Reports of the The Specials first live show in the U.S. featuring most of the original line-up are slowly filtering in. Rolling Stone Magazine had a thorough review of the show last night at Club Nokia. The other good news is that Neville Staple was back on stage after missing the band's performance on Late Night With Jimmy Fallon earlier in the week.
Based on the RS review, it sounds like the pent up wait and excitement at the band's return may have gotten the better of the crowd who true to their L.A. punk roots began pushing and shoving one another and stage diving to the annoyance of Terry Hall: By the fourth song, “Its Up To You,” the crowd had grown unruly in their excitement — a little too authentic to the spirit of the original punks. “If you spit anymore, I’ll dive down and break your head,” Hall exclaimed with brimming vitriol at the start of the fourth song, “Up To You”; the rough atmosphere continued, however, with fights breaking out sporadically and the stage repeatedly invaded by audience members. Then again, the hectic vibes radiating through the venue proved this was no mere nostalgia trip: it only reflected the continued significance of the music’s relentless riddims and inner-city tension.
Here is video of the band performing 'Monkey Man' from the show:
Here was the set list for the show. Nothing unexpected, but nice to see 'Friday Night, Saturday Morning' which is a favorite of mine.
“Do The Dog” “(Dawning Of A) New Era” “Gangsters” “It’s Up To You” “Monkey Man” “Rat Race” “Hey, Little Rich Girl” “Blank Expression” “Doesn’t Make It Alright” “Stupid Marriage” “Concrete Jungle” “Friday Night, Saturday Morning” “Stereotype/Stereotypes, Pt. 2″ “Man at C & A” “A Message To You, Rudy” “Do Nothing” “Little Bitch” “Nite Klub” “Too Much Too Young” “You’re Wondering Now”
Encore: “Ghost Town” “Enjoy Yourself (It’s Later Than You Think)”
After much anticipation The Specials have finally returned to the U.S.A. After a victory lap of a tour around the U.K. last fall, the band is back in the country that was their undoing nearly 30 years ago.
Below are videos of the band's two performances last night on Late Night With Jimmy Fallon that was taped in New York City. The band was in fine form (listen to Roddy's inspired leads and riffs on both songs) and performed 'Message To You Rudy' and 'Do The Dog'. And no, your eyes are not deceiving you. That is not Neville Staple but Trevor Evans (who is a childhood friend of Staple's and was one of the band's early roadies). Evans now tours with the band as a DJ with Terry Hall's son Felix and they spin reggae before the band plays. Apparently, Neville 'got sick' and was unable to make the trip to New York. Hopefully, whatever the issue he will be back on stage with the band when they play live on the Jimmy Kimmel Live show tonight and then play their first live gig in Los Angeles on Thursday night at Club Nokia.
The full bloom of 2-Tone did not occur in the United States until more than 10 years after it had captured the attention and imagination of the United Kingdom in 1979. In an ironic twist, it was a band made up of assorted members of The Specials and The Beat who can and should be given credit for breaking ska in this country. Indeed, the 3rd wave of American ska bands (Mighty Mighty Bosstones, Save Ferris, Reel Big Fish) who were signed to major label deals and who garnered a significant amount of radio and MTV attention in the early and mid 1990's is due in large part to the influence of The Special Beat.
The band had come together quickly in 1990 and arrived in Atlanta for their first show in October of that year, steadily barnstorming their way across the country playing shows to sold out houses wherever they went. When they finally arrived in New York in December of that year, the city's legendary ska scene was ready to greet them like conquering heroes. In fact. the show remains one of the most memorable musical experiences of my life for one significant reason: My band had been picked to open the bill (which also included The Toasters). Not only did we have a dream gig playing a sold out show for a super group of our 2-Tone heroes but my band mate Roger Apollon and I were interviewed for a BBC television show who had trailed the band to New York to report on America's own 2-Tone ska revolution. As far as high points in my musical experience it doesn't get much better than that! (see the 'Rapido' BBC segment below).
While the earliest (and best) incarnation of The Special Beat was led by Ranking Roger and Neville Staple (along with very important support from Horace Panter on bass and John Bradbury on drums) it was a cadre of young musicians including Sean Flowerdew and Finny who had been recruited from the popular and recently broken-up band The Loafers who absorbed the experience and learned valuable lessons. Its no surprise that both of them now lead one of the best and brightest UK-based reggae bands currently writing and recording new reggae music that moves the sound and genre along.
I recently connected with Flowerdew who was kind enough to take the time to tell me about his musical upbringing as well sharing his own firsthand experience of touring with Special Beat and watching ska catch fire in the U.S. in the early 90's. For more information on Pama Internation or to buy their new album visit their Web site.
Where did you grow up in the UK? I was born in Zimbabwe and came to England when I was 6, in 1976. I grew up and went to school in Newbury in Berkshire, which is an hour west of London.
What were some of your earliest musical influences? Has it been ska and reggae from the very beginning? Did you listen to any other kinds of music? I've always listened to all kinds of music but of any consequence and from when I started taking music seriously I guess yes, it was ska, or more accurately 2 Tone that influenced me. Madness were always a huge influence. Them and the Dance Craze film and of course The Specials and The Beat. Through those, like many others I discovered Toots, Prince Buster, Harry J, The Pioneers and The Skatalites and then other Jamaican artists. I loved the compilations, Club Ska'67 and Reggae Chartbusters Vol.2. Around the same time I was listening to Booker T & The MGs. I remember taping a concert of theirs off the TV and watching it over and over, until my brother taped the FA Cup final over it. Other then that I was listening to stuff like Elvis Costello & The Attractions, Dexys, UB40 and The Jam.
When did you make the conscious decision to become a musician? If you weren't in Pama International what kind of work would you be doing? From very young I wanted to be a musician. I met The Loafers drummer Nasser Bouzida (now in Big Boss Man and The Bongolian) when I was 8. He was always a brilliant drummer even that young. That pushed me to want to play in a band. Everything I've done since I started out, be it in The Loafers, Clubland, Special Beat, Skanga or Pama Intl or making fliers, promoting and running labels, I've learnt from and has led me to where I am today. Writing and recording my own music. That now manifests itself as Pama Intl. I don't see that I could be doing anything else.
Do you remember the first live concert you ever saw? The first record you ever bought? What sort of impact did they have on your musical development? The first live concert I saw... I must of been 5 or 6 years old in Zimbabwe and it was the top pop band of the day there '4 Jacks & A Jill'... kind of Zimbabwe's equivalent to Abba, though I don't remember to much about it. I think I fell asleep. I remember my Mum took us to see Petula Clark because she thought it'd be educational. It was, but probably not for the reasons she expected it to be. The first gigs me and my two Loafers mates (Nasser and Johnny-guitar) went to see were Madness at a Artists Against Apartheid show at Brixton Acadamy and UB40 at Southampton Gaumont. We must of been 14.
The first record album I ever bought was the soundtrack to 'My Fair Lady' at a jumble sale for 2p. I must of been about 6 or 7. I didn't get into buying music till a few years later. The first single I bought was Sgt.Rock by XTC. The records had very little impact on me, although Nat King Cole's version of 'On The Streets Where You Live' from My Fair Lady is wonderful. The Madness and UB40 shows had a profound effect on me and really inspired me to want to play live.
Were you a mod, rocker, hippie or skinhead? None. I was just a kid who loved the music. By the time we were setting up The Loafers, dress wise I leaned towards the 2 Tone rudeboy sort of look... ben shermans, loakes loafers, three button jacket, sta-press. But the music was far more important to me then any dress code. I did love the tribal environment that existed in the late 70's/early 80's in the UK, which hung about, to a lesser degree, right up until the whole rave thing. With Pama Intl now, I'm very proud we attract a very diverse audience.
I've heard many people describe hearing The Specials first record like being hit by a bolt of lightning. How did you first experience 2-Tone? Did you see all the 2-Tone bands live? I was a little young for 2 Tone. My bother Kevin is 3 years older then me so he had bought Madness-One Step Beyond and a bunch of The Beat singles. And Nasser's brother was a skinhead and has all the 2 Tone releases. I did love The Specials first album (Stupid Marriage and Concrete Jungle being my favourites as a kid), but it was really Dance Craze, their singles (Ghost Town ep, Rat Race) and their second album that did it for me.... Man At C&A, Do Nothing, Hey Little Rich Girl... the very forward thinking Stereotypes and International Jetset... fantastic stuff. I didn't get to see any of the bands during the 2 Tone period but did get to see Madness before they split up.
You started The Loafers when you were quite young. How big an influence was 2-Tone on the formation of the band? What was it like to have John Bradbury produce your records? What was he like as a producer in the studio? The Loafers first gig was in 1985/86. Four of us had been playing in the band together under different styles and names (The Jungle Burgers, The Man From Tneopoo) and really just learning how to play since 82/83. There were always originals in the set, and covers like Liquidator, Time Is Tight (Nasser told me he'd written it), Wipe Out (early on), Bed & Breakfast Man, Ranking Full Stop. 2 Tone was a huge influence on us.
I met Brad through Maroon Town. He'd produced their first ever 7" a cover of Prince Buster's City Riot. He was always our favourite drummer on 2 Tone. The fact that he hadn't produced anything of any note, except Sock It To Em JB on More Specials didn't bother us. We just couldn't believe we had The Specials drummer producing us. Pretty much he was just balancing but he did bring some sampling to the album and had some good ideas. We all wanted to impress, so it helped having him there. What didn't help was we recorded through the night to save money. Bit shortsighted. Our feeling about Brad was if he was in a band that great he'd make us sound great! It was a lot of fun working with him. Exciting times for sure. We were part of the spearhead of the UK ska scene. Things seemed to be on the verge of going really big and we had The Specials drummer producing us!
Can you share any memorable experiences of your time in The Loafers? What was it like to work with Laurel Aitken's as a young musician? It was wonderful working with Laurel. I stayed in touch him with over the years, and proud to count him as a friend. We always had a laugh together. When we worked with him as The Loafers we were to young to appreciate what he was telling us or trying to show us. He wanted the songs to go on longer and be tighter and more solid, but The Loafers was all about enthusiasm and energy. I don't think we were capable then of playing how he wanted us to, but I do think we can all look back and understand it now. So, he did teach us, it just took awhile to sink in. I spoke with Laurel about working together again, much later on, but then he got ill. I wish he could of been on the Trojan album we recorded. He should of been.
We had some great times as The Loafers. Headlining The Astoria Theatre in London was a big highlight. As was getting to play alongside bands like Potato 5, Maroon Town, Hotknives, Desmond Dekker, Napolean Solo and of course Laurel. Playing in Paris (the only time I have, although Pama Intl have just been booked to do a show there on 18 June) was a great experience. As were doing our first TV appearances. Being written about by the biggest music and daily press. Getting to meet Brad and Lee from Madness. Playing at Gazs Rockin Blues, when it was still at Gossips in Dean Street, was wicked. I saw so many good bands down there... Ska Flames from Japan, Derrick Morgan, The Trojans, Maroon Town. It was incredibly exciting times, but ran it's course very quickly.
The Special Beat project came together quite quickly right? What was the timeline? Who was involved and what were the original plans for the band? Was the plan to focus exclusively on touring the U.S.? Yeah, there is differing opinions on how it came together, but it was very quick. 6 weeks. Ranking Roger had done a big show with International Beat in California in 1989/90 I think and some shows with Lynval and Neville in 1988. So he always cites he got it together. I suppose to a certain extent he did.
From mine and Brad's perspective, I had introduced myself to Roger and started to try and do a bit of writing at his home studio in 1990. We did a couple of tracks, but never really furthered them. I'd remained friends with Brad since working on The Loafers album. On one occasion, drinking in the King of Corsica in Soho, the Loafers had split up and I suggested we should do a band together and should ask Roger to be involved. Brad said he'd ask Lynval and Neville. He went home and phoned Ian Copeland (brother of Miles who ran IRS Records and Stewart from The Police), who ran FBI booking agency. He'd previously been the agent for both The Specials and The Beat I believe. He loved the idea of members from The Specials and The Beat working together in one band. It was Ian who suggested the terrible 'Special Beat' name. 3 weeks later we were in rehearsals in Birmingham and 3 weeks after that (31 Oct 1990) we landed in Atlanta to start a highly successful 7 week tour. The original line up was Brad, Horace and Neville from The Specials, Ranking Roger from The Beat, Bobby Bird from Ranking Roger's solo band (and now Higher Intelligence Agency) and Finny and I from The Loafers. Horace left and Lynval joined in 92. On the first tour I had the awful task of having to do brass on the keyboards. Something I refused to do ever again. Thankfully on the second tour they got Chico and Graeme Hamilton (from Fine Young Cannibals) in as a brass section. Anthony Hearty joined in 91. He'd previously played in the Style Council and Wayne Lothian joined in 92. Wayne now lives in California and plays in Dave Wakeling's band. Dave would guest with SB whenever we hit California. We also had Rico and Saxa record with us.
I think the original plan was just to do the first US tour and see how it went. It was soon obvious that there was a lot of interest. There wasn't interest back in the UK though. Our first shows here got cancelled through lack of sales. I ended up promoting our first London gigs. Stateside was really where it was at and Japan. So the focus was on America for 3 years. We went to Japan twice as well.
I was only 19 and a bit naive. I had envisaged that we'd do new material and a few classics from the outset, and have a new band name, but for me 3 years on only having 2, sometimes 3 new songs and 2 new covers in the set I couldn't carry on with it. We were running out the same show with the same 'ad libs' between songs they had used back in 2 Tone days (and still use now!). It could of been brilliant and at times was, but there wasn't enough foresight or writing ability to take it forward. I see their still doing gigs as Special Beat now, but it's pretty much just a cash cow cabaret. Can't knock someone for wanting to work, but that's no reason to let standards drop. And that's certainly not how it started, well not for me anyway.
Its fair to say that Special Beat had a lot to do with launching ska in the U.S. What are some of your memories from the touring you did here in the U.S. in the early 90's with the band? Do any shows stand out? Yes definitely. I think Special Beat weren't credited enough for it's part in building the popularity of the so called '3rd Wave' US ska movement. From 1990-92 Special Beat did 29 weeks touring USA at a very decent level. No Doubt supported us through the Midwest in 92 before they went global. We took the 2 Tone sounds to a massive audience. More so then another band at the time on the scene. More so then The Specials had originally done in America. We did 4 weeks with Steel Pulse playing to 5,000-10,000 a night. We opened for Sting for 5 weeks, playing places like Madison Square Gardens and Red Rocks and did some great shows in our own right. We definitely got a lot of new people tuning into ska. I left to record new music before the last US tour in 93 with Finny- lead singer, Lynval and Specials sound engineer Dave Jordan. Special Beat did one more US tour, with Skatalites, reformed Selecter and The Toasters, with SB being an inferior version to the original but still the main draw.
I absolutely loved touring America. I got to visit every state except Alaska and Hawaii. I got not only to meet but play in a band with people I had once idolized. I got to meet Albert Collins, Aaron Neville, Lloyd Knibbs, Andy Cox (Beat/FYC), Fishbone, Dream Warriors, Saxa and Everett Morton from The Beat, H from Selecter, Miles and Ian Copeland, Rico, and some of the UB40 guys. I got to play alongside; Was Not Was, Burning Spear, Lucky Dube, Sting, Steel Pulse and one of my favourite US bands Bim Skala Bim. And of course Bigger Thomas, at a very memorable NYC show. Playing Red Rocks and Madison Square Gardens was amazing. As were the Greek Theatres in LA and Berkeley. The opening shows with Sting were outside of Seattle over looking a canyon, with the sun setting as a backdrop. Absolutely breathtaking. We played some diversely wonderful venues like... the Warfield Theatre in San Francisco, the original 930 club in DC (complete with 100s of rats) and a place in Tijuana that was like something out of Mad Max. I always loved doing the Channel Club in Boston. The last night of the Steel Pulse tour I got to play 2 tracks on stage with them. Loads of great memories but all a bit jumbled up now! I think the show that stands out the most for me in my time with SB wasn't that big, but was our first London show at the T&C2. Only 500 people but it sold out and repeatedly gets cited to me by people who were there as the best live gig they've ever been to. The energy that night was insane.
Touring the world and getting paid for it was amazing and taught me a lot. I would of done it all for free, and they would of taken me up on that given the chance!
Why didn't Special Beat record and release any original music? It always seemed like the band had an amazing opportunity to use its popularity as a touring act to follow-up with songs that could have taken the band and ska to another level here in the U.S. Special Beat recorded a bunch of original material. 7 original tracks in total; 'Rainy Days' (SB's best track) written by Roger and later released by the reformed General Public, 'What You Thinking' and the awful 'Better Must Come' were recorded in 1991 at UB40's DEP International studios. We also recorded 4 cover versions in that session (Hypocrite, a soul track called Breakout, Prince Busters Time Longer Than Rope and Bowie's Golden Years, which actually had something about it). At another session in 92 we recorded; 'Joy', 'Welcome To The Breadline'. 'What's The Meaning of Love' and one other that I can't remember the name of. That session was awful though. Extremely lacking in direction and not resembling SB live in any shape or form.
Miles Copeland (IRS) stuck us in the studio a couple of times, but the honest truth is there were no great writers in the band. Ranking Roger was probably the best, but he only had a couple of ideas that I thought were any good. Brad, Horace and Neville weren't writers. Horace is now writing some great instrumentals, but wasn't doing that back then. To be brutality honest the writing wasn't up to the standard of either The Beat or The Specials. Infact it was nowhere near it. The songs lacked direction or any cohesion, but none of that is suprising when you look at the line up of the band.
A couple of the tracks were released. A dreadful mix of Time Longer Then Rope, which featured both Rico and Saxa on the IRS The Beat Goes On compilation (the demo we'd done was much better) and Hypocrite on a comp I put together called The Shack. SB really was an amazing opportunity to launch new material, but was sadly totally squandered.
On your last two Pama International records you worked with John Collins (of 'Ghost Town' fame) as a co-producer. Did you use any of his production techniques (recording songs bit by bit vs having the band perform together)? Can you share any production tricks you've learned from working with him? The last two albums I've recorded/arranged and then taken the finished takes and arrangements to John to balance, and add effects. Like me he loves the sounds of King Tubby, so it was an ideal match for those two records. John's got a wonderful ear for sound placement. True professional. And very easy to work with, but he didn't have any input to the recording of the album. I did all that. When it came to the final mixes we did it the way he likes to work at his house. Very old school/8 track/mono style. I've learnt a lot from John. He's a great producer.
What is the legacy of 2-Tone and how does Pama International carry on its tradition? Wow, you saved the big question til last! I'm not hear to carry on 2 Tone's thing. They're all still around. They should be doing that into their 80's... hopefully longer. Sure, some of them are still gigging and playing the old songs, but for me it's only Madness (who were far bigger then 2 Tone anyway) and the newly reformed Specials that have done it/are doing it to a standard worthy of the names. I've never understood why the rest of the 2 Tone artists just stuck rigidly to the past. Playing the same songs over and over and over and letting quality control go out the window. It's just ever decreasing circles. Why did they stop writing classic songs? Am I being naive again? For me if you've done it once, you can do it again. It's sad to see people resting on past glories, especially 30 years on. Dave Steele and Andy Cox moved things forward superbly with Fine Young Cannibals. Fantastic band. Better than The Beat in my opinion. They didn't stay stuck in the past like almost everyone else did and as a result they wrote huge songs that outsold the whole of 2 Tone put together. Them and Madness are the exceptions, and wayback Fun Boy 3. Too many 2 Tone people just rested on their laurels though. I loved the bands and the label and still can't get my head around why those artists (apart from Madness) aren't sill putting out new music now.
There are some ideals that 2 Tone brought to the table that I still hold very dear, but if I was trying to emulate a label and keep it's tradition going it would have to be a label like Stax or Motown.
Many thanks to everyone who came out to the NY Beat 25th Anniversary Reunion this past Saturday night April 10th at Dusk Lounge in New York City. Frankly, when hatching the idea for this event with Sid Reitzfeld (A-Kings) and Steve Shafer (Moon Records/Dusk Guide To Ska) we had no idea what to expect or who might show up.
So at 8 PM Sid opened the doors and we watched and waited. Within a very short time there was a small crowd the grew bigger and bigger until at the height of the night there were close to 125 people mingling, talking, and grooving to the great ska and reggae sounds supplied by Steve. As the night quickly slipped by I found myself having one long, continuous conversation with a who's who of the NYC Ska scene from the 80's. It was an amazing night and helped to kick off what promises to be an exciting month of ska shows and events here in the Big Apple.
Members of most of the core bands who appeared on the NY Beat compilation were all in attendance including: A-Kings (the 3 members of the band had not been in the same room together in over 20 years), Beat Brigade (who recently reformed and will be playing the New York Ska Festival on April 23rd at BB King's), The Boilers (Olivier Rhee and John Patterson came out), The Press (lead singer Andre made an appearance), Second Step (who had 2 members -- Remi Leku and Ross Morgan -- who travelled from Florida and Boston respectively for the reunion), The Scene (Melanie Rock), Too True (King Django made his recorded debut on the track 'Free South Africa' before later joining The Boilers) and many friends and fans who came back to reminisce.
Below is a short photo montage from the reunion.
Sid Reitzfeld and Andy Atlas from The A-Kings (minus drummer Anthony Johnson)
Steve Shafer, Sid Reitzfeld and yours truly
Steve Shafer behind the wheels of steel
Remi Leku (The Second Step) and Melanie Rock (The Scene)
King Django from Too True and Olivier Rhee from The Boilers
Dave Barry (Second Step/Beat Brigade/The Toasters) and Carmelo DiBartolo of Beat Brigade
Remi Leku of The Second Step with Roger Apollon of Bigger Thomas
King Django from Too True with Ross Morgan of The Second Step
Jack Hoppenstand and Frank Usamanont of Beat Brigade
Many more pictures are up at the NY Beat Facebook page. Though the N.Y. Beat! compilation remains out-of-print, I am hopeful that with some luck and cooperation from the bands and songwriters we might finally be able to get a proper re-issue out. And if that day does arrive in the near future, then we will have a record release party to celebrate again!
The reunion to celebrate the release of the iconic ska compilation N.Y. Beat!: Hit & Run is upon us. If you were in one of the bands, or went to ska shows at CBGB's, The Continental or Danceteria back in the 80's or are a fan of American ska, then you may want to to come by the Dusk Lounge in New York Citythis Saturday April 10, 2010 at 8 pm. The bar (which is owned by A-Kings/Thick As Thieves bass player Sid Reitzfeld) should be filled with members from almost all of the bands featured on the album. Fans, family and friends are all welcome to join the festivities as well. The night will feature Steve Shafer (The Duff Guide To Ska) spinning all three waves of ska, reggae and rocksteady as well as lots of old pictures from back in the day.
The reunion came about as a result of profiles and interviews I posted over the last year about bands and musicians who were an integral part of the 1980's NYC ska scene. As I met and spoke with more and more people who played in the bands featured on the N.Y. Beat! compilation, they were excited about the idea of coming together to celebrate the social and musical movement they collectively created.
As background, 'NY Beat: Hit and Run' was the very first compilation of U.S. ska ever. Released by Moon Records in 1985-86, it captures a snapshot in time of a vibrant New York ska scene that was notable for its musicianship but also its cultural diversity and its relative youth (most band members average age was 17-20 years old). While the music on the record is more influenced by the British 2-Tone movement than the later bands that would drive the third-wave revival, its a diverse mix of ska, reggae, pop, punk, funk, rock and soul. Artists include A-Kings, Beat Brigade, The Boilers, City Beat, Cryin' Out Loud, The Daybreakers, Floorkiss, The Press, The Scene, Second Step, The Toasters, Too True and Urban Blight. Amazingly, many of the musicians who started and played in these bands are still actively playing and performing.
The original issue of the comp was celebrated with a big show at Danceteria in 1986 featuring all the major bands who were part of the NYC ska scene at the time. In many ways it was the high point for the NYC ska scene which really exploded both in the New York City area and outside the northeast, particularly in California. I was at the launch party show, and it inspired me to pick up the bass guitar and start my own ska band Bigger Thomas.
There is a NY Beat! Facebook page dedicated to the reunion and it has quickly gained fans (400+ and counting) and become a way for band members and fans to reconnect. There are also pictures, interviews, articles, video and live shows posted on the page which speak to the power of the NYC ska scene to connect and bring together a diverse scene of musicians and fans who helped make ska the sound of New York in the 80's and early 90's. Feel free to visit the page and add your own two cents, upload a picture or share a memory.
If you happen to be in New York City this Saturday April 10th and want to celebrate with us, please come by Dusk Lounge. Hope to see you there.
I can confirm that there may be no greater thrill as a musician than to meet and perform with your musical heroes. That experience can only be topped by the chance to join a tour with them and become part of their band. Drew Stansall, a talented and in-demand saxophone player grew up as a fan of The Specials in the Midlands of the UK in the late 70's and early 80's during the height of 2-Tone mania. Now, he is part of the excellent 3-piece brass section supporting the band during their 30th anniversary tours of the UK, Australia, New Zealand and Japan as well as the upcoming US tour which kicks off with an appearance on Late Night with Jimmy Fallon on April 13th.
Stansall's musical pedigree is striking and he is a renowned musician in UK ska scene. Before landing a dream gig with The Specials, he played and recorded with a who's who of Jamaican ska pioneers: Prince Buster, Laurel Aitken, Alton Ellis, Derrick Morgan, Owen Gray, Rico Rodriguez and Symarip. For many years Drew has been at the forefront of the old school UK ska scene including many resident performances at the prestigious London venue 'Club Ska'.
With interest in The Specials US tour just starting to peak and with two shows in New York at Terminal 5 fast approaching, I wanted to provide readers a chance to learn more about Stansall, who is one of the very talented musicians who are part of the The Specials band. He also has a great perspective on ska music and the old school ska scene in the UK.
Where did you grow up in the UK? Leicester Midlands UK
When did you first pick up the saxophone? In 1995. I used to play guitar before that.
How were you first introduced to ska? In 1979 when I first heard The Specials. I've always loved their vibe and sometime later I started to dig deeper into the history and birth of ska.
When did you first start performing ska music live? In 1997 I joined a ska band called The Splitters.
How did you end up performing with the cream of the crop of Jamaican ska and rock steady artists like Prince Buster, Laurel Aitken, Alton Ellis, Derrick Morgan, Owen Gray, Rico Rodriguez and Symarip? While playing with The Splitters around 1998 I ran into Laurel Aitken who also lived in Leicester. He was looking for a brass section. We started playing for him for many years and grew to be great friends right up till he died. Laurel's band at that time was called Freetown and they also used to back Derrick Morgan, Owen Gray, Rico and Alton Ellis so I was a part of that scene of musicians who used to play a residency at Club ska in London who used to book all the Jamaican artists. We ended up playing many gigs in London and Europe with these artists for around 5 years. Later I was asked if I would like to play tenor for Prince Buster (yes please!) and later still Symarip. The Prince Buster brass section are now The Specials brass section.
Can you share any memorable experiences of performing with these artists? Far too much to share but each had their own way of doing things. But one thing they all have in common is a real love and passion for what they are doing and so did I.
Its quite an honor to be invited to tour with The Specials. How did you get involved with band? Again one thing leads to another and so on but I knew Roddy (Byers) the guitar player for many years and Jon the trumpet player with the Specials Mk2. So with the 3 of us also playing with Prince Buster and knowing Roddy and Jon, this is how I joined the band.
What were the two UK tours like? Amazing, emotional and scary! Especially the first few gigs the atmosphere was incredible, electric, the fans came in the thousands and they were emotionally charged up after waiting 30 years. It was an unbelievable experience, everybody including the original 6 were totally overwhelmed.
What kind of reaction did you get in Japan and Australia last summer? The reaction was the same 'emotional charged' although I think more so in Japan than Australia and NZ
Can you share any unusual experiences from the tour so far? Well none of it is what you would call normal. Its all very surreal at times especially rehearsals with The Specials after being a fan of them for so long. Now I'm used to it all and get on very well with everyone which is very nice - it feels like a big family now. There are a lot of people involved in The Specials not just the band and I feel I have made many friends
What is your favorite song to perform live with The Specials and why? I have always loved 'Nite Klub' because its just a great song and a song that now takes me back to when I was a youth. The Specials lyrics relate to all parts of my life and to most peoples lives back then and still now. I also love playing 'Man at C&A' and 'Hey Little Rich Girl'.
What can American fans of the band expect from the upcoming shows? OOOOOOOOOOOOOOhhhhhhhhhhhhhh that would be telling. but trust me don't miss out - its going to make the hairs on the back of your head tingle, put tears in your eyes and you will be singing every word all night.
If the band records a new album do you expect to join them in the studio? Yes. If they do, I would be very proud to be involved
Tell me about your own band El Pussycat who are at the forefront of the old school ska scene in the UK? What is the old school ska scene in the UK like these days and what is your take on the American ska scene? I formed El Pussycat in 2001 to play ska the old school authentic Jamaican way and keep to that sound which we have been true to for all the years. There are usually 7 of us in the band including double bass, brass, keys, guitar. We play ska the way it used to be back in the 60's, when ska first came out it had a swing/RnR vibe to it and this is what we want to re-create. We have played many places including NYC please check out our MySpace site and see for yourself
I guess the old school UK scene and the US scene are pretty similar there are many great bands out there doing their thing for the love of it but to find it you gotta dig deep its all underground. Radio DJ's won't talk about it and you find a lot of people stumble across it and don't know what it is but they know its good music so will start to follow. Ska music is a sunny education given to the world by Jamaica. My favorite US bands are The Slackers, The Aggrolites, King Django, Jump with Joey, Dem Brooklyn Bums and Bigger Thomas of course!!
Stansall and other members of the band hope to attend the 'This Art 2-Tone' exhibition at Dusk Lounge in New York City following The Specials shows on Tuesday April 20th and Wednesday April 21st. If you are going to the show, be sure to come on by, say hello and buy him a pint!
My introduction to Cryin' Out Loud (COL) was through their song 'The Distance' featured on the NY Beat!: Hit & Run' ska compilation and from a video that I would see infrequently on MTV in the mid-80's. I always liked their songs and was struck by how different they sounded from the other ska bands who were mostly New York born and bred. There was more of a rock influence that belied COL's Midwestern roots as well as a strong streak of romantic and political cynicism that set them apart from many of the younger ska bands.
Though they were a 4-piece band who had met in Columbus, Ohio and approached being in the band as a democratic endeavor, Don Brody was the leader of COL and the glue that held it together. Older than his 3 band mates by seven years, it is his voice that makes the first impression. That and the bittersweet quality of the songs he sang that hinted at something going on much deeper below the surface. According to a heartbreaking essay written about Brody and his untimely death at the age of 44 in 1997, Brody was born in Columbus, Ohio in July of 1953. At the age of 2 he contracted polio, for which he had to undergo a number of surgical operations and was left with a disability that made walking difficult. He was the Ohio Poster child for the March of Dimes. His friends and family in Ohio knew well the hardship that he went through from the disease, but those who knew him in Hoboken were barely aware of it. His cheerful good humor and generosity of spirit so towered over his disability as to render it indifferent. But the emotional depth of his songs, achieved with deceptive simplicity, was evidence that he was no stranger to suffering.
Like many bands before and after them, COL left home in the late 70's and early 80's to try and make their mark in New York City's bruising music scene. Settling in Hoboken, New Jersey (the picture above was taken on a roof top in Hoboken, NJ and you can see the Empire State Building next to Don Brody's knee!) , they incorporated their love of the British ska and reggae influenced music they were hearing at the time into their own unique mix of ska, reggae and power pop notable for its clean guitar sound and straightforward simplicity of structure.
Rob 'Bucket' Hingley of The Toasters, who organized the NY Beat!: Hit & Run compilation was looking to highlight a broad range of bands playing ska influenced music in New York City. While there was a core of bands who drove the scene, Hingley was also interested in bands who were more loosely affiliated including COL. Though they were not part of the core of the NY Ska scene, COL played shows at CBGB's with The Toasters and had a dedicated following of their own. Notably, they were the first band from the New York ska scene to make a video that was shown on MTV during the summer of 1985.
I connected with the three surviving members of COL over the last few months and interviewed the rhythm section of bassist Dan Acker (DA) and drummer Chris Johns (CJ) about their memories and experiences playing in COL and the New York ska scene of the 1980's. Its a great read and a unique 80's New York music story
Where did you grow up and when did you make the conscious decision to be a musician? Do you come from a musical family? DA: I grew up in Toledo Ohio for the most part although New York State, Missouri, and Texas were in there too. Two things come to mind on my decision to become a musician. I saw “Hard Day’s Night” and “Help” on the late movie and the late, late movie and thought that being in a band surely had to be the most fun anyone could ever have. And secondly, my friend Scott Moore was playing his acoustic one day and said “Every band needs a bass player” so that’s what I did. We did have a piano in the house and my mother and sister would play it. It wasn’t a real influence on me however.
CJ:I grew up in Central Ohio (Columbus). My family was not especially musical, although my Mom played piano and sang opera (not professionally). When I was 14 I came across a drum set, started hitting it, and thought it very fun. That Christmas, I got a drum set. But for as long as I can remember, I was always tapping my fingers on things, and when I was about 12, my Mom gave me a pair of bongos. I don't know if I ever made a conscious decision to be a musician. I just kept doing it because I liked it and was reasonably good at it. I got involved with musicians in high school, and I just kept going, until I was about 30.
What were some of your earliest musical influences? Do you remember the first live concert you ever saw? The first record you ever bought? DA: I’ve always loved a good pop song. I like any music that makes me happy or rock-n roll regardless of genre. In Toledo we would easily get CKLW which was basically Motown blasted on a big AM signal tower. It was the old style format that promised the hits every hour. When I was in grade school my sister used to blast the Monkees, Cowsills, Herman’s Hermits and Paul Revere & the Raiders from inside her room on a red plastic General Electric record player. I was listening. The first records I owned were given to me by my sister and it was Mott the Hoople and Steppenwolf. I was in 5th grade so it was way cool. My first concert was KISS and once again my sister was on hand to chaperon along with my future brother in-law. Gene Simons blew fire from a top the P.A. stack at the Toledo Sports Arena. I was probably 14-15 years old. Does it get any better than that?
CJ:Well, oddly enough I was into Elton John early on, then prog rock, and by the time I was 18 I had a sudden revelation that AD/DC totally rocked. It was their unpretentious simplicity that struck me. The first 45 I ever bought was, I think, "Mongoose" by Elephant's Memory (how could I forget!). The first album I bought was 'Three Dog Night Live'. But the earliest drumming influences were John Bonham, Barrimore Barlow, Carl Palmer, Billy Cobham. Also, a local friend, drummer, named Jim Castoe, who was into jazz-rock, e.g., Return to Forever. But later it was Stewart Copeland and Clem Burke.
How were you first introduced to ska and reggae music? DA: It was my Cryin’ Out Loud band mates that brought forth the genre. Don Brody read the music trades and would pick up on stuff early. I remember having The Go-Go's playing and thinking they had such a great offering of tight little pop song’s too bad nobody knows about them - only to ultimately see them achieve significant commercial success. When I heard Elvis Costello’s “Watching the Detectives” it was...Oh man that sounds cool! I wanted to emulate that sound. Of course that was just my very first hint of a derivative reggae influence.
CJ:A high school friend I played guitar with came over one day, dying to play this weird song he had just heard by a band called The Police - Roxanne. I didn't know anything about ska and reggae, certainly not enough to know that The Police were playing it wrong! But still, it did not catch on with me until after I was in Cryin Out Loud.
How did COL get started? Where did you meet your band mates? Whose idea was it to call the band COL? DA: We got started in Columbus Ohio. I was attending Ohio State University because I was “supposed to”. I got pissed in a Philosophy of Ethics class because I got a D- on a mid-term after getting an A- on a “practice test” just three days earlier. I walked out in dramatic fashion and started hanging-up flyers that said “Bass Player Looking for Work” In my mind it was time to live the dream. I got a call from John Calvert. He was really the founder of the band technically speaking. I met him, Don Brody, and Chris Johns at his mother’s house and we played a cover version of “Take me to the River” by the Talking Heads. Remarkably it was just that simple. We were young. Chris and I were 19, I think John was too and Don was 7 years our senior. Don brought some experience to the table. I’d hardly ever played a gig short of high school type venues to easy audiences. That was either very late 1979 or early 1980 as best I can remember.
CJ:Another high school friend/guitarist (John Calvert) called me up and wanted to know if I would be interested in playing in this band he was forming. He gave me a record of the kind of music he had in mind. It was Blondie's "Eat to the Beat." I'd never heard it before. I didn't really know anything about "New Wave." I thought I was cool as hell. Then we got together in Calvert's basement, and I met Dan Acker (bass) and Don Brody (guitar, vocals), who had responded to an ad Calvert put up. We did a few covers and a couple of Don's songs. Among them, a song that had a 'reggae' feel in a Police sort of way. Later, we came up with another. But at that stage most of our songs were power-pop new wave. As I recall, the band name came from Dan's sister, Cindy. Prior to COL, Don had been in a well-known local punk band called 'Screaming Urge.' So, Cindy suggested we were now 'Cryin' Out Loud.' It seemed to fit. Most of our songs expressed complaints of some sort (Give the Kid a Break; I Can't Dance; Heartstrung Boy).
When and how did you hit on the COL sound? Did you all agree to make ska/reggae a part of your sound? Who was the main songwriter? DA: We immediately took to writing our own material. I haven’t thought about this for a long time but it was pretty amazing how we just got to work. I’d have to say there was a lot of determination there. At that time we defined ourselves as a “power pop” band. How accurate that was is hard to say. We all sang leads, back-ups, and wrote songs. It was a very democratic environment. If you didn’t write the song it was typically up to you to arrange your own instrumentation. I’d write my own bass lines, and Chris would compile the rhythms. John would handle lead guitar and rhythm guitar while Don largely held fast on rhythm guitar. As time went by Don clearly moved out front on the song writing. He was very happy it seemed to allow complete free rein to the rest of us on arrangements. Some of my favorite memories recall the creative process and when a song would first click. The English Beat was pinnacle to our turn to ska although I remember Bob Marley and The Specials being on the turntable a lot. UB40 had such a great polished sound that I personally enjoyed. That was later in our formation and as I can best recall didn’t really transpire until after John Calvert left the group and Todd Novak joined. Todd and I had played very casually together in High School but he was a year behind me so he was actually still in High School in Toledo Ohio when the band was formed. I personally flipped over the English Beat. We tended to play at high tempos as it was and the energy we found there was irresistible; at least to me it was. I still love the English Beat. I have satellite radio and I troll around for them but rarely hear them. I don’t get why some bands don’t get there due. I really thought the English Beat had it going on. There is a live radio simulcast we did and we covered “Twist-n-Crawl” by the English Beat in that performance.
CJ:The sound. Well, that's hard to explain. But I think the main idea was "keep it simple, not flashy. Less is more. Melody over virtuosity. Danceability. Tight and chunky. We dabbled in ska, just because, I don't know. It was cool! But the major shift to ska/reggae didn't come for another year or so, when we all heard The English Beat for the first time. At least, that's how I remember it. "Just Can't Stop It" really lit us on fire and pretty much changed us, although we didn't completely quit the power pop. But the English Beat were just so infectious. I loved the drumming style. Everett Morton--big influence. Then it was The Specials, and everybody else. Black Uhuru, UB40. "I Just Can't Stop It" is still one of my all-time favorite albums. Don Brody was by far the main songwriter. But everyone wrote and contributed to each other's songs. It was a very democratic band, and the funnest part, other than live shows, was creating a song during rehearsals.
When did things start to take off for the band? DA: I don’t think things ever really took off. In Columbus we developed a kind of siege mentality. At gigs the audiences would still yell for "Whipping Post" by the Allman Brothers Band, Free Bird by Lynyrd Skynyrd and simply yell “AC/DC”. We’d say this is an AC/DC song and then kick out one of our own because we were generally annoyed and felt it was pretty obvious we weren’t an AC/DC cover band. I had a chip on my shoulder about it and I don’t think it was healthy. I think the best way to put it would be to say that we did have a couple milestones. The first of those would be getting on a compilation album, which was part of winning a contest for the local rock 'n roll radio station. This actually gave us some radio airtime locally, and as I mentioned earlier, it allowed us to have a live gig on the radio. The second milestone would have been getting on MTV.
CJ:Did they ever take off? Well, we had a break early on, when we got a song on a local radio station's "Hometown Album." But soon after (1980 or 81) Dan, Don, and I moved to NY (Hoboken) in order to make our break there. After a year or so, we decided to put out our own EP and make a video. It took a while to put this together, due to a couple of changes in guitarists. One song from the EP, "The Distance," made it onto the "New York Beat: Hit and Run" compilation. In 1985-6, MTV put our video in "light rotation" for about six weeks. That felt like a huge break for us. We got some good slots at CBGB's, did some out of town club touring. But--things never really took off. We didn't have record distribution, so even if someone saw our video, they couldn't get the EP.
Where and when did you play your early shows? What kind of response did you get? DA: We played most of our gigs on High Street, which is the main commercial strip in the Ohio State University campus area. There were a lot of get sloppy drunk bars there for the college students. A place called Mr. Brown's was the venue we played most. It was a biker bar - nothing college about it. I don't remember the response always being that good. Sometimes it went very well and people seemed receptive and other times it was just the opposite. It could vary greatly from venue to venue. I remember one time very early on we played on top of a flatbed trailer at a day time event. I think it was in a drive-in movie theater. I remember noticing small stones skipping across the trailer bed of the truck while I was out there. I didn’t even get it ‘til afterwards. The natives were a wee bit hostile. Even with the exposure of being locally played on the radio and the apparent sanction on our good work I don't recall any significant uptick in general interest in what we were doing. By fall of 1982 we were living in Hoboken New Jersey. Our first gig in the metro area was at CBGB’s on a Tuesday night and quite late too as I remember. My close friends Scott and Paula Moore traveled in from York Pennsylvania to see us and they were the only other people we knew there not to mention the only people “there” besides the CBGB’s staff!
CJ: Before we came to New York, we had a wild reception, opening for Huey Lewis and the News! In NYC, we played at various clubs on Bleeker St. Occasionally CB's, and other places I can't recall nor would anyone else. We played a few times with The Toasters at CB's. That was always cool. Response? Well, I have to admit that most of the time it was not that great. I mean, those who liked us, really liked us; but there weren't many of them. I think it was hard to place us musically. The audience (and maybe we ourselves) didn't know whether we were a ska band, a power-pop band, or just a rock and roll band. Our identity was not distinct enough, I think.
How did you first get introduced to the NYC ska scene? What was the NYC ska music scene of the 80's like from your perspective? Was COL a part of the NYC ska scene? DA: For me it was quite nice to be included in part, although I didn't have any real personal investment. I couldn't say I was a personal torchbearer for the whole scene. Don Brody was really the main networker for our band and he deserves the primary credit for any of the advances we made concerning social and business connections. I don't know the whole back story, but I'm pretty sure at some point either Don reached out and/or Rob Hingley reached out to us. I was very flattered to be included. In retrospect I wish I had been more outgoing and interested by making more friends within the scene. I don't think I really had the maturity or social confidence do that at the time. Personally speaking I became used to being competitive and suspicious of other bands. It was a hangover attitude from the perceived threat of “long hair” bands back in Ohio. That was a level of oversensitivity and insecurity I wish I had overcome as I look back. I remember one night during one of the gigs we opened with the Toasters coming out front and seeing three or four scooters neatly parked out in front of CBGB’s. It was a bit of a revelation because for so long it seemed we were on the outside looking in and I suddenly realized this was part of a movement. I was like wow, the owners of these scooters came here to make the scene ….and they traveled here on scooters... look at the scooters... I couldn't believe it. I just thought it was really cool.
CJ:Somehow, Don Brody got in touch with Rob Hingley, or Rob with him, I'm not sure. (I'd ask Don, but unfortunately he died in 1997.) Occasionally we played with some other ska-ish bands in Hoboken, like The Objects. But I wouldn't say we were a significant part of the ska scene. Again, I think that's because we didn't have, for better or worse, a distinct identity. In the 80's, there seemed to be a number of distinct scenes. I don't think we were authentic or pure enough. But the ska scene was alive and kickin', and we were excited to participate in it. At one point, our songs became almost entirely ska-reggae based. We loved it, although I'm not sure our audience liked it as much as we did.
Tell me about the experience of recording your 4 song EP 'Live It Up'? DA: By that time, I'd have to say for us being in the studio and recording was pretty much business as usual. We were extremely well rehearsed. We would practice virtually every night of the week. In fact, we all lived in the same house in Columbus for a while practicing in the basement and when we first moved to Hoboken we all shared the same apartment. In Hoboken we had a rehearsal space rented from a realty office that we got to it by going through a metal trap door in the sidewalk. We never did rent rehearsal space by the hour like so many bands do in New York. Because we were typical struggling musicians; once we got into the studio we had it in our mind to make it happen as quickly as possible because we were paying by the hour. It wasn't a long drawn out creative process in the studio; it was a more knock it out get it done type of mind set.
CJ: As most recording sessions go, it was both fun and tedious! We also had some difficulty, because we replaced our guitarist in the middle of it. Todd Novak, I think, gave us a more distinct ska sound, whereas we had been "rocking" more. We recorded the EP at "If Walls Could Talk" in New Jersey, a really nice little studio for the money, at that time. We were going for a rather stripped down, low-on-the-reverb sound. The basic tracks were laid down in one or two takes. We recorded six songs, but decided on four, all of which were ska-reggae. The whole process was kind of exciting, actually. I mean, recording, mixing, mastering, printing, doing the album over, copyrights, and making it a business, so to speak. At first, we didn't know anything about how to make a record. But we learned a lot. It's not easy! These days, with the internet, it would be so much easier.
You made a video for the song 'Live It Up' that ended up on MTV. What kind of impact did the airplay the video received have on the fortunes of the band? DA: I think it gave us some personal confidence as a band. It's amazing that it was as simple as getting the thing sent in. Although I think it took us three tries to make it happen and again Don Brody deserves all the credit for that. I'm not sure we knew exactly how to capitalize on it. Unfortunately our distributor went bankrupt and our E.P.’s got locked up in bankruptcy court. We couldn't even get our record out on the store shelves. Really bad timing! No one came calling in earnest either. Because everything was self-made and independently produced, I don't think we really had the collective experience and infrastructure available to us that would've allowed us to use MTV as the steppingstone you would expect it to be.
CJ:We made the video rather cheaply, with help from a friend of ours, Paul Provenzano. He did a great job, 16mm black and white. It looked great and we were really proud of it. But the only real impact it had, as far as I could tell, was that we got a nibble from an independent record company, and some clubs and managers started to take us a but more seriously, and we got a few interviews. But, except for a brief time, perhaps, it didn't really attract much attention, didn't really increase our audience. One thing we learned from this is that it is not enough to have a video. You have to have a strong network of promotion and distribution of your product. You have to get on the radio as well and have your record available. It's hard to get on the radio, although we did get some play on several college stations. The trick is, everything has to work together at once, and we didn't have the resources to put it all together..
When and why did the band stop playing out regularly? DA: Chris decided to quit. That was the end of it.
CJ:Well, I can only speak for myself. But for personal reasons, I felt it was time for me to go to college, so I quit. After 9 or 10 years, a video and a record, I felt I had given it my best shot, but I just couldn't keep the faith. Much of the time it was a real struggle. We all had hard day jobs, and NYC ain't exactly a bargain town. Every few years, we had to replace a guitarist and start over again. It was hard to stop, though, and the decision was not a sudden one..
What are your lasting memories of performing with COL? DA: Too many gigs to boil down here I think. It’s the whole bonded experience of you and the others. Playing live was always a trip on some level and all the hurry up and wait that went with it. When I reminisce I miss it pretty badly, but I'm sure a lot of that is colored by nostalgia. I really miss the creative process of working together and coming up with something that didn't exist before. For me a gig was always like stepping into the unknown. Some nights it seemed like we could do no wrong and people just loved us: other nights, not so much. Some of our best performances happened to an empty house. A lot of what I miss is the people I worked with and a lot of people who really helped us working behind the scenes. My sister Cindi and my brother-in-law Dean were extremely important components that helped make the band go in the early days. My sister produced our flyers and graphics. She did the lights at gigs, and my brother-in-law Dean did the sound, photography and graphic work for us as well. Chris’s mother put up with some noise when we moved operations to her basement in the earliest days. There were also other significant players who were members of the band, including John Kricki and Jimmy Lee taking their respective turns at the lead guitar position and Paul Provenzano made our MTV video. My girl friend at that time Amy Bogart was a C.P.A. and helped us with tax stuff as well as giving us her general interest and support. We were fortunate to have these people participating so in the end I feel a lot of gratitude. All in all, I wouldn't take it back for anything. I’m glad I had the experience.
CJ:Oh, gosh. Too many. Don Brody was the funniest man you'd ever hope to know. I'd say driving across Pennsylvania, on the way to a gig at the Electric Banana in Pittsburgh. It's just you, the band, the road, the music. That's all there is and all that matters. The gig was a blast.
Aside from their appearance on the NY Beat compilation, COL only recorded one 4-song EP titled 'Live It Up'. Long out of print, hard to find copies can sometimes be found on EBay.
