Not to toot my own horn, but what the hell! I'm very proud to report that due to interviews I conducted with members of The Beat Brigade earlier this year, the New York ska band decided to reunite and not only that they plan to play out regularly!
Along with The Toasters, Second Step, The Boilers and The A-Kings, The Beat Brigade were part of the remarkable 2-Tone influenced ska scene that exploded in New York City in the early and mid-80's. In many ways, the band, along with Second Step and The Boilers were directly responsible for influencing me and my original band mates to start Bigger Thomas. The energy and community that was created around all these bands, many of whom were barely out of high school, still lives on. Indeed, the Beat Brigade reunion brought out a lot of old ska heads from back in the day.
The reunited line-up includes the original members Carmelo DiBartolo and Jack Hoppenstand on vocals and guitar, Frank Usamanont on bass, Erick Storkman on trombone and Dave Barry on keyboards who later went on to play with The Toasters. The band performed with my band Bigger Thomas earlier this month at the Knitting Factory in Brooklyn and played their official reunion show at Kenny's Castaways in New York on November 14th.
It was very exciting for me to see the band play again after nearly 22 years and the fan in me kicked in. I brought my Flip Video camera along with me to the show and was able to record the band performing a number of their songs which are posted below including 'Armageddon Beat' which appeared on the N.Y. Beat: Hit & Run album in 1986. Enjoy!
Another Cause
All The Lights Have Gone Out
Armageddon Beat
The band's MySpace page has orginal recordings of the songs the band played live at the show as well as their updated gig calendar..
One of the most satisfying blog posts I've written to date has been a profile of The X-Streams, an Arizona-based ska band that played a part in the Los Angeles ska scene of the early 80's that flourished around the O.N. Klub. Their story is one that continues to draw me in. Perhaps because they came so close to success before self-destructing. Perhaps because they brought an energy and intensity that was both mesmerizing and a little bit frightening to those who saw and heard them. Perhaps because for one brief moment they may have been the best hope for what an American 2-Tone era ska band could have been.
The band coalesced around Bob Steinhilber (drums), Peter Tessensohn (bass), Steve Kriol (guitar) and Lorraine Springer, a young woman from Trinidad on lead vocals. Springer had met Kriol in California and travelled with him to Arizona to start the band. The addition of local guitarist Kurt Mayberry was the final ingredient that took them to the next level, but also complicated their future. Much like Pauline Black and Neol Davies in The Selecter, it was the vocal interplay and energy between Springer and Mayberry that set The X-Streams apart and captured the attention of LA-based producers and music industry veterans, who for a short time, were captivated by the band's live energy and their edginess.
Shortly after posting my original story about The X-Streams, I connected with Peter Tessensohn. We've stayed in touch since and Tessensohn has been very generous in sharing old pictures and unreleased music with me that the band recorded during the early days. As an original member of the band and the one who was closest to the late Kurt Mayberry, he has a unique perspective on the early days of the band as well as later versions of the band that played together into the early 90's. He recently took time to share his memories about the band and to tell me more about the band's memorable shows at the O.N. Klub in Los Angeles in 1980. He also shared a treasure trove of never before seen pictures of the band at that O.N. Klub show and a song from a Warner Brothers record demo and gave me permission to post them. The pictures alone are worth an exhibition about the O.N. Klub's history. Until that happens, they provide a glimpse into the band at its peak and capture their intensity.
Can you tell me about your introduction to music and ska music in particular? I started playing music in high school with my friend Kurt Mayberry in the front yard of my house with acoustic guitars in mid 1973-1974. My introduction to ska and reggae music came about by accident. Back in 1979, Mayberry told me he was playing in a band that was beyond Punk Rock but he could not describe it. He told me it was right up his alley and he enjoyed the offbeat rhythms which complimented his own unique style of guitar playing.
How did the X-Streams get started? Did you know the other members of the band beforehand? Why did you decide to call the band The X-Streams? As I remember, founding members:Loraine Springer –lead vocals & front person, Steve Kriol – rhythm guitar, Bob Steinhilber – drums, Kurt Mayberry initially played bass at the first gig and immediately thereafter on vocals, rhythm and lead guitar. Kurt invited me to come about and analyze this new unfamiliar music during a rehearsal session, located at a place known as “The Hate House”. Upon arriving, I noticed a bass guitar leaning against a fender bass amp with two fifteen inch speakers, but no bass player. It practically had my name written on it. “This is a set-up” I thought and reluctantly agreed to play for that practice session only, Kurt and members of the band were praising me “on very fine job I was doing” with Bob Steinhilber saying out loudly “You’re in the band”. Loraine creatively entitled us The X-Streams, specifying the “X” having five focal points with her in the “center”.
Where did the band fit into the Arizona music scene of the early 80's? We fit right up there with the New Wave, Reggae/Ska and Punk scene. The genre of music we performed in roster was versatile, not classified in just one.
Would you describe The X-Streams as a ska band, a reggae band, or a mix of both? Did any bands or musicians influence you? A mixture of both and embedded with our own unique style. We also covered different genres of music in our song writing as I do now to this day. Kurt Mayberry was a great influence on me due to his unique guitar playing in rhythmic articulation. Man do I miss him. He was a best friend forever, and he gave me the opportunity to indulge in music. Kurt had a natural talent for playing all musical instruments. We were influenced by bands like The Police, Bob Marley, UB40, Toots and the Maytals, The Beatles to name a few.
What was it like to be in a racially mixed band in Arizona in the early 80's? This is a state would not make Martin Luther King's birthday a state holiday for some time. Being in a racially mixed band had no consequence at all. Music breaks the prejudice of racial indifference from my experience. I only had good feed back here in Arizona and L.A.
What was your first show at the ON Klub in LA like? How important were your early shows at the ON Klub to the success of the band? The first show at the O.N Klub in the Silver Lake section of LA. was great and sold-out with SRO. We had a great booking agent/promoter named John Sutton-Smith get a picture of us in the LA Weekly (see picture above). Roger Steffens of radio station KCRW played our demo tape on the air and plugged the show. He even showed up for our show that night and introduced us on stage as he did for numerous shows. That very same night Paul Wexler (son of late Jerry Wexler) was there to catch both shows. Paul had recently produced The Go Go’s 'We Got the Beat' album and was considering us for a recording deal of some sort with Warner Brothers Records. Though we never signed, we did record a demo of 4-5 songs that Paul Wexler produced. One of those songs was our version of Sugar Minot’s “Hard Time Pressure” with Loraine on lead vocal. Years later, we re-recorded the song again with Kurt Mayberry on Vocals.
Tell me a bit about the early song writing process. Who wrote the songs on your first two singles? Rhythm of Life is a great song and the interplay between Lorraine and Kurt is fantastic. Though Kurt and I had a number of original compositions, Loraine liked the songs of reggae greats and we covered the song “Rhythm of Life”. Yes, the interplay was fantastic.
The band had a reputation for putting on a great live show. Do you any have memories of any shows is particular that stand out? The O.N. Klub shows were my favorite at time the original lineup of band members of The X-Streams. Kurt and I went on with the band after Loraine, Bob, and Steve moved on, with a new line up.
Why did Lorraine leave the band and how did that change the band dynamic? Lorraine left due to relationship matters within the band and business aspects. The dynamic’s of the band was that we no longer had a front person as impressionable as Lorraine. Yet, the composition of music we wrote and covered excelled over the years.
Despite the many trials and tribulations the band endured what do you think its legacy is? I never pondered on a legacy; we presented a performance on stage. Combing genres of music entwined with our groove and style made a unique sound of music.
Are you still involved with music these days? Yes, I hope to release a compilation of songs Kurt and I recorded over the years and that of my own in recent. That is still in form, style, and groove of my upbringing, originals, and covers.
Below is a link to download the song 'Hard Time Pressure' that was part of a demo recorded by the band with Paul Wexler that Tessonsohn shared with me. It features the unmistakable co-lead vocals of Mayberry and Springer and showcases the amazing musical promise the original line-up exhibited. The song itself is an autobiographical account of the band's experiences trying to make it in Los Angeles ('Say Hollywood put on the pressure/hard time pressure').
After the original version of the band fragmented, Mayberry and Tessensohn persevered and The X-Streams became mainstays of the Arizona music scene. Along with a rotating series of musicians they continued to record great ska and reggae-influenced songs. Below is a recording of 'Appeared To Be' featuring Kurt Mayberry on vocals and guitar,Peter Tessensohn on bass and Pat Sweeney on drums (who replaced Bob Steihilber on Drums in 1985) and 'Push & Shove' that was recorded with the horn section of The Untouchables. The songs shows the progression of the band from its origins but showcases Mayberry's voice and guitar playing (check out his solo on 'Appeared To Be') as well as the way he channeled his life experiences into his song writing.
One such instance with a 2-Tone flavor is the story of the Minardi brothers from suburban Orange County just outside Los Angeles. Mario and Gian Minardi who played in their own ska-rock band The Basics, were asked by Dave Wakeling and Ranking Roger to join a revamped version of General Public in late 1985 (the picture above is from The Basics one single). That invitation spirited them from their days as a support band in the sunny climes of Southern California to Birmingham in the UK where they joined the rest of General Public to re-record the band's second major label release 'Hand To Mouth'. The album was pegged as the follow-up to the chart topping 'All The Rage' which included the band's Top 40 U.S. hit 'Tenderness'.
But let's start at the beginning. The Beat had become popular in the U.S. near the end of their run as a band, but their popularity was strongest in California where performances at both US Festivals in 1982 and 1983 endeared them to music lovers there including the Minardi brothers who later opened shows for General Public. After dissolving The Beat in 1983, Wakeling and Ranking Roger emerged in late 1984 with the album 'All The Rage' and a stellar backing band that included keyboardist Mickey Billingham (ex-Dexys Midnight Runners), guitarist Mick Jones of The Clash (who only played on the album and was replaced by Kevin White), bassist Horace Panter (The Specials) and drummer Stoker (ex-Dexys Midnight Runners/The Bureau).
In the UK, General Public had a minor hit with the eponymous track 'General Public', which reached # 60 in the UK Singles Chart in 1984. The B-side "Dishwasher" became a surprise top 40 hit in the Netherlands, after its use as a theme tune to a popular pop radio show. Later in the year, the band fared even better in North America, where their second single 'Tenderness' was a Top 40 hit in Canada (#11), and the U.S. (#27). They capped off a busy year by appearing on the MTV 'Rockin Eve' on December 31, 1984 (see video below).
By mid-1985, General Public had reached a crossroads after the unexpected success of 'All The Rage' and IRS Records had big expectations for the follow-up. After spending a lot of time and money recording the follow-up 'Hand To Mouth' the band was beset with some delays and bad luck. First the band discovered that all the rhythm tracks for the album were off, meaning it would need to be completely re-recorded. This led to the dismissal of White and Stoker. Enter the Minardi's. After endearing themselves to Wakeling, who was preparing to record and produce The Basics first album in the UK, they suddenly found themselves as the new drummer and guitarist for General Public.
Wakeling was quoted in a Billboard Magzine article from November 1986 describing the appeal of the Minardi's skills as a musicians saying "We wanted a new drummer who was as comfortable playing reggae as rock. We write in a lot of different musical styles and meters, mixing up reggae with rockabilly, and pop with soul. We wanted to be able to mix of rhythms at the drop of a hat and Mario was very good for that. Gianni is just a great guitarist." As it turns out, I had an unexpected brush with the Minardi's while waiting in line to see General Public perform at the Felt Forum at Madison Square Garden in New York City in 1986. There was a large group behind me who were excitedly talking about Mario and Gian who suddenly appeared out of nowhere to quickly greet their family members before returning back inside the theatre to prepare for the show.
You can hear an example of the Minardi's musical chops in a live version of 'Forward As One' from 'Hand To Mouth' recorded during a show in Washington, DC in 1986:
I recently connected with Minardi, who works as a musical pastor at a Church in San Jose, California. He still plays the drums and has very fond memories of his days playing music in Southern California in the early 80's and his unexpected good fortune at joining General Public in the mid-80's. He has wonderful perspective about the opportunity he had to play in a band at the height of its popularity. Read on...
What was it like growing up in Southern California in the late 70's and early 80's and how did that influence you musically and artistically? I came from a very musical family so there was always mom was always singing songs she grew up with in Sicily, and dad was always jamming on his guitar and accordion. My brother Gian and I loved music our whole lives and always listened to the stuff of the 70’s and 80’s almost like it was “schooling” – in other words, we not only enjoyed listening, but we really studied and internalized the music.
When did you make the conscious decision to become a musician? Were you a fan of ska and reggae growing up? I decided to become a musician when I was 10 years old in my cousin’s room listening to him play his first drum set….I was HOOKED. I made the professional choice after I graduated college in 1984. I really wanted to honor my parents in that way, but after that, I NEEDED to honor what was in my heart. I was a fan of 70’s rock and pop music. My first real favorite band was THE POLICE. After that I became acquainted with the whole ska movement that was happening in England in the early 80’s and really gravitated toward THE BEAT.
Tell me about The Basics, the band you and your brother Gianni performed with in the early 80's? How did the band get started? We wanted to copy our favorite bands (Police, The Beat, The Specials, etc.). We started the band with my best friend Marc Taub who was living in Laguna Beach, CA.
How would you describe the early sound of The Basics? The one song I've heard that you recorded 'Run By You' sounded very influenced by The Police? You nailed it on the head….we LOVED The Police. You gotta start somewhere, and it’s usually mimicking your favorite bands. Living in Laguna Beach, we were surrounded by Reggae bands, world-beat music, ska, drum circles, etc. All those became influences on our music
Did The Basics play shows around Southern California? Did you open shows for bands that were touring through LA and San Diego? Because of our relationship with the popular Reggae band THE REBEL ROCKERS, we had a chance to play almost every great club (and plenty of dives!) from LA to San Diego. Those days were hard, fun, and a great (and necessary) training ground.
What was the music scene in Southern California like in the early and mid-80's? Were you a part of the ska/mod scene that developed around The Untouchables in LA? The music scene was as diverse as Southern California was…glam-rock, Toto wannabees, the whole 80’s techno-thing….but there were actually a few good bands around. We never officially called ourselves a ska band because we had other influences. But we were able to fit in to a lot of ska events during that era.
How did you meet Dave Wakeling and Ranking Roger from The Beat and General Public and how did you and your brother end up officially joining the band? Very fun story . . . . . every time they were on tour in the LA area, we would ALWAYS find a way to sneak into their concerts, get back-stage, or follow them after the shows to their hotel. We were Beat freaks! Dave really was amused with us (he called us “The Minardi Brothers”). He’s such a gentleman really….he always asked us for demos of The Basics and was truly concerned about our music career. When they toured as GP (General Public) we still found ways to sneak back stage. On their first tour, Gian and I told Dave that we REALLY needed a lucky break. They had one night in Hollywood that they needed an opening act. A few weeks later The Basics opened up for GP. There was a great chemistry between the two bands, and we were only a three-piece band so we were the ideal opening act. A short time later they asked us to open for their entire Canadian and mid-west tour. Finally things started coming together. After that Dave wanted to produce our first CD. We shipped all our gear to England, and arrived as they were completing HAND TO MOUTH. The engineer they hired to mix the project said the rhythm tracks were all “off” and said they would have to re-record the ENTIRE ALBUM!!! In order to raise more money for recording, GP had to return to America for a west-coast tour. Gian and I got a band together to open up for them, and also sang background vocals with GP….we had so much fun! We didn’t care that we got all the way to England and Dave couldn’t work with us! It was at the end of that tour (December 1985) that Dave fired their drummer and guitar player and hired Gian and I to take their place. A few weeks later we were back in England learning the songs for HAND TO MOUTH. We recorded part of the tracks at UB40’s studio in Birmingham, and the other tracks at a studio near Oxford. The project was completed by late spring 1986.
Tell me about recording the 'Hand To Mouth' album with the band at UB40's studio? Are there any interesting stories to share about that experience? Well, my favorite memory at The Abbatoir was being able to jam with the guys in UB40 when I wasn’t needed to record my drum tracks. The studio thing was very new to me, and it was nerve wracking to say the least! It was also very interesting to get acclimated to the English culture. Gian and I got our own flat, learned the public transportation system, and expected to live there indefinitely. My all-time high was opening for STEEL PULSE after our recording was done. Their drummer (I forgot his name) came up to me after our performance and said, “You’re a hard drummer MON!” That’s the highest compliment in the Jamaican culture for sure!
What was it like to go on a national tour with General Public? Can you share any unusual stories about any live shows that were particularly memorable? Touring was (and will always be) my favorite part of music. I love traveling, meeting new people, playing my heart out, eating good food and trying local beer! Playing in front of a lively crowd will always be a rush. We played a lot of college campus’. That was the age group that GP really appealed to. It was an honor to play the Felt Forum at Madison Square Garden in front of about thirty of my New York Minardi relatives. And I got to experience all of this with my younger brother. I guess I’m kinda old-school!
Why did the band break-up following the release of the record and the tour to support it? I think Dave and Ranking Roger developed different tastes and directions in music. Dave wanted to go a more “pop” direction to appeal to more people, and Ranking Roger was more alternative and probably wanting to return more to the roots of The Beat. They both tried solo stuff after GP, but there was a chemistry between those guys that was magical!
Tell me about your life outside of music? Do you still play the drums? I’m currently a music pastor at a church in San Jose, California. I love connecting people with God through music. I have a beautiful wife (Cheryl) of 16 years, three kids, lots of friends, students I teach drums to, and a love for biking! I’m actually looking to return to music full-time. I’m not sure how or when, but I’m a better drummer than I’ve ever been, and I really want to hook up with some gifted artists and create some new music that will really inspire people. I’ve really grown up and am ready to give of myself through the gifts God has given to me. Know of any bands looking for a drummer???!!!
What are your lasting memories of performing with General Public? To sum it up in one word: PRIVILEGE. I didn’t necessarily deserve to be in GP, but it happened, it was fun, I got to travel and experience the beauty of England, Canada, and America. The coolest thing that happened was I got to experience this at 23-years-old. And even then, I had a sense that there’s gotta be more to life than people worshipping you just because you’re a drummer in a famous band. I really think this “knowing” there’s gotta be more was what God used to lead me to Himself through a relationship with Jesus. I’m a totally different person now….I love people…I want to give to people….I want to make their lives better….help lighten their load and bring a smile to their face! I was so selfish back then….God has completely changed me….miracles still happen today!
Below is a video that Minardi recently recorded that recounts his experience playing in General Public and the spiritual awakening that lead to his current job as a musical pastor:
You can hear Minardi's first band The Basics single 'Run By You' which was released in 1983. The band has a rock meets reggae sound very much like The Police.
I'm happy to report that interest in The Boxboys has increased a bit since I posted an interview with the band's original singer Betsy Weiss earlier this year. I discovered that the younger brother of the band's saxophone player David Burg has started a MySpace page dedicated to the band and is looking to connect with anyone who may have pictures, audio or video of the band playing anywhere around Los Angeles in the late 70's - early 80's.
As it turns out, another relative of the band's guitarist, Larry Monroe Monroe, has posted live audio of the band on a YouTube channel. Apparently he's the boyfriend of Monroe Monroe's daughter. Monroe Monroe passed away a few years ago and left his daughter with a lot of Boxboys paraphernalia, including American Masquerade records, boxes of tape recordings, and much of their advertising materials and O.N. Klub flyers. I'm hoping to make contact with him to find out about hearing some of these recordings and seeing the flyers.
In the meantime, here is the recording that was posted (with a promise of more to come). It's a live recording of The Boxboys at the O.N Klub in Los Angeles on October 12th, 1980 performing the song 'American Masquerade'. The song was recorded and released as one of their two singles. The band line-up for this live recording includes:
As The Specials undertake the second leg of their UK tour (still without Mr. Jerry Dammers), I thought it was appropriate to share some pages from his diary documenting the early days of the band when they were known as The Coventry Automatics. I discovered this priceless document posted on The Specials fan forum recently and wanted to make sure it got shared with a wider audience of 2-Tone fans.
The actual layout of the diary is impressive, given that Dammers created it long before the first generation of Apple Computers made the old school way of doing art design obsolete. The 3-page diary includes spaces for months between 1976 and early 1979 and hand written entries that chronicle what now has become the well-known lore of the band's early days. Its all topped by a roughly designed heading featuring The Special A.K.A. moniker that Dammers has always used.
Dammers entries highlight some great stories, including an early attempt to lure Johnny Rotten from The Sex Pistols to replace Terry as the lead singer of the band. Most of the monthly entries for 1978 provide a real window in to the trials and tribulations the band endured as they looked for a manager and a record deal. It;s fascinating to read Dammers take on their experience traveling to Paris which resulted in the song 'Gangsters' as well as his pointed jibes at Clash manager Bernie Rhoades who managed the band for a short time. All in all its a great historical artifact that documents the band and Dammers drive and ambition.
John from HPSKA, who is comrade in all things ska, has developed an extensive play list of 300+ ska songs appropriate for a night of Halloween listening. I was pleased and a bit surprised to see that my band's semi-serious take on The Archies 'Sugar Sugar' made the list at #22.
The reason we recorded the song is pretty interesting. Our original guitarist Steve Parker's father Ron Parker was a well known studio musician who played guitar on a number of popular radio hits from the late 1960's including 'Hooked On A Feeling' by B.J. Thomas and 'Sugar Sugar' by The Archies.
We decided to perform 'Sugar Sugar' to honor him and we developed a unique ska and reggae take on the song. At one point during the mid-90's, the song was a mainstay of our set list. Below is a download of our version.
Below is the Top 25 list of Halloween ska songs that John from HPSKA created:
1. Tokyo Ska Paradise Orchestra - Witching Hour 2. Tokyo Ska Paradise Orchestra - Howlin’ Wolves 3. Tokyo Ska Paradise Orchestra - Vampire 4. Tokyo Ska Paradise Orchestra - Skull Collector 5. Tokyo Ska Paradise Orchestra - Monster Rock 6. Eskalator - Monster Mash 7. Skazoo - Monster Mosh 8. Bad Manners - Monster Mash 9. Bad Manners - Do The Creep 10. Splitters - Monsters in my Mind 11. SkaDows - (Do the) Monster Reggae 12. Flashlight - Monster 13. Beverley's All Stars - The Monster 14. Voodoo Glow Skulls - Closet Monster 15. MU330 - Curse 16. Tantra Monsters - Curse of Boto 17. Deal's Gone Bad - Curse of the Cur 18. Skatalites - Skandy 19. The Busters - Candy 20. Lee Perry - Sugar Bag 21. Jah Berry - Daughter Whole Lotta Sugar Down Deh! 22. Bigger Thomas - Sugar Sugar 23. Mr. Symarip - Sugar Dumpline 24. Desmond Dekker - Sugar Dumpling 25. Babyshakers - Sugarlover
Here is a trivia question for all fans of The Specials and 2-Tone. Have you ever heard of John Collins? How about Victor Romero Evans? If you haven't you are in good company. You can thank them both for their direct and indirect roles in the recording of one of The Specials greatest songs 'Ghost Town'.
John Collins, a North London-based music producer and owner of Local Records was drafted in to produce 2-Tone's finest moment, 'Ghost Town' after Jerry Dammers lauded his production on Victor Romero Evan's Lover's Rock hit 'At The Club'. Collins got his start working with local talent, using home made equipment and recording in a front room on a 4-track TASCAM recorder in North London. He founded Local Records in the late 1970's and it quickly came to the forefront of the post-punk DIY record label boom - making reggae and dance records, selling them through shops and later topping the UK reggae charts and the national charts.
But, it all started with one record - 'At The Club' which Collins recorded with Victor Romero Evans. Evans was a up and coming UK movie and TV actor and singer, who appeared in the 1980 UK reggae movie 'Babylon'. The song became a hit quickly, spending five weeks at #1 on the UK reggae charts in 1980. Part of the reason the track became a hit was production techniques employed by Collins. It was the first track to use a homemade drum machine sound and the rhythm copied 'Another One Bites The Dust' by Jamaican-based Clint Eastwood making it instantly recognizable. The song reached a broader audience after Jerry Dammers heard it and later voted it his record of the year in New Music Express, which landed Collins a deal with Epic Records.
Dammers was smitten with the track and in March of 1981 phoned Collins up to invite him to produce The Specials next batch of songs. Suspicious that it was some sort of joke, he agreed to travel up to Coventry a couple of days later to meet the band and was surprised to find that they were serious. They were surprised to discover that he was white.
After recording two major label records, Dammers had become disillusioned with high tech, expensive studios and liked Collins homemade approach and reggae credentials. Dammers had found a small 8-track studio in Leamington and it was decided to go there to record three songs for the band’s next single. According to Collins, The Specials usually recorded by all playing together live, but he was used to building a backing track bit by bit. It was in this fashion that he got drummer John Bradbury to set up just his bass drum, snare and hi hat; and bass player Horace Panter to plug directly into the mixer, going for a Sly and Robbie sound.
According to an interview Collins did with 2-Tone.info, 'Ghost Town' may have been influenced by another song. "I took a 12" of "What A Feeling" by Gregory Isaacs to Woodbine to test the sound of the monitors. It's a Sly and Robbie rhythm similar to Gregory Isaacs' "Night Nurse". I think this influenced Brad's playing, it certainly influenced me in getting the drum sound.. Also I had used the idea of fading up a track through a sound effect on "Lift Off", the B-side of "At The Club", and the idea of fading out under a sound effect on "Working Dub", which I had put out on Local Records previously."
Collins has posted a great article on his own Web site about the genesis of recording 'Ghost Town' as well his experience working with The Specials. I've always been struck by the eerie ghost sound effect at the start and end of the song which makes the track so haunting. According to Collins, the sound was hand created by a home made synthesizer dropped in at the start of the final mix, fading up The Specials from Brad’s drum count-in and fading down the synthesiser under Jerry’s chromatic diminished chord sequence. At the end, he muted everything apart from bass, drums and backing vocals, dub style, and faded the ghost synth back up just before The Specials come to a halt, leaving the synth on its own again for a few seconds before the final fade. And there you have it - the production of a masterpiece.
You can read more about Collins and Local Records at his Web site where you can purchase copies of all of his music. You can also hear more tracks recorded by Victor Romero Evans at his Web site.
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As part of the one year anniversary for the blog, I'm starting to build an e-mail database of ska fans who want to receive exclusive updates separate from regular blog posts. These e-mail updates will include access to hard-to-find ska and reggae music (live shows, out-of-print albums etc.) that won't be made available on the blog.
In addition, my band Bigger Thomas is planning to make our new 10-song CD titled 'Pure' available for download through this blog. If you are interested in receiving a teaser mix of songs from the album before its released and later get access to a download link where you can pay what you want for it ($0 to $10 US Dollars) then please send your e-mail address to the address below:
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About Me
Marco On The Bass
New York City, New York, United States
Hey! I'm the bass player for NYC-based ska and reggae band Bigger Thomas (myspace.com/biggerthomas). I love reggae, ska, dancehall, calypso and all sorts of dance and electronic music (breakbeat, big beat, jungle) as well as 80's new wave.
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