Ska Bands Of The Month
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10-01-2004, 06:06 AM
Although often dismissed as a novelty act, Judge Dread was actually a groundbreaking artist. Not only did he put more reggae records onto the U.K. chart than anyone else (Bob Marley included), he was also the first white artist to actually have a reggae hit in Jamaica. The Judge also holds the record for having the most songs banned by the BBC, 11 in all, which incidentally is precisely the number of singles he placed on the charts.
Judge Dread was born Alex Hughes in Kent, England, in 1945. In his teens, he moved into a West Indian household in the Caribbean neighborhood of Brixton. Hughes was a large man, which helped determine his early career as a bouncer at the Brixton's Ram Jam club. He also acted as a bodyguard for the likes of Prince Buster, Coxsone Dodd, and Duke Reid. There was a spell as a professional wrestler, under the mighty moniker the Masked Executioner, and even a job as muscle for Trojan Records, collecting debts.
By the end of the '60s, Hughes was working as a DJ with a local radio station and running his own sound system. It was Prince Buster who provided the impetus for Hughes' metamorphosis into a recording artist. The DJ was so taken by Buster's seminal "Big Five" that he went into Trojan's studio to record his own follow-up. Over the rhythm of Verne & Son's "Little Boy Blue," Hughes recited a slew of hilariously rude nursery rhymes. It was by sheer chance that Trojan label head Lee Gopthal walked by during the recording; impressed, he immediately signed the DJ. His song was titled "Big Six" and Hughes chose the name Judge Dread in honor of Buster. The single was released, aptly enough, on the Trojan label imprint Big Shot. Initially an underground hit, once Trojan signed a distribution deal with EMI later in 1972, the single rocketed up the charts, even though the distributors refused to carry the record. The song was also a hit with a radio ban as well, and Trojan's disingenuous cries that it wasn't about sex were met with the same scorn as Max Romeo's "Wet Dream," the first of the rude reggae hits. The ban was no more effective this time either, and the single rocketed to number 11, spending six months on the chart. "Big Six" was just as enormous in Jamaica, and before the year was out Dread was in Kingston performing before an excited crowd. Those nearest the stage assumed the white man milling around was Dread's bodyguard or perhaps his manager, at least until he stepped up to the mic. An audible gasp arose from the crowd as no one in Jamaica had considered the possibility that the Judge was white.
Back in Britain, "Big Seven" was even bigger than its predecessor, thrusting its way up to number eight. It too was an innuendo-laced nursery rhyme, toasted over a perfect rocksteady rhythm and reggae beat. In the new year, "Big Eight" shot up the chart as well. Amazingly though, Judge Dread's debut album, Dreadmania, failed to even scrape the bottom reaches of the chart. However, the British continued to have an insatiable desire for his singles. In the midst of all this rudeness, in faraway Ethiopia people were dying, so he helped organize a benefit concert starring the Wailers and Desmond Dekker, and also released the benefit single "Molly." The single was the first of Dread's releases not to boast a single sexual innuendo, but radio stations banned it anyway and the charity record failed to chart. In an attempt to receive some airplay, Dread released singles under the pseudonym JD Alex and Jason Sinclair, but the BBC wasn't fooled and banned them regardless of content.
The artist's second album, Working Class 'Ero, which arrived in 1974, also failed to chart. "Big Nine," released that June, and "Grandad's Flannelette Nightshirt," which arrived in December, turned out to be just as limp. Judge Dread seemed to have lost his potency and both singles lacked the thrusting naughtiness of their predecessors. However, the DJ shot back up the chart the following year with "Je T'aime," a cover which managed to be even more suggestive than the original. The ever-enlarging "Big Ten" took the artist back into the Top Ten that autumn; and the "Big" series eventually ended at a ruler-defying 12. A new album, Bedtime Stories, just missed the Top 25, while the double A-sided single "Christmas in Dreadland"/"Come Outside" proved to be the perfect holiday offering. The hits kept coming, although none would again break into the Top 25. In the spring, The Winkle Man sidled its way up Number 35. The Latin flair of "Y'Viva Suspenders" proved more popular in August 1976, but failed to give a leg up to the Last of the Skinheads album.
Britain was now in the grips of punk, but Judge Dread was bemoaning the lack of reggae in clubs, and wishing to "Bring Back the Skins," one of a quartet of songs on his February 1977 5th Anniversary EP. However, the artist was capable of writing more than rude hits. One of his songs, "A Child's Prayer," was picked out by Elvis Presley, who intended on recording it as a Christmas present for his daughter. However, he died before he had the chance. In the autumn, the delightfully daft barnyard mayhem of "Up With the ****" scraped into the Top 50. Dread's raging affair with the charts ended in December 1978, with the holiday flavored "Hokey Cokey"/"Jingle Bells." It had been quite a run and 1980's 40 Big Ones summed it all up. Dread sporadically continued releasing albums, which were still bought by hardcore fans. He also continued touring, playing to small, but avid audiences. His last show was at a Canterbury club, on March 13, 1998. As the set finished, the consummate performer turned to the audience and said, "Let's hear it for the band." They were his final words. As the mighty Judge walked offstage, he suffered a fatal heart attack.
Biography taken from Allmusic
The king of rudeness
Working Class Ero
Last Of The Skins
Up With The ****
11-06-2004, 03:01 PM
One of the most important American ska bands, the Toasters did much to popularize the genre on the underground scene in the mid- to late '80s, laying the groundwork for later
third-wave bands like the Mighty Mighty Bosstones and ska's subsequent explosion in popularity in the mid- to late '90s. British expatriate Rob "Bucket" Hingley formed the Toasters in New York City in 1982 after discovering that the 2-Tone ska he loved had made virtually no inroads into the American music scene. He gathered several employees at the comic-book store he managed to form the band's first incarnation, releasing their first single, "Beat Up," in 1983. Hingley also formed his own label, Moon Ska Records, to counteract skepticism from major labels that ska would ever prove popular in the U.S.; Moon Ska has since grown into the largest independent ska label in the country. A demo EP, Recriminations, was released in 1985 and produced by Joe Jackson, the first of several collaborations; two years later, the Toasters issued their first full-length American album, Skaboom, for Celluloid. Thrill Me Up (1988) and This Gun for Hire (1990) helped consolidate the band's following, as the New York ska scene and Moon Ska's artist roster mushroomed behind them. The Toasters' lineup continued to shift through the '90s, eventually leaving guitarist/vocalist Hingley the only original member; some of the musicians remaining fairly steady in their '90s lineups have been bassist Matt Malles, saxophonist Freddie Reiter, trumpeter Brian "The Sledge," trombonists Rick "Chunk" Faulkner and Erick "E-Man" Storckman, keyboardist Dave Barry, drummer Johnathan McCain, and vocalist Coolie Ranx, as well as frequent guest appearances from saxophonist Lester "Ska" Sterling. In addition to Hingley's activities with Moon Ska, the Toasters continued to release albums throughout the decade, including New York Fever (1992), Dub 56 (1994), Hard Band for Dead (1996), and D.L.T.B.G.Y.D. (1997). The Toasters soldiered on in the new millennium with 2002's Enemy of the State and a new compilation, In Retrospect: the Best of the Toasters, released in 2003. When not in the studio, Hingley and his ever evolving Toasters line up can be found touring the US, Europe and other ska hungry corners of the globe.
--Steve Huey, All Music Guide
Barry, Dave :: Keys, Backing Vocals
Hingley, Robert "Bucket" :: Guitar, Vocals
Jesselsohn, Dan :: Bass
Lindo, Andrew "Jack Ruby Jr." :: Vocals
Sledge, Brian :: Trumpet, Vocals
Snell, Larry "Ace" :: Drums
O'Sullivan, Buford :: Trombone, Vocals
Richey, Jeff "The Human Pokemon" :: Saxophone (Alto and Baritone)
Talk Is Cheap
Two Tone Army
Don't Let the Bastards Grind You Down
Band Site (With Mp3's)-
02-06-2005, 10:46 PM
Combining equal parts of deep funk, high-energy punk, and frantic ska, the Los Angeles-based Fishbone was one of the most distinctive and eclectic alternative rock bands of the late '80s. With their hyperactive, self-conscious diversity, goofy sense of humor, and sharp social commentary, the group gained a sizable cult following during the late '80s, yet they were never able to earn a mainstream audience.
Led by vocalist/saxophonist Angelo Moore, the group formed in 1979 while the band was still in junior high; the original lineup comprised Moore, Chris Dowd, Kendall Jones, Walter Kibby II, John Norwood Fisher, and Charlie Down. After performing in local clubs during the early '80s, the group signed with Columbia Records in the mid-'80s, releasing a self-titled EP in 1985. The following year, Fishbone released their first full-length album, In Your Face. While it was marred by a somewhat slick production, the sheer energy of their performances burned through the slightly polished surface. In 1987, the band released the Christmas EP It's a Wonderful Life (Gonna Have a Good Time).
Truth and Soul (1988), Fishbone's second album, captured the band at their most ambitious, as they slammed back and forth between heavy metal and funk, throwing in an acoustic number and a cover of Curtis Mayfield's "Freddie's Dead" for balance. The album expanded their audience and charted at number 153. However, the band didn't record a new album for another three years. In the meantime, they made two EPs ? Ma and Pa (1989) and Bonin' in the Boneyard (1990) ? which basically comprised several B-sides. Before 1991's The Reality of My Surroundings, Charlie Down left the band and was replaced by John Bigham. The Reality of My Surroundings didn't depart from the band's reckless eclecticism, it refined it. The album was a hit, peaking at number 49 and receiving positive reviews. However, the record didn't establish the band as a mainstream success, nor did 1993's Give a Monkey a Brain and He'll Swear He's the Center of the Universe, despite their appearance at the third Lollapalooza. Even when the third wave ska revival began to rise to popularity in 1996, Fishbone was left behind, as their 1996 record Chim Chim's Bad Ass Revenge ? their first album for Arista ? was ignored, as was the double-disc compilation Fishbone 101: Nuttasaurusmeg Fossil Fuelin. Despite their poor sales, the group remained a popular concert attraction, issuing the all-star Psychotic Friends Nuttwerk in the spring of 2000. Unfortunately, Hollywood Records had little support for the album and it disappeared after a few disappointing months. They were dropped from the label the following summer, with side-projects and various other things keeping them busy during this rough period. An EP featuring a twenty minute jam with Primus entitled Friendliest Psychosis Of All was released on their own label in the spring of 2002, followed by a live album full of new songs (Live at the Temple Bar and More) in the summer
(Taken from allmusic.com)
1986 In Your Face
1987 It's a Wonderful Life (Gonna Have a Good Time)
1988 Truth and Soul
1991 The Reality of My Surroundings
1993 Give a Monkey a Brain and He'll Swear he's the Center of the Universe
1996 Chim Chim's Badass Revenge
2000 The Psychotic Friends
The Red Hot Chili Peppers, Jane's Addiction, Toasters, Murphy's Law, The Mighty Mighty Bosstones, Royal Crescent, Primus, Living Colour, Infectious Grooves, Beastie Boys
Parliament, The Bus Boys, Bad Brains
Available in the media section of their website
No one took this month, so I took it. If this is too well known for you, please make your own ska/reggae BOTM. Enjoy.
07-06-2006, 01:36 AM
"There are singers, guitarists and even entire bands who will say that if not for so and soif not for the music and classic albums of this artist or that artistthey wouldnt exist. In the case of the Aggrolites, thats not just hyperbole. If not for the great Jamaica ska singer Derrick Morgan, the Aggrolites would quite honestly not exist. The band was borne out of a small collective of Southern Californian reggae and ska artists who, after backing the singer in a local concert, came together about four years ago to record music for a new Derrick Morgan disc. While that project never ended up seeing daylight, the various recording sessions gave rise to the Aggrolites, an amalgamation of two area bands, the Vessels and the Rhythm Doctors, a band that originally came together purely by accident, says lead guitarist/vocalist Jesse Wagner. We were having fun in the studio, so we just said, Hey, why dont we book some shows and do our own thing. We were just five guys enjoyed playing music together. Beyond having a good time, while cutting the Morgan tracks the bandWagner, bassist J Bonner, rhythm guitarist Brian Dixon, piano/organist Roger Rivas and then-drummer Korey Horn (who has since been replaced by ex-Hepcat skinsman Scott Abels)knew they were onto something. Reflecting the deep love for rocksteady, ska and reggae in Southern California, this new fusion of two bands was hitting on something that sounded truly authentic: from the classic, keyboard riffing recalling the great Jamaican keyboardist Jackie Mittoo to the swinging, horn-filled rhythms of Morgan himself. They decided to run with it, booking shows throughout L.A. and Orange County, during which they were mixing originals with Mitto and Upsetters covers. The band took its name from the 1960s British slang term aggro, meaning tough. During that era, aggro was a term used to describe the tough reggae sound getting more and more popular in the U.K. It was a perfect fit for the Aggrolites: a tough name for a tough band. In between gigs, they reentered the studio and began cutting tracks that eventually became their first record, Dirty Reggae. We were recording the album without even knowing it, says Wagner. Before we knew it we had an album done, before we had even really honed our sound. Released on the tiny Axe label, Dirty Reggae is a collection of one-take tracks cut within a matter of hours, instead of weeks or days, Wagner laughs, noting that most of the lyrics came right off the top of his head. Recorded in L.A. at Signet Studios, the former relocated, West Coast home of Motown, the tracks were cut using some of the same instruments employed by the likes of The Jackson Five and Smokey Robinson, some of the very records that Wagner and his bandmates grew up on: While their love for Caribbean rhythms is deepthey share a particular affection for the likes the Upsetters, Delroy Wilson, Toots, Ken Boothe and Alton Ellisthe bands sound and style was informed by everything from the Clash, WAR and James Brown to Tower of Power, Wilson Pickett and the Meters. Finding Dixon, a sound engineer at Signet, sculpting the soundusing older microphones and tinkering with retro recording techniquesDirty Reggae laid the bedrock for their The Aggrolites, the bands Hellcat Records debut. Taking Dixons retro approach one-step further, The Aggrolites is a 19-track mix of sing-a-longs and instrumentals that not only sounds straight out of Kingston, circa 1967, but one that with great respect and style recalls such pillars of island music as Toots & the Maytals, the Ethiopians, Mittoo and the early Wailers. Its that rare kind of album that really, truly sounds like a bona fide homage, a disc that sounds like a group of guys genuinely in love with the great, late 60s music of Jamaica, guys who are interested in reviving rather ripping off those classic records. Indeed, if the band members had a collective goal, it would be to increase awareness of reggae musicto show Americans especially that theres a whole lot more to Jamaican music than Bob Marley, ganja and growing dreadlocks, says Wagner. Wed love to help put it more on the map. With The Aggrolites, he says, We tried to get serious. While the music was created spontaneously, a little more sculpted were the melodies and lyrics, which can be quite playful, and intentionally have an almost child-friendly, nursery rhyme-like vibe in songs like Work to Do. In the great story-song Countryman Fiddle, Wagner and the gang sing: I need more soul in my music/I got to have reggae, reggae music/I dont need no countryman fiddle/I need a real cool sound. A lot of the songs are about fun, while other can get somewhat serious, like when we talk about poverty, things that we were going through at the time, Wagner laughs. Being broke and trying to make it in a band But every single song is about something completely different. En route to the release of The Aggrolites have had plenty of time to hone that real cool sound, having gigged across the States, in Canada and Mexico and overseas. The bands appeared on several tiny international releases, and experienced a boon in its career when Hellcat chiefs Chris LaSalle and Tim Armstrong of Rancid placed the bands Dirty Reggae, the title track of their first album, on the fourth volume of the popular Give Em the Boot compilation. It was a perfect introduction to a bigger audience, says Wagner. Dirty Reggae has essentially come to define what they do onstage and what they are, he says: White boys faithfully playing Jamaican music but with grit. Its reggae, but its a bit dirtied up by a group of guys who range in age from mid-20s to mid-30s and informed by all sorts of rock music. Its a mix that comes across live: Watching a ska band, or reggae band, Wagner says, if you dont like the music, youre gonna be bored out of your mind, because most bands sort of stand onstage with a deer-in-headlights look. We try to do something to catch their eye, because if you think about it, the Specials used to jump around, people like Prince had sex appeal, someone like Otis Redding would get down on his kneeswe try to put that energy into the music. Theyve done so during opening sets for the likes of Madness, Rancid, Floggin Molly, The Selecter and Ozomatli. Perfectly enough, their sound has proven so true that they even ended up serving as the backing band for not only Derrick Morgan, but late Jamaica vocalist Phyllis Dillon, Scotty, Joseph Hill of Culture and Prince Buster, who afterward provided as powerful a testament to the Aggrolites authenticity, saying: It reminded me of the old days, I cant believe that this young band from America could play my music just as good as the day it was recorded. Mission accomplished."
Taken from -
Yeah, I know this band is a little popular for a BOTM, but we have been lacking in ska ones so I thought I'd get the ball rolling.
09-01-2006, 09:18 AM
What do you get when you mix the traditional ska sounds of the Skatalites, the hasty punk rock
of Big D and Kids Table, and the steady upstrokes of the Parka Kings? Manic Sewing Circle ?
a five piece, fifteen year old, ska/punk band with horns from the Evanston/Chicago area.
Playing their music for over the past year, and having fifty people at their first show, their third show
with Skapone, and selling almost all of their two-hundred and fifty pins in their first four shows,
Manic Sewing Circle has shown no sign of slowing down. With shows every weekend and
school five days a week, how does Manic Sewing Circle continue to do it? Well, with their
one-hundred and ten percent energy at their live shows, and exquisite stage presence and
audience interaction, the crowd wants more and more!
Taken from www.chicagoska.com/bands.php#26
Out of Chicago, Illinois, hails MANIC SEWING CIRCLE who adds their own brand of eccentric
ska-punk-reggae to the scene. With song writing as a main focus, MANIC SEWING CIRCLE's
sound is a swift twist of off-beat rock, fast reggae rhythms, and punchy horn riffs. MANIC SEWING
CIRCLE pulls in enthusiastic crowds all over the MIDWEST and USA. They are known as a horn-blasting,
beat-pounding, foot-movin' eccentric ska-punk-reggae band. Their infectious comedic-doowap groove also
gets people up on their feet dancing. These guys have toured the MIDWEST extensively, perfecting their craft
of delivering an all-out energetic concert of their original ska/punk music. To date, MANIC SEWING CIRCLE
has performed in over 4 states and Chicago countless time, and they are all still 16 years old. Their shows also
feature carefully selected covers that have been played by MANIC SEWING CIRCLE such as "I Fought the
Law" and instead of "Paradise City" by Gun's and Roses, they've dubbed it "Ybor City" in tribute to their fanatical
encounter with a chaotic city in Flordia. With the new release of their debut album "Nobody Get's What We're
Saying," MANIC SEWING CIRCLE will now send their vastly proclaimed CD to independent ska and punk
radio, college radio, and rock stations around the world. Furthermore, MANIC SEWING CIRCLE has been
featured on many, many, many ska bills around Chicago, playing with highly acclaimed acts as Mustard Plug,
The Planet Smashers, Big D and the Kids Table, Deal's Gone Bad, The Know How and The Suburban Legends
at such venues as The Metro, Bottom Lounge, and Logan Square Auditorium. As the touring keeps on "get on
board" with MANIC SEWING CIRCLE at a show, online, or at home!
Taken from www.cdbaby.com/cd/manicsewing
Some of you might have seen them at Warped, they had 3 dates in Illinois and Wisconsin.
They have one album so far, "Nobody Gets What We're Saying".
It's available on iTunes, as well as at:
01-03-2007, 05:03 PM
Spring Heeled Jack is a not so underground band but no one did a Ska BOTM last month so i said screw it ill do one this month they are great never the less
Their Debut album Static World View was released on the now defunct Moon Ska Records in 1996 and followed by Songs of Suburbia on Ignition Record in 1998. They tour extensively until 200 when drummer Dave Karich decided to to leave the band and two years later Karich died of a brain anuresym(spelled close enough)the band has been on "hiatus" ever since.
All Members are currently in other projects.
Ron Ragona- Lost City Angels(till 2006), The Murder Mile
Pete Wasilewski-Less Than Jake(under the name JR)
Tyler Jones-Reel Big Fish(Briefly)
Mike Pellegrino- Cenzo, Lost City Angels, Ladyfriend
Rick Omonte-Crooked Hook, The Mountain Movers
Chris Rhodes- The Mighty Mighty Bosstones, The Toasters
Link Pay Some Dues Video- Spring Heeled Jack (http://video.google.com/videoplay?docid=3341953636709908832&q=spring+heeled+jack&hl=en)
SHJ Myspace (http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=92325572)
Ohh and for all you skaters Geoff Rowley has a signature board with the robot off static world view
01-31-2007, 07:55 PM
Location: Toronto, Ontario, Canada
"Bedouin Soundclash is a Canadian band from Toronto, Ontario. Their sound can be described as a mix of reggae, rock, punk, soul and ska.
3 External links
The band's current lineup consists of vocalist and guitarist Jay Malinowski, bassist Eon Sinclair and drummer Pat Pengelly. Their debut album, Root Fire, released in 2001 also included djembe player Brett Dunlop. The band met while students at Queen's University in Kingston, Ontario, Canada. The band is set to release their follow up record Street Gospels in 2007. During the recording of Sounding a Mosaic, Bedouin Soundclash formed a close bond with producer Darryl Jennifer, of Bad Brains, who they continue to work with today. Despite drastic differences in sound, Bedouin Soundclash and Darryl Jennifer are set to release a collaborative Bad Brains vs. Bedouin Soundclash mash-up later in 2007.
The band released their second album, Sounding a Mosaic, in 2004. The album's single "When the Night Feels My Song" was the band's breakthrough single on Canadian radio, charting #1 on CFNY and gaining airplay on commercial radio stations throughout Canada in the summer of 2005.
Drummer Pat PengellyBedouin Soundclash takes its name from a dub record by an artist named Badawi, released on ROIR records in 1996. In an early practice, Malinowski exclaimed it sounded like Bedouin Soundclash, and the name was adopted. In 2006 the band began plans for its own imprint 'Pirates Blend' which will release their own side projects and b-sides. The first two projects to be released are set to be a Vernon Maytone solo project, and a Bad Brains mash-up, release is yet to be determined.
If you like Bedouin Soundclash, you might also like The Savage Jazz
In the summer of 2005, Bedouin Soundclash appeared on the Vans Warped Tour bill, and had significant chart success in Great Britain, where Sounding a Mosaic reached number one on the BBC 6 Music charts. They often perform with reggae legend Vernon Buckley from the 1970s reggae duo, The Maytones.
In 2006, Bedouin Soundclash held shows with a variety of performers including Ben Harper, Damian Marley, The Skatalites, and Burning Spear.
Despite Jay Malinowski's illness, the band performed three quarters of their 1-hour headline set at the Leeds Festival in 2006. The band finished with "When The Night Feels My Song", which was sung entirely by the crowd, (and then once the band had left the stage, sung again by the crowd as a "thank you" to Jay for singing when he was unwell. - the band came back on to listen then Jay invited everyone to come see them when they come back to Britain in the autumn, saying "We owe you one")
They were the main performance at the September 17 2006 Toronto rally calling for Canadian intervention in the Darfur crisis.
The band's song "When The Night Feels My Song" also appears in a 2006 T-Mobile advert in the U.K. as well as Teton Gravity Research's ski film, Anomaly. It was also featured in a Zellers commercial in Canada, promoting the summer season of 2006. The song "12:59 Lullaby" was featured in an episode of Grey's Anatomy.
Influences: Desmond Dekker, Ken Lazarus, The Clash, Roni Size, Asian Dub Foundation, Raz Mesinai aka Badawi, Bad Brains, The Wailers, Specials, Finley Quaye, Theivery Corporation, Rawkus, Marvin Gaye, Bill Withers, Toots, The Jam, The Beat, The Roots, etc etc....music with soul.
Listen to "Jeb Rand" and "Money Worries" (off official website)
Listen to "When the Night Feels My Song" (off their myspace account)
Check out if you like: the Slackers or Vic Ruggerio's solo work, Joe Strummer and the Mescaleros
03-01-2007, 10:45 PM
Keepin'6 are a third wave ska band from Ontario, Canada. They currently only have a 6 song EP (called "The Six Pack") and a split with the Johnstones, but their newest album is supposed to be released earlier this year (according to their myspace). They're starting to become one of my favorite bands and their singer has a kinda unique voice. i'm not sure as to how popular they are, but around where i live noones heard of them. reccomended tracks: "come along", "never gonna get us", and "step back" (but all of them are good).
06-02-2007, 05:45 PM
It's been awhile since the last Ska BOTM. Murphy's Kids are a third wave ska band from Richmond, VA. They're one of my favorite bands and, well, i guess the best way to describe them is just to read their about me section from their myspace:
Murphys Kids live to rock. Their goal is to bring everyone into the experience from the folks at the bar to the fans up front. The rhythm section of guitar, bass, and drums thumps out the backbone while the horn section lays their smooth runs on top. Its all complimented by the dual vocal of Attaway and Charlet whos socially-savvy and anthemic melodies help everything to fall into place. The boys havebeen together for six years and have been making booties shake and fists pump all along the way. They have played every all-ages club in Richmond and have completed three full tours of the east coast and the southeast. They have been a featured artist for two years running on the SouthernSka Tour hosted by Southernska.com. They have also recorded and released three CDs that have been met with enthusiasm and have sold accordingly. They have headlined and supported at an array of venues. Club owners and promoters in and around the Richmond area continue to find how well MK works on bills with bands of regional and international fame such as Less Than Jake, the Suicide Machines, the Toasters, the Slackers, Fighting Gravity, Voodoo Glow Skulls,Mutemath,The Fray,Soldiers of Jah Army, the Ernies and the Pietasters. You will hear journalists and fans alike asking Is that reggae or rock or what? Murphys Kids will leave it open to interpretation as long as it makes the booty shake and the heart pump. Their approach is both precise and brutal. As a band who wants to rock harder than all and groove even harder, they make their musical mark by becoming a hybrid of fast, catchy rock and deep, groovy reggae rhythms. They have a full set of reggae covers as well as 15 second hardcore songs. They have been compared to the Mighty Mighty Bosstones and the Toasters. You will find everything in their CD players from old school reggae like Burning Spear and Bob Marley to new school progressive rock like the Mars Volta and Coheed and Cambria. With all the conjecture about what their sound is and what they are trying to do musically the bottom line is Murphys Kids brings it. Their paramount goal is for everyone to go home sweaty, exhausted and grinning from ear to ear.
07-13-2007, 12:51 PM
Have Nots are Jon Cauztik from The Stray Bullets and Jameson Hollis, Steve Patton, and Matt Pruitt from Chicago Typewriter. They sound more like the Stray Bullets, though (which isn't a bad thing). They play their own brand of "ill ragga punk". They only have a demo out (which you can download on their myspace), but all the songs are really good.
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