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Úvodní stránka » GREAT BOOK TAIS AWARDS » GREAT BOOK TAIS AWARDS 2 » Stan Ridgway & Pietra Wexstun
Stan Ridgway & Pietra Wexstun Priestess Of The Promised Land

Stan Ridgway & Pietra Wexstun — Priestess Of The Promised Land (24 aug 2016)

 Stan Ridgway & Pietra Wexstun Priestess Of The Promised Land  Stan Ridgway & Pietra Wexstun — Priestess Of The Promised Land (24 aug 2016)♠Ξ♠   Stan Ridgway (Wall Of Voodoo) and Pietra Wexstun (Hecate’s Angels) are now on BandCamp. New directions in music for your listening pleasure. Music and Song, Soundtracks for Film. Electronic experiments. Its all part of their weird world. yeah gee.  New 10 track digital album from Stan Ridgway and Pietra Wexstun with some new songs, ambient instrumentals, music for film, and remixes. A new collection / playlist and fantastic!
Location: Los Angeles, California
Genre: Alternative, Folk Rock, Electronic, Singer/Songwriter
Album release: 24 aug 2016
Record Label: Stan Ridgway
Duration:     40:34
Tracks:
01. Priestess of the Promised Land     4:42
02. Blue Oceans at Dusk     4:09
03. Slippin’ Sideways     5:17
04. Pirates (Remix)     3:43
05. Nightworld     2:48
06. She’s Wearing You Down     4:42
07. Talk Hard     3:38
08. Half Way There (Remix)     3:41
09. All for Love     4:52
10. Error in Judgement     2:57
Personnel:
♠Ξ♠   Stan Ridgway: acoustic guitar, lead vocal
♠Ξ♠   Pietra Wexstun: keyboards, vocals
ΞΞ    Recorded 2016 Venice CA
ΞΞ    Mastered at Mulholland Sound by Doug Schwartz
♠Ξ♠   This collection from Stan Ridgway and Pietra Wexstun is simply great and covers a lot of ground. From a folk~noir masterpiece like “Prietess” (about ledgendary L.A. evangelist Aimee Semple McPherson, her life, scandals) to Pietra’s spooky acoustic modal epic of “Pirates” to music for film and a new Drywall track in “Slippin’ Sideways” there’s even more. its a new batch of songs from Stan and Pietra that make movies in your mind and will intrigue and reward. Excellent!
♠Ξ♠   STAN RIDGWAY’s musical career began in the late seventies as part of a soundtrack company to create music for low~budget horror films. From the ashes, Wall Of Voodoo was born, and with Ridgway as lead voice, released an EP, two albums, and the 1983 hit single “Mexican Radio”. Upon leaving, he embarked on a solo career that has included collaborations with drummer Stewart Copeland of The Police on the film “Rumblefish” dir. by Francis Ford Coppola, other independent film soundtracks, as well as producing other artists, (most recently Frank Black and The Catholics new release “Show Me Your Tears” (2003), in addition to numerous solo recordings “The Big Heat”, “Mosquitos”, “Holiday In Dirt”, “Anatomy” etc. Ridgway’s newest cds are “Snakebite”(2005) and Stan Ridgway and Drywall “Barbeque Babylon”(2006). “Neon Mirage” ( 20101) and “Mr. Trouble”. (2012)
ΞΞ    PIETRA WEXSTUN has composed music for “Nice Ladies In Cages,” a collection of paintings by Christi Ava (Santa Barbara Museum of Art) , “Visuadelia,” a sound and light installation by Barry Fahr (Barnsdale Gallery), and “Something about Summer,” a performance piece by magician Jim Piper (L.A. County Museum of Art). Wexstun has recordedand performed with songwriter Stan Ridgway for over 20 years. Together they formed the electro~experimental combo Drywall, producing both an album, “Work the Dumb Oracle” and a short film “The Drywall Incident.” Her band Hecate’s Angels has issued two CD’s, “Hidden Persuader” and “Saints and Scoundrels” and has provided music for several independent films and T.V. commercials.
ΞΞ    Pietra Wexstun is an electronic musician and singer~songwriter from Los Angeles, California. She has fronted for the band Hecate’s Angels since 1996, and has performed with her husband Stan Ridgway since 1986. She has contributed to all of Ridgway’s solo and Drywall albums, performing backing vocals, keyboards, synthesizers, and theremin. She has also composed and performed music for several art exhibitions in Los Angeles, including Christi Ava’s ‘Nice Ladies in Cages’, Barry Fahr’s ‘Visuadelia’, and (with Ridgway), Mark Ryden’s ‘Blood, Miniature Paintings of Sorrow and Fear’.
Q: Do you think of your lyrics as poetry?
A: Parts of them.
Q: Do you think it is important that songs rhyme and if so why?
A: No, not necessarily, though mine tend to. Rhyming does make it easier for me to remember them (especially after having indulged in a bit of the grape or the grain), and rhyming can be fun. Bob Dylan once described it as a ‘game’ that gave him a ‘mental thrill’. Also, I find that rhyming, chanting, and the reciting of senseless syllables help access the subconscious to make fresh, new associations in sound and meaning. That’s why I love Captain Beefheart.
Q: Do you think song lyrics must conform to recognised song structures such as clear rhyming schemes, choruses, refrains, hooks and bridges or that songs can also be like free verse?
A: I don’t think song lyrics need to conform to anything. Anyone can string a bunch of words together, start caterwauling and call it a song. The question is: What is it that makes me want to continue to listen? What is it that moves me, amuses me, keeps me intrigued or having fun? I would say more often than not, it’s the use of those tried~and~true structural devices, coupled with the unexpected... a twist here, a turn there. It’s imagination and emotional truth coupled with craftsmanship.
Q: When you read poetry in school or elsewhere did you recognize any connection to the music you enjoyed?
A: Probably one of the earliest poems I remember learning in school was Edgar Allen Poe’s ‘The Bells’. I found it thrilling. The repetition and onomatopoeia made it very musical, but then why shouldn’t it have been musical, it was about bells, wasn’t it? I suppose by today’s standards, it’s considered old~fashioned, but I still love to recite it!
Q: Was there anything about poetry in books that influenced your songwriting?
A: I think it was the richness of the poetry I read, its multi~faceted and layered quality. Keats’ advice to Shelley to ‘fill every rift with ore’ really struck me. Great literature can be wonderfully inspiring, but it can also make you a little tough on yourself.
At the same time, I can appreciate songs that are simple and direct or just plain silly. Tone Loc’s ‘Wild Thing’ and ‘Funky Cold Medina’ come to mind, along with Cypress Hill’s ‘Insane in the Membrane’. I like the cartoony, nursery rhyme quality of these lyrics and the way they merge with the infectious grooves and quirky electronics. Zappa’s stuff can be like that too.
Q: Why do you think songs are more popular with people than poetry is?
A: Well, song lyrics often have the added dimension of melody, sonic texture and a pronounced rhythm. People can listen to a song, without knowing all the words and feel moved one way or the other. Music is just more visceral, I think.
Facebook: https://www.facebook.com/pietra.wexstun
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Stan Ridgway & Pietra Wexstun Priestess Of The Promised Land

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