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bedsitter23Social media obviously draws attention to deaths but it is still true that they are sad events.
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Undoubtedly though, the death of Ranking Roger is a sad one.
I almost undoubtedly heard the English Beat first on MuchMusic. That Canadian video station found a spot for ska. I heard “Mirror in the Bathroom” and it is one of those special life-changing songs.
I special ordered “What is Beat?” because I had gotten in that habit. Needless to say, that album is perfect
The Beat like the Buzzcocks had three records that were pretty solid so the greatest hits records are start to finish perfection. Though not quite the same band template, the Jam’s “Snap” and XTC’s “Waxworks” make for four of the most perfect one record compilations of the late 70s and early 80s. True Desert Island Discs.
Of course, in the 90s and early Aughts, I upgraded to CDs and the greatest hits collections got filled out reissues. Without a doubt, there are very few records that I have listened to in my life than What is Beat.
After discovering the Beat, I would go on to discover the Specials and 2 Tone. Always grouped together and yet apart, the Beat because of their amazing pop sensibility, often get labeled as less authentic. Ironically, in terms of career output, the Beat dwarf this mythical competition.
In the 90s, one of the first new wave reunions took place when Ranking Roger joined the legendary Saxa and drummer Everett Morton from the Beat and four members of the Specials to form the Special Beat. To me, this was a really big deal. In retrospect, this was a nonevent in musical press terms. Of course, should that be the case? This was one of an early chain of events that kicked off a new heyday for ska.
Unexpectedly, General Public has another big hit and went to #22 in 1994. Their cover of The Staples’ “I’ll take you there” is a great cover and a deservedly pop staple in its own right and was in the year end Top 100.
In 2013, it was announced that Ranking Roger and Dave Wakeling would both be leading separate versions of the Beat complete with tours, upcoming studio and all that entails. It was hard to imagine Roger without Dave and vice versa after so many years together off and on.
I saw much more press for the Roger version, which had some bona fide claim to the title. Besides Roger, it also included his son, Fuzz Townshend (Pop Will Eat Itself, Bentley Rhythm Ace), Oscar Harrison (Ocean Colour Scene) and Bobby Bird (Higher Intelligence Agency).
In 2016, that record did appear- Bounce. It was a good record though I felt it ultimately fell a bit short of its goal. Not a bad record by any means, but hardly essential.
What I didn’t realize when the new album Public Confidential came out was that Bounce was essentially a group that was in the process of finding itself.
There’s some irony in the fact that it comes out at a similar time as The Specials reunite and release a new disc. There’s also an ironic sadness that Roger passed away so soon after the release.
I wonder if I would have delved into this record without that. I likely still would have. In any case, I am glad that I did. It is a record that meets and exceeds its lofty expectations.
Whereas I listened to Bounce and lamented that Dave was not going to show up, with Public Confidential, I never feel that element missing. It truly feels like the English Beat, mixing the right amount of looking-back nostalgia mixed with a modern feel. It seems hyperbole when reviewers compare it to the Beat's classic, but it really is in the conversation. Nor is this an element of one or two hit singles, but a collection of cohesive songs. I find it unlikely, but it will undoubtedly be on the short list of my favorite albums of the year.
( Collapse )
Undoubtedly though, the death of Ranking Roger is a sad one.
I almost undoubtedly heard the English Beat first on MuchMusic. That Canadian video station found a spot for ska. I heard “Mirror in the Bathroom” and it is one of those special life-changing songs.
I special ordered “What is Beat?” because I had gotten in that habit. Needless to say, that album is perfect
The Beat like the Buzzcocks had three records that were pretty solid so the greatest hits records are start to finish perfection. Though not quite the same band template, the Jam’s “Snap” and XTC’s “Waxworks” make for four of the most perfect one record compilations of the late 70s and early 80s. True Desert Island Discs.
Of course, in the 90s and early Aughts, I upgraded to CDs and the greatest hits collections got filled out reissues. Without a doubt, there are very few records that I have listened to in my life than What is Beat.
After discovering the Beat, I would go on to discover the Specials and 2 Tone. Always grouped together and yet apart, the Beat because of their amazing pop sensibility, often get labeled as less authentic. Ironically, in terms of career output, the Beat dwarf this mythical competition.
In the 90s, one of the first new wave reunions took place when Ranking Roger joined the legendary Saxa and drummer Everett Morton from the Beat and four members of the Specials to form the Special Beat. To me, this was a really big deal. In retrospect, this was a nonevent in musical press terms. Of course, should that be the case? This was one of an early chain of events that kicked off a new heyday for ska.
Unexpectedly, General Public has another big hit and went to #22 in 1994. Their cover of The Staples’ “I’ll take you there” is a great cover and a deservedly pop staple in its own right and was in the year end Top 100.
In 2013, it was announced that Ranking Roger and Dave Wakeling would both be leading separate versions of the Beat complete with tours, upcoming studio and all that entails. It was hard to imagine Roger without Dave and vice versa after so many years together off and on.
I saw much more press for the Roger version, which had some bona fide claim to the title. Besides Roger, it also included his son, Fuzz Townshend (Pop Will Eat Itself, Bentley Rhythm Ace), Oscar Harrison (Ocean Colour Scene) and Bobby Bird (Higher Intelligence Agency).
In 2016, that record did appear- Bounce. It was a good record though I felt it ultimately fell a bit short of its goal. Not a bad record by any means, but hardly essential.
What I didn’t realize when the new album Public Confidential came out was that Bounce was essentially a group that was in the process of finding itself.
There’s some irony in the fact that it comes out at a similar time as The Specials reunite and release a new disc. There’s also an ironic sadness that Roger passed away so soon after the release.
I wonder if I would have delved into this record without that. I likely still would have. In any case, I am glad that I did. It is a record that meets and exceeds its lofty expectations.
Whereas I listened to Bounce and lamented that Dave was not going to show up, with Public Confidential, I never feel that element missing. It truly feels like the English Beat, mixing the right amount of looking-back nostalgia mixed with a modern feel. It seems hyperbole when reviewers compare it to the Beat's classic, but it really is in the conversation. Nor is this an element of one or two hit singles, but a collection of cohesive songs. I find it unlikely, but it will undoubtedly be on the short list of my favorite albums of the year.
