Duff Review: Smiley and The Underclass: "The Way to the Bomb" EP

Timeless Records
Vinyl/digital
2020

(Review by Steve Shafer)

This is not an upbeat record. But, given the times and Smiley and The Underclass' passionately held left-wing beliefs, how could it be? By all accounts, things have gotten considerably worse since they unleashed their blisteringly good punk 'n' reggae debut album Rebels Out There in 2017, which I reviewed here (see the mass sickness and death caused by the incompetent response to the global covid-19 pandemic, the rise of white supremacists and authoritarians in decaying democracies, ever-worsening economic inequality, accelerating climate change, etc.). The fury and frustration at our ongoing descent toward personal, societal, and planetary ruin fuels the outrage in Smiley and The Underclass' dark but stellar The Way to the Bomb.

The party kicks off with the catchy and danceable (seriously) "The Return of the Vampire," a Hammer horror take on UK (and US) politicians preying on their own citizens, leaving agony and destruction in their wake: "Britain is in chaos/America is in flames/Nutters and demagogues rule the airwaves...Oh, I've got a smartphone/Now I'm a smart slave/I-man stepping higher to Zion/I'm climbing over barbed wire/I got the pliers/There's fires burning miles and miles/What's gonna happen to the next generation?/All I see: sufferation!" (Make sure to check out the killer, digital-only "The Return of the Vampire (Ronin's Lockdown Dub).")

Continuing with the horror show theme, in "We Are Monsters," both social and consolidated corporate media have been manipulated by predatory capitalists and right-wing goons to reap great profits, amass power, and sow division among the people (whose potential solidarity could easily upend the status quo), transforming us as if by mad laboratory-concocted pathogen into our own enemy: "We're just here for you/To ensure you don't miss the main eulogy/We blow blood bubbles or are they red raspberries/Over the graves of deceased democracies/Killed off by years of tabloid-led hypocrisy/Now tell me truthfully, don't be a liar/Fighting between two vampires for hire/Fangs made of fibre and wires/Mr. Jones, listen--tell me your desires." (The "Mr. Jones" mention might be a nod to The Psychedelic Furs' broadside aimed at the false, yet highly seductive, idealized imagery constructed by Hollywood and Madison Avenue to sell tickets and goods: "Movie stars and ads and radio define romance/Don't turn it on, I don't wanna dance!" Those were simpler times.)

The deeply mournful and angry (and Jam/Clash "Call Up" referencing) "FLAG" notes how the now ubiquitous cruelty and hatred unleashed in one's own country has left everyone hollow inside: "There's no birds/In the garden/Just plastic bottles and a hole in the fence/Used to dream of an English Rose/But he don't dream no more (and he wonders)/What am I supposed to feel?...I can't read the sign of the times." A town called Malice, indeed. Yet, Smiley and The Underclass do offer a glimmer of hope and encouragement to their fellow humans trying to get by in a hostile world. "We All Get Like This" reminds the listener that we're often our own worst critics and shouldn't allow that self-doubt and self-sabotage to get us down: "Nobody's ever sorted/Not if they're really truthful."

Everything ends with the frenzied skabilly cut "Wanna Blow Up the Whole World." It's all bloodlust and sex--expressing humanity's knack for efficiently doling out violence on our own kind, and our innate attraction to self-destruction: "Tear gas in your heart/Razor wire in bed/All I could see was her legs/She played your part/When she breathed in your ear/'Here's what I want from you dear...'"

The vivid images in the mirror that Smiley and The Underclass hold up for the listener sure aren't pretty, but at least to you can readily sing along and dance to their songs. It's a great soundtrack for these seemingly end times.

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"Music Is Our Weapon"

In an interview I just posted with Smiley and the Underclass, I asked band members Smiley and James about the power of music and how it can be used (for better or worse) to change societal individual attitudes and behaviors. All of this immediately made me think of a book that I've just started reading: Dave Randall's "Sound System: The Political Power of Music." Two ska-related passages cropped up within the first twenty pages of "Sound System" that are worth noting here:

"Politics may well have remained largely off my radar, were it not for one August night spent in a field in Northamptonshire. Some mates had invited me to a music festival called Greenbelt, run by left-wing Christians. In a packed marquee between bands, the DJ dropped a tune by The Special AKA: 'Free Nelson Mandela.' I had no idea who Nelson Mandela was, but I knew by the end of the first chorus I wanted him to be free. In that moment, surrounded by thousands of festival goers hollering the hook, I learned--instinctively felt--that the future is unwritten and ordinary people like me could have a say. Music, I realized, is our weapon."

Contrast this with...

"Seemingly innocuous pop songs can also accrue an aura of terror in times of turbulent upheaval. When Uganda's former President Idi Amin was tightening his grip on power, the state radio station played 'My Boy Lollipop' all day long, interspersing its sugary refrains with military men's threats and warnings of curfews. Writer Yasmin Alibhai-Brown, who experienced the coup and its brutal aftermath, told me that to this day she is unable to listen to that song."

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Here's what I wrote about "Nelson Mandela" and the rest of The Special AKA's magnificent In the Studio, back in October 2014.

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Interview with Smiley and the Underclass!

Smiley and The Underclass
From right to left: Smiley, James Shepard, Jay Hirano, Ryan Windross (who
just recently left the band; Derek Daley has taken over on bass).

(Interview by Steve Shafer)

We recently reviewed Smiley and the Underclass' incendiary debut album "Rebels Out There" and wanted to learn more about the band that created it. Fortunately, singer Smiley and lead guitarist James Shephard were kind enough to take the time to answer our questions (James via email; Smiley by recording his answers in an mp3 file). Read on to find out what drives them to write political songs (and not love songs); how Vin Gordon came to play on a few of their tracks; and which ska/reggae records they'd risk life and limb to save if their house were on fire...

The Duff Guide to Ska: Which bands/albums influenced Smiley and the Underclass’ sound (and how would you describe your music)?"

Smiley: "I can only speak for me, but I listened to a lot of Clash records when I was writing the early songs. I know James loves blues. We all quite like Nirvana, I suppose. Just because he did a lot with not that many lyrics and just the sound is raw and intense. Love Iggy Pop and old reggae. Tons and tons of dub--Scientist, King Tubby, Keith Hudson, anything tough. We want to make something that sounds new. We want to make something that sounds chaotic and of the time.

I don't know how we describe our music. Some people called it a skabilly. I think that might have even been you guys. Punky reggae is the most obvious thing, but we're definitely not a reggae band because we haven't got any keys or horns, for one thing. And we're not really a punk band because I don't know if you can be a punk band in 2017. Maybe it's more punk to be a cruise ship singer, at this point."

James Shephard: "I know Smiley loves classic reggae like me and also The Clash were a big influence for him. I listen to loads of stuff from all genres but blues, jazz, and reggae are probably most obvious. It's the little things though--maybe people won't spot a Sonny Sharrock or English folk influence, but it's all in there!"



DGTS: "When I first heard “It’s All England,” I thought it was primarily about embracing multiculturalism (which it is, in a way, right?), but after a read of lyrics, it seems to be more about being disenfranchised in one’s own country and insisting that you belong, no matter what your race, class, religion, etc. Is that a fair interpretation? What inspired you to write this song from this perspective?

Smiley: "'It's All England' is to my mind saying, yeah, it doesn't really matter where you come from, as long as you're peaceful and kind--then you're welcome in my society anyway. See, at the time of writing it that was sort of, at least it seemed to be maybe just in a metropolitan bubble or whatever they call it, that seemed to be the way society was going. Now, looking back at it, and it's only been well, not long at all since the first EP came out and only about five years, six years since I wrote the song. Yeah, the country's changed man, changed a lot. It is easy to feel disenfranchised in this country, like when you go outside of the cities and you go to any seaside town, be it Hastings, Eastbourne, you know, you see the same old shit. You see one street where there's a couple of shops left and the rest is, I dunno, modern decay shopping centres and potholes of dirty water in it.

It's weird how we are all disenfranchised in one way or another, that they're able to--and by 'they' I mean the sort of neo-right wing agitators like Farage--how they're able to use that disenfranchisement against one group, when it is all of us who are struggling in this tide.

I don't really know what inspired me to write 'England' because it came out mostly as a freestyle when I was busking on Camden High Street, before the band actually formed. I remember doing "Night Nurse" by Gregory Isaacs, which is a pretty standard late night busking interpretation and it's A minor in G, so it's easy and it just morphed into the chorus. I can't remember if I wrote the verses afterwards, I probably did. So, yeah, 'I don't know' is the answer to the question."

James: "Those are Smiley's lyrics, but I see it as a celebration of where we're from without the superstitious belief in this "England" we've been sold."

DGTS: What were you listening to/reading/watching while writing and recording “Rebels Out There”?

Smiley: "During the album recording, I think I was probably listening to what I normally listen to, which is old reggae. I'm a big freak for reggae vinyl especially the Wackie's label. So, if any keen readers want to send me some Wackie's vinyl, you know you know where to go. I don't really remember what I was reading, probably something lame like a Joe Strummer biography to get me in the mood."

James: "I was reading George Clinton's autobiography and listening to Dezarie, Midnite, and a lot of artists from the Virgin Islands, as well as Robert Glasper, Julian Lage and some other recent jazz stuff. And loads more, we're always listening!"

DGTS: Many of Smiley and the Underclass’ songs urge the listener to take action to better the environment, society, how we treat each other and ourselves. Clearly you believe that music can change people's attitudes and behaviors. Can you name/recommend several records (from any genre and any period) that you believe have had this kind of impact?

Smiley: "Yes, I do think music can change the world for good and for bad. I think you can see that going back probably to the dawn of man and music being used as sort of energizing opposing sides in battle. You can think of music like Fela Kuti's, which actually spawned and support social movements. You can think of smaller things, like influencing other people to write music. So, it's changing people's lives on a real grassroots level. Just changing one person's life at a time, maybe hearing a record and so you want to become a musician. And also if you check big movements these days, going back to the Occupy Movement I suppose to now, social media and any rising social movement sort of is accompanied by at least, you know, two or three--I hesitate to use the word hit song--but some kind of some kind of music video or something, which in turn spreads and goes viral. So, I guess in that way it can change the world. I don't know, but it has yet to form the utopia that we're all dreaming of, that we're singing about. I don't think music itself can change a person--only a person can do that. It can maybe unlock certain perspectives of certain ways of understanding that you hadn't thought of before. But so can a car accident. Yeah, it's a tough one. I don't know. I don't know is the honest answer.

Records that have maybe had that kind of impact on my life--Bob Dylan bringing it all back home because it made me think I could pick up a guitar. And a lot of the punk stuff as well. And, you know, going back again, as we always bloody do, to reggae music. The idea that people have so little in such trying circumstances can create something so beautiful and everlasting is testament to the power of music and its ability to impact people's lives in a very real sense, in a survival sense. And that's something that we have yet, I think, to grasp in this country. At least on a rock and roll, white boy level. Anything outside of fucking grime. "

James: "I feel music and any other art can influence us all in big and small ways. It can happen in obvious ways, but I think the high level creativity of people like Coltrane or The Beatles in the sixties might have affected people and their behaviour without them literally interpreting lyrics or trying to dress like the artists."

DGTS: Some bands shy away from taking political stances in their music for fear of alienating an audience. What drives you in the opposite direction? What compels Smiley and the Underclass to speak out about all of the injustice around us?

Smiley: "What compels us to speak out? Well, we're all weird looking, that's my theory. So, we don't write that many girls songs. Although, we've got some coming. Don't worry, I'm winking right now. I don't know. You know, we live in this fucked up time with this fucking mad, madman as president of the United States. We've got chaos at home and abroad, as they say. So, what else are you going to sing about? You know what else is going on. It's not the 90s, like Jay [Hirano, the band's drummer] says, you know. If we wanted to fuck, then we listen to Sam Cooke."

James: "If a child tells another child to stop pulling a cat's tail, is that political? Speaking only for myself, I have very little interest in politics."

DGTS: Some of this album was recorded at Mick Jones’ studio? How did this come about?

Smiley: "We met Mick Jones because Ladbroke Grove is a small place and it was Gary from the Rotten Hill Gang who introduced us. Yeah and he's a cool guy. Nice bloke. I fear we may have busted his guitar. Sorry, Mick!"

James: "Mick Jones showed an interest in helping us and naturally we felt very honoured. I hope we don't let him down!"

DGTS: Likewise, Vin Gordon appears on at least one song on this album. How did you arrange this?

Vin Gordon

Smiley: "We met Vin just through good luck really. We met [Nick] Manasseh, first through Jay's car accident and he just happened to be in town for Notting Hill Carnival and Manasseh recommended we get a hold of him--and I think even fronted us an extra 50 quid, so we could book him. And, it was cool, man and they came in and his ring tone was the "Real Rock" riddim, which was hilarious. And, yeah, it was a great thrill to sit on the sofa in the recording studio and watch someone from Studio One times do his thing. So, he did "England" and he also did "Party Gone Wrong," which is something on our first EP, which has got a really nice tasty Manasseh dub, as well, for all you bass heads."

James: "Well, I know Vin Gordon from the London reggae scene, but Smiley made that link. I like how the song starts with a minor key anti-Elizabeth national anthem and later has a solo from probably the most prolific trombone player in reggae. Pretty hip don't you think?"

DGTS: If you could only save five of your ska/reggae albums from a fire in your home, which ones would they be (and why)?

Smiley: "That's a really difficult question and I've subsequently from reading this question gone and looked in my record cupboard and I have to ask does this include 45s? Does this include singles? For now, I'm going to say Harry Mudie Meets King Tubby's In Dub Conference, Volume One; Prince Buster's Fabulous Greatest Hits; The Light of Saba two-disc compilation they put out on Honest Jon's; and any of the Soul Jazz Studio One compilations. If you want to know my taste in 45s, we can do another interview, 'cause that can take up the whole thing."

James: "Don't know if it could only be five, but for the sake of discussion Praise Ye Jah by Sizzla by for the sublime flow, conviction, and energy that seemed to burst out of the young Miguel Collins. Very influential for me. Below the Bassline by Ernest Ranglin, because it's a great way to hear him and Monty Alexander on a laid back thing. Africa Unite by Bob Marley for the songs, arrangements, production, and vibe! Marcus Garvey by Burning Spear, same reasons as above, but more rootical! The Garnet Silk best of double CD on VP I think. One of my favourite singers ever--Dennis Brown's Words of Wisdom probably as well, but that's more than five."

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To hear more of Smiley and the Underclass' music, check out their videos for "Jump the Barrier" and "Machiavelli Blues."

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Duff Review: Smiley and the Underclass "Rebels Out There"

CD/LP/digital download
Bredda Records
2017

(Review by Steve Shafer)

I knew I probably was going to like Smiley and the Underclass' LP when my mail ordered copy arrived in NYC from the UK with the following request on the back of the mailer: "Dear Mailman, if you pass Trump Tower, stick a middle finger up for me." (Hopefully, he or she complied!)

London's Smiley and the Underclass occupy the same fantastic punk 'n' reggae space as The Clash, The Ruts, and Citizen Fish--and are equally as outspoken in the face of injustice as those aforementioned bands. Their fiercely good debut album Rebels Out There (engineered by Nick Manasseh) is filled with indelible songs of outrage and lament over our thoroughly screwed up world--societal breakdown ("Babylon is Spiraling Out of Control") and environmental apocalypse ("Another Kind of Human") loom on the horizon throughout the course of these songs--but the band often posits that the solutions to these myriad issues will only come about if the listener becomes involved and takes action. However bad it is out there, it's not hopeless (yet).

Indeed, on the anti-conformist title track, Smiley repeatedly wails "Are there any rebels out there?" and then urges the listener, "Don't pay your mortgage, don't pay your tax/Take your money out of their banks/Know your neighbours, secret town halls/People means us, politics means wars/Real rebels grow food, don't eat that shit/from a pale faced clown who wants to kill off the kids/Mother nature's dying while we're running this race/Can we look our grandkids in the face?" Likewise, in the brilliant "Want Stuff/Make Stuff," Smiley and the Underclass want to shake you out of apathy/complacency to actively lead your life, no matter what your station or circumstance: "We're living and swimming within a time that's getting harder/No money, austerity, predatory while the rich hide in the larder/But I love ya, I love ya, no matter where you're heads at today/So I say/Want stuff? Make stuff/Want love? Make love/Want truth? Make truth in the booth..." (presumably both the voting and recording booths). And there's a great environmental plea wrapped within ("So, all I really got to say in case the Earth should pass away/Please be kind and use your mind and plant a zillion trees a day!"). Do be sure to check out all of their song lyrics on their Bandcamp page (they're not included with the LP).

Other standout tracks include "It's All England" (featuring Vin Gordon on trombone), which is about feeling and being disenfranchised in your own, completely familiar land ("When I think of England I don't think of black cabs and cops/I think of chain links and locks/Dirty looks and chicken shops, tower blocks/and a wrap of weed in my socks"); the skabilly "Machiavelli Blues" (what you get when you live in a society that values duplicity and self-interest above all else); the Jim Morrison referencing "No-One's Getting Out," a song from the perspective of life itself (as if it were a character in "The Seventh Seal"); their powerful cover of Johnny Osbourne's "Truth and Rights"; and the gleeful, you-have-to-sing-along anthem of empowerment and rebellion, "Jump the Barrier."

People looking for potent protest music for the Trump/May era need look no further than Smiley and the Underclass' dynamite Rebels Out There.



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