"Say E for Evil," the first track on The Attractors' stellar third album Love Bombs, opens with a sound clip (that I initially thought came from V for Vendetta!) of the British writer/academic Alan Watts--who was famous for interpreting and promoting Buddhism, Taoism, and Hinduism for Western audiences--talking about the symbiotic relationship between good and evil: "All conflict, Jung was saying, all opposition has its resolution in an underlying unity. You cannot understand the meaning of 'to be' unless you understand the meaning of 'not to be.' You cannot understand the meaning of 'good' unless you understand the meaning of 'evil.'" Essentially, good and evil each define the other, and are not fully understood on their own without an awareness and understanding of the other (the dualism found in ying and yang). To be good, you have to know and embrace your dark side, which helps you delineate the parameters of what is good. (Interestingly, in the Genesis creation myth, when Adam and Eve ate from the Tree of Knowledge of Good and Evil, some interpretations are that it was less about the Fall of man/original sin, but more symbolic of humanity's acquiring the "knowledge of duality/opposites/separateness as opposed to pure, unaware consciousness where there is no self and other.")
So, it only follows that Love Bombs has a "Good Side" and an "Evil Side," as noted on the LP's paper labels. But the songs featured on each side of the coin...um...record are not so easily defined. The tracks on the "Good" side are not about what we think to be obviously or inherently "good" things, but about matters in relation to the definition of good. And the instrumental ska and reggae on this side is rather slow in tempo and downbeat in mood (though still quite excellent and catchy)--like the kind of music one would march to as you slog (knowingly or not) toward disaster or oblivion (this is a covid-19 era album, after all). The aforementioned "Say E for Evil" is included on this side--you need to learn about evil to know about being good. "Strictly for Cash" includes this snippet of Wall Street/Gordon "Greed is Good" Gekko dialogue: "It's not a question of enough, pal. It's a zero sum game, somebody wins, somebody loses. Money itself isn't lost or made, it's simply transferred from one perception to another." In Taoism, moral notions/distinctions of good and evil are viewed as perceptual. At face value, money is neither good or bad, but it can be used to do things that are perceived as good or evil. "One Upper" refers to a person so insecure and worried about being thought of as weak and/or insignificant that they constantly work to depict themselves as superior to others--to appear to be the opposite of what they are. And even seemingly sweet and innocent, and unquestionably adorable, kittens can be plotting against their owners ("Kittens (Conspiracy Dub)").
The "Evil" side beings with the slightly nefarious-sounding "The State of Things (Part II)" (an even better version of the same track that appeared on their 2016 album The Move) that incorporates a sample of Albert Einstein (from a 1950 TV interview with former First Lady Eleanor Roosevelt): "Is there any way out of this impasse created by man himself?" Einstein was commenting on about how insane it is that humanity had achieved security from world war through the creation of weapons so fearsome that their very use will wipe out humanity ("Peace through Strength")--but had failed to address the underlying mentality/cause of war: that we believe that groups of human beings are separate and apart from the others, despite the fact all of us are closely connected and of the same species (but we perceive there to be all of these differences between us). "Grinding Work Fuck" is kind of harried and frazzled, but upbeat through gritted teeth. The chipper "Surveillance Tech" is surely about how all of the incredible technological advancements we've experienced over the past quarter century are extraordinary, and have brought all sorts of benefits and convenience to our lives, but the price is that our every click and move are recorded, monetized, and monitored by corporations and government agencies. The sweet title track "Love Bombs" conjures up cartoony Yellow Submarine-ish images of the good people of Pepperland dropping heart-shaped "All You Need Is Love" munitions on the Blue Meanies to transform them into nice folks, but it refers to a practice of showering people with attention and (feigned) affection in order to manipulate and control them. This tactic is often used by gangs, pimps, and cults (the Moonies coined the term "love bombing" in the 1970s). Everyone needs to be loved--it's the greatest emotion that humanity is capable of feeling and expressing--but love also can be weaponized for hateful ends.
The Attractors (who've dropped the "Brooklyn") are a rotating conglomeration of notable Boston and NYC ska and reggae musicians with trumpeter Rich Graiko (The Void Union) making it all happen. On this album, the group includes guitarist Andy Bassford (Toots and the Maytals), percussionist Larry McDonald (Lee Perry, Toots and the Maytals, Peter Tosh, The Skatalites, Gil Scott-Heron), trombonist Buford O’Sullivan (Easy Star All-stars, The Scofflaws, The Toasters), bassist Dan Jeselsohn (Mephiskapheles), keyboardist Ken Stewart (The Skatalites), King Django (Stubborn Allstars), tenor saxophonist David Hillyard (The Slackers), bassist Thaddeus Merritt (Westbound Train), Eddie Ocampo (The Insteps, SAS, The Full Watts Band), Jesse Hayes (The Void Union), and others.
For an album full of boss instrumentals, The Attractors' Love Bombs sure has a lot to say.
Released on 02/20/20, Flying Vipers'"Two Twenties Clash" (Digital single, Music ADD Records, 2020) marks the first single from their forthcoming album (their most recent release was last year's incredible dub version of Black Flag's Nervous Breakdown EP). One new aspect of the Vipers' '70s roots sound is the welcome addition of horns (Andy Bergman on sax, Brian Paulding on trombone, and Rich Graiko on trumpet, from The Macrotones, Kotoko Brass, and The Void Union, respectively). As might be expected, "Two Twenties Clash" is an unsettled instrumental reggae track; the martial-like drumming and relentlessly busy bass riff are an undercurrent pulling constantly against the majestic horn lines, and neither dominates. It's a great teaser for what is sure to be a compelling album.
"I Can't Get No (Satisfaction)" b/w "Feel Like Jumping" (7" heavyweight vinyl, Happy People Records, 2020) is the first double A-sided single off Pama International's most recent album, Part Two (a continuation of where things left of with The Altruistic Soul Sound of Pama International aka Stop the War on the Poor). If you're familiar with these albums, you'll know that the band is currently in the midst of exploring their deep love of soul music (and singer Jewels Vass is the not-so-secret ingredient in their success). The deft arrangements of both of these classics are sure to appeal to the ska crowd (Marcia Griffith's "Feel Like Jumping" by Keith Anderson and Jackie Mittoo is now Northern Soul, while The Stones' classic is given a Stax revamp), and the powerhouse performances captured here are top-notch.
South Korean reggae act The Soul Sauce (formerly NST and the Soul Sauce) have been collaborating with sorikkun (or pansori) singer Kim Yul-hee in recasting this form of traditional Korean folk storytelling, music, and movement in a modernized reggae setting. Their latest release, following last year's Version album, is "(Who Knows) Swallow Knows" b/w "Swallow Dub" (Digital single, Eastern Standard Sounds, 2020)--a lush mix of funk, modern jazz, and reggae supporting Yul-hee's recounting of a swallow's adventures (translated from Korean: "When this swallow came to Boeun-pyo Park/I'm just looking for a nice view/I have to get to the end of my eaves/How swallows cry honey"). I don't pretend to grasp the meaning and significance of everything that's going on here, but it's beautiful and it works.
Isaac Green and The Skalars:Skoolin' with The Skalars (Clear vinyl LP/cassette, Jump Up Records, 2019; first issued on CD by Moon Ska Records in 1996): Back in the early '90s--when I was running the Moon promotions office from a desk in my kitchen at night/on weekends and the seeds of the mid-'90s ska boom were just taking root--I used to field these phone calls from this kid in St. Louis, who would chat me up about all things ska. But more importantly, he'd pump me for info about the working mechanics of the underground music scene--like how doing you go about booking a show, promoting a band, releasing a record, etc. A few years later, a single shows up, I'm hearing about Isaac Green and The Skalars from other Moon acts on tour playing St. Louis (including, of course, Moon head honcho Bucket of The Toasters)--and maybe half a year later, I'm hiring a graphic designer to come up with the cover for their debut album on Moon and sending their master tape to our pressing plant. It's not every day that someone actually uses the (limited) knowledge you share with them, but Isaac Green took it ran with it, practically willing this band into existence (note that his role in the band onstage was MC/moves and as band manager offstage)! Isaac Green and The Skalars' best known track is "High School," thanks to their excellent music video (directed by Drew Sentivan of The Fiascos in collaboration with Crazy Duck Productions for Moon) that was shown nationally on MTV's alternative music video channel M2. I was a bit shocked when I listened to the album recently and realized that it wasn't Jessica Butler's voice I was hearing (I had forgotten that it was sung by Amy Scherer, but she left the band after the album was released, so Jessica recorded a new vocal track for the music video). There are a host of other really great songs on The Skalars' debut, including another fantastic moody reggay-ish cut, "Don't Count" ("...on getting what you want/But appreciate it, when it comes"), which is almost a companion piece to the unsettling uncertainty conveyed in "High School"; the rhythm-and-blues goes ska versions of the Marvelettes' "Beechwood 4-5789" and Wynonie Harris' "Bloodshot Eyes," as well asa gorgeous cover of The Heptones' "I Love You" (there were three female vocalists/brass players in the band!); and some more really fine originals, particularly The Skatalites'-like "Special K," and the swinging "Phat Steaks." This first-time-on-vinyl edition of Skoolin' with The Skalars was released to coincide with a rarely offered reunion show The Skalars played in Chicago in November that didn't disappoint (they were terrific live in the 1990s, too!). Depending on your age, this LP is a great excuse to be introduced to the band or reminded why you loved them so much way back then (it's hard to believe that 23 years have passed since Skoolin' was released and it's now a Third Wave classic!). If you can find it, The Skalars' sophomore album for Moon Change Up is pretty killer, but came out in '99 when the bottom fell out of the ska scene in the U.S. and few bought/heard it...
Top Shotta Band featuring Screechy Dan "Share My Love" b/w "Cool and Deadly" (7" vinyl single, Liquidator Music, 2019): Brooklyn's Top Shotta Band--helmed by trumpeter/producer djMush1, who was previously in The Slackers and Murphy's Law, and fronted by dancehall veteran Screechy Dan, known for his work with Vital Crew/Big Yard/Shaggy Posse, under his alias Leon Dinero, and with Megative on their amazing debut album--have a terrific new single out in advance of their forthcoming Spread Love LP, to be released in 2020. Both cuts have a tremendously good vintage Skatalites/Don Drummond ska vibe and sound to them, with Screechy Dan making his pitch for why he should be her man in "Share My Love" and boasting of his prowess and resilience in "Cool and Deadly" ("I'm a champion/I'm nobody you can stomp on/But you can keep your eyes on/A conqueror, that's what I am!"). Keep and eye out for their album and go their shows if you have a chance, as they're stellar live.
The Void UnionReturn of the Super Vape (CD/digital/Red vinyl LP, Jump Up Records, 2019): The last time we heard from the Boston-area super-group/musical collective that is The Void Union was back in 2011, with their superb, second album Higher Guns (read our review of it here). While they may not be the most prolific act out there, The Void Union make up for it with consistently top notch music, through and through, as heard on their new (and the Lee Perry punning) Return of the Super Vape. As always, The Void Union plays a mix of vintage jazzy/big band JA ska, rocksteady, and modern ska--and there's a wonderful variety of sounds, since just about everyone in the band is a gifted songwriter and contributes at least one track to the recording (just another reminder of how there is strength in diversity). Many of the cuts here are concerned with women--setting up a rendezvous with one (the sing-along "Kassablanca" with Mr. T-Bone on guest vocals), loving them ("Mi Corazon" and "Mine"), being confounded by their ways ("Allora"), and being so head over heels that you can't imagine life without her (the ethereal "Build a World" with Jr. Thomas on lead vocals, Dave Hillyard on sax, and backing vocals with Hepcat's Alex Desert, Western Standard Time's Chiquis Lozoya, and The Expanders' John Butcher). As well, there are some amazing instrumentals, including the sprightly, keyboard-focused (of course) tribute to The Upsetter "Dread Perry" and the really lovely "Wash Yo' Hands," which gives the chance for the horn players to show off their chops. But, perhaps the best track is the razor-sharp commentary on our post-truth America (thanks to the willful ignorance, gaslighting, and propagandizing of the MAGA hatters, the entire GOP, and the nation's "president"--the long-term consequences to our democracy be damned), the "Shame and Scandal"-like "The News Cycle" (with The Pietasters' Steve Jackson at the mic): "I posted on my page today/I knew it wasn't true, but I like it anyway/I argue with another, about a baby didn't know I had/He said, you made a mockery of mom and dad/We won the news cycle/We won the news/Fuck everybody else/Fuck everybody else...I didn't verify your Lincoln quote/I didn't exercise my right to vote/I can't acknowledge my most fancy fears/Because I'm drowning in them Liberal tears..." (though one doubts that there will be the change of heart that takes place just before the end of the song: "I smacked my television set last night/Strapped my life up to some dynamite/Now that I've got clarity, I don't consent/No need to make America great again").
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! The amazing Dr. Ring Ding (AKA Richie Jung) has graciously participated in this episode of our year end survey of all things ska. For those of you who don't know him (and you know you should!), Dr. Ring Ding was first in Germany's excellent post-2 Tone ska act El Bosso und die Ping Pongs in the late 80s and early 90s. After that band dissolved, the good Doctor formed Dr. Ring Ding and the Senior Allstars, which was one of the very finest modern traditional bands in the 90s and early 2000s. Now solo (but working with the Freedom Street band and other guest musicians as the Dr. Ring Ding Ska-Vaganza), Dr. Ring Ding has a brand new album out--"Piping Hot" (which you can read about in our recent interview with him here), as well as two new vinyl singles on Jump Up Records (reviewed by The Duff Guide to Ska here). 2012: The Year in Ska - Dr. Ring Ding
Top 5 Favorite Ska Releases
1) Dr. Ring Ding Ska-Vaganza – Piping Hot
2) Mr. T-Bone and The Young Lions – Nothing To Lose
5) El Bosso and die Ping Pongs, The Butlers etc. (in Berlin, Germany) Top 5 Favorite Ska Merch
The two most recent albums of the Pannonia Allstars Ska Orchestra and their t-shirt. Other than that, I am not much of a merchandise-buying person.
Top 5 Ska Regrets
I wish I would have been around at and had more time to check out more shows of the touring bands--The Slackers, Hepcat, etc. Other than that, too few regrets to mention. Overall, it was a good year for ska!
Top 5 Ska Wishes for 2013
1) That the fans keep the fire burning.
2) Seeing more good bands emerge.
3) Seeing my favorite bands going strong (long live The Skatalites!).
4) Success for the Dr. Ring Ding Ska-Vaganza tour(s).
Editor's note: I had originally planned to include this review in a huge "Best Ska and Reggae LPs of 2011" wrap-up, but never got around to finishing it, as I started a new job at the beginning of 2012. So instead of letting it languish in my to-be-published someday folder, I've decided to overcome my embarrassment about posting this so late and to share it with the world...
Hands down, The Void Union'sHigher Guns is one of the best traditional ska albums of 2011. Side A is all ace Skatalites-inspired original jazz-Jamaica instrumentals (see "In Like Flynn," "Song for Lester" or the spaghetti Western-ish "Higher Guns"). The flip side features "Aiming," a song about trying to drink your troubles away, but only creating more (with King Django and Obi Fernandez); "Tea Party Girl," which is probably the first ska song about the ridiculous Tea Party ("Angry girl having the time of her life/Tea Party Girl hold the knife/Angry man hold the sign/Tea Party Man hold the line"); the sweet, bubbling toaster "Rock the Junction" (with Craig Akira Fujita of Pressure Cooker); the angry and defiant "Garden of Eden," which features the amazing lyrics, "tie my hair up in barbwire and bows/top it off with a red, red rose/doesn't matter where I'm going/I'll be there by tomorrow/entertaining faces, that's where my place is/I've been here to find what's left of humankind" (guest vocalist Haley Jane is spectacular on this cut); and "Fear of Flying," a hilarious monologue (with music) about that condition by Fishbone's Angelo "Dr. Madd Vibe" Moore, that will do nothing to alleviate your pteromerhanophobia (can't you fix it, Doc?!).
Editor's note: With the third annual Montreal Ska Festival coming up this weekend (October 14-16, 2011), we thought it was a good time to catch up with one of the festival's co-founders, Valerie Desnoyers (the other co-founder is Catherine Marchand), as well as festival volunteer/performer/booster, Lorraine Muller (of The Fabulous Lolo, Lo and the Magnetics, and The Kingpins)...
The Duff Guide to Ska:How did the Montreal Ska Festival first come into existence--and why was it established as a non-profit, all-volunteer organization? (I know the Canadian government is very good about supporting the arts; does the festival receive any government grants?) Have you been involved with it from the beginning, and what's your current role in the organization?
Valerie Desnoyers: The Montreal Ska Festival started from a few fans who wanted to bring back the excitement and popularity that ska music once knew in Montreal. In the late 90s, Montreal was known as the ska capital of at least Canada, if not North America, and thanks to The Kingpins' and Planet Smashers' creation Stomp Records, we were world-reknown in terms of ska. That reputation and popularity soon waned, but the the talent remained. We thought it was a shame that Victoria, BC was able to have its own ska festival while Montreal did nothing. The Victoria Ska Festival is a well-known event that has now been running for 12 years! We were inspired by what they were doing and decided to stop waiting for it to happen and just make it happen ourselves.
We sat down with Lorraine to run the idea by her and ask her for her input, and to learn from her experience and she pushed us into making it happen. She believed in us and supported us every step of the way, being our spokesperson, media coordinator, advisor--AND generously offering her musical support on every edition by playing with her fabulous band of all-stars ska musicians, The Fabulous Lolo. Therefore the project started in August 2008 and it was really important to us to make it non-profit so we could use all the money directly towards the festival and bands, without having everyone taking a cut before the artists get theirs. We feel the musicians are undervalued and that they deserve way more recognition (and money) for their hard work.
People don't realize how hard it is to write, rehearse, book yourself, promote yourself, and deal with the paperwork on top of focusing on your music. We wanted to be a means of support and a offer a platform for the local bands so they could concentrate more on making music and developing contacts by playing with international acts.
We are not receiving any grants, it is really hard for us because we insist on keeping the ticket prices as low as possible (less than $20 with taxes and service charges) to democratize the music and have people come and check it out even if they don't know the bands playing, but just because it's affordable. We have tried to apply for a bunch of grants, it's quite complicated and very time-consuming since you also need to produce a pile of paperwork for every application. We are DIY and have tried to get help with this but it continues to be a huge challenge. I was part of the originators of the Montreal Ska Society, I'm president and my role includes a broad variety of tasks, from artistic director to ordering the merch, dealing with the taxes and driving the backline.
I have great volunteers helping me out, I could certainly not do it by myself. This year, more musicians have become volunteers and it's nice to see the scene being supported and taken over by the actual people that are on stage. Having them help out behind the scenes is refreshing and motivating for me.
DGTS:For this year's festival, how were the bands selected?
VD: We almost made it happen with The Skatalites for the 2010 edition, but they extended their stay in a South American festival, so the dates didn't coincide. Since they were interested and they are really a jewel for our crowd, we treated ourselves by making it happen this year!
Lorraine Muller: I am not at all involved in programming, but what I'd like to add is that the true goal of the festival is to support and maintain a healthy ska scene in the city, so we/they really emphasize the local talent by selecting the cream of the crop for the festival. We avoid repeats from one year to the next, so this keeps the door open for new artists and provides them a concrete goal towards which they can work. After that, the headlining acts are picked based on Val and Cath's desire to share their discoveries with the city, as well as give people access to legendary bands that don't get to perform here very often.
DGTS:Based your experience with previous Montreal Ska Festivals, how many fans are you expecting in total this year?
VD: We are expecting about 2,000 guests altogether spread over all our events in the 2011 edition. We think The Skatalites are truly something special for the Montreal fans and we expect a lot of people to come this year that might not have been to the previous years.
DGTS:As ska fans, which bands are you looking forward to seeing the most at the fest? (And what are some of your favorite memories from the previous two festivals?)
VD: Of course, The Skatalites are something really special and rare, but personally I'm really looking forward to see Mr. T-Bone (Italy) and Eastern Standard Time (Washington, DC). Mr. T-Bone will be playing on Canadian soil for the first time ever and EST, who haven't played here in over a decade, will not only be performing a set of their own but also serve as Mr. T-Bone's backing band. Void Union are a collective from Boston that we went to see last January to decide if they were MSF material and we were blown away! They are definitely a must-see in the 2011 edition. They are a 'coup-de-coeur' for me because a few members from Westbound Train are part of the project. WBT were one of the highlights of the 2009 edition of the MSF.
Of course we are also psyched to see our local bands make their way in the line-up and play the big stage that is Club Soda.
LM: The thing that excites me most about the festival is less the individual bands, and more the community that gravitates towards it. While I enjoy the performance of most of the bands, I really get my kicks out of seeing others enjoy the bands and discover something new! I've always said that to ME, and this is a very personal feeling, ska can be like a big hug. It reminds me of how I felt when i first discovered it, like someone was giving me a big hug and saying "welcome!"
I'm very excited about The Skatalites coming to the festival, it makes me realize how far it has come in such a short time! And the fact that The Toasters routed their tour around our festival goes to show that it is truly becoming a world-class international event! My favourite memories almost always involve me performing, or talking to people after they've seen me perform. Each year, the festival continues to provide more memorable moments for each of us who attend. It's always fun to catch up with bands I haven't seen for a long time (like Mustard Plug, who I hadn't seen in several years), to discover new bands I'd never seen nor heard (Westbound Train comes to mind), or to watch our local bands thrive (in the way I've enjoyed watching Danny Rebel & the KGB grow since the first edition). This year, I will be catching up with The Skatalites, with whom I've played several times in Europe, and EST who I was very close with back in the day.
DGTS:What is the Montreal ska scene like? Ska is pretty much relegated to the underground in the US--is it fairly popular in Canada right now and does it tend to attract people from other music scenes?
LM: Ska as a genre does not have a very "popular" standing at the moment. We've also slipped back into the underground, but that's a great occasion to refresh and regroup and continue to inspire each other. I don't know if ska will ever really explode into popularity and become its own entity the way hip-hop has, or metal. I think people don't really know what it is, and that it has SUCH a varied offering that it doesn't actually fit into one category anyway. Ska-punk fits into the category of punk, ska-pop fits into pop, and so on. There are a few bands that can play major festivals and make a living at the music, but to say "few" is even being generous. We're lucky enough to have a healthy underground, and a steady stream of newcomers to the music, and to have a good pool of talent and fans that can allow this music to thrive in our community.
DGTS: Which ska bands in Montreal should we make sure to check out?
VD: Definitely Danny Rebel & the KGB who were part of the MSF in 2009 and are playing again this year. They are just about to record their second album and this time, they are working with the legendary producer Victor Rice! They are unbelievable performers and write the catchiest songs ever. Make sure you check them out, they will be coming to the US soon! The Fundamentals, The Hangers, The Beatdown, and R.D.C. are all great talented bands from Montreal.
LM: I agree that DRKGB are a must-see and the ones to watch. The Fundamentals have also raised the bar on every level, whether it's songwriting or performing. We're very fortunate to have a good variety of ska in the city--something for everyone!
DGTS:Can you share with us the origins of your own band, The Fabulous Lolo? Its traditional ska/rocksteady sound is a big shift in direction from the post-2 Tone ska of The Kingpins and Lo and the Magnetics--why did you want to explore this aspect of the genre?
LM: If you listen to the evolution of The Kingpins, you will see that what we did was explore a different facet of ska on each album. Each project was approached in a completely different way. We started off very 2 Tone like, then took a step back in time to explore our love of the 60s garage-twist-movie soundtrack sound, and followed that up with a wonderful testament to our take on traditional "old-school" Jamaican ska and rocksteady. The last Kingpins album, and the Magnetics album were both a study of more modern sounds, incorporating a lot more technology, so these were not influential in the birth of The Fabulous LoLo.
This exploration of different eras of ska (starting in 1996-1997) was spearheaded by our then keyboard player Ian "Hot Tub" Hodkinson, and when he left the band, Jesse Radz (trumpet) kept us on the path towards traditional sounds. We willingly and eagerly discovered so many wonderful songs and artists from that time and this gave rise to the Stomp All-Stars in 1997 or 1998 when, over a few beers, Bobby Beaton (Kingpins, guitar) proposed to Matt Collyer (Planet Smashers, guitar) that it would be a great idea to do some sort of all-star band and play some of those great old tunes together instead of always performing our own tunes as separate bands.
The pinnacle of that band came in 2000 when we played at the Montreal International Jazz Festival on one of the outdoor stages. We had programmed the entire ska series (led by John Jordan as our link between the festival organizers and our band suggestions, which were all selected). In late 2005, the Magnetics were not very busy (and in fact, were about to go on hiatus in May 2006). I had no other regular band to speak of and I really wanted to do something. I decided to contact the Jazz Festival organizers myself after having performed several times with The Kingpins and propose the idea of getting an all-star band together but concentrating on rocksteady music. They loved the idea and in Spring 2006 they confirmed they would love to invite us to participate at that summer's festival! (The name came from my long-time collaborator Mitch Gírio who said that would be a great stage name.) I was thrilled and immediately sought out the best musicians I could think of for this music! I really approached that first gig as a "meeting of worlds." The idea was to get people from different (in some cases allegedly "opposing") universes together, united in one common goal--black/white, younger/older, old-school/new-school.
I got a friend who had played at Studio One in the 60s (Errol Walters) and I got Lynn Taitt who was "the man" at Duke Reid's Treasure Isle, the other prominent studio in Jamaica at the time. I got a Planet Smasher alongside a Kingpin, and I used my very own wonderful musicians from The Kingpins/Magnetics as the core. The full name we gave that first concert was "The Fabulous LoLo sings Rocksteady".
DGTS:Before he passed, the band collaborated with the great rocksteady guitarist Lynn Taitt--what transpired and what was it like to work with him?
LM: When The Kingpins were recording Let's Go To Work in 1997, we thought it would be wonderful to have one of the "old-timers" on the album to really bring home the trad flavour we were going for. We knew that many Jamaicans from that era had moved up to Canada, mostly Toronto. Our bassist Jordan Swift learned that guitarist Lynn Taitt was actually living not too far from Montreal and we called upon him. I knew nothing of him at the time. I'd never heard his name and didn't know who he was. I was just excited we were having someone who was "there" joining us on the album.
He showed up at the studio with his wife and listened to the tunes we wanted to do with him. He was shy and didn't say too much, but once he started opening up, he told us that in fact, he had produced and played on the very first recorded version of the song "Last Train to Expo '67" (which we were asking him to play on!!) Well, that blew our minds. He also played on our original tune "Johnny Rocksteady" by adding some of his signature bubbling guitar.
We kept in touch, as he seemed to genuinely get a kick out of playing with us, and it was like watching him rediscover an old love. He'd been doing arranging of different music until then and hadn't been playing much rocksteady, to be sure! He came out and played with the Stomp All Stars in early 1998, and he called me into his studio to do some back vocals and horn section parts on his projects. He had a clear picture of what he wanted and though communication was sometimes hard (expressions and terminologies not always the same), I really enjoyed my moments with him. It was such an honour to have him play with us in 2006. This was his last live performance before he passed away last year. I got to see him a few times in the last year and was very proud for him when he was honoured at the "Legends of Rocksteady" concert at the Jazz Festival in 2009.
DGTS:Do you have any plans to bring The Fabulous Lolo down to the US (NYC perhaps?) this year to promote your new album?
LM: I would absolutely LOVE to get the band on the road, but you must be painfully aware of how difficult it is to break even with such an expensive undertaking (getting a 10-piece band into a large enough vehicle, feeding them and compensating them). If anyone has any ideas of a mini-tour that is feasible, I am more than open to the idea.
DGTS:If you could only save five of your ska/reggae records or CDs from a fire in your home, which ones would they be?
LM: I'm glad I live in the age of portable music and this isn't really a question I need worry about! But if it were a consideration, for NOSTALGIC reasons (not because I listen to them regularly), I would save my vinyl editions of This Are 2 Tone and Dance Craze. These albums were the first ska albums I bought! I would then make sure I had my Fabulous LoLo CD because it was a very proud moment to finally get this 10-piece band down on a proper recording! And I would be crazy to leave behind an absolute collector's item, The Kingpins' On the Run EP from 1995. That is irreplaceable. Last but not least, an album I actually do listen to on occasion Danny Rebel & the KGB's Soul Shaker. I wouldn't feel bad about the rest of my collection, but these ones I would miss! Actually, now you have me thinking about other items that are precious and irreplaceable!
The Stress are an extraordinary rocksteady crew out of Providence, RI that now counts The Duff Guide to Ska among their biggest fans. The band is comprised of Mike Mowry on vocals and organ; Dave Deprest on guitar and vocals; Johnny McMahon on bass; and a round robin of drummers: Ian McMillan, Jesse Hayes (of Void Union and The Toasters), and Brenden Deprest. The Stress' first EP, "Muk! Muk!" (read The Duff Guide to Ska review here) is available as a free download--details are listed below--and all of the EP tracks, plus a new tune, can be streamed on The Stress' MySpace page.
We really appreciate that Mike Mowry took the time to put his fingers to the (QWERTY) keyboard and provide us with some thoughtful and provocative answers to our questions. Like we wrote in our review of "Muk! Muk!," The Stress are rocksteady with an edge. And we love it like that!
The Duff Guide to Ska:Apart from the band's name, what is "the stress" and how can we relieve it?
Mike Mowry: It's the struggle: the existence and support of systems that disadvantage one to the benefit of another; for instance, trade disparities between the world's most wealthy nations and the world's developing countries; government-backed wars and military incursions about which citizens are voiceless; the death of American manufacturing and the rise of outsourcing and "free" trade; the shit-end of the stick for American labor; the harsh realities for small farmers (worldwide) competing against agribusiness; the consolidation of our food systems; the death of regionalism and the rise of corporate feeding troughs and outlet malls. It's vast and daunting...the relief is somewhere close to where awareness and outrage meet action and change.
That being said, we also have a few love songs.
DGTS: "1994" is about NAFTA's devastating impact on farmers in Central America; the singer/narrator in "What Cheer?" is homeless and struggling not to freeze to death around Christmas; and your MySpace page assures fans that your shirts are union made and alerts people to the fact that most chocolate products sold in the US involved child slave labor at some point in the harvesting of the cocao beans. Where does the band's focus on social/economic justice come from and what inspires you to fight the power(ful corporations, etc.)?
MM: Our focus comes from many different places, and I think each of us would give you a slightly different answer on that. I would say that we, The Stress, try our best in terms of being conscious of the things we do and who we are supporting by our actions, especially in terms of consumption. In any transaction, there's power in knowing where the money is being exchanged along the supply chain, and--as consumers--we are the end of the line; our power lies in the ability to refuse products which have gotten to us through unjust means. For me, this means that knowledge is the inspiration, and music is the means of channeling that inspiration.
DGTS:How did the band come to the decision to offer your "Muk! Muk!" EP for free downloading through Community Records and Witty Banter? (And what does "Muk! Muk!" mean, anyway?!?) Do you ever intend to release music in more tangible formats?
MM: We had finished recording Muk! Muk! and were planning on releasing it ourselves as a CD, when our friends Stuck Lucky (a well-travelled Nashville punk band who works with Community Records) came through Providence on tour. They had good things to say about Community. We were new at the time (unknown), and weren't really looking to make loads of cash from the CD, plus we had recorded it ourselves at Dave's studio (Sea Level Sounds), which saved us from paying for studio time. So in hearing that people could go to the Community Records website to download free albums, we decided to talk with them. Instead of scrounging around for money to press the album, we figured we might as well give it away and get our music to as many people as possible, and we are thankful to Community Records for putting the album up on their site. Shortly after that, Shaun from SBT (an RI punk band) started Witty Banter Records, which also has free downloads; for the same reasons, we jumped at that opportunity. We have been working a lot recently on writing and recording a full-length, and will be putting it out in CD and vinyl formats when the time comes.
As far as I know, "muk muk" means something like "short" in Tzotzil, which is one of several Mayan language spoken by many indigenous peoples in Chiapas, Mexico. I visited Chiapas a few years ago to learn about coffee farming and producer cooperatives. When there, the people in the village we were visiting, called Once de Febrero, kept calling my friend "muk muk". Every time we'd say it, everyone would start laughing, it was great. For us, and the families in Once de Febrero, Spanish is a second language, so sometimes the translations would get murky. We liked the way it sounds, and figured it ties back into "1994", so it seemed fitting to use for the EP name.
DGTS:What are your thoughts on music file sharing?
MM: I might not have a definitive answer on this. On the one hand blah, blah, blah... On the other hand musicians work very hard to write, record, release, and market their music, and that should be respected. For Muk! Muk!, we figured we were new, no one knew us, and so we might as well just give the thing away and get the word out. Which means please burn it for your friends.
DGTS:What is the Rhode Island ska scene like? Any bands that should be on our radar? Which is better to play, NYC or Boston?
MM: The RI ska scene is a little worse for wear. There are some good, long-running bands here that have been doing there thing for quite a while, and we respect that. Shows, however, have been hit or miss. As for Boston or NYC, that seems like the perfect question for someone in Rhode Island to avoid.
DGTS:How did you "discover" ska and rocksteady music--and what inspired you to form a band? Do any of you have formal music training?
MM: My first ska album was Hepcat'sScientific. Which led me to find out where ska came from, which led me to The Skatalites'Hog in a Cocoa. That sealed my passion for Jamaican music. Of course, as a musician, I just had to learn how to play and write within Jamaican rhythms. I had piano lessons for around 13 years as a kid, and Dave and Johnny also had formal lessons as well. On a sort of side note, writing is a real passion for us, and for the next album we are going to be looking in some new directions. We have various musical interests; a lot of old country music, garage rock from the 60's, old R&B, on and on. We intend on releasing more things in that vein alongside the reggae and ska songs on the next album.
DGTS:What bit of band trivia should every fan know about The Stress?
MM: We once rowed a 6-foot dingy, aptly named the Dude Cruiser, to an island bird sanctuary in the bay in front of Dave's house. The seas were high. Dave was rowing, Johnny was manning the bow, and I was bailing water from the bottom of the boat with my shoe. We had no idea that the winds were going to pick up; the waves too. It was all very dramatic, like George Washington crossing the Potomac.
DGTS:What plans do you have for The Stress in 2010 (tours, new releases, etc.)?
MM: 2010 is the year for a new Stress release. Writing and recording are the main focus right now, but we will be gigging as well. Right now we don't have any plans for touring, but they may very well change.
Despite my grousing about having to travel to Brooklyn to see this bill at the new Knitting Factory (I'm a spoiled Manhattanite), I found it, in all honesty, to be an easy trip: L train to the first stop in Brooklyn--Bedford Avenue--and then a two-minute walk to the club. The excellent new space is split between a large bar with plenty of booths and huge tilted windows that look out directly onto the dancefloor and stage (it resembles an oversized control booth in a recording studio--the bar is actually called The Kontrol Room--and when I ran into KF Vice Prez of East Coast Productions Shay Vishawadia, who was both The Skatalites' and Laurel Aitken's manager in a former life, he told me that the venue is purposefully set up in this manner, as The Knitting Factory operates several associated labels and they plan to offer the club as a place to cut albums) and a medium-sized performance space (through a good deal smaller than the first floor room of their old Manhattan joint). Also, the beer was reasonably priced for a club, which is always a welcome turn of events.
Just outside the club, a chalkboard sandwich sign listed the line-up for the night and times the bands were scheduled to play--and it was a nice surprise to find that The Stress had been added to the bill at the last minute, since I've been wanting to see them since I ran across their MySpace page a few weeks ago. (You can download their Muk! Muk! EP for free from Witty Banter Records--I tried to buy a hard copy of the EP, but the band forgot to bring them down from Rhode Island--d'oh!--so they gave me a free badge for my effort.) The Stress' sound is a cross between the soulful rocksteady stylings of The Bluebeats and the melodic, if quirky, ska of Easy Big Fella (both bands feature their keyboardist also as their singer). Wish I had videotaped a song or two of theirs to post here, like "What Cheer" or the tune that mentioned dropping bombs (any help here, Stress fans?) that's not on the EP. It was still pretty early when they hit the stage and since the room hadn't filled up yet, I felt a little self-conscious whipping out the Flip...next time I won't be so bashful. The superb Toasters/Void Union drummer Jesse Hayes played with the band, giving the rhythm section an extra shot of power and precision. Great songwriting and spot-on performances here--making The Stress a band to make sure to keep on your radar.
Hey Stranger, decked out in pirate gear, rocked out with their ska-pop-punk sound (think 1996 or '97, if you lived through it) and threw plastic gold coins into the audience now and then (hopefully missing the fan in the full-body penguin costume, who danced the entire night and probably lost 10 lbs sweating in that suit). I was a bit disappointed that no one in the band made themselves up like Johnny Depp in the second "Pirates of the Caribbean" flick with all of those extra painted-on eyes...
This was the first time I've seen The Forthrights, who performed a great set of rocksteady tracks (see their video at the bottom of this post). At the show, I picked up a copy of their debut vinyl single (pressed in Jamaica, natch) on Stubborn Records (preview the cuts on their MySpace page) and their sound is very much what you would expect to be associated with Django's label. Very good stuff.
I caught about 35 minutes of The Toasters' set, but had to leave a bit early, as the MTA was doing track work on the L line after midnight (which would've made traveling back to Manhattan a nightmare). As always, The Toasters delivered the goods--top notch performances from an extraordinary catalogue of songs (I shot video clips of four songs from this set--"Shocker," "I'm Running Right Through the World," "Pirate Radio," and "Sitting on Top of the World"--which are posted below). Since the lot of the constantly touring musician is a rough one, the Toasters core of Buck, Jesse Hayes, and Andy Pearson (on bass) is usually augmented by a rotating crew of sidemen (the time out, the horn section was comprised of Sander Loog from Mr. Review and formerly of The Beatbusters on sax, and Cooper Barton on trombone), which ends up giving the band a bit of a different feel each time you see them. The Toasters' ex-keyboardist Dave Barry also joined the band (though Buck told me earlier in the night that he was only sitting in for this gig, not the rest of their tour or the Ska is Dead IV extravaganza--which is a shame, as the keys are such an integral part of their sound, and Dave is so damn good). The Toasters are going to be all over the East Coast, South, and Southwest this November, so make sure to catch them!
None of my usual ska gig mates were in town/able to come out and play, so it was extra nice to run into some familiar faces in the crowd (in addition to Buck and Shay), including Coolie Ranx, singer Megg Howe of Across the Aisle, and Nicole Lapusan (AKA punk rock singer/guitarist Miss Pie, who also used to be a big ska promoter and DJ on the "Ska's the Limit" radio show on KDHX in St. Louis back in the mid-90s and would play the hell out of all the Moon promos I sent her). All in all a really good night for ska music and people at The Knitting Factory Brooklyn...
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.
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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!
