The Hi-Lites: Exclusive Interview with James Trent

Since 2005 The Hi-Lites have been churning their authentic sounds out of San Diego, Ca. Some have compared their sound to The Skatalites or Bryon Lee and The Dragonaire's big band style of Ska. What you hear is actually original compositions with that same vibrant energy, and enthusiasm as the great originators. The band is led by James Trent who was kind enough to sit down and answer a few questions we had for him.


Q: Let me start off by asking you to tell our readers what you think the Hi-lites are all about?

James: The Hi-lites are all about carrying on the musical traditions of the original Jamaican Ska Music Masters of the 1960's, and doing so via new original material that's got really positive, vital, and socially conscious things to say. When the Ska first came about in the early 1960's, Jamaica was a young independent country having just become self-governing after a long political history as a colony of the United Kingdom (Since 1652, 310 years!). The Jamaican people in 1962 were full of pride and joy over their newfound solidarity. The original Ska was thus imbibed with that national feeling of elation, joy, hope, and positivity. Almost everyone I know says of Ska when they first hear it "My god, its such happy music!" and it is! Ska music features the energy and vitality of youth, fused with melodic traditions of Europe and of other countries of the Caribbean, particularly Cuba, and even further back, the ancient rhythmic traditions of Africa, along with the musically-intellectual melodizing and improvising of American Jazz, Rhythm & Blues. Truly a Creole music! The musical heritage of the Ska is exactly as the words emblazoned upon the original Jamaican Coat-of-Arms predicted "Out of Many, One People". Such is the heritage of Ska music, out of many peoples, one music.

The Hi-lites strive to achieve mastery over and play splendid original Jamaican Ska songs, composed in these modern times via the great Jamaican Ska rhythm as played by the great Jamaican masters of the past and present, with a focus on Caribbean and American Jazz melodically and improvisatorially, and with a spiritual focus on the spreading of peace, love, understanding, appreciation for life, and harmony. The ultimate goal of the Band is to achieve an utmost modern Original Jamaican Ska musical style that is recognized by the Original Ska Masters, Ska scenesters, American Jazz enthusiasts, and Caribbean Music aficionados, but most importantly, that our music be of such an ascendant nature that it becomes a musical staple to the entire mainstream music listening public. When this occurs, the Ska will be a powerful vehicle for effecting and assisting change in the world across so many fronts: spiritually, politically, socio-economically, and diplomatically. Yes, initially, a great change in the world created Ska, but now, the Ska will change the world!

We are committed to the Ska rhythm, intonation, melodizing, swinging, harmonizing, improvisation, musicianship, citizenship, and love, sweet love.

Q: This isn't the first traditional Ska band that you've performed in, is it?

James: No, I have had the great fortune to be part of an earlier and very great Jamaican Ska band, "The Inspector".

Q: The Inspector? Can you tell me about that band.

James: The Inspector was a band that I came into in 1996 as a senior in high school. Drummer Paul Touchet and Guitarist Kevin Johansen were introduced to me through a mutual friend who knew I loved the Ska and was looking to get into a band. Initially we worked with Joe Armoguida and Demetrius Patin on Tenor and Alto Saxes respectively. Over the next four years, the band went through many lineup changes that involved 23 different musicians over three years, but eventually developed a core of players that ultimately achieved a high level of Jamaican Ska mastery, and in recognition of this fact, we were granted gigs with the best Jamaican Ska, Rocksteady, and Soul bands of the era, The Skatalites, Hepcat, Allentons, Rhythm Doctors, The Inciters, Chris Murray, Mobtown, See Spot, Yeska, Debonaires , and several other high-class bands from throughout the nation and the world. We gigged throughout Southern California in many settings; night clubs, festivals, parties, showcases, you name it. We logged hundreds of gigs. It was one the best experiences of my life, playing the Ska, every week and weekend, making huge crowds of people dance and sway, feeling the great vibes of positivity and good nature.

All of the musicians in The Inspector cut their teeth as performers in that band, as well as logged time in the studio. SFLB Records, headed by the ingenious and hardworking Rick Brady, released a full-length album for the band, "Ingrid" in 1997 and Executive Produced "Keep it Burnin'" for Steady Beat Recordings in 1998. At the end of our association, we cut a magnificent live Jamaican Ska EP that was never released . A re-mixed version may be released in the near future.

Q: I hear that you met the Hi-lites drummer Pat through the Inspector. How did that come about?

James: This is true. Pat and I have known one another for several years and played together in a variety of settings. The Inspector's tenor sax player, the great Jeff Roberts, introduced us all to Pat, who was one of his friends from school at the time. Pat loved the Ska, and would hang out at our gigs and sometimes rehearsals. He sat in on drums during a few rehearsals for the Inspector as well when Paul Touchet couldn't be present. Pat's love for the Ska has always been apparent, and now that he is drumming for the Hi-lites, it's so great to feel his saucy beats loaded with drive and stylistic Jamaican Ska gravy. Pat's respect for the Original Jamaican Ska is apparent in every tune he plays. You just can't sit still once the man starts a-swingin' his sticks, you've just got to dance. Pat is one of very few drummers in California who truly understand Lloyd Knibb's approach to the way the Ska must be played, with fire, passion, rhythmic solid-ness, but above all, swinging the skanks, yes, swinging them I say!

Actually, some other members of an earlier version of the Hi-lites from a little while ago also came from associations with the Inspector band. Chris Torres, the great pianist, also played with the band during 2006, as did the great multi-instrumentalists Jacob Ruiz and Tom Lewandowski. Jake used to play alto sax and Tom used to play trombone and guitar during the Inspector days. These gentlemen both played guitar in 2006 for the Hi-lites. It was truly great to have these men with us during our initial stages. Actually, Tom ended up coming back to play a few engagements with the Hi-lites in 2007 as well, which was a real treat in many ways.

Q: The band has undergone a number of lineup changes since 2005. I think we were all a bit shocked to learn of the recent departure of the horn section and a couple others. Can you talk about that a bit?

James: This is a long story, but I can try to summarize…Well, it just became clear after our June 2007 tour that some of the members of the band wanted to work as hard as possible at playing the most high-quality Ska possible, while others needed wanted to be more lax about our collective musicianship, particularly, they did not want to spend as much time practicing on their personal instrumental technique nor with the full band as a whole. Several of these ex-band members had gotten too comfortable resting on their laurels, and I had to make it clear to them that this was not acceptable, and that they would need to step up and apply some serious effort in order to become better musicians and better, more hard-working band members.

Those players chose to leave the Hi-lites and form their own band rather than work harder with the Hi-lites; but they set out in their new project initially by hijacking gigs that were originally booked for the Hi-lites, and at those gigs they performed my own personal compositions of original arrangements of Classic Jamaican Ska cover tunes from the Hi-lites' repertoire that I had worked so hard to teach them! I hear they are starting to work on their own material now, which is a good thing. I wish them the best, but I also wish they'd just play their own arrangements! Sorry if that sounds a bit 'not nice', but honestly, they left the band on very unkind terms. These players just didn't put enough energy into working on the music while they were in the band, instead choosing to focus on social politics within the band, and repeatedly trying to wrest control of the direction of the band away from me, which of course I wouldn't allow, since I formed and led the band and wrote all of the material since day one. My hope now is that in their current band, the ex-Hi-lites will realize the value of working hard on both their individual practicing on their instruments, as well as realize the necessity of focussed, driven, and serious ensemble rehearsing. In my experience, this is the only way to make a band sound great, by putting the best effort into your individual and collective musicianship.

Honestly though, the fact that those players left the band is really a great thing in the end, as the players who had always formed the true backbone of the band remained: Those players being myself on compositions, vox, and bass, Pat Owens on Drums, and Claire Hollett on Piano and Hammond B-3 Organ.

The wonderful James Ritts, AKA "the Ska-Jazz Machine" has rejoined us on guitar. James' skanking is the solidest around, and when he goes to take his licks in the improvising, it's one of those things where as a listener you just can't believe his bottomless well of brilliant phrases, laden with swing and feel to boot. We are also now working with a wonderful female vocalist in Ms. Krystal Shinka and a super-hi-quality horn section, comprised of professional Jazz players and Jazz students, all of whom love the Ska, and have a great deal of experience playing it. It's like the universe said to the Hi-lites "Go forth and spread the Ska". Thank you universe! We shall not let you down!

Q: So who has stepped in to fill the gap?

James: The lineup of this band is a veritable who's who in the Southern California Ska music scene. The great singer Krystal Shinka, a spiritual guru who feels the Ska in her heart, has graced us with her rich siren-like voice. I first met Krystal in her days as a serious opera student back in the 1990's. Krystal's tone is totally amazing; you've got to hear it to believe it. Marcia Griffiths is one of her favorite Jamaican lady vocalists.

Then we have the modern Ska-Jazz giant Eitan Avineri on trumpet, who cut his Ska teeth playing in the Allentons, a great LA-based Ska band. Eitan has been involved in so many hi-quality Ska, Reggae, Jazz, and other musical performances with local groups as well as touring Jamaican masters that it's incredible. He is a very active player of the trumpet in many capacities, including being an inspirational teacher to dozens of students in the LA area. I have always dug Eitan's rich, thick trumpet tone and his intellectual solos. The guy is a real force on stage.

Benny Golbin comes next on alto sax. Benny has the facility of Bird on his horn, but with one of the smoothest and sweetest tones I've ever heard an alto player have. He's also an enlightened improvisation enigma. Benny has his own quartet too, and his own compositions are super-hip. I first met Benny when Eitan contacted me to play some gigs with the great Kingston Collective Ska Orchestra back in 2006 and I was blown away. Damn, Benny can really bop around!

Ian Anderson on tenor sax blew my mind when the Hi-lites first played a gig with him back in late 2006 at the Zen Sushi club in Silverlake. Ian plays tenor for the Roundabouts band too, and on that particular night, he blew his sax so beautifully within their arrangement of the great Disney movie tune "When You Wish Upon a Star" as sung by Jiminy Cricket, although this was an instrumental arrangement, featuring Ian on tenor blowing the melody. I took note that night of Ian's broad tone and robust and swinging improvising style. Ian's currently a full-time undergraduate student, studying saxophone performance. I am so pleased to be working with him.

Joe Field on trombone is Ian's band mate from the Roundabouts band. He too is a full-time undergraduate student, studying music. Joe has played in several Jazz collaborations from big bands over the years and is one of the LA area's top young lions on trombone. For his age, his resume looks like that of a lot of players who are twice as old. When I heard of Joe's prowess and first approached him about playing in the Hi-lites, he made it clear to me that he is totally fired up on steeping himself in even more Jamaican Ska history and tradition than he already is! I am very gratified to have Joe with us; he's a great guy whose chops are tops of the pops! More information is available about of each the great Hi-lites musicians at our website: www.hilitesgoska.com

Q: Wow, that sounds like an amazing lineup. When are your playing next? Any plans for a new album? Tour?

James: It is. It is. I am truly blessed to be surrounded by such talented musicians and can't wait for the world to hear the new lineup. Our first show in several months will be at the Kensington Club in San Diego with Social Green and The Wrong Trousers on Friday, October 19. We also have gigs lined up at the Bluebeat Lounge (Knitting Factory) in Hollywood on 10/30/07 with Chris Murray Combo and the Bohunks and at Que Sera in Long Beach on 11/29/07 . But fans should be sure to check our calendar regularly for the latest Hi-lites show news.
We hope to record a new full-length album in early spring. The album will be recorded live, which is the only real way to record Jamaican Ska in my opinion. It was good enough for the old masters in the early 1960's, and it still holds true today. The Most Honorable and Distinguished Skatalites, the greatest musicians on the planet, recorded live on two-track analog tape from 1962-1965. The sound they got on those recordings was the sound of the room ringing and reverberating with the joy and energy with which they played. We plan to channel that same live energy for our recordings and put out some stuff that will knock everyone's socks off!

We're planning a series of mini-tours to support the album release, with a couple days to the Las Vegas/Phoenix area, couple days to the Santa Barbara/San Luis Obispo area, and a 3-4 day run to Santa Cruz, San Francisco , Sacramento/Davis, and Fresno . We hope to make it out to the High Desert Ska Festival in Grand Junction Colorado and a few surrounding locales in the summer too. If all goes well, we may even make it to the east coast by the end of next year. We'll have to just wait and see, but we're all very hopeful. If the readers and fans want the Hi-lites to visit their town, I encourage them to drop us a note and join our mailing list!

Q: Any departing words?

James: Yes. This message is to all of you out there reading this article: Remember to do the Ska day by day in your life throughout all circumstances! Be it a good day or a bad one, easy-as-pie or walking on broken glass, no matter! If you always keep love in your heart, and hit the sidewalk and break into a stride in time with the great Ska beat, then that is a good day, no matter what! Also, be good to one another, honest and forthright, this is another way of doing the Ska in your everyday life. As Justin Hinds first sang it, "Do all the good to all the people you can…try to be a straightforward man". This is the highest message of Jamaican Ska: Love, Equality, & Peace.
Chikki-boom Chikki-boom Chikki-boom! Ska Ska Ska Ska!

For more info please visit The Hi-Lites website

Silver Dollar - NJ Trad Ska

New Jersey is a hotbed of activity in the American ska scene, second to possibly only California with the number of bands and amount of talent cropping up over the past few years. While young as a collective unit, the members of Silver Dollar are seasoned verterans. Featuring King Django, Skooch of Inspecter 7, and members of other great NJ bands The Cosmic Brotherhood of Ra, Stereo Freeze and Jersey Rhythms among others, Silver Dollar is a collective of talented musicians paying tribute to their influences while continuing to grow as a band and embark on their musical and spiritual journey. Instead of trying to describe them in any further detail, I'll let this interview speak for itself...



Current Lineup:
Skooch - Tenor Sax, Vocals
Jimbo - Guitar, Backing Vocals
John Cosmic - Bass, Backing Vocals
King Django - Trombone
Timmay - Drums
Johnny B - Trumpet, Vocals
Mr P.C. - Alto Sax, Backing Vocals

When and how did you form?
Silver Dollar formed after years of speculation, discussion, etc..... Skooch had always wanted to assemble a band to pay tribute to the many musical forms that came to us from Jamaica with Trad Ska being at the forefront of those interests. It had been discussed with many different players at many different times until the idea was finally hatched over a discussion at the Knitting Factory between Skooch, Jimbo and Django and a separate conversation between Skooch and John Cosmic. Things started to come together in early 2007 with the original intention being to learn a set of Skatalites covers together with some of Skooch's originals and then see where it would lead. Timmy, Johnny B and then Pete really rounded out the lineup giving us the group that we now have today. The concept is based around learning the fundamentals of Jamaican music including not only music theory but also the African roots of the music and culture of the island. It is with this foundation that we can begin to evolve and create our own musical and artistic tribute. Call it woodshedding or a workshop, but it goes much further than playing live and seeking acceptance from our peers. Learning is a selfless act that lasts a lifetime.

How did you get your band name?
"Silver Dollar" is the name of a song by the Skatalites.

What style of music do you play? What are your influences?
Silver Dollar plays the music of Jamaica and all of it's influences such as Afro Cuban Jazz, Latin Jazz, Bop, New Orleans Boogie Woogie, Gospel, Big Band, Mento and Calypso. Our collective influences would be far too long to list but we are all in one way or another influenced by Ska, Reggae, Rocksteady, Bop, Big Band, Free Jazz, Afro Cuban Jazz, Gospel, Calypso, Mento, Boogie Woogie, Jump Blues, R&B, Soul, Funk, Punk, Afro Beat, Blues and a pervading sense of spiritual purpose that drives each of us in our own way.

You’re a rather new band, but far from inexperienced. Based on your roster, I'm sure we can expect great things… have you had any shows yet?
Thus far we have played a handful of gigs to get our feet wet and "Practice on the bandstand" as Miles Davis once put it.

How did they go? What can we expect from a Silver Dollar show?
Silver Dollar has been well received and learned a bit about communicating with each other in a live setting. There are a lot of variables that need to be worked out that can't always be worked out in a rehearsal space so getting out in front of a crowd helps with that. Anyone coming to see us can expect a lot of improvisation, extended solos, closed eyes and a serious yet playful environment in which to dance and listen. The word "listen" is very important as we are an instrumental band first and foremost and do our talking with our instruments. Each of us tell our own stories in our own way and hope that people can relate to one or more at every show.

What are your plans for the near future? Will you be recording? Playing more shows?
Our plans include pushing each other at every rehearsal to be the best that we can be while maintaining a sense of fun and a sense of humor. Our blend is that of covers and originals so each rehearsal focuses on a bit of both. Any recording that is done will be strictly from a demo point of view until we feel that we are ready to give something that is finished to fans of the genre. As a band, we see no need to rush into the studio only to deliver something that wasn't finished cooking yet....LOL.... As for shows, we will plays shows that resonate with us and fit into our collective schedules. There are benefit shows on the horizon which are very important to us and should be important to everyone as well as other Ska shows. Beyond that, we are focused on working the details of the music such as texture, interplay, dynamics, improvisation, interpretation, etc.

As an outside observer now, the NJ Ska scene seems very active these days. More so than I remember 3 years ago when I moved away. How do you feel about the state of the scene as it is now? What can you attribute to its growth?
People have not stopped playing and recording Ska. The Pop scene and popular culture in general will "borrow" subcultures and styles, chew them up a bit, see how they taste and then spit them back out but all along there are people who are still playing and recording the music. This is universal and applies to everything from Punk, Hardcore, Industrial, Jazz and beyond. One of the constants that always helps local scenes to grow is the young kids who are getting into it, forming bands, putting on shows, etc.... One can view the Pop Culture machine in a negative light but at the end of the day if it gets people exposed, that could cause them to do some homework, discover cool bands that exist across multiple generations, adopt those influences and end up doing a lot of good for their local scene while at the same time shedding that Pop Culture skin once they realize that the real substance is not found in record sales or fashion but in the hearts and souls of the music makers

Are there any local or other bands that we should be looking out for?
Hub City Stompers, Bigger Thomas, Bombtown, Steadfast United, Offbeat in Suburbia, Wareika Hill... Also the international bands that are keeping it real like Tokyo Ska Paradise Orchestra, Rotterdam Ska Jazz Foundation, etc...Plus Django is always working on solo material as are Vic Rice and Buford O'Sullivan. Dub is a Weapon, Scofflaws, The Toasters... the list is endless. Plus you've got Version City, Stubborn Records, Jammyland, Megalith and other folks that are helping to keep things afloat in the Ska and Reggae community. Lest we forget that the Skatalites are still bringing this special music to us.

What are you listening to lately?
See our influences....LOL

Anything else you want to talk about?
(your chance for shameless self-promotion, rants, raves, etc)
Just to always keep searching, keep trying to not only better yourself but better the world around you as well. When you love something it really shows and I can only hope that when people see and hear Silver Dollar that the love that we have for the music and culture of Jamaica not only shows but is downright contagious.

Thanks to Skooch and Silver Dollar for taking the time to answer these questions!!
For more information, music, and tour dates, visit:
http://www.myspace.com/silverdollarska

Interview: Toby Kremple of The Georgetown Orbits

1. So tell us, who are The Georgetown Orbits?
We're an 8-piece traditional ska/reggae band from Seattle WA. The band
formed in early 2004, started by myself and the drummer. We recruited
people who had a strong appreciation for the roots of ska and reggae,
and started playing shows around the city with a full rhythm section,
one toaster and one horn player. The reactions were good, since there
aren't any other bands around here who focus on ska and early reggae,
so we made a number of fans pretty quickly. We met a lot of the
promoters and bands in the scene who liked what we were doing, and we
got our feet in the door. In 2006, the Dead End Social Club (Olympia,
WA) released our first single, 'My Baby's Okay,' which has been
popular in the US and Europe. It's just gone up from there- playing
bigger shows for more people, and getting ready to release our first
cd next month.

2. Whats it like when you guys write a song?
It depends. Sometimes one of us will bring in charts and we'll each
learn parts and make adjustments to the arrangement of a song, other
times we just come up with an idea at practice and we'll play around
with it until it's workable as a song.

3. I can't think of many ska bands from Seattle, what is the current
music scene like in Seattle, and where do you fit in?
The Seattle scene is small. There are a few bands who have been
playing for a while, and a number of others who pop up here and there
but don't stay together very long. It's been growing in the last few
years, though- more people are coming out to shows, getting to know
each other, and bands sticking around for longer. Our place is in
playing more traditional ska. We stick mostly to the old Jamaican
sounds of ska and reggae, where many of the bands we share stages with
are playing faster, more rock-influenced ska.

4. You guys have been working on a new album for some time. How is it going?
Great. We're nearly done. It's a first for us, so we're all learning
how much work and collaboration is required to produce a great album.
We've had a lot of control over the process, which I think makes for
better results. We were really able to capture the feel of the band,
recording the rhythm and horn sections live, and engineering the
sessions ourselves.

5. You've played on the same bill with some very notable musicians. Are there any moments that really made an impression on
you?
I've had some very humbling moments in the last few years- opening for
the Skatalites and letting them use our backline, Karl Bryan talking
my ear off backstage. The Skatalites have played in Seattle twice in
the last five years, both of which I had a hand in. Those have been
the biggest shows I've helped put on, which has strengthened my
appreciation for the roots of the music. That's some serious business
if some of the same few people have been playing together for over 40
years, and they're still all over the world playing shows…

6. How did you come to appreciate Ska music?
It started in high school in the late 90s, as the national ska craze
was dying out. My friends and I were into the all of the skapunk and
2-tone music. As time went on, most of them moved away from ska, but I
kept listening to it. When I moved to Seattle, a few people turned me
on to the Skatalites, whose music I got a hold of but didn't really
understand until months later. I had started booking shows with the UW
and playing music with a few people. I was tagged as the ska guy
wherever I went, since I was one of a few people in Seattle with an
interest in booking ska shows and collecting records. My love and
appreciation for the music has just grown since then, collecting more
music, discovering more bands online, booking bigger shows, and
playing with a more successful band.

7. So far the Georgetown Orbits have played actively in your local
scene. Do you plan to tour?
Yes, eventually. We'll get out on the road when the time is right.

8. Can you suggest some Seattle ska and Reggae musicians to our readers?
Natalie Wouldn't, Clinton Fearon, The Crucialites, Little Big Man,
Stiff Upper Lips, The Panda Conspiracy, Legal Lies, Dub Championz,
Library Science, Get Down Moses, Majesty in Denial, the Diablotones,
Yogoman Burning Band, Bremerton Dub Rockers, the Bankshooters

9. What venues would you recommend to those visiting Seattle and why?
Studio Seven has a lot of local ska shows, and they're one of the few
places that is all ages with a bar. Nectar's in Fremont has a lot of
local and touring reggae acts, as does Neumo's on Capitol Hill.
Culture Yard Productions has a great handle on the big touring reggae
and dancehall acts that come through town, and myself or Local Chaos
put on most of the local ska and skapunk shows at the above venues.

10. Any last words?
To all the promoters and fans of ska- stick with it! There is an
endless amount of ska and reggae around the world that is there for
anyone who takes the time to look for it (myspace is a good resource).
And take every chance you get to see the original Jamaican musicians
when they come through your town!

Make sure to check www.georgetownorbits.com

"The Ramblers" won't leave you rambling just dancing

Deals Gone Bad "The Rambler" (Jump Up Records)



I anticipated the release of this album from the band for what seems like years. And the album lives up to every expectation I had going in. The band helped to establish Jump Up Records as a viable ska label as third wave ska floated from popularity to obscruity in the 90's. Thanks to bands like DGB Jump Up is still around and still putting out great albums that deserve to be heard. Deals Gone Bad always played a mix of Jamaican ska/reggae with elements of soul, rock, and jazz. Their live show is probably where the band has always shined with their scorching originals about Pirates with covers from bands such as Judge Dread, Derrick Morgan, and Ken Boothe. With singer Mike Park the band released 3 albums on Jump Up Records. Mike left the band a few years ago (now he plays in Lord Mike's Dirty Calypsonians - Check Them Out!) and was replaced by Todd Hembrook who belts out his vocals like Sam Cooke and Otis Reddng. This album is a non stop pleaser with the first tune "Messin' Around" Todd's vocals stand out as this agonizing soul that has loved and suffered. Mike Corcoran on drums transitions from a foot stomping soul beat to a smooth rocksteady rhythm. "Movin' On" begins with a Pet Sounds sort of organ intro supplied by Karl Gustafon. This song is very reminiscent of Todd's old soul reggae band Heavy Step.



What I like most about this album is the music covers all styles of Jamaican music with ska, reggae, rocksteady and has a healthy dose of other musical delights. "Cry For Me" has Todd channeling his inner Motown and even somewhat resembles the feel of a certain Van Morrison tune. "One More Day" is a love ballad of sorts, the horn players add the perfect melody that floats and grooves in the pockets. Deals Gone Bad prove they are at the top of their game with "Things Are Gonna Get Better", which demonstrates the bands' ability to jump from style to style. A more rootsy reggae sound is present in "Rough & Ready" which the band quickly grooves to. Aaron Hammes wrote the song "Good Old Days" that sort of harks back the past without being sentimental, just realistic. "City City" is a catchy ode to Chicago… "The second city, beats the first / Keep New York, forget LA, Chicago is my curse." "Take Time" and "The Cost" are two more reggae grooves number that keep the energy on the disc sky high. The album ends with a Western (fitting in theme with the album art) acoustic number that is just spooky sounding "I was Wrong." This will be on the top of the list for this year's best releases. And if you get a chance do not deny yourself an opportunity to see this group live on stage. Doing what they do best giving the fans all their blood, sweat, and tears and ripping from song to song. Lets hope they never stop.

Kingston Kitchen Serves Up A Fine Dish

Kingston Kitchen-Today's Special(Megalith Record)

If you think you've heard it all, think again.
Dr. Ring Ding and Rotterdam Ska Jazz foundation have cooked up up some of the finest musical delicacies your ears will ever have the pleasure of feasting upon.
Today's Special is fit for the musical connoisseur.
Throughout the entire album my ears were at full attention to all the intricate sounds of of these top notch musicians. Dr. Ring Ding is in top form, showing off his versatility as a singer. The album starts off with "You Make Me Sing", a sultry Ska/Jazz combo that sounds like the opening to an old Bond flick.
One song that stands out most to me is "St. James Infirmary Blues". This tune flows with rich, eerie horns and a steady beat so infectious I had to listen to it three times my first way through the album. Richie give us some raspy, Louie Armstrong like vocals in a style all his own.
There are a few covers, including Elvis' "City By Night", and a killer version AC/DC's "You Shook Me All Night Long". I would almost recommend this album just to hear this AC/DC cover, it's fantastic.
You know these guys are the real deal when they do a version of a Michel Legrand song. Listening to "Les Mouins De Mon Coeur" you get to hear Ring Ding sing in French and it is tasty. "Friday Night" is what I'd like to think the Skatalites would sound like if they came straight from New Orleans.
If you're ready to dine from a finer musical platter, Today's Special is just for you!

Review of Tim Armstrong's Solo Record

Tim Armstrong "A Poet's Life" (Hellcat Records)

Billed as Tim Armstrong's solo album but could more aptly be titled Tim Armstrong with the Aggrolites (since the band accompanies Tim on all the songs). This album goes beyond treading through the ska-tinged punk rock Rancid has made their reputation playing since the 90's. Some reviews I have read on "A Poet's Life" have said this is an ode to Tim's heroes -- Jamaican rocksteady singers like Desmond Decker and Alton Ellis. I would digress and think this is modern blistering party reggae.

Tim Armstrong does what he does best with his slurring life lessons mixed with street poetry like Jim Carroll (their vocal styling are also quite similar). The Aggrolites know their music and sort of follow Tim with the heavy reggae beat they are known for. There are a couple of songs here that bring back the gritty intensity of "Dirty Reggae" the Aggrolites' debut album. Tim throws some curveballs and includes a couple of love songs alongside his usual observations, which is not on par for most Rancid songs.

The opening numbers prove right away teaming up the Aggrolites with Tim Armstrong is the perfect combination. The catchiest song on the album "Into Action" is an intense melding of reggae and punk rock that harkens back to the days of two tone. Also the guest female vocals of Skye Sweetnam (a Canadian pop singer) and the guitar's surfy guitar melody are two components that remind me of the Selector.

"Translator" is a mellow love tune where Tim repeats "I only wanted what was best for you." Jesse Wagner adds some sweet vocal harmonies alongside Tim's tender chorus statement. This track has a menacing trombone combined with a hurried ukulele rhythm. "Take This City" shows you why without a doubt why the Aggrolites are on the top of their game churning out blazing reggae anthems that sound like the modern day version of Lee Perry's studio band the Upsetters. Tim Armstrong does what he does best on "Inner City Violence" but even in this mellow mood his lyrical melodies still shine through even when singing about political atrocities. "Oh No" is a track that has heavy percussion melodies strung throughout which sets the post apocalyptic mood.

My two favorite tracks on the album are the ones towards the end. "Lady Demeter" is another love song that avoids clichés and sticks to straight story telling pulling no punches. The harmonica melody strings throughout the song complimenting Tim's voice throughout the chorus. "Among the Dead" demonstrates the secret to why the Aggrolites are so good (reggae is all about rhythm). Also this song contains a personal history of Tim's past from Op Ivy to Rancid. The album ends with the dubby instrumental "Cold Blooded."

One of the highlights of the CD package is the inclusion of a booklet of lyrics and a DVD. The DVD has videos from all the songs on the album. . The majority of the videos are shot in Cali but there are a couple shot in varying locations such as Vegas and Japan. The videos are grainy low quality B&W shot in that Hellcat sorta way. But in some ways the videos each have some sort of story of their own they illustrate.

Overall this album has mostly positives. My only gripe is 10 songs almost seems like it's not enough. Reggae and punk have gone together since the 70's and this album is an example how two worlds can meet and create something new and exciting.