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In an effort to put actual substance to this otherwise worthless waste of bandwidth called a 'homepage,' I have begun to write reviews of ska albums. First, I'm reviewing mostly newer records, but I will eventually get around to reviewing some older stuff, too. And I will also add some reviews of non-ska stuff that I listen to, if anyone is interested.
Note: These reviews are quite obviously biased by my personal preferences, so take them for what they are (opinion). For what it's worth, I've been listening to ska for 5 years now, ever since I first heard a Bosstones song back in high school. I come from a blues/jazz background, so you'll notice trad ska albums typically receiving better grades than punkier stuff, but that is a trend, not a rule.
Grading Key
A: excellent album, buy it even if you can only find it at a hole-in-the-wall shop for $17
B: a wise purchase, it will spend time in your CD player
C: of some interest to some people
D: should be avoided
F: Spice Girls, look out
without anymore ado, some reviews...
“Back With a New Batch” (Triple Crown Records)
At first listen to the title track which starts off the album, I worried that the SAS had been
swallowed up by Skinnerbox, as the tune is a dub/reggae orgy. I had weighty expectations
of greatness for this second album, as their 1995 release “Open Season” was easily one of
the top two ska CD’s of the year. Moving past the dissappointment of the first song, I
have little to complain about for the next five songs. The beat is lively and dancable, the
sound is bright, and the riffs are catchy. The lowlight is track seven: “I Can’t Touch
You.” Django’s attempts to croon a love song are lame at best, and at worst allow a peak
into a demented mind with fear-inspiring lyrics. The highlight of the album is a steller
song penned by Vic entitled “Thankful,” which, not surprisingly, sounds like a Slackers
song.
A-
“Redlight” (Hellcat Records)
Every so often, I lose faith in ska. And then, an album like this comes out and reaffirms
everything which I value in music. In their much-anticipated second release, this time
around from the upstart Hellcat label (the Moon of the west?), The Slackers lay down
groovy ska and rocksteady beats while harnessing an emotional and soulful sound, and I
have a difficult time finding anything to criticize. Instead, I just enjoy. You should, too.
A
“Kids on the Street” (I don't remember offhand)
When they are moved to play swing, CPD impresses me as what I would bet would be an
incredible live act. A tight rhythm section, complex arrangements, and a lineup of horn
players that beats any other horn section in ska today. Period. However, they are not
moved to play swing often, and instead they waste their time trying to play punk. The
sound is extremely unnatural, and lacks whatever crucial element it is that makes punk
bands exciting. Unfortunately, “Kids on the Street” consists of mostly lame “punk”-ska
ditties, and should be avoided at all costs. There's good punk and bad punk, and then there's this.
D
“Zoot Suit Riot” (I don't remember this, either)
This is what I base my above comments on. This album, which is a greatest-hits of the
swing numbers from their first couple albums, provides great insight into the vast potential
of this talented band. Unlike “Kids on the Street,” this CD will make you dance, even if
you are a rhythm-deficient white boy like me.
A
“Willis” (Hellcat Records)
This band has won the hearts of many ska fans by carving out a niche in the soul-ska
genre, but this release marks a departure from their past work. It is difficult to speculate
on the reasons for this (perhaps the influence of Brett Gurewitz as producer, possibly the
move from Moon Records to Hellcat, or maybe the effects of the Pietasters touring for
almost a year with the Bosstones-- I don’t know), but I find it quite disappointing,
especially after the smooth track (“Gin & Tonic”) they recently featured on the Moon
Records compilation “Skankaholics Unanimous.” Specifically, the changes include much
rougher, Dicky Barrett-esque vocals from Steve Jackson, and more distortion power
guitar from Tom Goodin. If you are a ska purist who has enjoyed the more soulful
Pietasters of the past, then don’t bother getting this album for yourself, although you
should definately borrow it or buy it used to hear the new version of “Without You,” as
well as the quality song “Moment.” However, if you enjoy frat rock, then pick this album
up, and break out the kegs!
C
Up for review very soon:
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