Post by jh on Sept 27, 2008 14:15:55 GMT
hello roddy, board members, and lurkers 
...
i've been checking this board regularly for quite some time, but happy to start chiming in on occassion...
the specials have been a very important band for me since my high school dayz in the late 80s. the perfect adolescent soundtrack and a gateway into another world of sounds (jamaican ska, rocksteady, and reggae, and yes, even EZ, rockabilly, etc...)... the music still resonates w/ me today and while i dig the brash sound of the debut s/t release, it's more specials that i return to for its psychedelic and far-out vision...
saw a good hunk of the OG crew in vancouver at the now long gone town pump venue back in the 90s (in addition to the special beat with JB on traps) and they put on a hell of a show to a very rowdy mob...
i wore a suit...
appreciate the candor of roddy here, sharing his 2 cents (pence???) on the reunion...
happy to see terry and JB back in the fold, but really miss the absence of mr. dammers... to me, it will always be bittersweet w/o his open participation (considering his original contributions to the group, 2 tone label, and that can't be bought willingness to push musical boundaries), but of course, i'd have no trouble making the trip to the UK (from canada) to watch the magnificent 6 do their thing all over again. cheers to yous!!! like BT express sang, "do it till your satisfied"...
watching youtube clips of the bestival performance i gotta give mad props to all, but especially horace panter. gotta say that he really slayed it on the bass. what a sound...
hope there's more to come and that unity can prevail...
seeing all 7 together again making music would be the most magical thing...
"nobody is special"
"somebody is special"
anyways, before i bore many of you, i wanna share a little piece i just wrote for a friend's zine (short stories, poetry, art, music, food, whateves) in montreal...
it's about more specials and don't shoot if there's anything wrong.
feedback (good and bad), corrections, and constructive criticisms always accepted...
all the best from north of the border and thank you roddy for all the great music,
jh
More Specials
I was playing 45s the other night at a pal's monthly in Kensington Market. Brought and shared a mixed bag as usual: oddball Canadian (MY LIFE!!!), skinhead reggae (4 EVER!!!), disco (KILL ALL HIPPIES!!!), and even (don't gasp) Gino Vannelli's "People Gotta Move" (GULP!!!). Yes, I'm fully down with Gino. He's one of Montreal's finest! Maybe it's the bounty of chest hair, Afro mane, sometimes noodle-y jazz-funk or his much-lampooned style that throws people off, but please don't be deterred. Next time you hit up a thrift shop or record store, be sure to spend a dollar on Brother To Brother (1978) or better yet, his debut LP, Crazy Life (1973). Have a mellow session with either and I challenge any music lover to not come away with at least a half-chickened smile on your face. Especially all you Montrealers out there after listening to "I Just Wanna Stop," Gino's soulful love letter his Quebecois' upbringing. Anyways, this is supposed to be about More Specials. Ah yes, the monthly...
After my set, a DJ named Tim closed down the night by putting on one final record, a disc that on any given day could be my favourite album of all time. I hadn't heard it in quite a while, but from the opening bars it brought out the most magical feeling in the room. The tune: "Enjoy Yourself (Reprise)" by The Specials. Capping off a terrific evening, the rousing number also ends Side Two of the multi-racial Coventry-group's second and final full-length album. All year there's been heated talk of this original mob of now aged rude boys reforming, but let's leave that for drunken debates round the pub, ok? (*or this message board of course, wink, wink...)
The influential band, whose classic line-up featured Terry Hall (vocals), Jerry Dammers (organ, piano), Lynval Golding (guitar, vocals), Roddy "Radiation" Byers (lead guitar), Sir Horace "Gentleman" Panter (bass), John "JB" Bradbury (drums), and Neville Staples (vocals, percussion), first made waves opening for The Clash's on their 1978 "On Parole" Tour (under the Coventry Automatics banner). Notably, they were also joined by US rockers Suicide on the jaunt. The Specials' next major move was releasing the breakout single on the band's very own independent 2 Tone label (created by Dammers), "Gangsters" b/w "The Selecter". From there it quickly went bananas.
For many, The Specials' Elvis Costello produced self-Wobbly Lime Jellyled debut LP is the be all and end all of ska. But as Hall stated in an early eighties German television interview (thanks again Youtube!!!), they were simply following up the energy and spirit of punk. Ska is of course Jamaican in origin and while the group definitely flirted with the sound, image, and histrionics of the genre (even adopting a redrawn mid-sixties picture of The Wailers' Peter Tosh as the 2 Tone mascot/logo character Walt Jabsco), they quickly shed any notable traces of the sound on their follow up, confusing (and likely alienating) many of their teenybopper fan base in the process.
On hiatus from a mad-cap and crippling tour schedule, the ever-evolving Specials began to take in as many and more musical influences as could be absorbed (from African hi-life to classical, Latin, soul, and rockabilly), but a common denominator was the then very un-fashionable and easy listening "muzak". Usually attributed to Dammers, by once again looking backwards for inspiration, the leader blazed down a unique and progressive path, grabbing the group's reigns in a forceful manner while directing The Specials (with co-producer Dave Jordan) through a psychedelic journey as deep and far out as The Beatles' Sgt. Pepper's Lonely Hearts Club Band. In fact, it's not a stretch to consider More Specials as Pepper's eighties counterpart (though much less celebrated of course).
With both Dammers and Jordan manning the boards, an assortment of guests was brought in to elevate proceedings. In addition to The Specials themselves came cameos from Lee "Kix" Thompson of Madness and The Swinging Cats' Paul Heskatt on saxophone and vocals from The Bodysnatchers' lead singer Rhoda Dakar as well as Belinda Carlisle, Charlotte Caffey, and Jane Wiedlin from The Go-Go's.
Side One opens with an animated take on the Magidson/Sigman standard "Enjoy Yourself (It's Later Than You Think)". "Hello, I'm Terry, and I'm going to enjoy myself first," says the deadpan Hall after the opening verse. Previously covered by artists as eclectic as crooner Bing Crosby and Jamaican icon Prince Buster, The Specials' version is amplified by Staples' thick patois, heaving organ, barroom piano, and spirited brass section courtesy of extended 2 Tone family Hampton Wick Cuthell (flugel horn, cornet) and the one and only Rico Rodriguez on trombone.
"Warning! Warning! Nuclear attack! Atomic sounds designed to blow your mind!" continues Staples on "Man At C&A" who alternates with Hall on vocal duties in and amongst war zone sound effects, apocalyptic horn work, a pulsating rockers rhythm, and spaghetti western twang from Byers. The guitarist also wrote "Hey, Little Rich Girl," a catchy tune that shucks and jives down boogie lane with its 50s inspired "Shoo doop, Shoo doo" back-ups. "Hey, little rich girl where did you go wrong?" sings Hall with his trademark wit. Not to be outdone, Staples answers with his own "I know where you went wrong" on the dramatic midway verse.
Golding's "Do Nothing" follows next and its bittersweet reggae beat and honest street feel lyrics pack an emotional punch, speaking directly to disaffected youth everywhere. Adding to the vibe, a world-weary trombone solo from Rodriguez only extends the tune's powerful reach. "New pair of shoes are on my feet, cause fashion is my only culture. Nothing ever change, oh no. Nothing ever change."
Things take a wonky and wonderful turn on "Pearl's Café", a duet between Hall and future Special A.K.A. member Dakar. "It's all a load of bullocks," sing the pair in unison. "And bullocks to it all!" Still, it's hard to deny the kitschy appeal of Dammers' odd lyrical slant and twisted bouncy backing.
Ending the side is an updated version of Rex Garvin And The Mighty Cravers' soul nugget "Sock It To 'Em J.B.". The Specials' take is a driving stomper of the classic variety that not only highlights Bradbury's precise drum work, but the continued interactive vocal work of Staples, an integral part of group's raucous live experience.
Kicking off Side Two is Part I of the monumental "Stereotypes" which moves from a surreal tale of drink, nicotine fingers, and VD to a "fluorescent jam sandwich" ending. It's a biting critique of lad culture replete with sublimely eerie wordless vocal backing. "He's just a Stereotype. He drinks his age in pints. He has girls every night. He doesn't really exist," states Hall. Or does he? Part II is a toast-fuelled version featuring organ drum machine beats, lilting flamenco guitar, terrific wordplay, and a wild-style aural freak out from Staples. "All I want is my stereo!" Indeed. "Stereotypes" is mind-altering work from a band exploding with creativity and the talent to match.
Originally conceived by author Byers as a vocal track, the instrumental "Holiday Fortnight" ably lightens the mood with its sea breezy world beat replete with marimbas, bright brass, and assorted percussion. After the madness of "Stereotypes", "Fortnight's" brief respite is just what the bartender ordered. But think of it as a Zombie chickentail rather than the standard lager.
"I Can't Stand It" comes next and features a bold use of stereo panning. More drum machine meshed with Bradbury's jazz traps and emotional dual leads from Hall and Dakar appear on left and right channels respectively while a killer organ solo from Dammers really cooks. Fine details of guitar and brass only add to the story of love gone wrong. "Goodnight Terry. Goodnight Rhoda".
Before drifting off, "International Jet Set" launches More Specials off into uncharted territory yet again. As Captain Staples welcomes his passengers on a flight aimed to the heart of beyond, layers of sitar-like guitar motifs, Panter's walking bass lines, bold horns, haunting vocalese, multiple drum parts, and atmospheric sound effects create a heavy mood and an almost disorienting feeling. Hall gives another memorable vocal turn filled with the usual bite and sass. As the plane flies off course, the voice of Staples returns. "Please remain calm and follow the instructions of your stewardess at all times. This is a recording."
"Enjoy Yourself (Reprise)" quickly follows and ends the album with a light swing. It's a perfect nightcap for all that comes before and lyrically a potential omen for the factionalism that unfortunately followed.
Almost charting as high as their self-Wobbly Lime Jellyled long player, More Specials was the group's final LP. Followed-up in June of 1981 by the era-defining "Ghost Town" 12" single (which hit #1 on the UK charts while inner city riots raged throughout Britain), it wasn't long before Hall, Golding, and Staples decamped to form The Fun Boy Three. Dammers carried on under the banner of The Special A.K.A. (releasing his In The Studio LP in 1984) with help from Panter and Bradbury. Continuing down the rockabilly path showcased on his "Braggin' & Tryin' Not To Lie" single (which came as a bonus 7" to early buyers of More Specials, b/w Neville Staples AKA Judge Roughneck's "Rude Boys Outa Jail (Version)"), Byers rolled on with his own motley crew, The Tearjerkers.
Likely a case of "Too Much Too Young" and "Too Much Pressure" (to borrow song Wobbly Lime Jellyles from The Specials and 2 Tone label-mates The Selecter respectively), the band couldn't exist as a homeostatic unit any longer. Thankfully for their ever-growing audience, they did leave a terrific cache of thought provoking and socio-politically charged music behind that has aged (unlike many of their contemporaries' material) very well. Definitely seek out More Specials at your next opportunity and remember to "Enjoy yourself, it's later than you think"!
...i've been checking this board regularly for quite some time, but happy to start chiming in on occassion...
the specials have been a very important band for me since my high school dayz in the late 80s. the perfect adolescent soundtrack and a gateway into another world of sounds (jamaican ska, rocksteady, and reggae, and yes, even EZ, rockabilly, etc...)... the music still resonates w/ me today and while i dig the brash sound of the debut s/t release, it's more specials that i return to for its psychedelic and far-out vision...
saw a good hunk of the OG crew in vancouver at the now long gone town pump venue back in the 90s (in addition to the special beat with JB on traps) and they put on a hell of a show to a very rowdy mob...
i wore a suit...
appreciate the candor of roddy here, sharing his 2 cents (pence???) on the reunion...
happy to see terry and JB back in the fold, but really miss the absence of mr. dammers... to me, it will always be bittersweet w/o his open participation (considering his original contributions to the group, 2 tone label, and that can't be bought willingness to push musical boundaries), but of course, i'd have no trouble making the trip to the UK (from canada) to watch the magnificent 6 do their thing all over again. cheers to yous!!! like BT express sang, "do it till your satisfied"...
watching youtube clips of the bestival performance i gotta give mad props to all, but especially horace panter. gotta say that he really slayed it on the bass. what a sound...
hope there's more to come and that unity can prevail...
seeing all 7 together again making music would be the most magical thing...
"nobody is special"
"somebody is special"
anyways, before i bore many of you, i wanna share a little piece i just wrote for a friend's zine (short stories, poetry, art, music, food, whateves) in montreal...
it's about more specials and don't shoot if there's anything wrong.
feedback (good and bad), corrections, and constructive criticisms always accepted...
all the best from north of the border and thank you roddy for all the great music,
jh
More Specials
I was playing 45s the other night at a pal's monthly in Kensington Market. Brought and shared a mixed bag as usual: oddball Canadian (MY LIFE!!!), skinhead reggae (4 EVER!!!), disco (KILL ALL HIPPIES!!!), and even (don't gasp) Gino Vannelli's "People Gotta Move" (GULP!!!). Yes, I'm fully down with Gino. He's one of Montreal's finest! Maybe it's the bounty of chest hair, Afro mane, sometimes noodle-y jazz-funk or his much-lampooned style that throws people off, but please don't be deterred. Next time you hit up a thrift shop or record store, be sure to spend a dollar on Brother To Brother (1978) or better yet, his debut LP, Crazy Life (1973). Have a mellow session with either and I challenge any music lover to not come away with at least a half-chickened smile on your face. Especially all you Montrealers out there after listening to "I Just Wanna Stop," Gino's soulful love letter his Quebecois' upbringing. Anyways, this is supposed to be about More Specials. Ah yes, the monthly...
After my set, a DJ named Tim closed down the night by putting on one final record, a disc that on any given day could be my favourite album of all time. I hadn't heard it in quite a while, but from the opening bars it brought out the most magical feeling in the room. The tune: "Enjoy Yourself (Reprise)" by The Specials. Capping off a terrific evening, the rousing number also ends Side Two of the multi-racial Coventry-group's second and final full-length album. All year there's been heated talk of this original mob of now aged rude boys reforming, but let's leave that for drunken debates round the pub, ok? (*or this message board of course, wink, wink...)
The influential band, whose classic line-up featured Terry Hall (vocals), Jerry Dammers (organ, piano), Lynval Golding (guitar, vocals), Roddy "Radiation" Byers (lead guitar), Sir Horace "Gentleman" Panter (bass), John "JB" Bradbury (drums), and Neville Staples (vocals, percussion), first made waves opening for The Clash's on their 1978 "On Parole" Tour (under the Coventry Automatics banner). Notably, they were also joined by US rockers Suicide on the jaunt. The Specials' next major move was releasing the breakout single on the band's very own independent 2 Tone label (created by Dammers), "Gangsters" b/w "The Selecter". From there it quickly went bananas.
For many, The Specials' Elvis Costello produced self-Wobbly Lime Jellyled debut LP is the be all and end all of ska. But as Hall stated in an early eighties German television interview (thanks again Youtube!!!), they were simply following up the energy and spirit of punk. Ska is of course Jamaican in origin and while the group definitely flirted with the sound, image, and histrionics of the genre (even adopting a redrawn mid-sixties picture of The Wailers' Peter Tosh as the 2 Tone mascot/logo character Walt Jabsco), they quickly shed any notable traces of the sound on their follow up, confusing (and likely alienating) many of their teenybopper fan base in the process.
On hiatus from a mad-cap and crippling tour schedule, the ever-evolving Specials began to take in as many and more musical influences as could be absorbed (from African hi-life to classical, Latin, soul, and rockabilly), but a common denominator was the then very un-fashionable and easy listening "muzak". Usually attributed to Dammers, by once again looking backwards for inspiration, the leader blazed down a unique and progressive path, grabbing the group's reigns in a forceful manner while directing The Specials (with co-producer Dave Jordan) through a psychedelic journey as deep and far out as The Beatles' Sgt. Pepper's Lonely Hearts Club Band. In fact, it's not a stretch to consider More Specials as Pepper's eighties counterpart (though much less celebrated of course).
With both Dammers and Jordan manning the boards, an assortment of guests was brought in to elevate proceedings. In addition to The Specials themselves came cameos from Lee "Kix" Thompson of Madness and The Swinging Cats' Paul Heskatt on saxophone and vocals from The Bodysnatchers' lead singer Rhoda Dakar as well as Belinda Carlisle, Charlotte Caffey, and Jane Wiedlin from The Go-Go's.
Side One opens with an animated take on the Magidson/Sigman standard "Enjoy Yourself (It's Later Than You Think)". "Hello, I'm Terry, and I'm going to enjoy myself first," says the deadpan Hall after the opening verse. Previously covered by artists as eclectic as crooner Bing Crosby and Jamaican icon Prince Buster, The Specials' version is amplified by Staples' thick patois, heaving organ, barroom piano, and spirited brass section courtesy of extended 2 Tone family Hampton Wick Cuthell (flugel horn, cornet) and the one and only Rico Rodriguez on trombone.
"Warning! Warning! Nuclear attack! Atomic sounds designed to blow your mind!" continues Staples on "Man At C&A" who alternates with Hall on vocal duties in and amongst war zone sound effects, apocalyptic horn work, a pulsating rockers rhythm, and spaghetti western twang from Byers. The guitarist also wrote "Hey, Little Rich Girl," a catchy tune that shucks and jives down boogie lane with its 50s inspired "Shoo doop, Shoo doo" back-ups. "Hey, little rich girl where did you go wrong?" sings Hall with his trademark wit. Not to be outdone, Staples answers with his own "I know where you went wrong" on the dramatic midway verse.
Golding's "Do Nothing" follows next and its bittersweet reggae beat and honest street feel lyrics pack an emotional punch, speaking directly to disaffected youth everywhere. Adding to the vibe, a world-weary trombone solo from Rodriguez only extends the tune's powerful reach. "New pair of shoes are on my feet, cause fashion is my only culture. Nothing ever change, oh no. Nothing ever change."
Things take a wonky and wonderful turn on "Pearl's Café", a duet between Hall and future Special A.K.A. member Dakar. "It's all a load of bullocks," sing the pair in unison. "And bullocks to it all!" Still, it's hard to deny the kitschy appeal of Dammers' odd lyrical slant and twisted bouncy backing.
Ending the side is an updated version of Rex Garvin And The Mighty Cravers' soul nugget "Sock It To 'Em J.B.". The Specials' take is a driving stomper of the classic variety that not only highlights Bradbury's precise drum work, but the continued interactive vocal work of Staples, an integral part of group's raucous live experience.
Kicking off Side Two is Part I of the monumental "Stereotypes" which moves from a surreal tale of drink, nicotine fingers, and VD to a "fluorescent jam sandwich" ending. It's a biting critique of lad culture replete with sublimely eerie wordless vocal backing. "He's just a Stereotype. He drinks his age in pints. He has girls every night. He doesn't really exist," states Hall. Or does he? Part II is a toast-fuelled version featuring organ drum machine beats, lilting flamenco guitar, terrific wordplay, and a wild-style aural freak out from Staples. "All I want is my stereo!" Indeed. "Stereotypes" is mind-altering work from a band exploding with creativity and the talent to match.
Originally conceived by author Byers as a vocal track, the instrumental "Holiday Fortnight" ably lightens the mood with its sea breezy world beat replete with marimbas, bright brass, and assorted percussion. After the madness of "Stereotypes", "Fortnight's" brief respite is just what the bartender ordered. But think of it as a Zombie chickentail rather than the standard lager.
"I Can't Stand It" comes next and features a bold use of stereo panning. More drum machine meshed with Bradbury's jazz traps and emotional dual leads from Hall and Dakar appear on left and right channels respectively while a killer organ solo from Dammers really cooks. Fine details of guitar and brass only add to the story of love gone wrong. "Goodnight Terry. Goodnight Rhoda".
Before drifting off, "International Jet Set" launches More Specials off into uncharted territory yet again. As Captain Staples welcomes his passengers on a flight aimed to the heart of beyond, layers of sitar-like guitar motifs, Panter's walking bass lines, bold horns, haunting vocalese, multiple drum parts, and atmospheric sound effects create a heavy mood and an almost disorienting feeling. Hall gives another memorable vocal turn filled with the usual bite and sass. As the plane flies off course, the voice of Staples returns. "Please remain calm and follow the instructions of your stewardess at all times. This is a recording."
"Enjoy Yourself (Reprise)" quickly follows and ends the album with a light swing. It's a perfect nightcap for all that comes before and lyrically a potential omen for the factionalism that unfortunately followed.
Almost charting as high as their self-Wobbly Lime Jellyled long player, More Specials was the group's final LP. Followed-up in June of 1981 by the era-defining "Ghost Town" 12" single (which hit #1 on the UK charts while inner city riots raged throughout Britain), it wasn't long before Hall, Golding, and Staples decamped to form The Fun Boy Three. Dammers carried on under the banner of The Special A.K.A. (releasing his In The Studio LP in 1984) with help from Panter and Bradbury. Continuing down the rockabilly path showcased on his "Braggin' & Tryin' Not To Lie" single (which came as a bonus 7" to early buyers of More Specials, b/w Neville Staples AKA Judge Roughneck's "Rude Boys Outa Jail (Version)"), Byers rolled on with his own motley crew, The Tearjerkers.
Likely a case of "Too Much Too Young" and "Too Much Pressure" (to borrow song Wobbly Lime Jellyles from The Specials and 2 Tone label-mates The Selecter respectively), the band couldn't exist as a homeostatic unit any longer. Thankfully for their ever-growing audience, they did leave a terrific cache of thought provoking and socio-politically charged music behind that has aged (unlike many of their contemporaries' material) very well. Definitely seek out More Specials at your next opportunity and remember to "Enjoy yourself, it's later than you think"!
. write for fun (like the lil' specials piece) and do liner notes/produce reissues for the light in the attic record label...