The Selecter on NPR; Herbie Miller of the Jamaica Music Museum Remembers Rico

Driving up to Boston Sunday morning for a wedding, I caught this pretty great interview on NPR with Pauline Black and Gaps Hendrickson of the latest iteration of The Selecter. You can listed to it in its entirety here. Their newest album, Subculture, is being released in the US later this week.

A good deal of the interview focused on the political messages in many of The Selecter's songs (both the original band's and the current one's)--particularly "Breakdown," a track protesting the police killings of unarmed black boys/men in the US and UK, which actually had been written before the events in Ferguson, MO:



On a lighter note, here's a funny passage from the interview from the NPR transcript:

(NPR Reporter) RACHEL MARTIN: How did you two meet? Do you remember when you first met?

BLACK: On a stage, really, didn't we?

HENDRICKSON: Yeah.

BLACK: After an audition, I guess. May, 1979. So we've known each other a very, very long time. I mean, most people are divorced by now, aren't they?

(LAUGHTER)

BLACK: But our duo, I suppose - I mean, a male-female duo within ska music - certainly within two-tone - there isn't another one. And it has been absolutely excellent and has allowed us, I think, to broaden the kind of work that we can do and the kind of music that we can make.

MARTIN: Do you complement each other, and if so, in what ways?

BLACK: I admire Gaps for bringing what is badly needed, I feel, into, you know, my kind of British black perspective having been brought here, but he brings an absolute authenticity from, you know, the origins of the music that we make. And I think that you could say we were a little bit like the Fred Astaire and Ginger Rogers (laughter) of ska. I mean, you know Fred gave kind of class to (laughter) Ginger and Ginger sort of, you know, made Fred look kind of, you know as though he got some life in him.

(LAUGHTER)

BLACK: It's not a direct analogy, but it's that kind of thing.

HENDRICKSON: Yeah.

BLACK: We complement each other. That's what I'm trying to say.

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Herbie Miller, the director/curator of the Jamaica Music Museum at the Institute of Jamaica, wrote a lovely homage to Rico Rodriquez that was recently printed in The Gleaner (read it here).

Here's my favorite section from Miller's homage to Rico:

"A devotee of Rastafari from as far back as the 1950s, Rodriquez was recognised internationally as an exponent of ska and other forms of Jamaican and global popular music. He was the trombonist of choice among the pioneering exponents of Jamaican popular music, the main and most effective signifier of our culture. He was also one of the musicians whose style and personality conveyed an identity steeped in Afro New World aesthetics and a philosophical world view that centres Africa at its core. This perspective was noticed by eccentric and eclectic free jazz trumpeter Don Cherry who asked Rico, "How can you play like that"? And referring to his own experience, Cherry told him, "To play like you, I had to go to Africa to learn.""

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Jump Up Records' "Pressure Drip" Cassette Sampler

Over the past few years, I've been watching with some amusement as cassettes have been making a comeback, particularly in the indie rock scene (I'm also seeing loads more used cassettes for sale in second-hand record shops). Don't get me wrong, it's not out of audiophile snobbery or anything like that--more the recognition that everything in pop/music culture is cyclical. I was a teenager during the 1980s Walkman era and was grateful for a cheap, portable music format (and the ability to create my own mix tapes!) that allowed me to listen to Echo and the Bunnymen, The English Beat, The Clash, The Cars, The B-52s, and many other bands anytime and anywhere. Hell, I still have a fair number of New Wave and ska releases on cassette from the 80s and 90s that are stored under my bed!

And the cassette resurgence is now hitting the ska/reggae scene: I just reviewed my first cassette for The Duff Guide to Ska (see my review for the Flying Vipers' The Green Cassette here) and I'm very much looking forward to picking up Jump Up Records' upcoming cassette ska comp, Pressure Drip, which is being released, appropriately enough, on Cassette Store Day, October 17. 2015 (and will be available through Jump Up on that date).

This comp, released as a tie-in to promote Jump Up's and Dark Matter Coffee's "Pressure Drip" ska-themed coffee, boasts an incredible line-up of current Jump Up-related ska acts from all over the world (check out the track list on the cassette J-card to the right)! And marvel at CHema Skandal's always incredible artwork! At $7.00, this--obviously--is a great deal!

I still have my Fisher double-cassette deck from high school (!)--which is actually hooked up to my son's stereo--that will allow me to listen to this comp, but even if you don't have the gear to play Pressure Drip, it's still a highly-collectible ska release that you just may want in your collection...

Duff Review: Flying Vipers "The Green Tape"

Music A.D.D.
day-glo green cassette tape/digital EP
2015

(Review by Steve Shafer)

Brothers John and Marc Beaudette (the former on bass, guitar, and melodica; the later on drums and percussion) from Boston's mighty roots reggae outfit Destroy Babylon have teamed up with keyboardist Zack Brines from Pressure Cooker for a new dub project titled Flying Vipers--which is inspired by the incredible analog dub reggae of the 1970s and early 1980s produced by Lee "Scratch" Perry, Keith Hudson, King Tubby, Dennis Bovell, Scientist, and many others.

In seeking to capture that spirit, sound, and vision for their own original tracks, the Flying Vipers recorded their instrumentals on an old-school, Tascam 8-track cassette console (and performed using vintage drums, bass, and keyboards). The final dub mix (by Jay Champany of Truth and Rights) was recorded live on the same Tascam deck, utilizing classic dub techniques and effects--and the results are really pretty phenomenal (and having Kevin Metcalfe, who has worked with David Bowie, The Clash, Lee “Scratch” Perry, Dr. Alimantando, UB40, Dennis Brown, Black Uhuru, Prince Far I, and others, master the final mixes certainly must have helped!).

The Flying Vipers' The Green Cassette (available, natch, via a day-glo green cassette or digital EP, if you must) contains six fantastic tracks of tangibly warm, vibrant, and crisp dub instrumentals with great melodies--earworms, really--that will move your body and elevate your mood. My favorite cut here, "Beacon Street Version," features a lilting, very Rico-like trombone melody on a song that sounds like it could have been off Warieka Dub. Other great touches abound throughout the tape--from the jazzy, bell-like sound of the Fender Rhodes on the lovely "Bell Crickets," to the haunting melodica lines on the slow spooling of "Tape Hiss," as well as the urgent and slightly dangerous "Dragon Snout," to the trippy, wah-wah pedal effects on the guitar line of "Cannabaceae" (which is a family of small flowering plants including Cannabis and Humulus, or hops), and the tension on display between the relaxed sax and the hyper, almost martial percussion in "Coffee Kush" (yes, apparently a strain of coffee-flavored marijuana now exists--does one have the Pavlovian jolt from the taste of coffee, but then mellow out when the THC kicks in?).

My only complaint about this release is that I want more of it--and I also wish it had been issued on vinyl (music this good deserves it). For now, hook up your dad's old tape deck to the stereo or bid on a used Sony Walkman on eBay--and then have someone over forty show you how to insert the cassette (and enjoy)!

NYC Fall 2015 Ska Calendar #13

Rude Boy George--New Wave Goes Ska!

Saturday, September 19, 2015 @ 7:00 pm

Rude Boy George

Toshi's Living Room and Penthouse
1141 Broadway (at 26th Street)
New York, NY
No cover!

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Sunday, September 20, 2015 @ 6:00 pm

Fishbone, Roots of Creation, Lions on the Moon

Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY
$17/21+

(Note there is an All Ages, daytime show earlier on 9/20 at Brooklyn Bowl with Fishbone! It's $8.00; doors open at 12:00 pm, show starts at 2:00 pm!)

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Sunday, September 27, 2015

Across The Aisle

World Maker Faire
New York Hall of Science
Queens, NY

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Friday, October 9, 2015 @ 11:00 pm

New York Ska Jazz Ensemble, Deejay Spinach

The Delancey (downstairs)
168 Delancey Street
New York, NY
$10

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Saturday, October 24, 2015 @ 10:00 pm

Rude Boy George

Toshi's Living Room and Penthouse
1141 Broadway (at 26th Street)
New York, NY
No cover!

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Wednesday, October 28, 2015 @ 8:00 pm

UB40 featuring Ali Campbell, Astro, and Mickey Virtue, and Radio Riddler (backing UB40 and doing their own Purple Reggae set!)

Webster Hall
125 East 11th Street
Manhattan, NY
$35/18+

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Friday, October 30, 2015 @ 8:00 pm

Devil's Night with Mephiskapheles, Hub City Stompers, 45 Adaptors, Hymen Holocaust

Mercury Lounge
217 East Houston Street
New York, NY
$20 in advance/$25 day of show
21+

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Saturday, October 31, 2015 @ 7:00 pm

Halloween Party w/Rude Boy George

Toshi's Living Room and Penthouse
1141 Broadway (at 26th Street)
New York, NY
No cover!

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Saturday, October 31, 2015 @7:00 pm

Mephiskapheles

The Stanhope House
45 Main Street
Stanhope, NJ
$13/All Ages

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Wednesday, November 4, 2015 @ 7:45 pm

The Skatalites, Rude Boy George

Stage One
Fairfield Theatre Company
70 Sanford Street
Fairfield, CT
Tix: $28

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Friday, November, 13, 2015 @ 7:00 pm

Mustard Plug, Survay Says, Rude Boy George

Knitting Factory Brooklyn
361 Metropolitan Avenue
Brooklyn, NY
$13 in advance/$15 day of show

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Thursday, November 19, 2015 @ 6:00 pm

Five Iron Frenzy, The Toasters, Survay Says

The Stanhope House
45 Main Street
Stanhope, NJ
$20/All Ages

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Friday, November 20, 2015 @ 7:00 pm

Five Iron Frenzy, The Toasters, Survay Says

Santos Party House
96 Lafayette Street
New York, NY
$20 in advance/$25 day of show
16+

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Saturday, December 19, 2015 @ 7:00 pm

The Slackers and The Pietasters

Irving Plaza
17 Irving Place
New York, NY
$32.50

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Reasons To Be Cheerful, Part 3: More Tributes to Rico

Earlier this week, Jools Holland posted a lovely tribute to Rico on his website. This is the best part:

"He was an originator and a unique person in 20th Century music. He bridged the gap between early Jamaican music and modern British ska pop music. As a man, he was my friend and a great friend. I toured the world with him and spent as much time enjoying his company as his music. He had a great knowledge on many subjects from the Old Testament to horseracing; his personality and sound were as one and both adorable.

I know I speak for my whole band when I say I will miss him both as a friend and as a fellow musician."

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Music industry "bible" Billboard published a fairly cursory obituary for Rico Rodriguez, which included tweets from Elvis Costello and Tony Kanal of No Doubt.

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Public Radio International has a nice remembrance of Rico on their website.

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If you happen to have a subscription to the London Times, I'm told they've printed an excellent half-page Rico obituary (you can only read the first two paragraphs until you hit the pay wall).

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The Brooklyn Vegan notes (via Bim Skala Bim's Facebook page) that this evening, September 11, 2015, there was a Heritage of Ska event called "Honoring the Legends," which celebrated Rico's life and incredible career (he had been invited to it prior to his death). Here's what Bim had posted earlier this week:

"Rico's children and wonderful close friend, Rasta Larry, will be attending the special honorary show next Friday 11th Sept (planned since last year), at the 229 Club in London, where Rico was due to attend and receive an award accolade, from the Jamaican High Commissioner (along with Owen Gray and Prince Buster). The family will receive the award on Rico's behalf. The night will include a speech by Jerry Dammers and performance by The Neville Staple Band, plus other special guests.

Bless you Rico. Your legendary name and music will live forever."

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This evening, I happened to pull out and listen to my bootleg single of Jerry Dammers' Spatial AKA Orchestra performing "Ghost Planet" and remembered that it included Rico performing/reprising his tremendous "Ghost Town" solo. So, here's the video...

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More Remembrances of Rico

Rico and his frequent collaborator
Laurel Aitken

Harry Pye at The Rebel Magazine has a wonderful tribute to Rico that includes remembrances of Rico performing with Jerry Dammers and his Spatial AKA Orchestra in 2010, as well as a gig Rico did at Gaz's Rockin' Blues in 2003 (and before Rico's set, the DJ played a recording of "First Victims of War," a new track by Jerry Dammers, Rico, Dick Cuthell, Horace Panter, and Lynval Golding that was intended to pick up where "Ghost Town" left off and lead to a full-on Specials reunion, with new material being written and performed; frustratingly, we all know how that didn't work out...).

In addition, Pye reminded me of something I had forgotten--that Ian Dury name-checked Rico on his 1979 hit, "Reasons to Be Cheerful, Part 3":

"Take your mum to Paris, lighting up the chalice
Wee Willy Harris
Bantu Stephen Biko, listening to Rico
Harpo, Groucho, Chico"

(Rico later appeared as a guest musician on Dury's 1984 album, 4,000 Week's Holiday.)



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NME re-printed Jerry Dammers' phenomenal tribute to Rico, which he originally released via his Facebook page. Read it here, if you haven't already.

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The Telegraph and The Guardian have published fairly in-depth obituaries for Rico, though The Telegraph states that Don Drummond was a saxophonist! The Guardian obit was written by reggae expert David Katz.

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The always amazing John V. at Hoi Polloi! Skazine sent me this incredible interview by Stephanie Claman with Rico from the January 17, 1981 issue of Black Echoes (thank you, John!). It was done just prior to the release of That Man is Forward (2 Tone) and amongst many interesting things about Rico's career that are revealed is the fact that he left Jamaica for the UK in 1961 because he and Skatalites trumpet player Johnny Moore had started demanding more money for their recording session work (which was slave wages meager to begin with) and ended up being blackballed by Coxsone Dodd and Duke Reid.

My favorite quote from Rico is when explained why he didn't like playing standards for the tourists in the "uptown" spots in JA--he found it boring, particularly when compared to the vital music scene in Kingston:

"So I've always preferred to be in Kingston and hungry, than in Montego Bay and my belly full..."

With Rico, it was always about the music.

Legendary Ska/Reggae Trombonist Rico Rodriguez Passes Away at Age 80

(Appreciation by Steve Shafer)

Ska/reggae trombonist Rico Rodriguez, best known for his work as a member of The Specials and The Special AKA, passed away on September 4, 2015 in England at age 80. Trojan Records has posted an excellent overview of his career, which can--and should be--read here.

Rico's story is the story of ska and reggae--from the R and B-infused early ska singles of the late 50s onward. Name an essential recording, say Theophilus Beckford's "Easy Snapping," Dandy Livingston's "Rudy, A Message To You" (and a certain 2 Tone band's 1979 cover of it), The Specials' "Ghost Town," or your favorite ska or reggae artists--and Rico has played on it or for them. His long list of collaborations with musicians and producers includes Laurel Aitken, Roland Alphonso, The Blues Busters, Clue J and His Blues Blasters, Don Drummond, Clancy Eccles, Vincent Chin, Prince Buster, Coxsone Dodd, Lloyd Daley, Bunny Lee, Graeme Goodall, Sonny Roberts, Derrick Morgan, Duke Reid, Justin Hinds, The Folkes Brothers, Count Ossie, Max Romeo, Joe Mansano, Toots and the Maytals, Burning Spear, Steel Pulse, Linton Kwesi Johnson, Sly and Robbie, The Selecter (on "Carry Go Bring Come"), Dennis Bovell, Cedric Myton and The Congos, Mikey Dread, Bad Manners, Mad Professor, Gaz Mayall's Trojans, Jump With Joey, Pama International, and many more. (Check out this Rico discography, which--lengthy as it is--probably has significant gaps in it!)

Rico was also in great demand as a session man for many non-ska/reggae artists, including Georgie Fame, Kirsty MacColl, Super Furry Animals, Ray Davies, Jools Holland, Ian Dury, Paul Young, The Members ("Offshore Banking Business"), Joan Armatrading, Ocean Colour Scene, and others.

Like thousands of ska fans, I was introduced to Rico through his extraordinary performances with The Specials and The Special AKA, which were essential to their sound and success. Indeed, what would "Nite Klub," "Do Nothing," "Man at C and A," "Ghost Town," "What I Like Most About You Is Your Girlfriend," "Racist Friend," "Nelson Mandela" (and their covers of "A Message to You, Rudy" and "Guns of Navarone") have been like without Rico's extremely warm, expressive, and meaningful playing? He was the 2 Tone era's premier trombonist and recognized/celebrated as such.

And his solo releases for 2 Tone (produced by Dick Cuthell and/or Jerry Dammers)--the albums That Man is Forward and Jama (read my appreciation of this record here), and singles "Jungle Music" and "Sea Cruise"--are all stellar (and are currently available on iTunes--though it would be great if whoever owns Chrysalis'/2 Tone's catalogue would issue these on CD!). Another phenomenal Rico release that can fairly easily be found is Wareika Dub (Ernie B's Reggae has the Island reissue in stock), which is the dub version of his 1977 Man from Wareika album.

Two of my many favorite Rico performances are on Prince Buster's (credited as Yusuf Ali and the Revolutionaries) "Uganda"--which is a version of Don Drummond's "Green Island"--and Laurel Aitken's "Daniel Saw the Stone."  Of course, this is brilliantly appropriate, as Don Drummond was Rico's mentor at the Alpha Boys School in JA and Rico frequently played on fellow Cuban-Jamaican Laurel Aitken's singles. One can only hope that the great and wonderful Rico Rodriguez is at peace, making incredibly joyful music with Drummond and Aitken in the great beyond.

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My sincere condolences go out to Rico Rodriguez's family, friends, and fellow musicians.

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Update (9/5/15): Make sure to read this amazing tribute to Rico by Jerry Dammers here.

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New 2 Tone-Related Releases: The Selecter's "Access All Areas" CD/DVD and John "Teflon" Sims' "This Art 2 Tone" Book!

There are two 2 Tone-related releases coming out this fall that should be of great interest to fans: The Selecter's Access All Areas CD/DVD (Edsel/Demon Music Group) on September 25, and John "Teflon" Sims' book "This Art Two Tone" (Omnibus Press) on October 12.

The Selecter's Access All Areas documents the band's August 13, 1980 performance at Nottingham's Theatre Royale (with The Swinging Cats as openers), which had been videotaped for ITV's "Rockstage" TV series. Of note, it was a transitional time for the band--they had just departed 2 Tone Records in July (essentially, over disagreements concerning the future direction of the label that they co-managed with The Specials and how out of control the whole 2 Tone craze had become--the massive amount of bootleg 2 Tone and "Selector" merchandise was a particularly sore point) and also that July had recorded their first single--"The Whisper" b/w "Train to Skaville"--for their own intentionally unnamed Chrysalis imprint ("The Whisper" single was the last time the band hit the UK charts--at #36 in August of 1980). And plans were in place to enter the studio again in late August to begin recording their incredible second album, Celebrate the Bullet.

Barely a week and a half after the "Rockstage" taping, both Desmond Brown (keys) and Charley Anderson (bass) were out of The Selecter (Desmond had quit, Charley was asked to leave--both had insisted that The Selecter head deeper into reggae territory--and they then formed The People). So, The Selecter's Access All Areas is a fairly significant release in terms of the history of the band, as it is the last live recording of the original Selecter line-up and, as far as I can tell, has never been previously issued!

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John "Teflon" Sims, of course, is the graphic designer--along with fellow Chrysalis graphic designer David Storey and The Specials' Jerry Dammers--who helped create the incredibly iconic look of so many of 2 Tone's record sleeves and promotional materials. While there's not much advance information available at the moment on the internet, there is this blurb on Amazon:

"In 1979, Teflon met with Jerry Dammers and Horace Panter of The Specials at the Chrysalis A&R Dept, and was presented with a label sized small sketch which Jerry with help from Horace had designed the iconic figure of Walt Jabsco, the instantly recognisable man in a black suit, white shirt, black tie, pork pie hat, white socks and black loafers. Teflon drew a large prototype artwork and soon after designed and illustrated the Nutty Dancer for the first single by Madness on the 2 Tone Records label. He worked closely with production of photographer Chalkie Davies and designer Carol Starr of The Specials' album sleeves. Teflon followed by designing many other 2 Tone graphics for record sleeves, posters, advertising and promotion. This Art 2 Tone is the ultimate visual celebration of the influential late seventies record label, written and designed by the man who played his part in the creative development and design of the 2 Tone unique look: Teflon. Now, Teflon has opened his archives, showing this classic work and more, accompanied by stories of those bands connected with the label: The Specials, The Selecter, The Bodysnatchers, The Beat and Madness."

For more info on "Teflon" Sims, check out this fantastic 2009 interview with him by Marco on the Bass.