2021 In Memorium - #2: Everett Morton (Born 1950)

RIP to Everett Morton, drummer for the classic '80s ska revival band The Beat (known more familiarly in the States as The English Beat), who died last October 8th at the age of 71.  His innovative, syncopated drumming anchored the band through three studio album releases (1980's Special Beat Service, 1981's Wha'ppen, and 1982's I Just Can't Stop It) and innumerable live appearances up to the group's breakup in 1983.  Afterwards, Morton teamed up with former group member Saxa (on saxophone, obviously) and new vocalist Tony Beet to form The International Beat, releasing a album, The Hitting Line, in 1991, followed by Dance Hall Rockers in 1996.  Even after the demise of his original band, Morton stayed friendly with former Beat frontman Ranking Roger (Roger produced and participated on The International Beat's first album), and in later years the two performed as a version of the original Beat all across the UK, up until Roger's death in 2019.

Back in the day, The English Beat was one of my mainstay ska revival bands (along with The Specials and Madness).  I aurally devoured any and everything they put out, and recall being bitterly disappointed when I heard of the group's demise... so much so that for years afterward, I avidly followed the former members of the old band in their new projects.  For a while in the mid-80s, I was a fan of Fine Young Cannibals (guitarist Andy Cox and bassist David Steele's pop/rock/jazz project with vocalist Roland Gift), whose music was a far cry from the Beat's ska beat.  In 1984, I bought All The Rage, the debut album of General Public, vocalists Ranking Roger and Dave Wakeling's post-breakup band (with Mick Jones from The Clash and Horace Panter from The Specials).  And in the early 90's, I never missed an opportunity to see Special Beat, an amalgamation of members of the two ska revival giants, whenever they played Washington, DC (as I've mentioned long ago...).

But somehow, I missed out on The International Beat's music until long after its release.  I must say I enjoy this album very much.  Its sound is closer to the softer, poppier Wha'ppen-era Beat music, rather than the harder, straight-ahead ska sound of the band's debut album.  But that is not to say that The Hitting Line is without merit.  In my opinion, of all the post-breakup releases, Morton and Saxa's album comes the closest to replicating the old English Beat vibe.

But here - judge for yourself.  In honor of the life and work of Mr. Everett Morton, I proudly offer you all The Hitting Line Crosses The Border, Dojo Records' 1992 rerelease (with bonus tracks) of The International Beat's original debut album, The Hitting Line, from the prior year on Triple X Records.  This will be a welcome addition to your ska revival collection!  

In any event, have a listen, and as always, let me know what you think.

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2020 In Memorium - #4: Millie Small (Born 1947)

Millie Small (1947 - 2020)

One of twelve children born to a sugar plantation overseer in Clarendon, Jamaica, Millicent Dolly May ("Millie") Small's rise to fame began in 1960 when she was twelve years old, with her participation and subsequent victory in the popular and influential Vere Johns Opportunity Knocks Hour talent contest on RJR radio, broadcast nationwide in Jamaica (a show that also launched the careers of Alton Ellis, Desmond Dekker, Laurel Aitken and The Wailers, among many, many other music giants). After her victory, she began working with acclaimed producer Coxsone Dodd, who paired her first with Owen Gray, then with Roy Panton, for a series of well-received Jamaican R&B/"bluebeat" singles. Producer Chris Blackwell, seeing her local success, began envisioning bringing Millie's music to a wider audience, and after stepping in to become her manager and legal guardian, brought her to London in late 1963 for further training in speech and dance in anticipation of an international launch.

Millie's initial recording for Blackwell in England, "Don't You Know", did nothing over there. Searching for a potential hit, Blackwell recalled a record he purchased in the States in 1959, a minor hit in 1956 for an obscure singer, Barbie Gaye, called "My Boy Lollypop".  He changed both the spelling (from "Lollypop" to "Lollipop") and arrangement (from an R&B "shuffle" style to a similar shuffling but modified bluebeat variation called "ska"), and had Millie's version  released in England by March 1964 (not on Island Records, but on Fontana, due to the strain the record would have put on the former record company's resources).  The song was a smash hit, reaching #2 in the UK, US, Canada, Australia and New Zealand, topping the charts in Ireland and selling over six million copies worldwide.  Cconsidered the first commercially successful international ska song, Small's version of "My Boy Lollipop" helped to launch Island Records into mainstream popular music. To this day, it remains one of the best-selling reggae/ska hits of all time.

For a brief moment in time, Millie was the toast of the music world. achieving international fame at the tender age of sixteen.  She appeared frequently on British television during that time, both in musical performances (she was a guest performer on the May 1964 TV special Around The Beatles, and had her own Ready! Steady! Go! special, "Millie In Jamaica" in early 1965) and dramatic performances (she was featured in ITV's Play Of The Week "The Rise and Fall of Nellie Brown", airing during the 1964 holiday season).

In the immediate wake of "My Boy Lollipop", Millie Small followed up with a couple of smaller hits (her next release, "Sweet William", made the UK Top 30 and US Top 40). But her chart presence and attendant fame dwindled very quickly, with her last appearance in the British Top 50 occurring in late 1965, when her song "Bloodshot Eyes" reached #48. Her recording contracts with Island and Fontana ended in 1968. After a brief surge in her exposure in the late Sixties, coinciding with the emergence of reggae music, Small ended her recording career in 1971 and moved to Singapore for a couple of years. She returned to England in 1973, the same time a major compilation of her work was released, then all but fell off the map for several years.

In 1987, a British news service searching for her whereabouts for the past fifteen years discovered that Millie Small was destitute, living in a filthy hostel in London with her toddler daughter. A fund was established for her livelihood, and in that same year came the first of several awards and special recognition to her from the Jamaican government for her pioneering and groundbreaking music career. Millie continued to live in London until this past year, when she died of a stroke there on May 5th at the age of seventy-two.

"My Boy Lollipop" is a great song, a true classic. But to be frank, I seriously doubt that she could have sustained a long-term career... probably because a little bit of Millie Small goes a long way; her high-pitched vocals - described as sounding like "a dentist's drill" or "a chipmunk on helium" - were acceptable enough in small doses, but wearing on listeners over a full album.

But I'll let you determine that for yourself. In commemoration of her life, here's a definitive compilation of all of Millie Small's solo hits, My Boy Lollipop Plus 31 Others, released by Comb A Rama on October 20th, 2011. Have a listen and let me know your thoughts.

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Various Artists - Club Ska '67

OK, OK . . . the people have spoken, and I have heard.

Along with the huge demand for my last post, More Intensified! Volume 2 - Original Ska 1963-67, for the past two days requesters have been clamoring for the other disc I mentioned in that writeup, Club Ska '67. This is one of the original ska compilations, and is even harder to find than More Intensified!; like its brother, it too has been out of print for eons. I recently noticed a CD copy of this one for sale on Amazon . . . for $150. Glad I bought mine when I did!

Club Ska '67 differs somewhat from my previous posting in that it mostly eschews rarities and instead focuses on the classic recordings from that period. And what classics they are - some of the all-time great Jamaican hits are here.  Here's the lineup:

1. Guns Of Navarone - The Skatalites
2. Phoenix City - Roland Al And The Soul Brothers
3. 007 (Shanty Town) - Desmond Dekker
4. Broadway Jungle - The Maytals as The Flames
5. Contact - Roy Richards With Baba Brooks
6. Guns Fever - Baba Brooks
7. Rub Up Push Up - Justin Hines & The Dominoes
8. Dancing Mood - Delroy Wilson
9. Stop Making Love - Gaylads
10. Pied Piper - Rita Marley
11. Lawless Street - The Soul Brothers
12. Skaing West - Sir Lord Comic & His Cowboys
13. Copasetic - The Rulers

It's hard to choose favorites off of this one - EVERY song is outstanding!

Enough of my yip-yap - I heed the call of the masses, and acquiesce. Here, for your listening pleasure, is Club Ska '67, originally released on vinyl in Jamaica by West Indies Records Ltd. in 1967, in Britain on Trojan Records in 1970, and finally re-released on Mango Records (a subsidiary of Island Records) in 1980. Skank on, my brothers, and as always, let me know what you think.

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Various Artists - More Intensified! Volume 2 - Original Ska 1963-1967

I think it was around 1985 when I first heard this album. Someone had given my brother a copy of both this album and Club Ska '67 (another equally outstanding compilation that I was seriously considering posting instead of this one - maybe I'll do that sometime soon (well, that was quick - see the next post)) dubbed onto a long-playing cassette, and he loaned it to me

one day. More Intensified! was the follow-up to Intensified! Original Ska 1962-1966, released in 1979, a year earlier. I had been fully into the whole British ska revival/2 Tone genre of the late '70s/early '80s, but I hadn't had much exposure to the original '60s songs and sources of that movement. To be frank, by the mid-'80s, with the demise of The Specials, The Selecter and The English Beat, and Madness's shift towards the pop mainstream, that initial ska explosion had all but petered out. The next wave of the ska revival, under development in Australia, Japan, several other European countries and in U.S. locations such as Orange County, California (Fishbone, The Untouchables) and New York (Operation Ivy), was still a couple of years away from completely breaking out. So in a way, I was looking for something to fill the ska void . . . and these taped albums worked out nicely.

From the first song on the tape, "Six and Seven Books of Moses", I was hooked. As the album's name implies, all of the songs on this compilation were recorded in Kingston, Jamaica between 1963 and 1967, the heyday of ska in that country. Here's the track listing:

1. Six and Seven Books of Moses - The Maytals as The Vikings
2. Dr. Kildare - The Skatalites
3. Congo War - Lord Brynner & The Sheiks
4. Woman Come - Marguerita
5. Man In The Street - Don Drummond
6. What A Man Doeth - Eric Morriss
7. Lucky Seven - The Skatalites
8. Miss Ska-Culation - Roland Al & The Soul Brothers
9. Dr. Ring-A-Ding - Roland Al & The Soul Brothers
10. Run Joe - Stranger Cole
11. Sucu-Sucu - The Skatelites
12. The Great Wuga Wuga - Sir Lord Comic
13. Dick Tracy - The Skatalites
14. Mount Zion - Desmond Dekker & The Four Aces
15. Marcus Junior - The Soul Brothers
16. Train To Skaville - Ethiopians

While ska was huge in Jamaica and much of the Caribbean, what's remarkable is that it went all but unheard and unnoticed by most of the rest of the world, which was immersed in Beatlemania during that period. Except for brief flashes of recognition (The Beatles included a brief ska bridge in their 1963 song "I Call Your Name"; ska bands played at the 1964 New York World's Fair), ska was for all intents and purposes an underground sound. By the late '60s, it had all but faded away, evolving into the slower, heavier rhythms of reggae. If it weren't for a couple of 1970s Coventry youngsters who grew up hearing this music and decided to try to emulate it - creating the influential 2 Tone sound - ska might have gone the way of calypso, another once-popular tropical genre now almost wholly forgotten.

In any event, I couldn't believe how great these songs were! This disc is full of rarities (like Marguerita's "Woman Come") and classics (such as Don Drummond's "Man In The Street"). Personal favorites include Lord Brynner's "Congo War", a summary of the mid-60s conflict (he even names most of the major players); Stranger Cole's "Run Joe"; and the odd and funny proto-rap of "The Great Wuga Wuga" by the great Sir Lord Comic.

In some cases, they had to dig deep to track down these prime cuts - many of the songs on this compilation were dubbed directly from the vinyl disc, due to the unavailability of the original master recordings.

I taped a copy of this cassette for my own use, and played it to death for years before finding and purchasing this album on CD. This has been out-of-print for decades, but here it is for you to enjoy: More Intensified! Volume 2 - Original Ska 1963-67, released in 1980 on Mango Records, a subsidiary of Island Records. Have a listen and let me know what you think.

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Various Artists - The Ska EPs

Last week, a long-held dream of mine come true: I finally saw The Specials live. They played in Boston at the House of Blues, directly across from Fenway Park (the place used to be called the Avalon Ballroom; I saw the Cocteau Twins there years ago on that band's final tour). I learned through the grapevine months ago that they were coming to town (ever since the demise of the local arts paper, the Boston Phoenix, earlier this year, it's been hard to get dependable news about gigs coming through this way), and I've had my tickets for weeks, I was so jazzed to know they were en route.

I will never forget the first time I became aware of The Specials - it was the April 19, 1980 episode of NBC's Saturday Night Live, hosted by Strother Martin; one of the very last episodes to feature the majority of the original SNL cast, in their fifth and final season. As I've mentioned in an earlier post, SNL's fifth season, in terms of comedy, was pretty uneven. But the show's saving grace at the time, and perhaps the best reason to continue watching it that year, was the breadth and quality of the musical guests. Blondie, Chicago, Bowie, J. Geils, Gary Numan, The B-52's - all of them made iconic TV appearances that season. The Specials' appearance was no exception, although I didn't know what to expect until the host introduced them, and the band kicked into a white-hot version of "Gangsters":

With the first note, I practically LEAPT out of my seat and rushed the television, all but pressing my face against the screen so I wouldn't miss a note or a moment. Holy arm-waving shit! The movement - the energy - the music - just jumped out of the set at me! By the end of that first number, I'd already added The Specials to my list of favorite bands.

At that point in time, I would have done anything to have seen them live, and looked forward to their next US visits. But regretfully, The Specials fell apart little more than a year later, soon after the release of their greatest triumph, the timely and prophetic "Ghost Town" single in the summer of 1981. They joined my 'dream list' of bands that I would have loved to have seen in their heyday (a roster than included The Sex Pistols, The Clash and The Police), ones whose time, I assumed, had passed for good, and would never again come to pass . . .

How wrong I was.

Since 1993, The Specials had a number of off-and-on half-assed reunions, groups billed as "The Specials" but including, at best, only a handful of original band members. But it wasn't until September 2008, at the Bestival on the Isle of Wight, that a majority of the original group played together again. Six of the founding seven members were present for that show, for legal reasons at the time billing themselves as "Terry Hall and Friends" (Jerry Dammers pointedly refused to be part of the reunion, claiming that he had been forced out of the band and calling the reformation a "takeover" of the group he was instrumental in forming - a stance and attitude he maintains to this day). The one-off gig was so well-received that by December 2008, the band announced a full-scale international "30th Anniversary" tour, which for the next two and a half years took them all over the globe, playing to wildly enthusiastic audiences. The Specials took a long break from their worldwide trek during 2011 and 2012 to play some gigs closer to home. But earlier this year they resumed their schedule with an extensive, full-fledged American tour.

Before the show, I was a little worried that my enthusiasm and anticipation for finally seeing my longtime musical heroes might be dampened during the actual show - after all, it HAD been thirty-plus years since the band's origins; they weren't spring chickens anymore. Also, I knew that Neville Staple, one of the lead vocalists and the driving force behind getting the group back together, had been forced to drop out of the group earlier this year due to illness.  So there was more than a little trepidation on my part regarding just how good The Specials were going to be that night . . .

My fears were completely unfounded - the band was absolutely fantastic that evening! Everything about that show was right - first of all, the place was packed to the rafters and to the back of the hall with rabid, long-time Specials fans like myself. While there were a goodly number of folks in their twenties and thirties there, the vast contingent of fans there were my age; like me, people who grew up with the band, and remember when their original songs and albums were released in real time.  But that didn't mean that us 'older folks' were just standing around during the show - people were hopping, jumping and skankin' to the beat of EVERY song, and I was skankin' along with them for the entire 90-minute-plus show. I fell in with a group of folks about my age, and together we all danced like fiends, and yelled like banshees, and sang along to the old favorites at the top of our lungs!

The Specials played absolutely EVERYTHING I hoped they would play - most of their hits, including pretty much everything off their debut album (including "Nite Klub", "Do The Dog", "Monkey Man", "(Dawning Of A) New Era", etc.) and the majority of the second album More Specials ("Rat Race", "Enjoy Yourself", "Do Nothing", etc.). There were a few surprises thrown in - including a great version of "Friday Night, Saturday Morning" and, to my utter joy, "Stereotypes" AND "Stereotypes Part 2". And the group was as tight musically as they always were, and as sprightly as if it was 1979 all over again - not an iota of rust on those boys! As they played their final encore tunes, "Ghost Town" and "You're Wondering Now" (which, I might add, I correctly predicted to my companions before the show even started that these would be, in order, the last two songs played . . .), I knew that I had been lucky enough to be part of an epic experience - a few years later than I would have preferred, but epic nonetheless.

In their late 70's/early '80s heyday, The Specials were far from being a household name in the U.S. And despite their massive mainstream U.K. success, the passing of time has caused their music and achievements to fade into the background and out of the overall popular frame of reference in their home country. But the band's influence and importance remains strong in certain circles, both here, there and beyond. It is hard to imagine the emergence and continuing endurance of the worldwide Third Wave and ska-punk movements occurring without The Specials stepping up and spearheading the English ska revival of the '70s. The look the band and its followers and contemporaries (Madness, The Selecter, The Beat) co-opted and championed - the rude boy fashions of porkpie hats, Dr. Martens' boots, Ben Sherman shirts, and black-and-white checks - remains the signature look of ska around the world. Many a modern-day group has attempted by various means to tap into The Specials' leftover legacy, and harness the group's energy (and loyal following) to their own ends.

Beginning in 2008, a few artists took a shot at doing just that; a series of limited-edition bootleg EPs were released, featuring popular mainstream musicians covering classic ska tunes. All were released under mock 2-Tone EP covers paying homage to The Specials' iconic singles packaging of the late 70s/early 80s (shown above) which featured label logo Walt Jabsco and the signature black-and-white checkerboard theme. When I first heard about these discs, I snapped them up just as fast as I could get my hands on them. My reactions to three of them are provided below:

1.  Amy Winehouse - The Ska EP (2008):

Although she was raised listening to classic jazz vocalists like Frank Sinatra (who her debut album was named for), and modeled her later look and sound partially on that of classic '60s girl groups like the Ronettes, the late Amy Winehouse always claimed to be a huge ska fanatic. After she shot to fame in 2006 with the release of her second album, the worldwide smash Back To Black, covers of songs by Toots & The Maytals and The Specials became integral parts of her concert set. As her star rose higher and higher, she began including more and more of these tunes in her gigs; in fact, in 2008, she told Rolling Stone magazine that her next album was going to be heavily ska-influenced.

On June 29th, 2008, audiences were given essentially a sneak preview as to what this future Amy Winehouse ska album would sound like, when she performed an extended set at the Glastonbury Festival.  At that gig, she sang a number of Specials hits, including "Monkey Man" and "You're Wondering Now" [ed. note: apparently, she did a couple of these songs at the previous year's Glastonbury as well]. Shortly after that concert, she slipped into a London studio to commit those tunes and two others (another Specials "Hey Little Rich Girl" and a cover of Sam Cooke's "Cupid") to wax, which was released on a limited-edition bootleg before the summer was out.

I know that it's not considered proper to speak ill of the dead . . . but I've got to call it as I see it - for me, this EP is damn-near unlistenable. Winehouse rambles and slurs her way through the songs; you can't even say that she's off-key, because she never remains on any single key long enough for you to make any comparison. Her version of "Hey Little Rich Girl" is especially cringe-inducing - "sounds like complete shit" is too kind or mild a description for this horror. It's hard to believe that these are professionally produced versions - they sound like Winehouse woke up after an all-night schnapps bender and stumbled into the studio, bringing in with her a couple of ragtag street musicians she met along the way and another street person to run the tape. It's THAT bad, and it makes you wonder what was in her head (or, more likely, not) when she decided to foist these songs onto the public. After listening to them, I didn't feel sorry or embarrassed for Winehouse - I HATED her for butchering these classics. No wonder this was released as a bootleg - no reputable label would have touched these monstrosities with a ten-foot pole.

With Amy's death in 2011, that purported third ska album of hers never came to pass - something that, after my decidedly negative reaction to her Ska EP, I was initially thankful for (the cancelled album, that is - not her death). However, I changed my opinion somewhat after hearing her reggae cover of Ruby & The Romantics' "Our Day Will Come" (released posthumously in November 2011 on Lioness: Hidden Treasures).

The song was actually pretty good, and to me showed how well Winehouse could interpret Jamaican music if she set her mind to it. Shoot - I would have paid good money to hear an album full of these types of songs from her (makes me wish I had back the money I paid for the EP . . .). Too bad she never had the full opportunity to prove just how adept she was with this genre.

2. Lily Allen - The Ska EP (2008):
 

Unlike Amy Winehouse, Lily Allen was into reggae/ska right out of the gate. She grew up with that music; The Clash's Joe Strummer was a close friend of her father and a frequent visitor to her home. During his visits, he brought along mixtapes of Jamaican and Brazilian music, which were played constantly from the time Lily was a toddler. And that early exposure apparently paid off; all of the songs on her international smash debut album Alright, Still show a heavy Jamaican influence.

Frankly, Allen's covers are the best of the three EPs featured in this post. The disc contains only two songs: a version of "Gangsters" recorded live with Specials Terry Hall and Lynval Golding at the 2007 Glastonbury Festival, and a studio version of "Blank Expression". Both songs are great; Allen obviously has a real love and feel for this music, and sings both with the regard and respect that they deserve, while still making the songs her own. I honestly can't say any more about this EP, other than, if you only pick one of these to download, THIS is the one you should choose.

3. No Doubt - The Ska EP (2010):
 

I've already said my piece here about how much I loathe this band. No Doubt had its origins in the California 'Third Wave' ska revival of the late 1980s. But in their quest for commercial success after signing with Interscope Records in 1990, they quickly cast aside any and all vestiges of that association, remaking themselves into an alt-rock radio-friendly band. After they became successful, No Doubt occasionally added ska covers to their live sets, as a "throwback" to "their roots". But to me, it always smacked of pandering, a calculated attempt to show their critics and fans how "cutting edge" and "indie" they really were. What utter rubbish.

No Doubt's versions of "Ghost Town" and "Racist Friend" (from The Special AKA's album In The Studio) were released as part of the bootleg series in 2009. They're serviceable enough, in that the band is playing mostly in time, and is hitting the proper notes and singing the words in the right order. But, similar to the way the band homogenized itself for commercial consumption, the songs here are similarly devoid of any character. Gwen Stefani & Co. just suck the life and feeling out of these hits, making them into something other than the cultural touchstones and trenchant social commentaries they were when The Specials first released them. I don't know what pisses me off more - Winehouse's under-the-influence Specials in-slurrrrr-pretations, or Stefani repeatedly exhorting the crowd to "Put your hands up in the air!" during their blaring arena-rock version of "Ghost Town". Either way, I can't recommend this disc either.

* * * * * * *

So, for better or for worse, that's my take on these three bootleg EPs. I know that a lot of my criticism may seem harsh. But I have long known and loved the original article, produced by The Specials, still one of my all-time favorite bands. So I think I have a right, and an expectation, to be a little critical. It is only by knowing the true meaning of quality - as in the quality music that The Specials released and continue to play - that you can honestly assess the nature of a similar product's worth.

 But I'll let you all hear and judge for yourself. For your listening pleasure, here are The Ska EPs, limited-edition bootlegs released by Lily Allen, No Doubt and the late Amy Winehouse in 2008 and 2009 (the Winehouse one is an extremely limited edition EP, including not only the original four bootleg songs, but their live Glastonbury versions as well, and a tribute cover of one of her songs by The Selecter, done in 2011 mere hours after the report of her death). Enjoy, and as always, let me know what you think.   

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Amy Winehouse - The Ska EP: Send Email    

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No Doubt - The Ska EP: Send Email

Boy O Boy - Shish-Ska-Bob

I was going through my CD stacks the other day, and came across this old disc, which has been in my possession for over twenty years. Ah, Boy O Boy . . . a fond memory from my days in Washington, DC many moons ago. This band was a case study in the old adage, "You've got to punch your weight."

Boy O Boy was formed in 1985 by a bunch of musically like-minded friends, all students at Virginia Tech University in Blacksburg, Virginia. They made their bones initially on the frat house circuit, playing campus parties and the like at VA Tech, before branching out further afield to other local schools as word-of-mouth began to spread. Boy O Boy started out playing mostly covers of ska and ska revival classics, but soon began penning and playing their own skank-infused originals. Their sound, a good-time, rollicking fusion of ska, rock and funk, with lyrics primarily focused on partying, girls and dancing, was perfectly suited for the college circuit, and the band became known for its high-energy shows. At that time, Boy O Boy wasn't anything of any substance; they were basically your typical frat-house-type band, a bunch of guys who liked playing music on the weekends and picking up a few bucks here and there while they did it.

After graduation, the band members (who at the time consisted of drummer Mike Boyd, keyboardist Eric Lawson, lead guitarist David Triano, Dave Peterson on bass, with a horn section consisting of Jim Pennington on trumpet and trombonist Chris Leitch and the recent addition of Virginia Commonwealth University music major Schiavone McGee as lead vocalist) decided to get serious and see if they could make a go of this music thing. In the late 80s, Boy O Boy relocated east to Richmond, Virginia, a more central, transportation-assessable location (don't know if you've ever been to Blacksburg, but it's in the middle of fucking nowhere), and began expanding their circuit, playing gigs up and down the East Coast. They also started self-producing discs on their own BOB (Boy O Boy) Records imprint and selling them at their shows - the first self-titled album was released in 1990.

I used to see these guys a lot in the DC area in the late 80s/early 90s - as I mentioned in an earlier post, Boy O Boy was a fixture on the mid-Atlantic club circuit. I was mad for ska back in the day (still a big fan today), and went running to see any act of that persuasion that passed through the Washington area (for example, Special Beat (the collective made up of former members of The English Beat and The Specials) played the 9:30 Club on F Street a number of times between 1990 to 1993. The last shows of theirs I went to before moving away in 1993 was a three-night stand at the club - I went to EVERY show, all three nights!). At the show Boy O Boy played at 9:30 sometime in 1992, I enjoyed it so much, I purchased the album they had on sale there, Shish-Ska-Bob (their second BOB Records release) which included just about every song they played that night. In addition to the original tunes on the album (written mainly by Triano and Leitch), the band added reworked ska versions of Rossini's "Barber of Seville" and Jimi Hendrix's "Purple Haze". But the best song on the album, in my opinion, is "All I Need Is A Holiday", a superb ska workout that reminded me a lot of Bad Manners.

Boy O Boy toured relentlessly throughout the early 1990s, eventually playing more than 150 shows per year at colleges, clubs, and other venues up and down the East Coast. In 1993 they released a Christmas EP, Bobsled, which was well received by their regional audience. Through hard work and nonstop gigging, the band reached the point where it was self-supporting, and while the band members weren't making huge money, they were making a living doing what they enjoyed.

Then Boy O Boy did a curious thing - in mid 1994, they changed their name, now referring to themselves by the new moniker "Fighting Gravity".

Why did the band decide to forgo nearly a decade of fan goodwill and name recognition by making such a move? Well, band members had long held aspirations beyond regional popularity; by the time they had completed recording of their third BOB Records disc, No Stopping, No Standing, they were openly angling for a major label record deal. As part of that process, they attempted to incorporate the "Boy O Boy" name . . . only to find that it had already been incorporated by someone else. Faced with either retaining their original name, which would pretty much seal their fate as a local act, or changing it and building the new name into a national "brand" while hopefully retaining their old fans, Boy O Boy opted for the latter.

No Stopping, No Standing was released at the end of 1994. While it was a stronger album than any of the band's earlier releases, it didn't sell as well as Shish-Ska-Bob or Bobsled. I think fans were confused, not only by the name change, but also by the subtle change in the band's sound. Ska, while prominent in songs like "Godzilla", "Deep Blue" and the title track, was no longer the overarchingly predominant sound of Fighting Gravity. The group's tone became more rock-oriented, and somewhat darker and less good-timey then their earlier work. It was a sign of things to come.

Fighting Gravity's first big taste of national exposure came in the fall of 1994, when they were invited to compete on TV's "Star Search", a talent competition. The band ended up winning the show, and began getting looks from big music labels. EMI offered them a shitty deal in 1995, which they wisely turned down. The band headed back to the Virginia area for more touring, all the while keeping an ear open for additional major label offers they assumed would come pouring in. When no new offers came through that year, Fighting Gravity recorded another BOB Records release, Forever = 1 Day, if for any other reason to keep their momentum and name recognition going. Forever = 1 Day was even more 'rockier' than their previous release, with many of the band's songs veering into the Dave Matthews Band vein of soft pop (no shock there, since former DMB producer John Alegia helmed this album) - the skankified horns were few and far between on this one.

At the end of 1995, Fighting Gravity caught another huge break in their quest for national exposure. That December, Rolling Stone magazine assigned a writer and photographer to accompany the band on one of its regional frat house tours, to document life on the road in a feature article as part of an upcoming issue focusing on college life and music. When the article appeared in the March 1996 issue, the floodgates opened; the band was suddenly inundated with major label offers. Later that year, Fighting Gravity signed with Mercury Records. It was a better deal than the one offered earlier by EMI, but not huge, so the band continued their frenetic touring schedule while preparing songs for their major label debut. Some of their older BOB Records albums were rereleased under their new name as a stopgap, utilizing Mercury's distribution network.

You and Everybody Else was released on Mercury in the late summer of 1998. On this record, the band almost completely dispensed with its signature ska sound, completing their transformation into "Dave Matthews Band-lite" that began on Forever = 1 Day. Most of the songs (such as "Turn To Me", "Waterfall" and "Wait For You") are bland rehashings of tunes done better by other bands. There is very little on this disc that showcases the versatility, excitement or personality that the band used to display in its live shows. Needless to say, the record was a huge flop - listening to it now, you can hear why. Mercury wasted no time in cutting its losses and dropping the band from the label. Fighting Gravity had their chance, and they blew it.

The band soldiered on for almost another decade, resuming its extensive touring and cranking out albums on their BOB Records imprint. Some original band members fell by the wayside, to be replaced by new members who also departed after a year or two. By the mid-2000s, McGee, Peterson and Boyd were the only remaining founding members. Earlier that decade, Fighting Gravity dispensed with their long-time horn section, becoming a straight-ahead rock combo. Needless to say, that did nothing to endear them to their fan base. Nevertheless, Fighting Gravity got one more shot at national exposure. They were signed by a subsidiary of Atlantic Records in late 2002 and prepped an album for release the following year. But unfortunately, the label they signed to went under. The album they produced, Blue Sky & Black, was eventually released on their own label in 2006. That was Fighting Gravity's final release before breaking up in 2007.

Boy O Boy/Fighting Gravity was a good regional band, but I honestly don't think they had the right sound to break out of their limited area and expand their fan base across the USA. I think the band themselves realized that their original sound was not the recipe for national success - ska is not a musical genre warmly accepted by a majority of the record-buying public. Many an American band that started off surfing the high crest of ska's Third Wave (Fishbone, No Doubt, and Reel Big Fish, for example) found more success and acceptance by coasting down into the more familiar, more tranquil, less turbulent waters of pop and funk. Shoot, even Third Wave giants the Mighty Mighty Bosstones didn't find widespread success until they released the considerably toned-down song "The Impression That I Get" in 1997, their only Top 40 hit. In my opinion, the only band in the past 20 years that found national commercial success with an uncompromised, out-front ska sound was Sublime . . . but the band ended right at its peak with the death of lead vocalist and main songwriter Bradley Nowell, so the question as to whether the band could have/would have sustained its sound and its popularity will never be answered.

So, like I said, Fighting Gravity knew that ska wasn't their golden ticket to the Top 40. But in their hunger to make it big, they completely abandoned the music that got them to where they were in the first place. By they time they disbanded, I don't think they really knew who they were anymore, musically.

I'm all for individuals and groups reaching for the stars, and doing what they can to achieve success. And I know that in that quest, sometimes compromises and changes have to be made. But when does it become too much? How much can you change and still be true to yourself? What's the final cost, and is it worth it?

Fighting Gravity/Boy O Boy found what the price of would-be glory would be, and in the end it proved to be too much for them. To paraphrase Mark 8:36 -

"For what shall it profit a band, if it shall gain the whole world, and lose its own soul?"

Here's the best representation of the original ska band in all its glory: Boy O Boy's Shish-Ska-Bob, released in the spring of 1992 on BOB Records. Enjoy . . . and as always, let me know what you think.

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Fishbone - Fishbone EP

I've been pissed off at the band Fishbone for almost 25 years now. Why? I feel like they lied to me. They told me one thing, and told it so convincingly that I believed them. Then suddenly, they changed on me, and turned into something I didn't recognize, the opposite of what they assured me they were. For me, that's unforgivable.

During my sophomore and junior years at the Naval Academy, I worked off and on in the Academy's low-powered student-run radio station, WRNV, as one of my extracurricular activities. The station offices were located in the basement of the Eighth Wing of Bancroft Hall, and consisted of a couple of cramped rooms filled with broadcast equipment, microphones, turntables and tape machines (this WAS the mid-80s, mind you - CDs were practically non-existent), and a larger room with shelves on the walls holding thousands of vinyl records and boxes of cassette and 8-track tapes (relics of the 60's and 70's WRNV, I assume).

The student DJs at WNRV presented basically two sorts of programs: either a straight-ahead presentation of music, with little or no chatter in between (other than record identification); and the "wild-'n'-crazy guy"-type shows, where guys would cut up on air and try to be funny in the long breaks between the tunes. All of these latter DJs wanted in some way to be the local "Grease" - Doug Tracht, a.k.a. The Greaseman, the host of the morning drive-time show on Washington's WWDC (DC-101).

[Side note: The Greaseman was the guy who took over Howard Stern's slot in 1982 when Stern bolted DC-101 for a better deal (and bigger audience) in New York City. Over the years, Stern has made a point of publicly flogging the Greaseman on several opportunities, verbally and in print, for his inane, talentless schtick - and for once, Stern's comments are spot-on. Compared to Tracht, Howard Stern is a combination of Johnny Carson, Ed Sullivan and Socrates. But that's neither here nor there in terms of this narrative. Besides, the Greaseman got what was coming to him later on - if you don't know what happened, look him up in Wikipedia for the details.]

Anyway, leave it be said that the Greaseman show, replete with tasteless, risqué humor, nasty sound effects, and coded catch phrases like "hobble-de-gee", was hugely popular with many midshipmen, and many wanted to emulate him. I too wanted to have a "funny" show, but with a style of humor somewhat different from that of the tiresome Greaseman or his ilk. I had big dreams of airing the coolest show possible, playing the most cutting edge music (which back then would have been stuff like Big Audio Dynamite and General Public) and having everyone love my program . . .

Unfortunately, I never really learned how to work the equipment properly. There wasn't a full-time radio engineer available at WRNV; you were sort of on your own to learn the ropes. And I never could get anyone to walk me through the whole process. My one attempt at airing a show was a disaster, resulting in almost ten minutes of dead air until another station member came down from his room to rescue me. From then on, I guested from time to time on other DJ's shows, as an Ed McMahon-type sidekick or as a remote microphone, doing brief but silly "man in the street" interviews. I still retained my station privileges, which included the combinations to the locked office doors, and use of all the tape/dubbing equipment, which I made frequent use of.

The best thing about being part of that station was the access to TONS of music. WRNV's signal was so weak that it was hard to hear it more than a mile or two outside of the Academy gates. But that didn't stop record distributors from treating WRNV like it was an influential station. The station received seemingly dozens of free records every month, most of which were just duly catalogued and stacked on the rickety shelves in the library. I used to pore through those new shipments every week, looking for the latest cool record to copy onto C-90 cassette tape and add to my personal collection.

I didn't find the first Fishbone release, the Fishbone EP, in those mailings; a friend of mine at the station did, and played a cut off of it, "Party At Ground Zero", on his show one night. I heard that song while studying with the radio on, and the moment it ended, I dropped what I was doing and ran like a bastard for the station. Wow!

 I believe I mentioned in an earlier posting what a big ska fan I was, but 1985 was a rather fallow period for the genre. Britain's 2-Tone had sputtered out the year before, The Special AKA's In The Studio album serving as the last gasp and coda for that movement. And the Third Wave, driven by American ska bands like the Toasters and the Mighty Mighty Bosstones, really hadn't gained any traction yet. It looked like ska was dead again.

So you can imagine how I felt when I heard that Fishbone song - ska was BACK! I got to WRNV in record time, burst through the doors, and practically snatched the record out of my friend's hands. I wasted no time in taping a copy, and found that the entire EP was full of classic ska bits - the aforementioned song, "Ugly", "Lyin' Ass Bitch" - mixed in with punky, off-the-wall experimental stuff like "? (Modern Industry)". I honestly thought Fishbone was the Second (well, at that point, the Third) Coming of Ska, and I set out to learn more about them.

Fishbone was formed in South Central Los Angeles in 1979 by six black junior high school students, including the brothers John and Philip "Fish" Fisher, Angelo Moore and Christopher Dowd. They got a lot of early attention for their shows in the L.A. area - yeah, black dudes playing scorching punk and ska sets are DEFINITELY going to get noticed in that town! With The Untouchables, who were also playing around L.A. at that time, Fishbone became one of the leaders of a slow-building but growing West Coast ska/punk movement. They signed with Columbia in the early 1980s, and the Fishbone EP was their first release with the label. Columbia marketed the band as a wild punk/ska fusion band - just look at their outfits on the cover of the EP: the porkpie hats, suspenders and pub creepers scream "SKA".

Like I said, I thought they were the real thing, and eagerly awaited their first full album release, which would no doubt have more of that wild ska sound. Months went by before that debut album, In Your Face, was released by Columbia in November 1986. I stood outside Oceans II Records in downtown Annapolis in the cold on the day that album came out; when they opened the doors, I ran inside, snatched up a cassette copy, practically threw my money at them and raced back to my room to hear it . . .

Oh my God, what a disappointment! In place of the great ska and punk workouts of their EP, on In Your Face Fishbone became a boring, run-of-the-mill funk band. The opening cut, "When Problems Arise", set the stage - a "message" song, very slickly produced, lacking in any sort of energy or verve. I kept hoping that the next song would be better, or have more energy, but no such luck - every song was overproduced to a bland, mushy pulp, with barely a lick of ska contained anywhere.

It was then and there that I completely wrote Fishbone off. I never paid attention to or purchased any of their subsequent releases. The few songs of theirs I heard on the radio in the following years, all funk and hard rock tunes, did nothing to salvage their reputation for me. Like I said, they lied to me - they swore up and down that they were a ska band, when they apparently weren't. Hell hath no fury like a music fan scorned.

And so much for that. Here's that first EP, and Fishbone in all their (fleeting) glory - enjoy:

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Various Artists - Ska Beats, Vol. 1

I became a big house music fan back in 1988, after spending six months that year in various places in Europe and witnessing the house explosion there first-hand. One of my most vivid memories from that time is sitting in a seemingly dead and half-empty disco in Dunfermline, Scotland one chilly October night, waiting for something to happen. The DJ there put on D-Mob's "We Call It Acieed", and it was like a bomb went off - people came from everywhere, and in an instant, the place was packed with wild, gyrating Scots shaking the dance floor with a frenetic, tribal stomp that left me sitting there with my mouth wide open . . .

And I was lucky enough to arrive in Antwerp at practically the very beginning of the Belgian acid house wave. I spent much time at those city clubs, dancing it up like a crazy man, stumbling out of there half-drunk, bruised and confused, squinting painfully into the morning sun after many an all-night session there.

The big house music capitals in the U.S. back then were Chicago and New York; Norfolk, Virginia, where I lived, wasn't exactly a hotbed of any type of with-it musical activity. So, to get my house fix on, I usually had to travel three hours up the road apiece, to Washington, DC. The club Empire, on F Street, was probably the center of DC's house scene back then. And as for records, the ONLY place to go in town for the latest house cuts was 12-Inch Dance Records just off of DuPont Circle.

It was at that record store that I first began hearing about a new subgenre of acid house called "skacid", a hybrid of house and ska music. Now, in addition to being a house fan, I was (and still am) a HUGE ska aficienado, both original (Prince Buster, Lee Perry, The Skatalites, etc.) and revival (The Specials, Madness, The Selecter, etc.). Needless to say, I was eager to have my ears sample this new blend. So, when Ska Beats, Vol. 1 came out, I snapped it up.

This album delivers on all levels, providing what at the time was an up-to-date overview of the state of the Skacid nation, with important and popular cuts by Longsy D (probably the name most associated with the genre) and Double Trouble.  I played this album to death, and rabidly looked forward to follow-ups to it ("Ska Beats, Vol. 2", "Vol. 3", etc.). Sadly, they were not to come.

Skacid petered out almost as fast as it appeared. By the end of 1989, the genre had run its course, making Ska Beats, Vol. 1 the sole, definitive document of the era. I hope you enjoy it as much as I have over the years (word of advice: play the first three songs ("Mental Ska", "Just Keep Rockin' (House Mix)" and "Force Ten From Navarone") in order, without stopping - there are few better compilation album openings!).

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