Friday, April 27, 2012

NYC Spring 2012 Ska Calendar Update #20


Saturday, April 28, 2012 at 8:30 pm


The Local 269
269 East Houston Street (between Avenues A & B)
Manhattan, NY

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Saturday, May 12, 2012, starting at 7:00 pm


The Knitting Factory Brooklyn
361 Metropolitan Avenue
Brooklyn, NY

Doors at 7pm
Live Music all night long, beginning promptly at 7:30
ALL AGES
$15/advance or $17/day of show

$15 advance tickets available here.

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Wednesday, May 16, 2012


Rocks Off Concert Cruise Aboard The Jewel
Boards: 7:00 pm/Departs: 8:00pm
East 23rd Street & FDR Drive
New York, NY
Advance: $25/Day of Show: $30
21+

+ + + +

Thursday, May 17, 2012


Gramercy Theater
127 East 23rd Street
New York, NY
$35 ($25 ticket price + $10 in fees)

+ + + +

Friday, May 25, 2012 at 9:00 pm


Forte featuring Kevin Batchelor (Skatalites) & Rocksteady Freddie Reiter (New York Ska Jazz Ensemble) *DEBUT GIG!* 12am
Top Shotta Band featuring Mush 1 (ex-Slackers) 11pm
The Attractors featuring Rich Graiko (Westbound Train) 10pm

+ Crazy Baldhead & Deadly Dragon selecting the big tunes and reggae rarities all night!

B LOUNGE
837-839 Union Street (under 'Tea Lounge'), between 6th & 7th Avenues
Park Slope, Brooklyn
$10

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Friday, June 15, 2012

The Toasters

The Boneyard
20s Virginia Avenu
Atlantic City, NJ

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Saturday, June 16, 2012

The Toasters

The Chance
6 Crannell Street,
Poughkeepsie, NY

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Sunday, June 17, 2012

The Toasters

Vibe Lounge
60 North Park Avenue
Rockville Centre, NY

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Friday, June 28 and Saturday, June 29, 2012


Rocks Off Concert Cruise Aboard The Harbor Lights
Boards: 7:00 pm/Departs: 8:00pm
East 23rd Street & FDR Drive
New York, NY

$30 advance/$35 day of show (for each night)
21+

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Wednesday, June 27, 2012


Rocks Off Concert Cruise Aboard The Jewel
Boards: 7:00 pm/Departs: 8:00pm
East 23rd Street & FDR Drive
New York, NY
Advance: $25/Day of Show: $30
21+

Monday, April 23, 2012

Duff Review: The Rudie Crew "This is Skragga"

Megalith Records/Rootsey Records
2011
CD

(Review by Steve Shafer)

When you hear The Rudie Crew's powerhouse amalgamation of hard-edged, aggressive, and minor-key (but definitely catchy) ska and reggae and wonder why it's like nothing else on the NYC ska scene--everything registers when you trace the band's lineage to King Django's fearlessly eclectic ska band Skinnerbox (established in 1989), which (hey!) included The Rudie Crew's saxophonist/songwriter El "Wood" Husey and trumpeter/songwriter Dan Dulin (both were also in the more traditionally-minded Stubborn All-Stars). The Rudie Crew's sound strongly reminds one, but not in a throwback way, of the late 80s/early 90s NYC ska scene (still heavily influenced by 2 Tone, post-punk, and New Wave), when ska music wasn't so rigidly defined or dominated by traditional ska and rocksteady forms. Top bands like The Toasters, The NY Citizens, Urban Blight, Bigger Thomas, Mephiskapheles, and Skinnerbox mixed their bluebeat with doses of hardcore, funk, 50s rock, Stax R&B/soul, calypso, dancehall and more--all of which gave the music space to expand, mutate, and stay vital.

Lyrically, The Rudie Crew have some interesting things to say (actually, a lot to say--most songs clock in around 4 or 5 minutes, and Roy Radics works overtime, oftentimes toasting/singing what seems like several hundred words a minute). "TRNC" is in support of the Turkish Republic of Northern Cyprus's independence--something I was vaguely aware only because I was briefly in Cyprus as a kid in 1974 ("TRNC, you've got to set them free/TRNC, they need the economy/TRNC, go back to the EEC/ TRNC, they need to exist!"); "S.U.V." promotes an anti-greed, pro-environmental message ("SUV, this is not a necessity"); "Propaganda" blasts W's use of it to dupe the nation into a needless and disastrous war in Iraq (and includes an "Inspector Gadget" riff); all the real and imagined horrorshow anxieties of the post-9/11 decade are manifest in "Uneasy Feeling" ("The whole world is reeling!"); and the almost psalm-like "Dem Never Know" (with P-Dub) is about the struggle against oppression and adversity in Babylon: "Dem never know/There's no way they can stop me/'Cause everywhere I go/It's only Jah Jah a guide me/In each and every thing I do/Me keep him love there beside me..."

But the Crew isn't all seriousness and righteous fury. The magnificent "Tottenham Flow" is about the band's love for the Tottenham Hotspurs football club; "Pretty Girl" poses the key question, "If I give you my heart/Would you give me your world?"; and "Crisp Biscuit" celebrates The Rudites' musical prowess. Plus, the CD includes a slew of dubs, including a sweet one for "S.U.V." made by Crazy Baldhead.

The Rudie Crew know what they're doing--and they do it extremely well. Live on stage or captured in digital bytes, The Rudie Crew are not to be missed.

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Thursday, April 19, 2012

NYC Spring 2012 Ska Calendar Update #19

Friday, April 20, 2012 at 8:00 pm

Top Shotta Band

Sunny's
253 Conover Street
Red Hook, Brooklyn
Free/21+

(F train to Carrol Street and/or B61 bus to the very end.)

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Friday, April 20, 2012 at 6:30 pm

Across the Aisle (band goes on at 7:00pm)

Sullivan Hall
214 Sullivan Street
New York, NY 10012

$10/18+

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Saturday, April 21, 2012 at 10:00 pm

Dub is a Weapon w/Buford O'Sullivan (Easy Star All-Stars/Huffers) and vocalist Rob Symeonn (plus Selector 100dbs)

Zebulon
258 Wythe Avenue
Brooklyn, NY

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Thursday, April 26, 2012 (2 sets: 9:00 pm and 11:00 pm)

NY Ska Jazz Ensemble

Club NuBlu
62 Avenue C
New York, NY

$10

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Saturday, April 28, 2012 at 8:30 pm

The Rudie Crew, Brave New Girl, Pocket

The Local 269
269 East Houston Street (between Avenues A & B)
Manhattan, NY

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Saturday, May 12, 2012, starting at 7:00 pm

Version City Party presents "Stubborn Records 20th Anniversary Party" with Skinnerbox, Hub City Stompers, Rocker T (with The Snails), The Radiation Kings, King Django Septet, The Rudie Crew, The Reggae Lords, The Heavy Beat

The Knitting Factory Brooklyn
361 Metropolitan Avenue
Brooklyn, NY

Doors at 7pm
Live Music all night long, beginning promptly at 7:30
ALL AGES
$15/advance or $17/day of show

$15 advance tickets available here.

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Wednesday, May 16, 2012

The Aggrolites w/Old Man Markley, Brothers of Brazil

Rocks Off Concert Cruise Aboard The Jewel
Boards: 7:00 pm/Departs: 8:00pm
East 23rd Street & FDR Drive
New York, NY

Advance: $25/Day of Show: $30
21+

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Thursday, May 17, 2012

Lee "Scratch" Perry, Subatomic Sound System

Gramercy Theater
127 East 23rd Street
New York, NY

$35 ($25 ticket price + $10 in fees)

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Friday, May 25, 2012 at 9:00 pm

Reggae in the Slope

Forte featuring Kevin Batchelor (Skatalites) & Rocksteady Freddie Reiter (New York Ska Jazz Ensemble) *DEBUT GIG!* 12am
Top Shotta Band featuring Mush 1 (ex-Slackers) 11pm
The Attractors featuring Rich Graiko (Westbound Train) 10pm

+ Crazy Baldhead & Deadly Dragon selecting the big tunes and reggae rarities all night!

B LOUNGE
837-839 Union Street (under 'Tea Lounge'), between 6th & 7th Avenues
Park Slope, Brooklyn

$10

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Friday, June 28 and Saturday, June 29, 2012

The Slackers (with selector 100dBs!)

Rocks Off Concert Cruise Aboard The Harbor Lights
Boards: 7:00 pm/Departs: 8:00pm
East 23rd Street & FDR Drive
New York, NY

$30 advance/$35 day of show (for each night)
21+

+ + + +

Wednesday, June 27, 2012

The Skatalites

Rocks Off Concert Cruise Aboard The Jewel
Boards: 7:00 pm/Departs: 8:00pm
East 23rd Street & FDR Drive
New York, NY

Advance: $25/Day of Show: $30
21+

Monday, April 16, 2012

Duff Review: The Void Union "Higher Guns"

Jump Up Records
2011
LP (also available as a digital download from the band)

(Review by Steve Shafer)

Editor's note: I had originally planned to include this review in a huge "Best Ska and Reggae LPs of 2011" wrap-up, but never got around to finishing it, as I started a new job at the beginning of 2012. So instead of letting it languish in my to-be-published someday folder, I've decided to overcome my embarrassment about posting this so late and to share it with the world...

Hands down, The Void Union's Higher Guns is one of the best traditional ska albums of 2011. Side A is all ace Skatalites-inspired original jazz-Jamaica instrumentals (see "In Like Flynn," "Song for Lester" or the spaghetti Western-ish "Higher Guns"). The flip side features "Aiming," a song about trying to drink your troubles away, but only creating more (with King Django and Obi Fernandez); "Tea Party Girl," which is probably the first ska song about the ridiculous Tea Party ("Angry girl having the time of her life/Tea Party Girl hold the knife/Angry man hold the sign/Tea Party Man hold the line"); the sweet, bubbling toaster "Rock the Junction" (with Craig Akira Fujita of Pressure Cooker); the angry and defiant "Garden of Eden," which features the amazing lyrics, "tie my hair up in barbwire and bows/top it off with a red, red rose/doesn't matter where I'm going/I'll be there by tomorrow/entertaining faces, that's where my place is/I've been here to find what's left of humankind" (guest vocalist Haley Jane is spectacular on this cut); and "Fear of Flying," a hilarious monologue (with music) about that condition by Fishbone's Angelo "Dr. Madd Vibe" Moore, that will do nothing to alleviate your pteromerhanophobia (can't you fix it, Doc?!).

Sunday, April 15, 2012

Duff Review: The (English) Beat "John Peel BBC Radio Sessions"

The Beat Fan Club via Jump Up Records
Red vinyl LP

(Review by Steve Shafer)

Editor's note: I had originally planned to include this review in a huge "Best Ska and Reggae LPs of 2011" posting, but never got around to finishing it, as I was starting a new job at the beginning of 2012. So, I thought it would be appropriate to run this short write-up on the heels of the news of a new five-disc English Beat box set ("The English Beat: The Complete Beat") and single-CD compilation ("Keep The Beat: The Very Best Of The English Beat"), both of which will be released on July 10, 2012 from Shout Factory. Rare and unreleased material is promised (though from a cursory look, there's not loads of stuff that hasn't already been available in some form here or in the UK--and the box set includes the Peel sessions that are reviewed below)--but new Beat fans would be well-served by tracking down both the US and UK versions of the 1983 "What is Beat?" comp (which have very different track lists).

It's fantastic to hear the live, in-the-BBC-radio-studio versions of these beloved and enduring songs and revel in the even bolder arrangements of the album tracks from Just Can't Stop It and Wha'ppen (check out that wickedly fast and impossibly precise rhythm section in overdrive on cuts like "Too Nice to Talk To," "Psychedelic Rockers," and "Walk Away"--I really wish I had caught the Wha'ppen tour, as the band sounds like it was in its absolute prime). And while I love the almost perfect pop-reggae/ska of Special Beat Service, the relatively straight-forward performances (for The Beat, at least) from this era portend the split then soon to come.

Tracklist:

(November 5, 1979)
Tears Of A Clown
Ranking Full Stop
Click Click
Mirror In The Bathroom
Big Shot

(September 22, 1980)
Too Nice To Talk To
Psychedelic Rockers
Monkey Murders
Walk Away

(March 29, 1982)
Spar Wid Me
She’s Going She’s Gone
Save It For Later
Pato And Roger A-Go Talk
Sole Salvation

Saturday, April 14, 2012

Duff Interview with Stubborn Records' King Django on 20 Years of Ska and Reggae!

Editor's note: With Stubborn Records' 20th Anniversary Show coming up on May 12th at the Knitting Factory in Brooklyn (see details on the poster below), we thought we'd better check in with musician, songwriter, engineer, producer, and label-head King Django (AKA Jeff Baker) and pick his mind regarding all that has gone down over the past two decades at Stubborn. (Thanks and respect to King Django for taking the time to answer all of our questions!)

The Duff Guide to Ska: When you created "Rude Awakening," the first skazine in NYC back in 1984, could you ever have imagined that you'd be here all of these years later, celebrating the 20th anniversary of Stubborn Records?

King Django: Actually, no! Looking back and realizing that at that time, I was not even a musician, I definitely could never have imagined the wild ride that was to come. I feel pretty lucky and blessed having been able to learn so much from some really great musicians including my contemporaries and many of the artists who were my heroes in my youth.

DGTS: The label's first release, "Tales of the Red," was from your own band Skinnerbox. So, part of your motivation to get the label up and running was to put out your own records, but what was the label's driving mission for its first decade of existence? What were your initial plans for the first few years and how many of them were you able to realize?

KD: To be honest, I never really had much of a long-range plan. The label was started because we had been jerked around so much trying to get the first Skinnerbox record out. We had a cool offer from a good label and were ready to go with it, but got stars in our eyes due to smoke blown up our collective proverbial orifice by some "industry" types and in the end wound up with nothing. Prince Buster and Coxsone had always been heroes of mine, so I decided we ought to just start putting the records out on our own. All of my "plans" really only involved what projects I wanted to release, and in that light, they were all realized. That being said, there's still a lot of irons in the fire, plenty of tunes here awaiting release.

DGTS: When I was at Moon, I have to admit we were definitely jealous--in an admiring way--of some of the releases that you were putting out. But we also viewed Stubborn's competition as healthy for the scene (and us)--and there were certainly more than enough good bands around to work with (and certainly no single ska label had the resources to put out records for all of them). At the time, how did you view Moon Records--and which of the label's successes did you emulate and which of their missteps did you learn from?

KD: I don't think I actually directly emulated any specific aspects of Moon Records, but I defiinitely do have to give props here to Rob "Bucket" Hingley, who was definitely a big inspiration and an early mentor of mine back in the days before he was called "Bucket." Having been around him from the inception of Moon Records when I was still very young, Rob was really a very direct inspiration for me. He was very helpful and forthcoming, sharing his knowledge of the business at that time.

By the time Stubborn Records was founded, I'd already been working with and around him for about six years. I have a deep respect for what Rob and you all were able to accomplish with Moon. My impression is that because of the rapid growth of the label and the realities of independent distribution at that time there arose a necessity to "fill the pipeline" with product. To meet the quantity requirements, I think the quality control became lax, which of course translated to lower sales at the end of the day, and possibly a ripple effect for the entire genre here in the States. I suppose the main things I took away from that situation were to take it slowly, keep a close watch on the scale of things, keep it real and realistic, and never to make records just for the sake of having more releases. I was really never motivated by trying to get "big" or make loads of money, I just wanted to make good records.

DGTS: What were some of the biggest challenges to running an independent label during the 90s (when people still bought recorded music in physical formats)?

KD: I think the single biggest challenge was navigating the independent distribution network, as mentioned above. Everyone who had an independent label at that time has essentially the same horror stories, just in different sizes. It was pretty easy to get your product into the distribution channels, but actually getting it sold through and collecting any money for it was impossible. It's too much for me to go into the sordid details here, but there were a load of classic tricks and scams perpetrated on the labels during that time.

DGTS: You and I have talked a bit in the past about the difficulties of trying to keep a label going in this era of rampant music piracy (i.e., music "file sharing"). Any thoughts about this that you want to share publicly? And what do you think might be the emerging business model, the way forward for independent record labels and bands to be paid for the fruits of their labor?

KD: I really don't know! I just hope people realize that if they want to continue hearing good, quality music, they should support artists they enjoy. If you have no need for a CD, buy a T-shirt, buy some stickers, anything, spend a few bucks. Heck, buy a CD and give it to someone. Buy an album download from iTunes or another legal outlet. It's so important, especially nowadays, that we support our arts communities! For some reason, it's very easy for people to spend $14 on two admittedly enjoyable pints which they drink down very quickly at the corner bar, or $10 to $15 for a crappy, indigestion-inducing, poison dinner at a horrid, corporate, national chain restaurant, yet it seems difficult to convince people to cough up a measly $10-12 for an album which will bring them joy and upliftment repeatedly for years to come.

DGTS: What were some of Stubborn Records' greatest achievements (and disappointments, such as bands that you wanted to work with, but who got away)?

KD: I think just sticking around this long and having maintained a pretty good level of quality in our catalog is probably the label's greatest achievement. They're not all the same or even similar, and they all have different strengths (and even weaknesses!), but I'm pretty proud of all of our releases in one way or another. Again, my goal was never to release loads of records, or be a huge label. I just want to put out good music that my friends and I enjoy making and listening to. At this point, I think I'm a musician, singer/songwriter, recording artist first, a producer and recording engineer second, and a label owner third. The single greatest sadness in the history of the label was the loss of my close friend and Jamaican music business mentor Mr. Bertram Brown. He was instrumental in the establishment and success of the Version City Jamaica vinyl label, and he will never be replaced. There was also a planned album with Derrick Morgan which had to be scrapped when Profile Records shut down. I was also really looking forward to doing some work with Cedric Brooks before his health took an ill turn.

DGTS: Which Stubborn Releases are your personal faves?

KD: I am working on music all the time, so I think whichever I am working on at the moment is my favorite. To be honest, I don't go back and listen to the catalog often. By the time the record goes out for reproduction, I usually know it more intimately than anyone else and have heard it more times and in more broken-down detail than most people ever will. I put the love and attention into the project at hand and try to do my best. The delicious enjoyment part is then for the listeners!

DGTS: Which ones were the best-sellers for the label?

KD: If you include all of our licensed or contracted output, Stubborn All-Stars Open Season is far and away the biggest record Stubborn's been involved in. The best-selling release on Stubborn label proper would hands-down be my own Roots & Culture album, which has been continually reprinted in CD and vinyl formats, more recently as a "Special Edition" version, remixed and remastered with bonus tracks. Following that, the other King Django material, the other Stubborn All-Stars stuff, Vic Ruggiero and Hub City Stompers would be our top performers. Even recently, all of the Version City 45s have sold very well, in fact I have sold out of multiple pressings of most of those titles as well.

DGTS: What's the latest on the Stubborn Records 20th anniversary show at The Knitting Factory Brooklyn? Can you give us any hints about unannounced "special guests"?

KD: I guess by now I have announced the full line-up, so I don't know if there will or will not be any special guests...

DGTS: Apart from the anniversary show, do you have other Stubborn Records 20th anniversary-related events/releases in store?

KD: We've just put out the King Django and Ari Up 45s in cooperation with Ska In The World Records from Tokyo, Japan. I'm sending Victor Rice's Dub Discoveries from Version City to print today! And I'm hoping to finish at least the next HCS album and at LEAST one new King Django album before the end of the year. We were cranking out loads of new titles in Kingston, JA when I was working with Mr. Brown, and I'd like to continue that line of 45s, too, so I am trying to re-establish a mechanism for steady 45 releases.

Friday, April 6, 2012

Duff Review: Ari Up "Forward" b/w "Rescue Mission"

Ska in the World Records/Stubborn Records
2012
Limited-edition 7" vinyl single

(Review by Steve Shafer)

This stellar single from the late Ari Up (of The Slits) is the second co-release from Ska in the World Records and Stubborn Records that is being issued in celebration of the latter's 20th anniversary (the other is King Django's "Anywhere I Roam" b/w "Career Opportunities"). King Django co-wrote (as well as played/programmed and produced) the two tracks here with Ari, which were recorded at the Version City Studios in April 2003. Anyone expecting Django's usual traditional ska/rocksteady sounds should have their head checked--this is the spectacularly unique post-punky-reggae musician Ari Up (AKA Madussa, which was the name she used when performing dancehall reggae in the mid-2000s) we're talking about here (though it won't surprise anyone who's aware of Django's forays into contemporary reggae and has picked up the dancehall singles on Stubborn imprint Version City Records from Prince Alla, Johnny Osbourne, Pampidoo, and others). This single is trippy electro-dancehall--and while I'm no expert in this sub-genre, I know what I like and know that this is damn good.

"Forward" is a personal and political plea-cum-directive for sexual/romantic partners to cut the crap and posturing in favor of honesty, transparency, and trust (the not-so-subtle subtext is to practice safe sex and be tested for HIV): "Let's go forward/I tell you not reverse/Me check for you/but I must love you first/But for to love you/me have to know you/Just like you should love me and know me, too...Me must take time/and think twice/Rush into things/don't want to pay the price/The price me might pay might cost my life..." In other words, wrap that rascal (and know your status) or there's no action. Sound public health advice, indeed.

"Rescue Mission" seeks to save the citizens of Jamaica, Ari's adopted (and true) home country, from its nation's grinding poverty and dependence on America's foreign aid handouts (with its many thorny strings attached): "Prices going up and we going down/If we don't protest and make some sound/Soon there be no left around...We raise, we raise the whole of Jamaica/We grow, we grow/with everyone there-a/Resurrect the dead and kill the living/When them a hear this bad boy riddim!" Kingston calling for Occupy Jamaica almost a decade before it breaks out in NYC...

I'm not really going out on a limb with this, but it's worth stating the obvious: Ari Up was one of the truly fearless and boldly unique musicians and personalities in the punk and reggae scenes--and this single is terrific way to remember and honor her talent and legacy.

Monday, April 2, 2012

Duff Review: King Django "Anywhere I Roam" b/w "Career Opportunities"

Ska in the World Records/Stubborn Records
2012
Limited-edition 7" vinyl single

(Review by Steve Shafer)

One of the ways that King Django is marking the momentous occasion of Stubborn Records' 20th anniversary (!) is the release of this fantastic single--done in collaboration with Ska in the World Records in Japan. Side A is an excellent reworking of "Anywhere I Roam" (where King Django playfully boasts of his supreme musical prowess over Jack Wright's riddim), which originally appeared on the B side of The Forthrights' "Other People" single (on Stubborn Records), though this remix has even more verve, bite, and cheekiness than its predecessor (my favorite line: "Don't need no bourbon/neither no spliff/when you climb aboard my musical skiff/and catch a whiff of my keyboard riff!"--how many musicians claim that their music itself will give you a contact high?!).

Side B has to be one of the better Clash covers I've ever heard, a ska version of "Career Opportunities" (with New Orleans jazz-like breaks that Americana-lovin' Joe Strummer surely would have appreciated) that alters the lyrics to reflect our Great Recession, 99% vs. 1%, post-9/11 end-of-days (which aren't too dissimilar from the UK in the late 70s, are they?):
The offered me the office, offered me the shop
They said I'd better take anything they'd got
Do you wanna make coffee for NBC?
Do you wanna be, do you really wanna be a cop?

Career opportunities, the ones that never knock
Every job they offer you is to keep you out the dock
Career opportunity, the ones that never knock

I hate the army and I hate the Marines
I don't wanna go off fighting in the desert heat
I hate the civil service, too
And I won't open anthrax letters for you

They're gonna have to introduce conscription
They're gonna have to take away my prescription
If they wanna get me making toys
If they wanna get me, well, I got no choice

Careers
Careers
Careers

Ain't never gonna knock
As always, with this single King Django produces some of the finest ska/reggae you could hope to find. And it serves as yet another example of the extraordinarily good music that his label has been consistently putting out for the past two decades.

Sunday, April 1, 2012

Little Roy Mentioned in the NY Times!

Little Roy's magnificent album of reggae Nirvana covers, Battle for Seattle, gets a nice, prominent mention in The New York Times' Travel Section today in an article by Joe Levy called "Rockers at Sea" about music cruises (essentially glorified booze cruises for Gen Xers and Boomers with Weezer, Kiss, Kid Rock, Kool and the Gang, Frankie Avalon, etc.):
Things were a little weird from the moment I stepped onto the Weezer Cruise. Like a lot of my fellow passengers — indie-rock fans who had signed up for a three-day voyage full of bands and beverages — I’d never been on a cruise before. So I don’t know whether most of them begin with a staff member high-fiving each and every person who comes off the gangway. But I’m relatively certain most don’t have a welcome center with a D.J. playing a reggae version of Nirvana’s “Heart Shaped Box.”

“I wish I could eat your cancer when you turn black,” Little Roy sang while I tried to figure out where my cabin was. Welcome aboard!
Check out The Duff Guide to Ska review of Little Roy's Battle for Seattle here.

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