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Albums:. The Band of Blacky Ranchette (1985). Heartland (1986). Sage Advice (1990). Still Lookin' Good to Me (2003) View wiki. A side project of Howe Gelb. Howe Gelb lassoed together the first Band of Blacky Ranchette twenty years ago. “We were reckless and young,” he reminisces, “trying to deliver som.

The Farm is from my friend Rainer, and it´s one of the last songs he wrote, in 1996. He was my oldest and my dearest friend. We started playing together in the 70´s, and now we only can do it this way: by making start his music before our concert, with the band coming in as if he were still with us. Because he´s always inside of us, even if he´s not anymore.

Sage Advice dates back to the 80´s, from an album of my old group The Band Of Blacky Ranchette. I remember having written it in my old ´66 Barracuda during a drive from the place where I lived, near Jushua Tree, to Tucson: Seven hours in a car across the desert which in that car always was hotter but also seemed more beautiful. It directly followed Rainer´s piece that night of the show at the Barbican Theatre in London: Last November 3 was a special date because so many friends were with us for whom we´ve become some sort of accompanying band. The event was baptized Beyond Nashville.

Shiver is from Chore Of Enchantment, and if you listen attentively to the introduction you can hear the voice of Hank Williams taken from a radio-spot in which he does a commercial for his book about „how to write good songs'. I got Hank´s recording from Lemmy, alias Michael Leimer, our agent in Bologna: I started using it to open Shiver because the song was used for a TV-spot in the States.

The band of.blaky ranchette, Category: Artist, Albums: The band of. Blaky ranchette, Top Tracks: Code of the road, Revolution blues, Blind justice, Spinning room. The Band of Blacky Ranchette(1985) Heartland(1986) Sage Advice(1990) Still Lookin' Good to Me(2003).

Seldom Matters is from Ramp, from 1991, when Joey Burns joined the group. On the original, Victoria Williams sang and played banjo and harmonica. Songs such as this one seldom matter, but when they matter, it´s all that they do.

Spun: Here you can start to understand how much we love the transition from one song to the other, and how much more important and fun they are than the solos... trying to discover the best way to tie the songs together, like a puzzle, while we are playing them, even if this means that some concerts may be worse than others. It´s a piece from Glum, sadly inspired by the war in Bosnia: a theme, war, that is acute in these days again, hoping that it soon won´t be it anymore.

Johny Hit And Run Paulene was our first cover song at the London concert: It´s from X, the band from Los Angeles – which I loved very much, especially live. I opened for them when they played in Tucson in 1980. The female voice is PJ Harvey´s, who has become our dearest friend thanks to the band´s family-type relations getting ever more ample; in this case it´s the merit of our new cousin John Parish, also present this evening among other musicians like Evan Dando, Vic Chesnutt, Kurt Wagner and Mike Linkous. It was a bit like a family reunion, musically and spiritually.

Blue Marble Girl is on my last solo album, Confluence, and on Giant Sand´s Cover Magazine, too, where it was performed with Grandaddy because at the same time Calexico where engaged in their tour. Here, the line-up is the same as in London, and the ending has something magical: Every evening, something occurred to these songs that never had happened before, and this is for us one of the most beautiful moments. The only inconvenience being that when I tried to add a Miles Davis CD to the band´s music, the CD player didn´t function well and threatened to ruin the whole thing. As a compensation, a fantastic, bizarr Odyssey, I´d almost say, a symphony came out.

Film Score In A Minor may be found in some form on my solo piano record Lull. Here, we played it following the film that collectively projects itself in our heads while we are sleeping. That´s what we are above all: narrators of dreams.

Sunshine Of Your Love was played at a concert when we supported PJ Harvey in Hamburg, with Jim Fairchild on guitar and Aaron Burtch on drums, both from Grandaddy, plus Saholy and Laureline on guitar and bass. I think I played the baritone guitar. The song is by Cream, and it reminds me of my childhood. What can I say? All of us have a skeleton in the closet, and sometimes it´s good to celebrate it.

Astonished. Never deciding a step allows the situations on stage to stay alive and involving. To our surprise, this song from The Rock Opera Years: Official Bootleg Series Volume 2 decided to come to light whilst attempting a Thelonious lick. It´s all rather felonious, don´t you think? It happened in Milan and ends again with a CD player. A Goldfrapp-ending.

Delta Whip Around. Sometimes things just occur, and we have no right to judge but just to bear witness.

Corridor. Where we live, in Tucson, it´s like a large corridor. The old Mexican streets are flanked by brick houses one sqeezed to the other. This song from Purge And Slouch tells you what it means to live there during the rainy season. So don´t go to Tucson to find it out yourself. Stay at home, and listen.

Le Finale is also, more or less, from the piano album. And again, the TV set was left switched on while we were sleeping.

Band Of Blacky Ranchette Rar Download

Static. And the same occurred to the radio.

The Beat Goes On. I listened to this recording only after having defined the project of this live-record, and decided that it should enter by force. Listen to the New York audience singing in chorus, it´s exceptional... and Noah is getting extremely good in playing the conch shell. It´s very difficult not to have a kindly crazy grin stamped on your face after having survived this song. And now raise your glass to the survivors. Cheers!

Howe Gelb

Denmark, May 2002

Click to read The Interview

I shouldn't have been so much surprised. And I should even have beenexpecting it or hoping for it. Still, I was stunned when, on that day inseptember 2000, I got the e-mail that Howe Gelbhad sent to all the members of the Giant Sand discuss list.
In his peculiar style, elliptic and far gone out to the point of being nearlyincomprehensible, Howe was announcing nothing less than the return of Theband of Blacky Ranchette, his occasional country band, with a fourth albumto be released ten years after the previous one and fifteen years afterthe first one.
'Blacky is back' was the subject of the message, and it was enoughalready to make me jump with joy and to fill me with anticipated excitation,but it was nothing compared to the effect that the message itself had onme, explaining that Blacky has decided to unite one more time to recorda tribute to their dear friend and founder member RainerPtacek, who died in Autumn 1997, and that, on this occasion, the grouphad invited another friend of Rainer to take part in the recording process,...Jonathan Richman!
At that point, I was not jumping with joy anymore, rather, I was petrifiedwith surprise ! If I add Jonathan Richman's albums to those byt he GiantSand galaxy of bands, I must have nearly fifty albums in my home - and I'mnot talking about singles - and both these artists are awarded regular andsystematic chronicles in Letslivappy!So, to see them recording together was completely unhoped for.

And yet, as I was saying, it shouldn't have been such a completesurprise. After all, since 1995 at least, Jonathan has been playing allhis concerts with Tom Larkins, who played a long time in Giant Sand withHowe Gelb and Rainer and who has also played on the Blacky Ranchette albums.And at the time of 'Surrender to Jonathan !', Nick Augustine wasplaying bass live and on record with Jonathan, and before that Nick hadbeen for years the bass player for Das Combo, the backing-band for... Rainer.

And then, it wasn't the first album in tribute to Rainer. To helpcover its medical expenses, the Tucson musicians had released 'Woodfor Rainer' in 1996 as soon as news of Rainer's illness had comeout, a compilation of recordings made during the 'Wooden ball',a mainly acoustic festival which regularly gathers the Tucson scene.
The other Rainer tribute album, 'The inner flame', hadcome out in 1997, at the time when a remission in his illness had led tothink that Rainer was on the path to a complete cure. On this album, overseenby Howe and Robert Plant, there was a song by Jonathan Richman, an instrumentalcover of Rainer's 'Broken promises', recorded in Paris duringthe Spring 1996 tour, with Nick Augustine, Tom Larkins and keyboard playerDan Eisenberg.
Another clue could link Jonathan with Rainer, and thus with Giant Sand,since the lyrics for 'Rock'n'roll drummer straight from the hospy-tel'on the 'Surrender to Jonathan !' album in 1996 were credited toRudy Ptacek and Jenny Rae Richman, without precision of their family lineage,but this could led to think that Jonathan and Rainer knew each other wellenough for their children to write know each other too, and this was confirmedby the Tucson Weeklywhich, at the time of the release of 'The inner flame', presentedJonathan as an old friend of Rainer's.

And so, despite all these connections, I would not have imaginedeven in a dream that I'd be able to listen to an album recorded by GiantSand and Jonathan Richman.
In his message, Howe explained in a few words how this album came to be,and he went back to Spring 1999, when Howe had invited Jonathan and Tomfor a drink at his home in the barrio after their gig at the ClubCongress in Tucson.
As they visited the house, Howe had talked about the building works he wasplanning, and Jonathan, excited, had explained that he had been trainingin stone masonry for a few years already, and that he'd be happy to comeback when he had a little more time to give a helping hand for this buildingwork.
That's what was done during Spring 2000, when Jonathan came to spend tendays at Howe's home. They would work during the day, but, obviously, theywould find themselves in the evening playing guitar in the living-room,without even realizing it.
Until one day when they came to mention Jonathan's country album that hehad released in 1990, with The Skeletons backing him.

From one thing to another, the conversation switched to 'Sleepwalk',the instrumental Jonathan had recorded the year before his country record,on his first album without The Modern Lovers, then to the version of thesame 'Sleepwalk' that Rainer had recorded in 1985 for his 'Barefootrock' album, produced by... Howe, less than a year after the firstBand of Blacky Ranchette album.
Howe was saying that, without Rainer, Blacky would probably never recordagain, but Jonathan remarked that 'Sage advice', in 1990, hadbeen decided upon very quickly, and that it had been done without Rainer.And suddenly, without anyone knowing who had had the idea, it was obvioushere in the room and in everyone's mind : if Rainer could not record withBlacky Ranchette anymore, Blacky Ranchette could get together around Rainer,who was still present in the hearts of his friends.

Nearly everything was decided that evening, with a few phone calls: Jonathan was in Tucson for another week, and when he would leave the albumwould be recorded, and the tiles would laid as forecast in Howe's home.
A phone call to Craig Schumacher to book the Wavelab studios for two days.A phone call to the musician friends to explain the idea (stroke of luck: the Giant Sand following the release of the 'Choreof enchantment' album had just ended, and Calexico had not leftyet to go on promotion for their third album) and invite them, and a fewevenings spent choosing the songs and rehearsing them acoustically at Howe'sand, the next week-end, The Band of Blacky Ranchette was back in the studioto record 'I can't find my best friend', the release of whichon his Ow Om label had just been announced by Howe.

Apart from Jonathan Richman on guitar and vocals, The Band of BlackyRanchette reunited with its most regular musicians : Howe Gelb on guitarand vocals, Joey Burns double bass, cello and vocals, Tom Larkins on percussions,John Convertino on drums, Neil Harry on pedal steel and Bridget Keatingon violin.
As for the eleven songs on the album, they had been chosen among those byRainer ('I am a sinner' and 'Life is fine'), by BlackyRanchette ('Play an old guitar', 'Heartland' and 'Nowhere'),by Howe for Giant Sand or his solo records ('Soldier of fortune','Warm storm' and 'The inner flame',the title song ofthe compilation that Giant Sand and Rainer had recorded together), and finallythose taken from Jonathan Richman's repertoire ('Themorning of our lives', making it the first studio version of thissong that he was already playing in 1977, 'I can't find my best friend'and a cover of 'Satisfied mind', which he had already played onhis country album).

And as for the fans of Jonathan Richman, Giant Sand and Rainer, theyonly had to wait a few more weeks to listen to the album...

The above daydream was written on July 25th 1999.
Here's the technical info on the album, which might be released in the Autumn of 2000, if ever daydreams could come true :

Artist : Jonathan Richman & The band of BlackyRanchette
Title : 'I can't find my best friend'
Label :Ow Om recordings,an artist run mess of a label
Produced by Howe Gelb, Jonathan Richman and Joey Burns
Engineered by Craig Schumacher at Wavelab Studios (Tucson, AZ) intwo days during Spring 2000
Personnel :
Joey Burns : double bass, cello, vocals
John Convertino : drums, vibes
Howe Gelb : guitar, vocals, piano, harmonium, accordian
Neil Harry : pedal steel guitar
Bridget Keating : violin
Tom Larkins : percussions
Jonathan Richman : guitar, vocals
Songlist :
Life is fine
Soldier of fortune
Play an old guitar
The morning of our lives
Nowhere
I am a sinner
Satisfied mind
Heartland
Warm storm
I can't find my best friend
The inner flame

See also :

Band Of Blacky Ranchette Rar Song

Rainerdiscography
Jonathan Richman discography

Band Of Blacky Ranchette Rar Free

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