THE DRYWALL INCIDENT Double Disc

by Stan Ridgway & Drywall

supported by
John Mentzer
John Mentzer thumbnail
John Mentzer As it says in the description this album harkens back to some Wall of Voodoo sounds. It is definitely its own thing apart from the solo work with much darker themes and sound. Favorite track: Riot In Dogtown.
/
  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Tracks 1-12 Drywall Songs / Tracks 13-30 Soundtrack Cues from "The Drywall Incident" Thank you good folks for your support! xo Stan & Pietra
    Purchasable with gift card

      $6 USD  or more

     

1.
2.
Police Call 05:18
3.
4.
5.
6.
Highway Song 04:57
7.
Mr. Smith 05:28
8.
9.
10.
11.
12.
13.
Blue Fog 03:51
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.

about

The DOUBLE release. Tracks 1- 12 : The Songs
Tracks 13 - 30 : The Soundtrack Cues
All Songs & Music C & P
dis information music BMI
Thank you folks !

Not only is "The Drywall Incident" a great collection of wonderfully twisted songs that represents a sick homage to Los Angeles, it's easily the most experimental, unusual and therefore, most Wall Of Voodoo-like album Stan Ridgway has done since going solo in early 1986. Which isn't to say that it's some kind of cheap rip-off of his earlier work, but rather, to suggest that those who have always appreciated the more outlandish side of Ridgway - in and out of Wall Of Voodoo - will definitely be interested in this two CD set. The sound is superb! A whole lotta dirty, city gone mad, baby gone bad, filthy geetar-electronic blues! James Ellroy is listening!

The second installment in the "trilogy of apocalyptic documents" signals a radical departure in sound, miles away from the vividly tuneful and playful compositions of solo Ridgway and if anything, a return to the nightmarish tones of Wall of Voodoo and beyond. "The Drywall Incident" is a doulble CD that contains the soundtrack to the rare and famous film by director Carlos Grasso and Drywall.

The album rolls around gleefully in the wreckage and detritus of an increasingly insane American society; a place where 18 - wheelers hurtle down interstates strewn with the corpses of dead animals, where exclusive clubs cater for every perversion known to man , where grand theft auto is euphemistically justified as "takin' back America." An intense and fiery listen!

------------------------------

BACKS AGAINST THE DRYWALL
Stan Ridgway's new band documents the end of Los Angeles

by
ERIN HAWKINS

In this hoary and putrid world of pop music, filled with vapid
info-bytes, "controversial" web sites and loathsome singers who model
$12,000 pants for Details and then whine about media manipulation, Stan
Ridgway is a breath of fresh helium. Better yet, he's a cracked-spine,
jam-packed Norton Anthology of whacked-out American folklore and gritty
urban decay.

Though the one-time Wall Of Voodoo member has spent the better half of
his solo career spinning tales of kooks and losers from a mythical
America ("Salesman," "Peg And Pete And Me" and "Gumbo Man," to name but
an iota), his latest incarnation -- the band Drywall -- paints a bleak
yet still amusing noisescape of a Los Angeles about to blow. It's
eerie, outlandish and really quite wonderful. We'll get to it later.

This story starts off, however, over a year ago on a blustery,
freeze-your-nipples- off night in the old GE building in Toronto's west
end. Ridgway was in town filming his scene (a Punch and Judy style,
war-torn Berlin dance number set to "Cannon Song") in Larry Weinstein's
tribute to Kurt Weill, September Songs. Ridgway sat down for a very
brief interview and talked about his unceremonious dumping from Geffen
Records after his 1991 tour de force Partyball, and how people treat
Weill with far too much reverence. He was fascinating and droll as can
be as he sat there, nursing a hot toddy in one hand and holding a
ridiculous Colonel Klink helmet in the other. It all came to an abrupt
halt, though, after his about-to- pop-an-artery manager split us apart
just when things were getting good. The last thing I remember is him
ambling off to the washroom, sword dragging behind him.

Now, a year later and 13 years after Wall Of Voodoo's evocative Call
Of The West album, Ridgway is back with his original label (IRS) for
Work The Dumb Oracle, and back in a band -- Drywall is a tight, noisy
collective that includes Ridgway's longtime co-conspirator, keyboardist
Pietra Wextun, and drummer Ivan Knight. So why the leap from Stan
Ridgway™ pop tunes?

"It's because I was in limbo between record labels," Ridgway explains
from his Los Angeles studio. "I was working on recordings all the time
and finished up a solo record that I was just about to master and say,
`Here's another recording,' but in the meantime, I'd come up with a lot
of other things that were a lot angrier. I felt it had a lot more
resonance and meaningfulness for me -- this pile of angry rants -- than
what I'd just finished."

According to Ridgway, Work The Dumb Oracle is "the first in a trilogy
of apocalyptic documents culminating in the year 2000." If this sounds
a bit like plagues of frogs leaping out of the Book of Revelations,
you've got the right idea.

"That's why I kind of like it," he says with a laugh. "It's a bit
ironic 'cause I don't know if there's going to be an apocalypse. It
seems that history has a way of steam-rolling over all of us who think
we have the answer. But I'll tell ya, it's an age of marketing, and
Drywall understands that."

The anger which fueled Work The Dumb Oracle has more to do with what
Ridgway calls the `triangle heads of L.A. -- the kind of guy who "comes
down the street and throws a few spiked logs in the road for you to run
over" rather than the Newt Gingrichs or Bob Doles who want to scrap
Ridgway's beloved PBS to save a few tax dollars.

"A lot of L.A.'s population has become very myopic and very solipsistic
in terms that they don't really see what's going on in the rest of the
world. They feel it's all coming from here. They spew out pictures of
fires and earthquakes, riots and floods and O.J. -- all that stuff. We
thought L.A. was kind of an oracle of sorts, but it's a dumb oracle.
It's kind of a touchstone for a lot of people to get close to -- cop a
feel. But a lot of it's senseless nonsense.

"We thought Drywall is not above such base behavior, so we're working
the dumb oracle. And we'll work it for all it's worth, because we live
here and we have to take it day in and day out."

Ridgway has become his own wireless theater. Spanning nearly 30 years in song, master storyteller Ridgway pulls out new and old work to dazzling effect. MUSICMUSE

"Stan Ridgway is a brilliant iconoclast with a catalog as strong as that of any more famous songwriter you'd care to name with terrific solo records like Snakebite, Anatomy, The Big Heat, Black Diamond, Partyball and Mosquitoes and more. Thoughtful and mature, the new Neon Mirage is a rich palette of colors, provided by his keyboardist Pietra Wexstun, longtime guitarist Rick King, woodwind maestro Ralph Carney, and the late great Amy Farris on violin and viola. A song cycle inspired as much by loss as by living, Neon Mirage strips his signature sound down to the bare essentials, while still remaining as eclectic as always. The tunes in turn act as windows into Ridgway's soul, a view he's rarely offered before – even if the curtains aren't all the way open...With voyages into territories old and new, Neon Mirage is one of the best albums in Ridgway's long, auspicious career." THE BIG TAKEOVER

"In fact he's an ingenious writer with a grip on low - life imagery that hearkens back to that of Burroughs, Bukowski and Brecht. If a modern American counterpart to Bertol Brecht's collaborations with Kurt Weil exits, it's the music of Stan Ridgway." SAN FRANCISCO CHRONICLE

"Some know him just as the long lost singer with the great Wall Of Voodoo, others as one of the great unsung maverick geniuses of our time." MELODY MAKER

"For Stan Ridgway life is like an old detective movie, full of furtive con men and tough dames who hide their daily crimes in the gray mist of the city. This is mature music, short on sentimentality, long on imagination and style." PEOPLE MAGAZINE

"Stan Ridgway has a cast of thousands at his fingertips, and a wealth of tales in his head. A rare and famous talent. Not part of any club or click, just a maverick in his own right." LONDON MIDWEEK

"Stan Ridgway is one of the most unique and talented songwriters around." RECORD MIRROR

"Haunted by America's pulp serial past, Stan Ridgway has become his own wireless theater." THE FACE

"Stan Ridgway is equal parts Raymond Chandler and John Huston, Johnny Cash and Rod Serling." NME

"Filtered through his sardonically insightful wit, these stories become engaging not only for the details he includes, but the ones he chooses not to expose as well." THE AUSTIN CHRONICLE

"Stan Ridgway tells stories from the underside of America. It's the dream gone sour; the dream that never even took root. Tales of losers who battle on and play the game their own way, with a glamour-less beauty and a bath of realism... slices of lives that knew the rules have been drawn up 'someplace else'; characters that have to bluff to get by." FOLLOW MUSIC AUSTRALIA

"Fast moving novellas full of dense musical imagery, peopled with characters from a human highway 61 revisited." THE FACE

"More noises from America's lost frontier. His songs tell stories that unfold gradually and trade in old fashioned narrative devices like character and suspense. It's a move at once conservative and daring - but, best of all, it works." ROLLING STONE

"Stan Ridgway is the Nathaniel West of rock." LA WEEKLY

"Ridgway has the talent to hold your attention by telling a tale in the same intense and clear way that rockers like Neil Young and Lou Reed do. A cool Californian commentator with a sense of humor to match his sense of history." Q MAGAZINE

"Ridgway's tales of the sad, soft underbelly of the American Dream are songs of hope petering into resignation, of idealism soured into cynicism; he's a very adult writer operating in an arena more usually home to the naive and infantile." THE INDEPENDENTS

"If David Lynch were a musician, he would be Stan Ridgway. Both look at Leave It To Beaver America and see serial killers lurking beneath its porches. Both can infuse a simple everyday object with weirdness and dread, creating a world that's consistently disturbing, fascinating and cool." L.A. WEEKLY

"Its possible that Ridgway's change of stance reflects a more serious attitude toward his music. Ridgway isn't just a wise guy anymore." L.A. TIMES

credits

released March 29, 2018

Stan Ridgway: guitar, vcs, harmonica, keyboards
Pietra Wexstun: keyboards, vcs, electronics
Ivan Knight: drums, percussion
Produced by Jim Hill, Bill Noland, and Drywall
c & p dis information music bmi / A440 Records

license

all rights reserved

tags

about

Stan Ridgway & Pietra Wexstun Los Angeles, California

Stan Ridgway and Pietra Wexstun are now on BandCamp. New directions in music for your listening pleasure. Music and Song, Soundtracks for Film. Electronic experiments. Obscure song covers. its all part of their weird world. yeah gee. Join them. Resistance is futile. ... more

contact / help

Contact Stan Ridgway & Pietra Wexstun

Streaming and
Download help

Shipping and returns

Report this album or account

If you like THE DRYWALL INCIDENT Double Disc, you may also like: