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".
UFO Has Landed in the Ghetto
Ry Cooder Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tuning in the soul music on the satellite
All that low-down funky rhythm makes him jump and shout
Just got to find that ghetto planet that everyone's talkin' about
Tuning in the local scene on the radio
The D.J. on the radar screen is telling him where to go
The funky fever's getting louder, sounds just like a soul encounter
And he's got a little dance he wants to do
He pulls up to a big night club in his UFO
Gets right in with all the folks out on the big dance floor
It really stops the action, everybody's mystified
To see that little step he's got as he goes glidin' by
Now, he ain't doin' the Gigolo 'cause he ain't got no hips
Looks like the Funky Chicken man, 'cept he ain't got no hips
Those shiny metal threads he's wearin' really got some class
I'd say he was doin' the Bomp, but I can't seem to find his ass
Now, everybody fall in love
He's reet, he's neat, he can't be beat
You shake your shimmy like I shake mine
He's hand held and he's jet propelled
Shake it up from sun to sun
He's fast and loose, he's full of juice
Shake it like an atomic bomb
He's got the goose so what's the use
That UFO has landed in the ghetto
The song "UFO Has Landed in the Ghetto" by Ry Cooder is about an extraterrestrial visitor who has landed in the ghetto and is amazed by the soulful music he hears. The lyrics describe how the outsider listens in on the local scene through his radio, following the directions of a DJ while cruising for some barbecue. He eventually ends up at a night club in his UFO, where he attracts attention with his quirky dance steps and flashy outfit.
The song is a humorous and playful take on the idea of an alien visiting Earth and fitting into the soulful culture of the ghetto. The outsider is initially drawn to the music, which he finds irresistible and energizing, and he joins in on the dance floor with a little step of his own. The lyrics playfully describe the dance as looking like the Funky Chicken, but without the hips.
The song captures the spirit of the time, with its blend of funk, soul, and rock elements. Cooder's use of humor and wit in the lyrics combined with the groovy rhythms of the music creates a fun and lighthearted vibe that will move you to dance.
Line by Line Meaning
Lonesome outerspace invader blasting through the night
A lonely being from outer space travels through the night, shooting through the darkness.
Tuning in the soul music on the satellite
Listening to soulful music via satellite transmission.
All that low-down funky rhythm makes him jump and shout
He can't resist the funky rhythm and starts dancing to it.
Just got to find that ghetto planet that everyone's talkin' about
He's searching for the legendary planet that is known for its unique cultural scene.
Tuning in the local scene on the radio
He tunes in to the local radio station to get a feel of the music scene.
The D.J. on the radar screen is telling him where to go
The DJ provides directions on where to go to experience the local scene.
The funky fever's getting louder, sounds just like a soul encounter
The music is getting louder and more intense, creating a soulful experience.
Cruisin' for some bar-be-que right up Central Avenue
He's on the lookout for some barbecue joints along Central Avenue.
And he's got a little dance he wants to do
He has a special dance he's been planning to perform.
He pulls up to a big night club in his UFO
He arrives at a large nightclub in his UFO.
Gets right in with all the folks out on the big dance floor
He joins the crowd on the dance floor immediately.
It really stops the action, everybody's mystified
His arrival causes a commotion, and everyone is amazed by him.
To see that little step he's got as he goes glidin' by
They are impressed with his dance moves as he slides across the floor.
Now, he ain't doin' the Gigolo 'cause he ain't got no hips
He can't do the gigolo dance due to his lack of hips.
Looks like the Funky Chicken man, 'cept he ain't got no hips
He resembles the Funky Chicken dance but can't do it because of his hips.
Those shiny metal threads he's wearin' really got some class
His flashy metal clothing looks very stylish.
I'd say he was doin' the Bomp, but I can't seem to find his ass
His dance moves resemble the Bomp dance, but it's hard to tell because of his lack of buttocks.
Now, everybody fall in love
The crowd is in awe of him and starts to admire him.
He's reet, he's neat, he can't be beat
He's cool, stylish, and unbeatable.
You shake your shimmy like I shake mine
He invites everyone to dance with him.
He's hand-held and he's jet propelled
He's able to fly and is a rocket powered spacecraft.
Shake it up from sun to sun
Everyone should dance and enjoy life all day, every day.
He's fast and loose, he's full of juice
He's fast, flexible, and full of energy.
Shake it like an atomic bomb
Everyone should dance with explosive energy.
He's got the goose, so what's the use
He's having a great time and invites everyone to join him.
That UFO has landed in the ghetto
The spaceship has finally arrived at the legendary cultural scene, which is nothing like what it has seen before.
Lyrics © Warner Chappell Music, Inc.
Written by: Jim Keltner, Ryland Peter Cooder
Lyrics Licensed & Provided by LyricFind