Showing posts with label The Crombies. Show all posts
Showing posts with label The Crombies. Show all posts

Friday, September 13, 2019

Duff Gig Review: The Selecter and Rhoda Dakar at The Gramercy Theatre (9/11/19)

The Selecter with Pauline Black and Gaps Hendrickson
(Review by Steve Shafer)

With the clock quickly running out on 2 Tone's 40th anniversary year--coupled with a general dearth of related events in the USA (The Specials' Encore tour doesn't really count)--it was phenomenal to have the opportunity to catch The Selecter and Rhoda Dakar (of The Bodysnatchers and The Special AKA), both of whom put on extraordinary performances that celebrated and honored their own--and 2 Tone's--legacy, while reminding us why they and their music are still powerfully relevant all these years later. I've caught The Selecter during their two previous visits to New York City (on 9/20/2013 and 10/6/16, which I reviewed here) and have never been disappointed; they give their all, always impressing and entertaining the crowd (this evening, I danced with my friends and members of Barbicide and The Twilights the entire time). And it was an historic night--Rhoda Dakar hasn't played Gotham since 1981!

In lieu of an opening act (more on that later), Rhoda Dakar served as house DJ, spinning a great mix of old school ska and reggae that had the fans openly grooving while maintaining their desired spots down front. The Selecter then took the stage to a recording of "The Selecter" and served up a positively stellar set! Pauline Black and Arthur "Gaps" Hendrickson were thoroughly engaging and the rest of the band (Winston Marche on drums, "Tommy"-era Oliver Reed look-alike John Robertson on guitar, Andrew Pearson on bass, Lee Horsley on organ, and Neil Pyzer-Skeete on tenor sax) were in top form. They played the expected hits and more their 2 Tone days, including "Three Minute Hero," "On My Radio," "Out on the Streets," "Murder," "Missing Words," "Danger," "Black and Blue," "The Whisper," "Train to Skaville," "Carry Go Bring Come," and Gaps' spotlight at the mic (and fave of mine), "(Who Likes) Facing Situations."

Rhoda Dakar with The Selecter
One notable portion of The Selecter's show was sharply political, beginning with their cover of The Pioneers "Time Hard" ("Everyday, things are getting worse"), which Black aimed at both Boris Johnson and Donald Trump in her intro; followed by "Frontline," their call to action/engagement for people who think that posts on social media can address inequity and bring about societal change ("My mind is full/my heart is empty/It's hard to live/In a world of plenty/The more I see/The less I feel/You sell me dreams/But they're not real..I need to believe/In something more/Than I wanna stay free"--which also references the police killing of Eric Garner: "I saw a man/Punched off his feet...He shouted out/'Now, I can't breathe!'"--from their Daylight album, reviewed by me here). They then moved on to the devastating "Breakdown," their "Ghost Town" of sorts for the 21st century from Subculture (reviewed here), which is about how societal and government institutional dysfunction/failure to address systemic racism and poverty leads to the extrajudicial police killings of unarmed black people (the band bowed their heads as a short tape was played listing some of the names of the black boys, men, and women unjustly killed by the police in the UK and USA)--and finished with their haunting anti-gun/anti-revenge/anti-violence song, "Celebrate the Bullet" ("Put your finger on the trigger/But you don't have to pull it/'Cos you know it won't bring them/Back to you"). The cumulative effect of this sequence of tracks was stunning.

After performing a blistering rendition of "On My Radio" (Pauline commented that back in the day only Rodney Bingenheimer at KROQ played ska on the radio in America--though WLIR showed them lots of love in the NYC area, too!), Pauline and Gaps left the stage for the band to back Rhoda Dakar for her two hits with The Bodysnatchers, "Let's Do Rock Steady" and the gender-parity asserting "Ruder Than You" (co-written by the band with Gaz Mayall). Dakar was in fantastic voice and it was thrilling to (finally!) see and hear the other--and essential--2 Tone female singer live in person. My only complaint would be that I would have loved to have heard a few more songs from her (several years ago, Dakar recorded an album of Bodysnatchers tracks, and has released a few EPs of new material, all very highly recommended).

Pauline and Gaps then returned to the stage with Rhoda and all three sang a raucous version of "Too Much Pressure, which incorporated Toots and the Maytals "Pressure Drop."

Rhoda Dakar with members of the FDNY.
Since they were playing in New York City on the anniversary of 9/11, The Selecter had arranged for union members of the FDNY to come on stage, where Dakar read a message of support, thanks, and solidarity from their firefighting colleagues in London. The night concluded with a spirited rendition of Prince Buster's "Madness." On a day commemorating the missing among us, left unspoken--given the superseding and momentous significance of this date--was the 2 Tone musician heartbreakingly absent from this tour: Ranking Roger (whose permutation of The Beat had toured with The Selecter in the UK last year and was scheduled to visit America, had his cancer not intervened; Roger very much had hoped to participate in 2 Tone 40th anniversary events like this). A purloined Selecter set list indicates that on some dates of this tour, the band is playing "Can't Get Used to Losing You" in his memory.

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Afterward, at the merch table, where Pauline, Gaps, and Rhoda are more than happy to chat, sign things, and pose for pictures with fans, I overheard Rhoda responding to compliment on her singing on The Special AKA's In the Studio by telling a fan that to this day she's never listened to that record (still a shock to hear, even though I know she's stated in the past that the recording of that album was such a torturous, drawn-out process that she could never bear hearing it; her work on In the Studio is absolutely fantastic and completely essential to its success--hopefully someday she can find a way to put that all aside and focus on the brilliance of the music she helped create).

The Duff Guide with the wonderful Rhoda Dakar
When I went to buy a Selecter shirt (I bought a Bodysnatchers one from Rhoda, too), Pauline gave me the side-eye and commented on my bootleg 2 Tone tour t-shirt (see picture at right)--though in all fairness the rampant, out-of-control bootlegging of all things 2 Tone back in '79/'80 certainly denied all involved of rightfully deserved income and was one of the reasons The Selecter left 2 Tone after their first LP (I bashfully apologized and pointed out how I was in the act of buying an official Selecter shirt from her!). I also managed to squeeze in a short conversation with Gaps, who's always really lovely to talk with.

If the Selecter/Rhoda Dakar 40th Anniversary Tour comes anywhere near you (dates below), do not miss them (also, bring some extra bucks to buy some merch, as it really helps to make tours like this one financially feasible--musicians need to earn a living, too; also note that The Selecter has vinyl copies of their two most recent albums with them for sale, if you don't already have them).

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The Selecter/Rhoda Dakar 40th Anniversary Tour US Dates

9/12/19: Sommerville, MA - Once Ballroom
9/13/19: Kent, OH - The Kent Stage
**9/14/19: Chicago, IL - Riot Fest (The Selecter performs the Too Much Pressure album)
***Also on 9/14/19: Chicago, IL - Reggie's (Rhoda Dakar backed by The Crombies)
9/15/19: Denver, CO - Marquis Theater
9/17/19: San Francisco, CA - Mezzanine
9/18/19: San Diego, CA - Casbah
9/19/19: San Diego, CA - Casbah
9/20/19: Hermosa Beach, CA - Saint Rocke
9/21/19: Pomona, CA - The Glass House

Note: The Chicago dates above are not officially part of this tour--The Selecter is at Riot Fest without Dakar, who plays at Reggie's backed by The Crombies!

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Monday, January 14, 2019

Duff Guide to Ska: 2018 Year-End Roundup, Part 3

Editor's note: I'm still playing catch-up with several 2018 releases that I didn't get a chance to review before December 31...

(Reviews by Steve Shafer)

Buford O'Sullivan and the Robots "Rico Beat" b/w "Stolen Soul (The Exhumation Ska)" (digital single, Sullico Music, 2019): These are two new and very welcome sides of top-notch traditional '60s-styled instrumental ska from trombonist Buford O'Sullivan (Easy Star All-stars, The Scofflaws, Brooklyn Attractors, NYC Ska Orchestra, The Huffers, and more). "Rico Beat" is, of course, a bright and bubbly tribute to the beloved Skatalites/Specials trombone legend (the doubled trombones are a lovely touch), while the mysterious/dark arts track "Stolen Soul (The Exhumation Ska)" sounds like a primo Scofflaws track, back when Drance and Rice were among their number. Rumor has it that these tunes may be pressed on vinyl some day--and they're more than worthy of a physical release.

The Crombies Wee Beasties (3" mini CD, Jump Up Records, 2018): This collectable throwback to the 1980s (yes, these odd mini CDs were actually a thing back then -- I.R.S. Records made them for The Beat's "I Confess" and "Save It for Later" singles) features Chicago's kick-ass 2 Tone band on a mix of seven previously unavailable live cuts and harder to find tracks (like their great version of Bob Marley's "Hooligans" for the Specialized One Heart charity album and related single, which also found its way onto the Pressure Hop Jump Up/Ska Brewing sampler given away at the 2017 Supernova International Ska Fest). Of the live recordings, their rendition of Madness' "The Prince" is pretty spectacular and it's kind of funny to hear them play a bit of Norman Greenbaum's "Spirit in the Sky" while fruitlessly waiting for beer to make its way to the stage before launching into The Specials' "Hey Little Rich Girl." Technical note: You'll need a CD player with a tray to play this; forget about sticking it into a computer disc drive! And for those still sporting flight jackets, there a nice Crombies patch included with each mini CD.

Yellow Cap Too Fucked To Go (CD, Pork Pie Records, 2018): First off, if you're a fan of the fantastic late '80s/early '90s German ska scene/sound (think The Busters, No Sports, The Frits, Skaos, The Butlers, El Bosso und die Ping Pongs, The Braces, Blechreiz, etc.), then you're pretty much guaranteed to love Yellow Cap's supercharged, good times 2 Tone/modern ska. The cover illustration of Too Fucked To Go depicts a rude boy splayed on his back, his brew in hand pouring out onto the ground, and, most alarmingly, his body is literally breaking up -- but there's a look of utter bliss on his face. And this image pretty much sums up the themes of many of the superb songs on the record (all in English): Enjoying life to the fullest (maybe too much--see the catchy title cut) and pursuing relationships, even if everyone is very flawed and everything is in shambles around you. Songs of indulgence and excess (gotta get it all in before your time's up) include "One More Night in Rio" ("It's that marvelous city, where I lost myself/Can't sleep a minute, I fear being left on the shelf") and the magnificent mini-epic of never-ending partying in "God Knows" ("Where are the pills that kill the pain?/Why do I smell like a dog?"). The sweetly sincere trad ska tune "Ain't Enough Flowers" ("...to show how much I care") is countered by the more sour (but musically cheery) I-can't-do-anything-to-please-you "Rain Is Falling," and the stomping album opener "Better Man," about opposites attracting, but not enough for them to go the distance ("If I am Russia, you're the CIA/If you're the mountain, I'm the beach holiday"). Other notable tracks are the wonderful deejay clash-like boasting in "Rookie," a moody cover of the "Theme de Fantômas" (from the 1960s French TV and film series about a blue-masked criminal mastermind), and an incredible plea for empathy for migrants/refugees/less-fortunate fellow human beings told from the points of view of the human trafficker, refugee, and town resident in "Safe and Sound": "Should I be afraid that my paradise might change?/Better take the first step that strangers are no longer strange/'Cause I know there are other people running after a dream/Just need to know there's somebody to listen/And I hope you will be safe and sound on the other side of the street/And I hope that this never happens to you." In short, live your life to the extreme, but never lose your humanity.

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Read Part 1 of The Duff Guide to Ska 2018 Year-End Roundup

Read Part 2 of The Duff Guide to Ska 2018 Year-End Roundup

And more reviews are TK.

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Sunday, December 16, 2018

Duff Review: Boss: Tribute to the Original Sounds w/Kingston All-Stars featuring Stranger Cole "Step Up," Keith and Tex with Akasha "Stop That Train" b/w The Crombies "Rough and Tough," Arthur Kay and The Clerks "Sea Cruise"

Specialized/Jump Up Records
7" vinyl single EP
2018

(Review by Steve Shafer)

The latest Specialized four CD compilation assembled by Paul "Willo" Williams Boss: Tribute to the Original Sounds (to benefit the Teenage Cancer Trust, National Foundation for Youth Music, and Tonic Music for Mental Health) has yielded its quite good abridged vinyl version. This year's Specialized project is focused on honoring and covering 1960s Jamaican musicians and their songs, and the approach on this EP is split between traditional and more 2 Tone leaning sounds. In a weird, postmodern move, you have still-active originators Stranger Cole and Keith and Tex essentially paying tribute to themselves (as well as their peers). The Kingston All-Stars (a supergroup comprised of Sly Dunbar, Ansel Collins, Mikey Chung, Linford Brown, Jackie Jackson, Robbie Lyn, Everton and Everald Gayle--who, in various incarnations, have worked with Bob Marley’s Wailers Band, Studio One’s Sound Dimension and Soul Vendors, Lee Perry’s Upsetters, Peter Tosh’s Word Sound and Power Band, and Toots and the Maytals) back Stranger Cole on a great, moody original ska cut "Step Up" ("...in the light"). Chicago's Akasha support Keith and Tex on a faithful rendition of their indestructible and enduring 1967 take on The Spanishtonians' "Stop That Train." The Crombies (also from Chicago--Jump Up is located in the Windy City and the band's label, after all!) turn in a raucous and threatening version of Stranger Cole's 1963 rude boy anthem "Rough and Tough." First generation mod/musician Arthur Kay and his Clerks cover "Sea Cruise" (a rhythm and blues/proto-ska track written by Huey "Piano" Smith, but a hit for Frankie Ford in 1959; Jackie Edwards covered it in 1964; and, of course, Rico Rodriguez was backed by The Specials for his 1980 2 Tone single featuring this song) and their rendition is lively and completely winning. While nothing here is a radical, rule-breaking interpretation of a beloved ska or rocksteady classic, the performances are rock-solid and enjoyable--and it all goes toward some very worthy causes.

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Read The Duff Guide to Ska review of the previous Specialized record Gifted, which was a ska tribute to The Jam.

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Wednesday, July 4, 2018

Duff Guide to Ska Fast Takes: King Kong Girio, Boomtown United

(Reviews by Steve Shafer)

Before releasing two new, forthcoming EPs he's produced for Susan Cadogan and his own King Kong Four, King Kong Girio (ex-King Apparatus) has issued a sensational new single "When The Needle Drops" (digital, Bandcamp, 2018) that shouldn't be missed. Originally penned for another artist (who passed on it) and then shelved until Girio recently rediscovered it, the track is a slightly melancholy ("But time abandons/and leaves us here/Where we don't want to stay") but thoroughly nostalgic and heartfelt homage to the 1960s JA ska originators: "Was it the best of what you are/on a scratched up 45?/Because when that needle drops/Your music comes alive/When we look back/We can see where it all began/So long ago/You're not forgotten." Maybe it all was better then, but I'm pretty happy in the here and now with songs like this. Keep 'em coming!

St. Louis, MO's Boomtown United recently popped up on my radar through their contribution of "Work It Out" to the excellent Jump Up/Ska Brewing compilation Drink the Ska (read The Duff Guide to Ska review here). Their new, five-track, self-titled EP (digital, iTunes/Amazon, 2018) is full of extremely catchy and must-sing-along modern/post-2 Tone ska tracks. The urgent, slightly desperate (and shades of "English Civil War") "Outside" is fantastic rebel music: "Times are often tumultuous/A condition in the way in which we live/Searching for hope/Lost in the shadows/And the chances are rail thin/Down and out/That's how they found us/And they never really count us in...Oh, it may seem kind of ugly/That's just the way it is/We may seem kind of dangerous/From the outside looking in!" (An anthem for the resistance? You decide.) The unquenchable desire/lust in "Love Like Fire" (which boils down to: "Hot to the touch/I can't get enough") is conveyed in the dissonant trills of the sax, which are the aural equivalent of flames of fire. "Too Many Chances" lays out the inevitable after it's all gone bad ("The seeds of separation are starting to grow/Now time will tell us what we already know"), while "The Calling" is a soulful lament for musicians and their partners--I love you, but I've got to hit the road. Fans of bands like The Crombies and The Dirty Notion will be instant converts to Boomtown United (the Midwest ska scene has got it going on!). This is a band to keep an eye on...

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Wednesday, May 2, 2018

Duff Review: Various Artists "Drink the Ska"

Jump Up Records/Ska Brewing
LP
2018

(Review by Steve Shafer)

The loose concept for this unofficial 2018 RSD compilation was born at a Ska Brewing anniversary party in 2017 that featured Jump Up's Chuck Wren on the decks. Wren suggested that he and one of Ska Brewing's co-founders Dave Thibodeau put together a compilation featuring acts who have played Ska Brewing parties in the past, as well a healthy selection of choice bands from Jump Up's current roster. The result--unsurprisingly--is a really great mix of new, lesser-known, and solidly established ska bands from across the USA (many from the heartland) playing a variety of ska styles to please every taste.

The lead-off track is The Toasters' stellar tribute to Motown, "House of Soul (Whirly Gig Mix)," which, if you can believe it, is from 2013 (!) and represents the most recent bit of recorded music from them; surely another 45 must be forthcoming soon (read The Duff Guide to Ska review of the "House of Soul" 7" single here)! Of course, The Toasters have had a long association with Ska Brewing, which even released the limited-edition Sheebeen IPA Black in celebration of The Toasters' 30th anniversary. Top tracks to help you catch up on other well-known bands include Monty Neysmith and The Bishops' hilarious "Mama Don't Let Your Babies Grow Up To Be Skinheads" (from their Jump Up record Monty Neysmith Meets The Bishops, which we reviewed here); The Crombies' spot-on ska cover of Billy Bragg's heartbreaking "Levi Stubbs Tears" (from their Jump Up Dance Crazee LP, which we reviewed here); The Dendrites' awesome ska-jazz "Booty Lu's Canoe" (from their recent Jump Up album Damn Right); The Prizefighters' very Skatalites-sounding "The Accolade"; the Bandulus' righteous ska-soul-early rock cover of James Brown's "Good Lovin'"; Green Room Rocker's hot version of Montell Jordan's '90s New Jack Swing cut "This Is How We Do It" (from their Jump Up release Sweat Steady); the grooving reggae "Dogs" by 2 Tone Lizard Kings (with Alex Desert of Hepcat); and Chris Murray and Caps Lock's sweet acoustic ode to consent in "50 Shades of Okay."

Many of the newer/lesser-known bands on Drink the Ska are a revelation and you'll be thankful for the intro. Boss Riot's "Hearts and Hands" ("...they tend to wander") is a terrific, catchy 2 Tone cut with female vocals; Boomtown United's "Work It Out" reminds me of a lot of the excellent modern ska coming out of Europe in the early '90s; there's ska-punk from Buster's Ghost with "Horn Show"; Blue Hornets' "Boom Ska" is top-shelf vintage ska with Dick Dale guitar break; The Breachers' rocksteady-ish (and kind of melancholy) "Walking to the Train" is on a loop in my head; and The Fuss' lovely rocksteady cut "So Many Times" (more female vocals!) is a treat!

Ska fans from all over should be sure to check out this dynamite comp! (Wish I could say the same for Ska Brew's beers, as they're only in distribution in certain states--I'd love to be able to sample their products! Drink the Ska, indeed!).

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Tuesday, February 6, 2018

Duff Review: Various Artists "Gifted: A Ska Tribute to The Jam"

Specialized UK/Jump Up Records
Red or white vinyl LP
2018

(Review by Steve Shafer)

Gifted is the latest in a series of excellent ska tribute/Teenage Cancer Trust benefit CD compilations from Specialized UK, which have been released in part on vinyl by Jump Up in the USA; previous efforts have focused on The Specials, The Beat, Madness, Bob Marley, and The Clash. The selection of cuts on the abridged, vinyl version of Gifted (in its original form, this is a 4 x CD release!) are a mix of The Jam's hit singles (in the UK, at least), b-sides, and album cuts (many from Setting Sonsall of them brilliant)--and the vast majority of the covers here bring something different and compelling to each version of these songs. In sum, Gifted is a powerful and winning set of tracks that do The Jam proud.

Of particular note are the Meow Meows' "Down in the Tube Station at Midnight" (which takes on a whole new level of dread with a woman singing about being brutally mugged/assaulted by right wing goons...and worrying about her wife back at home, since the thugs have the singer's house keys); my old bandmates Rude Boy George's "Town Called Malice" (which decries the meager quality of life and dashed dreams of the masses in Thatcher's England); King Hammond's swinging "I Got By In Time" (with life experience comes wisdom); the Pressure Tenants "Strange Town" (about being alienated in one's own gray and unwelcoming land); Erin Bardwell Collective's very Beatles-y "English Rose"; The Amphetameanies' "Funeral Pyre" (with its allusions to fascist book-burnings--and a chart hit for The Jam just a few weeks before The Specials' "Ghost Town" went #1, when riots tore through many of England's cities, mainly due to high youth unemployment and the police's outrageous and despicable use of the Sus law to harass black people); Los Chicklet's Spanish-sung "Saturday's Kids" ("These are the real creatures that time has forgot/Not given a thought, it's the system/Hate the system, what's the system?"); The Crombies' Joe Jackson-like (think the New Wave ska of his "Pretty Boys") "Girl on the Phone" (concerning the bizarre experience of losing all privacy in the face of fame); The Skapone's "Smithers-Jones" (Bruce Foxton's warning of how workers who play the game and conform to capitalism's rules and societal expectations are ground up and spit out in the end; by the way, Paul Willo shines here!); and Lynval Golding and Contra Coup's wild, dancehall DJ-effects filled "Tales of the Riverbank" (an admittedly nostalgic longing for the innocence and freedom that comes with being very young).

The Jam's songs (and Paul Weller's and Foxton's enormous empathy for their songs' protagonists) continue to be surprisingly immediate and relevant three decades on (and oftentimes they're more accessible, as you can much more easily discern the lyrics in these versions!). Most of all, Gifted reminds the listener that being young and/or powerless in your own cruel and unjust country--when all you want to do is have fun, pursue your dreams, and earn enough to get by--is the same as it ever was...

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Tuesday, October 24, 2017

2018 Supernova International Ska Festival Line-Up Announced

If you've been under a rock (or sick, like I've been), you'll want to know that the 2018 Supernova International Ska Festival line-up has been announced (with a few more headliner slots TBA). Here's who's booked so far: The PietastersThe Suicide Machines, MU330, Western Standard Time Ska Orchestra, Rhoda Dakar (Sings The Bodysnatchers), Dr. Ring-Ding, Roddy Radiation & The Skabilly Rebels, The Scotch Bonnets, Adam Flymo Birch & the Versions, Chris Murray, Spring Heeled Jack (USA), Eastern Standard Time, DJ Chuck Wren, Duncan Shifter, Danny Rebel, Duppies, The Steady 45s, Hub City Stompers, Matamoska, The Crombies, Soul Radics, Sgt. Scagnetti and Matt Wixson's Flying Circus. The festival will take place on May 26, 2018 and May 27, 2018 in Fredericksburg, Virginia.

More details are to come, but specially-priced early bird tickets are available now. And, if you're into it, camping is available for the weekend.

Looks like I'm gonna have to try to make this one!

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Sunday, September 25, 2016

2016 Cassette Store Day @ Jump Up Records with Releases from The Toasters, King Stitt, Reggae Workers of the World, Danny Rebel, Rude Guest, Indonesian Ska, and an Incredible CSD Event in Chicago!

Saturday, October 8, 2016 is Cassette Store Day (see a list of participating stores here) and Jump Up Records is releasing a slew of really interesting titles to help celebrate the recent resurgence of this format (and I'll be damned if I haven't started collecting cassettes again--just last week I picked up used copies of The Scofflaws debut on Moon, as well as Derrick Morgan's Tougher Than Tough and The Deltones' Oddball Boyboth of which were licensed to ROIR by Unicorn Records; and I've also fed my cassette collecting beast by mail ordering some great new cassettes from Jump Up, such as The Crombies Dance Crazee, The Specialized Dance Crazy comp, The Brooklyn Attractors' The Move, NST and The Soul Sauce's Heaven is Here/Song for Rico, and The Specials Live at the Lyceum).

Here's what Jump Up is releasing on CSD 2016:

The Toasters Skaboom: This is first time this classic and hugely influential American ska album has been re-issued on cassette (with cool, reworked artwork) since Skaloid/Moving Target/Celluloid originally released it in 1987.

King Stitt Cool and Copasetic Selector Set: Recorded live in 2002 at the Legend of Ska concerts in Toronto, Canada, this set features Stitt chatting over foundational ska riddims with Ska Nick The Trojan at the controls.

Reggae Workers of the World Reggae Workers of the World: For your listening pleasure, Jesse Wagner of The Aggrolites, Vic Ruggiero of The Slackers, and Nico Leonard of Moon Invaders and Caroloregians got together and recorded twelve new tunes of old school reggay at Pum Pum Hotel Studios in Belgium.

Danny Rebel Boombox Sessions: Re-released for CSD, this is rough and ready acoustic reggae (for fans of Chris Murray, Bob Marley, and Toots and Maytals) recorded live and direct to an old boombox by Canadian Danny Rebel.

Rude Guest Lost Chicago Ska 1982-1993: This Chi-town band kept 2 Tone ska alive in the USA in the 80s and this release compiles all 16 songs they recorded and issued on a series of limited-edition cassettes back in the day.

Various Artists Soundclash Volume 1: This is a collection of Indonesian ska imported from Jakarta that features three of that scene's top bands--D”Jenks, James Steady, and The Ska Banton--playing traditional jazz ska, skinhead reggae, and modern ska!

All of the aforementioned titles can be found at participating CSD retailers or pre-ordered from Jump Up

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Also, if you're in the Chicago area on Saturday, October 8, 2016, be sure to check out this really extraordinary Jump Up Cassette Store Day event at Logan Hardware Records from 11:00 am to 7:00 pm with acoustic performances from Vic Ruggiero and Jesse Wagner, and King Tony, a live cassette DJ set with Chuck Wren, a CHema Skandal poster exhibition and cassette painting(!), plus Ska Brewing tasting and Dark Matter coffee! 


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Tuesday, March 15, 2016

Duff Review: The Crombies "Dance Crazee"

Jump Up Records
2016
Deluxe CD Box/CD/Cassette
Artwork by CHema Skandal

(Review by Steve Shafer)

I've been hearing about how great The Crombies are--and waiting for this album to come out--for what's seemed like an eternity. So, it's a thrill/relief to report just how fantastic and enjoyable their debut Dance Crazee is! The Crombies' single-minded mission is to make rollicking, good-time 2 Tone music, whether they're covering vintage JA and late 70s UK ska, versioning songs that are a bit further afield, or creating new 2 Tone-like classics. And they succeed brilliantly! (Based on what they've captured in these recordings, The Crombies must be one hell of a good night out--come to NYC whenever you can!) So, put it on, crank it up, and be ready to sing along and move your feet!

Dance Crazee opens with a nod to The Toasters' "Frankenska," employing the same maniacal laughter over the first few measures of J.S. Bach's "Toccata and Fugue in D Minor" during the intro to The Crombies' boss version of The Munsters' theme, which they've re-titled "Monster Ska." (The Forest Hillbillies also recorded a ska version of this song back in 1986 for Gaz's Rockin' Records.) This is followed by a rabble-rousing, knees-up take on Niney the Observer's dread vision of "Blood and Fire," re-recorded for Dance Crazee (this song also appeared on The Crombies' 2011 debut single along with "Mad at the World").

The lurking menace always present in Mike Park's vocals really comes through on the one Crombies original on the album, the bitter "It's Not You" ("Now as I walk along this place/I used to walk along with you/I smell the scent of your perfume...I double-take, but it's not you/It's not you"). The Crombies' take on Prince Buster's "Wash Wash" (which itself is a cover of Beasley Smith's and Haven Gillespie's 1949 pop-spiritual "That Lucky Old Sun"; fun fact--mod rhythm and blues fave Georgie Fame played keys on the 1964 Prince Buster recording of "Wash Wash") veers fantastically into blissful jump blues territory and sounds like something that wouldn't be out of place on More Specials (it's similar in vibe and spirit to "Enjoy Yourself"). "Mad at the World" is a repurposed 1998 Deal's Gone Bad fave (several Crombies were in DGB) about, if I can paraphrase Homer Simpson, alcohol being the cause of and solution to all of life's problems: "Can't drink enough to get my head right/Know what they say/Some win, some lose/Finish up to a brand new surprise/Movin' sidewalks, street lamps whirl/Spitting fire till I see your eyes/I'm mad at the world!"

The Crombies' defiant cover of The Clash's "English Civil War" (where Joe Strummer borrowed the American Civil War-era song "When Johnny Comes Marching Home" to issue an anti-fascist warning in reaction to the rise of the National Front in the UK in the late 70s) was previously featured on the excellent and very essential The Clash Goes Jamaican double LP/digital compilation (Golden Singles Records, 2013), as well as a split single with the Green Room Rockers (who covered "Clampdown"). In The Crombies' hands, "The Prince" becomes a full-fledged ska song with a serious, danceable groove--that may top Madness' awkward, herky-jerky original! The Specials' Roddy Radiation adds his distinctive rockabilly ska guitar sound to his own composition of a fallen young woman, "Hey Little Rich Girl" (Roddy's also featured on "It's Not You").

Things shift dramatically with The Crombies' stellar reading of Billy Bragg's  "Levi Stubbs' Tears," a despondent tale of a woman perpetually down on her luck who sort of makes it through life with the music of The Four Tops giving her a measure of comfort (it's from Bragg's 1986 album Talking to the Taxman About Poetry). Their choice of this cover and their interpretation of it are the highlight of the album--and suggest many more great things to come. I wasn't that familiar with Toots and the Maytals' "It's You" before hearing it on this album; this great rendering is something you might expect from The Specials, circa 1979. The Crombies' party finishes with a sweet cover of Prince Buster's "Dance Cleopatra" that sounds like Gaz Mayall's Trojans with Dick Dale on lead guitar.

While The Crombies' Dance Crazee may not be revolutionary (it doesn't aim to be), it is filled with irresistibly fun and expertly (and lovingly) crafted 2 Tone ska that you'll want to listen to over and over. And, these days, everyone could use a little more upbeat, smile-inducing, "more life!" music in their lives.

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Friday, January 22, 2016

The Duff Guide to Ska's 2015 Year in Review, Part 4!

Buster and friends dancing in the streets!
(By Steve Shafer)

I'm still playing catch up on all the releases that I meant to review in 2015 (and I've been sick for the last week with something like the flu, but not the flu). So, here's the latest batch of my quick takes on great ska albums from 2015...

The Sidewalk Doctors: The Sidewalk Doctors digital album/limited edition CD (self-released through Bandcamp) -- Full disclosure: I feel really dumb for being so slow to catch onto The Sidewalk Doctors, despite all of the good word I've heard about this band from trusted sources (as well as noting guitarist Lenny Bignell's involvement in the Phoenix City Allstars and the recent Rhoda Dakar Sings The Bodysnatchers project). So, let me declare far and wide that London's The Sidewalk Doctors are a phenomenal ska/rocksteady group topped by powerfully soulful/bluesy vocals from Nathan Thomas--and this album is amongst my absolute favorites of 2015! Top tracks include the major ska groove and urgent restlessness/dissatisfaction in "Everybody's Looking" ("...for something better!")--which might just be my best-loved song of 2015--the unreserved and unabashed love and adoration (accompanied by 70s reggae strings and ice rink organ!) expressed in "You'll Be the Only One" ("You're my fairytale/My favorite work of art/You lift me up from the very darkest parts"); the haunting loss and debilitating emotional pain in the rocksteady song "In My Shoes" ("My bed's been empty far, far too long/Yet, the space beside me holds deathly harm/I look my demons dead straight in the eye/And another woman's solace ain't going to make me right/No one's calling me, shaking from the pain/One question still rings out loud/What would you do baby, if you were in my shoes?"); and the sad resignation/desperation of not being to escape the self-medicating that "keeps the demons at my feet" in the twitchy, Skatalites-like "This Life is Killing Me" (and the short, redeeming answer song, "Let It Rule," that follows it with the repeated refrain: "Oh, you've got to let it rule, where you find love!"--which is fleshed out on the record's shining final track, "Where There is Love"). This is an incredibly accomplished, confident, and brilliantly appealing album--and one that is not to be missed!

Various Artists: Pressure Drip limited edition blue cassette (Jump Up Records) -- A recent article on the history of Stomp Records reminded me of just how vital compilations were to the rise of ska in the late 1980s and early 1990s--putting local (NY Beat, Mash It Up, NYC Ska Live), regional (American SkathicCalifornia Skaquake), national (Ska FaceSkarmageddon), even international acts (Skankin' Round the World) on every ska fan's map--all during a time when any news about a ska band and their release was very difficult to come by (often only delivered via word-of-mouth or a skazine). From the '80s on, ska compilations certainly super-fueled my love of ska and turned me on to amazing bands all over the world. To some degree, I suppose the internet has made compilations less essential--information and music files flow so freely now--but the democratization of everything has made it harder and much more time-consuming to sort the wheat from the chaff (and what happened to all of those intrepid zine reviewers from the '90s--so few people actually write about ska music these days!). So, obviously, there's still a place for an edited or (I hesitate to use the word, as it's been hijacked in so many awful hipster-y ways) curated collection of songs for your consideration. In this instance, it's to promote acts that are associated with Jump Up (as opposed to a particular scene) and a ska coffee(!)--but what an incredible batch of bands are featured here, from all over the globe (look through this list of bands on the Pressure Drip comp)! Jump Up chief Chuck Wren is very selective about who he works with and the proof of his high standards is in these 23 impeccable tracks. I happen to be pretty familiar with all of these acts, but Pressure Drip properly introduced me to The Crombies (previously, I've only heard them on a single, doing two covers) and I can't wait to get my mitts on more of their music (the comp achieved its goal)! Lastly, even if you don't have a Walkman, boom box, or tape deck, you should own a copy of this cassette--it's a work of art in itself (illustration and design by the always amazing CHema Skandal) and highly collectable.

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Read The Duff Guide to Ska's Year in Review, Part 1, Part 2, and Part 3!

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Thursday, May 9, 2013

Duff Review: "The Clash Goes Jamaican" single featuring "English Civil War" by The Crombies b/w "Clampdown" by Green Room Rockers!

Jump Up Records
7" vinyl single (red, white, or blue)
2013

(Review by Steve Shafer)

In all my many years as a ska fan, I have yet to meet a fellow ska disciple who isn't also a rabid fan of The Clash (probably my all-time favorite band). For many ska fanatics of my generation whose high school years fortuitously coincided with the late 70s and early 80s, The Clash were our formal introduction to--and gateway for exploring--roots reggae (just as the 2 Tone bands led many of us to seek out recordings by the original Jamaican ska musicians from the 60s). While The Clash, obviously, have extraordinary appeal far beyond ska and reggae circles, their love of and reverence for Jamaican ska and reggae shines through on dozens of their tracks ("(White Man) In Hammersmith Palais," "Police and Thieves," "Rudie Can't Fail," "Guns of Brixton," "Wrong 'Em Boyo," "Revolution Rock," "Bankrobber," "Pressure Drop," "Armagideon Time," "Justice Tonight/Kick it Over," "The Call Up," "Junco Partner," "The Crooked Beat," "One More Time,""The Equalizer," "Living in Fame," etc.) and is what draws ska fans into their fold and keeps them there for life.

So, it makes sense that there have been a fair number of ska tributes and covers of Clash cuts (King Django's trad ska-via-New Orleans rendition of "Career Opportunities" is stellar--and Skinnerbox's cover of "Straight to Hell" was one of the few bright spots on the mostly dismal punk and ska City Rockers: A Tribute to The Clash from 1999; the Anger Management League's skinhead reggae versions of "London's Burning," "White Riot,""Janie Jones," "Career Opportunities," and "1977" on Clashed by the AML are terrific; and conversely, while we're here, the worst Clash tribute I've had the misery of hearing, again from 1999, is Burning London--there are so many things wrong with it that I don't even know where to begin).

With all this in mind, it shouldn't come as a shock that I'm eagerly anticipating the release of Golden Singles Records' double LP of The Clash Goes Jamaican, which features an international roster of ska bands covering the Only Band That Matters (check out a preview of all songs on the comp here; the complete track list can be found here). While I'm not sure of the release date for this tribute, ska fans of The Clash can immediately satisfy their cravings through Jump Up Records' incredible new The Clash Goes Jamaican colored vinyl single (available in red, white, or blue), featuring The Crombies and Green Room Rockers.

The Crombies' excellent, straight-on modern ska version of "English Civil War" (with a cool, new rocksteady instrumental intro that segues perfectly into the first verse, but doesn't give away the tune's easily recognizable melody) powerfully conveys its lyrical defiance in the face of oppression and dire urgency of this track's message. If you don't already know, "English Civil War's" melody is from the American Civil War-era song "When Johnny Comes Marching Home," but Joe Strummer transformed it into an anti-fascist warning--through the imagined takeover of Britain by a totalitarian regime--as he witnessed with great alarm the increasing popularity of the National Front in the UK in the latter half of the 70s (note the reference to George Orwell's "Animal Farm" in the lyrics--"as we watched the speech of an animal scream/the new party army was marching right over our heads"--and on the original single's picture sleeve).

On paper, a ska-soul version of The Clash's furious and righteous punk rock anthem "Clampdown" might seem misguided, but the Green Room Rockers pull this feat off magnificently, largely on the strength and conviction of Mark Cooper's vocals (when he sings "it's the best years of your life they want to steal," it's like he knows from first-hand experience!). On this track Strummer, an avowed socialist, advocates general resistance--even revolution--against the pernicious capitalist system, AKA "The Clampdown," that enriches the few by controlling and brutally exploiting the masses ("No man born with a living soul/Can be working for the clampdown/Kick over the wall, 'cause governments to fall/How can you refuse it?/Let fury have the hour, anger can be power/Do you know that you can use it?"). But "Clampdown" also illustrates someone's gradual acquiescence to the manipulation and propaganda of "the system" ("The men at the factory are old and cunning/You don't owe nothing, so boy get runnin'/It's the best years of your life they want to steal/But you grow up and you calm down and/Working for the clampdown/You start wearing the blue and brown and/Working for the clampdown/So you got someone to boss around/It makes you feel big now/You drift until you brutalize/You made your first kill now"). And throughout the song there are allusions to nationalism, xenophobia, and the Nazis' anti-Semitism that suggest fascism is the political system that the capitalists believe to be the most profitable/advantageous to them ("Taking off his turban, they said, is this man a Jew?/Working for the clampdown/They put up a poster saying we earn more than you/Working for the clampdown/We will teach our twisted speech/To the young believers/We will train our blue-eyed men/To be young believers").

The Clash Goes Jamaican single highlights The Clash's deep connection to the ska scene--and showcases two of midwest America's finest acts in the process--but it also serves as a reminder of how The Clash composed some of the sharpest, most potent, and still painfully relevant rebel protest songs in the history of popular music.

Friday, December 30, 2011

The Duff Guide to Ska "Best Ska/Reggae 7" Singles of 2011" List!

Here's my (hopefully) eagerly-awaited, messy and woefully incomplete Best of Ska/Reggae 7" Singles of 2011 list! I'm sure I've missed some excellent releases this past year due to my limited disposable income, highly-subjective personal tastes, lapses in judgement, or outright cluelessness. But this considerable list contains both new and reissued recordings, all of which are absolutely worth your hard-earned cash--and guaranteed to bring you joy and satisfaction over repeated listens.

Entries that include a hotlink will connect you to The Duff Guide to Ska review of that particular release; otherwise, I've tried to provide a few sentences to give you an idea of why I like that single so much.

Seems like a lot of quality ska 7" vinyl was released in 2011. Sure hope that this trend continues into 2012...


- The Aggrolites: "Dreaming on Erie" b/w "Eye of Obarbas" and "Trial and Error" b/w "Enemy Dub" (Young Cub Records)

- Big D & the Kids Table "Not Our Fault" and "Lash Out" b/w Brunt of It "Nah Nah Nah Nah" and "Art School Dropout" (Ska is Dead 7" of the Month Club)

- Black Market Sound System: "Heavy Lies the Crown" b/w "Reggae Night" and "Movin' On" (May Cause Dizziness Records)

- Blue Riddim Band & Big Youth: "Nancy Reagan" b/w "Nancy Reagan Remix 2011 - Voice of the People" (Rougher Records)

- Ken Boothe and Tasty Grooves: "A Change Must Come" b/w "Better Than Nothing" (Liquidator) - This haunting rocksteady cut is the most overtly (and welcome) political single of the year with Ken Boothe decrying what is essentially racial profiling of suspected immigrants (both legal and non-documented) who are then swept up and detained in C.I.E.s (Immigrant Detention Centres that are not considered jails, but function as such) whilst their immigration status is determined. In most countries throughout Europe, the C.I.E.s function in a legally gray area with no guaranteed legal rights for detainees, leaving people jailed for months and subject to abuse--even torture--before they are released or deported. This cut reminds us that people are people, no matter where you come from or the color of your skin--and demands that everyone deserves to be treated with dignity and respect.

- Los Bullets: "Crystal Ball" b/w "Gunshot" (Steady Beat Recordings)

- Hollie Cook: "That Very Night" b/w "Milk and Honey" (Mr. Bongo)

- Hollie Cook: "Body Beat" b/w "Sugar Water (Look at My Face)" (Mr. Bongo)

- Hollie Cook: "Walking in the Sand" b/w "Shadow Kissing" (Mr. Bongo)

- The Crombies: "Blood and Fire" b/w "Mad at the World" (Jump Up Records)

- Deal's Gone Bad "Far from Home" b/w "These Arms of Mine" (self-released)

- Nora Dean "Mama" b/w The Soul Syndicate "Natty Hong Kong" (Trojan Records/Harry J)

- The Delirians: "Move Around" b/w "Overdub" (Steady Beat Recordings)

- The Emotions "You are the One" b/w Phil Pratt & the All Stars "Girls Like Dirt" (Trojan Records/Big Shot)

- The Ethiopians: "I'm Shocking" b/w "Sign the Cheque" (Trojan Records/Smash) - In a case of unfortunate timing, this single was issued not long after Leonard Dillon's death (it had been in the works long before his passing), but these two rare rocksteady gems (recorded after their debut Engine 54) are wonderful reminders of his extraordinary gifts.

- The Forthrights: "Camp Birdman" (Panic State Records)

- Jamaica 69: "Nostalgia del Ayer" b/w Una Lagrima por Ti" (Steady Beat Recordings)

- The Jokers "Brixton" b/w Lloyd Charmers "The Premises" (Trojan Records/Explosion)

- King Hammond: "Mr. DJ" and "Bongo Ska Fever" b/w "The Loop" and "Dub Movement 1" (N.1. Records) - An incredible EP of booty-shaking ska and skinhead reggae, which also doubles as a mini-sampler of KH's three recent stellar albums (The King and I, Jacuzzi, and Showbiz). The King is at the top of his game!

- Lighta Secret: "Elinor All Night Long" b/w "Gaz Dangerous" (Gaz's Rockin' Records)

- Carl Moore "My Forefathers Died in the Sand" b/w The Sunshot All Stars "Strange Mood" (Pressure Sounds/Sunshot) - A plaintive track about African repatriation over the classic John Holt "Strange Things" riddim. Profound and powerful.

- Mustard Plug "Aye Aye Aye" b/w The Beatdown "Piece of Mind" (Ska is Dead 7" of the Month Club)

- Ocean 11: "Miss Understanding" b/w "Spring in Rome" (Moondust Records) - From one of the top--yet somehow elusive (they never played out much beyond SoCal)--traditional ska bands of the 1990s comes the first vinyl appearance of "Miss Understanding," which was originally released on the Girls Go Ska comp from Simmerdown, as well as an unreleased duet with Malik Moore of Los Bullets. I was lucky enough to pick up this single when Queen P played Brooklyn with The Shifters earlier this fall... (Many more terrific releases are soon coming from Moondust--but it looks like they'll be on next year's list!)

- The Pioneers "Easy Come, Easy Go" b/w Derrick Morgan & Desmond Dekker "Mercy Mercy" (Trojan Records/Dr. Bird)

- Prince Fatty and Mutant Hi-Fi: "Transistor Cowboy" b/w "Son of a Thousand Fathers" (Mr. Bongo) - From the fantastic Return of the Gringo album filled with spaghetti-Western inspired reggae--part homage to all the "Dollar" sides from Lee "Scratch" Perry and the Upsetters ("Return of Django"), Lloyd Charmers and The Hippy Boys, Derrick Harriot and The Crystalites, Harry J, Clancy Eccles, Joe Gibbs et all, as well as a brilliant contribution to this somewhat obscure musical sub-genre.

- Red Soul Community "One More Time" b/w Green Room Rockers "I'd Rather Go Blind" (Jump Up Records/Golden Singles Records)

- The Selecter: "Big in the Body, Small in the Mind" b/w "Back to Black" (Vocaphone Music)

- Sonic Boom Six "Play On" b/w The Nix 86 "Peter Pan Syndrome" (Ska is Dead 7" of the Month Club)

- Various Artists: "Doin' the Popcorn Ska: Golden Oldies, Volume 1" (Discotheque Records)

- Vic Ruggiero & Maddie Ruthless "Policeman" b/w The Forthrights "Carla" (Ska is Dead 7" of the Month Club)

- Earl Zero: "None Shall Escape the Judgement" b/w "Judgement Version" (Channel Tubes)

And the brilliant single that never was (Mad Decent was supposed to release a 7" of this over the summer, but for whatever reason it never came to pass): The Beastie Boys featuring Santigold: "Don't Play No Game That I Can't Win."

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Soon come: The Duff Guide to Ska "Best Ska/Reggae Albums of 2011"!

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Friday, September 16, 2011

Duff Review: The Crombies "Blood and Fire" b/w "Mad at the World"

Jump Up Records
2011
7" vinyl single

(Review by Steve Shafer)

Chicago's 2 Tone-worshipping band The Crombies (fearlessly led by Mike Park, formerly of Deal's Gone Bad and Lord Mike's Dirty Calypsonians) party like it's 1979 and the past 30-odd years never happened (God knows there are probably vast stretches in there that we'd all like to forget!). While they are obviously 2 Tone fanatics, The Crombies are also huge supporters of the Chicago Fire Soccer Club, which is the reason why Walt Jabsco is decked out in a Fire kit. (While Park was in Deal's Gone Bad, they also wrote and recorded the song that is still played after every Fire goal.)

Side A of The Crombies' debut single contains Niney the Observer's dread apocalyptic/spliff-sparking classic "Blood & Fire" re-fashioned as if covered by a Too Much Pressure-era Selecter (and the results are knees-up fantastic). The flip is "Mad at the World," an old Mike Park-penned DGB tune from the late 90s that is run through the 2 Tone converter--and I have to say I much prefer this version to the original.

The Crombies have a long-player coming out this fall (on LP, CD, and cassette, even)--and, from listening to this, it promises to be a real stormer!

The Duff Guide to Ska Grade: A

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To stream The Crombies' "Blood and Fire," go to the Jump Up website and click on the track on the label's player.