Wall Of Voodoo - Call Of The West (All Music Guide)
Stan Ridgway and 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 the band and frontman Stan Ridgway's songs were Americana at its 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. - Mark Deming, All Music Guide
Stan Ridgway and Wall Of Voodoo's "Call Of The West"
Austin Chronicle / Marc Savlo
"It's been 25 years since L.A.'s Stan Ridgway and Wall of Voodoo released Call of the West, and that calls for a drink. The album's dusty, Barstow-to-Bakersfield, Ross Macdonald-meets-Edward G. Ulmer in a Death Valley Detour to nowheresville title track and grimly optimistic film noir narratives still reverberate across the musical Route 66 Voodoo frontman Stan Ridgway paved, roadkill and all. It's the closest musical approximation yet of that hardscrabble, postwar, westward wanderlust to rush headlong into the unknown, "And above all to get a fair shake, to get a piece of the rock, a slice of the pie, to spit out the window of your car and not have the wind blow it back in your face ... ." Ridgway's post-Wall of Voodoo output has, if anything, cemented his neo-noir rep as one of American music's great storytellers, the wild and wily Steinbeck of sad whiskey railroads and rusted, ramshackle American dreams.."
- Marc Savlo / Austin Chronicle