(New Wave rediscovery series)
by aLfie vera mella
by aLfie vera mella
While I was at the record shop Into the Music, in Downtown Winnipeg yesterday, checking out CDs and vinyl records, I noticed the music playing on the house speakers. I asked the clerk what artist that was. It sounded familiar, but I was sure that I didn't know what band or artist that was. The songs, especially the vocals, sounded a bit Peter Murphy of Bauhaus and very much Trevor Tanner of The Bolshoi; but I knew that it was neither The Bolshoi nor Bauhaus because I'm very familiar with the music of both English bands.
The clerk said, "Oh, it's my personal vinyl record and it's not for sale though. It's the album The Big Heat by Stan Ridgway."
As soon as I got back home, I googled it.
I learned that Stan Ridgway was actually the original vocalist of the U.S. New Wave / Postpunk band Wall of Voodoo, which I knew only for the song "Mexican Radio" (1982). Although Wall of Voodoo has released four studio albums, only two featured Ridgway: the debut, Dark Continent (1981), and the followup, Call of the West (1982), which contained "Mexican Radio." Ridgway left the band afterwards and pursued an enduring and relatively successful solo career.
"Mexican Radio" is perhaps the most popular song of Wall of Voodoo, from this U.S. New Wave band's second studio album, Call of the West (1982).
As a solo artist, Stan Ridway has released nine studio albums: The Big Heat (1986), Mosquitos (1989), Partyball (1991), Black Diamond (1995), the all-covers The Way I Feel Today (1998), Anatomy (1999), Snakebite (2004), Neon Mirage (2010), and Mr. Trouble (2012).
Other notable songs of Ridgway include "The Last Honest Man," "I Wanna Be a Boss," "Knife and Fork," "Running with the Carnival," and "Gone Deep Underground."
"The Last Honest Man" is my instant pick off Ridgway's second album, Mosquitos.
"I Wanna Be a Boss" is my personal pick from Ridgway's third album, Partyball.
Ridgway's Country roots is well pronounced in his fourth album, Black Diamond, as represented by "Knife and Fork," which cunningly reminded me of Johnny Cash.
The title of this song ("Running with the Carnival") from Ridgway's seventh album, Snakebite, speaks very well for its sound.
"Camouflage," from Ridgway's debut solo album, is apparently his most popular song.
In "The Big Heat," the title track of Ridgway's first solo album,both the musicality and the vocals have a strong resemblance with the pop sensibilities of The Bolshoi and Bauhaus.
"The Big Heat" the song that caught my attention, playing at that record store that I regularly go to, in Downtown Winnipeg--the title track off Ridgway's first solo album.
| The particular songs by The Bolshoi that came to my mind upon hearing Stan Ridgway's "The Big Heat" were "Happy Boy" and "Please." |
Stan Ridgway's song "The Big Heat" reminded me of The Bolshoi's "Happy Boy."
The flanger- and reverb-drenched quality of the guitar tracks in The Bolshoi's music--for instance, "Please"--resonates in some of the songs of Stan Ridgway.
Many New Wave enthusiasts know The Bolshoi best for the songs "Sunday Morning," "A Way," and "T.V. Man."
New Wave enthusiasts in the Philippines remember The Bolshoi best for the song "Sunday Morning," which was a party staple during the heyday of New Wave music, in the 1980s.
Doubtless, "A Way" remains to be the most anthemic song of The Bolshoi.
"T.V. Man" remains to be my most-favorite song of The Bolshoi.
The English New Wave / Gothic band The Bolshoi recorded four studio albums but got to release only the first three: Giants (1985), Friends (1986), Lindy's Party (1987), and Country Life (1988, unreleased).
No comments:
Post a Comment