Secret Agent 8- Self titled

Following the unsuccessful dabbling with Beastie Boys, it's back to more familiar territory for me... obscure third-wave ska, of course. This is the 1998 debut album from the Texan band.

Hoodlum wastes no time setting the scene. It's chaotic and hectic-paced ska, yet it also manages to establish a menacing feel. Great stuff. The breakdown works a treat to provide some contrast, establishing a nice bouncy hip-hop feel.

The frenetic style is used to great effect throughout the album, such as for Identity Crisis, On My Mind, Out Of Control and Secret Agent 8. I think the appeal comes from the band continually sitting right at the edge of chaos. Yet their fantastic musicianship holds it all together superbly. The horn section is a particular highlight for me, with wonderfully layered horn lines that is a rare treat for a ska band. It could perhaps be said that these guys are too good for ska!

On My Mind has great contrast between the verses and chorus, while maintaining the bounciness throughout. And Identity Crisis has a fantastically catchy chorus. Beer's OK is an infectious pub ditty, especially the very catchy chorus. It reminds me of The Porkers (alcohol is also a common subject for The Porkers' lyrics...), which is always a good thing. And while it's just a simple feel-good song, there's still some fantastic horn work going on in the background.

The handful of slower songs do well to bring some respite, such as the anti-racism calypso song, Looking Ahead. I probably wouldn't think much of it in isolation, but it works well to break up the album. Friends is also a solid effort. The obligatory Specials' tribute, Rude What Happened To You, is also probably a decent effort. However, unfortunately I've already heard a thousand versions of this song, so I'm a bit over it.

Finally, the wonderful secret track is well worth the wait. I won't spoiler it, other than to say that the vocal glissando is a touch of genius!

Hold the phone, there's actually a song I haven't mentioned yet: Number 4. My first experience of this song (and in fact the band) was when I heard it on the radio one day while driving. It captivated me so much that I literally had to pull over so that I didn't cause a collision! So, where to start on dissecting it's brilliance... The random vocal interludes are hilarious (it actually made me assume the band was Japanese). The main melody is brilliantly catchy. The solos are exceptional, and I particularly enjoy the contrast between each of the two trumpets and the two trombones. It evokes a mental image of the band throwing around the solo mic throughout the song, with everyone itching to have a play. Of course, the musicianship is stellar throughout. And then the orderliness goes out the window at the end, where it degenerates to chaos. Yet it's a wonderful musical chaos, which is somehow still coherent. An incredible song, it's an all-time favourite of mine.

Favourite songs

Hoodlum, Identity Crisis, Number 4, On My Mind, Beer's OK, Secret Agent 8, secret track

Worthwhile?

Just when I thought that I'd heard it all (as far as obscure third-wave ska goes), this album appears completely out of left field. And instantly became one of my favourite albums.

Beastie Boys- Solid Gold Hits

Beastie Boys were formed in 1981 and released their first rap album in 1986. This mid-career Best Of was released in 2005.

Somehow, despite all their success, Beastie Boys have passed me by. So I tried to make amends by buying this compilation, subconsciously hoping it would be my ticket to hanging out with the cool kids!

Early signs aren't good, though. I find So What'cha Want somehow sounds harsh. And while the hammond organ is a nice touch, the song is too stop-start for me to properly get into a groove. It's a similar story for Brass Monkey.

The shredding guitar riff of No Sleep Till Brooklyn makes it much more pop-friendly, so it's a song I can really get into. It's also held together nicely with a great, anthemic chorus. Taking the rock influence a step further is Fight For Your Right. It's so cheesy, but I totally dig it.

Hey Ladies is probably my favourite "typical" Beastie Boys song. It's the one time I really get into the breakneck pace of the shared lyrics, and the snappy interplay between singers. Holding it together is a nice funk influence in the backing music. It all goes a bit experimental, which is interesting at first, but unfortunately starts killing the groove towards the end. Surprisingly for late 80s rap, the song features some pretty hectik bass.

Speaking of dubstep, Pass The Mike has great appeal thanks to it's smoother, menacing groove. And the bass-quakes are again an amusing element.

An Open Letter To NYC is fantastic on many levels. The swirling electronic backing has great intriuge, and I really enjoy the husky vocals for some reason. But the highlight is the lyrics, which brings a wonderful humility and emotion to the bustling metropolis that is New York:
Dear New York, I know a lot has changed
Two towers down but you're still in the game
Home to many rejecting no-one
Accepting peoples of all places, wherever they're from

On some songs, I get the feeling that the backing tracks would make great songs if it weren't for the rapping. Hmmm. The beatnik-jazz style of Root Down and Sure Shot are examples of this.

Intergalactic is bonkers. Fantastically bonkers. I have no idea what they're singing about, yet this confusion only increases the sense of a sci-fi adventure while tripping balls. And that organ groove is brilliant.

Similarly, Sabotage's backing music brings a grand scale to the song. It fits perfectly with the rapping, very much like Rage Against The Machine. My favourite moments are how it cranks back up to full attack after a short breather.

Favourite songs

No Sleep Till Brooklyn, Pass The Mike, An Open Letter To NYC, Intergalactic

Worthwhile?

In the end, I can't help thinking that rap isn't my cup of tea. While there are many enjoyable moments here, I think it's more the pop novelties that are holding my interest in the Beastie Boys, which is kinda missing the point. All of this probably means that I am not worthy of this great album...

George Thorogood- 30 Years of Rock

This Best Of was release in 2004... you guessed it, thirty years after the band formed.

As daggy as it may be, I really dig their tongue-in-cheek style of swaggery, bluesy rock. Sometimes the cheesiness is laid on a bit too thick for me (eg Gear Jammer, Rockin' My Life Away, Willie And The Hand Jive), but in general I find the combination of infectious grooves and whimsical lyrics hits the spot.

Madison Blues is basically an instrumental, which proves to me that there's great appeal in the music alone.

On the other hand, One Bourbon One Scotch One Beer relies heavily on the fantastic narrative. I actually prefer this more upbeat version to John Lee Hooker's, since the vocals are dripping with attitude. Petulant attitude, that is! The backing music certainly holds its own though, especially the insistent tension at the start, which finally and wonderfully breaks free at the chorus. And although I don't know what is meant by "scratch my back, baby" during the guitar solo, I think it's a great line.

Move It On Over walks the fine line of cheesiness. And totally succeeds, resulting in a fantastic combination of musical groove and lyrical attitude. Their most famous song, Bad To The Bone, is a song I am somehow reluctant to enjoy. But resistance is futile! The music mightn't be up to the usual standards, but the lyrics are solid gold. For example, the opening is brilliantly arrogant:
On the day I was born,
The nurses all gathered 'round.
And they gazed in wide wonder
At the joy they had found.
The head nurse spoke up,
Said "leave this one alone".
She could tell right away
That I was bad to the bone.

I Drink Alone is similarly tongue-in-cheek, and I actually find the more traditional blues style more engaging than Bad To The Bone. Even more traditional is The Sky Is Crying, perhaps to the point of being totally cliched blues. But it's perfect, so originality be damned...

Finally, my favourite George Thorogood song, Get A Haircut. It has a fantastic singalong chorus and is totally immature. Brilliant. The groove is rock solid and infectious, and the subtle hammond organ is a nice touch.

Favourite songs

Madison Blues, One Bourbon One Scotch One Beer, Move It On Over, Bad To The Bone, I Drink Alone, The Sky Is Crying, Get A Haircut

Worthwhile?

Yep. This album was bought on the back of One Bourbon One Scotch One Beer alone. So it was wonderful to discover an album chock full of great songs.

Lavay Smith- One Hour Mama

This is Lavay Smith's debut album, which was released 1996. I actually have no recollection of buying it, and haven't a clue what it's like, so this review will be a journey for us all!

Oo Poppa Do kicks things off very nicely, thanks to a solid performance of a catchy little tune. Similarly, Blue Skies is a favourite of mine. In particular, I always enjoy the chord progression in the chorus.

But throughout the album, the horn section somehow doesn't fit. Even aside from their awkward intrusions in New Blowtop Blues and Going To Chicago Blues, I find they are in a world of their own somehow. Maybe it's to do with the recording quality (the muffled high-pitched sounds is present on all instruments, but seems to affect the horns more), I don't know.

Unfortunately, the blues songs don't resonate with me, and- as usual- I find the post-war swing style (And Her Tears Flowed Like Wine) to be shallow and soulless. What's The Matter With You shows great promise in its opening, but it turns out to be a letdown, because the piano-driven boogie-woogie goodness only appears in small doses.

Favourite songs

Oo Poppa Do, Blue Skies

Worthwhile?

This review is probably sounding harsher than I intended. While there are some minor gripes, in general it's a solid execution of some swing/jazz classics. So, although I don't find it particularly engaging, it would work perfectly well as background music.

The Amphetameanies- Right Line In Nylons

This is the 1999 debut album from the Scottish ska band. It's quite tongue-in-cheek, with the unique touch of male and female vocal duets.

With this in mind, Bedroom Holiday (we'll come back to the opening song later) has all the ingredients for fun ska times. Unfortunately, the lyrics are somehow uninspiring and the backing music feels like it's going through the motions.

Prince Albert ups the energy to a frenetic level and plants the tongue firmly in cheek. While hardly memorable, it's a bit of novelty fun while it lasts. The highlight for me is the immature humour of the implied profanities:
Dancing down the front,
Looking like a total         ...rude boy

Unfortunately, it's often a case of isolated moments of enjoyment within each song. To quickly touch on some examples: The duet vocals of Point Blank are a nice touch, but overall it's pretty twee. Whiskey is probably great fun live, but the mayhem and silly cameos don't work well on the album. Ghost Bus has a great menacing rocksteady groove and the haunted sections are also a treat, but the sections are totally disjointed and the punk chorus is terribly ill-fitting. While I'm having a moan, the recording quality combines all of the typical ska failings, with a special mention to the dreadfully messy bass-guitar sound.

Even more disappointingly, while I really dig every section of The Sun Shines Down, they just don't gel together at all. Oh, and then there's Driving Home: such a wonderful horn line and musical energy. Such touching lyrics. But who on earth put decided to put them together in a song?! They are totally incompatible. While I'm usually a big fan of contrast, in this case the emotion is totally undermined by said bouncy verses.

With all that out of the way, I am pleased to report that there are some great instrumentals on this album. Speed Fever and Friend Or Foe both have fantastic moods, and susiethemuppet is a solid rocksteady effort. Therefore, I wonder if the varied failings of the other songs are somehow related to the lyrics.

We've seen isolated flashes of brilliance, but if only there was a song that tied them together...

That song is Last Night. Kicking things off with an insanely catchy horn line, it is a fun little story that nicely uses the lead vocal duet. And the chorus is a stands out nicely, providing a bit of contrast. But the highlight for me is that it is free from cheap novelties and holds together well as a cohesive song. Alleluia!

And then there's 60 Hours In Albuquerque, which sounds very similar to Last Night and features a wonderful spaghetti western horn style. However, the arrangement is a mess, showing yet again that creating a good song requires more than throwing a heap of great ideas into a blender. So, perhaps Last Night was just a fluke...

Favourite songs

Last Night, Speed Fever, Friend Or Foe, susiethemuppet Last Night, Speed Fever, Friend Or Foe, susiethemuppet

Worthwhile?

No way. It's been a frustrating experience, because I bought this album based on the promise shown by Last Night. Unfortunately, the rest of the album suggests this was a rare flash of brilliance.

The Clash- self titled

This is the band's debut album, which was released in 1977. (strictly speaking, this is the 1979 US version, which has a couple of different songs)

The Clash's third album, London Calling, is one of my all-time favourite albums. Some of the songs on this debut album show a strong link with the art-rock style of London Calling. Unfortunately, they also show that the band had yet to perfect the style, because Remote Control, Hate & War and Jail Guitar Doors are often a dog's breakfast, full of disjointed sections and incoherent ideas.

That's enough of my whingeing about what the album isn't, it's time to celebrate what it is! And that is an uncouth yet enjoyable punk-rock album. Case in point is Garageland, which is rough as guts, but an interesting listen, thanks to the introspective lyrics. London's Burning has a similar style and a nicely catchy chorus, but is let down by verses lacking in flow.

Moving into slightly more sophisticated territory, the band are brilliant at blending a contrast of venom (usually the lyrics) and smoothness (guitar lines and backing vocals) into a song of rich tapestry. Clash City Rockers is a fine example, although it is a bit disjointed and drags out slightly. White Riot and Janie Jones hit the nail on the head. The former has a wonderfully bouncy feel thanks to the bass guitar, while the highlights of Janie Jones are the vivid narrative and the refreshingly sparse singalong chorus.

The recording quality is ahem... something you end up tolerating. At the start of Clash City Rockers, I was wincing at the tinny drum sound, hollow vocals, thin guitars, non-existant bass guitar and muffled high-pitch sounds for the cymbals (although thankfully, the bass guitar problem doesn't affect other songs). But then I found myself downgrading the other issues from "flaws" to "character traits" over time, and also appreciated the lack of clipping *cough 2000s Loudness Wars... Also, somehow the unsophisticated sound brings a sense of honesty. So would a remastered version be more enjoyable? Hmm, that's a difficult question...

I Fought The Law is simply the perfect pop-rock song. While I was listening to it, a friend made the observation,  "it's so simple, anyone could have written that song". Which is true, but doesn't make it any less brilliant. It is catchy from head to toe and every guitar hook is magic. In the opposite style to usual, they have use smooth lyrics over a jagged beat, and this reversal also works a treat to bring yin and yang to the song.

The more common creation of contrast is with bitey vocals tempered by smooth yet jangly guitars. I'm So Bored With The USA is a great example, with the bouncy drums and catchy chorus being particular highlights. And (White Man) In Hammersmith Palais sees them heading into art-rock territory again, this time with far greater success. Thanks to the scratchy ska guitar, poetic and poignant lyrics and seamless arrangement, it is the London Calling aspect of The Clash at its finest. I can't put my finger on the mood of the songs, but I really dig it! And the ebbs and flows throughout are wonderful.

An intriguing album, both in what it presents and the future potential it hinted at.

Favourite songs

I'm So Bored With The USA, White Riot, (White Man) In Hammersmith Palais, I Fought The Law, Janie Jones, Garageland

Worthwhile?

Yes. The real question might be whether this album or London Calling is my favourite. But it's an invalid question, both are infinitely great!