This section of my blog is done.

I’ll be writing on BLOGX aka the original Video Store Blues

I’ll continue my series of reviews, commentary, and much more there.

No one even cared about this section, or the 90 posts I started, so I’ll just keep this website here, for archival purposes.

Thank you and good day.

The first record from the Boston natives “Devil’s Night Out” was a sort of party album that melted ska and punk with a deeper vocal than most had heard at the time. This one had the most emphasis on the ska genre than their latter records, but they band shifted through many points on this record, so it’s hard to pigeon hole them into just one category.

Most notably, “Devil’s Night Out” would brand the term “ska-core” as a synonymous word with The Bosstones.

For the Japanese fans, they got two extra tracks that were previously released on the “Where’d You Go EP”. The tracks were “Enter Sandman” (Metallica cover) and “Ain’t Talkin’ Bout Love”.

The record was quite good, and had the original, full line up of players from the Boston ska band. The record came out on in 1990, at the tail end of the two-tone era of ska, and before the mid-late 90’s ska explosion on radio when grunge died. Originally released through TAANG! Records, this album didn’t really shake things up for the band, but it managed to introduce punk/ska underground to a new style of ska that wasn’t necessarily being pushed by other bands at the time.

On the eighth studio album from the Boston natives, the band didn’t really have the promotional juggernaut that “Let it Happen” had, and therefore very few people actually knew that the Bosstones put out a new record. However, being a long time fan, I was one of the few that searched out their new record. I live in a small town, and no one had it, so I ordered it from my usual source, amazon.com.

This album came 7 years after the release of their last record, and some thought the band were done. This time around the album was produced by Ted Hutt, the famed punk producer who worked on some of my favorite albums from The Bouncing Souls, Flogging Molly, and my favorite right now The Gaslight Anthem. The record was recorded in late 2008 through summer 2009 and was released late in 2009. I picked it up after hearing about it on the Jimmy Kimmel Live show, and boy was I surprised.

The whole record is fun, and semi-fast, with lots of catchy sections, horns and rhythm. Dicky Barrett said that the songs reflect a distorted view of the world, and are written with a “life in general” approach, and it shows. From the first track notes of “Graffiti Worth Reading” the record really does a great job to showcase the power of the Tones.

The Mighty Mighty Bosstones toured through the west coast, and did a few spot gigs, but overall, the band is more of a “dormant” type of band. They play some fests, but stay away from the hard rigors of the road, at least for now. Dicky is on the Kimmel show nightly, and his brother is in Reel Big Fish…go figure.

As for this record? I recommend it; it’s classic third wave punk-ska with lots of bass lines and horns to get you going. It’s not too “core” as their early work, and it’s not as radio friendly as their major breakthrough “Let It Happen” but it’s quite good, and deserves some attention.

Look out for the extra unreleased tracks, there apparently 8 tracks recording during the sessions but haven’t seen the light of day yet. Will they be on a 7” record or will they be on a single? I don’t know. Time will tell though.

One of the biggest names in ska music came from Jamaica. The Skatalites started playing in 1963 and played for a couple of years and recorded some classic material. They are one of the more prolific ska bands of the era. During their first years they recorded some great songs, and played on records by Jamaica’s biggest artists from the 60’s. The were quiet for quite some time, and then reformed in 1983 during the rise of second wave, two tone music, and have been performing together ever since.

Before The Skatalites Were Formed

The founders of this influential band were Trevor Simmons, Tommy McCook, Rolando Alphonso, Lloyd Brevett, Lloyd Knibb, Lester Sterling, Don Drummond, Jah Jerry Haynes, Jackie Mittoo, Johnny Moore, and Jackie Opel. Those ten key members started playing music together in 1955 and moved on to record on many records as hired studio men. The early history of these musicians involved a lot of studio recordings, in the developing Kingston, recording studios. Seven of the original ten members have passed away, but their musical legacy lives on forever.

The First Wave and Break Up of The Skatalites

The year was 1964 and The Skatalites finally sat down together and recorded their first LP, it as entitled “Ska Authentic” and it was recorded in the famed Studio One in Kingston, Jamaica. After the recording was released, the band toured all over Jamaica with the banner of being the creators of ska. Produced by some of the biggest names of the time, the band led sessions with some of the best young talents of the time including Desmond Dekker, The Wailers, Lee Perry and others.

It was in the fall of the same year that one of the founding members gained major notoriety as his composition, “Man In The Street” gained major attention in the UK. One year later he would have 200 some odd tunes to his name, but that same year he was convicted of the murder of his girlfriend, and was eventually placed in Bellevue Asylum. (not to be confused with Arkham Asylum) Drummond died on May 6, 1969 in the Asylum.

In the summer of 1965 The Skatalites ended their run as the makers of ska, broke up and splintered into two variants, each one playing similar styles but not under the same name.

The two groups formed with the break up of the first edition of The Skatalites were Rolando Alphonso and the Soul Vendors and Tommy McCook and the Supersonics. Despite Drummond’s exile, in 1967 his ska adaptation of the them for “The Guns of Navarone” hit the UK top 10, he would die incarcerated two years later.

The Comeback

In the summer of 1983 at the famed Reggae Sunsplash Festival in Montego Bay The Skatalites brought their creative ska form and played in front of a large and receptive crowd. During the rehearsal sessions of the band, the group wrote a slew of new songs, and were recorded in Music Mountain Studio. The recordings would not see the light of day until 2007. The record included a tribute to Don Drummond with Lord Tanamo on vocals entitled, “Big Trombone”.

1984 would usher in a new flock of ska fans around the world, as UK ska was getting really big, and the band would release their second comeback (reunion if you must) record entitled, “The Return of the Big Guns” on Mango Records. The band would continue to generate a great amount of buzz throughout the UK and even played to thousands at several festivals.

With a newfound success and enthusiasm, the members of the band moved their crew for around three years to the United States. They played throughout the Northeast United States and heralded a new batch of fans, all excited by the popularity of ska music that was hitting mainstream in around the world.

In 1989 the band supported Bunny Wailer’s Liberation Tour and continued to play music through the mid 90’s. The band toured extensively throughout the U.S for several years and took their brand of traditional Jamaican flavor to Europe in 1992.

In 1993 the band released “Skavoovee” and continued to generate a large buzz and following and that led to many opportunities to tour with bands like The Selecter, The Toasters, and get a Grammy Nomination for Best Reggae Album twice (1996, and 1997).

The late 90’s found the band releasing “Ball of Fire” on Island Records (a major record label) and many of the founding members began to fall ill, and pass away at various stages.

The Turn of the Millennium

The Skatalites recorded new music in March 1999, then more music was released in 2001, 2003, and released a live record that was performed live in Buenos Aires, Argentina.

With several line up changes, the band when through a flurry of tours throughout the world visiting the United States, Europe, Mexico, Venezuela, Puerto Rico, Russia, and Japan for 9 months straight. They would tour throughout the world many times, record, and continue to play traditional ska throughout the 2000’s.

Never resting, The Skatalites went back to the studio and recorded a new world release record entitled “On The Right Track” and were even featured on a Fats Domino tribute cd. The cd raised funds for musicians affected by Hurricane Katrina.

Still alive, and garnering a lot of attention from fans around the world, the band continues to record, tour, and treat ska music with a level of respect and professionalism that no other wave of ska music that has come in and out of fashion has been able to duplicate.

The current members of the band include, Lloyd Knibb, Doreen Shaffer, Lester Sterling, Rohan Gordon, Kevin Batchelor, Cedric “IM” Brooks, Val Douglas, Trevor Simmons aka Big Red aka The Scarlet Goblin, Andrae Murchison, and Cameron Greenlee.

Notable discs, recommendations, and random tomfoolery after the fact.

At this point, if you’re still reading my history lesson in ska music, it should be noted that there are a TON of records from The Skatalites. For new fans, old fans, and those looking to fill the void in their life with some quality music, consider these records:

Guns of Navarone: The Best of the Skatalites

Foundation Ska (2 Disc Set)

The Skatalites In Orbit Volume 1 (Japanese Import) Live

Obviously, there are a ton of other records to consider, but the preceding will hold you over for a long time.

The 1990’s brought out of the woodworks all sorts of ska bands. The third wave ska movement has since died off, with only the top bands still playing today. Most of them stopped playing traditional rock steady and ska, but still manage to have a following, including The Mighty Mighty Bosstones, Reel Big Fish, and No Doubt, just to name a few. However, for the purists of ska music from the Jamaican tradition, there wasn’t much to be had in the third wave, but out came Hepcat and their third record continued their traditional of replicating and enhancing traditional ska motif’s. The fourth album from Hepcat was called “Push ‘N Shove” and was recorded in their hometown of Los Angeles and was released in the summer of 2000.

The music on their fourth record was somewhat derivative and was more steady and reggae, which was not the norm at the time. In fact, few people even called the release ska, and by the end of 1999, no one was listening to ska, at least not in mainstream pop culture music circles. With ska going out of fashion, and only diehard fans still talking the rude boy swagger, Hepcat’s material wasn’t as well received as their third record was.

This record had a classic remake of a Brenton Wood classic “Gimme A Little Sign”, and many original songs that got two-tone fans tapping away, and new school punk fans ignoring the wager of the Los Angeles ska revivalists. Despite the innovation and rave reviews that ska enthusiasts poured on “Push ‘N Shove” the band lost it’s buzz and decided to pursue other things. The new millennium wasn’t too favorable to ska music in general, that’s for sure.

The third record from Hepcat titled “Right on Time” was released in 1998 by Epitaph records and offered an amazing piece to the third wave ska pie. It was released at the peak of ska’s popularity in the 90’s, and found a lot more appeal than their preview two records. Regardless of the timing, it would have garnered some major head turns, as it was in fact the best of Hepcat’s offerings up to that date.

Once again, Hepcat avoided being pigeon holed as another 90’s ska group by closely resembling early ska, opposed to screaming, yelling, and trying to follow up punk rocks most popular acts at the time. One must remember that the late 90’s brought forth Greenday, Rancid, Offspring, and many more pop-punk and pop-ska bands.

While Hepcat’s other records featured a mixture of sounds and styles, this record is consistent throughout, sprinkling in what made them famous on two other records, while maintaining a good sensibility and tones. It’s definitely well recorded, and quite charming through all 13 tracks.

After hitting the ground with “Out of Nowhere”, two years later, Hepcat released “Scientific” with BYO records and it became a psuedo-hit for the ska music revivalists. The band could’ve been huge with this record, since it was the sophomore record, and they were based in Los Angeles, not too far away from touring acts and a large southern California ska music scene, but instead this took the needle off of most dub records. They did something that most bands don’t do with their second record; they didn’t conform to the pattern that would’ve made them mega-stars for a moment in time. They instead turned around and bucked the trends, offering one of the best 60’s inspired ska-jazz records of the modern era of ska music. While they had an upbeat sound, this horn heavy disc was not at all like other bands at the time. While it still has that classic, southern California ska formula, it is nothing like the cookie cutter records that were getting played on rock radio alongside other modern rock bands of the mid 90’s, while people were searching for the next big thing.

Hepcat’s Scientific, features some great jazz bass lines, long horn solos, and vocals that were not running a mile a minute, but rather offering a soul searching passion and prowess. You’d swear that this was a Studio One record not a mid 90’s third wave ska offering. It’s not always ska, but it sure stays close by, and the band sprinkles in rocksteady, reggae, dub, and a slowed down swagger that is only found in Jamaican classic ska. The disc even offers one of the most intriguing instrumentals found on a ska record, and would fit comfortably with any Skatalites record of yesteryear.

So the saying says
An elephant never forgets
Standing in the concrete cave
Swaying side and sing
They walked over the ocean
And their dreams they dreamed awake
Until the lights grew dim
Until the cop cars came
Everybody tells me this is crazy, yes I know

But I’m a man man man man man man man eater
But still you’re surprised prised prised when I eat ya

You know they call them killer whales
But you seem surprised
When it pinned you down to the bottom of the tank
Where you can’t turn around
It took half your leg and both your lungs
And I craved I ate hearts of sharks, I know you know it

I’m a man man man man, man man man eater
But still you’re surprised prised prised when I eat ya X2

It will end again in bullets fired
It will end again in bullets fired

You can purchase Neko Case’s “Middel Cyclone” by clicking here.

I don’t know if this is a sign or not, but apparently Jereme Rogers is no longer just a rapper, he’s coming back to skateboarding, at least that’s the rumor that is being proliferated by this site and other sites, or just myself.

He doesn’t have a lot of skills in terms of the mic, but he can still rip on a skateboard, far better than me.