Todos Tus Muertos - s/t

Name:Todod Tus Muertos
Album: s/t
Year: 1997
Style: Punk, Hardcore, Reggae
Similar Bands: Misfits, Bad Brains, Rage Against the Machine, The Clash
"One-Word" Review: Dark Angry Dub-Core
Based Out Of: Buenos Aires, Argentina
Label: Universal, DBN

Cover, Liner Notes, Pics

Lyrics, CD Back, CD

Todos Tus Muertos (1997)

1. El Feretro 2:20
2. Demasiados Revueltos 3:38
3. Diez Segundos De Masacre 1:53
4. Turbulentas Tinieblas 1:41
5. !A Combatir! 2:25
6. Dieciocho Horas 4:51
7. Dias De Escuela 2:38
8. Gente Que No 2:38 (single)
9. Armas (Para La Paz) 5:01
10. No Mas Apartheid 3:21
11. Viejos De Mierda 1:23
12. Mas Bajo Que Tu Status 3:19
13. Tango Traidor 3:35

Album Rating (1-10): 7.5

Members & Other Bands:

• Cristian Ruiz - Bateria [drums] (Linda Valori, Malrecetado)
• Felixx Gutierrez - Bajo, Coros, Collage Sobre Interno [bass & vox] (Los Laxantes, Los Muertos, Fermin Muguruza, Las Plantas De Shiva, El Fuego Del Amor)
• Fidel Nadal - Voz, Kalimba, Foto Sobre Interno [vox] (Lumumba, Los Intocables, Tijuana No, Negu Gorriak, Mano Negra, Anouk, Fermin Muguruza, Desorden Publico, Alerta, Mancha de Rolando, Joxe Ripiau)
• Horacio "Gamexane" Villafane - Guitarra, Vox, [guitar & vox]Produccion Artistica, Teclados, Tipografia (Los Laxantes, Los Muertos, Los 7 Delfines, Sobrecarga, Los Fabulosos Cadillacs, Cienfuegos, Fermin Muguruza, El Fuego Del Amor, Los Sedantes)
• David Wrocklavsky - Teclados [Keys] (Sobrecarga)
• Sergio Rotman - Saxo Alto (Los Fabulosos Cadillacs, Cienfuegos, Mimi Maura, El Fuego Del Amor, El Siempreterno, Los Sedantes, Pez, Leon Gieco, A77aque, Fidel, Los Telepatas, Futbol, El Mundo, Los Cafres, Santana, Lulu Lewis, Diente Perro, Los Pepiniyoz)
• Naco Goldfinger Saxo Tenor (Los Fabulosos Cadillacs, Leon Gieco)
• Dany Lozano - Trompeta (Los Fabulosos Cadillacs, Leon Gieco, A77aque, The Tories, Federico Aubele, Santana Los Cafres)
• David Gomez - Percision
• Mundy Epifanio - Produccion Ejecutiva
• Poppy Manzanedo - Coordinacion General
• Walter Chacon - Tecnico de Grabacion
• Andy Cherniavsky - Foto de Tapa

Unknown-ness: Never heard of this band, but came across this CD in a box of leftover CDs from someone's move. I have a strong idea that, based on the dark & death artwork, not to mention a cover that reminds me of the Misfits, i'm guessing this is punk with a dark subject matter. Based on the address and lyrics, the Argentinian band performs in Spanish, but i'm really excited to see how the horns are used, if the sheer speed of the songs pushed them into Ska territory, or they just play HC punk with horns.

Album Review: They definitely have a darker edge with their punk rock, very similar to the Misfits. It is not pop punk on the surface, although some of the songs do use a catchy three chord structure (and their "single Gente Que No does reach ska-pop status), it is a deeper, dark tone with fast, driving guitars at times. They also mix it up with some reggae influence, which still carries a dark, unsettling tone...as the listens progress, the reggae style shares equal stage with the Hardcore Punk.

This copy is a reissue of their sophomore 1988 album, that sings about political oppression, racism, immigration abuse, and land reform. The name translates to All Your Dead, and is a reference to the people killed in Argentina during the "Dirty War" under the dictatorship of Jorge Rafael Videla in the late 70's. "Gamexane" passed away in 2011, but they have done occasional reunion shows

Stand Out Track: Gente Que No

Links:
Wiki

Discogs

Allmusic

Spotify

LA Times 1996

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Third World - Rock the World

Name: Third World
Album: Rock the World
Year: 1981
Style: R&B, Soul, Reggae
Similar Bands: Stylistics, Inner Circle, Wailers
"One-Word" Review: Free Love Soul Disco
Based Out Of: Jamaica
Label: Columbia

Cover, Sleeve, Record

Back, Lyrics, Record

Rock the World (1981)

1. Rock the World 3:46
2. Spiritual Revolution 5:11
3. Who Gave You (Jah Rastafari)  4:26
4. Dubb Music 3:37
5. Shine Like a Blazing Fire 3:47 /
6. Dancing on the Floor (Hooked On Love) 5:32(single)
7. There's No Need to Question Why 3:48
8. Peace and Love 4:14
9. Standing In The Rain 3:10 (single)
10. Hug It Up 4:45

Album Rating (1-10): 6.0

Members & Other Bands:

• Michael Cooper - Recording & Mixing
• Bruce Hensal - Recording & Mixing
• Patrice Carroll - Asst Engineer
• Robert Stweart - Asst Engineer
• Vishwaka Wadinambiaratchi - Asst. Engineer
• Bobby Bootheel - Album Art Concept
• Mark Diamond - Photos
• Mark Paternostro - Cover Art
• Bob Heimall - Art Direction
• Michael "Ibo" Cooper - Clavinet, Keys, Prophet 5, Vox, Funde Drum (The Alley Cats, Inner Circle, more)
• Stephen "Cat" Coore - Bass, Vox, Harmonica, Guitar, Synth, Tubular Bells (The Alley Cats, Inner Circle more )
• Richie Daley - Guitar, Cowbell, Backing Vox, Bass (Tomorrow's Children, Blaze, Derrick Harriott, Ras Eliebank, Black Market Rhythm Band, Jimmy Tucker, AJ Brown, Foundation, Earth Messengers, Bob Marley & Wailers, Candy McKenzi)
• Irvin "Carrot" Jarrett - Golbell, Conga, Cowbell, Backing Vox, Akete drum, Bell Chimes, Tambarine, Quaker Drum, Open End Spanners, Bongas, Bell of Three, Wood Claps (Inner Circle, The Wailers Band, NDTC Singers, Bob Andy, I Kong, Jimmy Tucker, AJ Brown, Judy Mowatt, Joe Higgs, Peter Broggs, Jampara, National Dance Theater Co of Jamica, Toots & the Maytals, Candy McKenzie, Bunny Rugs)
• Willie Stewart - Drums, Wood-ago-go-bell, Roaring Thunder, Tympani, Traps, Funde Drum, Timbales, Bottle of Green, Wood Claps, (Inner Circle, Blaze, Barry Biggs, T. Brothers, Pablo Moses, Jimmy Tucker, Cynthia Schloss, Gregory Isaacs, Lloyd Parks, Man of Nobility Ensemble, Marcia Griffiths, Earth Messengers, Ras Elibank, Karen Smith, Dawn Penn, Wailing Souls, Natalia Beylis, Paula Clarke, Delroy Wilson, The Jamaicans)
• William "Bunny Rugs" Clarke - Vox, Guitar, Cabassa (Inner Circle, Bunny & Ricky, Bush Weed & Corn Trash, Hugh Hendricks & the Buccaneers, Candy McKenzie)
• Valerie Von Pechy - Whitcup-Harp (Rosewater Blue, Billion Dollar Band, Peter Brown, KC & the Sunshine Band, Passion, Michael Blate, Raul Di Blasio)

Unknown-ness: Never heard of this band, but it looks like it will be straight up Reggae made to heal the world. Like the matching white outfits.

Album Review: While the album does have many reggae vibes, much of the production, sound and vocal performances are more in line with straight up smooth R&B, and dip a toe into disco on some of the tracks (Dancing on the Floor). "Who Gave You" sounds a little like Elvis Costello's "Ship Building" or "Almost Blue."
With  over 47 years (1973 formation) and 9 Grammy nominations, Third World is one of the longest lasting reggae bands of all time, often blending/fusing reggae with R&B, Funk, Pop and Rap, giving them cross-genre appreciation. Their biggest success was in '78 with their cover of the O'Jays "Now That We Found Love," which was the basis for the Heavy D's 1991 cover. This album was their first with Columbia after leaving Island records. Both Rugs & Carrot have passed away in 2014 & 2018 respectively, but the band still records and performs.

Stand Out Track: Rock the World

Links:

Youtube full album

Website
Wiki

Discogs

Allmusic

Facebook

Jamaicans.com

Caribbean National Weekly
William Clarke Obit
S. FL Caribbean News
Third World Sound Cloud

Skatemaster Tate & The Concrete Crew - Do the Skate

Name: Skatemaster Tate & The Concrete Crew
Album: Do the Skate
Year: 1991
Style: Hip Hop, Jazz Fusion
Similar Bands: Urban Dance Squad, C+C Music Factory, Bent Fabric, Sublime, Arrested Development, Toejam & Earl
"One-Word" Review: Mellow Jazzy Beatnik Hip Hop Samples
Based Out Of: Los Angeles, CA
Label: 4th & B'Way, Island Records

Cover & Record

Back & Record

Do The Skate (1991)

1. Do The Skate 4:14
2. Get Dat Grove 2:37
3. Two Headed Love Child 3:20
4. Irv's 4:37
5. Willie Brown Live 3:51 (sample of "Pennsylvania 6-5000")
6. Justice (To The Bass) Nick & Scruff Version 3:14 /
7. Joe's Jam 6:27
8. Right Place 4:12 (samples: Hall & Oates "I Can't Go For That," "Could Be I'm Falling in Love," and "Right Place, Wrong Time")
9. More 3:25
10. Hey Wooley 4:52
11. Justice (To The Bass) Extended Boneless Mix 4:08

Album Rating (1-10): 5.5

Members & Other Bands:

• Willie McNeil - Producer
• D. Thomas
• Octavio - Sax (Arianna, Luis Miquel, Los Temerarios, LabA)
• Phil Nowlan - Guitar, Keys (Cool C, Three Times Dope, Tim Dog, Toshi Kubota, Jermaine Dupri)
• Skatemaster Tate (Gerry Hurtado) - Vox, Producer, Remixed (Porno for Pyros, Stone Cold Boners, Tate&Greg, Boo Yaa TRIBE, DJ Shadow, Cut Chemist )
• Willie Brown - Vox, Samples, Drums
• Natas Kapus - Backing Vox
• Don Kingski - Samples, Vox, Keys (Circle of Soul)
• Chris Garcia - Bass (Sweet Daddy, Fred Pellichero, Clay Aiken, Thyne Scabbard, Eduardo Rios)
• Jammin' Jay Davidson - Sax (Towson St U/College Jazz Ensemble, Mirjam, Marco, OC Smith, Joe the Butcher Nicolo, Cash Money and Marvelous, 7A3, Myles Goodwyn, Magnetics, Chena, Robbie B & DJ Jazz, Something Special, Cinderella, Tim Dog, Bad Mutha Goose & Bros Grimm, Pop's Cool Love, Taj Mahal, The Goats, Spearhead, Big Cheif, Ben Arnold, The Philosopher Kings, G. Love & Special Sauce, Monty Alexander, Pepper's Ghost, TM Stevens, Bon Jovi, Bruce L Cohen, Blues Anatomy, Mike Pinto, Labelle, Stroke, Greg Davis, Holy Water, Ronnie Spector, Up The Chain, Chris Kasper, Gina Sicila, American Mafia, Angel Du$t, Young & Heartless, Brit Floyd, Cast In Bronze, Pete Donnelly, Turnover)
• Andy "Funky Drummer" Kravitz - Drums (Butcher Brothers, Electric Love Muffin, Neptune Darlings, Steady B, Billy price & Keystone Rhythm Band, Schoolly D, Boo-Yaa TRIBE, Taj Mahal, Cypress Hill, Goats, Kris Kross, Wailing Souls, Billy Joel, Mona Lisa Overdrive, Luther Vandross, Smashign Orange, Rolling Stones, Spearhead, Shawn Colvin, Joan Osborne, Big Cheif, Candy Butchers, Midge Ure, Imogen Heap, Hamell on Trial, Juliana Hatfield, Figgs, Amos Lee, Pete Donnelly  more)
• Tupelo Joe Altruda - Upright Bass, Vox, Guitar (Afterhours, Buru jazz Ensemble, Cocktail Crew, Jump with Joey, Sounds of Zodiac, Tupelo Chain Sex, Screamin' Sirens, Thelonious Monster, Joe Strummer, Shy Party, Levi Decter, Solsonics, DJ Bonebreak, Skip Heller, Ramblin' James & Billyboppers, Big Sandy & his Fly-Rite Boys, Dread Filmstone, DJ Shadow, Cut Chemist, Ernest Ranglin, Seu Jorge, Almaz, Western Standard Time, Bebel Gilberto)
• Cooper - Bass 
• Z Grutzman
• Zachary Terrell - Piano, Keys
• Brown (Tony, Unsel) Brothers - Backing Vox
• Kevin Williams - Backing Vox (Bonedaddys, Untouchables, Corporation of One, Matt Wood, Ben Harper, Solsonics, Guru, Jump With Joey, English Beat, Tupelo Joe, After Hours, Zakiya Hooker, Anthony Burger, John Lee Hooker, Hubbard's Cupboard, Lights Out)
• DJ E-Z - Turntables 
• Tim Kerr - Guitar (Bad Mutha Goose & the Brothers Grimm, Big Boys, Jack O'Fire, King Sound Quartet, Lord High Fixers, Poison 13, Monkeywrench, Now Time Delegation, Total Sound Group Direct Action Committee, Up Around the Sun, Dicks, Quintron, Sugar Shack,  more)
• Joe "The Butcher" Nicolo - Coproducer, Remixing
• Scruff & Nick - Additional Production & Mixing
• Matthew Hyde - Engineering
• Dennis Dragon - Producer, Engineer
• Chris Bellman - Mastering
• Bernie Grundman - Mastering
• John Switzer - Mgmt
• Gabriel Leconte - Mgmt
• Gary Wishik - Legal
• Kim Buie - A&R Coordination
• Lori Graves - A&R Coordination
• Rachell Stoud - Sampling Equipment Consulting
• Deborah Melian - Art Direction & Design
• Michael Miller - Photography

Unknown-ness: never heard of this band. But i imagine it's west coast slacker hip hop, perhaps a mix of rap & hardcore, as i'm thinking of what skaters were into in the early 90's. 

Album Review: This is a very interesting record. The mix of free flowing jazz, jazz influence like using a sample of  Pennsylvania 6-5000, and sections that sound like the Alley Cat thrown into thoughtful hip hop lyrics and samples make me think that the musicians have a Jazz background, but wanted to fuse it to what they had around them: samples, smooth rapping and youthful street-wise topics, It makes me really wonder where the inspiration came from and what they were going for. Paying respect to jazz history by introducing a younger crowd to the fusion of beatnik night clubs and scratch /sampling. Some of the songs do have a juvenile and embarrassing take (Two Headed Love Child) and it makes me wonder how it was promoted what kind of "street cred" they earned from this. Who was their fans base? Definitely positive vibes on the album, but it is genre scattered too much for the casual listener like me. Imagine Arrested Development playing with Sublime trying to update Bent Fabric and Benny Goodman big band songs while playing Toe Jam & Earl on Sega Genesis. On the other hand, this is a true mixing of race, style and lifestyle...the absolute melting pot and predicted positive face of music in the future from 1991's view. So Tate was a real skating aficionado, skating on the amateur circuit in the 70's and hosting the Nickelodeon SK8-TV show, which only lasted 13 episodes. Well before this album in 1983, he started gaining popularity amongst the skate rock audience, having songs in a variety of skate videos, even getting a song in the film What About Bob?. Apparently he was a very friendly guy that would help out anyone he could who needed it. Tate sadly passed away in 2015 from liver cancer.

Stand Out Track: Justice (To The Bass) Nick & Scruff Version

Links:

Spotify full album
Wiki

Discogs

Allmusic

thrasher obit 10.15.2015

what about bob imdb

wiki zero

Robotiks (the) - Man and Machine

Name:The Robotiks
Album: Man and Machine
Year: 1985
Style: Synth, Electronic Reggae, Dub
Similar Bands: Manuel Gottsching, Mad Professor, King Tubby, Lee "Scratch" Perry
"One-Word" Review: Jazzy Synth House Reggae
Based Out Of: London, UK
Label: Ariwa Sound

Cover, Record

Back, Record

Man and Machine (1985)

1. Man and Machine 3:36
2. Dubbing in Harmony 3:26
3. San Remo 6:05
4. Test Tube Mix 4:29
5. Recharge 3:42/
6. Mystic Robotik 3:39
7. Shooting Star 4:38
8. Positive Logic 3:59
9. Dub De Goeblin 3:27
10. It All Started Under a Coconut Tree 3:51

Album Rating (1-10): 5.0

Members & Other Bands:

• Mad Professor (Neil Joseph Stephen Fraser) - Producer, Vox (Anti-Social Workers, Sergeant Pepper, Lost Cherrees, Perry Farrell, Dubital, The Nomad, Professor Skank, Ranking Ann, Ben Zephaniah, Johnny Clarke, Jah Shaka, Lee "Scratch" Perry, Kofi. Bob Andy, Clementine, Massive Attack so many)
• Preacher - Vox, Bass, Piano (Sane Inmates, Rosie Gaines, Twinkle Brothere, Ranking Ann, Mad Professor, Sergeant Pepper, Johnny Clarke. Jah Shaka, Alvin Dread., Wild Bunch, Addis Rockers, Sandra Cross, Macka B, Kendell Smith, Kofi, Champion Doug Veitch, Lee Scratch Perry, Nitty Gritty, Junio Delgado, Mr Palmer the Ninja, Sister Audrey, U-Roy, John McLean, Tippa Irie, Peter Hunningale, Luciano, Susan Cadogan, Joseph Cotton, Daddy Freddie, Tex Johnson)
• Michael Walters - Vox (Macka B)
• Robotics - Drums
• Black Steel (Errol Nicholson) - Bass, Guitars, Piano (Klearview Harmonix, Peter Culture, Mad Professor, Sandra Cross, Dr. Alimantado, Johnny Clarke, Aisha, Barry Biggs, Kofi, Dennis Brown, Twinkle Bros, KLF, U-Roy, Kevin Eastwood, Moody Boys, Intense, Thriller Jenna, Sade, Gregory Isaacs, Earl Sixteen, Kingpin, Macka B, Nolan Irie, Paulette Tajah, Yabby You, Workshy, Unitone Rockers, Tucker Rainbow, John McLean, Della Grant, more)
• Jeffrey Beckford - Guitar (Mad Professor, Sandra Cross, Nitty Gritty, U-Roy, Bert Martin, John McLean, Macka B, Aisha, Madelaine, Luciano)
• Cleveland Neunie - Piano (Ranking Ann, Mad Professor, Sandra Cross, Johnny Clarke, Nitty Gritty, Bert Martin, Madelaine, Susan Cadogan, Joseph Cotton, Daddy Freddie)
• Roger - Horns (Mad Professor, Macka B, Sandra Cross, Lee "Scratch" Perry)
• Patrick - Horns (Mad Professor, Macka B, Sandra Cross, Lee "Scratch" Perry)
• George Wilkins - Harmonica (Peter Culture, Mad Professor, Long Tall Texans)

Unknown-ness: Never heard of this band. But from the straight line cover of a military force taking on a robot attack, i imagine it is some sort of futuristic electro hard core or political minded indie punk with synthesizers. 

Album Review: So i was way out of my league when I put this record on. It reminds me a little of Manuel Gottsching with the synthetic repetitive house/techno sound, with the big exception is that this album has a chill reggae dub vibe. It is mostly instrumental, and the repetitive hooks and grooves are slow and deliberate. I've read they are the house band for their label, Ariwa, and support artist like Lee "Scratch" Perry. Mad Professor is by far the biggest name related to this band, and he is one of the pioneers bringing dub into the digital age, which is more than apparent on this album.

Stand Out Track: Man and Machine

Links:

Spotify full album
Mad ProfessorWiki

Discogs

Allmusic

mad professor FB

rate your music

bandcamp

2017 Jazz Cafe, London event page

Mad Professor 2006 Remix Mag Interview

Mad Professor Nice Up Interview

Ariwa Label Page

Lady Pank - Drop Everything

Name: Lady Pank
Album: Drop Everything
Year: 1983
Style: New Wave Ska Reggae 
Similar Bands: China Crisis, Police, Dire Straits, Duran Duran
"One-Word" Review: JangleEuroSka
Based Out Of: Poland
Label: MCA, 

Cover, Record

Record, Back

Drop Everything (1983)

1. Minus Zero 3:54
2. Hustler 3:56
3. Hero 4:10
4. The Zoo That Has No Keeper 3:40
5. Be Good 3:56 /
6. Do, Do 3:54
7. Someone's 'Round the Corner 3:58
8. Disturbance of the Order (Instrumental) 1:30
9. Stranger 5:34
10. My Kilimanjaro 3:44

Album Rating (1-10): 7.5

Members & Other Bands:

• Dave Leaper - Producer
• Jan Borysewicz - Guitar, Vox, Writer (Nurt, Super Pakt, Katia & Roman, Apokalipsa, Breakout, Budka Suflera, Izabela Trojanowska, Jan Bo, Irek Dudek, Jacek Skubikowski, Obywatei GC, Majka Jezowska, Ryszard Skibinski, Fotoness, Top One, Mona Mur, Gosia, Chlopcy Z Placu Broni, Edyta Bartosiewicz, Cytadela, Subway, K. martin, Wojciech Pilichowski)
• Janusz Panasewicz - Vox (Zander, Krystyna Pronko, Qligowscy, Panasewicz, Wojek Mazolewski)
• Jaroslaw Szlagowski - Percussion, Drums (Blog 27, Maanam, Oddzial Zamkniety, Tadeusz Nalepa, Fotoness, Maciej Zembaty, Time Square)
• Pawel Mscislawski - Bass (Oddzial Zamkniety)
• Edmund Stasiak - Guitar (Emigranci, Hojda, Sputnik, Majka Jezowska) 
• Andrjez Mogielnicki - Music
• Greg Kuczynski - Production Consultant
• Stawomir Wesolowski - Engineer
• Mariusz Zabrodski - Asst. Engineer
• Greg Fulginti - Mastering
• Tom Wachtel - English Transalation
• Cream - Design, Art Direction
• Andrzej Tyszko - Photography
• Tom Carrabba - Personal Manager
• Tim Brack - Personal Manager

Unknown-ness: Never heard of this band, but it looks like moody new wave. Quite a Eurotrashy look mixed with British punk/new wave.

Album Review: So this is a Polish band that does not speak much, if any English. At first, the lyrics were translated to English and learned to be sung phonetically. Musically, they are a lot like the police...finding that fine line between ska and reggae that is basically just another branch of the new wave tree. And apparently they are still together, performing across Europe later this year if everything opens back up (2020).

Stand Out Track: Minus Zero

Links:

wiki

website

bbc

harpa

facebook

wash post

insta

discogs

allmusic

Cryin' Out Loud - Live It Up

Name: Cryin' Out Loud
Album: Live It Up
Year: 1985
Style: Reggae influenced New Wave
Similar Bands: Police, English Beat, Specials
"One-Word" Review: Brassless Powerpop Ska
Based Out Of: Hoboken, NJ
Label: Golda Bowlfish Records

Cover & Record

Record & Back

Live it Up (1985)

1. The Distance 2:53
2. Live It Up 4:20 /
3. Fire 4:30
4. Pounding Heart 4:26

Album Rating (1-10): 7.0

Members & Other Bands:

• Don Brody - Guitar, Vox, Words & Music (Screaming Urge, the Marys, Connie Sharar)
• Todd Novak - Lead Guitar
• Christopher Johns - Drums, Backing Vox
• Dan Acker - Bass, Backing Vox (the Dragsters)
• Glenn M. Taylor - Engineering, Producer
• Charles Evelyn - Album Design
• Jeffrey Kane - Photography

Unknown-ness: Never heard of this band, but they also (like the Philisteens) look like a typical new Wave Band, however, there is a chance that they could be more jangley college pop, since it is a 1985 record, and markered over as a radio station's copy.

Album Review: They are a very Police inspired reggae-new Wave band. All of their songs have the repetitive & rhythmically strummed chords/ They do not have quite the energy of ska, and there is no brass. But they are considered to be part of the NYC Ska contingent, with their own variation on the genre. Singer Don Brody was a survivor of polio in his youth, and learned to play guitar while bedridden. He passed away at 44 in his sleep in Dec'97.

Stand Out Track: The Distance

Links:
Discogs
Tribute
Marco on the Bass
Tone & Wave
PSU article from '86
Don Brody rememberance 

Pinchers With Pliers - s/t

Name: Pinchers with Pliers
Album: s/t
Year: 1988
Style: Reggae
Similar Bands: Marley, Black Stalin, Peter Tosh
"One-Word" Review: Smooth Breezy Relaxation
Based Out Of: Kingston, Jamaica
Label: Black Scorpio Records, VP Records

Cover & Record

Back & Record

Pinchers with Pliers (1988)

1. Increase Your Knowledge 3:36 (listed as track 2)
2. The Sun is Shining in My Life 3:36
3. Rise and Fall 3:48 (listed as track 5)
4. Crazy 3:35 (listed as track 3)
5.  Here I Come Again 3:31  (listed as track 4)/ 
6. Sweet Sweet 3:30
7. Who's There 3:56
8. Whispers in the Dark 3:51
9. Love Up Mi Bonify 3:46
10. Bias Them Bias 3:09

Album Rating (1-10): 6.5

Members & Other Bands:

• Pinchers (Delroy Thompson)- Vox (Sly & Robbie, Jackie Mittoo, Robbie Lyn)
• Pliers (Everton -Bonner) - Vox (Chaka Demus, Blues Melody)
• Jack Scorpio
• Maurice Johnson - Arranged and Produced
• Clieve Brownie - Rhythm Tracks, Drums, Bass (Steely & Clevie, The In Crowd, The Music Works Crew)
• Winston Wright - Bass, Drums (many) 
• Steele (Wycliffe Johnson) - Bass (many)
• Dwight Pinkney - Lead Guitar (Gifted Roots band, Singers & Players, Ring Craft Posse, Roots Radics, Sharks, Yardbeat, Zap Pow)
• Lascelles Beckford - Guitar (Gregory Isaacs, General Trees)
• Asher (Tony Brissett) - Synth (Hi-Times Band/Players)
• Robbie Lyn - Synth (Sound Dimension, Music Works Crew, Now Generation, Ring Craft Posse, Word, Sound & Power)
• Scully (Noel Simms) - Percussion (many)
• Sky Juice (Christopher Blake) - Percussion (Channel One All Stars, Roots Radics)
• Junior - Engineer
• Mikey Riley - Engineer
• Chris - Engineer
• Mervin - Engineer
• Bagga Case - Design & Art

Unknown-ness: Never heard of this band, but i am guessing it is going to be some reggae / calypso based on the pics  and addresses on the back.

Album Review: So this is basically a Reggae split, with Pinchers on the A side, and Pliers on the B side. Neither artist had huge success, but this is a nice, relaxing & pleasant record.

Stand Out Track: Here I Come Again - Pinchers
Love Up Mi Bonify - Pliers

Links:
Discogs
Pinchers WIKI
Pliers WIKI

Blue Boy - Superman

Name:Blue Boy
Album: Superman
Year: 1982
Style: Reggae, Calypso, Funk , Soca
Similar Bands: Mighty Sparrow, Pinchers & Pliers, Lord Shorty
"One-Word" Review: Funky Reggae Party Music
Based Out Of: Trinidad
Label: Charlie's Records, Charles

Cover & Record

Back & Record

Superman (1982)

1. Superman 6:54
2. Pan in the Air 4:42
3. Rebecca 5:57 / 
4. Swing 5:08
5. Party 6:39
6. Slavation 5:52

Album Rating (1-10): 7.0

Members & Other Bands:

• Austin Lyons Blue Boy - Composition (Apple Stars Steel Orch., Explainer)
• Pelham Goddard - Arrangement & Conducted, Keys (Ed Watson & the Brass Circle, Mighty Kinger, Lord Shorty, Brother Mudada, Mighty Swallow, Mighty Sparrow)
• Rawlston Charles - Producer
• Colin Stephen - Congas Percussion (Pied Pipers, Charlie's Roots, David Rudder)
• Vernon Headley - Drums (Charlies Roots, Red Plastic bag, David Rudder, Swamp Dogg)
• Emanuel Ector - Bass (Swallow, Pan Assembly)
• Anthony Voison - Guitar (Charlies Roots,Tambu, David Rudder, Inspector, Arrow, Calypso Rose)
• Junior Wharwood - Guitar (Charlies Roots, Lord Shorty, Arrow, David Rudder, Explainer)
• Len Boogsia Sharpe - Pan (Monty Alexander's Ivory Steel, Lord Shorty, PM Dawn, Swamp Dogg, 
• Clyde Mitchell - 1st Trumpet (Ed Watson & The Brass Circle, Lord Shorty, Charlie's Roots, Arrow, Explainer, Black Stalin, Baron)
• David Pilgrim - 2nd Trumpet (Bunny Mack, Jewel Ackah, Harry Panday)
• Skel - Tenor Sax
• Jamesie - Trombone
• Akili Walker - Engineer
• Kevin Burke - Photographer
• Hollis King - Art Direction
• Jon Fausty - Engineer
• Charmaine Yates - Vox (Becket, Winston Soso)
• Glenda Ifill - Vox (Becket, Winston Soso, Black Stalin)
• Valerie Brewster - Vox (Melody, Brigo, Brother Resistance)
• Jenifer Pequerra - Vox

Unknown-ness: Never heard of Super Blueboy, but i love the cover of the artist in a Superman-Like outfit, flying in the sky, carrying a blue record. All hints on the back suggest this is Reggae / Calypso, so I have no reason to doubt it

Album Review: So on top of Calypso, there is a little funk & R&B element added into the production,. giving a little more dimension to the genre. Which is a genre all it's own called Soca, or Sokah, which is short for the Soul of Calypso, reinvigorating traditional Calypso with Funk, Soul, Jazz to make a new genre that kept Calypso relevant. Blue Boy/Superblue/Austin Lyons is an award winnng and groundbreaking musician that was the first winner & double winner of the Soca Monarch award, first calypso performer on Sesame Street and the first calypso performer at London's Wembley Convention Center in '91.

Stand Out Track: Pan in the Air

Links:
Discogs
Wiki
Pan on the net
Caribbean Beat
Caribbean HOF
When Steel Talks

The Parachute Club - s/t

Name: (the) Parachute Club|

Album: s/t

Year: 1983

Style: Lite Pop, Caribbean, Reggae

Similar Bands: Toyah, Debbie Harry, Belle Stars

One Word Review: Deconstructed Antiseptic Jazz Wave 

Based Out Of: Toronto, Canada

Label(s): Current, RCA

 Parachute Club: Cover, Slip Cover, Record

Parachute Club: Back, Lyrics, Record

Paracute Club - S/T (1983)

1. Rise Up 5:10
2. Slip Away 4:36
3. Alienation 3:48
4. Are You Hungry 5:07
5. Free Up Yourself 3:41/
6. Boys Club 3:32
7. Hot Pursuit 5:09
8. She Tell You 5:05
9. Tobago Style 5:41

Album Rating (1-10): 5.0

Members & Other Bands:
Lorraine Segato - Vox, Guitar, Percussion, Mixing (Mama Quilla II, V, Dance Appeal, Northern Lights, Lillian Allen, Ramm)

Lauri Conger - Keys, Vox (Mama Quilla II, Heather Bishop)

Billy Bryans - Drums, Percussion, Mixing (Downchild Blues Band, V, Time Twins, Lillian Allen)
Margo Davidson - Sax, Percussion, Vox (Foxrun Band)

Julie Masi - Percussion, Sax, Timbales Vox (Martha & Muffins, Rita MacNeil)

Steve Webster - Bass (Billy Idol, Heads in the Sky, Dalbello, )

Dave Gray - Guitar (Lillian Allen)

Daniel Lanois - Producer, Engineer, Mixing

Lynne Fernie - Lyrics

Debbie Griffiths - Vox (Martha & Muffins)
Mohjah - Percussion

Tim Forbes - Art Direction, Artwork
Deborah Samuel - Art Direction, Artwork

Gerry Young - Management

Bill Kaye - Makeup
Dick Smith - Percussion

Unknown-ness: I've never heard of them. But from the font, artworks and band picture it looks like they will be a soft-yet-quirky 80's band that might be a little bouncy, but most likely, will be adult-contemporary new wave music. 

Album Review: The Parachute Club was pretty big in Canada for the mid 80's, spawning 3 top 40 hits, and voted "most likely to succeed" at the 1984 Canadian Juno awards (also taking best single with "Rise Up"). 1988 saw them battle and settle out of court against McCain Foods Limited for using the song in an ad. In 2006, they were entered into Canadaian Indies Hall of Fame. Two years later, founding member Margo passed away.

“Rise Up” was their most popular song, and single winning them single and most promising group of 1984. Later, the song sparked controversy as it was used against the band’s wishes in a self-rising pizza dough commercial. From the start it has a world, Caribbean bongo beat, and jazzy synth 8^-bit notes. The chorus of Rise Up starts off the lyrics, and the song feels like a spiritual hymn. The synth notes swirl around and accent the gospel feel, and reach some cheesy levels. The vocals are empowered and excited.
“Slip Away” has a bit of a reggae vibe with steel drums, but incorporates dreamy guitar and sleepy vocals. It is a good example of blending Caribbean music with antiseptic new wave. The song skitters along, with bongo flourishes and dual female lead vocals that fluidly take turns and overlap each other.
“Alienation” starts with some gritty guitar and sax, reminding me a little of mid 80’s period Oingo Boingo. The song contains political statements, and the vocals are emotional. There is no cohesive melody to the song, however, just a bunch of sounds, rattlings, crashes and other ideas thrown together.
“Are You Hungry” begins with a bit of a light ska vibe with a rhythmic deep bass. But the chime-synth sounds like the same effect used in Goonies. The vocals are bold and echoing, and there is a free-form feeling to the construction of the song. Toward the middle of the song, there are some deep masculine chanting vocals layered below.
“Free Up Yourself” fades in suddenly to a marching tempo, accented with weaving synth lines. The layers of female vocals share the stage and echo on repeat for an artificial chorus. It even has a little of a deconstructed disco sound.

“Boys Club” has a bit of a Debbie Harry attitude at the outset. The song is a little dark, and it carries an attitude of suppression due to anti-feminism. There is a “Military Rap” section to the song, too.
“Hot Pursuit” slinks back to a smooth, reflective, jazzy style. The vocals are deep, and sound a little like Chrissie Hynde.
“She Tell You” has a dark, futuristic feel to it with wood block percussion and deep grueling guitars. Of course, no song escapes this period without the cheesy synth, so the Goonies effect lightens the mood. The overall tone of the song shifts to a shuffling, indecisive yet uplifting track.
“Tobago Style” starts out with a couple of echoing laughs, and the song feels like it could evolve into a good post-punk no-wave song. But the synth comes in, and the song is quartered into multiple directions and loses cohesion.

The album has a lot of good potential. Good effects, solid vocals, interesting beats, but it really lacks an overall vision, is soft on hooks and repetitive, catchy choruses, and it is hard to pin down a melody that follows through.

Stand Out Track: Alienation

Links:

Wiki

Discogs
Parachute Club Blog

Allmusic

Titi Tudorancea

New Anthems

Canadian Bands

Lorraine Webpage

David Lindley - Win This Record!

Band: David Lindley
Album: Win This Record!
Year: 1982
Style: Rock N Roll, Island, Reggae,
Similar Bands: Jackson Browne, Joe Jackson, Bill Haley, Cecilio & Kapono, Blasters, Bob Marley
"One-Word" Review: Relaxed, Carefree, Carribi-Rock
Based Out Of: California
Label: Elektra/Asylum, Warner

Win This Record! - Cover & Tape

Win This Record! - Liner Noted & Tape

Win This Record! (1982)

1. Something's Got A Hold on Me 2:43
2. Turning Point 4:45
3. Spodie 4:57
4. Brother John 5:50
5. Premature 3:57/
6. Talk to the Lawyer 4:55
7. Make It On Time 3:17
8. Rock It With I 5:06
9. Ram-A-Lamb-A Man 4:10
10. Look So Good 1:31

Album Rating (1-10): 6.0

Members & Other Bands:

David Lindley - Bass, Guitar, Guitar (Electric), Guitorgan, Producer, Saz, Violin, Vocals (Kalidescope, El-Rayo-X, Jackson Browne, Linda Ronstadt, Rod Stewart, Dolly Pardon, Ry Cooder, Warren Zevon, Wally Ingram, Hani Naser)

Craig Anderson - Photography
Jorge Calderón - Bass, Percussion, Vocals
Terry Christian - Assistant Engineer
Peter Golmen - Managment
Booker T. Jones - Keyboards, Organ (Booker T & the MGs, & Pricilla, Drive By Truckers, Blues Brothers)
Greg Ladanyi - Engineer, Mixing, Producer
Bernie Larsen - Bass, Guitar, Guitar (Electric), Percussion, Vocals
George Massenburg - Engineer
Richard McKernan - Assistant Engineer
Jim Nipar - Engineer
Mike Reese - Mastering
Barbara Rooney - Assistant Engineer
Randee Saint Nicholas - Photography
Kaz Sakamoto - Photography
Doug Sax - Mastering
William D. "Smitty" Smith - Keyboards, Organ (Blood Sweat & Tears, Billy Joel, Tracey Chapman, Ry Cooder, Pointer Sisters)
Wayne Tanouye - Assistant Engineer
Jimmy Wachtel - Art Direction, Design
Ian Wallace - Drums, Guitar, Guitar (Bass), Percussion, Vocals (King Crimson, Bob Dylan, Jackson Browne, Bonnie Raitt, Crosby, Stills & Nash, Fizzion Trip, Warriors, 21st Century Schizoid Band, Crimson Jazz Trio, Quireboys)

Unknown-ness: I’ve never heard of this artist / band. The cover is bright and has a bit of rock n roll oldies energy to it, reminding me of a combination of Bill Haley, Joe Jackson and Weird Al. And with the album title of “Win This Record,” I cannot imagine the album being too serious or complex.

Album Review: “Something's Got A Hold on Me” rocks and rolls from the starting gate. A harmonized mix of dual vocals carries the honky-tonk / 50’s style rock and roll song. An electric guitar instrumental modernizes the song, but the classic back beat drums continue through out, holding it in the past.
“Turning Point” is funkier with bass heavy and initial tambourine cymbal drum beat. The bass makes it sound like Squeeze’s “Black Coffee In Bed.” The vocals also follow a funky melody, but the voice is a higher pitch singer songwriter style. This song does in fact remind me of Joe Jackson, even featuring some horns in the chorus, and organ-style keyboards. The song ends with a long slide guitar spotlighted instrumental.
“Spodie” feels like a Dire Straits song. The bass is used to give a funky yet gritty & sly vibe. The vocals are shrill, and actually remind me of a non-screaming Axl Rose. Extended instrumental populate much of the song, giving center stage representation to the electric guitar.
“Brother John” has a warble guitar intro which ends after its scale, and is followed by drums then bass in sections. Electric guitar adds its two cents, and the song begins in its reggae, dancehall beat, including a repetition of “Brother John is gone” and some steel drum mixed with more electric guitar.
“Premature” also has an island feel to it, where the guitar sounds like a slowed version of Foghat’s “Slow Ride.” Once the vocals start the song takes root in a combination of slow reggae and gospel.

“Talk to the Lawyer” is a poppier interpretation of reggae, so it still retains a funky, “don’t worry be happy” island vibe, even if the topic is that of deceit and suspicion.
“Make It On Time” rocks back with a honky-tonk/pub vibe and gritty slide guitar track. It is a driving song, with a “Blasters” feel. The song rocks out with a lengthy instrumental to end it.
“Rock It With I” begins with harmonized picked electric guitars which evolve into a relaxed reggae beat with harmonized layered vocals as well. It feels like a warm and fuzzy Bob Marley song.
“Ram-A-Lamb-A Man” feels like Talking Heads song (And She Was) right away. Then the vocals start: a harmonized high pitched, with an obvious and somewhat annoying melody. The music is fun and interesting, but I can’t get behind the vocals here“Look So Good” is a slow, country, acoustic, “on the range” guitar ballad.

Stand Out Track: Turning Point

Links:

David Lindley site

Wiki
Rosebud Agency
Last FM

Page of Steel

Allmusic

NPR Live & Article

Clint Eastwood & General Saint - Two Bad D.J.

Name: Clint Eastwood & General Saint
Album: Two Bad D.J.
Year: 1981
Style: Dacnehall, Regaee/Ska
Similar Bands: English Beat, UB40
"One-Word" Review: Methodic-Slow Jam-Reggae
Based Out Of: Great Britian/Jamaica
Label: Greensleeve Records, Shanachie Records

Two Bad D.J. - Cover & Record
Two Bad D.J. - Back & Record

Two Bad D.J. (1981)

1. I Can't Take Another World War 3:19
2. Another One Bites the Dust 3:46
3. Talk About Run 4:18
4. Sweet Sweet Matilda 4:07
5. Special Request to All Prisoner 3:46/
6. Dance It Have Fe Nice 3:31
7. Gal Pon the Front Line 3:32
8. Jack Spratt 2:59
9. Tribute to General Echo 3:38
10. Hey Mr D.J. 3:22

Album Review (1-10): 6.5

Members & Other Bands:
Producer : Chris Cracknell & Henry Junjo Lawes
Engineer : Scientist & Barnabas
Mixing Engineer : Mark Lusardi
Vocals : Clint Eastwood & General Saint (Inity Rockers)
Drums : Sly Dunbar & Style Scott & Santa Davis
Bass : Flabba Holt & Robbie Shakespeare
Lead Guitar : Sowell & Dwight Pickney & Chinna Smith & Bo-Peep Bowen
Rhythm Guitar : Sowell & Bingy Bunny
Keyboards : Ansel Collins & Winston Wright & Steelie & Delroy Donaldson & Gladdy Anderson
Horns : Hameed Taroghion & Dave Cummings & Mark Alder
Percussions : Sky Juice & Mikey Spratt, Skully
Mastered: Steve Angel
Cover: Tony McDermott
Photos: Tim O'Sullivan

Unknown-ness: I’ve never heard of these guys, and know nothing about them. But from one look of the cover and the colorful, playful imagery and song display on the back, I thought this might be some fun old school rap. Especially with one of the guys naming themselves Clint Eastwood.

Album Review: After reading about them, I am interested to hear how these two reggae/dancehall toasters/DJ’s come together to make, as they’ve been reviewed, novelty pop music in Jamaica.

“I Can't Take Another World War” is a slow bubbly groove. Lots of effects take turns resonating in the echoey background adding depth and style to the classic reggae beat.
“Another One Bites the Dust” is an upbeat, but still slow dancehall track, without me knowing too much of the style, I can easily equate this to the English Beat.
“Talk About Run” starts out with drums, but it is carried along with horns, and a slinky, dark bass groove. There is a new solo vocal used at the end of each verse that is much gruffer than the standard two vocals we’ve been accustom to.
“Sweet Sweet Matilda” features keys tat remind me of Madness, although this is all toasting, rather than Madness Ska. This too, is a nice slow head-bobbing grove. It borrows the lyric “down by the school yard” from the Paul Simon song.
“Special Request to All Prisoner” feels like the same song, as it too is minimal, with a simple drum and bass beat, slow to the same tempo as before.

“Dance It Have Fe Nice” is a more mixed song; the vocals possess a more direct attacking rhythm. There are more effects mixed in that give it a dance-floor feel.
“Gal Pon the Front Line” is a stripped down beat, driven by the vocals more than anything else. The drum keeps it going and the bass mimics the vocal melody. There is also some back and forth girl guy communication.
“Jack Spratt” is a more funky, nursery rhyme based song. The vocals are steady and verge on standard melodic singing at times.
“Tribute to General Echo” is a tribute to a famous deejay who was shot and killed by Jamaican police without sufficient explanation or reason. The melody is sullen and honorable.
“Hey Mr D.J.” is just a beckoning from the singers for the deejay to play their favorite song. It is the final song with a slow, methodical drum n bass rhythm.

Stand Out Track: Another One Bites the Dust

Links:
Roots Archive
Allmusic album
C.E. Allmusic
G.S. Allmusic
Reggae CD Shop
Strictly Vibes
Wiki
reunited announcement
Myspace

Jo Jo Zep - Screaming Targets~, Cha*

Name: Jo Jo Zep (and the Falcons)
Albums: Screaming Targets~, Cha*
Years: 1979~,1983*
Style: Rock~, New Wave~, Disco* Synth*
Similar Bands: Men At Work~, Dire Straits~, Planets~, Police~, Elvis Costello~, Tom Petty~, Bruce Springstein~, Tears For Fears*, Dr Buzzard's Savannah Band*, Kid Creole*
"One-Word" Review: Ska-Wave-Rock~ Synth-Disco-Jazz*
Based Out Of: Melbourne, Australia
Label: Boomerang Productions~, Full Moon~, Columbia~, A&M*, OZ Records*

Screaming Targets - Cover & Sleeve
Screaming Targets - Back & Sleeve

Cha - Cover & Sleeve

Cha - Back & Sleeve

Records

Screaming Targets (1979)~

1. Hit & Run 4:40
2. Don't Wanna Come Down 3:31
3. Katschara 4:18
4. Only the Lonely Hearted 2:44
5. So Young 3:19/
6. Close to the Bone 4:20
7. Shape I'm In 3:32
8. Trials & Tribulations 4:46
9. Thin Line 3:22
10. Openhearted 4:08

Cha (1983)*

1. Losing Game 4:12
2. Walk On By 3:52
3. King Kong 4:01
4. Taxi Mary 4:15
5. Flexible 1:59/
6. Sherrie 3:54
7. Man is Just a Boy 4:13
8. Spirit of the Land 4:27
9. Competition 4:20
10. Slave for Love 4:20
11. Can't Decide 3:54

Album Ratings (1-10): 6.5~, 5.5*

Members & Other Bands:

John Power - Bass, Vox~
Joe Camilleri - Vox, Sax, Guitar~*Clarinet, Organ, Producer, Art Direction*
Gary Young - Drums, Percussion~
Wilbur Wilde - Sax, Vox~
Jeff Burstin - Guitar~*Mandolin*
Tony Faehse - Guitar, Vox~
Peter Solley - Producer~*Keys*
Ian McKenzie - Engineer~
Steve Brown - Remix Engineer~
Ian McCausland - Cover Art & Design~
Greg Noakes - Photography~
Michael Gudinski - Exec Producer~
Michael Roberts - Exec. Producer~Art Direction, Direction*
Simon Gyllies - Bass*
Jane Clifton - Vox*
Eddie Rayner - Keys, Producer*
Graham Fraser - Engineer*
Jim Barton - Engineer*
John Powter - Art & Design*
Tom Sikora - Photography*
Loud & Clear Management - Direction*

Unknown-ness: I've never heard of these guys. I bought these two albums in two different occasions, Cha after Screaming Targets. I bought the first one because of the interesting name, year and the cover art. I liked how the shield to the helmet was all white, like a sticker had been placed over the top of it. And I bought the second record because it was so different from what I remembered about the first album, but I still liked the odd-ball name. As for the style of music, I could only hope for a strong new wave/rock style since it was from 1979,a nd the second one, I thought it might be a little more Jazzy thanks tot he name Cha as well as the minimal artistic figures on the cover. It seemed less frantic and more grown up.

Album Reviews: More recently, I was at a friend’s house and I saw that he had an Elvis Costello poster framed and mounted, and accompanying Elvis on this particular tour was the name Jo Jo Zep. So by that, I figure they possessed some sort of fame at that point, whatever year the poster was from.

~“Hit & Run” has a start stop quickened reggae beat with electric slide guitar, and somewhat Men at Work / Reggae vocals too. It is bright and sunny, and has a female chorus Ooo-Oooing in the background. The quickened, fast sung chorus is very catchy and makes you want to move. The sax is used sparingly, but to a very efficient level in the instrumental. There is even an organ sneaked in there toward the end of the song, adding to the female choir to be some thing like gospel. The short, repetitive guitar hook is played over and over again for the last 1.5 minutes of the song through to the fade out.
“Don't Wanna Come Down” starts as a darker, back alley song. But as soon as the intro fades out, the bouncy pace is picked up, and the reggae guitar is used a little, but the storyteller lyrics take center stage. It also reminds me of a couple of the A’s songs. It was a very popular style for the late 70’s; that hard rock bordering on new wave story-song.
“Katschara” is a jazzy sax and bass beat inspired number. It then turns into slinky reggae, but leans more toward the hard rock side than reggae: like a faster “Watching the Detectives.”
“Only the Lonely Hearted” is a fun bouncy pop number. It reminds me of a J Geils Band number, just lacking the pub blues feel. But the instrumental breakdown brings the sax and rollicking piano and it feels a bit more like a pub song. The only difference is the vocals are more of relaxed, and mumbled more than sung, so they lack the passion of bar blues.
“So Young” is another happy, bouncy, reggae borrowed track. Even the electric guitar plays quick notes that create a rollercoaster, rather than extended whammy notes. It has that Middle America feel to it, similar to John C. Mellencamp (who is my dictionary definition example of that style, so I mention him all the time). The end of the song becomes very repetitions, almost to the point where you’d just wish it would end already.

~“Close to the Bone” is a dark and shady, alley way track with its intro. Once the vocals start, his singing reminds me of Elvis again. The verse is sung sort of like an upbeat lullaby, and the chorus gains a bold aggression and confidence, which carries over into the instrumental sections, which are where the strongest guitar and heaviest emotions flow.
“Shape I'm In” is a straightforward ska song, with jagged, rhythm guitar and catchy sax interplay. But the vocals strip the ska vibe off and leave a dull, generic reggae tune. When the sax and brass come back in for the instrumental, the song becomes instantly interesting again. This feels like a mid concert song thrown in to please the spacing hippie jammers out, as it could be prolonged for quite a while on the jam-based riff.
“Trials & Tribulations” brings us back to the mid-America light rock song. Here more than before, his voice finishes out the verse with the same twist that Jimi Hendrix used quite often. It feels like the Tom Petty song “Don’t Do Me Like That.” This is the first time that the Sax is used poorly, where it makes the song feel like a smooth jazz, easy listening single.
“Thin Line” picks up the pop pace with a Graham Parker style number: upbeat and quick paced. And it is a bit like Rick Springfield too. The end gets sporadically chaotic as style is replaced by bombastic cowbell and the song peters out at the end with sax.
“Openhearted” combines the light jazz sound with the reggae rhythm guitar. The chorus has a team of vocals giving power and promise to the theme of kindness and open mindedness. His feels like dancehall reggae stripped down by a non-Jamaican band. It is a pleasant, sunny reminder that brings us back to where we started from on the album. It does tend to go on though, after it wears out its welcome, not enough changes with the groove to keep it interesting. They add hooting and hollering behind the basic groove, but it does not breathe new life into the track

*“Losing Game” feels more synthesized and colder than the Screaming Targets. The vocals are weak and Tears For Fears inspired. It is an odd sound, partially R&B, part light synth pop. The vocals are similar to Smokey Robinson’s higher ranges. The bass sounds like a thick piece of rubber being strummed while stretched and disfigured. This is a light adult contemporary pop song.
“Walk On By” is a chilling synthetic Howard Jones type song. This sounds like a song that is just asking to be remixed into a popular dance track. The vocals are like a mixed up R&B singer, completely different from Screaming Targets. The music feels like it is missing some very important elements, as it is very sparse…which does add to the chilling aspect.
“King Kong” is a bouncy synth bass driven song. The synth sax (at least it all sounds synth) brings a bit of disco jazz, like Dr. Buzzard’s Savannah Band. The vocals remind me again of Tears for Fears in their falsetto reaching range. There are female dual vocals that sing out the chorus.
“Taxi Mary” is reportedly, their most popular song. It could only be described as synthetic conga disco. Perhaps I’m just trying to hear good into this, but I can almost hear a little bit of English Beat’s later stuff in his vocals, as well as Yaz. But a more accurate comparison could be made to Kid Creole.
“Flexible” starts out with an Asian sounding lute, and sexy but sad slow sax. Around the first minute it picks up a bit with standard piano sound, and diverges from the formerly Tom Waits sounding ballad. But before it can go anywhere, it ends with a fade, as the trumpet becomes masculine

*“Sherrie” adds a bit of big band Dancehall to the synth disco style that permeates from this record. But I actually kinda like this song, perhaps it reminds me of the Kid Creole song “Annie, I’m Not Your Daddy,” that I liked. The bass is fun and driving, and the swirling synth effects that are set deep in the background are enjoyable. And the jazzy dance music that is on the surface is not over bearing and simply enjoyable too. There are some melody changes that keep the main song interesting through out. But the over all drum and bass driving force keep the song fresh, awake and alive.
“Man is Just a Boy” finally finds the blend of synth and dance that is neither too much of either aspect to be annoying. The bass line is a progressive beat the bounces up and down the frets (keys) and the band embraces New Wave synth and it even feels a little disjointed like an XTC song, just played with different instruments.
“Spirit of the Land” begins with a synth organ and liquid bass effects. It is a bit slower, and falls into a generic reggae vibe. It reminds me of a Santogold song, actually, but is slower and it never reaches that place where it feels like it will become the song I’m thinking about.
“Competition” goes back to the falsetto singing from the first side of this record. It is more of a cold R&B groove, rather than the disco tracks the album seemed to be heading toward. It is also close to Bronski Beat when listening to the vocals. The female and male vocal parts in this song make it seem very theatrical.
“Slave for Love” begins with percussive wood block effects. The synth keyboard and deep lounge vocals make it feel like a poorly done parody of a James Bond Theme. The vocals sound forced and never gain the confidence as the song literally waltzes along. It is almost as if the singer is on the brink of yawning.
“Can't Decide” is a departure of style from this album and much more closely mimics the old style. The guitar rings prominently throughout, and the singing is rough and nasally. It feels like a last minute decision to give the audience what they might have been expecting from the band’s history…like “at least there is this song.” There are virtually no synth effects applied to the instruments (except perhaps the drums might be a machine).

Stand Out Tracks: Hit & Run~

Sherrie*

Links:

Wikipedia

Allmusic

Howlspace

Stat Biography

XPN Blog

Last FM

rate your music

Heptics - Little Girl

Name: Heptics
Album: Little Girl
Year: 1980
Style: Reggae
Similar Bands: ????(not really my knowledge base)
"One-Word" Review: Chilled-Out-Lounge-Reggae
Based Out Of: London, England
Label: D-Roy Records 

Little Girl - Cover & Record

Little Girl - Back & Record

Little Girl (1980)

1. Lost & Turned Out 4:30
2. Mind Blowing Decision 7:34
3. I've Got Love 4:36 /
4. Little Girl 4:30
5. Somebody Loves You Back 3:58
6. Tell Me Why 3:52
7. Natural Woman 4:30

Album Rating (1-10): 5.0

Members & Other Bands:Paul Dawkins - Lead Vox, Percussion, Harmonica (Tradition, Shams, Sly & Robbie, Delroy Wilson, Reloaded)
Paul "Echo" Thompson - Vox, Organ, Piano, Synthesizer (Tradition, )
D. Witter - Arrangement, Mixed, Engineered, Producer, Photo, Editing
Patches - Mixed, Engineered
Pete Hammond - Mixed, Engineered
Angus Gay - Drums
C Lashley - Rhythm Guitar
George Oban - Bass
Dave Lugay - Bass
Tony Gad - Organ
Mrs. Hassell - Editing

Unknown-ness: I’ve never heard of these guys. But I bought the record in a bin of dollar records, mainly because of the cover. The name of the band, The Heptics sounded like a band full of energy. And although the two guys on the cover look stoned out of their heads, I thought that the energy would be pretty intense. The darkness on the cover, combined with the comfortable energy on the back of a family playing in a river was more than I could pass up to see what it contained. I am expecting it to be an R&B soulful record, as that seemed to be the running theme of the rest of the records I was flipping through when I found this.
Album Review: As it turns out, this is a slow reggae album from 1980. Unfortunately, I did not look at the condition of the record, but the whole side 2 skipped throughout. I’m still gonna try to review it, but be it known that the side two songs play at about half the length as they are supposed to.

“Lost & Turned Out” is a slow drum and bass mix, with a slow disco keyboard in the background. The vocals smoothly float along like on a cloud. The lead vocals have a lot of care and love to them. The beat is consistent, and drum fills are layered in once in a while to break up and restart the groove. It kind of reminds me of the quieter Bjork ballads. The chorus repeats over and over again at the end, as if the whole song was in slow motion.“Mind Blowing Decision” picks up the pace a bit more with a steady one-two guitar beat. This song, as it is a bit quicker than the first song, is still just as chill. The skipping in my recorded version cuts out about 30 seconds of the song. But its relaxed momentum is obvious as it will not change. The piano tinkles along at its own pace in the subtle background. The lengthy instrumental section has a harmonica fill in for the vocals, and it just feels like the vocals were removed for the whole verse. The chorus comes back for another couple of rounds, but really it could come in and out over the steady beat of the song, between harmonica solos, and the song would remain the same. It is funny that the title of the song would seem to denote more energy and jerkiness, but the tempo has remained true and steady throughout.
“I've Got Love” combines the reggae music of the last song with the slow-motion tempo of the first track. This slow and positive groove most notably carries a xylophone sound buried in the background. It still feels like a lounge song or an oldie slow dance number, like the first track, but the reggae vibe keeps it upbeat and gently afloat.

This side skips continuously. Unfortunately, none of these is listenable in a publishable sense.
“Little Girl” is similar to I’ve Got Love, but it is a little faster reggae and fun in its juvenile nature and vocal play is more adventurous and excited, not to mention skatting.
“Somebody Loves You Back” is a slow funky groove, smooth and polished with the keyboards and guitars. Later, the tinkling piano adds a theatrical side to the song. The vocals are hopeful and comforting at the same time, bolstering self-esteem to the subject of the song.
“Tell Me Why” feels like “I’ve Got Love” in its slow reggae style, a steel drum effect is added to the background as is the organ. Both elements are slight additions to the soundscape. The song has a “just woke up, getting out of bed” feeling to it.
“Natural Woman” is a summary of all the songs that have come already on the album. It has that wake up feeling, the smooth, slow groove with the reggae rhythm, but it adds a variety of lead singing and interesting vocal interplay.

Stand Out Track: Little Girl
I've Got Love

Links:LastFM
Myspace Tradition
Paul Dawkins on RamJamRadio
Paul Dawkins / Heptics Myspace
D-Roy label Discography