Born in Los Angeles, California on 15th March 1947, Cooder first attracted attention in the 1960s, playing with Captain Beefheart & his Magic Band, after having worked with Taj Mahal in The Rising Sons.
He was a session guitarist on various recording sessions with the Rolling Stones in 1968 and 1969; Cooder's contributions most notably appear on the Stones' Beggars Banquet where he shares a prominent credit with pianist, Nicky Hopkins on the back cover. He continued to appear on the succeeding albums, Let It Bleed, and Sticky Fingers, on which he contributed the haunting slide guitar solo to "Sister Morphine". Cooder is reputed to have taught Keith Richards to play in open-G tuning, now a Richards hallmark, as well as to have written the open-G signature riff of "Honky Tonk Women". He was briefly considered to fill the departed Brian Jones' place in the Rolling Stones, but reportedly Cooder and Keith Richards did not get along very well. For some time after the sessions, Cooder accused Keith Richards of "ripping him off" musically, but now refuses to talk about his experiences with the Stones. Cooder played slide guitar for the 1970 film Performance, which contained Mick Jagger's first solo single, "Memo from Turner" on which Cooder played guitar.
Throughout the 1970s Cooder released a series of Warner Brothers albums that showcased his guitar work, to some degree. In this respect, Cooder's guitar work on these records is not unlike the guitar playing of Robbie Robertson on the Band's albums: Both virtuosos emphasized song over solo. Cooder's 1970s albums spotlight, more than anything, a wide-ranging taste in music. Cooder has been seen as almost a musicologist, exploring bygone musical genres with personalized and sensitive, updated reworkings of revered originals. Cooder's 1970s albums (with the exception of Jazz) cannot be neatly pigeonholed by genre, But - to generalise broadly - it might be fair to call Cooder's first album blues; Into the Purple Valley, Boomer's Story, and Paradise and Lunch, folk + blues; Chicken Skin Music and Showtime, a unique melange of Tex-Mex and Hawaiian; Jazz, 1920s jazz; Bop till You Drop 1950s R&B and blues; and Borderline an eclectic mix of Tex-Mex with blues, R&B, and country and Get Rhythm, with more rock-based excursions.
Cooder has worked as a studio musician and has also scored many film soundtracks, of which perhaps the best known is that for the 1984 Wim Wenders film Paris, Texas. Ry Cooder based this soundtrack, and the haunting title song "Paris, Texas" on Blind Willie Johnson's "Dark Was the Night (Cold Was the Ground)", which he described as "The most soulful, transcendent piece in all music from the US." His other film work includes Walter Hill's The Long Riders (1980) and Southern Comfort (1981).
In recent years, Cooder has played a role in the increased appreciation of traditional Cuban music, due to his collaboration as producer in the Buena Vista Social Club (1997) recording, which was a worldwide hit. Wim Wenders directed a documentary film of the musicians involved, Buena Vista Social Club (1999) which was nominated for an Academy Award in 2000. Cooder worked with Tuvan throat singers for the score to the 1993 film Geronimo: An American Legend.
Cooder's solo work has been an eclectic mix, taking in dust bowl folk, blues, Tex-Mex, soul, gospel, rock, and almost everything else. He has collaborated with many important musicians, including the Rolling Stones, Little Feat, the Chieftains, John Lee Hooker, Gabby Pahinui, and Ali Farka Toure. He formed the Little Village supergroup with Nick Lowe, John Hiatt, and Jim Keltner.
Cooder's 1979 album Bop till You Drop was the first popular music album to be recorded digitally. It yielded his biggest hit, a disco/R&B cover of Elvis Presley's 1960s recording "Little Sister".
Going to Tampa
Ry Cooder Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don’t look for me around convention time
I’m bound for Tampa, in the great state of Florida
To see some distinguished friends of mine
Mitt and Rick and the pitbulls, the jolly ride and step forth
To the highest bidder each will guarantee
I’d give all my money sir if Palin calls me honey
‘Cause I’m goin’ to Tampa in the morning
Got my credentials in my overalls
But I can’t take you with me little darling
I’m going down to get my ashes hauled
Well here’s a proposition to entertain a motion
Bring back Willie Horton to us now
We’ll spook the congregation and petrify the nation
And blame the folks from Mexico somehow
And let me introduce a man who all know well
He can play a very important role
State rights is his game, Jim Crow is his name
And Jim’s our little ace in the hole
‘Cause I’m goin’ to Tampa in the morning
Saints of latter days will heed the call
We’ll shout hallelujah in the evening
I’m going down to get my ashes hauled
Well the int' woman told the tea party man
Gonna make love to you with a gun in my hand
That tea party man said, ‘that’s all right
Got a smoking bomb under my pillow at night
Well we’re all going to Tampa in the morning
Honey will you miss me when I’m gone
Now hope you pack my old bed sheet
I’m going down to get my ashes hauled
Yes, I’m goin’ to Tampa in the morning
Honey will you miss me when I’m gone
Now hope you pack my old bed sheet
‘Cause I’m going down to get my ashes hauled
The lyrics to Ry Cooder's "Going to Tampa" seem to be a sarcastic commentary on the state of American politics, specifically with regards to conservative political figures. The first verse mentions "distinguished friends" such as Mitt Romney, Rick Santorum, and Sarah Palin along with their "pitbulls," who seemingly are willing to auction themselves off to the highest bidder. The singer mentions that they would give all their money if Palin were to acknowledge them, emphasizing the celebrity status of these politicians.
In the second verse, the lyrics become even more critical. The singer suggests bringing back Willie Horton, a convicted murderer who was used as a political scapegoat during George H.W. Bush's 1988 presidential campaign. The singer also introduces a man named Jim Crow, who is associated with the racist segregation laws of the American South. These lines clearly criticize the Republican party's use of divisive and racist tactics.
The final verse includes a bizarre exchange between an "int' woman" and a "tea party man" in which they both suggest having guns for sexual purposes. The song ends with the singer repeating the phrase "I'm going down to get my ashes hauled," which is a crude euphemism for having sex.
Overall, "Going to Tampa" is a scathing critique of American conservatism, filled with satire and dark humor.
Line by Line Meaning
Goodbye my honey, farewell my baby
Saying goodbye to his lover
Don’t look for me around convention time
Will not attend the convention
I’m bound for Tampa, in the great state of Florida
Going to Tampa, Florida
To see some distinguished friends of mine
Visiting important acquaintances
Mitt and Rick and the pitbulls, the jolly ride and step forth
Referring to politicians
To the highest bidder each will guarantee
Politicians can be bought
I’d give all my money sir if Palin calls me honey
Expressing admiration for Sarah Palin
And shakes the pizzas on my tree
Metaphor for sexual attraction
‘Cause I’m goin’ to Tampa in the morning
Reiterating his trip to Tampa
Got my credentials in my overalls
Has necessary credentials for the event
But I can’t take you with me little darling
Cannot take his lover with him
I’m going down to get my ashes hauled
Intending to engage in sexual activity
Well here’s a proposition to entertain a motion
Proposing an idea
Bring back Willie Horton to us now
Referring to a controversial political campaign
We’ll spook the congregation and petrify the nation
Scaring the population
And blame the folks from Mexico somehow
Suggesting to blame issues on Mexican immigrants
And let me introduce a man who all know well
Introducing an infamous figure
He can play a very important role
Implying he has significant influence
State rights is his game, Jim Crow is his name
Referring to a discriminatory law
And Jim’s our little ace in the hole
Considered a valuable asset
Saints of latter days will heed the call
Religious reference to a political event
We’ll shout hallelujah in the evening
Suggesting excitement for the event
Well the int' woman told the tea party man
Describing a hypothetical encounter
Gonna make love to you with a gun in my hand
Metaphorical expression of power and control
That tea party man said, ‘that’s all right
Reacting to the proposition
Got a smoking bomb under my pillow at night
Metaphorical expression of violence
Honey will you miss me when I’m gone
Asking if his lover will miss him
Now hope you pack my old bed sheet
Asking his lover to do something before he leaves
Lyrics © Warner Chappell Music, Inc.
Written by: RY COODER
Lyrics Licensed & Provided by LyricFind