hey, man, want the inside skinny? sure you do!
|june 20th 2002|
Since the June 11th update, there have been a bunch of minor touch-ups to the site, mainly fixing some minor fiddly little things in the news stories, and adding a new small video of Wall Of Voodoo at the US Festival. If you were daunted by its hulking 60MB size before, why don't you give the slender 11MB download a try.
As for the unusual heading for this news update, that was (no joke) my fortune from a fortune cookie at lunch yesterday. I suspect they may be on to something...
|june 11th 2002|
Holiday In Dirt lyrics
Rumors have been flying about the nature of the show, but I've got the Official Skinny from the man hisself. Peep this: He plans to stick to the last three albums (for those of you keeping score at home, that'd be Black Diamond, Anatomy, and Holiday In Dirt). The first part of the set will be solo acoustic, but at some magical point he'll be joined by a trio: Pietra Wextun on keyboards, and new faces for drummer and bass player.
The first one to go back into print is good ol' Stan Ridgway Live! 1991 @ The Strand, also known as "Poolside With Gilly". It's a great show from the Partyball tour. Put it on the stereo and sit down to a nice ribeye steak...
The second CD re-released is Live! 1989: The Mosquitos Tour, also known as "The Ancient Town Of Frankfurt". I'm told this pressing is actually sliiiightly different, as it's been remastered to remove those little gaps between tracks. Of course, the serious collector will want a copy of both pressings. (Also: observant fans who pick up the "Frankfurt" CD will notice the booklet was designed by John Trivisonno, longtime friend of Beyond Tomorrow! Way to go, John!)
On March 13th, 2002, in Paris, France, Marc Moreland passed away of complications following a liver transplant. Marc Moreland was the co-founder of Wall Of Voodoo with Stan Ridgway, and the way he played the guitar was unmistakable. No-one before or since has ever had that virile, tangy soundmusic has lost one of its stars.
John LeTourneau's Wall Of Voodoo open forum web page quickly became a place for friends and family of Marc to talk about how they felt, to write their own personal obituaries for him. All the surviving members of Wall Of Voodoo posted their thoughts on this sad occasion; I reprint them here for posterity.
To the Moreland Family and Friends
It's hard to know how to say how much someone has influenced your life. One thread is like a deep sewn seam... and the other is frayed and needing repair. This was Marc and me. I'm deeply sorry and saddened. I am flooded with memories. It's a shock. We were hoping and praying for the best. I always thought Marc and I would play together again sometime. We talked a few years ago about doing just that. But I guess life and its complications got in the way for both of us. Cryptic, I know, but it never happened. But all the music Marc made will still be heard by all who listen. Young and old. Marc and his music will always be here for the familiar and the new.
Marc Moreland was very important in my life and he changed it and my perceptions of music. We met in a time when music itself was changing. And I'll always know I ran into the most original guitar player I ever met. Being a bit of a guitar player myself, I to this day, do not know HOW he played certain things, feedback, fingerings and chords. Genius and mysteriousstyle and substance, truly original! And everyone respected him. Especially musicians and artists. Marc worked very hard at his music, although he made it look so easy. He always hid the strain and practice somehow. Marc in full performance was simply a person you could not take your eyes off of! Marc had it all. And was always a sweet, loveable, and charismatic person, that was very shy at times, extremely talented and intelligent and always had a wonderful sense of humor... even though he could be a very passive-manipulative creature at the same time. Hey! who isn't? You wanted to take care of him. And champion him. He needed encouragement as we all do, and I hope I gave him some in the time we had. I loved him really... but then... everyone did it seems.
To all who knew him and loved him, Bonnie and Bruce and Freddie and Family especially, I send our sympathies, and we are sad too. With deepest regards
Stan Ridgway and Pietra Wexstun
chas t. gray
Marc - I'm sorry you had to leave so soon. Thanks for being my best friend and roomie through the most artistically stimulating and fun-filled years of my life and thanks for just being you. You'll always be in my thoughts. Chas
I am so overwhelmed at the outpouring of sympathy, compassion, encouragement, dedication, love and strength exhibited on this web site since that fateful morning of March 13 when I first posted the passing of my brother. Yes, Elizabeth, technology is an amazing thing and so are you, your dedication has allowed my family and myself to heal so much sooner and more completly. This web site is an amazing tool for healing. I would like to thank all who have written and all who are going to write after this, everybody that Marc played with in L.A. has checked inSkulls, Johnette, Nervous Gender, Wall Of Voodoo and all HE Played with in France are with his wife in Paris helping and assisting in a most difficult time. There are people Marc went to school with that are touched by his life and in all places like Norway, Canada, England, France, USA and I'm sure many other countries will check in soon after. Every one of you who have writen have contributed to the process of healing. We thank you all. Gayle I hope you too have Found healing in this web site and I am deeply sorry for your loss as well. Let's hope Marc and Joe are together now. Bruce Moreland
Tonight, I sat at the piano and played Marc's guitar lines from The Passenger, Red Light, Far Side and others. I sang his songs. Songs that were released. Songs that never were. I guess I was looking for my friend. I was looking for the sweet, apologetic man who changed my life for the better. I found him at my fingertips.
As Marc's work rolled out, I was yet again amazed by his musical grace. The delicate balance between the mournful and the majestic are in all his melodies. Haunting. Deceptively simple. Eloquent. Even in his most frenzied moments, there always was a subtext, an elegant touch, that alluded to his inner torment and fragility.
Marc's work stands on its own. His handiwork is timeless. I loved him. I loved his work. I loved his humor and gentility. I miss him.
However, any loving testimony I give pales in the light of Frederique Moreland's dedication to Marc.
I want to express my gratitude for the care Freddie gave Marc over the past two years. With Bonnie and Bruce, Freddie applied an unbreakable faith that helped Marc sustain the will to live, to keep fighting and creating.
I am deeply indebted to you, Freddie. Music, for all its ups and downs, is ultimately a joy. Caring for and encouraging the terminally ill is the work of real heroes. So, thank you for keeping the daily vigil. Thank you so much for loving our friend and brother the way you did.
I send my love and sorrow to Bonnie, Bruce, Stan, Ned, Chas and everyone in this extended Wall of Voodoo family. God bless you all. With that, I'll go back to the piano and look for Marc.
Yours, Andy Prieboy
You can read an obituary from Billboard magazine here. The following people have made tribute pages to Marc Moreland:
Elisabeth, aka Ms. Vieuxdo
Stan had this to say about these two CDs:
He's got two more cds out there with his guitar and songwriting on them that people should be aware of if they don't know all ready... Marc not only played "twangy" but he had an artist's mind for the abstract when it came to coloring a song. He could coax sounds from the guitar that were really spectacular and exciting and it's really a mystery how he did it. These two records are really good and I think people should root 'em out and go buy 'em.
There are a couple of reasons why Stan and the band didn't tour earlier this year when Holiday In Dirt came out. At the time, Stan talked mainly about how he was tired of playing the same old songs the same old way, and was looking to break out of his live-performance rut, and he just wasn't ready to face the audience yet. But, sadly, there was a more important reason why, one which Stan couldn't bring himself to talk about publically.
Bart, Stan's faithful dog and constant companion, was sick. Bart was sixteen years old, and he'd had a good life, but now he was in his final days. Stan and Pietra were sure Bart wasn't long for this world. They desparately wanted to be there for him when he passed on, so that he wouldn't die alone or with strangers. They were genuinely afraid to leave the house for more than an hour at a time.
It was during this period that Marc Moreland passed away. Emotionally, a tour was out of the question... with all that was going on at the time, rehearsals and music were simply not possible.
After a couple of close calls, Bart was visibly suffering, and Stan made the heart-wrenching decision to have Bart put down. Bart, beloved family member, died on Saturday, March 16th, 2002; three days after Marc Moreland's passing, and right around the time when a tour would have started.
Stan sent me this postscript to share with y'all:
Both Pietra and I are so very grateful we were able to have such a lovable dog like Bart for 16 years. He was quite a personality, a maltese with a dash of poodle... and he was always up to something funny. So it's quite an adjustment not having him around, under the keyboard listening intenetly or sniffing out some "intruder" at the door. He was loved by both of us and everyone in the family of friends, and had a full life and was never really sick the whole time we had him until the end. Rest in Peace pal... you were always faithful and "man and woman's best friend". No condolances need be sent please folks... just love your pets and give 'em a hug!
If you'd like to see a picture of Bart, click here. That's Bart up there, looking up at you from over one of Stan's music keyboards. You can see the same picture on the back cover of the Holiday In Dirt CD booklet. Bart also appears in the first few moments of the Bel Air Blues music video, now conveniently located on our Stan Ridgway Music Videos page.
Beyond Tomorrow extends its condolances to the Ridgway family on their loss, and hopes that you, the fans, will be understanding, now that you know the truth.
A little bundle of joy for has arrived for our close friends and Ridgway road manager John "gilly" Gillingham and his wife Amy! Life keeps comin' and we're so happy for them. Although Gilly looks like he is getting ready for the WWF... don't wrestle with her yet Gilly... she's too small! Happy, happy and congratulations from Stan and Pietra and all the folks!
You can see pictures of Zoe and Frances here, here, and here. Sadly, viewing them may also inflict Gilly's ugly mug on youthis is a chance you'll just have to take.
They Play Like Girls
I feel a little funny at times maintaining this "news" page, as Stan has an official mouthpiece at his official site, and breaking stories generally show up on my message board within a few hours. Anyone who wants to stay current on Stan Ridgway probably reads one (or both) of those, making this page mostly redundant. But for now, I'll swallow my funny feeling, and keep soldiering on from time to time. If nothing else, this is a good place to let y'all know about additions to my site (new movies, new music, new pages, etc). So keep watchin' the skies.
|february 11th 2002|
Head on over and check it out. And kids, this is just the beginning...
Beyond Tomorrow Media
First is Mark Deming's review for the All Music Guide (owned by Barnes And Noble):
Stan Ridgway's lyrical voice is every bit as distinctive as the way he sings, and that's saying somethingthe unmistakably dry but rubbery Southwestern twang of Ridgway's voice is the perfect instrument for his tales of lost souls and puzzled losers, and his songs chart a path that suggests a midway point between aural film noir and Ennio Morricone's spaghetti Western scores. A clearly underrated talent, Ridgway's post-Wall 0f Voodoo solo work has never attracted the audience it deserved (partly due to a long string of bad luck with record companies both large and small), but anyone who doubts the strength of the music he's been making since the late '80s only needs to give a listen to Holiday in Dirt, a collection of B-sides, rare tracks, and outtakes that have been gathering dust in Ridgway's closet. While odds-and-ends compilations like this are usually made up of stuff that didn't make the cut because it wasn't up to snuff, that's not the case with Holiday in Dirtas a matter of fact, this is as strong a set as anything Ridgway has released since Mosquitos in 1989. Whether he's writing about teenage guitar manglers ("Garage Band '69"), low-level mob leg-breakers ("Bing Can't Walk"), or a washed-up long-in-the-tooth actress ("Beloved Movie Star"), Ridgway makes his characters human and worthy of compassion even at their most ugly and pathetic, and the dry Southwestern clatter of the music is both bracing and the perfect fit. And even though these tracks were assembled from material recorded over the space of a dozen years, these 12 tunes (one appearing in two versions) fit together beautifully, which says a lot about the consistency of Ridgeway's vision. While Stan Ridgeway already has a strong career overview compilation (The Best of Stan Ridgway: Songs That Made This Country Great), Holiday in Dirt shows that he's left more than a few gems behind as well, and this album is a treat for fans and not a bad introduction to his body of work.
Though Stan Ridgway first made his mark in the early 1980s with new wave synth-rockers Wall of Voodoo (one of the most distinctive bands of their era), his subsequent solo career has continually shown that his talents extend far beyond his former band's lone hit (the semi-novelty "Mexican Radio"). Over the years Ridgway's recordings have marked him as a crafty songwriter with a gift for exploring the dark side of America via sardonic narratives that nod to Randy Newman and Donald Fagen. HOLIDAY IN DIRT is a collection of b-sides and other rarities from the extensive Ridgway oeuvre, but Ridgway's songwriting knack is such that none of these tunes feel like castoffs. As always, Ridgway's melodic invention transcends genre in an often-successful search for original-sounding, distinctive musical frameworks nevertheless bound to conventional rock hardware. Though his penchant for film-noir creepiness and his sui generis voice will strike a familiar chord with Wall of Voodoo admirers, this eclectic, ambitious batch of songs is as worthy a part of Ridgway's canon as any of his "proper" releases.
Roaming a psychedelic no-man's land where Tom Waits and Jack Kerouac might converge, Stan Ridgway is an inimitable singer and precision essayist whose song characters wear life's grit under their fingernails. It's doubtful Ridgway ever broke the legs of a no-goodnik named Bing, but gosh darn if you're not thoroughly convinced of it by the end of "Bing Can't Walk," one of a handful of creaky, ramshackle gems gathered together on the odds-and-sods Holiday in Dirt. He may scribble outside the lines musically, but Ridgway's harp-goosed, art-rock vignettes are enormously detailedwitness the bloopy, futuristic "After the Storm," the eerily straight-faced midtempo rocker "Whatever Happened to You?" or the unlisted cover of Charlie Rich's "Behind Closed Doors," cheekily delivered in a character that might have been crafted by Bill Murray circa Caddyshack. Admittedly an acquired taste, Ridgway repays diligence with cartwheeling, consistently unexpected, possibly true parables sucked straight out of the twilight zone that is contemporary America. If Jackson Pollack paintings had sound, they'd probably sound a lot like this.
Stan Ridgway’s lone brush with stardom occurred in 1983, when his band Wall of Voodoo had an unexpected hit with "Mexican Radio." The song and its accompanying video were inspired examples of avant-garde loopiness. MTV put it in rotation, and it was the kind of video you’d eagerly wait forit had the bizarre kick of something like Un ChienAandalou, Buñuel's and Dali's classic surrealist film.
The promo sheet that accompanied my review copy of Ridgway’s new disc, Holiday In Dirt, puts some distance between him and Wall of Voodoo. "That was then. This is now," the sheet tells us. Fair enough. If Wall of Voodoo was bracing and strange fun, the music Ridgway has recorded on his own has been much more than that. Beginning with 1985’s The Big Heat, Ridgway has produced a series of records of almost indescribable depth and strange beauty. He’s retained the sense of fun that he exhibited in Wall of Voodoo, but added to it uncanny storytelling ability. Critics often compare him to Raymond Chandler, but his stories remind me more of Raymond Carver or Tobias Wolfe.
Holiday In Dirt is a collection of rare and unreleased tracks, but it hangs together well. While there’s no unifying concept to the disc, it’s cohesive and has a strong sense of place. Ridgway is to Los Angeles as Lou Reed is to New Yorkno place else could have produced him. He mixes the traditional with the new and has an openness to music as pure sound that comes, I think, from growing up in a city whose major industry is movies. Working in that atmosphere (at least one website indicates that Wall of Voodoo was formed to write music for low-budget movies) may have suggested to him the dramatic possibilities of sounda particularly important discovery for someone whose narratives are so complex.
Whatever his influences, the salient feature of Ridgway’s discs is their sonic richness. The quality of his recordings is especially impressive given that the last three have been independent releases produced, one assumes, on limited budgets. His discs have a lot going on in them, but everything’s spread out across a wide soundstage in a kind of aural Cinemascope. For all the sonic detail Ridgway puts into his music, it rarely feels crowded. When a song does seem densely packed, as does "End of the Line" here, it sounds intentionally so.
Holiday In Dirt contains two versions of "Beloved Movie Star" that shed some light on how Ridgway works. The first version, which opens the disc, is a lush arrangement that features a Duane Eddy-like guitar, drenched in reverb and tremolo, and a strummed harp. Synthesizers and other keyboards create a wash of sound that carries Ridgway’s voice along. The second version is an earlier, demo recording of the track. It’s much more spare. The harp still plays a prominent role and some of the keyboard touches that made their way to the finished track are hinted at in this version, but, overall, it’s less focused.
Ridgway says in the liner notes that he prefers the demo, which is a little longer. I disagree; his instincts were correct when he revised the lyrics and altered his approach. He changed one verse and removed another altogether and sings in a less-inflected voice. The result is not just a tighter recording, but a stronger, more compassionate story. The vocals on the demo feel condescending, and the original verses needlessly restate some harsh observations about the perils of the movie business.
What I found striking when I played the two versions side by side is how, even in a demo, Ridgway knows sonically what he wants to achieve. Certainly there are musical elements that are more developed in the final recording and details are added, but the overall feel is there at the beginning. As the music became more clearly defined, Ridgway toned down the vocals and cut some lyrics, in effect streamlining the story and allowing the music to evoke a deeper story than the words tell.
One of the most enjoyable aspects of Ridgway’s music is his willingness to bring in ideas from sources far and wide. If a surf guitar is what will put his idea across, he’ll use it. A particularly strong influence appears to be film composer Ennio Morriconelisten to the way Ridgway uses harmonica in a tune like "Time Inside." He doesn’t recycle ideas, though. He borrows techniques in order to create an atmosphere for the story he’s telling. In that sense, there’s an almost cinematic quality to his work.
The recordings for Holiday In Dirt come from several sources and they vary in quality from very good to DIY. Ridgway is so sure of his goals that he isn’t going to let our notions of audiophile sound get in his way of creating an effect. For instance, one of the tunes, "Amnesia," was "sung through a three-inch, battery-powered speaker from Radio Shack. I really liked the sound." He’s right;it sounds great. So does the rest of the disc.
|january 9th 2001|
Beyond Tomorrow Forum
|january 3rd 2001|
|january 2th 2001|
Beyond Tomorrow Sounds
|january 7th 2001|
So how do you get your hands on the concert? For now, I've put them up
on Napster. My account name is
beyond_tomorrow, and all
the tracks have the name
Coach House in 'em for easy searching.
Please, oh please, people, do me and my tired DSL router a favor: share amongst yourselves as much as possible. If you successfully download the tracks, leave your Napster running so other people can download from you. And when you go to download, please try downloading from someone besides me first.
This is Elizabeth (a.k.a. Ms. Vieuxdo) and I have a serious announcement to make about Marc Moreland. A friend of the Moreland family (a very nice man named Doug who I thank profusely for contacting me) emailed me yesterday to inform me that Marc has been very sick for the past three months and has been confined to a hospital in France. Well, all you regulars here know what a skeptic I am about people appearing out of the blue claiming to be family friends (and sometimes even band members), so I decided to check his story out before bringing it to the rest of you. This morning I talked to Marc's mother in California for over an hour while she filled me in on what's been going on. Here's the straight scoop.
For the past three months Marc has been hospitalized in France with liver problems and other ailments they haven't quite figured out yet. Since he doesn't speak much French it's been a nightmare for him because he understands little of what the doctors and nurses say to him while he's being poked, prodded and tested. His wife visits him daily and his family and friends call when possible, but he's still a stranger in a strange land and very weak. No one has told him about Joe Nanini's death yet because they don't want to upset him right now.
So now you're all asking "Is there anything we can do to help?" Well, yes there is. His mother thinks it would be a fabulous boost to his morale if his many fans would send him cards and letters wishing him a speedy recovery. I will post an address of a friend of his where you can send things to in France and they will be delivered to him in the hospital. You're also welcome to send Get Well emails to me over the next week and I will print them out and send them off on January 8, 2001. His mother hopes that a show of support from his fans will give him the extra boost he needs to get to the point where he's well enough to fly home. She also asks that you please not mention Joe Nanini in your letters. He'll be told about Joe's death when he's feeling better, but his mother doesn't want to put any more pressure on him at the moment.
There are a lot of you here on The Wall who have known me for years and know I would never bring something like this to you if it wasn't totally legitimate. If you remember, I'm the one who made Bruce prove to me he was actually Bruce a while back when he posted to The Wall. I would not be posting this here today if I wasn't sure it was legit. Mrs. Moreland will be calling me if there's any updates to Marc's condition that you all should know about and I will post them as soon as I hear. We just lost Joe without being able to tell him how much he meant to us. Let's not let the same happen with Marc. No one's asking you to send money. All it will cost is the price of an airmail stamp. I'll be posting all this to various WoV related mailing lists and such. Please feel free to pass the word on anywhere you think it will help.
Here's the address where you can send cards and letters:Marc Moreland PO Box 1384 Coos Bay, OR 97420So get your pen and paper out and get writing. Marc has meant a lot to all of us over the years. Here's our chance to give back a little of what he's given us. His mother says all he wants is to get well and maybe we can cheer him up enough that the healing process speeds up and he can have his wish. Also, Marc's birthday is January 8th, so birthday cards are welcome too!
I can be contacted at email@example.com. Feel free to email any time.
Ms. Vieudo, this info on Marc is appreciated. We've talked over the years, of course, but not for a few. The world needs Marc's guitar and wonderfully askew world view now more than ever. Thanks for the address.
And to someone here who's favorite song was "They Don't Want Me"that's Marc's song all the way, I think I added a line here or there, but it was Marc's grand metal opus to "?" and I was simply the singer.
I always took the song as an answer to some of the critical swipes the band was getting at the time. You know ..one week you're IN. the next you're OUT. But that was my take. Marc has the real answer..so let's get him well and then we can ALL ask him what it REALLY meant?
a happy new aluminum to all,
Richard Mazda co-produced Wall Of Voodoo's Call Of The West album, and he recently showed up on the WOV message board. Someone asked what it was like working with WOV; here his response:
In response to the request for explanation of my comment that Joe was amongst the most unique yet difficult drummers:
During the recording of Call of the West and Mexican Radio Joe & I had one or two run-ins. For example, the original drum machine pattern for M Radio had been written by the band long before I came on the scene. Although I loved the pattern I thought that we should comliment it with the real drums that everyone is now familiar with. In particular I came up with the idea of a massive sounding snare back beat for the chorus. The idea being that this would lift the chorus and help to distinguish it it from the verse section. It was like trying to stip paintwork with tweezers to persuade Joe to do this. Obviously I won the day in the end. I never resented Joe for his contrariness but often felt that we could have tried things first then argued about it. Another example is the tambourine part on Interstate 15, again since this was a direct country & western/cowboy toon it seemed to me that tambo was highly appropriate. Although the whole band agreed Joe would not play it. I ended up doing it. Incidentally the quote where Joe says 'I could have been somebody' was for real and definitely not scripted. During the recording I used as many Machiavellian methods including hidden microphones to capture all kinds of stuff. Joe's nickname during the recording was 'Mr Negative', he had a habit of saying No at least six times in a row rather than just saying it once. There is a reference to this on 'Spyworld'. There are many more stories but the biggest story was Joe's talent and though we clashed I had the highest regard for his musical ability. I'll certainly never forget him, people like him deserve to be celebrated for their heart and passion. Lastly I feel I should point out that Crystal Meth/Rocket Fuel caused all kind of upsets and helped us make a classic record. We all stand guilty as charged.
Yes Richard, please allow me now twenty years later to apoligize for firing you that day from Call Of The West...i was out of my gourd! BUT..then YOU had locked me OUT of the mixing of "They Don't Want Me", twisting dials and pushing buttons like some sonic shamanistic madman, looking for the "lost chord"..which left me nothing to do except drink more and more liqour, and re-fuel myself with various studio medications of the day,.. and get very paranoid, (more than normally) about losing control, and thinking about the album budget, and mind wrestling with our beloved, but very, very angry and unstable Joe Nanini, not to mention the stoopid record label goons, and.. and ..and..hold it!.. I'm getting all worked up again.
THE big reason WOV's Call of The West turned out so good is because Richard Mazda was our producer. He was the fifth member of the band and his talents and experience were the crucial elements in getting it all down on tape. (yes..it was tape then..big bulky tape..) He really knew and felt what we were trying to capture.
Our dark, absurd and decidedly cynical vision was not lost on him to say the least and he was critical in helping us build a real "world" that the album existed in. Thanks Richard, and all the best to you.
I Lurve You too Maaaan!
Seriously, thanks for your comments. I don't have time for more stories today except to say that life is way too short and that i am too painfully aware of my own mortality to forget that i am the limey bro of one of the most original bands that ever crawled outa west hollywood and that it was an honour to be a part of it.
In one of Elizabeth Vieuxdo's messages about Marc Moreland, she included a postscript about his brother Bruce (who was in and out of Wall Of Voodoo):
Even though the news about Marc wasn't what we like to hear, I'd like to share good news about Bruce. His mom tells me he's at long last drug and alcohol free! He's in excellent health and living and working in San Francisco right now. The brothers are very close and Bruce has been to France to visit Marc in the hospital. He'll return to France when Marc is well enough to come home to make sure he gets back in one piece. Bruce has been through hell in his life as well, but with the love and support of his family and friends, he's been able to turn things around. He deserves a round of applause for doing what many thought would be impossible!
|december 11th 2000|
OBITUARIES: ATLANTA: Joe Nanini, 45, drummer, played for Wall of Voodoo
Kay Powell - Staff
Thursday, December 7, 2000
Pots, pans, a gun, laugh box and tire iron all became percussive instruments in the hands of Joe Nanini, drummer for the Wall of Voodoo in the 1980s.
"His style was so innovative. No other drummer could have worked with Wall of Voodoo," said Stephen May of Savannah, former owner of 688 Club in Atlanta. "Nobody could sound like that."
Oliver Joseph Nanini, 45, died of a blood clot in his brain Monday at his Atlanta residence. The body was cremated. Memorial service plans in California will be announced. H.M. Patterson & Son, Oglethorpe Hill, was in charge of arrangements.
Mr. Nanini, born in Japan to a military family, got his first drum set when he was 7 and performed with punk bands and jazz groups in California before joining Wall of Voodoo in 1979, said his wife, Gayle Nanini of Atlanta.
"He was extremely talented. He found he could add little percussive parts to Voodoo," she said. The group is best known for "Mexican Radio" featured on its 1982 album "Call of the West."
As his music evolved, Mr. Nanini rarely played traditional drums. "He took all my pots and pans and drilled holes in them to mount them on the drum," said his wife. "Police was on the same label and started using pots and pans after they saw him do it."
Mr. May booked Wall of Voodoo at 688 quite a few times. Mr. Nanini, he said, was very intelligent and witty and had incredible stage fright.
"He was always very shy before he went out on stage," said his wife. "He had the jitters and threw up, but once he was out on stage, he was funny. He was on. He added to the ambiance of the group."
Part of that ambiance can be heard on Voodoo lead singer Stan Ridgway's first solo record. "Joe shot a gun into a pan to get that whistling spaghetti western sound," said Mr. May.
After Mr. Ridgway left Wall of Voodoo, Mr. Nanini didn't see a future with the group and wanted to go in a new direction, said his wife. He played with the eclectic country band Lonesome Strangers through 1984, then was ready to give up touring.
He did studio work and recorded with various bands for Dangerhouse Records and worked on other projects with owner David Brown of Palm Springs, Calif., before moving to Atlanta a year ago.
He was a history major in college and loved reading about the Civil War, said his wife. "History and facts, that's what he enjoyed. We played Trivia every Tuesday night at Maggie's, a bar around the corner, and we won quite often. They were about to make us quit playing because we've won something like 10 or 12 weeks in a row."
"He was a flamboyant person," said Mr. Brown. "He was extremely committed to the easy life. He appreciated life. Whatever it handed him, he took."
Survivors include two brothers, Raymond Nanini and David Nanini, both of Santa Maria, Calif.
We Took A Drive Down The Palisades Parkway...
|december 6th 2000|
OLIVER JOSEPH NANINI, 45, died Monday. Memorial service plans in California will be announced; H.M. Patterson & Son, Oglethorpe Hill.
My condolances goes out to Mr. Nanini's family and friends.
Lyrics to Beloved Movie Star
Stan Ridgway Live in Vancouver, BC, Canada!
Joe Berardi: drums
Rick King: lead guitar
Stan Ridgway: vocals, harmonica, guitar
David Sutton: bass guitar
Pietra Wextun: keyboards
Johnny Cash was previously diagnosed with Shy-Drager Syndrome and Parkinson's Disease. Miraculously, it seems that both of these diagnoses were incorrect. Mr. Cash reported in October that he was "in better health than [he had been] in a year or two."
Unfortunately, all the links on this story are dead, but honest, it really happened.
|may 12th 2000|
Misspelling count: one, but this time it's just in the URL, not in the article itself.
Also, to quote from a recent enthusiastic Dis-Patch mailing:
Stan Ridgway and Band will also be in PARIS, FRANCE at the fabulous CHESTERFIELDS CLUB in SEPTEMBER 2000! A SPEACIAL EXCLUSIVE BOOKING! Sept. 18th thru the 30th...ahhh..the city of light...UK TOUR in the works babe, around the same time...
Note: Crisis averted; they found the missing mailing list. Phew!
|march 22nd 2000|
So I took matters into my own hands. At the Roxy concert last month, I crept in to the concert and lurked near the front & center of the stage... wired for sound like a stool pigeon. I taped the whole show, using equipment borrowed from a friend, not really knowing what the hell I was doing.
Even though I taped the whole show, nearly all of it has headache-inducing levels of distortion. Pretty much any time the esteemed Mr. David Sutton so much as touched his bass, my poor little microphones cried for help.
But! A couple of songs were almost sort of salvageable. And here they are!
Mission Bell (live)
By Stan Ridgway
Published by Dis-Information Music (BMI)
Performed February 25th, 2000, at Slim's, San Francisco, California
The Big Heat (live)
Lyrics by Stan Ridgway, Music by Wall Of Voodoo
Published by Mondo Spartacus / Illegal Songs (BMI)
Performed February 25th, 2000, at Slim's, San Francisco, California
By Stan Ridgway
Published by Big Talk Music / Illegal Songs (BMI)
Performed February 25th, 2000, at Slim's, San Francisco, California
random audience member: Get on stage! It's your chance, you should get up there, man!
another random audience member: Alright, go to town there, chief!
me: I'm Larry Hastings.
Mr. Gillingham: What's that?
me: I'm Larry Hastings!
Mr. Gillingham: Oh! Hi, Larry!
Plus! You can hear for yourself my wild one-note flautery! In fact, it's kind of hard to avoid, 'cause the microphones picked me up way better than they should have...
Upcoming tour dates
The SR Dis-Info Dis-Patch Archives
|february 16th 2000|
The SR Dis-Info Dis-Patch Archives
They've got a short preview (usually about 2MB) and the whole thing (usually about 10MB) for each song. You'll need QuickTime (or a compatible movie player) to see 'em. So what are you waiting for? Head on over to:
The Stan Ridgway Video Archive
|february 12th 2000|
We kick off our first update of the year with a web site exclusive: I have permission from Mr. Ridgway hisself to put up an MP3 of his latest song Free Of It All. The song is from the soundtrack to the 1999 motion picture Simpatico, which stars Nick Nolte, Jeff Bridges, Sharon Stone, Catherine Keener, and Albert Finney. Free Of It All is the third collaboration between Stan and Stewart Copeland for film (the first was Don't Box Me In, the second Don't Drop The Soap (For Anyone Else But Me)).
They didn't publish the proper credits on the CD, so here they are straight from the horse's mouth:
Free Of It All
By Stan Ridgway and Stewart Copeland
Published by Dis-Information Music BMI and Copeland Music BMI
(Note: I've moved the tour dates here.)
For what it's worth, I plan to be there at Slim's, and maybe I'll head down for the House Of Blues show too.
If you don't finish the whole two hours, make sure you listen to Stan's reading of The Raven, starting at about 17:00 and ending at about 20:30.
Stan Ridgway on The Open Road
Complete KCRW playlist for October 31st, 1999
Misspelling count: one, they add the usual E to his name in the Real Audio stream.
Mark: Hi, Stephanie, this is Mark.
Stephanie: Hi, Mark, how are you?
Mark: I'm fine, I was wondering if you'd like to come over to my house for dinner tonight.
Stephanie: Oh, I can't, I'm on my way to the airport right now.
Mark: What? Are you in your car?
Stephanie: Uh-huh! I put my home phone on call forwarding so it rings in the car. I'm just gonna pick up an old friend who's flying in from Rio.
Mark: Who do you know from Rio?
Stephanie: He's a guitar player, his name is Jim McGuinn, and he's back from Rio.
Car Phone (excerpt)
By Roger McGuinn
Copyright 1991 McGuinn Music (BMI) / Wild Gator Music, WB Music Corp. (ASCAP)
Misspelling count: two, the usual E, and they never spell his name correctly.
Here's the text of what Stan said:
Well, Dread, it's Stan Ridgway, and I'm afraid I did not get it together. You probably figured that out... I think I'm going to nail myself to the cross of, uh, the Residents now, and just become a mole-man. But I didn't get anything together. I'm just not happy with what I had. I wish you good luck with your record, and um, maybe there were other people that, uh, this happened to. I tried, but it just wasn't in the season, or something. Sometimes music is, is, is seasonal. Maybe if this, this'd, uh, started, uh, now, we'd-a had it by summertime. You see how these things go. But, um, let's keep in touch, and um, once again, I'm afraid you're going to have to count me out. It's kinda like I wish I could, but, it's, it's just not appearing. Like a, like a slight-of-hand magic act that suddenly, is not happening. But, well, good-luck-to-you, and the giant ant farm. We'll talk soon. Bye.
excuse / Booker Tease
By Stan Ridgway / J.E.D.
By Stan Ridgway
Copyright 1986 International Record Syndicate, Inc.
Published by Mondo Spartacus / Illegal Songs, Inc. (BMI)
To give you a sense of what the cover is like, I've ripped a 45-second chunk of it. You can find it here:
Mexican Radio (excerpt)
as performed by doubleDrive
Copyright 1999 MCA Records, Inc.
|november 9th, 1999|
Knowing that, it comes as no surprise that I'd voice-enable my own site. And look! There it is, lurking in the upper-right corner. So far, I've only added it to this news page. But in the coming weeks I'll probably spread it all over. (But don't worryno matter which page you're on at Beyond Tomorrow, you'll be talking in the same group.)
This assumes, of course, that it works for everyone, and everyone likes it. Please let me know what you think.
|november 8th, 1999 roxy show update|
Note: This news item has a bit more opinion and supposition in it than I usually go for. I generally try to stick to the facts on my "news" page. But somehow that wasn't enough to do the evening's experiences justice. So I indulged myself a little. Hope you don't mind.
The November 6th show at The Roxy in Hollywood has come and gone, and according to the fans it was an unparalleled success.
At its onset, Stan characterized it as an "apartment party", seemingly in part because he and the band were feeling rusty (not having played live for two and a half years) and he wanted to lower expectations. And, yes, "mistakes were made" as the saying goes. But everyone I talked to had a blast. The mistakes didn't matterhey, they were part of the show, and fun in their own right. Hell, Stan could probably read from the Barstow residential telephone directory and make it entertaining.
But Stan seemingly took it all too much to heart, and felt like he'd screwed up the evening. He wove this into his running commentary throughout the show; for instance, early in the show he nicknamed his binder of song lyrics his "Book Of Scars". And then at the end of the show he said this:
I feel like I've personally fucked each and every one of you.
Here's the set list from the show, or at least as it was planned:
Ah, but the best laid plans of mice and Stan are e'er fall to ruin. I didn't take notes on how it actually went down, but here's what I can recall:
... you worthless fucking woodchipper reject! You haven't done anything for memy career is in exactly the same place it was before I met you! You took my money and gave me nothing!
But the last chapter has apparently not been written. Stan said after the show that "Jackie has lots of brothers and sister... I see a big conflict coming... think 'eBay'."
So, this boss, having picked out Stan as his confidant, would go and hang out with him and tell Stan what was on his mind. One particular day, the boss was telling Stan that he was going to have to fire a lot of his dockworkers. "But why?" Stan asked; after all, a lot of these guys were Stan's friends. "Because their arms are too short," said the boss. This was when Stan decided that the boss was definitely insane.
The problem, in the boss's mind, was that his workers couldn't pick up a whatever and hoist it directly into the trucktheir arms didn't reach. So clearly he needed employees with longer arms.
So that's the kernel of this song came from. "Big talk" represents
Stan as the dispatcher. And the boss really wanted to replace his
short-armed employees with ones with longer arms.
Anatomy cover art
Anatomy Of A Murder cover art
|october 18th, 1999|
|october 11th, 1999|
This is the final cover art (I got it off Amazon.com). Click on the thumbnail for a larger version:
Here's the track listing:
The CD also contains three live tracks from Stan's Black Diamond tour, as CD-ROM data encoded in Liquid Audio format:
And as if that weren't enough, once Anatomy has been fully released there will be three more live tracks released online:
"One of a Kind Merchandise" will be sold at the ROXY gig... t- shirts , posters. rare cd's and videos..
|june 7th, 1999|
From the website, it looks like Stan's upcoming solo album will be titled Anatomy. However, I asked Clark Price about it, and he said the title wasn't set yet. Clark is da man, and he ain't steered me wrong yet, so we'll just have to wait and see.
|april 16th, 1999|
I pressed it on CD for Stan and myself, but I also set up a web site. The web site probably won't be permanent, but for now you can read it (and listen to MP3s of all six tracks) here:
Keeping My Day Job
|march 2nd, 1999|
Also on the soundtrack front, I've added an MP3 file from Stan's performance on the Pecker soundtrack. Click here to listen to thirty seconds of Don't Drop The Soap (For Anyone Else But Me) (586k, stereo, CD-quality MP3).
Dis-Info has also run out of copies of The Index Masters, WOV's original EP plus a bazillion early WOV live tracks on one CD. But! You can still buy it from most online CD retailers, including my favorite: Cheap-CDs. Buy it while you still cantwo other Stan Ridgway releases (Stan's first solo album The Big Heat, and the WOV sophmore release Dark Continent) are out of print and unavailable. (And there was a great wailing and gnashing of teeth...)
However: Dis-Info still has some copies of The Way I Feel Today for saleget 'em while you still can.
|november 30th, 1998|
Wargasm preview at The Adrenaline Vault
I wonder if I should send 'em a tape?
In case you'd never heard of it: one of the songs from the early WOV demo tapes was Wargasm, featuring the catchy chorus
I wanna have a wargasm
I wanna have a wargasm right now!
|november 24th, 1998|
If you haven't gotten your copies yet, be patientI'm on the west coast, so I'd expect packages from Dis-Info HQ to get here a little quicker than most areas. Hold tight, and in no time at all you'll be crooning along with Stan.
Update: I just got email back from Dis-Info HQ, and they say there are no planned releases from Ark 21. Stan and Ark 21 were in talks six months ago, but apparently nothing came of it; the listing for Black Diamond is simply in error.
|november 20th, 1998|
I've also revamped the Beyond Tomorrow links page so it looks more like the rest of the site, is easier to maintain, and has all the links people have sent me recently.
|november 5th, 1998|
Next year (he didn't say when) will also see the next "apocalyptic document", the second Drywall album with Ivan Knight and Pietra Wextun. In an interview, Mr. Ridgway said this one might be ambient techno.
Finally, Pietra's group Hecate's Angels will have a new album next year too.
Speaking of soundtracks, I've got the Pecker soundtrack, and have typed up the lyrics to Don't Drop The Soap (For Anyone Else But Me), and you can read 'em here.
(Does anyone place that quote? I've got it on one of my CDs and I have no idea where it was sampled from.)
Cafe Eighties, the web/print magazine of the Al Franken Decade, has asked me if I'd mind giving an interview. No, I don't mind. We haven't done it yet, but that's okay, as it won't be out until March of 1999 anyway.
I'm ready for my closeup, Mr. DeMille.
Just don't be surprised when the fair-skinned, egg-shaped-head aliens show up at your doorstep with their mind-control lasers, that's all I'm saying.
|october 9th, 1998|
The release is limited to 500 CDs, and each CD comes with an autographed picture of Stan. Each CD is $25 + $2 S/H for orders inside the US ($5 for orders outside the US). To order a copy or five, send mail to firstname.lastname@example.org to pre-order, and Clark will send you details on how to place your order.
I've been enjoying this CD for months now, and it just keeps getting better and better. The MP3 samples I've got up are only the tip of the icebergyou need to hear the full versions of Send In The Clowns and Witchcraft, not to mention tracks you've only read about like One For My Baby and Old Man River. I cannot urge you strongly enoughif you're a Stan Ridgway fan, you want, need, must have this CD.
Be sure to check out Stan Ridgway's Dis-information web site and see the new cover artit's hysterical.
And heyonce you've got your own copy, drop me a line and let me know what you think, and maybe I'll put your comments up on the The Way I Feel Today web page!
|october 6th, 1998|
First is the more conventional page. Jim Ludtke is an award-winning computer graphics animator. His current project is a short film titled Dr. Colossus, set to music by Stan Ridgway:
The All Stan Ridgway All The time Birthday Weekend
|october 5th, 1998|
Indie Art And Lee Marvin
Copeland scored the movie and since they all be hangin out lots lately...Stewert asked SR to sing this bit of "barroom background song" for the flick. Hey! its even on the CD they just released on RCA! It plays near the end of the flick at a bar on Baltimore when all hell breaks loose.
Says Stan..."When John Waters wants you to sing ...you sing...a great honor indeed! He told me he wanted a kinda Johnny Cash delivery mixed with bad disco. I did my duty for god, country, and ironic disposistions everywhere."
Its coming out as LIMITED RELEASE just through the DIS INFO website soon... Everyone who has emailed dis-info will be emailed back when its all ready to go but not before. WE wanna have 'em here and manufactured before we tell people they're for sale.
We and SR want to thank everyone for their interest in this CD. We hear you loud and clear. ITS COMING OUT! Sooner than ya think!
|august 10th, 1998|
Brazil Is Land of Coffee, but Good Luck Finding Tasty Cup to Drink
|august 3rd, 1998|
|july 24th, 1998|
Music For Film (Sampler 98)
Our final note about Stan Ridgway, Film Score Author Of Destiny, is that he now has his own entry in the IMDB (the Internet Movie DataBase). I'm sure you already know more than they do about Stan's movie work, but in case you're interested you can browse their incomplete listings here:
Stan Ridgway at the IMDB
|july 13th, 1998|
Here's the coverage of the announcement from the entertainment industry trade magazine Daily Variety, June 25th, 1998 edition (reprinted without permission):
Sundance takes 6 composers for lab
The Sundance Institute has chosen six composers to participate in the Sundance Composers Lab (June 22-August 17).
As part of the revamped program, composer fellows will be paired with those from the Filmmakers Lab (which runs simultaneously) in Sundance, Utah, to collaborate on the musical scores for film projects.
As an introduction to the summer program, Robert Redford and composer Thomas Newman will discuss their collaboration on The Horse Whisperer after a screening of the film.
Next month, the composers will assemble in L.A. to meet with creative advisors, music editors, music supervisors, soundtrack and record producers, agents and technical specialists.
Established film composers will serve as creative advisors and mentors to lab participants. Advisors include Stewart Copeland (Rumble Fish, Fresh), Jerry Goldsmith (Patton, L.A. Confidential), Trevor Jones (Last Of The Mohicans, In The Name Of The Father), Michael Kamen (Mr. Holland's Opus, Lethal Weapon), Thomas Newman (The Horse Whisperer, The Shawshank Redemption), Graeme Revell (The Saint, Chinese Box), Shirley Walker (Escape From L.A., Turbulence) and Christopher Young (Copycat, Jennifer 8).
This year's selected composer fellows include Brent Michael Davids, Camara Kambon, Rebeca Mauleon, Stan Ridgway, Carlos Rodriguez and Michael Wolff. All are accomplished musicians, but have not yet scored a major film. Vanessa Torres
|june 30th, 1998|
Whistle For Louise (4:27, 4.3MB)
Remember, this is a different project from The Way I Feel Today.
|june 20th, 1998|
By the way, Clark Price tells me they're getting tons of letters and email regarding the new album. Keep that support pouring in, folks it'll help the Ridgway organization decide how best to release this great new album.
|june 13th, 1998|
The Way I Feel Today
|may 16th, 1998|
But! Adrian Oates has started a Stan Ridgway web site of his own, and I had to put up a quick note about it. Check it outit looks great:
Everybody Does What Nobody Will Allow
|may 6th, 1998|
Please let me know if you see anything that's not working properly. Thanks.
|april 5th, 1998|
Here's what John has to say about it:
[...] it’s a hell of a lot of fun... more than just a “making of.” We of course get to see the Big Dumb Town video (which you’ve seen on Rare Diamonds) and then it goes on for about half and hour with Stan’s home video footage and running commentary on everything from how they put the video together to Playboy’s Playmate of the Month. Also featured: Pietra Wexstun sitting around reading books at the video editing facility, and Chris Lamson (who also appears briefly in Showbusiness is my Life) as he cuts the video together. Stan does a few funny bits as the voice of Jackie “Teak” Lazar.
I'll look into sampling some of this stuff for the web site when it comes in.
The plus-signs mean "the next word must appear in all documents found", and the quote marks keep those words together. That search turned up only about fifty pages, and the Moby Disc link was in the first twenty.
+"wall of voodoo" +"happy planet"
Oh, that reminds me! One reader named Ray has volunteered to sell his spare copy of Dark Continent. If you're interested, email him at CDcollectr@aol.com. And please let me know when it's sold, so I can take this down and save wear and tear on Ray's mailbox.
|february 4th, 1998|
Cheers to musical allusions. "The Reverse Peephole," the Seinfeld episode about fur coats and wallets, contained two witty throwaway jokes involving pop music. First, Jerry bragged of his prowess as DJ at a party. His repeated boast, that he was "getting jiggy with it," the episode's running gag, was borrowed from a Will Smith song. What does it mean? We don't know, and we suspect Jerry doesn't, either. Secondly, as Kramer happily installed a reverse peephole in his apartment door, we distinctly heard him singing the chorus of "Mexican Radio," an odd ditty from the obscure '80s group Wall Of Voodoo. That's what we love about Seinfeld: It finds humor in the strangest places.
|january 18th, 1998|
Stanard Cab for sale!
|january 15th, 1998|
I happened to watch Seinfeld tonight, and they made a throwaway reference to Mexican Radio. As Kramer is reversing the direction of his apartment door's peephole, he's singing to himself I'm on a mexican... radio... woah woah woah-ohhh... Then, at the end of the episode, over the Castle Rock Entertainment flying logo, they played two seconds of the original song (the clip was of Stan singing the same line).
With Seinfeld going into permanent syndication, I'm sure this will mean thousands and thousands of dollars in residual royalties for all those fresh-faced boys in Wall Of Voodoo.
|january 11th, 1998|
They've also got a listing for an album called Wall Of Voodoo, also imported from Holland, also $50. As much as I'm wondering what that might actually be, I'm not curious enough to spend $50 on it.
|december 21st, 1997|
Rockabilly singer Ray Campi's forthcoming (Jan 98) on Rounder/Mouthpiece records, Train Rhythm Blue, features a cover of Stan's Luther Played Guitarwith Stan on rhythm guitar and harmonica, and a version of Blackie Farrell's Don't Forget The Train with Stan taking a gorgeous harmonica solo. Other players on the album: Dave Alvin, DJ Bonebrake, Tony Gilkyson. I produced and did most of the guitar playing. Probably my greatest joy was asking Stan in, his saying yes, and then playing nose-to-nose with him. Okay, I was nervous, but thrilled.
Update, January 18th: The CD is out, and available everywhere. The perfect gift for the Stan Ridgway completist.
|december 6th, 1997|
On another note, in an email to me, Clarke Price of Dis-Info mentioned that Stan is in the studio working on soundtrack music for an upcoming movie: Melting Pot starring Cliff Robertson.
You can order directly from TWA, or through other distributors like CD Europe
The four things are:
(Wall of Voodoo's first release wasn't a full album, but an EPthe six-track eponymous Wall Of Voodoo. Those six tracks make up the first twenty minutes of The Index Masters.)