Similar to fellow LA singer-songwriter Warren Zevon in his penchant for shadowy narratives of espionage, foreign policy and unwise excess, Ridgway has if anything an even less prepossessing voice, and self-produces using tinny, cut-price synths. The sleazy Burroughsian roué of "Gone The Distance" shows he can nail reptilian characters, and "Wild Bill Donovan"'s sketch of the prototype CIA's boss proves how limited most rock subject matter remains.
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