Duff Review: Radio Riddler and UB40 featuring Ali Campbell, Astro, and Mickey Virtue at NYC's Webster Hall on 10/28/15

Also known as the old Ritz, the first venue UB40 ever played in NYC.

(By Steve Shafer)

Based on my experience seeing the other version of UB40 at BB King's a few years ago (read The Duff Guide to Ska review of that show here), my expectation was that the crowd for the UB40 featuring Ali, Astro, and Mickey gig at Webster Hall earlier this week would have been filled mostly with forty-something, former-WLIR listeners like myself (that legendary, Long Island-based new wave station gave UB40 an extraordinary amount of support and airplay during the first half of the 1980s, creating a huge and loyal fan-base for them in NYC and its suburbs). And I certainly didn't think the show would be sold out. But when my good friend Adam Monkey and I made our way up to the Grand Ballroom (capacity 1,500), we found ourselves in a sea of people of all ages--shiny twenty year-olds to more weathered fans in their 40s and 50s, who--back in the day--had seen the intact UB40 performing every summer at the outdoor Miller High Life Concerts on Pier 84 on the Hudson River. There were also a fair number of British expats--I ran into a bunch of them at the bar and talked to a few next to me in the audience (at one point, I smelled something burning and was looking all around me for the source; the older Brit in back of me told me that I should expect a lot of smoking at a UB40 concert--I smiled and replied that I was used to that, but thought I had smelled someone's hair on fire).

I was eager to see openers Radio Ridder, who were said to be performing their reggae version of Prince's Purple Rain. Their take on that iconic album, Purple Reggae, is pretty phenomenal (read The Duff Guide to Ska review of Purple Reggae here) and fans apparently have been loving it on this tour--RR Frank Benbini noted from the stage that they'd already sold out of CDs halfway through the tour, as he threw the last few promo copies out to the fans (he also commented that Prince had been pretty pissed-off when he found out about their project and had received many pointed phone calls from his lawyer). Radio Riddler played six songs off the album--"Let's Go Crazy," "Take Me With You," "I Would Die 4 U," "Purple Rain" (videos of these are below), "Darling Nikki," and "When Doves Cry." All were really good to great (their extended rendition of "When Doves Cry" was the highlight of their set--I wished I had videotaped it for you!) and they were enthusiastically received by the audience. I have to admit to being a little disappointed that Radio Riddler didn't surprise us with any special guest singers (their album features appearances by Suggs from Madness, Sinead O'Connor, and others, including Ali Campbell on "Purple Rain"--I'm not sure why he didn't grace the stage for at least part of this song; the place would have exploded) and they used backing, pre-recorded tracks throughout (there was no drummer or bass player). I realize that economic factors are in play for opening acts, but a full band would have given Radio Riddler's set even more power, drive, and urgency. Having said all that, I really enjoyed their set and whole-heartedly recommend catching them if they come your way.









I'll admit to losing UB40's thread after Rat in Mi Kitchen (which is one of my favorite UB40 albums), when they released all of those Labor of Love compilations during the 1990s. They recaptured my attention years later with their excellent Who You Fighting For? (2005) and Twentyfourseven (2008) albums (where they re-engaged with the world and wrote/recorded several sharply political songs). So, it was a bit of a shock when these groups of young women near me (and throughout the venue) started screaming the second Ali Campbell stepped up to the mic. And then they continued to sing along loudly and happily to song after song. That's when it dawned on me that this version of UB40 was going to be focused on delivering their pop cover hits (indeed, a great deal of their set was drawn from 1989's massive-seller, Labor of Love II--and the album they're promoting on this tour is a Greatest Hits Live compilation), instead of their stellar original, and oftentimes sharply political, tracks. But pop songs or not, the Ali/Astro/Mickey iteration of UB40 (expertly backed by a full band and horn section, including a back-up singer who looked like Dr. Ring Ding and a sax player who reminded me of The Beat's Saxa!) packed a considerable punch and put on one hell of a fun show for the grooving, sweaty masses. Their set included fan (and commercial radio) favorites (Al Green's) "Here I Am (Come and Take Me)," (The Chi-Lites') "Homely Girl," (The Paragon's) "Wear You to the Ball," (John Holt's version of Shep and the Limelite's) "Stick by Me," (Lord Creator's) "Kingston Town," (Smokey Robinson's) "The Way You Do The Things You Do," (Charles and Eddie's) "Would I Lie To You?," (Eric Donaldson's) "Cherry Oh Baby," and (Boy Friday's) "Version Girl."

They also played several great songs off Ali's 2014 album Silhouette, which he recorded with Astro and Mickey: (a fantastic arrangement of Lionel Ritchie's tribute to Marvin Gaye sung by Diana Ross) "Missing You," (Dennis Brown's super version of The Rays') "Silhouette" (which I though was "cigarette"!), and Astro's "Cyber Bully Boys," which apparently is about the guys in the other UB40. The only time they reached deep into their back-catalogue was for brilliant renditions of two outstanding originals: "Rat in Mi Kitchen" (which I haven't see them do live since, gulp, 1985!) and the ferocious anti-Thatcher indictment, "One in Ten" (videos are below; sorry about the poor sound--it wasn't great in the venue).

An hour-and-a-half into their set, we had to jet--it was a work night and I don't exactly bounce back from a night of drinking beer like I used to--but the band and fans were still going strong (and UB40 hadn't played "Red Red Wine" yet). I really enjoyed their show, but wished that they had dialed back the number of (admittedly popular) covers in favor of more of their original material. Yet, they had given the people what they wanted. It was an evening for reveling in familiar and treasured reggae pop songs--and everyone had a blast. And I have to remind the contrarian in me that there's nothing wrong with that.

Duff Review: Radio Riddler "Purple Reggae"

Mita Records
2014
CD/digital download

(Review by Steve Shafer)

As someone who loves all things new wave and who's a member of a band doing ska/reggae covers of new wave/post punk hits, my antennae shot up when I first heard about Radio Riddler's Purple Reggae project, a song-by-song reggae take on Prince and The Revolution's Purple Rain. Back when this record and film were released in the summer of 1984 (following the massive success of 1999--so much so that my dad even used my purple 1999 t-shirt with the title song's lyrics on the back for a cringe-inducing sermon he gave one youth Sunday at our church), Purple Rain was one of those near-perfect albums (take a look at the track list), where almost every song on both sides of the record was stellar. And the songs touched on enough musical genres to have extraordinarily wide appeal--they attracted fans of new wave, classic rock, pop, funk, rhythm and blues, and more.

It was inescapable, too. Cuts from Purple Rain were all over radio and MTV--and deservedly so. If you were a teenage consumer of music at the time, Purple Rain had a profound impact. Years on, the album has become a touchstone of your youth and the songs evoke all sorts of sharp memories. You know where you were, what you were doing, and who you were doing it with. I'll always remember how the girls in my circle of friends were all out crazy for Prince--they dug his music, his intense and charismatic performances, and his overt sexuality that was tempered by all the theatricality and androgyny. My girlfriend at the time was the one who scored us tickets to see Prince and The Revolution at Madison Square Garden and it was a pretty great show, even if we were in the last row in the nosebleed seats and could only see Prince through a pair of binoculars.

For the past several years, Radio Riddler--Brian Fast Leiser and Frank Benbini of Fun Lovin' Criminals--have been creating reggae and dub mixes of songs by many of their favorite artists (such as Marvin Gaye). This has led them to take on a reported five-year project in celebration of Purple Rain. (I wonder how Prince feels about Radio Riddler's logo, which appropriates Warner Brothers' logo. He had an ugly and long-running battle with WB, which was just recently resolved...) Timed to celebrate the 30th anniversary (!) of the release of Purple Rain, Radio Riddler's Purple Reggae, featuring guest vocals by Suggs (Madness), Sinead O'Connor, Ali Campbell (ex-UB40), Citizen Cope, Deborah Bonham (sister of the Led Zeppelin drummer), and Beverley Knight (a hugely popular soul/r and b singer in the UK, who has an MBE in recognition of all of her charity work), is an ambitious, ingenious, and throughly enjoyable tribute this classic album.

The most successful realization of this effort may be Radio Riddler's incredible version of "Let's Go Crazy" with Suggs on vocals--his relaxed, assured, and upbeat delivery is the perfect counterpoint to the amped up music and propulsive riddim he's riding. It's always been my favorite track on Purple Rain (I've always thought of it as a "1999, Part II" with its "enjoy yourself, it's later than you think" attitude about our mortality, coupled with the subliminal Cold War-era dread of living with the pretty high possibility of nuclear war--the air raid siren at the beginning and end of Radio Riddler's mix reinforces what was then a very real threat, as does the Pac Man-like "game over" sound effect when the track fades out...). This version uses many of the same elements of the original--Prince's unique, processed electronic drum sound, which is used throughout this album, and the song's emphasis on the repeated organ line--but everything's been revamped with a bouncy and extremely catchy reggae skank and it works exceedingly well. (I'd almost recommend you buy this album on this track alone, but that would give short-shrift to all the amazing songs that follow...)

"Take Me With U" moves into loping reggae/soul territory with Deborah Bonham's impassioned singing (it's no longer a duet, as it was between Prince and Apollonia) and this arrangement sheds some of the original's tightly-wound urgency, but in turn adds more emotional depth and impact. In contrast, "The Beautiful Ones'" tempo is sped up here, giving Prince's mostly breezy, delicate ballad (with Benbini singing falsetto) a bit of worried urgency over whether she'll choose the other guy over The Kid that the source lacks (until the end, of course, when Prince freaks out). Radio Riddler manage to translate the electro-funk of "Computer Blue" into a great horn-driven ska track (with a killer reggae break in the middle, featuring trombone and melodica). Back in the day, I remember thinking that "Darling Nikki" was a ridiculously indulgent (and kind of embarrassing) track (and it still is), marring Prince's otherwise extraordinary album. At least Radio Riddler's cooly seductive dancehall-ish version--with Benbini at the mic--is a much more pleasant/less skanky experience.

While Prince and The Revolution's mega-hit "When Doves Cry" is a spare drums/keyboard track with no bass line (that endows it with a tension and claustrophobic feeling that reflects the pain and desperate sorrow in the lyrics--as well as a distinctive sound that was unlike anything on the radio at the time), Radio Riddler sneak the bass back in under the bubbling keys (after all, how can you have reggae without the bass?!). And their inventive arrangement (it opens with a marimba and accordion covering the keyboard riff from the original) along with Citizen Cope's wounded singing are completely stellar. Given Sinead O'Connor's past association with Prince (she had an enormous hit in 1990 with the Prince composition "Nothing Compares 2 U") and her well-known love of reggae (in 2005, she recorded the superb Throw Down Your Arms, where she covered roots reggae cuts by Burning Spear, Junior Byles, Peter Tosh, Bob Marley, Lee Perry, The Abyssinians, and others, backed by Sly and Robbie), it's brilliant that Radio Riddler were able to feature her on this recording. It's even more fantastic that O'Connor sings "I Would Die 4 U" (where Prince, um, strives to be like/assumes the qualities of the son of God and pledges to sacrifice himself in order to redeem his lover), given her deep religious beliefs and that fact that she's an ordained priest in the Catholic Latin Tridentine Church. She serves up a restrained, but very moving performance, as if she's already carrying the sins of the world on her shoulders and knows what will have to be done to save us.

The slow, but strutting funky-reggae arrangement of "Baby, I'm a Star" provides Beverly Knight the space to show off her gorgeous voice and considerable talent--and so effectively convey the mighty swagger of the lyrics that she gives Prince a run for his money. She owns this. Purple Reggae is capped off by an awesomely melancholic, but defiantly joyful rendition of "Purple Rain" sung by the unmistakable Ali Campbell. If you played this track for someone who didn't know what it was, they'd swear it was a long-lost UB40 cut from the 80s, when they were in their prime.

Radio Riddler's Purple Reggae is a superb (and fun!) re-imagining of this classic record, one that is faithful to the spirit and sound of the original, while successfully transforming these songs into dynamic, new reggae cuts. If you're a fan of reggae and of Prince, Purple Reggae is a must!

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