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Thanks to the diligence of Rainer's widow Patti Keating, his friend Howe Gelb (of Giant Sand) and others, Alpaca Lips is now available on Germany's Glitterhouse Records. An astonishingly pure, intensely soulful collection of acoustic folk and blues that actually resides somewhere in a rarefied between-genres space, the disc was recorded and compiled by Rainer himself in early '96, just prior to the fateful seizure.
"Before Rainer got sick," explains Keating, "he'd recorded a lot of songs. He wanted to get these out in Europe; he was already hooked up with Glitterhouse because of Nocturnes [his '95 album issued by the label]. And then he got sick, and it was just pushed under the rug."
Keating recalls going through a handful of Rainer's tapes some time after his death and coming across a DAT labeled "alpaca lips." ("Just his funny little sense of humor, a play on words -- I think he actually wanted a clasp picture of an alpaca on the cover," says Keating, laughing at the memory.) Knowing her husband's intentions, she revived the project precisely as he'd conceived it.
While it may be folly to second-guess the dearly departed, Keating suggests that Rainer may have subconsciously left clues to make such an endeavor possible. Not only did he secure a completed, sequenced and labeled DAT, he also tucked away scores of handwritten notes and hours of tapes chronicling long practice sessions; radiation treatment and chemotherapy had affected his memory, forcing him to relearn his own music. Says Keating, "It's almost as if he left us road maps to where he was going, because he wrote down everything. The tapes, too -- I think that was also his memory."
One of Alpaca Lips' most riveting numbers is a cover of Stevie Wonder's "Pastime Paradise." With minimalist backing from Giant Sand/Calexico's Joey Burns (standup bass) and John Convertino (vibraphone), Rainer hangs shimmering, spider's-silk notes in the air; a fragile, world-weary vocal pushes Wonder's cautionary rumination into the realm of existentialism when he sings, "We're spending too much of our lives/Living in a pastime paradise/Yeah, we're wasting most of our time/Glorifying days done gone behind/Tell me who of them/Have come to be?/How many of them/Are you and me?"
"You know, that one was recorded right before he got sick, which is why it seems so profound to me," muses Keating. "It's real eerie to me. Almost like, not an omen, but . . . [voice trailing off momentarily] almost like he knew it was coming on. A premonition."
Born on June 7, 1951, in East Germany, Rainer Jaromir Ptacek grew up in Chicago after his family fled the Communist country in 1953. Musically inclined from childhood, in the mid '60s Rainer swapped violin for guitar. (He once quipped, "None of the Beatles, it seemed, were interested in violin.") A decade later he'd become a fixture on the Tucson music scene, ultimately garnering an international reputation as a song stylist and slide virtuoso that had critics speaking of him, Ry Cooder and John Fahey in the same breath, while pondering the intricacies of an elaborate tape loop and delay pedal strategy he'd developed during his later years that allowed him to sound like three guitarists at once. In addition to five albums (solo and with his power blues trio Das Combo) released between 1986 and 1994, he collaborated with everyone from Giant Sand and Germany's F.S.K. to ZZ Top's Billy Gibbons and Led Zep's Robert Plant. (Consult Britain's Sa-Wa-Ro Web site, www.sa-wa-ro.freeserve.co.uk/index-ie.htm, for a discographical overview.)
After Rainer's death, aiming to expand his musical legacy, Keating and Gelb began planning an ongoing archival project. Glitterhouse Records was only too happy to get involved, having worked with Rainer previously on a CD reissue of the '86 Rainer & Das Combo Barefoot Rock album and the Nocturnes collection of ambient-tinged solo pieces.
Glitterhouse owner Reinhard Holstein remembers his first exposure to Rainer's music: "I bought [1992 album] Worried Spirits and loved it. Then came Texas Tapes , and the fact that it was unmistakably ZZ Top backing him blew me away. My initial impressions then were the same as they are now: I like the way he constructs his songs, I love his electric guitar work and I'm totally into his dobro virtuosity. But what I like most is his voice, or the combination of his guitar style and the vocals. That howl is maximum intensity for me.
"We did Nocturnes, got a lot of great press and did reasonably well," continues Holstein. "And I knew that Rainer had something coming; he'd sent me some of the stuff that finally made it onto Alpaca Lips. But at the time, the record was not put together yet and he wanted to send me something that was finished. So now, we want to do it right, and give it a fair chance to make an impact."