Despite being the band that got the least press during the ska revival of the early '80s, the Selecter, while only recording one undeniably fine record, deserved better than they got. Hailing from Coventry, England, the same hometown as ska pals the Specials, the Selecter's secret weapon was lead singer Pauline Black, arguably the best lead... [+] Read More

Despite being the band that got the least press during the ska revival of the early '80s, the Selecter, while only recording one undeniably fine record, deserved better than they got. Hailing from Coventry, England, the same hometown as ska pals the Specials, the Selecter's secret weapon was lead singer Pauline Black, arguably the best lead singer of the ska revival, who gave the jumpy and jittery songs an edge that veered into haunting drama. Although they got off to a roaring start with their debut record, 1980's Too Much Pressure, the second record, Celebrate the Bullet, was a strained follow-up that led to the band's rapid demise. Black spent some time singing solo and eventually re-joined guitarist Neol Davis in a Selecter reunion in the early '90s that has seen them become dance club favorites. According to those attending Selecter shows, the vibe is strong and the music great. ~ John Dougan, All Music Guide [-] Hide

Along with the Specials, Madness were one of the leading bands of the ska revival of the late '70s and early '80s. As their career progressed, Madness branched away from their trademark "nutty sound" and incorporated large elements of Motown, soul, and British pop. Although the band managed one crossover American hit in 1983, the band remained a... [+] Read More

Along with the Specials, Madness were one of the leading bands of the ska revival of the late '70s and early '80s. As their career progressed, Madness branched away from their trademark "nutty sound" and incorporated large elements of Motown, soul, and British pop. Although the band managed one crossover American hit in 1983, the band remained a British phenomenon, influencing several successive generations of musicians and becoming one of the most beloved groups the country produced during the '80s.

The origins of Madness lie in a ska group known as the Invaders, which was formed by Mike Barson, Chris Foreman, and Lee Thompson in 1976. By 1978, the band had changed their name to Morris and the Minors and had added Graham "Suggs" McPherson, Mark Bedford, Chas Smash, and Dan Woodgate to the group. Later in 1978, they changed their name to Madness, in homage to one of their favorite Prince Buster songs. The following year, Madness released their debut single, a tribute to Prince Buster entitled "The Prince," on Two-Tone. The song was a surprise success, reaching the British Top 20. Following its success, the band signed a record contract with Stiff Records and released another Prince Buster song, "One Step Beyond," which climbed to number seven.

Madness quickly recorded their debut album, also titled One Step Beyond, with producers Clive Langer and Alan Winstanley. Released toward the end of the year, the album peaked at number two in Britain and it stayed on the charts for well over a year. At the beginning of 1980, the band's third single, "My Girl," peaked at number three. For the next three years, the group had a virtually uninterrupted run of 13 Top Ten singles, during which time they were one of the most popular bands in Britain, rivaled only by the Jam in terms of widespread popularity. Where the Jam appealed to teenagers and young adults, Madness had a broad fan base, reaching from children to the elderly. Which didn't mean their music was diluted -- they continued to expand their sound, both musically and lyrically.

In the spring of 1980, Madness released the Work Rest and Play EP, which reached number six on the strength of the EP's lead song, "Night Boat to Cairo." Also during the spring, One Step Beyond was released in the United States, where it peaked at 128. Madness' second album, Absolutely, was released in the fall of 1980. The record peaked at number two on the British charts, but it stalled at number 146, in the U.S. Sire dropped the band after the commercial disappointment of Absolutely, leaving Madness without an American record contract for several years.

Back in England, Madness continued to gain momentum, as the group began playing matinee shows on their tours so children under 16 years old could attend the concert. In the fall of 1981, the band released their third album, Seven, which peaked at number five. In January of 1982, Madness hit number four with a cover of Labi Siffre's "It Must Be Love." In March, their streak of Top Ten hits was interrupted when "Cardiac Arrest" stalled at number 14 on the charts, due to radio's reluctance to play the tune. The band bounced back a few months later with "House of Fun," their first number one single. That same month, the hits compilation, Complete Madness, reached number one.

Madness returned in the late summer of 1982 with The Rise and Fall, their full-fledged shift to pop. Like their previous albums, it was a British hit, reaching the Top Ten, but it also contained the seeds of their brief American success with the Top Five British single "Our House." The single was released in America on the group's new label, Geffen, and it received heavy airplay from MTV. The music-video television network had previously played the videos for "House of Fun," "It Must Be Love," and "Cardiac Arrest" when the band's albums were unreleased in the United States, thereby setting the stage for "Our House" to become a massive hit. With "Our House," Madness had MTV exposure coincide with a record release for the first time, which sent the single into the American Top Ten in the summer of 1983. The success of the single brought the U.S. compilation album, Madness, to number 41. Madness managed one more American Top 40 hit that fall, when "It Must Be Love" peaked at number 33.

At the end of 1983, Mike Barson -- the band's key songwriter -- left the group to settle down with his wife. Although Madness was able to stay near the top of the charts with their first post-Barson release, "Michael Caine," the band's fortunes began to decline over the course of 1984. Upon its release in the spring, Keep Moving hit number six on the British charts; in America, the record reached number 109. In June, the group released its final single for Stiff Records, "One Better Day," which peaked at number 17. In the fall, Madness formed their own record label, Zarjazz. Madness released "Yesterday's Men," their first recording on Zarjazz, in September of 1985, nearly a year after the label's formation. The record peaked at number 18 and its parent album, Mad Not Mad, reached number 16 upon its October release. Their chart decline continued early in 1986, when their cover of Scritti Politti's "Sweetest Girl" peaked at number 35. For most of 1986, the group was quiet. In September, Madness announced they were disbanding. Two months later, their farewell single, "Waiting for the Ghost Train," was released, charting at number 18.

After staying dormant for a year and a half, the group reunited at the beginning of 1988 as a quartet called the Madness, releasing its comeback single, "I Pronounce You," in March. The Madness featured Chris Foreman, Lee Thompson, Chas Smash, and Suggs, and was augmented by the Specials' keyboardist Jerry Dammers and Steve Nieve (keyboards) and Bruce Thomas (bass) of the Attractions. "I Pronounce You" reached number 44 on the U.K. charts and its accompanying album stiffed upon its spring release. The group disbanded for a second time that fall.

In the summer of 1992, the original lineup of Madness reunited to perform two outdoor concerts at London's Finsbury Park. The group dubbed the event Madstock and released a recording of the shows on Go! Records. Madstock became an annual event for the next four years -- every summer the band would reunite and headline an outdoor festival at Finsbury Park. Suggs launched a solo career in 1995 with The Lone Ranger, which performed respectably in the U.K. charts. In 1996, Madness played the final Madstock and announced they planned not to reunite for future concerts, but by 1998 they were back on the road, with a Los Angeles date recorded for release as Universal Madness the following year. The group also reunited with original producers Clive Langer and Alan Winstanley to record their first new material in over a decade. The resulting Dangermen Sessions, Vol 1 was released in 2005. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

One of the earliest and most important ska revivalist groups, Birmingham's the Beat formed in 1978 (the band had to change their name to the English Beat in the U.S. to avoid confusion with Paul Collins' band of the same name). The multiracial band carved a distinct sound through the use of alternating lead vocals by guitarist Dave Wakeling and... [+] Read More

One of the earliest and most important ska revivalist groups, Birmingham's the Beat formed in 1978 (the band had to change their name to the English Beat in the U.S. to avoid confusion with Paul Collins' band of the same name). The multiracial band carved a distinct sound through the use of alternating lead vocals by guitarist Dave Wakeling and punk-toaster/rapper Ranking Roger, supported by a tight band consisting of Andy Cox (guitar), Dave Steel (bass), and Everett Moreton (drums). The addition of 50-year-old saxophonist Saxa, who originally played with Prince Buster and Desmond Dekker, gave the band credibility and fleshed out its sound. An opening spot for the Selecter led to the band's signing to 2-Tone, where they released the hit single "Tears of a Clown," a wonderful version of the Smokey Robinson classic. In 1980, the band decided to form their own 2-Tone-inspired label, Go-Feet (distributed by Arista). A string of hit singles followed in the U.K., including "Mirror in the Bathroom." Their debut LP, I Just Can't Stop It, combined the early hits with other pop/ska-oriented material. "Stand Down Margaret," with its anti-Thatcher stance, found the band moving in a more political direction, leading to several benefit gigs for "radical" causes. Musically, the Beat slowed down the tempo for a more traditional reggae sound showcased on 1981's Wha'ppen. This direction failed to bring the chart success of its predecessor. Featuring a more pop-oriented approach, 1982's Special Beat Service helped the band increase its U.S. fan base through MTV exposure of "Save It for Later" and "I Confess," but the band members decided to call it quits later that same year. Wakeling and Ranking Roger went on to form General Public, and Cox and Steel formed Fine Young Cannibals. ~ Chris Woodstra, All Music Guide [-] Hide

True innovators of the punk era, the Specials began the British ska revival craze, combining the highly danceable ska and rocksteady beat with punk's energy and attitude, and taking on a more focused and informed political and social stance than their predecessors and peers.

The band was originally formed in Coventry, in 1977, as... [+] Read More

True innovators of the punk era, the Specials began the British ska revival craze, combining the highly danceable ska and rocksteady beat with punk's energy and attitude, and taking on a more focused and informed political and social stance than their predecessors and peers.

The band was originally formed in Coventry, in 1977, as the Coventry Automatics and later the Special A.K.A. by songwriter/keyboardist Jerry Dammers, with Terry Hall (vocals), Lynval Golding (guitar, vocals), Neville Staples (vocals, percussion), Roddy Radiation (guitar), Sir Horace Gentleman (bass), and John Bradbury (drums). An opening slot for the Clash stirred up interest with the major labels, but Dammers instead opted to start his own 2-Tone label, named for its multiracial agenda and after the two-tone tonic suits favored by the like-minded mods of the '60s. The Dammers-designed logos, based in '60s pop art with black and white checks, gave the label an instantly identifiable look. Dammers' eye for detail and authenticity also led to the band adopting '60s-period rude-boy outfits (porkpie hats, tonic and mohair suits, and loafers). The band released the "Gangsters" single, which reached the U.K. Top Ten. Soon after, hordes of bands and fans followed in the same tradition, and the movement was in full swing. Over the next several months, 2-Tone enjoyed hits by similar-sounding bands, such as Madness, the (English) Beat, and the Selecter. Late in 1979, the band released its landmark self-titled debut album, produced by Elvis Costello. They followed with several 2-Tone package tours and a live EP, Too Much Too Young (confusingly credited to Special A.K.A.). The title track, a pro-contraception song, was banned by the BBC but reached the number one spot in the U.K. At this time, the band switched musical directions, releasing album number two, More Specials, with a new neo-lounge persona. Signs indicated that the movement was fading and 2-Tone began to experience financial troubles. Nevertheless, a film documenting the 2-Tone package tours, Dance Craze, as well as its companion album, saw considerable success. The Specials released the timely "Ghost Town" single in 1981 amid race-related unemployment riots in Brixton and Liverpool. The single jumped to number one, but the band was falling apart. Hall, Staples, and Golding left to form Fun Boy Three, leaving the band without its trademark voice. Dammers held on, reverting back to the old name, Special A.K.A., and enlisted a new vocalist, Stan Campbell. After several years, they returned with In the Studio in 1984. They managed a few hits with "Racist Friend" and "Free Nelson Mandella," but the album stiffed. The band's final single, "What I Like Most About You Is Your Girlfriend," failed to break the British Top 40. Dammers dissolved the unit, pursuing political causes such as Artists Against Apartheid.

Shortly after the official breakup, various members of the band joined up with other bandless ska revivalists (English Beat, etc.) to form a touring unit named Special Beat. By the mid-'90s, in response to the third wave ska revival, a Dammers-less version of the Specials reappeared with a series of shameful cash-in albums: Today's Specials (1996,) Guilty Til Proved Innocent! (1998,) and Conquering Ruler (2002.) ~ Chris Woodstra, All Music Guide [-] Hide

Bad Manners, composed of vocalist Buster Bloodvessel (born Douglas Trendle), Louis Cook (guitar), David Farren (bass), Martin Stewart (keyboards), Brian Tuitti (drums), Gus Herman (trumpet), Chris Kane (saxophone), and Andrew Marson (saxophone), were one of the many bands to take their inspiration from the Specials and the ska revival movement... [+] Read More

Bad Manners, composed of vocalist Buster Bloodvessel (born Douglas Trendle), Louis Cook (guitar), David Farren (bass), Martin Stewart (keyboards), Brian Tuitti (drums), Gus Herman (trumpet), Chris Kane (saxophone), and Andrew Marson (saxophone), were one of the many bands to take their inspiration from the Specials and the ska revival movement in England in the late '70s. They quickly became the novelty favorites of the fad through their bald, enormous-bodied frontman's silly on-stage antics, earning early exposure through 2-Tone Records package tours and an appearance in the live documentary Dance Craze. In the early '80s, they managed several U.K. hits including "Ne-Ne Na-Na Na-Na Nu-Nu," "Lip Up Fatty," "Special Brew," and "Can Can." By the mid-'80s, the ska craze was over and the band retired temporarily after the release of 1985's Mental Notes, only to return in 1989 with Return of the Ugly, remaining a live attraction despite a lack of recent hits. By the mid-'90s, a third wave ska revival renewed interest in the band. Eat the Beat was released in 1996 and Uneasy Listening followed in 1997, as well as several collections from the band's peak years. ~ Chris Woodstra, All Music Guide [-] Hide

Comprised mainly of goodtime party covers like "Monster Mash," the band's debut takes the "nutty sound" of Madness one step further toward all-out silliness. ~ Chris Woodstra, All Music Guide

Comprised mainly of goodtime party covers like "Monster Mash," the band's debut takes the "nutty sound" of Madness one step further toward all-out silliness. ~ Chris Woodstra, All Music Guide [-] Hide

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Unfortunately, this is not a reissue of Selecter's classic debut album, but instead a collection of some of that album's cuts along with some live recordings. ~ Joslyn Layne, All Music Guide

Unfortunately, this is not a reissue of Selecter's classic debut album, but instead a collection of some of that album's cuts along with some live recordings. ~ Joslyn Layne, All Music Guide [-] Hide

I Just Can't Stop It was a late arrival onto the checker- boarded scene, The Specials, Madness and The Selecter had all beat The (English) Beat to the punch, but luckily this wasn't a race. Besides, the band had already primed the pump with a trio of Top 10 singles -- the double A-sided "Tears of a Clown"/"Ranking Full Stop," "Hands Off She's... [+] Read More

I Just Can't Stop It was a late arrival onto the checker- boarded scene, The Specials, Madness and The Selecter had all beat The (English) Beat to the punch, but luckily this wasn't a race. Besides, the band had already primed the pump with a trio of Top 10 singles -- the double A-sided "Tears of a Clown"/"Ranking Full Stop," "Hands Off She's Mine" and "Mirror in the Bathroom," their debut album followed hard on "Mirror"'s heels, picking up the latter two songs and "Full Stop" to boot.Two more of the tracks within set followed them onto the chart, later that summer on another double A-sided single -- "Best Friend" coupled with a dub version of "Stand Down Margaret"." So this was a hit filled set. And so popular were such songs as "Rough Rider," "Twist and Crawl," "Too Nice to Talk To," "Can't Get Used to Losing You" and "Whine & Grine," becoming such staples, that fans can be forgiven for assuming they too were released on 45. Intriguingly, "Losing You" came courtesy of Andy Williams, and highlighted the softer styling that would swiftly overtake the Beat. But "Rough" and "Whine" had solid ska credentials, both were Prince Buster hits, while "Jackpot" was one of slew of racing themed rocksteady smashes that drove The Pioneers too fame, The Specials had opened their own account with another -"Longshot Kick the Bucket"." And it was this sheer diversity of influences that set The Beat's sound apart from their compatriots. Their own compositions were heavily cultural in theme -- the radical cries to depose the prime minister on "Margaret," the slashing anti-violence of "Two Swords" and even more ominous and feverish "Click Click," through the cultural nihilism of "Mirror" itself. With a few softer love and lovelorn tracks taking some of the edge off. Stop was a stunning achievement, its driving, frenetic numbers grounded in punk's fury smashing into the loose-limbed grooves and melodies of rocksteady inspired songs, and banging head on into sweeter pop fueled pieces. The album remained on the British charts for a whopping eight months, eventually peaking at Number Three. Time has not diminished its glory, the songs remain hugely as their continued inclusion in the band's offshoot's repertoire have proved. ~ Jo-Ann Greene, All Music Guide [-] Hide

A perfect moment in time captured on vinyl forever, such is the Specials' eponymous debut album; it arrived in shops in the middle of October 1979 and soared into the U.K. Top Five. It was an utter revelation -- except for anyone who had seen the band on-stage, for the album was at its core a studio recording of their live set, and at times even... [+] Read More

A perfect moment in time captured on vinyl forever, such is the Specials' eponymous debut album; it arrived in shops in the middle of October 1979 and soared into the U.K. Top Five. It was an utter revelation -- except for anyone who had seen the band on-stage, for the album was at its core a studio recording of their live set, and at times even masquerades as a gig. There were some notable omissions: "Gangsters," for one, but that had already spun on 45, as well as the quartet of covers that would appear on their live Too Much Too Young EP in the new year. But the rest are all here, 14 songs' strong, mostly originals with a few covers of classics thrown in for good measure. That includes their fabulous take on Dandy Livingstone's "A Message to You Rudy," an equally stellar version of the Maytals' "Monkey Man," and the sizzling take on Prince Buster's "Too Hot." If those were fabulous, their own compositions were magnificent. The Specials managed to distill all the anger, disenchantment, and bitterness of the day straight into their music. The vicious "Nite Klub" -- with its unforgettable line, "All the girls are slags and the beer tastes just like piss" -- perfectly skewered every bad night the members had ever spent out on the town; "Blank Expression" extended the misery into unwelcoming pubs, while "Concrete Jungle" moved the action onto the streets, capturing the fear and violence that stalked the inner cities. And then it gets personal. "It's Up to You" throws down the gauntlets to those who disliked the group, its music, and its stance, while simultaneously acting as a rallying cry for supporters. "Too Much Too Young" shows the Specials' disdain for teen pregnancy and marriage; "Stupid Marriage" drags two such offenders before a Judge Dread-esque magistrate, with Terry Hall playing the outraged and sniping prosecutor; while "Little Bitch" is downright nasty. Those were polemics; "It Doesn't Make It Alright" reaches a hand out to listeners and, with conviction, delivers up a heartfelt plea against racism, but even this number contains a sharp sting in its tail. It's a bitter brew, aggressively delivered, with even the slower numbers sharply edged, and therefore the band wisely scattered sparkling covers across the album to help lift its mood. The set appropriately ends with the rocksteady-esque yearning of "You're Wondering Now," the song that invariably closed their live shows. Even though producer Elvis Costello gave the record a bright sound, it doesn't lighten the dark currents that run through the group's songs; if anything, his production heightens them. It's left to guests Rico Rodriguez and Dick Cuthell to provide a little Caribbean sun to the Specials' sound, their brass sweetening the flashes of anger and disaffection that sweep across the record. And so, this was Britain in late 1979, an unhappy island about to explode. This enhanced CD reissue includes the videos for "Gangsters" and "Too Much," true must-see TV. ~ Jo-Ann Greene, All Music Guide [-] Hide