guitarist manuel

gulban

which later earned him yet another a

grammy award for best pop instrumental

album kudo also produced several records

for cuban singer ibrahim farah who had

found fame through buena vista social

club one of them buenos chamanos in 2003

earned kuda his sixth grammy for best

traditional tropical latin album finally

in 2005 cuda took the solo album plunge

again with chavez ravine

it was a concept album about a

mexican-american los angeles

neighborhood that was destroyed after

shady deals with developers musically it

harks back to his earlier solo albums

with a mixture of mexican cuban latin

and traditional american influences

three things are different though there

are several featured singers and when he

does sing cuda uses a different gentler

voice without his earlier swagger

there's also hardly any guitar solos

chavez ravine was well received and cuda

released another four solo albums my

name is buddy 2007

i flathead

2008 pull up some dust and sit down 2011

and election special in 2012.

these four albums cover social political

topics with most or all tracks written

by kuda and the music is mostly in a

faux folk style the albums again were

critically acclaimed but less

commercially successful perhaps the

absence of significant guitar sellers

diminished their appeal with fans kuda

has worked closely with his drummer some

joachim since the 1980s and they have

been stories that joachim encouraged his

father to resurrect his classic music

from his 70s and 80s solo records

and play solos again whether or not it

was due to joking or not cuda fans were

happily surprised by the great man going

on tour again playing some of his older

music this was documented on a live

album credited to raikuda and corridos

formosus

called live at the great american

musical san francisco august the 31st to

september the 1st

2011. in the same setting as kuda's 1977

showtime album and with two musicians

who were present at the time

accordionist flacco jimenez and vocalist

terry evans cuda revives the good old

days with spirited renditions of old

favorites like crazy bout an automobile

every woman i know

why don't you try me and the dark end of

the street

kuda junior did play a part in

convincing his father to make another

studio album again more along the same

lines as his 70s and 80s solo albums the

result was kuda's most recent solo album

the prodigal son which again contains

blues country and fortunes from the

earlier part of the 20th century and

contains more featured guitar playing

than cuda's other 21st century solo

albums

whether kudo's career has come full

circle or whether he has more pioneering

projects in him remains to be seen but

with 17 solo albums more than 20

collaborative albums 17 soundtrack

albums and countless guest performances

on record there is an extraordinary

amount of music to explore for any of

you who are not familiar with his work

all i can say is i've seen raikouda life

and it is a spiritual experience

i was blessed growing up in a house of

um

classical music jazz and some blues

that i did know

a lot of the blues

artists that raikuda

was inspired by but when i discovered

raikuda and it was into the purple

valley and bop till you drop with like

the two big ones for me

when i discovered those albums i was

able to go back

and find out even more and the great

thing about raikuda is he doesn't just

introduce you i mean obviously on

bob tilly drop you've got little sister

the big elvis presses you've got some of

the more mainstream stuff but if you go

through

rikuta's catalogue

i mean to say that he was a taste maker

or

it would be an understatement he as you

heard me talk about he took songs

from the

turn of the last

century and

brought them into the mainstream and

then they ended up being covered by huge

rock bands like ub40 or big stars like

bruce springsteen and now joe bonamassa

this is a big deal rykuda

i mean he's a national treasure

for the americans watching this i mean

he is so important to modern music i

feel like he

at times

kept

that kind of guitar playing alive in

america it was so unfortunate in the 80s

everything was all shredfest

and that's fine don't get me wrong

but

anything that raikuda played on was just

a breath of fresh air because

he's not about virtuosity and

shredding is about feel and emotion and

melody and just one of the most

beautiful guitar players that ever live

and i love the fact that he makes top

tens

in greatest guitar players all the time

by all over the place because people

realize just how important he is but i

think beyond his incredible guitar

playing songwriting singing production

all of that stuff is the fact that

he's the gateway to so many great

musicians

kids today

can discover raikuda

and then look and be like who are all

these players who are these covers of

who are these artists and then just

open up

an incredible world of music of american

music for over a hundred years raikuda

thank you so much for doing that i got

almost teary-eyed talking about this

such an important musician such an

important guitar player and it is

fantastic without raikuda many many many

people would never discover some of the

greatest music ever made

thanks ever so much for watching please

give us any comments and questions below

i would love to know other artists you'd

love for us to talk about thank you ever

so much paul tingan for working on this

because

i know paul is a huge raikuda fan so

when he brought up doing raikuda to me i

was like let's do it there is probably

very very few guitar players

that you can speak so lyrically about

and oh god paris texas go put on the

album paris texas now i remember buying

it when it came out i

get teary-eyed just remembering all my

hairs are standing on end look at that

was that being coming up in the light

just thinking about that album go and

listen to paris texas i implore you now

thanks so long for well have we just

done or voila goodbye