I had the good fortune to catch The Caroloregians when they played in Brooklyn in 2010 (read my review of that gig and watch the videos I shot) and was blown away by their soulful funky reggae (make sure to check out their Funkify Your Reggay album on Grover and split LP with The Moon Invaders Hot Blood in Cold Weather from Jump Up). While the band is no longer around, their music (obviously) lives on (and members have gone on form Pyrotechnist and The Badasonics). "From the Congo Square" and "You Got to Be a Man" (Vinyl single/digital, Happy People Records, 2020) come from The Caroloregians' 2012 album Fat Is Back. Even though The Caroloregians hail from Belgium, singer Matthew Hardison is from New Orleans, LA. The Congo Square referenced in the title of the A side track is a place in the Tremé neighborhood of New Orleans where in the 19th century both free Blacks and slaves were permitted to gather on Sundays (the slaves' one day off) to trade, socialize, play music, sing, and dance; the Spanish and French were not as concerned as the British about converting slaves to Christianity and discouraging African cultural and religious practices. As a result, African music, dance, and culture endured, and eventually led to the birth of a unique musical form: Black American jazz. "From the Congo Square" celebrates New Orleans' incredibly rich and vibrant musical legacy and scene with a fantastic, booty-shaking cut that sounds like The Meters meet Jackie Mittoo: "From the Congo Square to the Mardi Gras/The city never ever sleeps at all...Can you give me the funk?" "You Got to Be A Man"--a cover of Helene Smith's1969 "Miami Sound" soul single (that Prince must have been channeling when he wrote "Kiss")--slows the pace down for a rhythm and blues-skinhead reggae workout: "You don't have to be blind/To be in the dark/You don't have to be weak/To get a broken heart/All 'bout to got to be a man/Do what a man suppose to do/Oooh, refuse to give up now/See all the trials and revelations through/If you can do all these things/You're sho' 'nuff her type." Both tracks are boss dance floor fillers!
Utilizing the Earl Zero-penned "None Shall Escape The Judgement" instrumental tracks that he masterfully produced for the singer in 2011 (read my review of that single here), Brett Tubin of Channel Tubes has recorded two stellar vocal cuts for Rocker T with Maddie Ruthless, and Banda Rebel (Vinyl single/digital, Channel Tubes, 2020). Rocker T with Maddie Ruthless' "Fiyah Pan Racism" is another powerful and immensely catchy cut to add to your anti-racist arsenal of protest songs. With both Biblical and Rastafarian references, Rocker T chats, "I say a fiyah pan the racism/Because I can't take de wickedness ting/I want to fight racism with de heart and me being/'Cause I want the world rid that it's in/So hail up the Rastaman King...Him say love one another as your sister and brother/So we have to fiyah racism." Continuing with the Old Testament symbolism of fire as both God's punishment for evil and mechanism of purification, Jamaican singer Banda Rebel delivers an impassioned and soulful performance on "You've Got to Learn": "You can't legalize brutality/And then you claim the moral ground/You lords of war, so bloodthirsty/We're running you out of town/It's not my desire to see you on fire, no/Maybe that's how you're gonna learn!" For a year that has seemed near-apocalyptic--maybe it should have been, "when the two twenties clash!"--these tracks will help firm up your resolve when you need it.
Fire Crackers is the really excellent second LP from Pyrotechnist (read The Duff Guide to Ska review of their debut here), the brainchild of two former members of the now defunct Belgian ska-soul band The Moon Invaders--Nico Leonard on drums and keys (and the album was produced at his Pum Pum Hotel studio) and Pierre Haegeli on bass and guitars, plus Rolf Langsjoen on trumpet and David Loos on saxophones. While Fire Crackers ostensibly is a dub record, it's not spacey, stripped-down, stoner dub, but filled with catchy, dubby reggae instrumentals in the Jackie Mittoo, Upsetters, Prince Fatty, and Victor Rice realm (though all cuts are originals by Leonard or Leonard/Haegeli). "Blazing Commando" is funky and propulsive and could easily fill dance floors whenever you put it on (and it's versioned a little later on the album in a slightly Latin style as "El Torro"). The wonderful Skatalites-like "Lady Fingers" (think "El Pussy Cat Ska") features some beautiful piano lines and trumpet improvisation, while the sunny Dave and Ansel Collins-y "Boomer Special" is absolutely guaranteed to brighten your mood if you're down. "Red Devil" is a widescreen spaghetti Western reggae track with a wicked melody performed on melodica and "Big Stick" is a Henry "Junjo" Lawes-styled riddim readymade for some early '80s dancehall style toasting a la Yellowman and Fathead. Even though we're still early in 2020, Pyrotechnist's Fire Crackers already is one of the top ska/reggae albums of the year--it's that good!
The mad genius behind Pyrotechnist is Nico Leonard of The Moon Invaders, Caroloregians, and Pum Pum Hotel studios notoriety (aided by David Loos on tenor sax and Pierre Haegeli on bass and guitars). With a title like Dub Rocketry, one might expect this albumto be filled with the radically deconstructed and reassembled dub of Lee "Scratch" Perry or Adrian Sherwood--but a better comparison would be with the instrumental funky reggae of Jackie Mittoo alternating with Augustus Pablo's (with support from King Tubby) "Far East" dub sound. And like those different approaches, Dub Rocketry is split between moody, introspective dub cuts (such as "Croch'on," "Really Hot Summer," and "Split Second") and shimmeringly bright instrumentals (like "In a Copan Mood," "Groove In," "Sunny Tubby" and "Bye Bye Beach"--shades of The Pioneers' "Long Shot Kick de Bucket"). I find myself putting Dub Rocketry on over and over--and if you're into the aforementioned styles of reggae, you will, too. This is top notch reggae!
I'm still playing catch up on all the releases that I meant to review in 2015. So, here's the latest batch of my quick takes on great ska albums from 2015...
Chris Murray Combo: Buckle Up CD (Unstrictly Roots) -- While one is more likely to catch Chris Murraydoing his fantastic one-man ska band thing (at least beyond Southern California), it's a real treat to hear him backed once again by the tight rhythm section of Ben Farrar on drums and Eddie Lozoya on bass on the Chris Murray Combo's second album, Buckle Up (Unstrictly Roots). It's a carefully crafted album full of upbeat, warm, mostly sunny, and exceedingly catchy--love all of those vocal harmonies!--vintage-sounding ska songs about seeking, being in, or experiencing the pain of being without love (see "Toothbrush," "What Will Come," or "Forget Your Love"), as well as striving to navigate life with one's head high and soul intact ("Ready," "When Your Someday Come"). And even though the brilliant "Ain't No Joke Being Broke" sounds like it could be a Depression-era track from the American Songbook, its lyrics place it firmly in the 21st century: "I'm a King Cobra dreaming PBR, 7 Gs at 20 APR/Yes, indeed, the only thing I need is more mouths to feed/See, I'm down on my knees, 'cos praying's free/Ain't no joke being broke." Anytime you put it on, Buckle Up will lift you up if you're down and give you an excuse to dance with joy--get this album!
Dennis Bovell: Dub 4 Daze LP (Glitterbeat) -- This is a phenomenal new compilation of unreleased dub tracks and alternate mixes of old/classic cuts from the archives of the great Dennis Bovell, one of UK's premier roots reggae, dub, punk, and post-punk producers/songwriters/musicians (who was guitarist and songwriter for Matumbi, one of England's best reggae bands, and worked with Linton Kwesi Johnson, I-Roy, The Slits, Pop Group, Orange Juice, Madness, Viv Albertine, Joss Stone (!) and many others). What particularly sets Bovell apart as a dub creator is his method of deconstructing (and re-assembling) a song that always allows for crucial aspects of the original track's melody to survive and flourish in their new environment. Because of this, with some careful listening, you can discern which tracks are (superb) alternate versions of dubs from the late '70s and early '80s: "Dub Affair" is reconstructed from "The Grunwick Affair," "Zaion Dubb" is a take (duh) on "Zion Dub," "Top Level Dub" is sister to "Higher Ranking," "Physics of Dub" is related to "Scientific," and ""Tuned Dub" is descended from "Harmonizer Dub" (all of these are found on Pressure Sounds' fantastic Decibel: More Cuts from Dennis Bovell 1976-1983compilation double LP). Of what I think is the unreleased material, "Tumbledown Dub's" almost spaghetti Western sounding piano and bass is a real standout. Depending on where you live, this LP (there's no CD or digital album) may be a bit hard to find--it's on a small German label--but Dub 4 Daze is a must-have for dub fans and worth every penny spent importing it!
Leo and the Lineup: Hit the Streets LP (Jump Up Records) -- I heard it straight from the man--Copenhagen's Leo and the Lineup are Chuck Wren's new favorite band, which is saying a lot, since he probably hears more ska from all corners of the globe than anyone else around in his roles as ska label head, radio and club DJ, and voracious record collector. The band's stellar, tightly-wound, soulful, dirty reggae, 2 Tone concoction--which places them in the same territory as bands like The Caroloregians, Babylove and the Van Dangos, and if your ska memory goes back that far, Napoleon Solo and The Deltones--is completely winning. The album is full of striking, instantly memorable songs like the gorgeous but melancholy "Life Goes By," the shimmering good times now painful gone in "Memories of Summer" ("I was the king, you were my queen/Now I'm the court jester...all that is left is a fool with memories of summer"), the fantastic Jackie Mittoo-ish instrumental "Dirty Pockets," "Baby Please" (which reminds me a bit of The Rolling Stones' "Miss You"), and a sincerely sweet ballad (complete with strings!) about a toddler named "Molly Girl" ("She's a chubby chunk of genuine love...walks right into your heart"). Fans of The Pietasters should be sure to check this one out, but ska fans of every persuasion will find a lot to like on Hit the Streets.
+ + + +
Read The Duff Guide to Ska's Part 1 and Part 2 of this series! More reviews are to come!
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)
While there have been several vinyl LP re-issues of Toasters material on Megalith/Jump Up over the past few years (and the band practically has been on a non-stop tour of the globe), there hasn't been a Toasters release of new material since 2007's One More Bullet (kind of a shock, since I remember the brighter days when each year brought a new Toasters album). This is, no doubt, a reflection of the deleterious impact of illegal file sharing on sales of recorded music rather than an omen of the creative well running dry. To dispel any worries about that, all one has to do is place the needle on The Toasters' "House of Soul" single, a superb new tribute of sorts to Motown, which will sate the cravings of both newbie and long-time fans for Bucket's patented and beloved NYC ska sound. For a musician now based in (and frequently touring) Europe, it's fascinating to note how these songs are (still) so strongly influenced by 60s black American music (and express deep nostalgia for "old time music," "beat up 45s," and music delivered via mono transistor radios and hi fi sets--all of which are okay by me). "House of Soul" ("Take a boat ride down the delta/and a train right down to Atlanta, too/Take a quick trip up to Chicago, Illinois/To find the home of the rhythm and blues") is another of Bucket's ska history tracks--acknowledging the vital roots of Jamaican ska--that could be the companion track to "Chuck Berry" off Hard Band for Dead. "Going Home" is a ska-via-New Orleans musician's road warrior song ("I've met a lot of people/Ugly, good, and bad....I've broken a lot of hearts/but none of them was mine/Now I'm standing at the crossroads/In the middle of the square/I don't know where I'm going/but it feels like I'm almost there/I'm going home to the one who is waiting for me there"). Good stuff. Bucket says that "House of Soul" marks the first of many new singles from The Toasters--here's hoping that in the near future the band takes more breaks from touring to hit the studio to lay down the next batch of killer tunes!
Packed with more slack double entendres that you could shake a...um...stick at, comes Dr. Ring Ding's Kalipso Times EP (which I was able to mail order through Interpunk in the USA). Anyone paying attention to the ska scene over the past two decades will know that the good Doktor is an extraordinary master of vintage Jamaican ska, but his forays into Trinidadian calypso are equally as magnificent. Side A of this EP features an excellent original tune done inna Mighty Sparrow style called "The Cat and the Rooster" (I'll let you work out what we're really referring to here) concerning the struggle for dominance between men and women. More reggae than calypso, "All Because I Love You" is a rather sweet and straight-forward declaration of love and devotion that was also featured on the recent Dr. Ring Ding Ska-Vaganza CD Piping Hot. Side B contains a cover of Might Sparrow's deserved 1966 hit "Obeah Wedding" and “The Needle,"a reggae take on Lord Kitchener's “Dr. Kitch" (also a favorite song to cover by the great and late Judge Dread), which is not exactly about syringes and medicinal injections (both of these tracks have previously been available on a Grover single and Jump Up's release of Dr. Ring Ding's Back and Forth CD). It's all pretty hilarious, in good fun, and very well done.
Though known more for his Christian reggae, Solomon Jabby showcases his early reggae instrumental work on these two fine keyboard-centric tracks. "Showdown at the Altarsound" (Altarsound is the name of Jabby's backyard studio, a la Lee Perry's Black Ark) is an energetic organ workout, while "Tone Wheel Express" is a proud, almost strutting track. Fans of The Aggrolites, The Caroloregians, and 2000 Tons of TNT will be more than pleased to have this single in their collection.
To ring in the New Year, early reggae powerhouse 2000 Tons of TNT have released an excellent free digital single containing two new instrumental tracks: "Harvest Moon" b/w "Wonky."
"Harvest Moon" is a super get-up-on-your-feet funky slice of skinhead reggae (a must for fans of acts like The Caroloregians). "Wonky" is more on the rocksteady tip and incorporates some of "Auld Lang Syne" (plus a touch of Harry J Allstars' "Liquidator") in its fuzzed-out hammond organ riff. Both tracks portend more great things to come from this San Diego, CA act (in fact, these two cuts were taken from November/December 2012 recording sessions for their second, as of yet unnamed, album--which should be a knock-out). For your free download of these songs, go here.
Lastly, it should be noted that "Harvest Moon" and "Wonky" are dedicated to the memory of the recently departed reggae great Lloyd Charmers. They've certainly done him proud.
+ + + +
To check out The Duff Guide to Ska review of Reggae Mysteria, the debut album from 2000 Tons of TNT, go here.
Editor's Note: As the end of the calendar year sneaks up on me--as it always does, since the fall is always so damn busy!--I always scramble around to put together my "best of" lists of the ska singles, albums, reissues, books, etc. that I really enjoyed over the past year and want to highlight for all the ska fans out there. But I also thought it might be interesting to feature some other opinions, so I approached a diverse group of ska musicians, bloggers, DJs, and label heads to find out what their favorite ska things were in 2012. And thus the "2012: The Year in Ska" series was born! Thanks to everyone who is taking the time to participate--I really appreciate it!
Chuck Wren operates the continuously amazing Jump Up Records (celebrating its 20th anniversary in 2013!); is the host of the “Everything Off Beat” ska radio show broadcast on Sundays at 9 PM on WLUW-FM 88.7 in Chicago; and is behind the Jamaican Oldies Weekend, which brings 60s Jamaican musicians (backed by current Midwest ska bands) to perform in Chicago. 2012: The Year in Ska - Chuck Wren (Jump Up Records/Jamaican Oldies Weekend/Everything Off Beat Radio Show)
Top 5 Favorite Ska Releases
I will have to break it up into two categories--non-Jump Up Records first:
1) Magic Touch Shocks of Lightning CD/LP (Grover) – Fantastic 60s ska and rock steady sounds from a German band that originally formed to back Jamaican legends. This second album really sees the band get in the groove!
2) Los Granadians Reggalactico CD/LP (Liquidator) – They dress kinda wacky, like extras from a Austin Powers knock-off, but their skinhead reggae boogaloo soul is wicked funky.
3) Maddie Ruthless with The Forthrights and Friends CD (Ska In The World) – A fine release indeed! Great to have a powerful female voice inna the scene. "Sammy Kay was here."
4) Babylove and The Van Dangos Let It Come Let It Go CD/LP (Pork Pie/Grover) – This Danish band really amazes me. Everyone should own one of their records, if not all three. Super soulful neo-traditional ska, very 60’s very modern, and the band is so TIGHT.
5) The Caroloregians Fat Is Back CD/LP (Do The Dog/Grover) – 'Nuff said. These Belgian cats can do no wrong. F.U.N.K.Y. reggae and soul.
And I can’t say enough about three new bands we were honored to put out on Jump Up Records:
1) The Fundamentals Get Alright CD/LP – We did the wax and Stomp did the CD, which is quite fitting since they hail from Montreal! From the first time I heard this band I was hooked. Soulful harmonies, great female backing vocals, and a band that plays ska/reggae that’s equal parts Jamaican and neo-trad. Something for everyone on this album.
2) Count Kutu and The Balmers 10” – Many people, including the band themselves, were confused why I was so excited about working with this relatively unknown band. From what I saw on YouTube…it was my mission. Super authentic Jamaican rural calypso and mento from the Philippines. They have Jamaican accents, yet they sing in Tagalog. Their instruments are acoustic and include a rhumba box. Released on out 78rpm-looking 10” vinyl series. One of our proudest moments as a label!
3) Soul Radics Down to The Hall CD/LP – Hard-working Tennessee band fronted by skinbyrd pinup Dani Radic. A fantastic debut album that delivers ska, sratchy reggae, and rock steady sounds. This album is gigantic!
Top Ska Shows
Jamaican Oldies Weekend in Chicago. Period. Why the hell weren’t you there? You must be a fool! Stranger Cole was magnetic, so full of life! The Prizefighters backed him perfectly, and the Patsy parts were done so authentically by Whitney. The hits were amazing:"Run Joe," "Ruff and Tuff," "Artibella," "When You Call My Name," and "Hey Hey Hey Baby." The night before, an all-star band made up of members from Green Room Rockers, Drop Steady, plus Anthony from The Drastics brought out some of Pat Kelly’s best soul rocksteady gems like "Queen Majesty," "Dark Side of the Street," and "I Wish It Would Rain." We built a Tumblr page linking some of the live footage to guilt all you people that did not go: http://jumpuprecords.tumblr.com/.
Top Ska Merch
Used vinyl. Can’t list that as it's mostly what I buy. The list would be an entire page and then some. Whenever I leave town on "vacations," all I do is hit record shops in small towns and big cities…the wife finally has gotten used to it! Beside that, this year Soul Jazz released two killer Jamaican art books--one for 45 labels and another for reggae album covers. Save up your bucks and get these. Pretty proud of my Lee Scratch Perry bobble head that was released in Japan, designed by Archer Prewitt. Gary Bushell’s "Dance Craze--Rude Boys On The Road!" is a nice read, it’s a “on the scene” account of the first 2 Tone tours. Also been recently collecting vintage sheet music as it looks great framed. My Jimmy Cliff "Wonderful World, Beautiful People" copy is on my wall at home.
Top Ska Regrets
Honestly, nothing comes to mind really. Well, if this counts--I regret that most Chicago ska fans blew off Jamaican Oldies Weekend! We had an excellent turnout, but practically none of the "ska regulars" who go see The Slackers, Aggrolites, Deal’s Gone Bad, etc. came to the shows. I am beginning to think most of those people are not true fans of Jamaican music! It’s not easy to fly in artists from Jamaica, get a venue to invest, have bands practice months and months to learn the music. We put on a top-notch event and most people missed it. Yeah, I am a bit sore. Once again, a bunch of out-of-towners outshine the Chicago "scene." Tisk tisk! The next Jamaican Oldies Weekend is Friday, March 1st and Saturday March 2nd with Eric Monty Morris and Roy Paton and Yvonne Harrison duets. Time to represent!
Top Ska Wishes for 2013
Gotta make my "International Ska All Stars" tour of the USA happen! Tommy Tornado and Mr. T Bone backed by the Moon Invaders/Caroloregians across the USA! I’d settle for Dr. Ring Ding to come back! Would be nice if we can get some more MJARocker cuts and another live performance from The Drastics. Their Halloween gig was AMAZING.
Editor's Note: As the end of the calendar year sneaks up on me--as it always does, since the fall is always so damn busy!--I always scramble around to put together my "best of" lists of the ska singles, albums, reissues, books, etc. that I really enjoyed over the past year and want to highlight for all the ska fans out there. But I also thought it might be interesting to feature some other opinions, so I approached a diverse group of ska musicians, bloggers, DJs, and label heads to find out what their favorite ska things were in 2012. And thus the "2012: The Year in Ska" series was born! Thanks to everyone who is taking the time to participate--I really appreciate it! Todd Fausnacht is the guitarist and singer for the Philly-based ska/early rock/soul outfit The Snails.
2012: The Year in Ska - Todd Fausnacht (The Snails)
Top 5 Favorite Ska Releases
1) The Aggrolites: Unleashed Live
2) The Caroloregians: Fat is Back
3) The Heavy Beat/The Snails Split EP
4) The Forthrights EP
5) Sammy Kay and The Fast Four: "Sweet Misery" single
Top 5 Ska Shows
1) The Aggrolites at the MilkBoy, Philadelphia, PA
2) The Aggrolites at The Blockley , Philadelphia, PA
3) Skalapalooza 2012, Philadelphia, PA
4) Heavy Beat/The Snails split release party at the Funhouse, Bethlehem, PA
5) The Skatalites in NYC
Top Ska Merch
1) My Toots and the Maytals From the Roots record .
2) My Bob Marley African Herbsman record.
3) My Techniques record.
4) My Slim Smith "Rougher Yet" single.
5) My Ken Boothe "Moving Away" single.
Top 5 Ska Regrets
Missing...
1) Jimmy Cliff at The Mann Center in Philadelphia, PA
2) Toots at The Blockley in Philadelphia, PA
3) Stranger Cole and Patsy backed by Crazy Balhead at The Bell House in Brooklyn, NY
4) 2012 London International Ska Festival
5) Jump Up Record's Chicago Reggae Oldies Weekend with Stranger Cole and Pat Kelly
Top Ska Wishes for 2013
1) I'm excited for the Version City tour--hope it goes well!
2) I hope that The Snails The River comes out on time! [It has!]
3) I hope that The Snails "Death Caught Me" single comes out soon!
4) I hope that our Rocksteady EP can go to press soon .
5) I hope there is a rise in appreciation and support for everyone playing deep-rooted Jamaican music!
In keeping with the spirit and form of late 60s JA and UK skinhead reggae, Reggae Mysteria contains a healthy serving of pack-the-dancefloor instrumental tracks (see "Reggae Mysteria," "Cougar Communion," or the incredible "Theme for Ambu"--someday, I'd like a tune this good written about me!), moodier set pieces ("Tiger Uppercut," "Electric Pyramid," and "Rabo de Toro" ["Oxtail Stew"]), and a series of fantastic vocal cuts that are more about evoking emotional states of mind than conveying linear stories or political points of view.
The journey depicted in "How Long Will It Take" is being undertaken either to atone for one's offenses or is an attempt to outrun their consequences--though the singer ends up feeling tortured either way: "Headed west/Need some time/to clear my head/Body breaks/Mind it sleeps/Get no rest/How long will it take before I get there?/How long will my mind know these regrets?" The loping, almost-Western reggae feel of the song conjures up Cinema-scope images of our (anti-)hero trekking through the bleak wilderness on horseback toward whatever fate has in store for him. (The tension-filled, Spanish-language track "¿Adónde Vamos?" then poses the question, "where do we go?")
"I'm Feeling Lonely" relates how people can haunt you long after they've withdrawn their love and presence from your life: "I never thought I'd know this feeling so well/Like an old friend/it listens to the stories I tell/I know you're long gone baby/I'm still under your spell..." This isn't a self-pitying song--more like the protagonist is stunned to find himself at this odd place in life (even though countless people in the past, present, and future have been/are/will be there) and even more surprised to still be wanting someone who outright abandoned them. But sometimes love is just like that--a desire/fixation on what you just can't have.
The singer in "Cleansing Sound" believes in the power of redemption through reggae and is doing his best to spread the good word like the musical equivalent of an Elmer Gantry-like, tent-revival evangelist minister: "From Phoenix down to New Orleans/Wall Street up to Aberdeen/This sound is traveling with the wind/It's coming round to cleanse your sins/It's alright now baby, just let it flow/Some people think they speak the truth/Blood and bone dagger and tooth/But I see them through their cheap facade/I'm gonna knock 'em dead like it's my job." This is performance as baptismal ritual; music as holy water; and musician as preacher traveling the land and fighting the forces of darkness, while enlightening the people and revealing the truth.
In an album crammed with excellent tracks, "Shot in the Dark" (which has nothing to do with the Henry Mancini "Pink Panther"-related soundtrack song of the same name covered by both The Scofflaws and The Skatalites) stands out as a dark gem of a song that incorporates grandiose rude boy tougher-than-tough/dreader-than-dread bravado with freaky, wild-eyed, end-of-days paranoia: "Shot in the dark/Knife in the back/Arrow in heart/Your teeth in my neck/I'm breaking the chains/A bottle of beer/Telling my people/oh, the ending is near/I can't stand it..." I keep coming back to this magnificent track, as it captures the invincibility, defiance, alienation, and bad-ass know-it-all-ness of youth like few others out there. (Derrick Morgan, you've been put on notice.)
You may not be familiar with the band, but 2000 Tons of TNT's Reggae Mysteria is an album all fans of ska and reggae should get to know--and will definitely come to treasure. Without a doubt, this one is marked for the DGTS "best of 2012 releases" category!
For fans of early, or dirty, or skinhead reggae (whatever label works best for you), these are good times to revel in, my friends (if you aren't already up to speed with the scene, check out The Aggrolites, The Caroloregians, King Hammond, The Revivers, The Hard Times, The Crabs Corporation, and many more). For the latest proof of this phenomenon, I present Los Bullets' outstanding new single from Steady Beat Recordings (the third in Steady Beat's "Chronicles" series of limited edition vinyl singles; the first two were from Jamaica 69 and The Delirians).
"Crystal Ball" is the fierce, organ-powered supa-funky reggae instrumental version of their vocal cut "Crystal Necklace" from their debut player, Sweet Misery (and if you somehow missed that record, you really should drop everything and get your hands on a copy--to help motivate you, read The Duff Guide to Ska review of it here.) "Gunshot" (which incorporates the "lie down girl/push it up/push it up/lie down" riff from Max Romeo's "Wet Dream"--aka the rhythm track from Derrick Morgan's "Hold You Jack") won't have you ducking for cover, fearing for your life--but storming the 'floor, moving your booty and shuffling your feet. Nothing but deep reggay grooves and good vibes here.
Duff Guide to Ska Grade: A
+ + + +
While this is the vocal version of "Crystal Ball," it'll still give you an idea of the song, as well as the quality of the band...
With a festival of this size and length, it's no surprise that there has been a plethora of info being pumped out from Rockers Revolt offices to the ska scene about the 2011 London International Ska Festival...and to be honest, it's been hard to keep up with everything as it seemed like every day brought another fantastic new development.
Well, since the fest is now only about a month away, here is a terrific video that provides you with all the info regarding what bands/DJs are performing on which day of the event. Wish we could be there ourselves...
Due to the holidays, work, family obligations, procrastination, etc, blah, blah, The Duff Guide to Ska is seriously behind on reviewing music. Here is what's in our "to review" stack:
King Hammond - Jacuzzi CD (N.1. Records)
Green Room Rockers - s/t LP (Jump Up Records)
Babyhead - Heavy Weather CD (Rockers Revolt Records)
The Caroloregians - Funkify Your Reggae CD/LP (Grover Records)
The Revivers - "Come Into My Parlour" 10" vinyl (Jump Up Records)
The Aggrolites - "Trial and Error" b/w "Enemy Dub" 7" single (Young Cub Records)
The Aggrolites - "Dreaming on Erie" b/w "Eye of Obarbas" 7" single (Young Cub Records)
The Forthrights - Camp Birdman 7" EP (Panic State Records)
So keep an eye out for upcoming Duff Guide to Ska write-ups for these releases and more! Soon!
Editor's note: Here is The Duff Guide to Ska's "Best Ska Albums of 2010" list, such as it is. In all honesty, there were several albums that we weren't able to get our mitts on before the clock ran out (here's our shout-out of love to Babyhead and Pama Intl who probably should be on this list, too!)--and, no doubt, there were many others out there that we never even knew about. So here is our less-than-definitive "Best of List" in all of its flawed glory...
1592: This One's for You All (self-released). Read The Duff Guide to Ska Review here.
Babayaga: Funky Drop (Skanky 'Lil Records). Read The Duff Guide to Ska review here.
Babylove and the van Dangos: The Money and the Time (Jump Up Records)
The Beatdown: The Beatdown (Stomp Records). Read The Duff Guide to Ska review here.
Bigger Thomas: Steal My Sound (self-released). Read The Duff Guide to Ska review here.
The Bullets: Sweet Misery (Jump Up Records). Read The Duff Guide to Ska review here.
Following the announcement of Ken Boothe, we are honoured to announce the next acts added to The London International Ska Festival are two more Jamaican legends. One of reggae's most influential songwriters and singers, Bob Andy and the 'Queen of Reggae' Marcia Griffiths will be reuniting for a very special evening, and once again performing together again as Bob & Marcia.
The duo met whilst recording for Jamaica's premier label of the day Studio One, but it was on the move to the Harry J Label that their international recognition came. In 1970 and 71 they hit the British, as well as the International charts with their version of Nina Simone's 'Young, Gifted and Black', which peaked at No.5 and 'The Pied Piper' (reaching No.11).
Bob Andy was one of the founding members of The Paragons, along with Tyrone Evans and Howard Barrett, and later joined by John Holt. As one of Studio One's leading lights, Bob worked closely with Jackie Mittoo on many of the label's seminal sounds. Besides writing songs for himself which have become reggae standards 'Feeling Soul', 'My Time', 'Going Home' and 'Too Experienced', to name just a few, Bob contributed hits for many of the other artists there. His album 'Songbook' is quite rightly referred to as "a masterpiece".
Marcia Griffiths, discovered by Philip “Boasie” James lead singer of the Blues Busters, started her singing career performing with Byron Lee & The Dragonaires. Her recording years started soon after, at Coxsone Dodd's Studio One where she recorded her first hit, the Bob Andy composition 'Feel Like Jumping'. Upon Bob & Marcia's split in 1974, Marcia united with Judy Mowatt and Rita Marley to form the I-Threes, Bob Marley's sublime vocal trio.
For over 40 years Bob Andy and Marcia Griffiths have continued to record and tour all over the world, establishing themselves as true legends of Jamaica’s musical history. In recent years the Jamaican government conferred the Order of Distinction on both of them. We are delighted to have Bob and Marcia performing not only their timeless duets but also their classic solo hits at The London Intl Ska Festival.
+ + + +
Also, the schedule of appearances is starting to firm up:
Thursday 21 April 2011 Ken Boothe and James Hunter
Friday 22 April 2011 The Loafers and Hotknives
Saturday 23 April 2011 The English Beat starring Dave Wakeling and The Caroloregians
With a name that couldn't be more relevant if they tried, NYC's awesome practitioners of Upsetters-inspired boss skinhead reggae, The Hard Times, have dropped an EP of buoyant tracks to temporarily distract us from the swelling ranks of the unemployed among us and the disintegrating social safety net in tatters at our feet. The three stellar instrumental cuts you'll find on the digital-only Two Bucks for Bob EP are on par with those from other early reggae heavyweights on the scene like The Caroloregians, King Hammond, and The Bullets. Truly, this is some sweet stuff.
The high-quality of The Hard Times' songwriting and musicianship really shouldn't come as a shock when you consider the band's lineage--most of them are veterans of the NYC ska scene. Drummer Bob Timm previously was in 90s-era bands The DeFactos and Orange Street (and did a boffo job covering ska for About.com from 1997 to 2005); keyboardist Jerica Rosenblum was a member of The Scofflaws, Mephiskapheles, and The Defactos; now ex-bassist Juan Cardenas was in The Duppies; and guitarist Jacob Wake-Up used to be in Across the Aisle and is still in Hey Stranger.
"Two Bucks for Bob" (what's the story behind that title?) is a moody, reggay-ish cut that introduces you to the band's amazing chops. You might think "Bender of Steel" is a groovy mash note to that irascible, cigar-chomping, beer-chugging, fire-belching, foul-mouthed, thieving (but orphan-loving) robot from 31st century New New York, Bender Bending Rodríguez (from Futurama)--but it's actually an ode to Coney Island strongman Mighty Joe Rollino (RIP). Put "Ricochet Rocker" on the sound system and it's guaranteed to pack the dancefloor with its jerky, propulsive riddims, looping bass lines, and killer melody that's passed back and forth between the guitar and keys like a steaming hot potato. You'll be hard-pressed not to shake your booty to this cut. (Listen to samples of all of these tracks here.)
Two Bucks for Bob is a smashing debut for The Hard Times--this is exactly the kind of music we all need in our lives: tunes to help us to get through the bad times and celebrate the good.
The Duff Guide to Ska is most grateful to Sean Flowerdew (Pama Intl, Rockers Revolt Records, The Loafers) for taking the time to do the following interview with us regarding the upcoming 2011 London International Ska Festival (LISF). At the time of this interview, he was in the midst of playing Pama Intl's last few shows (promoting their most recent album, Pama Intl meet Mad Professor-Rewired In Dub) before the band goes on extended hiatus--whilst simultaneously putting together the ska fest, and running his label (and you thought you had a lot on your plate!).
The Duff Guide to Ska:Why is this the most opportune time to re-launch the London International Ska Festival? What has happened on the ska scene (or in your life) to make this the right time to do it?
Sean Flowerdew: I'm not sure it's the most opportune time, but there certainly is a lot of interest. Obviously The Specials reforming, Madness releasing a fantastic new album, people like Lily Allen and Amy Winehouse championing the ska sounds, Soul Jazz reissuing Studio One comps with very nice packages over the last few years have all combined on a mainstream level to create more interest in ska. Soul Jazz particularly seemed it make it cool and hip again. And of course, there've been people working very hard on a grassroots level to keep things moving forward: Do The Dog (label and zine), The Brixton Hootananny (puts on free ska gigs every Friday to 400-500 people and has some bigger names on at low prices), Gaz's Rockin' Blues celebrating it's 30th anniversary (the longest running club night in London); plus loads of ska-inspired bands gigging: The Amphetameanies, Bombskare, Cartoon Violence, Dub Pistols, Babyhead, Jimmy The Squirrel, King Blues, Maroon Town, all the 2 Tone guys, Sidewalk Doctors, Intensified, Rasta4Eyes, Pama Intl, Splitters, Simmertones, Dirty Revolution...US touring bands like The Aggrolites, Slackers, Big D. And club nights/sound systems around the country like Pressure Drop, Funkdub, Reggae Train, Tighten Up Crew, Set The Tone, Downbeat Melody, Axis Sound System, Sounds & Pressure all regularly spinning ska sounds. I'm sure I've forgotten loads as well!
It's very healthy times for the ska scene again, but that wasn't the catalyst for me deciding to relaunch this though. All year I've been looking at my own work with Pama Intl and Rockers Revolt label and just trying to figure out what I want to be doing next year and further into the future. And for the first time in Pama Intl's 10 years...I didn't see anything, or rather I wasn't inspired to do anything. So, rather then do 100 Pama Intl shows throughout the year, I thought it be good to put all my energies into one event. I know the ska scene better than any other music scene, nostalgia's in fashion, so I thought I'd relaunch The London International Ska Festival. For once, my hunch that others would be interested certainly seems to be accurate, judging by the feedback.
DGTS:Apart from ska stars like The Specials and Madness appearing at mega music festivals in the UK like Glastonbury, have there been any large ska festivals there in recent years?
SF: One reason I'm putting this on is I don't believe there's been a ska festival in the UK that has done the genre justice, for years. I include some of my own nights when I say there's been a lot of sub-par promotions in the name of ska. The first ones I was involved with were very good. I programmed and promoted the first LISF at The Brixton Fridge, a 1,400 capacity venue in south London on 21st December 1988. We followed that up with nights at London's infamous, but sadly now demolished, Astoria Theatre. We got TV coverage for those events, mainstream press coverage, and nothing like that has happened on that level since. Except for The Specials and Madness reformations, which of course eclipsed what we did.
I truly believe the line-up we're putting together for next year and the attention to detail we're putting into every aspect of the event will set it on a world-class level, the likes of which the UK and abroad hasn't seen. A long-term goal is to establish the genre on a mainstream level across the world. High hopes, I know, but you've got to aim high, and there is the talent in the world of ska and all its offshoots to be able to do it.
DGTS: How many fans to you anticipate showing up for the entire three-day London International Ska Festival?
SF: It's actually four days long and the way it's selling, I can see all days will be sold out before Christmas! So, 1,100-1,400 people across the weekend. We're mainly only selling weekend tickets for all four days, but there will also be 200-300 day tickets issued. The venue is only 1,250 capacity, and I'll be allocating 150 tickets for radio, press, and promoters. One of the main goals of the fest is to establish it as an annual event akin to the Soho Jazz Festival or WOMAD. An event that is respected the world over. An event that sells out before any of the line up is announced. An event that showcases and shows off how far this amazing genre has traveled and how good it can be.
DGTS:Are you the sole person selecting the acts--and what are the criteria for a band to be selected? Were any of the bands that were suggested by fans (on sites like The Specials' Fan site) chosen to appear?
SF: Yes, I'm the sole person, although I have asked many people's opinions (DJs I respect, my brother [Do the Dog Music's Kevin Flowerdew], other bands) and put out on the Facebook page asking people who they'd like to see. It was great to see I was pretty much on the right track. Many of the bands people were asking to see we've got. We're also going to blow people away with some of the things we're managing to get together for this.
The basic criteria is I've got to like the band. They've got to have a story, be it a legendary one or a new band one. I've got to be able to sell them to the press and radio, and ultimately sell tickets off the back of their name. There is a huge financial risk to this. The bill currently stands at £100,000, so I need bands that will pull people.
DGTS: Your old band The Loafers are reuniting for the occasion. What's the biggest challenge to preparing for your performance?
SF: It's actually really nice to be doing a band for the shear enjoyment of it. Unlike the last 10 years with Pama Intl, there is no major challenge. We'll rehearse, Nas (drums) and Trev (bass) play regularly as Big Boss Man and The Bongolian, and Finny and I have of course been doing Pama Intl, so we should be able to knock it into shape. I suppose one challenge is The Loafers always got by on youthful enthusiasm, which I don't think any of us have now! It's 21 years since we played together!
DGTS:If The Loafers' appearance exceeds your expectations, is there the possibility of doing more reunion gigs?
SF: No, it's an exclusive for the festival. I wanted to have a few things happening at the LISF that won't happen anywhere else, and set it apart from what anyone else is doing. The Loafers is one of those exclusives. Another one is getting the original Hotknives line-up to reform for a one-off.
Continuing with The Loafers isn't something I'd want to pursue. And I'm sure the same can be said for other members in the band. We've all got big fish to fry.
DGTS:What are your favorite moments from the first London International Ska Festival that you organized back in 1988?
SF: Seeing a queue stretching up the road and out of sight before doors was pretty incredible. Having all my favourite bands under one roof was great...Hotknives, Potato 5, Capone & The Bullets, Laurel Aitken, Napoleon Solo were pick of the bunch for me. I had Gaz Mayall MCing the night and he brought Prince Buster down with him. I was 17 when I started putting it together, so it was a pretty incredible feeling to realise I'd managed to get it to work.
DGTS:When do you expect that the entire bill with be finalized (and are there any new additions to the festival that you'd like to announce here)?
SF: We go on general sale with tickets early November '10, and I'm hoping to have most of the line-up finalised by then. We nearly have all the bands agreed, we're just working through contracts and waiting to fill two of the headline slots. We have offers in with five great acts for the two places, so it'll be the first ones to decide get it. We'll definitely have it all set by December '10.
The latest additions to the festival are...the Grammy-nominated singer James Hunter, whose sound is more of a soul and R'n'B style, akin to the sounds the Jamaican originators were tuning into. He's amazing. Van Morrison describes James as "the best soul voice to come out of Britain," and there a lovely ska lilt to a lot of his music. We've also got The Caroloregians from Belgium. I love these guys. They've got a great raw skinhead reggae meets the Meters funk thing going on. More to be announced start of November!
[Below, please find a live video I shot of The Caroloregians performing The Rolling Stones' "(I Can't Get No) Satisfaction" and their own "Karlking City Boogaloo" at The Knitting Factory in Brooklyn, NY on 6/5/10.]
The word from Chuck Wren at Jump Up Records is that he has the new live CD from the awesome ska-soul Belgian act The Moon Invaders, Live at the AB Club (Grover)--and that The Moon Invaders' skinhead reggae alter ego, The Caroloregians, have a new CD/LP, Funkify Your Reggae, coming down the pipeline soon! I have a feeling that both of these albums are going to be vital additions to The Duff Guide to Ska collection. If you were fortunate enough to catch both of these bands on tour of the USA this past summer (read The Duff Guide to Ska review of this show--and watch video footage of both bands in action--here), you know these bands are incredibly good (their absolutely sensational split CD, Hot Blood, Cold Weather is essential!).
+ + + + Speaking of Euro ska-soul acts, I just picked up and listened to the new Babylove & the van Dangos LP, The Money & The Time (Jump Up) on my cheap-but-good Vestax Handy Trax record player (I've actually used it in a Fat Albert/MacGyver DJ set-up and it worked really well). We'll review The Money & The Time soon, but can tell you now that it's stellar.
Even though I was hundreds of miles away when Club Moonstomp happened, I feel like I was kind of there after playing the Jump Up commemorative colored vinyl single, featuring new and rare material from Roy Ellis (Symarip), Eastern Standard Time, Mr. T-Bone, and Green Room Rockers. Not sure how many of these Chuck has left after offering them at the gig, but they're worth tracking down.
Lastly, I mail-ordered The Trojan Skinhead Reggae Collection from Ernie B's Reggae (a double-CD set for $8.99, so I figured how could I go wrong?). It turns out that is it an abridged version (40 out of 50 tracks) of the four-CD Trojan Skinhead Reggae Box Set--which I don't have--and has many cuts from 1968-1972 that were new to me, like Lloyd Charmers' "Dollars and Bonds" and Derrick Morgan's "Copy Cat." Good stuff.
After keeping him on ice for a couple of decades, Nick Welsh (Bad Manners, The Selecter, Skaville UK) has resurrected King Hammond, his late 1980s boss skinhead reggae alter-ego (influenced by--and a heartfelt tribute to--greats like Dave & Ansel Collins, Lee Perry & The Upsetters, Laurel Aitken, Harry J's Allstars, and Jackie Mittoo amongst many others) with a sensational new album: The King and I. Why bring the King back after all this time? There is the very welcome resurgence of skinhead reggae (think of acts currently on the scene like The Caroloregians, The Hard Times, and The Aggrolites). But Nick isn't necessarily capitalizing on this subcultural trend, rather he decided to revisit his King Hammond persona after writing and recording a new track as a unique 40th birthday present for a friend who was an enormous King Hammond fan back in the day. Nick found the whole experience so pleasurable and inspiring that he cut an album's worth of new KH tracks to share with us--a gift that truly keeps on giving to any fan of ska and reggae.
If you are old enough to have been young enough to pick up Revolution '70 (LP, Blue Beat, 1989) and Blow Your Mind (CD, Receiver Records, 1992--which included the Revolution '70 album) when they were first released, you'll be familiar with, and crazy about, the slightly naughty ("Pussy Got Nine Lives"), definitely campy ("The Satanic Rites of King Hammond"), and oftentimes brilliant ("Stay With Me Baby," "Skinhead Revolution," "Dracula A.D.'72," "Soul Up") skinhead reggae of King Hammond, produced at a time when most acts in the UK were pretty much either disciples of The Specials or The Skatalites. While the majority of tracks on The King and I seamlessly pick up where Blow Your Mind left off (see the terrific instrumental "Reggae Movement No. 1"), Nick has expanded King Hammond's repertoire a bit, at times venturing into big band, swing, and (on one track, "Floorshaker") electronic/techo ska (shades of acid ska) territory without betraying his fans' expectations or diminishing the awesome core of his sound.
The King and I abounds in great, catchy, memorable tracks--every song deserves a mention! The album begins with a wickedly cutting assault on ex-British Prime Minister Gordon Brown in particular, but also politicians in general (note the Clinton cigar reference), on "Mr. Easy Talk." The almost bombastic big band/ska sound perfectly mirrors the oily proclamations being spewed forth by PM Brown as voiced by Mr. Welsh: "Just accept my words are true/there's nothing else that you can do/It's the politics of deja vu/I'm Mr. Easy Talk..." "Cool Down Your Temper" makes a plea for peace, in response to the rise in gun and knife violence in the UK. "The Rudest Girl in Town" is an affectionate tribute to woman who "wears her trilby like a crown," refusing to tone down down her rude roots and signifiers to conform to the straight world of adults: "Yeah I'm telling ya/When I'm calling her/her ringtone's Harry J/Not Jamelia, Anastacia/She don't do Dr. Dre." "Monkey Boots" is a Symarip-like celebration of this stylish, if sometimes impractical footwear (the soles of the Czech-made monkey boots that I used to pick up at 99X in the East Village always left big black scuff marks on wood or linoleum floors--though Dr. Martens now makes a version with soles that don't!).
"Blood Run Cold" echoes "Shame and Scandal" in sound and theme, though here the sexual transgression is cheating on a girlfriend or wife ("You've been a friend to me and a lover/I've been bad to you like no other"). You have to love King Hammond's explanation when he's caught with another woman in his bedroom: "You've got it all wrong! She's my social worker!" Perhaps the greatest track on the album is the pulsating, pitch-perfect "The Return of the Kung-Fu Skinhead," which manages to honor Lee "Scratch" Perry and The Upsetters' Kung-Fu Meets the Dragon obsession with 70's martial arts films without crossing over into parody.
The good King Hammond plans to sort fact from fiction in all the gossip flying about by obtaining a lie-detector to see if his girl is telling him the truth in "The Loop" ("The word on the wire, it's all over town/they say you walk a crooked mile"). Music fans world-wide will recognize the truth of "Dave and Ansel," that certain songs--particularly from one's youth--will affect you in profound ways and will travel with you as a source of comfort and inspiration throughout your life ("Back in 1971/just a kid with the radio on/Having fun, threw the dial around/that's when I first heard the Monster Sound--the Monster Sound/I didn't realize it at the time/but Dave and Ansel were friends of mine!"). "The Soho Skank" is a Bad Manners Eat the Beat-era sounding, bass-heavy tune to fill the dance floor. Hitting middle-age doesn't just sometimes injure the vanity of the fairer sex--check out the taunting (and humbling) "You Can't Get Those Sweet Things Anymore." Forty-ish men might have the outlook of a twenty-something in their minds, but "you can't pull the girls like you used to" because "you're old/and you're fat/and your hair ain't growing back." Ah, the ignominy of aging--it's all downhill from here, isn't it, KH?
The King and I is a triumphant return for King Hammond--and one of the best albums of 2010 that deserves a spot in every self-respecting ska fan's collection!
Since my job has been bringing me nothing but misery lately, it was nice to disappear from the mainstream world into the ska underground for a few hours last Saturday night to catch some really magnificent performances by The Caroloregians, The Moon Invaders, and The Rudie Crew. (I had wanted to see the other two acts on the bill, Royal City Riot and Hub City Stompers, but a friend was celebrating the opening of her husband's new bar in Midtown, which kept me from seeing RCR, and I had to catch the L train back to Manhattan before it got too late, which caused me to miss HCS--sorry guys). Thanks to Marc Wasserman of Bigger Thomas/Marco on the Bass and Mike D. (who shot the the recent Spring Heeled Jack reunion) for hanging with me.
While I had no preconceptions as to what kind of show to expect, I figured it was at least worth the trek to Brooklyn to see two ska bands from Belgium (how often does that happen?). Even though the crowd was kind of light--they hit the stage pretty early for NYC--The Caroloregians, led by Oliver Reed look-alike Matthew Hardison, played their hook-filled brand of funky skinhead reggae with enough power and verve to make a stadium of fans groove and skank. Their set was comprised of a mix of terrific instrumental originals (a la Dave and Ansel Collins, Harry J Allstars, and The Upsetters, amongst others) and killer 60s R&B covers, including Sam Cooke's "Another Saturday Night" and The Rolling Stone's "(Can't Get No) Satisfaction" (the video below segues into their own "Karlking City Boogaloo")--rhythmically it was unexpectedly, but pleasingly, close to Devo's version!
Next up were The Moon Invaders, and I'd be lying if I didn't admit that I was surprised to see about half of The Caroloregians back on stage (but then it made sense--how else could you afford to have two European ska bands touring here in the USA?). By this point in the evening, the dance floor was much better populated and many of us had now been primed for The Moon Invaders' superbly upbeat rhythm 'n' blues-powered ska. I managed to shoot several videos of The Moon Invaders' performance to post here, but a good part of me just wanted to dance to their exuberantly catchy tunes.
Marc and I spoke with Moon Invaders/Caroloregians singer Matthew Harrison afterwards and found out that he and his fellow vocalist/brother Thomas (Chris Murray's doppelganger) are both originally from New Orleans (which explained the many references to the Crescent City and Cajun/Creole culture in The Moon Invaders' songs--which otherwise would be kind of, well, weird for a Belgian act). We also talked about how they were going to cross the US/Canadian border (two Americans, a boatload of Belgians, and all their gear) for their gigs in Montreal and Toronto without arousing any suspicions. Since they were traveling in a car and van, I suggested the American brothers go in the car without any gear or merch (we're just two simple tourists, officer!), and all Belgians would cross in the van--and they could speak French to seem familiar and allay the customs agents' concerns. Hope they made it! (Check out their remaining tour dates here--and if they are playing near you, move freakin' heaven and earth to see them!)
While I've seen Roy Radics guest performing with Bigger Thomas, I haven't had the chance to see The Rudie Crew in action. Apparently, they've been MIA lately, since they had to find and break in both a new drummer (a big, body-builder type guy who hits the skins like Stewart Copeland) and guitarist. Their excellent set was full of aggressive post-2 Tone ska/dancehall minor-key cuts with unusual (for ska), ever-shifting rhythmic patterns--all with Roy's rapid-fire chatting riding atop the soundwave. What particularly struck me was that their sound was in a a recognizably NYC ska vein, but they've created something fresh and their own. After witnessing (and dancing to) their show, I now know better: I should have been missing them while they were temporarily out of commission, too. And I can't wait to see them again.
Cheers to Version City for putting together this sensational bill--and thanks to Adam at KF Hollywood for the hospitality!
What They're Saying About My Book "The Duff Guide to 2 Tone"
“An essential read…Stephen's eye for detail is incredible and his love for 2 Tone oozes from each page.” — Kevin Flowerdew, Do the Dog Skazine
“Written with a personal touch and with great passion about the bands and releases while giving a lot of emphasis to the lyrics, Stephen’s book is a great guiding hand to navigating your way to some great new music.” — Peter Walsh, 2-Tone.info
“It's some of the finest Madness analysis I've ever read.” —Donald Trull, Stateside Madness
“Steve's own story would make a great book, but instead he's written The Duff Guide to 2 Tone, a 250+ page collection of 2 Tone-related pieces from his blog. There are reviews of original pieces, but the book's real purpose is to show how the 2 Tone sound and—more importantly its ideals—carry on today...Get this book right away!" — Charles Benoit, Reggae Steady Ska
"...Shafer has definitely not forgotten how socially conscious issues were at the root of Ska even from the beginning. He makes certain to thread the political issues that motivated the development of Ska throughout his narrative; painting a picture that took both the oppressive political environments and the often ecstatic musical content into account. And in that, he nails down for me what the enduring pull of Ska was to its many fans. Was there ever a more upbeat dance music that combined its boundless energy with a push for progressive social values and calling truth to power?" —Post-Punk Monk
"...[The Duff Guide to 2 Tone is a] chatty, informative and knowledgeable work, one that you can either sit down and read or use as a reference source..." —Nik Skeat, Scootering Magazine
"During the reading of the book it is dangerous to have a screen open next to you with Discogs. I have found lots of ‘new music’ via the stories in The Duff Guide to 2 Tone which I must have." -- Peter Vrakking, Blue Beat & Ska
In the mail today, I received the first copy of my new paperback book The Duff Guide to 2 Tone --and am thrilled to announce that it is now...
About Your Duff Guide
Steve Shafer/The Duff Guide to Ska For most of the 1990s, I was the promotions, marketing, production guy for Moon Records (RIP). It was one of the best jobs I ever had. Seriously, I miss it badly. During 1999/2000, I ran 7 Wonders of the World Music, the first digital download-only ska label that was too ahead of the curve for its own good (RIP).
I filmed and edited this Toasters video for $2,500, which made its debut on MTV's 120 Minutes. I also put together these compilations for Moon: the first three Skarmageddons; Ska United: A Global Ska Sampler; Skank Down Under; This Are Moon Ska I, II, and III; and Moonshot!
Here's an old interview with Adam Monkey from Read Magazine that covers my days at Moon and 7 Wonders. I also did a somewhat more recent interview with Read Junk.
I've been interviewed about ska music and Moon Records for The New York Times, Heather Augustyn's "Ska: The Rhythm of Liberation," Aaron Carnes' "In Defense of Ska," Kenneth Partridge's "Hell of a Hat: The Rise of '90s Ska and Swing," and Marc Wasserman's "Ska Boom: An American Ska & Reggae Oral History" (I also wrote the introductory chapter "1985: The Year American Ska Broke" for Wasserman's book).
And I'm the author of "The Duff Guide to 2 Tone," which can be ordered from Amazon--and is available in the US from Jump Up Records, and in Europe from the 2 Tone Village Shop (Coventry, UK), Champion Sound Records (Hull, UK), Aggroshop (Nijmegen, Netherlands), and Copasetic Mailorder (Hamburg, Germany). Plus, my book was on sale in the museum shop for the "2 Tone: Lives & Legacies" exhibition (May 28 - September 12, 2021), curated by Simon Reynolds, Cory Barrett, Pete Chambers, Jennifer Otter Bickerdike and Daniel Rachel, at the Herbert Art Gallery Museum in Coventry, UK.
I'm now working on my next book, "Calling All the Rude Boys: The Duff Guide to The Toasters, 1981-1992," to be published in 2023.
If you have a ska or reggae release that you'd like me to consider reviewing, please send an e-mail to Steve at duffguidetoska@gmail.com. You should know that I am old school and prefer music in tangible formats (plus I might use your music when I DJ ska events). I'd also appreciate any news or tips you may have about bands.
All reviews and interviews posted on The Duff Guide to Ska are copyrighted and are the sole property of Steve Shafer. Please contact me for permission to reproduce anything on this blog.
Search This Blog
See Live Ska Bands in NYC!
Check out the NYC ska shows I co-host and co-DJ with Ryan Midnight!
Rougher Records 1981/2011 7" vinyl single (Reviewed by Steve Shafer) Despite my burgeoning interest in reggae and ska ( UB40 , P...
Visit The Duff Guide to Ska Video Channel!
Check out The Duff Guide to Ska Video Channel for footage of ska bands in action in clubs around NYC, as well as unusual and rare ska videos from the 90s! Bands featured include The Toasters, The Bluebeats, The Forthrights, Across the Aisle, The Caroloregians, The Moon Invaders, The Rudie Crew, Tip the Van, Hey Stranger, Beat Brigade, Bigger Thomas, King Chango, The Scofflaws, UB40, The Hard Times, Jah Love and the Valentinians, The Shifters, Rudies Don't Care, Big Audio Dynamite, Stranger Cole and Patsy with Crazy Baldhead, Queen P of Ocean 11, King Hammond, The Snails, King Django, Doomsday! The Ultimate Tribute to Mephiskapheles Consisting of Former Members of Mephiskapheles, Destroy Babylon, The Frightnrs, The Pandemics, Los Skarroneros, The Bullbuckers, The Scofflaws, The Reggay Lords, The Copacetics, Rude Boy George, Dave Hillyard and the Rocksteady 7, Tokyo Ska Paradise Orchestra, The Specials, Roddy Radiation and Lynval Golding, The Ladrones, Chris Murray, Radio Riddler, UB40 featuring Ali Campbell, Astro, and Mickey Virtue, Barbicide, The Twilights, Bim Skala Bim featuring John Bunkley (Gangster Fun), The Pomps, and more!
