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Marc Ribot is widely recognized as one of the great
guitar originals his distinctively edgy and impassioned
sound can recently be found on albums by such diverse
musicians as Robert Plant/Alison Krauss, Norah Jones,
Allen Toussaint, McCoy Tyner, Marianne Faithful, John
Zorn, and The Black Keys. Silent Movies finds Ribot
taking another surprising step in a career filled with
Almost a polar opposite of his last release, Party
Intellectuals, Silent Movies is mostly filled with his
gorgeously contemplative compositions performed solo,
with minimal overdubs. The album reflects Ribot s
fascination with movies and contains pieces intended to
function as music for films: some adaptations of music
he has written for film, some for movies that he scored
that were never released, some for classic silent films
that he scored for his own amusement, and some for
films of his own imagination.
A visionary guitarist, Ribot is a fount of pithy
commentary. --New York Times
He is mercurial in the best possible sense and
impossible to categorize neatly. --National Public Radio
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Top customer reviews
Here we hear Ribot in an entirely different context -- solo guitar music, mainly acoustic, composed for films. As Ribot explains in the liner notes:
"This is an album of film music: some were pieces originally composed for movie scores, others for films I turned down but found myself writing for anyway, still others for projects that never existed outside of my head. All have been transcribed/re-imagined as solo guitar pieces... ...The title and some of the compositions were also inspired by my experience preparing for a live accompaniment of the Charlie Chaplin film "The Kid" at Merkin Hall in January 2010 as part of the NY Guitar Festival."
"Natalia" and "Requiem for a Revolution" were composed for "The General," a documentary film directed by Natalia Almada. "Delancey Waltz," "Fat Man Blues," and "Bateau" were originally composed for the motion picture "Drunk Boat," produced by JD Foster. "Variation 1," "Flicker," "Requiem for a Revolution," "Postcard from N.Y.," and "Sous le ciel de Paris" feature textured electronic soundscapes by Keefus Ciancia.
While there is variety from track to track -- "Natalia" for instance is electric and "Fat Man Blues" is humorous -- overall, the mood is melancholy. It is more folk than jazz, with evocative melodies that seem to transport the listener back in time to remembered scenes, some urban, some bucolic.
This is warm, human music that communicates through feeling rather than through dazzling technique.
SILENT MOVIES presents a little-known side of Marc Ribot's sensibility, and we are the better for it.
I've been DYING for some real, honest mic'd and not piezo'd acoustic. What the F*&K is it with every acoustic guitar player using pickups in the studio? Seriously? Why should guitar builders even make great sounding instruments anymore? Oh right, here's a very compelling one: MARC RIBOT.
This is already one of my favorite recordings. EVER. Beautiful. I've always loved Marc Ribot's music, but now I LOVE Marc Ribot's music.
Move over "My Goals Beyond", you've got company on the CD tray..
Holy jesus what a great recording.