Search - Stan Ridgway & Drywall :: Barbeque Babylon

Righty likes track 16, whoot!

K. A. Nevin | Belgrade, MT | 07/20/2006

(4 out of 5 stars)

"All of Stan's work has shown a deep suspicion of the industrial-military complex, heaped and blended with existential nihilism. I never took such a dim view of American life personally, but appreciated his artistic window into the darker side of society. For the record I'm a right-of-center, Republican-leaner who voted for Bush twice and I found track sixteen to be clever and, yes, a bit childish, but fun and I enjoy childish fun even when it steps on my idealogical toes. That being said the rest of the CD is delightfully quirky, loaded with imagery both dark and campy, and sprinkled with childish fun. And very true to Ridgway form this CD is yet another deadpan narrative description of the writhing scaly spectacle that is modernity's underbelly. It's kind of like David Lynch for the ears. The only reason I didn't give it 5 stars was that I didn't feel it rose to the level of "Work the Dumb Oracle"."

A Masterpiece of Strange / Pop Art for 2006

Pete Goodman | Phoenix AZ | 04/22/2006

(5 out of 5 stars)

"Continuing an on-again/off-again relationship with his Drywall side project that began in 1986 with Work the Dumb Oracle, the third album in Stan Ridgway's "trilogy of apocalyptic documents" isn't substantially different from his better-known solo work, at least on this 2006 release. His carnival barker vocals, bizarre lyrics, and shapeshifting cinematic soundscapes are in fine twisted form as the songs morph from the moody, bluesy harmonica-laced "Bury the Pope" to the more experimental subtle electronica textures of "Rain on Down" and the whimsical, Tex-Mex party atmosphere of "Goin' on Down to the BBQ." Co-Drywall conspirators/multi-instrumentalists Pietra Wexstun and especially Rick King are relegated to sideline status as Ridgway's distinctive vocals and lyrics dominate the proceedings. The diverse sounds combine aspects of Tom Waits (the percussive "The Alibi Room" sounds like an outtake from Rain Dogs), jazzy noir lounge ("Somewhere in the Dark"), Yello ("That Big Weird Thing"), and even world music ("Bold Marauder" is sung by Wexstun doing her best Grace Slick impression), but ultimately seem like Ridgway pushing his already elastic musical boundaries. At just over an hour, including a humorous bonus track that features sentences from George W. Bush speeches cut-and-pasted to mean something far different than what was originally intended, there is a lot to listen to here. Each track is overdubbed multiple times with layers of sound effects and instruments requiring repeated listenings to fully absorb. As with many Ridgway projects, the lyrical theme is obtuse but the music is so challenging, quirky, and innovative that the whole shebang is a mesmerizing musical trip. Anyone already a Ridgway fan will be thrilled, and open-minded newcomers might find enough of interest here to seek out his earlier, arguably more cohesive albums. Barbeque Babylon is a fun, often but not always lighthearted romp with the participants obviously enjoying themselves by painting a sonic palette the equivalent of '60s pop art. Part pastiche, part storytelling, and part experimental, the album finds Ridgway at the peak of his powers, creating music that demands attention even if at times it doesn't take itself seriously."

Spooky and compelling

R. G. Wheeler | 10/12/2005

(5 out of 5 stars)

"Ridgeway's dramatic but spookily subtle story-telling vocal style and haunting arrangements makes listening to his songs like going to a movie. He's a totally unique and intuitive composer, singer and multi-faceted musician who deserves much more limelight than he would probably be comfortable with. His last album (Snakebite) was a great work and this is even better. I assume he and Pietra Wexstun create from a universe all their own, yet have the desire and talent to allow us to share compelling visions and their own "Monsters of the ID"."