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Call of the West

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Reseña de álbum

Wall of Voodoo's second full-length album, Call of the West, was a noticeably more approachable work than their debut, Dark Continent, and it even scored a fluke hit single, "Mexican Radio," a loopy little number about puzzled American tourists that's easily the catchiest thing on the album. But while Wall of Voodoo's textures had gotten a bit less abrasive with time, the band's oddball minor-key approach was still a long way from synth pop, and frontman Stan Ridgway's songs were Americana at it's darkest and least forgiving, full of tales of ordinary folks with little in the way of hopes or dreams, getting by on illusions that seem more like a willful denial of the truth the closer you get to them. There's a quiet tragedy in the ruined suburbanites of "Lost Weekend" and the emotionally stranded working stiff of "Factory," and the title song, which follows some Middle American sad sack as he chases a vague and hopeless dream in California, is as close as pop music has gotten to capturing the bitter chaos of the final chapter of Nathaniel West's The Day of the Locust. In other words, anyone who bought Call of the West figuring it would feature another nine off-kilter pop tunes like "Mexican Radio" probably recoiled in horror by the time they got to the end of side two. But there's an intelligence and wounded compassion in the album's gallery of lost souls, and there's enough bite in the music that it remains satisfying two decades on. Call of the West is that rare example of a new wave band scoring a fluke success with what was also their most satisfying album.

Reseñas de usuarios

Call of the West

The only song I know off of this album is "Mexican Radio." I remember the video back when MTV was good. It is when of my one of my all time favorite songs from the 80's.


This album shows the raw, aggressive early talent of Stan Ridgeway and company. Every track rings of a complex character, motivated and multi-facted, brought forth under the dark minimalist rock with synthizer. From the start horn by way of harmonica through the heavy verbal snycopation of Factory, this album demonstrates what they'd set the stage for with the release of Dark Continent. New wave by time period, set to the tone of well after dark things move in the night.

missing bonus track

It's a shame iTunes didn't include "Exercise", the bonus track from the cassette tape release of this album . . . a stellar work from start to finish . .smart, cutting, dark, and funny and ironic all at once . . . '80's writ large . . . now you see 'em . . now you don't . . . this is one of the soundtracks for the much deified "Reagan Era" . . that suggests to the darkness behind all the patriotic rah rah stuff going on at the time . . .


Se formó en: 1977 en Los Angeles, CA

Género: Alternativa

Años de actividad: '70s, '80s

Best known for their alternative radio classic "Mexican Radio," Wall of Voodoo formed in Los Angeles in 1977, originally as a soundtrack company. Led by singer/songwriter Stan Ridgway and rounded out by guitarist Marc Moreland, bassist/keyboardist Bruce Moreland, keyboardist Chas Gray, and drummer Joe Nanini, the group issued its self-titled debut EP in 1980. With the additions of bassist Bruce Moreland and his brother Marc on guitar (replacing Noland), the band's sound crystallized on 1981's full-length...
Biografía completa
Call of the West, Wall of Voodoo
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