Rezension
Von 1980, auf Borderline ergeht sich Cooder in Interpretationen heimischer R&B Traditionen und unterläßt Expeditionen in Weltmusikalische Gefilde. Auch Borderline ist eine Filmmusik, die Cooder die Möglichkeit gab: „...nicht krampfhaft Popalben machen zu müssen.“
Review
„For the past decade, Ry Cooder has been a one-man walking musical history book. Heþs introduced rock audiences to forgotten and overlooked American musical forms, specializing in the blues and various other types of ethnic music. A constant attraction of his recordings has been Cooderþs flawless musicianship on guitar and other stringed instruments (particularly his bottleneck guitar). On Cooderþs newest, his second digital recording, the odder forms heþs been known to dabble in, such as Hawaiian music, are left behind. Cooder concentrates on rhythm and blues with a contemporary production approach. Using well-known session musicians such as drummer Jim Keltner and bassist Tim Drummond, Cooder gets funky on such oldies as Billy Joe Royalþs "Down In The Boondocks," Wilson Pickettþs "634-5789" and the Cadillacsþ doo-wop classic, "Speedo." Cooder utilizes gospel choruses in places, and a vocal harmony group on the humorous "Crazy `Bout An Automobile." Cooderþs sole writing contribution is the title cut, an instrumental showcasing his bottleneck work. Preceding that track is an effective Tex-Mex romp titled "The Girls From Texas." Throughout the LP both artistic and sound quality are superb, and the general laid-back feel of the record makes it a fine lazy afternoon listening experience.”(Jeff Tamarkin: CMJ New Music Report Issue: 1 - Sep 27, 1982)