Tuesday, July 30, 2013

NYC Summer/Fall 2013 Ska Calendar #77

Thursday, August 1, 2013 @ 9:00 pm

Move Your Mule with The Frightnrs and The Far East (plus Crazy Baldhead Selectors!)

Otto's Shrunken Head
538 East 14th Street
Manhattan, NY
Free

+ + + +

Friday, August 9, 2013 @ 10:00 pm

The Bluebeats

Old Fields Restaurant
81 Broadway
Greenlawn, NY York

+ + + +

Saturday, August 10, 2013

New York Ska-Jazz Ensemble

The Paper Box
17 Meadow Street
Brooklyn, NY
$10-$20

+ + + +

Saturday, August 10, 2013

Reggay Lords, The Frightnrs, Consumata

Hank's Saloon
46 3rd Avenue
Brooklyn, NY
$5 cover/21+

+ + + +

Saturday, August 10, 2013 @ 9:00 pm

RudeRoots New York/New Jersey First Anniversary w/Rebuschaos, Radio Armada, Roots of Natural Sound, The Ladrones, Irie Prophets Sound System

Goodbye Blue Monday
1087 Broadway
Brooklyn, NY
$8 cover/21+ to drink

+ + + +

Saturday, August 17, 2013

Dirty Reggae Party w/The Snails, Sammy Kay and the Fast Four

Don Pedro
90 Manhattan Avenue
Brooklyn, NY

+ + + +

Thursday, August 29, 2013 @ 7:00 pm

Carmelo's 50th Birthday Bash w/Beat Brigade, Rudy Crew, Across the Aisle, and MK Groove

The Parkside Lounge
317 East Houston
Manhattan
$7.00

+ + + +

Saturday, August 31, 2013 @ 10:30 pm

The Scofflaws

89 North Music Venue
89 North Ocean Avenue
Patchogue, NY
$10 cover/21+

+ + + +

Thursday, September 19, 2013 @ 7:30 pm

Beat Brigade, MK Groove Orchestra, FunkFace, The Huffers, Kenny Warren

Spike Hill
186 Bedford Avenue
Brooklyn, NY
Free

+ + + +

Friday, September 20, 2013 @ 7:00 pm

The Selecter and The Pinstripes

Gramercy Theater
127 East 23rd Street
Manhattan
$34.50

+ + + +

Saturday, September 28, 2013

King Django Quintet, Tri-State Conspiracy, and Unbearable Slackers

Roxy and Duke's
745 Bound Brook Road
Dunellen, NJ

+ + + +

Saturday, September 28, 2013 @ 7:00 pm

Jimmy Cliff

Webster Hall
125 East 11th Street
New York, NY

+ + + +

Saturday, October 5, 2013 @ 7:00 pm

The Toasters, Voodoo Glow Skulls, Left Alone

The Stone Pony
913 Ocean Avenue
Asbury Park, NJ
$16 in advance/$20 day of show
All ages

+ + + +

Sunday, October 6, 2013 @ 7:00 pm

Voodoo Glow Skulls, The Toasters, Left Alone

The Knitting Factory
361 Metropolitan Avenue
Brooklyn, NY
$16 in advance/$18 day of show

+ + + +

Friday, October 25, 2013 @ 7:30 pm

Mephiskapheles, Inspecter 7, The Ladrones

The Knitting Factory
361 Metropolitan Avenue
Brooklyn, NY
$18/All ages

+ + + +

Thursday, November 14, 2013

The Skatalites

Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY

+ + + +

Friday, November 15, 2013

The Skatalites
Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY

+ + + +

Sunday, July 28, 2013

Duff Gig Review: The Specials at Pier 26 in NYC (7/17/13)

The Specials play "Do the Dog" at Pier 26
(Review by Steve Shafer)

For many of us in the crowd that night at The Specials' show at Pier 26, it felt like we were taking part in the best high school reunion you could imagine. (Before, during, and after the concert I literally bumped into dozens of pumped-up, happy ska people that I knew--a who's who of the NYC ska scene and beyond--some of whom I hadn't seen in years.) But instead of our shared school experience, what bonded the several thousands of us together in the past and present was our relationship with The Specials, forged over the decades via LPs, cassettes, left-of-the-dial FM stations, fanzines, music magazines, CDs, TV appearances, YouTube, and live concerts. Yet, it was still a wonderfully shocking and thrilling thing to be united together in the audience that night--no doubt, a result of enduring these nasty, fractious, and divisive times (when it seems like the social contract with our fellow citizens has been completely shredded by powers that stand to profit from widespread fear and intolerance through a general Balkanization of the people).

Perhaps the most surprising thing of all was simply how damn fun it was (I was euphoric about the whole experience the entire following day). And wasn't that at the core of the whole Specials/2 Tone mission? Of course, their music also promoted multi-culturalism, tolerance, and social/economic justice. But who's going to receive it if no one shows up to listen and dance?

Dan Marotta and Chris "Kid Coconuts" Acosta of The NY Citizens
with Marc Wasserman and Roger Apollon, Jr. of Bigger Thomas
before The Specials' set.
Sure, the fact that it was a beautiful, sweltering summer's evening on a pier on the Hudson River off Lower Manhattan (with the new, phoenix-like Freedom Tower shimmering defiantly nearby) helped put everyone in a celebratory mood (even if a cup of beer was $8 a pop). But what was so brilliant was that just about everybody in the crowd was dancing madly and gleefully singing along with Terry Hall at the top of their lungs for the duration of the show.

For many of us forty-somethings in the audience, we had gone through our teen years with--and had been transformed by--The Specials' music and message. So, there was an additional nostalgic element to the night (and perhaps a bit of mourning over our lost youth and alarm at the passage of so much time). But The Specials' performance was so good (probably far exceeding the expectations of many fans that night) that it validated and reaffirmed our deep-rooted faith in and love for the band. I had never seen The Specials live before, but I'd compare The Specials of July 17, 2013 very favorably to the version of the band captured 30 years before in their stunning performance on Saturday Night Live in 1980--they were simply incredible; though having Neville Staple and Jerry Dammers there would have made things absolutely perfect.

One of my favorite moments that seemed to exemplify the whole concert--but one that I didn't capture on video, since I very much wanted to be part of it--was during a raucous rendition of "Enjoy Yourself." Everyone around me as far as I could see, people of all ages (it turned out that next to me with his young son on his shoulders was Ryan Reeves of The Exceptions who happened to be in town from Texas) and colors (the multi-racial couple dancing arm in arm in front of me), were shuffling their feet and singing the chorus loudly (and for us forty-somethings, the lyrics "the years go by/as quickly as you wink/enjoy yourself, enjoy yourself/it's later than you think..." sure have a sharper edge to them than they did 30 years ago). Live music experiences don't get much better than this.

It was especially heartening to find that The Specials were still fully committed to the anti-racist cause. When Lynval Golding "dedicated" Dandy Livingstone's "A Message to You, Rudy" to George Zimmerman, there was a hugh roar of approval from the crowd. And the band went on to play "Why?" in honor and memory of Trayvon Martin ("Why did you try to hurt me?/Tell me why, tell me why, tell me why/Did you really want to kill me..."); for those who don't know, Golding wrote this track after being severely beaten in a racially-motivated attack outside the Moonlight Club in 1980--his "offense" was walking/talking with two white women. "It Doesn't Make It Alright" was also sent out to Zimmerman (which Lynval and Roddy would do again at Electric Avenue a few nights later during their stellar semi-acoustic set). This is another track that points out how stupid it is to hate and fight with someone because of their color ("Just because you're a black boy/just because you're a white/It doesn't mean you've got to hate him/It doesn't mean you've got to fight"). It's certainly disturbing and dispiriting that The Specials' songs decrying racism remain so essential and relevant all these years later--the high school version of me would be appalled that much more hasn't changed for the better in 30 years (but I'm glad we've got these tracks in our anti-racist arsenal).

See the set list from the night in above (though they didn't play them exactly in that order)--there wasn't a bum song/performance all night. I shot several videos ("Concrete Jungle," "Blank Expression," "A Message to You, Rudy," and "Ghost Town"--all of which can be seen on the Duff Guide to Ska YouTube Channel). Probably the best of the lot is "Nite Klub":



+ + + +

Earlier that afternoon, before The Specials' concert, I met up with my friend Marc Wasserman (Bigger Thomas, Marco on the Bass, Rude Boy George) for some pre-show drinks at the kitchy, trailer park-like bar (something out of a B-52s music video set) where our friend Megg Howe (Across the Aisle, Rude Boy George) works (I had my first can of my namesake beer--which didn't seem to be distributed in the NYC area when I came of legal age--and it actually wasn't awful; tastes a bit like PBR, which owns Schaefer). Since The Specials' concert was on a pier on the Hudson, we naturally started talking about the incredibly brilliant shows at Pier 84 in the 1980s, when we were in high school and college. This concert series often featured some of the best new wave and reggae bands (I caught UB40 multiple times, Peter Tosh, Echo and the Bunnymen, Midnight Oil, New Order, and many more) and the scene was really relaxed and cool (it helped that the drinking age was 18, so no one cared if you were 16 and buying and downing a couple of Millers; we also remembered that they used to give out half-packs of nasty Kool Menthol cigarettes to anyone and everyone, courtesy of one of the concert series' sponsors). This led to a discussion of how much better/more fun NYC was in the 1970s and 1980s (it was much funkier, grittier, and cooler) and to the travesty of what the city has become (essentially, a playground for the rich). This prompted the barfly to the left of me to start talking about Ugly George (a perv who used to roam midtown in what kind of looked like a spacesuit who somehow talked women into talking off their clothes in building vestibules while he videotaped them; he broadcast the results on Manhattan public access cable late at night; I never saw his show, but used to see him all the time when I was in middle school and all of my classmates and I knew exactly what he did...).

But I digress.

Post-concert euphoria with members of Bigger Thomas,
Across the Aisle, and Ryan Reeves (of The Exceptions)
The Specials' show was as great an experience as any of those concerts on Pier 84; it was like a bit of the 1980s in 2013. It's been said that recalling a memory is a bit like time travel--and this concert was like being transported back to my teen years for a few hours to experience one of the better aspects and purposes of being young: having fun. For the duration of The Specials' concert, nothing else seemed to exist or matter (though I'll cop to calling home to say good night to my daughter and I did exchange a text message with the wife). And that's an almost unknown pleasure in the adult realm (where you're always thinking and worrying about multiple things).

So, I'm grateful to The Specials for this rare experience--it was one of the most enjoyable and memorable shows of my lifetime (and rumor has it that the band thought it was one of the best of the tour). You can bet that I'll use the memory to the keep the spirit of the guy housed in this forty-something body young, happy, and alive.

Monday, July 22, 2013

NYC Spring/Fall 2013 Ska Calendar #76

Saturday, August 10, 2013

New York Ska-Jazz Ensemble

The Paper Box
17 Meadow Street
Brooklyn, NY
$10-$20

+ + + +

Saturday, August 10, 2013

Reggay Lords, The Frightnrs, Consumata

Hank's Saloon
46 3rd Avenue
Brooklyn, NY

+ + + +

Saturday, August 17, 2013

Dirty Reggae Party w/The Snails, Sammy Kay and the Fast Four

Don Pedro
90 Manhattan Avenue
Brooklyn, NY

+ + + +

Thursday, September 19, 2013 @ 7:30 pm

Beat Brigade, MK Groove Orchestra, FunkFace, The Huffers, Kenny Warren

Spike Hill
186 Bedford Avenue
Brooklyn, NY
Free

+ + + +

Friday, September 20, 2013 @ 7:00 pm

The Selecter

Gramercy Theater
127 East 23rd Street
Manhattan
$34.50

+ + + +

Saturday, September 28, 2013

King Django Quintet, Tri-State Conspiracy, and Unbearable Slackers

Roxy and Duke's
745 Bound Brook Road
Dunellen, NJ

+ + + +

Saturday, October 5, 2013 @ 7:00 pm

The Toasters, Voodoo Glow Skulls, Left Alone

The Stone Pony
913 Ocean Avenue
Asbury Park, NJ
$16 in advance/$20 day of show
All ages

+ + + +

Sunday, October 6, 2013 @ 7:00 pm

Voodoo Glow Skulls, The Toasters, Left Alone

The Knitting Factory
361 Metropolitan Avenue
Brooklyn, NY
$16 in advance/$18 day of show

+ + + +

Thursday, November 14, 2013

The Skatalites

Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY

+ + + +

Friday, November 15, 2013

The Skatalites
Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY

+ + + +

Tuesday, July 16, 2013

NYC Goes 2 Tone: The Specials and Roddy Radiation This Week!

The Specials
Wednesday, July 17, 2013
Pier 26 at Hudson River Park
Manhattan
$35 in advance/$40 day of show

I first heard about The Specials at their end. Sometime during the week of July 11, 1981, when Britain was convulsing with riots due to a toxic combination of high youth unemployment and the police's abuse/oppression of people in non-white communities and The Specials' magnificently haunting and relevant swan song "Ghost Town" happened to top the UK charts, NBC Nightly News--of all places--ran footage of the riots with "Ghost Town" as its soundtrack (and commented on the irony of it all). I didn't see the actual music video for "Ghost Town," directed by Barney Bubbles, until years later (MTV didn't exist at the time), but if the sights of Brixton, Handsworth, Chapeltown, and Toxteth burning, with pitched battles between youth and the police in the streets didn't sufficiently portray the dread and apocalyptic societal meltdown conveyed in Dammers' song, I don't know what would've.

Even though I had been a middle schooler at a boarding school in Manhattan in the late 70s/early 80s (how I came to be there is a long story for another time), I had completely missed all of The Specials' NYC performances, such as their January 25, 1980 date at Hurrah's or their August 12, 1981 date at Pier 84 on the Hudson with the Go-Gos (and, much to my regret, The Clash's legendary residency at Bond's in June 1981)--my school wasn't very far from any of these venues (and during the summers I was home in nearby Yonkers). My friends and I just weren't plugged into these scenes yet (and info on non-mainstream, UK bands was really hard to come by). Much of what I knew about music, and new wave in particular, came by word-of-mouth or happy accident (my boarding school bunk mate introduced me to The B-52s at a time when most of my peers were into Kiss and Aerosmith; I first heard The Ramones' "I Wanna Be Sedated" at a middle school dance--where they also played "Rock Lobster" at least three times by popular demand; though I don't remember who lent me the cassette of Devo's Freedom of Choice--I played "Whip It" over and over until the tape practically disintegrated).

I heard much more of The Specials (and all of the 2 Tone-era bands) on WLIR, the brilliant modern rock/new wave station on Long Island that became my lifeline during high school in the first half of the 1980s (and introduced me to some of the greatest music ever produced). Since I hung out with a multi-racial crowd in Riverdale/Yonkers, I found one of the most appealing aspects of The Specials, The Selecter, and The Beat to be their strongly anti-racist stance (in addition to their incredible music). And even though it wasn't exactly ska, The Special AKA's "Free Nelson Mandela" and In the Studio were mind-blowingly good and hugely popular in my circle of friends. But my full-on passion for The Specials was revived/rebooted in the mid-to-late 80s (college years), as I discovered the stellar NYC ska scene (The Toasters, The Scofflaws, The NY Citizens, and Skinnerbox), Fishbone and The Untouchables, as well as the incredible post-2 Tone ska scene in the UK (Laurel Aitken, Potato 5, The Deltones, Bad Manners, The Loafers, etc.). Years later, Jerry Dammers' musical, political, and cultural vision had spawned so many extraordinary bands, so I made it a point to more closely examine/enjoy the source (which, of course, only led me back to genre's real origins with the 1960s bands in JA).

Several years later, when I was working for Moon Records, I found myself in the wing of the massive stage at the Manhattan Center watching The Scofflaws (I think!) perform at the NYC date for the 1993 Skavoovee Tour (Special Beat, Skatalites, Selecter, and Toasters). At one point, I looked around and the only other person nearby was Specials' drummer John Bradbury who was equally as captivated by The Scofflaws' performance as I was. I was too shy to approach him, but I found that simple moment to be pretty cool and memorable (I felt too awkward/intimidated to hang out with bands backstage then).

When The Specials MK II played out in the mid-to-late 1990s, I avoided seeing them (I had been scared off by the less-than-stellar Today's Specials and felt that they really shouldn't have been touring using The Specials' name with several key members missing). However, when all of The Specials (with the frustrating exception of Jerry Dammers) decided to reform and tour several years ago, I had desperately wanted to see the band at Terminal 5 in April 2010, but obligations at my job at the time kept me from going (I was running a fundraising event at a non-profit I worked for that same night). All of my friends who went were kind enough to tell me what an amazingly good concert I had missed. Much appreciated, guys.

So, The Specials' NYC date this week feels like a once-in-a-lifetime/last chance for me to see (most of) them live (since I can't really imagine that they'll do another big tour after this). I'll be the middle-aged guy in the 2 Tone shirt with a full head of spikey hair enjoying the hell out of himself and making up for a lot of lost time.

++++

Roddy Radiation
The Pandemics
(plus Selector Steve and DJ Marco on the Bass)
Friday, July 19, 2013
Electric Avenue at Characters NYC
243 West 54th Street, between Broadway and 8th Avenue
Manhattan
$10; doors at 9:00 pm

While I don't expect to get anywhere near the stage at The Specials' show this week, Roddy Radiation will be up close and personal at his solo Electric Avenue performance this Friday night. Roddy will be playing his own fantastic ska-influenced rockabilly tunes (usually played with this band The Skabilly Rebels), as well as the well-known Specials' tracks he penned ("Concrete Jungle," "Rat Race," "Hey Little Rich Girl"). NYC's terrific Pandemics will be opening the night and it's rumored that they'll back Roddy on The Specials' songs. I'll be sharing the decks with my friend Marco on the Bass--playing an eclectic mix of vintage and modern ska. Hope to see you there!

(For some background on Roddy, check out this interview I did with him for The Duff Guide to Ska back in 2011 here.)


Thursday, July 11, 2013

Duff Review/Over the Transom: 2000 Tons of TNT "2000 Tons of TNT" and Dub Spencer and Trance Hill "The Clashification of Dub"


Editor's note: In an attempt to catch up on the huge backlog of releases that are awaiting my review--and to counter my obsession with solely composing long, in-depth write-ups (something that I just don't have time to do as much as I'd like to, sadly)--I'm launching this new series of brief, paragraph-length reviews. Titled "Over the Transom," my inside joke with Marc Wasserman about sneaking in ska releases and merchandise to our homes without attracting the attention of our respective wives, these batches of reviews are intended to give props to the many bands still recording and issuing great ska music, as well as alert ska fans as to which releases are worth their hard-earned cash.

(Reviews by Steve Shafer)

2000 Tons of TNT
2000 Tons of TNT
Self-released
CD
2013

Pressed up to sell during their 2013 summer tour of the West Coast of the USA (and put a little money in their pocket and gas in their tank), this self-titled CD is actually a compilation of all of 2000 Tons of TNT's recorded output to date, including their boss 2012 debut Reggae Mysteria (read The Duff Guide to Ska review here), the 2013 "Harvest Moon" b/w "Wonky" digital single (read The Duff Guide to Ska review here), as well as the newish Lost Sampler, which was released in April and features, "Three lost (and very weird) tracks recorded in 2010-11" (the band's words, not mine). If you want to catch up on their crazy good garage rock-influenced dirty reggae (imagine The Caroloregians crossed with The Lyres), then pick up this disc at one of 2000 Tons of TNT's shows--or contact the band through their Facebook page to order a copy through the mail.

+ + + +

Dub Spencer and Trance Hill
The Clashification of Dub
Echo Beach
CD/LP
2011

I know, this one has been out for a few years, but I just happened to stumble upon it recently while looking something else up on Amazon (it must have been the new Clash Sound System box set, housed in a cardboard 1980s-era boom box, which I had read about in Slicing Up Eyeballs--either a brilliant summary of their career or a despicable grab for cash; you decide). When I saw its clever appropriation of Give 'Em Enough Rope's cover, I had to at least check out The Clashification of Dub--my Clash obsession wouldn't permit anything less. After reading a review of the album on AllMusic by Rick Anderson (he used to do some nice write-ups of the Moon Ska promo CDs I'd send to him back in the 1990s) and listening to some of the song samples on that site, I was willing to fork over the cash for the import CD (and I even found and bought a new, thick, limited-edition vinyl LP version of the album--though with fewer tracks than the CD--for a few measly bucks from one of Amazon's Marketplace partners!).

Despite what album's cover might promise, Swiss reggae masters Dub Spencer and Trance Hill's The Clashification of Dub isn't a track-by-track dub version of Give 'Em Enough Rope (ironically, there are no tracks from that album here), but a selection of songs from throughout The Clash's brilliant catalogue. It should be stressed that this is not a remix of the master tapes (were that even possible!)--Dub Spencer and Trance Hill deconstructed these reggae and punk songs, recorded their own instrumental renditions, and then fashioned these dub versions at the mixing desk. The results are a sometimes radical re-working of some of the most revered Clash tracks, which may not always suit Clash purists. But if you approach these cuts with an open mind (a love and basic understanding of dub helps!), you'll discover a magnificent, inventive, and richly complex album that pays tribute both to The Clash and dub (that I find myself returning to repeatedly--since I seem to notice new bits every time I listen to it).

While some versions of these songs retain enough elements of their original melodies/riffs to be almost immediately recognizable ("Guns of Brixon," "Bankrobber," "Train in Vain," "Police and Thieves," "London Calling," "Rock the Casbah," and a fantastically upbeat "Armagideon Time," which unfortunately isn't on the LP)--and provide the listener with a means of easy access to the album--other tracks require more careful listening in order to discern subtle echoes of their source material (see "Lost in the Supermarket," "Magnificent Seven," "Should I Stay or Should I Go," or even "This is England," off the illegitimate Cut the Crap).

Probably my favorite track here is "The Call Up" from Sandinista, The Clash's haunting anti-conscription/anti-nuclear war plea ("It's up to you not to hear the call-up/I don't wanna kill!/For he who will die/Is he who will kill/Maybe I wanna see the wheat fields/Over Kiev and down to the sea/All the young people down the ages/They gladly marched off to die/Proud city fathers used to watch them/Tears in their eyes/There is a rose that I want to live for/Although, God knows, I may not have met her/There is a dance and I should be with her/There is a town, unlike any other..."). In Dub Spencer and Trance Hill's hands, their dub with its spooky effects evokes the Cold War paranoia, isolation, and dread of the first half of Reagan's presidency (the man who had his finger near the nuclear launch button--and who took a hard, sometimes extremely belligerent line against the Soviets, while massively ramping up the U.S.' military spending--freaked a lot of people out by declaring, "We may be the generation that sees Armageddon."). Back then, we really, truly believed that there was a good chance that we'd all perish in a hail of Soviet ICBMs...

Perhaps the best way to sum up/characterize The Clashification of Dub is that I imagine if Joe (RIP), Mick, Paul, and Topper (of course, massive fans of reggay) ever had the chance to hear this album, they'd completely love and embrace it. And for of all us Clash fans (myself included), courtesy of Dub Spencer and Trance Hill's inspired musical creativity, this is another take on--and excuse to revisit--some of the best music ever produced by the Only Band That Matters.





Tuesday, July 9, 2013

NYC Summer 2013 Ska Calendar #84

Wednesday, July 10 2013

The Skatalites

Mexicali Live
1049 Queen Anne Road
Teaneck, NJ
$20

+ + + +

Saturday, July 13, 2013 @ 4:54 pm

Maplewoodstock w/Bigger Thomas

Memorial Park
Maplewood, NJ
Free

+ + + +

Wednesday, July 17, 2013, doors @ 5:00 pm, show @ 6:00 pm

The Specials

Pier 26 at Hudson River Park
Manhattan
$35 in advance/$40 day of show

+ + + +

Friday, July 19, 2013, doors @ 9:00 pm

Electric Avenue Presents Roddy Radiation (of The Specials and The Skabilly Rebels)
performing a solo set of ska and rockabilly

Plus: The Pandemics, and Selector Steve and DJ Marco on the Bass on the decks

Characters NYC
243 West 54th Street (between Broadway and 8th Avenue)
Manhattan
$10

+ + + +

Saturday, July 20, 2013

The Slackers' Annual Booze Cruise

Rocks Off Concert Cruise aboard The Circle Line
Circle Line Pier 83
West 42nd Street/West Side Highway
Manhattan
Boards: 7:00pm / Departs: 8:00pm

Ticket info: http://rocksoff.com/shows/2553
Two sets of Slackers music plus DJ 100dbs spinning!

+ + + +

Saturday, July 20, 2013 @ 11:30 pm

The Rudie Crew

Otto's Shrunken Head
538 East 14th Street
Manhattan
Free

+ + + +

Saturday, July 20, 2013

Version City Party: King Django Quintet plus special guests TBA

Roxy and Duke's
745 Bound Brook Road
Dunellen, NJ

+ + + +

Saturday, July 20, 2013 @ 9:30 pm

The Pinstripes

SubCulture
45 Bleecker Street
New York, NY
$12 in advance/$15 day of show

+ + + +

Saturday, August 10, 2013

New York Ska-Jazz Ensemble

The Paper Box
17 Meadow Street
Brooklyn, NY
$10-$20

+ + + +

Saturday, September 28, 2013

King Django Quintet, Tri-State Conspiracy, and Unbearable Slackers

Roxy and Duke's
745 Bound Brook Road
Dunellen, NJ

+ + + +

Saturday, October 5, 2013 @ 7:00 pm

The Toasters, Voodoo Glow Skulls, Left Alone

The Stone Pony
913 Ocean Avenue
Asbury Park, NJ
$16 in advance/$20 day of show
All ages

+ + + +

Sunday, October 6, 2013 @ 7:00 pm

Voodoo Glow Skulls, The Toasters, Left Alone

The Knitting Factory
361 Metropolitan Avenue
Brooklyn, NY
$16 in advance/$18 day of show

+ + + +

Thursday, November 14, 2013

The Skatalites

Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY

+ + + +

Friday, November 15, 2013

The Skatalites

Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY