Duff Guide to Ska Fast Takes: Barbicide "Fresh Cuts" and The Twilights* "Hear What I Say"

Editor's note: Back over the summer, I featured these bands (along with the mighty Beat Brigade) at my occasional Electric Avenue ska night at Characters in midtown Manhattan--and I'm a big fan of both acts.

(Reviews by Steve Shafer)

Barbicide, for those of you who've never stepped foot in a traditional barber shop, is the blue disinfectant, fungicide, and virucide that barbers dip combs, scissors, and razors into to kill off fungi and all sorts of nasty viruses. But Barbicide is also the name of a fantastic, NYC-based, modern/third-wave ska band (featuring two former members of Mephiskapheles, Brendog Tween on guitar and vocals, Mikal Reich on drums, plus Jerica Rosenblum (Hard Times, Scofflaws, Defactos) on keys and vocals, and Irena Jaroszewska on bass and backing vox) that has just released their dynamite debut EP, Fresh Cuts (digital, Pass the Virgin Music, 2019). It wouldn't be too far afield to compare Barbicide's sound and vibe with the kind of ridiculously catchy songs Reich and Tween wrote for Meph's The DEMOn tape and God Bless Satan (think "Eskamoes" "Doomsday," and "Saba"), but this is by no means a retread--yes, their music is immediately accessible, but it's wonderfully unique and bent.

Fresh Cuts is an EP of protest songs--three of them essentially anti-love along with a more traditional anti-war track--from musicians experienced enough to have seen some dreams dashed and life mow them down a few times, but they're stubborn bastards; beaten up, battle-scarred, and all the wiser/wise ass/cynical for it (Gen Xers are, after all, at the helm here). The frenetically upbeat (check out those amazing "hey-hey-hey's"!) lead track "Unlove You" is about actively extracting oneself emotionally from a relationship gone bad ages ago ("Well, it's been a long time since you broke my heart/But it ain't been long since I cried/And it feels so good getting over you/Like Lazarus when he undied"); here, the opposite of to love is to unlove. This is followed by a film noir-ish portrayal of a not-exactly-healthy-for-you girlfriend with "Jezebel" (the second Biblical reference on the EP; she, of course, was the pagan, Baal or Satan/demon-worshipping, Christian-corrupting, sexually promiscuous temptress; you can take the musician out of the satanic ska band, but can't take the satanic ska out of the musician...), but at least the singer knows the deal: "Jezebel, you're my gallows/Jezebel, you're my femme fatale/You came from somewhere deep and dark/A creature from down below/Jezebel, you're my gal." "I Don't Remember" is the back and forth tale of a marriage gone south. The wife (Rosenblum) recounts the good and bad ("Do you recall we had ten kids/Ten piles of laundry all covered in skids/Do you recall all the money spent/Have a stack of bills, not one red cent"); while the husband (Tween) mostly doesn't have a memory of anything, but finally fesses up that he remembered that he "had it all" before he lost himself in booze. It's tragically funny and all-out brutal.

Barbicide's EP bows out with a brilliant, heartfelt cover of P.F. Sloan's "Eve of Destruction" (covered most famously by the likes of The Turtles and Barry McGuire), which is an apocalyptic, anti-war, anti-nuke, and anti-racist protest track from the 1960s that captures all of America's contradictions in a nutshell--and is still incredibly relevant today. Some of the lyrics are worth quoting here: "Think of all the hate there is in Red China/Then take a look around to Selma, Alabama/You may leave here for four days in space/But when you return, it's the same old place/The pounding of the drums, the pride and disgrace/You can bury your dead, but don't leave a trace/Hate your next-door neighbor, but don't forget to say grace/And you tell me over and over and over and over again, my friend/How you don't believe we're on the eve of destruction." (Even this song has cutting Biblical references about Christian hypocrisy: "You're old enough to kill, but not for voting/You don't believe in war, what's that gun you're toting?/And even the Jordan river has bodies floating...") Barbicide's Fresh Cuts is an immensely good EP--and highly recommended!

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If you're craving the sweet, late-'60 sounds of rocksteady (with lots of echo effects rolled in), you'll find The Twilights*' Hear What I Say (CD/digital, self-released, 2018) most satisfying. This 10-track album features The Twilights' really splendid, sing-along original cuts standing tall and proud alongside their marvelous takes on several rocksteady and roots reggae classics--notably Delroy Wilson's evergreen "Dancing Mood," Ken Boothe's version of Edward Heyman and Victor Young's pop standard "When I Fall in Love" (and its wild dub version, "When I Fall in Dub"!), and The Heptones' "Hypocrite." (The band, from Easton, PA, is Danny Kru Schurtman on lead vocals and melodica, Scott DeDecker on keys, Rebecca Pagliarulo on guitar and vocals, Edmond Cho on bass, guitar, and vox, and David Best on drums.)

Most of The Twilights*' own material is concerned with one's psychological mood--particularly the desire to achieve some semblance of emotional equilibrium. The musically bright, sing-song-y "Rainy Day" (which features an unexpectedly fantastic, effects-filled bridge) has lyrics that express longing for an end to episodes of depression ("In sad times, I have prayed for rain...Hide in corners/To feel gray...For the last time, let me shine again/Brighter than your mighty sun...It's going to be a rainy day/'Cause this shit's gotta change!'). The opening chords of "Gold" quote Freddie McKay's "Picture on the Wall," but then shift to a brisk, almost jaunty riddim reflecting the determination of the chorus: "Gold is in my eyes/Stars are in my head/I push it, I push it/I push until I'm dead"; but then doubt and insecurity seep in during the verses: "Things are not the way I've always dreamed/Feel away, cast away at sea/Pushing hard, 'cause that's how I still believe/People made boring by machines...Waking thoughts, you're still in my dreams/Everything's exactly what it seems...Don't go, don't go/Hold me, hold tight!" I particularly like the claustrophobic and unsettling "Panic Attack" ("Panic attack, deception's over me/Panic attack, it's something, can't you see?/No one takes it seriously...") with its choice use of off-kilter toy piano here. The album is capped off with a fierce, live, dubby version of Lee Perry and Max Romeo's "Chase the Devil" (one of the greatest songs ever written) that is simply epic! Keep your eye on this band!

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Duff Guide to Ska Fast Takes: The Prizefighters!

(Reviews by Steve Shafer)

There sure are some mighty sweet vintage rocksteady and ska sounds on The Prizefighters' superb new album Firewalk (CD/digital/cassette/LP, Prizefighter Sound System/Jump Up Records, 2019), which are clearly influenced by rocksteady greats like Alton Ellis, The Gaylads, The Heptones, Slim Smith, Delroy Wilson, etc. and The Skatalites (though they're a bit more organically raw, like Japan's Ska Flames--see The Prizefighters' boss instrumentals "The Accolade," "Bebop Rocksteady"--an incredible cover of one of Yoko Kanno's soundtrack compositions for the Japanese animated sci-fi TV series "Cowboy Bebop"--"Kashmir Rock" or "Mars Rover," amongst others). But all of this bright music doesn't really mask The Prizefighters' white hot outrage at the increasingly dismal state of affairs in America (they hail from the heartland: Minneapolis, MN). "Temper Running Hot" comments on the police's disgracefully hostile and violent (at times deadly) treatment of black Americans--sung in manner close to a stage whisper, but seething at the injustice of it all: "They only want to chat/with the hammer back/Violence in the street/and the country road/Each breath could be your last/as the sirens flash." "Along for the Ride" calls out people who casually associate with those in racist or fascist groups, but may not be really committed to their twisted cause, with this warning: "Are you on board, or just along for the ride?/Life's too short to choose the wrong side...Oh, you keep such bad company/Either way, you'll have to pay for their crimes."

Then there's The Prizefighters' stellar anti-racist track "Stop Them," which was written in direct response to the white nationalism/supremacy unleashed and supported by the overtly racist policies and messaging of Trump and his wretched administration--and, as the band puts it, is "less a protest song and more a call to action" for all good people to unite and collectively counter this bigotry and hatred of everyone not white, Christian, right-wing, and male. "Stop Them" is the ideal fusion of relevant socio-political message with move-your-body music (and very much in the tradition of 2 Tone). This cut is super-sing along-catchy and rightfully uncompromising in its anti-racist/fascist stance, much like The Special AKA's "Racist Friend" or Linton Kwesi Johnson's "Fite Dem Back." Check out these lyrics (which ding both Trump and his daddy's beloved Klan):

Now the fascists are back in town
Marching through our streets
Now their jester wears the crown
They keep popping up like weeds
We've gotta put them back in the ground
And hang out their sheets
They will never never never stop
Until we stop-a stop-a stop-a stop-a stop them

On a more uplifting note, album opener "Just Let the Music Play" encourages unity--both racial and economic (as in trade unions)--and doing what you can to enjoy life, stay inspired, and survive in an unforgivingly dog-eat-dog, Ayn Rand-ian capitalist society ("We'll stand united, there's nothing we can't do/We'll keep on fighting and aways will stay true"). While the album closes with "Firewalk," whose lyrics--"When the ground gets too hot/You must do the firewalk--suggests that these dark days are a trial by fire of sorts, a test of one's faith, fortitude, and courage. How we behave towards our fellow human beings and the tough choices we make under duress will reveal our true moral character, forge bonds between people of good will, and shape how one's life will be evaluated come judgment day.

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Duff Guide to Ska Fast Takes: Dub Natty Sessions and Dennis Bovell "DNS and Friends" and V/A: "White Man in Hammersmith Palais" E

(Reviews by Steve Shafer)

Ken Boothe, Dillinger, Leroy Smart, Delroy Wilson White Man in Hammersmith Palais EP (limited edition RSD 7" vinyl four-track EP with mini-poster, Greensleeves Records, 2017): This neat compilation EP features one song each from the reggae artists named-checked in the phenomenal Clash song of the same title (which, of course, was about Joe Strummer attending a concert at the Hammersmith Palais in London featuring these artists on June 5, 1977 and having his expectations dashed when it turned out that "...it was Four Tops all night...onstage they ain't got no roots rock rebel"). It's kind of surprising that no one's though of this cool concept previously, so hats off to Greensleeves for executing it so well. The EP features Dillinger's and Smart's fantastic 1976 UK hit tracks "Cokane in My Brain" and "Ballistic Affair," as well as Booth's 1973 cover of Detroit soul artist Sixto Rodriguez's "Silver Words," and a sweet rare cut from Delroy Wilson, "Rascal Man" (AKA "False Rasta"). The repro poster of the Hammersmith Palais bill advertises that the show ran from midnight to 6:00 am, which finally explains the first line of Strummer's song...

Dub Natty Sessions and Dennis Bovell featuring Matic Horns and Mad Professor DNS and Friends (CD/digital download, available through Bovell's Old School Records, 2017): This is the second release from this Venezuelan, now UK-based roots reggae act Dub Natty Sessions. Their debut was mixed and produced by Bovell who makes a repeat appearance, this time on bass and behind the boards at Mad Professor's Ariwa studios (the Professor mixed the album). DNS and Friends is filled with catchy and dubby reggae instrumentals (featuring all the expert touches one expects of Bovell and the Mad Professor) that achieve real brilliance on tracks like "Un Amor" (which sounds like it could have come off Rico's Jama Rico) and "Plantation" (that recalls Bovell's incredible work with The 4th Street Orchestra). While Dub Natty Sessions lay down some seriously good and enjoyable grooves, their secret weapon on this album is the majestic Matic Horns (Bovell's Matumbi bandmate Henry “Buttons” Tenyue on trombone and Aswad members Eddie "Tan Tan" Thornton on trumpet and Michael "Bami" Rose on sax), who are put to amazing use here.

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Rumored Record Store Day 2017 Ska and Reggae Releases

The beloved/despised Record Store Day will be upon us next month (April 22, 2017) and even though the official list of releases is not yet public, like all private-confidential-classified information, it has been leaked on the internet for all to see. Vinyl Factory (amongst others) has posted a list of anticipated releases and from it I've sorted the ska/reggae keepers from the dross (like--I kid you not--a 12" picture disc for Toto's "Africa" and Corey Feldman's "Go 4 It" swirl-colored vinyl single, featuring Snoop Dogg):

Creation Rebel – Starship Africa [LP] (limited to 1000, indie-retail exclusive) LP

Ken Boothe, Dillinger, Leroy Smart, Delroy Wilson – White Man In Hammersmith Palais [7”] (wrapped in a two-sided replica promotional poster, limited to 1000, indie-retail exclusive) 7″

Mad Professor Meets Jah9 – Mad Professor Meets Jah9… In the Midst of the Storm [LP] (limited to 900, indie-retail exclusive) LP

Peter Tosh – Legalize It [LP] (POT-SCENTED! Jamaican Red/Yellow/Green-Striped Colored Remastered Vinyl, limited/numbered to 2500, indie-exclusive) LP

U-Roy – Dread In A Babylon [LP] (18” x 24” color poster, limited to 1000, indie-retail exclusive) LP

Various Artists – Recutting The Crap Vol. 1 [LP] (Green or Black Vinyl, reinterpretations of The Clash ‘Cut The Crap,’ includes Joe Strummer interviews, download, indie-exclusive, limited to 1000) LP

Various Artists – Soul Jazz Records Presents: Studio One Hi-Fi [5×7”] (limited to 500, indie-retail exclusive) 7″

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I'm sure most of these releases are UK-only, though I do know that Crooked Beat Records in DC area is releasing the Clash tribute (the Scotch Bonnets contributed a track, "Are You Red...Y"). I have no idea what the deal is with the White Man In Hammersmith Palais single is, though I strongly suspect that it is actually a Clash re-issue, since those are the reggae singers referenced in the song.

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Duff Review: The Beatdown - The Beatdown

Stomp Records
2010

Montreal's The Beatdown offer up a potent blend of punky skinhead reggae, vintage ska, and soul on their excellent self-titled debut (think The Clash meet The Pioneers with King Hammond at the controls). The Beatdown contains a tremendous mix of aggressively upbeat, sing-along-with-the-chorus originals (see the awesome, should be massive hits "It's Alright" or "Tell Me Why"), choice covers (The Temptations' "Get Ready," which takes on an almost menacing edge here, while Delroy Wilson's "I Want Justice" is cheerfully defiant, considering the lyrics; it should be noted that Wilson also recorded "Get Ready" himself), and grooving keyboard-driven instrumentals.

Lyrically, The Beatdown are chiefly concerned about relations with significant others ("One Night," "Let Me Take You Out," "Number," or "Today"), trouble in the streets ("Hooligans"), or standing up for oneself ("Try to take me/take me down/And you'll see what I'm made of," from "Beatdown"). You know, feelings and experiences common to all of us. One of the best cuts ("Tell Me Why") challenges a friend to explain what's causing their depression: "I know you feel like/you only get what you deserve/Your life's a mess/You're nothing but a zero...You've come a long way/Got a lot more to say/Still have a long long way/So you better tell me why/tell me why/You better tell me why." This is music therapy of the best kind.

The Beatdown grew out of Alex Giguere's (vocals, guitar) and Pascal Lesieur's (bass) other dirty reggae group, One Night Band (which is on hiatus?). So the quality control is high here--the songwriting, performances, production, and results are outstanding.

The Beatdown is a record that will pick you up when you're down and fill the dance floor when you put it on--two things you can always count on first-rate music to do. This is definitely an album to add to your collection.

Duff Guide to Ska Grade: A