French MIS Madness 30th Anniversary Tribute CD Available Through Madshop!

The terrific 30 Years of Madness tribute album put together by the French MIS and released on Big 8 Records is now available through the official Madness website. While you are at the Madshop, you can also pick up the deluxe re-issue of One Step Beyond, the new Total Madness greatest hits comp, and the stunningly brilliant The Liberty of Norton Folgate.

More Specials in December MOJO Magazine

The December 2009 issue of MOJO Magazine (UK) has a fascinating article on the break-up of The Specials (when Fun Boy 3 split off in the 80s--check out the awesome photo of Terry, Lynval, and Neville in the NYC subway to the right); Terry Hall's terrible bouts of depression; and the drama surrounding the 30th anniversary reunion (Jerry doesn't come off to well in this recounting of it).

Make sure to pick up a copy of MOJO on a regular basis, as its probably one of the best music magazines left in the business.

Complete Control

Here are two kind of ska-related items from the All Music Guide News Roundup blog (via Rolling Stone):

The surviving members of Sublime — Eric Wilson and Bud Gaugh — have been ordered by a California court to stop using the band’s name. Wilson and Gaugh recently performed at the SmokeOut Festival with 21 year-old Rome Ramirez, who replaced the departed frontman Brad Nowell. According to festival footage, the group sounded a lot like Sublime. According to the judge’s ruling, however, Sublime ended with Nowell’s death 13 years ago.

And...

In other legal news, No Doubt is suing Activision, maker of the popular videogame Band Hero. The reason? Gamers can use No Doubt’s avatars at any point during gameplay, regardless of the music being replicated onscreen. In a lawsuit filed today against Activision, No Doubt argues that such a breach of contract turns the band into “a virtual karaoke circus act.”

A few Duff Guide to Ska observations:

Everyone knows that Brad overdosed and is dead, so no one is going to be somehow tricked into thinking that they are buying a ticket to see the original and complete Sublime. If his band mates want to revive the name and music, his estate should loosen up and permit use of the Sublime name--but still earn a cut from all of the gigs, merchandise, etc. that is generated by the continuing Sublime members (and donate the proceeds to drug rehab groups, if they want some good to come out of this). Essentially, give the people what they want: nostalgia (it sells well).

In No Doubt's case--and I'm assuming that they are making a substantial amount of money by lending their avatars to Activision's game--the band covers other people's material (Talk Talk's "It's My Life," for example), so what is the big deal if their avatars do it? (Isn't this just kind of "extending the brand" with gamers and even kind of fun/humorous to have "Gwen Stefani" "sing" a Metallica or Bon Jovi track?) Yes, Activision absolutely should have been completely upfront about how they were going to use the band's images--common sense would dictate this--and No Doubt should be upset about that, but maybe they should have tried to just re-negotiate the deal (i.e.: demand even more money), but not make a huge, public stink about it that makes them appear to be a bit like spoiled rock stars (and I'm categorially not stating that they are...)? Fans love it when stars don't take themselves too seriously.

Money sure does ruin everything, don't it?

Duff Review: Various Artists - 30 Years of Madness

Various Artists
30 Years of Madness: A 30th Anniversary Madness Tribute
Big 8 Records
2009

Conceived by Jerome Lanvin of Big 8 Records and executed by Jean-Pierre Boutellier and his fellow Madness fans in the French MIS (Madness Information Service) as a means to honor the Nutty Boys three decades after the release of their first single in 1979 ("The Prince" b/w "Madness," of course), 30 Years of Madness: A 30th Anniversary Madness Tribute is a terrific celebration of this ska/pop phenomenon. As with any tribute or cover album, the challenge is for the bands to negotiate the right balance between staying true to a song's essence (and not violating the listener's overall familiarity and affection for it), while bringing something new, worthwhile, and compelling to their interpretation. Overall, the majority of the 23 bands on 30 Years of Madness have been able to achieve this--the quality control is fairly high--giving Madness fans a lot to like here.

Even though the quotient of ska dropped significantly with each subsequent album after Madness' superb debut--and most of their hits were out-and-out pop songs--it is gratifying to discover how many of the acts on 30 Years of Madness have reverse-engineered the pop hits into ska tunes (see Gordon's "Michael Caine" or Desorden Publico's "It Must Be Love" among others). In doing so, it's like they've reclaimed Madness for the ska scene--which seems appropriate, since the ska faithful never deserted the band.

From this album, it's also clear that, despite Madness' determined Anglo-centrism (which never played well in the US, with the great exception, of course, of "Our House"), the group's influence extended far beyond the British Empire: on this comp, acts from non-English speaking world (Venezuela, Mexico, Spain, Italy, Belgium, Sweden, and the Czech Republic) vastly outnumber the few from the UK, US, and New Zealand (some of this may be due to the fact that the French MIS put this together; there are a ton of French acts represented; and a French label released it--and you know what? Vive le France, baby!).

Standout tracks on 30 Years of Madness include Steff Tej & Ejectes' "The Prince"; Inspector's rambunctious ska take on "Our House"; Indeed's gorgeously fragile "The Sun and the Rain," with its sweet female vocals; Desorden Publico's incredible Latin-goes-ska take on "It Must Be Love," turning a rather syrupy love song into a sexy romp; Statuto's Italian version of "Johnny the Horse"; Freddy Loco featuring Rocksteady Freddie from NY Ska Jazz Ensemble on a swinging vintage ska version of "The Return of The Los Palmas 7"; Gordon's urgently pleading "Michael Caine"; Cherry Boop & The Sound Makers' "Cardiac Arrest," whose female singer's seemingly helium-fueled voice is almost ethereal; and the simply awesome Lower East Side of Manhattan klezmer ska of "Nakht Shifi Ken Kayro," sung in Yiddish by King Django, but instantly recognizable as "Night Boat to Cairo."

There are a few covers that don't work as well as some of the aforementioned cuts, but when we are dealing with a catalogue as cherished as Madness', maybe it's just too hard to be objective when the originals are close to perfection and the versions seem just a bit off the mark (to me, you may love them--we're in very subjective territory here). And then there are some tracks that I wish had been covered here, like "Land of Hope and Glory" or "House of Fun" or "Driving in My Car." Yet these are mere quibbles with a tribute album that deserves a prominent place in the Madness-related canon.

Perhaps the critical comment that should carry the most weight regarding 30 Years of Madness is that, according to JP, Madness have heard this compilation and love it! Chris Foreman, Madness' guitarist, has told the French MIS that, "The tribute album is overall quite brilliant and very touching to me."

The Duff Guide to Ska Grade: A+ (for effort)/B+ (the results)

(30 Years of Madness is available through Amazon France, but should be for sale through Stubborn Records and the offical Madness website soon.)

Duff Gig Review: The Toasters, The Forthrights, Hey Stranger, and The Stress (10/30 at The Knitting Factory)

Despite my grousing about having to travel to Brooklyn to see this bill at the new Knitting Factory (I'm a spoiled Manhattanite), I found it, in all honesty, to be an easy trip: L train to the first stop in Brooklyn--Bedford Avenue--and then a two-minute walk to the club. The excellent new space is split between a large bar with plenty of booths and huge tilted windows that look out directly onto the dancefloor and stage (it resembles an oversized control booth in a recording studio--the bar is actually called The Kontrol Room--and when I ran into KF Vice Prez of East Coast Productions Shay Vishawadia, who was both The Skatalites' and Laurel Aitken's manager in a former life, he told me that the venue is purposefully set up in this manner, as The Knitting Factory operates several associated labels and they plan to offer the club as a place to cut albums) and a medium-sized performance space (through a good deal smaller than the first floor room of their old Manhattan joint). Also, the beer was reasonably priced for a club, which is always a welcome turn of events.

Just outside the club, a chalkboard sandwich sign listed the line-up for the night and times the bands were scheduled to play--and it was a nice surprise to find that The Stress had been added to the bill at the last minute, since I've been wanting to see them since I ran across their MySpace page a few weeks ago. (You can download their Muk! Muk! EP for free from Witty Banter Records--I tried to buy a hard copy of the EP, but the band forgot to bring them down from Rhode Island--d'oh!--so they gave me a free badge for my effort.) The Stress' sound is a cross between the soulful rocksteady stylings of The Bluebeats and the melodic, if quirky, ska of Easy Big Fella (both bands feature their keyboardist also as their singer). Wish I had videotaped a song or two of theirs to post here, like "What Cheer" or the tune that mentioned dropping bombs (any help here, Stress fans?) that's not on the EP. It was still pretty early when they hit the stage and since the room hadn't filled up yet, I felt a little self-conscious whipping out the Flip...next time I won't be so bashful. The superb Toasters/Void Union drummer Jesse Hayes played with the band, giving the rhythm section an extra shot of power and precision. Great songwriting and spot-on performances here--making The Stress a band to make sure to keep on your radar.

Hey Stranger, decked out in pirate gear, rocked out with their ska-pop-punk sound (think 1996 or '97, if you lived through it) and threw plastic gold coins into the audience now and then (hopefully missing the fan in the full-body penguin costume, who danced the entire night and probably lost 10 lbs sweating in that suit). I was a bit disappointed that no one in the band made themselves up like Johnny Depp in the second "Pirates of the Caribbean" flick with all of those extra painted-on eyes...

This was the first time I've seen The Forthrights, who performed a great set of rocksteady tracks (see their video at the bottom of this post). At the show, I picked up a copy of their debut vinyl single (pressed in Jamaica, natch) on Stubborn Records (preview the cuts on their MySpace page) and their sound is very much what you would expect to be associated with Django's label. Very good stuff.

I caught about 35 minutes of The Toasters' set, but had to leave a bit early, as the MTA was doing track work on the L line after midnight (which would've made traveling back to Manhattan a nightmare). As always, The Toasters delivered the goods--top notch performances from an extraordinary catalogue of songs (I shot video clips of four songs from this set--"Shocker," "I'm Running Right Through the World," "Pirate Radio," and "Sitting on Top of the World"--which are posted below). Since the lot of the constantly touring musician is a rough one, the Toasters core of Buck, Jesse Hayes, and Andy Pearson (on bass) is usually augmented by a rotating crew of sidemen (the time out, the horn section was comprised of Sander Loog from Rude Rich & the High Tones/The Beatbusters on sax and Cooper Barton on trombone), which ends up giving the band a bit of a different feel each time you see them. The Toasters' ex-keyboardist Dave Barry also joined the band (though Buck told me earlier in the night that he was only sitting in for this gig, not the rest of their tour or the Ska is Dead IV extravaganza--which is a shame, as the keys are such an integral part of their sound, and Dave is so damn good). The Toasters are going to be all over the East Coast, South, and Southwest this November, so make sure to catch them!

None of my usual ska gig mates were in town/able to come out and play, so it was extra nice to run into some familiar faces in the crowd (in addition to Buck and Shay), including Coolie Ranx, singer Megg Howe of Across the Aisle, and Nicole Lapusan (AKA punk rock singer/guitarist Miss Pie, who also used to be a big ska promoter and DJ on the "Ska's the Limit" radio show on KDHX in St. Louis back in the mid-90s and would play the hell out of all the Moon promos I sent her). All in all a really good night for ska music and people at The Knitting Factory Brooklyn...

More Upcoming NYC Ska Shows in October and November

In addition to The Toasters/Forthrights/Hey Stranger gig this Friday night at The Knitting Factory, you can catch Dub is a Weapon on Halloween at Zebulon, as well as these shows the first weekend of November...



And then, of course, there is Skanksgiving II (surely Moon sponsored a few of these back at The Wetlands in the 90s?) at the Starland Ballroom in Sayreville, NJ on Sunday, November 15. The bill features The Toasters, Mustard Plug, The Pilfers, Voodoo Glow Skulls, Deal's Gone Bad, Hub City Stompers, The Speakeasies, Avon Junkies, and Explosive Sheep. This is an all-ages show with doors opening at 2:30 pm.

Sunday Papers, Part 2

The preview of The Toasters' 10/30 NYC gig at The Knitting Factory from the AV Club/New York City:

Though it goes through droughts of serious un-hipness, ska will never die: It’s just too fun and infectious to give up for good. (Plus, there are always fresh legions of impressionable high-school kids who don’t know how uncool this stuff is.) Hence the continuing success of The Toasters, one of the best ska acts to do right by the Jamaican style since the heady days of England’s Two-Tone scene. Staying true to the music’s all-inclusive spirit, the group plays the kind of ska that has been ripped into by countless punk acts over the years—but no amount of misrepresentation can mess up the infectious up-down skank that Toasters songs basically require.

Decent write-up--but some of the coolest people I've had the pleasure to know are into ska. Am I so out of it that the un-hip in my orbit just seem cool to me? Or is it that the alterna/indie-kids are just so damn snotty/greater than thou that they think their poop don't stank?

Duff Interview: Megg and Jay of Across the Aisle

According to us, "Across the Aisle crank out loads of hooky, tart, and rambunctious ska-punk-pop in the vein of such 90s acts as Dance Hall Crashers and Save Ferris, but with Mighty Mighty Bosstones Devil's Night Out-type muscle and bite" and are one of the really interesting players on the resurgent NYC ska scene. Currently, the band is in the midst of recording its second EP or first full-length--it all depends on how things work out--but Jay Pintar and Megg Howe were kind enough to take the time to reply to some questions from The Duff Guide to Ska...

Duff Guide to Ska: How is the recording of the new album going? Is the ATA sound changing dramatically from what was captured on The Mercy EP? Who is producing it and which studio are you using?

Jay Pintar (trumpet): Recording the new album has been a steady process. We've hit a few hangups...illness with the seasons changing, and it's always a challenge to coordinate six schedules. Still, what we have thus far is sounding really great, and we're crazy pumped for it.

The sound itself, I don't feel, has changed that much since we recorded Mercy. Some of the tunes we're recording we've been playing for a year or more, so they're pretty much second nature to us at this point. However, we've had Aaron, our new guitarist, since August, and it's been great to hear someone else's new take on material. He's definitely a rocker, he takes liberties that the others did not. He also built his own pedal board, so there are will be a lot more guitar effects on the new recording. Also, when we recorded Mercy in early '08, I was the only horn player at the time, so I recorded three-part horns. Jackie, our alto sax player, came along five months later. It's nice to be laying down tracks with her by my side.

This new recording, in light of these delightful economic times, will be self-produced and recorded in our drummer's home studio. JV [John Vergara], our drummer, has education and experience in audio engineering, and between the six of us, we acquired everything we need to rehearse and record without breaking the bank. We dig it.

Megg Howe (vocals): Recording is so much fun! I really enjoy the process, 'cause you can really appreciate everyone's "part" in each song. Sometimes you forget to really listen to what each instrument sounds like, so when it's stripped down by itself sometimes I say, "Oh, wow, yeah, that's what you're playing there?! It's so brilliant!" So we're all in this basement recording together, so it's funny when I start recording vocals and I take off my headphones--at least two members say they had no idea what I was saying before. It's important for everyone to really hear the lyrics--then they can put my understanding of the idea behind the song and they can feel it too.

DGTS: Will the album be self-released or have you been shopping it around to some labels?

JP: We'll definitely do some shopping. It really depends on whether we end up recording a full-length album or another EP.

MH: Yeah, hopefully it'll create a buzz and, you never know, it could be really beneficial to have some backing!

DGTS: How did the Checkerboard Kids show taping go? When will your episode be broadcast?

JP: The taping went really well! A couple of us were a little under the weather, but all things considered, it went really well. We also had a handful of fans and friends who made it out to the studio to support us! We really appreciated that.

Still no word on when it's going to air [update: it will be on 10/27/09 at midnight!], but there are a couple of video clips from it on YouTube. Here's one of the clips.

MH: Taping was a blast and Phil [Esquire] is adorable. But I was so, so sick, I was getting over a cold/sore throat and losing my voice earlier that week. So here and there you can hear my voice cracking, 'cause I was really pushing it. I was upset that I couldn't give it 100%.

DGTS: What does "Across the Aisle" refer to?

JP: Well, we really wanted "Color Me Badd" (that's with two Ds, now) but, it was already taken...

Seriously, though...it's a new take on the political expression. Ordinarily, it refers to the difference between Democrats and Republicans, in that they're so far removed from the other party's interests and ideals that they're almost literally "across the aisle" from one another...yadda yadda... We reinterpret it to mean, quite basically, diverse. When it comes to our backgrounds, ethnicites, orientations, genders, religions, and especially our musical interests and experiences, we're all over the map. So, although we're "across the aisle" from one another, we've come together to make our own music.

It's VERY important to note that when this description is spoken with inflection and told with the use of hand gestures, it doesn't come off the slightest bit pretentious. :-)

DGTS: And how/why did you decide on Kelly green for the band's look/image? (What's it all about?)

JP: I think it was back in summer '07. Megg, our then guitarist Joe, and I were all on the subway. The conversation pretty much broke down like this:

JAY: Megg, what color are your eyes?

MEGG: They're green.

JAY: Mine, too!

JOE: Woah, me too...

ALL Weird.

JAY: We need a band gimmick. Maybe we should all DRESS in green.

MEGG: I like KELLY green.

JAY: Me, too!

JOE: I'm WEARING kelly green!

JAY: Done.

I'm sure I paraphrased. Ultimately, it is, quite simply, a gimmick. Hopefully, we'll be remembered for our music, but if someone should say, "Oh yeah...aren't they that band with the green and stuff..." then we've done some good. And we started with the neckties just this year.

MH: Haha! Yeah, I forgot about that. Nice, Jay! That's totally 'howe' it went down! But seriously, everyone looks good in kelly green!

DGTS: I think I read that you and Megg both have backgrounds in the theater--how does this influence/affect your performing? Do you approach it from the perspective of playing out live or is it more about putting on a dramatic "show"?

JP: You read correctly, sir! Megg and I each have backgrounds in theatre. In fact, that's how we met. In spring of '06, we were in an original rock musical together. Long story short...the show was not the best, though we did get to revive it in concert form at CBGB's, shortly before it closed for good. Megg and I reconnected about a year later, and that's when the band really started to form. In terms of how it affects performing, I'd say we feed of one another's energy alot, and we're very comfortable onstage together. People often think we're a couple!

I don't think it's about putting on a "dramatic show" necessarily, at least not for me. Though it's an awful lot like being in a play, in that everyone has their role, you've rehearsed, and you try to find real moments. We've a few bits of choreography in several of the songs, and we do other other things like call and response and hand claps and whatnot, but they're mostly because we're a bit dorky and think it's fun, not because we want to be dramatic.

MH: Oh man, that musical was a nightmare, but a blessing because I met Jay. We stayed friends and eventually I convinced him to start ATA with me! I honestly can't imagine not having him as my side-kick on vocals, I truly don't feel like I'm the only lead vocalist. We're such a team, I always say we're a two person fronted band! We need him for sure--he's a better singer than me!

DGTS: Which are your favorite ska bands--and which ones have had the most influence on ATA?

JP: Favorites for me...top four: The Specials, The Slackers, The Toasters, and Fishbone.

In terms of influence, I'm sure it's different for everyone in the band. I know Ashray, our bass player, is really into Rancid and Operation Ivy. For Jackie, it's Hall & Oates all the way (can you blame her?). For me, I listen for horn arrangements and vocal harmonies in any and all bands, not even necessarily of the ska variety. Oh, and I love Dance Hall Crashers...so fun.

MH: For me, since high school I got into No Doubt and just had to know who they all were influenced by and what they were listening to. I was so obsessed with their sound and this whole ska scene that I had never heard about. I found out they were friends with Fishbone. Oh, and I got into Spring Heeled Jack, so those three bands since 1995 have really meant a lot to me. I still listen to SHJ's Static World View! It's such a great album. Also it's come full circle, knowing that you worked at Moon Ska Records with them is so crazy to me, I'm just so honored that you're diggin ATA!! Without these three bands there probably wouldn't be an ATA!

DGTS: And who do you like playing with from the NYC ska scene? Is it my imagination, or are there starting to be a ton of ska bands around here again?

JP: NYC ska bands we've played with: The Bluebeats, Royal City Riot, Rudie Crew, Bigger Thomas, The Pilfers, The Toasters...

Yes! There are more popping up everyday. Some are not necessarily ska, but reggae and various sub-genres. Also, since we're not purely a ska band, the fact that we've punk and reggae elements opens us up to line-ups with other bands/artists outside the ska world, as well.

MH: We've also played with The Pilfers and New York Ska Jazz Ensemble. Although they're from Jersey, we've done a few shows with Hub City Stompers (and have upcoming shows with them).

DGTS: What are your thoughts on music file sharing?

JP: I'd be lying if I said I've never done it. In college, especially, everyone and their mother did it. Now that the shoe's on the other foot, I just will not do it. I don't condone it it any way. Bam.

MH: Yes, totally have done it, but I guess I'm on the fence. Now that I'm tryin' to make a living at it, of course I want to make some profit. But I also, at this point in the game, I just want more fans, ya know. I want to spread the ATA sound!! So, if kids hear ATA and want to share it with friends, I say the more the merrier. I want the world to have ATA!

DGTS: Any ATA plans for the coming months that you'd like to share with The Duff Guide to Ska readers?

JP: Two Brooklyn shows in November: Saturday, November 7th @ the new Knitting Factory and Saturday, November 28th @ Trash Bar. Keep checking our sites: MySpace, Facebook, Twitter, YouTube and atamusic.com for all things ATA!

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According to Phil Esquire, the ATA Checkerboard Kids episode will be airing on MNN Time Warner Cable Channel 34 in NYC at midnight on Tuesday, October 27th. This is viewable live around the world, streaming on http://mnn.org.

Thanks to Phil, here's an exclusive clip that won't appear on the episode:



And Phil really liked this one...

Bluebeat Lounge RIP/New Chris Murray Release

Even though The Duff Guide to Ska is somewhat New York City-centric, we're really sad to see Chris Murray's Bluebeat Lounge coming to an end--after seven years!--with the closing of The Knitting Factory Hollywood. The final show line-up looks amazing and it's sure to be a bittersweet experience for all.

Chris has performed an incredible service for all of the bands that have graced that stage, as well as all of the fans who have enjoyed the shows. At this point, there is no word as to whether or not the all ages Bluebeat Lounge will relocate to another venue--but knowing Chris' determination and resourcefulness, I'm sure whatever comes next will be spectacular. So, we're hoisting a Pacifico in Chris Murray's and the Bluebeat Lounge's honor...

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Bands that are part of an underground music scene--such as ska--obviously need a musical home, so to speak, to find and cultivate their audiences; showcase new and burgeoning talent; hang out socializing, networking, and drinking; and generally keep the whole thing moving forward. While ska bands in NYC have been lucky enough to have a host of welcoming venues to play (Danceteria, Tramps, Peppermint Lounge, The Gas Station, The Ritz, and New Music Cafe to name just a few--all long shuttered), clubs like CBGBs (in the 80s), Wetlands (90s), and The Knitting Factory (2000s) were/are vital to the existence of the scene. And despite any shortcomings, these particular clubs--as well as the ones wherever you live that support ska--deserve mad props for letting the ska people in to do their thing on a regular basis.

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While we're on the subject of Chris Murray, we should note that he has a new album out called Yard Sale on his Unstrictly Roots label. Yard Sale sports 20 tracks recorded during the 15 years transplanted Canadian Chris Murray has called the City of Angels his home and features collaborations with such ska stars as Lloyd Knibb, Lloyd Brevett and Cedric Brooks of The Skatalites, Brian Dixon and Jeff Roffredo of The Aggrolites, and Vic Ruggiero and Jay Nugent of The Slackers.

They Wouldn't Print It If It Wasn't True (Sunday Papers)

I don't think the old maxim that "all press is good press" applies to a hatchet job like this. I mean, why bother writing anything at all if you're going to be this hostile and ignorant?

The show "preview" opens on this "high":

Columbus brought smallpox to the New World. Enola Gay brought the A-bomb to Hiroshima. And The Toasters brought third wave ska to the United States.

And things only deteriorate from there...

In one of the great musical disasters of the 20th century, ska put trombones into the hands of jilted punks world wide. After a thriving first life in Jamaica and England as a legitimate musical art form, ska turned lemon when it hit the domestic shores, and became a fashion statement that, at the least, swapped grimy leathers out for a vest and fedora.

And tonight, The Toasters are playing the Triple Rock. Which means that attendees will do well to stretch out their skanking muscles which likely haven't been used in over a decade.

Yes, the Toasters spawned domestic popularity for a genre that would go on to give us the Mighty Mighty Bosstones, Animal Chin, Skankin' Pickle, and numerous other musical unforgivables.

Hey, let's give credit where credit is due--they haven't given up, even if their peers and former fan base have. They kept right on skanking when the ska bubble burst somewhere near the late 90s. Kept right on tootling on the trumpet and trombone, being the rudest of all rude boys.

Well, perseverance is a virtue of its own, we suppose.

Really, who needs the "music press" when a) they don't really know anything about the past and present of the music/band/scene that they are smearing; and b) seem to be advocating that an entire genre of music--and the musicians playing it--piss off and die?

This guy's editor should have pulled the plug on this piece of crap.

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In contrast, apart from this being a positive preview for The Toasters' gig in Milwaukee, it's obvious that this writer knows something about his subject.