{"id":2333,"date":"2025-06-05T09:55:32","date_gmt":"2025-06-05T09:55:32","guid":{"rendered":"https:\/\/musictechohio.online\/site\/marc-ribot-my-life-in-music-150022\/"},"modified":"2025-06-05T09:55:32","modified_gmt":"2025-06-05T09:55:32","slug":"marc-ribot-my-life-in-music-150022","status":"publish","type":"post","link":"https:\/\/musictechohio.online\/site\/marc-ribot-my-life-in-music-150022\/","title":{"rendered":"Marc Ribot \u2013 My Life In Music"},"content":{"rendered":"
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Tom Waits\u2019 go-to guitarist on his journey through blues, punk, jazz and beyond: \u201cThe musicians are caught up in a ritual\u201d…<\/strong><\/em><\/p>\n<\/div>\n

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Tom Waits\u2019 go-to guitarist on his journey through blues, punk, jazz and beyond: \u201cThe musicians are caught up in a ritual\u201d\u2026<\/strong><\/em><\/p>\n

THE JULY 2025 ISSUE OF UNCUT IS AVAILABLE TO ORDER NOW: STARRING NICK DRAKE, A 15-TRACK NEW MUSIC CD, THE WHO, BLACK SABBATH, BRIAN ENO, MATT BERNINGER, PULP, BOB WEIR AND MORE<\/a><\/strong><\/strong><\/strong><\/p>\n

WILSON PICKETT
\u201cLand Of 1000 Dances\u201d
ATLANTIC, 1966<\/strong>
\u201c\u2026Midnight Hour\u201d was one of the first three tunes I learned with my junior high school band, which was called, by the way, Love Gun. We were very ambitious 15-year-olds! Wilson\u2019s music, in particular \u201cLand Of 1000 Dances\u201d, worked to get people into a dancing frenzy. It\u2019s about<\/em> dancing, it\u2019s self-referential. But there\u2019s something about it that transcends itself. On Horses, Patti Smith quotes an entire verse of \u201cLand Of 1000 Dances\u201d, and she was also somebody who\u2019s aiming for this ritual hallelujah. That said, Wilson Pickett was not a nice man. I toured with him for a month in 1982 and I witnessed him and his bodyguard being violent with members of the band. I escaped through my ability to play country music licks on guitar.<\/p>\n

ALBERT AYLER
Live At Slug\u2019s Saloon
ESP-DISK, 1982<\/strong>
The Lounge Lizards, the band I was working with from about 1984 \u2019til 1989, kind of aspired to be Albert Ayler. But we weren\u2019t ready to perform with that degree of freedom. We came up with something else nice, but it wasn\u2019t that. Ayler was getting away from the cliches of jazz, but he was not going into more and more complex changes. He was simplifying it harmonically, almost to the same language as rock. The musicians are caught up in a ritual. Live At Slugs, no-one is going to win any awards for the best-recorded audio of the century, but you know something is going on. It\u2019s like being at the back of the room at a voodoo ceremony and seeing the knife go up, seeing some red stuff squirt, hearing the chicken squawk.<\/p>\n

ALLEN GINSBERG
The Lion For Real
ISLAND, 1989<\/strong>
This is a record I\u2019m very proud to have played on. It kinda changed my life. Hal Willner produced it, and he was famous for putting people from the beat generation together with punks and no-wavers who they would never have ordinarily met. This record was one of the most successful of those collaborations, and it was really loony. Allen loved working with musicians. Like a lot of the beat poets, he envied improvising musicians\u2019 ability to create in real time, and he tried to write like that. It was a great experience \u2013 Allen couldn\u2019t have been more open. Let\u2019s face it, he was a dirty old man. But to his great credit he continued to be a good friend, even after it was clear I wasn\u2019t going to sleep with him.<\/p>\n

CARLA BOZULICH
Evangelista
CONSTELLATION, 2006<\/strong>
I see we\u2019re developing a theme here, the theme being ritual, and Evangelista has got to be in there as a key example. It\u2019s just a brilliant recording, and almost everything she\u2019s done has been great. Carla is one of the most underrated performers ever, I think she\u2019s just a genius. She was a really tough street punk who went through a lot of shit we can\u2019t even imagine, who managed to get some connection with the LA poetry scene. She was close with Nels Cline and wound up listening to everything, including jazz and contemporary music, and processing it all somehow in her brain. So if [her music] doesn\u2019t fit into any single genre category, that\u2019s because it can\u2019t.<\/p>\n

TOM WAITS
\u201cKing Kong\u201d
ANTI-, 2006<\/strong>
Of the Tom Waits stuff that I played on, it\u2019s one of the lesser-known tracks [from Orphans]. In fact, it\u2019s not a Tom Waits tune, it\u2019s a Daniel Johnston tune. For those who don\u2019t know Daniel Johnston, he made these wonderful recordings on cassette that managed to channel the deepest rivers of American music. He could take a very familiar story and retell it in ways that were not familiar. This tune is basically a recounting of every single scene in the Fay Wray movie King Kong, except it\u2019s recounted as tragedy, and from the perspective of King Kong. Tom\u2019s version is one of the heaviest tracks he\u2019s put out. It\u2019s one of the ones where I feel like we caught up with our blues influences.<\/p>\n

PAQUITA LA DEL BARRIO
Paquita La Del Barrio
SONY MUSIC LATIN, 2014<\/strong>
We gotta mention Paquita La Del Barrio, since she recently died, and since so few gringos know who she is. Now, it\u2019s often the conceit of the Mexican romantic ballad that the singer is expressing a great deal of anger at somebody who has betrayed them, and this anger is motivated by a wounded love. But in Paquita\u2019s case, the anger is so extreme that it really calls into question how much love was ever there in the first place. There\u2019s \u201cQue Me Perdone Tu Perro\u201d, the lyrics of which say, \u2018Please apologise to my dog for comparing you to him.\u2019 Then there\u2019s \u201cRata De Dos Patas\u201d, which is \u2018Rat With Two Legs\u2019. It doesn\u2019t exactly sound like punk rock but, man, she\u2019s an honorary punk rocker.<\/p>\n

BRANDON SEABROOK WITH COOPER-MOORE & GERALD CLEAVER
Exultations
ASTRAL SPIRITS, 2020<\/strong>
Brandon is doing amazing stuff coming out of the New York scene as a guitarist, an improviser and a banjo player \u2013 he manages to make this great music on an instrument that most of us usually want to run out of the room when we hear played solo. Boy, am I going to get in trouble for that! But most of his stuff is on guitar. When I improvise, I try to work off the motif. Brandon is also working off motifs, only he\u2019s doing it with a degree of chops and sophistication that I could never imagine. Cooper-Moore is a very original player, amazing energy, amazing ideas; Gerald Cleaver is also a real thinker and a groovy player. And so the three of them together, it\u2019s something that people should check out.<\/p>\n

WILLIAM PARKER
Mayan Space Station
AUM FIDELITY, 2021<\/strong>
Ava Mendoza is another guitarist coming up on the downtown scene, and she has a real incredible range. She\u2019s great as a straight-ahead rock player and she\u2019s done some beautiful solo recordings. But my favourite stuff so far has been her recordings with William Parker. She and William improvise together beautifully. And William is not just a great bass player \u2013 he and his wife Patricia Nicholson Parker founded the Vision Festival, which has been a focus for a whole scene. If you\u2019re looking for the organic, living continuation of Albert Ayler, you\u2019ll find it at those gigs. People are still doing great things in New York. We\u2019re in the process of a coup d\u2019etat in the United States, so it\u2019s up to everybody to resist by the best means available.<\/p>\n

Marc Ribot\u2019s new album Map Of A Blue City is out now on New West<\/em><\/strong><\/p>\n<\/div>\n<\/div>\n

The post Marc Ribot \u2013 My Life In Music<\/a> appeared first on UNCUT<\/a>.<\/p>\n<\/div>\n

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Tom Waits\u2019 go-to guitarist on his journey through blues, punk, jazz and beyond: \u201cThe musicians are caught up in a ritual\u201d… Tom Waits\u2019 go-to guitarist on his journey through blues,…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31,65,1392],"tags":[],"class_list":["post-2333","post","type-post","status-publish","format-standard","hentry","category-features","category-lists","category-tom-waits"],"_links":{"self":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/2333","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/comments?post=2333"}],"version-history":[{"count":0,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/2333\/revisions"}],"wp:attachment":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/media?parent=2333"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/categories?post=2333"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/tags?post=2333"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}