#377: Fishbone - Truth and Soul (1988)

Emily: In high school and early college, I was hugely into ska music. I went to local concerts, saw the bigger artists every time they came to town at the TLA or the Trocadero, and nearly wore out my Reel Big Fish live CD that I got for Hanukkah in the tenth grade. My music tastes have evolved and expanded since then (thanks in part to this blog), but every once in a while I'll turn on some ska or ska-punk and dance around like I did when I was 16. During my ska era, I had never heard of Fishbone. That's likely for a few reasons: one, they were active more in the '80s than in the '90s and 2000s, and two, their sound is way more than just ska or ska-punk. Based on Truth and Soul, the Fishbone sound can best be classified as funk-punk-ska-rock-metal. It defies genre, and that's what makes it work. The ska horns and two-tone beats are there to an extent, but they play alongside funk grooves and three-chord punk tracks. This creates a wholly unique sound that seems suited for a great live show.
Favorite Tracks: Freddie's Dead; One Day; Pouring Rain

Zack: I had this album classified as “punk,” which is a label that really only tells part of the story. Fishbone are, apparently, a band known for being really eclectic. There are a lot of genres that really leap out form Truth and Soul, including alternative, punk, funk, I think some disco, and hard rock. But ska really is the biggest attention-grabber. Which is interesting, since temporarily that would make them one of the earliest sources of the 3^rd wave ska cohort. While the ska influences might have really drawn me in 5-6 years ago, I actually found those to be the least interesting components. The funk that pulsated under certain songs was really what I found to be the most appealing. Regardless, Truth and Soul is the type of album that has something for just about everyone.

Favorite Tracks: One Day; Pouring Rain; Change

#102: Madness - The Rise & Fall (1982)

Emily: Madness is perhaps best known for a little song called Our House. Start humming a few bars, and the upbeat tune will be instantly recognizable from dozens of commercials and TV shows. What most people don’t know, however, is that Madness had a lot more to say. Although never released in the US, The Rise and Fall was one of Madness’ most successful and acclaimed albums overseas. They take two-tone ska beats and mix them with different styles and influences, from jazz to the sounds of India. Throw in a bit of politicizing over the bouncy beats, and what do you get? A thoroughly enjoyable album that is more than just a one-hit (one-house?) wonder.

Favorite Tracks: Mr. Speaker Gets the Word; Calling Cards; Our House

Zack: Our House is such a big song that not having heard of it is pure, well, madness. After that point, my knowledge of the band was somewhat limited. I knew that they walked a fine line between pop and ska, and that was enough to peak my curiosity. When it actually came to listening to the album, I felt that this ska-pop description wasn't nearly accurate enough. For one thing, they tended more towards pop than anything else. Furthermore, the "ska" description was a bit misleading. They infuse their pop sound with multiple genres, one of which is ska. That makes them about as much a ska band as any musician who ever went "I think this song needs more cowbell. And maybe a little trumpet too." As far as pop albums go, though, this extra complexity added a pleasant depth that I really appreciated. I think more pop artists should introduce bangin' sax solos intro their songs. Maybe "bangin'" wasn't the right adjective there, but I'm sticking with it. Anyways, I wish more of the music that makes its way onto radio sounded like Madness. Here's hoping that 30 years of trends suddenly reverse themselves!

Favorite Tracks: Madness (Is All in the Mind); Our House; Calling Cards

#26: The Specials - Specials (1979)

Emily: I'm embarrassed to say that in all of my ska fandom I have never listened to The Specials. I had really only heard of them through Mustard Plug's Brain On Ska with the line "respect the Specials!" Truth is, The Specials are the founding fathers of third-wave ska. They pioneered the two-tone sound which is commonly associated with ska today. And they were one of the first to combine the island reggae of Jamaica with the punk beats and sensibility of the UK. The combination, although on paper it sounds a bit weird at first to non-ska fans, works together seamlessly. Rather than mashing both sounds together entirely on every track, they tweak the balance a bit from track to track. Some songs feature heavy reggae vibes, while others are guitar-driven, shout-along punk songs. Each song stands out, but they all work together as a whole. If you are a ska fan, you need to listen to this album. Reel Big Fish, Less Than Jake, and Streetlight Manifesto are all amazing in their own right, but The Specials started it all.
Favorite Tracks: Concrete Jungle; Little Bitch; A Message to You, Rudy

Zack: There's definitely something special about the debut album by The Specials, appropriately named, Specials. It isn't the narcissism involved in the naming process or the fact that it is a masterful piece of production by Mr. Elvis Costello himself. What makes this album so special is the focused rebellion of the lyrics. Jerry Dammers, the primary songwriter for this album, puts actual meaning into each song that truly represents the feelings of the Skinhead culture of the late 70s and early 80s in the UK. There are songs about growing up, free will, the Clockwork Orange-esque streets of the grimy parts of London, the foolishness of marriage, and birth control. Some are covers or adaptations of 1st wave ska bands from the Caribbean but every song is done in such a way that makes them all uniquely The Specials.

Favorite Tracks: Concrete Jungle; Stupid Marriage; Little Bitch