"The Compact 2 Tone Story" (1993)

The Compact 2 Tone Story (compilation)
release date: 1993
format: digital (4-disc box set)
[album rate: 3,5 / 5]
producer: various
label: Chrysalis / 2 Tone Records - nationality: England, UK

4-Disc Box Set compiling all A and B-side singles released on legendary 2 Tone Records. The album is basically an expanded reissue of the '89 album The 2 Tone Story, which was a double vinyl album containing 26 tracks released by Chrysalis / Two-Tone.
The album contains 68 tracks of which 32 are credited The Special A.K.A. / The Specials - which more or less is the same band. The name The Specials was used on the band's first two full-length studio albums, but the moniker 'The Special A.K.A.' had been used in the formative years and for the early single releases of "Gangsters" and "Too Much Too Young" (both 1979), which were included on the first album by The Specials ('Gangsters' only on non-UK versions), and the name was then re-used again after the major split of the band in '81, when the three vocalists Terry Hall, Neville Staple and Lynval Golding formed Fun Boy Three leaving the remainders to continue as The Special A.K.A. and releasing one studio album in '84.
The remaining 36 tracks are with various important and lesser known artists associated with the 2 Tone label. Major artists like Madness and The Beat only released one single each on 2 Tone before signing with Stiff and Go Feet respectively, which is why there's only two songs with each of the two. Also, one single by Elvis Costello & The Attractions, "I Can't Stand Up for Falling Down" / "Girls Talk" was released and subsequently withdrawn due to legal rights issues, as Costello was on contract with F-Beat; however, the songs are included here, despite, not really being 'ska revival' songs like nearly all other compositions on the album. The Selecter is another important band of the period, and they contribute with 7 tracks, and then there's a long list of various artists like The Bodysnatchers, The Swinging Cats, Rico Rodriguez, The Appolinaires, The Higsons, The Friday Club, and JB's Allstars, all of which contributed with just one or two single releases on 2 Tone before dissolving or morphing into other bands.
The album is a difficult listen - partly because of inconsistency of quality material, but also because of a wide span of stylistic expression. That said, the release is of high importance as a music historical document of an important time and musical expression.

The Beat "Special Beat Service" (1982)

Special Beat Service
release date: Sep. 30, 1982
format: cd (1987 reissue) / digital (2012 remaster)
[album rate: 3,5 / 5] [3,58]
producer: Bob Sargeant
label: I.R.S. / Shout! Factory - nationality: England, UK

Track highlights: 1. "I Confess" (4 / 5) - 2. "Jeanette" - 4. "Sole Salvation" (4 / 5) - 5. "Spar Wid Me" - 7. "Save It for Later" - 9. "Pato and Roger a Go Talk" - 10. "Sugar & Stress" - 11. "End of the Party" - 12. "Ackee 1-2-3"

3rd and final studio album by The Beat originally released on Go Feet and as the first two albums produced by Bob Sargeant. Since Wha'ppen? from '81 the sextet has been expanded to an octet by the addition of Wesley Magoogan on clarinet & saxophone and by Dave 'Blockhead' Wright on piano & keyboards. Once again, the band has changed its style and musical output, although, the foundation are more or less the same. With the 1980 debut album I Just Can't Stop It the band blasted in on the albums chart list in the UK with strong biting lyrics and tight ska revival with bold bits of new wave - on the following '81 album they found back to the roots of ska and related styles of reggae and r&b and subdued new wave ingredients. On this, they sort of put it all together in a new melting pot with the addition of synthpop and / or early shapes of sophisti-pop, although, it still remains 2-tone ska revival.
All in all, the album is more of a coherent whole than its predecessor, but there's quite a long distance from the debut to this one where the arrangements include bolder use of keyboards and horn sections. Nonetheless, the album is still very much in the spirit of The Beat - there's the ever-present political and social awareness that bonds with The Specials and The Selector - and more so than e.g. Madness and Bad Manners, who appears as having a similar starting point, but here, The Beat makes use of styles and arrangements that associates it with acts like Elvis Costello and especially Squeeze.
The album wasn't the critical nor commercial success they had witnessed with its two former albums, and only 6 months later, The Beat was no more. Internal conflicts and different ideas on musical direction ended one of the strongest and most successful bands of ska revival. The two vocal frontmen, Ranking Roger and Dave Wakeling soon after founded another interesting band, General Public, and guitarist Andy Cox and bassist David Steele teamed up with vocalist Roland Gift and formed Fine Young Cannibals.

The Beat "Wha'ppen?" (1981)

original cover

Wha'ppen?
release date: June 1981
format: vinyl (BEAT 3) / cd (1999 remaster)
[album rate: 3,5 / 5] [3,64]
producer: Bob Sargeant
label: Go Feet Records - nationality: England, UK

Track highlights: A) 1. "Doors of Your Heart" (4 / 5) - 2. "All Out to Get You" - 3. "Monkey Murders" - 4. "I Am Your Flag" - - B) 2. "Walk Away" (4 / 5) (live)

2nd studio album by The Beat is like the debut produced by Bob Sargeant and originally released on the band's own label, Go Feet. The sextet remains intact, but it's quite evident that the style has altered since I Just Can’t Stop It from 1980. The tempo has slowed down and it's much more an experimentation with a huge fusion of styles.
Instead of the more original ska revival and 2-tone there's clearly more focus on reggae and calypso with steel band and dub.
The album was released to mixed reviews but still sold quite well reaching #3 on the national albums chart list and NME ranked the album #4 on its 'Albums of the Year' end list.
The album contains some very fine compositions, but the overall impression is a release with many loose ends - some fillers, and perhaps also what appears as an incoherent release, partly because of the strong debut with its tight original sound and sheer energy, but also because of an indistinct direction and blend of too many styles. That said, Wha'ppen? may not equal the strong debut but it's really no near a mediocre album - it simply contains too many fine compositions..
The '99 remaster has a different track listing and comes with several bonus tracks. [ allmusic.com, Records Mirror, Rolling Stone 4 / 5 stars ]

1999 cover

The Specials "More Specials" (1980)

More Specials
release date: Oct. 4, 1980
format: vinyl / cd (2002 remaster)
[album rate: 4 / 5] [4,14]
producer: Jerry Dammers and Dave Jordan
label: Two-Tone Records / Chrysalis - nationality: England, UK

Track highlights: 1. "Enjoy Yourself (It's Later Than You Think)" (live) - 2. "Man at C&A" (live) - 3. "Hey, Little Rich Girl" - 4. "Do Nothing" (live) - 6. "Sock It to 'Em J.B." - 7. "Stereotypes / Stereotypes, Part 2" (single version) - 9. "I Can't Stand It" - 10. "International Jet Set"

2nd studio album by The Specials originally released by Two-Tone Records. With this the band seeks out other styles and genres, and the album is a bit of a strange blend of influences. Most tracks are still with ska revival as the core of all songs, but some compositions are shaped as either rock & roll, soul, art pop, post-punk or easy listening / lounge compositions. The first four songs starts out, more or less as the natural follow-up to the debut album, although, "Man at C&A" has elements of post-punk, but giving the time of its release at the peak of cold war politics, it feels very natural, but #4, "Pearl Café", clearly bears elements from rock & roll and easy listening, and from here on it becomes more evident that this album is something else with its blending of styles. This is an even more striking experience when confronted with the vinyl album, where side A shares the tone of the predecessor, and with side B as a whole different thing. #7 "Stereotypes / Stereotypes Part 2" share characteristics with songs by The Clash from their album Black Market Clash (1980) blending dub and reggae, and on #8 and #9 the whole album is more likely as an inspirational source to later contemporaries as The Style Council, The Clash and its album Sandinista, sophisti-pop by Everything But the Girl and much later styles of The Cardigans with its 'blue eyed' pop mix of easy listening and calypso. Tracks #9 and #10 are yet again something else making me think of Portishead meets Gorillaz and a sound that today is considered to have helped shaping the style of trip hop.
Several guest musicians appear on the album including Rhoda Dakar singing duet on #9, Madness' sax player Lee Thompson on #4, and the US new wave trio The Go-Go's appear as backing vocals group on #11 "Enjoy Yourself (Reprise)".
The album fared well reaching #5 on the UK albums chart list and it generally was handed positive reviews. Also, the two singles from the album did well nationally when "Stereotype" and "International Jet Set" peaked at #6 and #4 respectively. Time has certainly not questioned the importance of this particular album. In retrospect, the album has been cited as a corner stone of modern popular music with its influence on the shaping of sophisti-pop but especially in defining the trip hop genre and may likely be seen as source to songs and albums by diverse artist like the aforementioned together with Portishead, Massive Attack, Blur and Gorillaz. More Specials is like the debut enlisted in "1001 Albums You Must Hear Before You Die".
Some of the album's compositions that travels the furthest from the band's trademark of ska revival are typically songs by keyboardist Jerry Dammers and, allegedly, his interest in and will to experiment with other styles, already in '81 led to the band's demise. Dammers take a stronger role as band leader on this album, and his ideas to incorporate new styles is said to have played a decisive role in the internal conflicts that ultimately led to changes within the band. The vocalist group of The Specials, Terry Hall, Neville Staple and Lynval Golding all left the band to form the trio Fun Boy Three, and the remainders of the band changed its name back to The Specials AKA in 1981.
I think, I may have listened more to this than the debut album by The Specials, but also more over the years. The debut stands out as more of a whole with its distinct ska revival and '2 tone' sound that connects it to a specific time and place, but I have always felt that this album is an even more exiting experience consisting of more original compositions, and has an almost surreal sense of timelessness that connects it with future styles, which makes me think of it as the band's best and most original album and a release that should be attributed all the acclaim it rightfully deserves.
Highly recommended.
[ allmusic.com, Uncut, Rolling Stone 4,5 / 5, Mojo, Q Magazine, Smash Hits 4 / 5 stars ]

The Beat "I Just Can’t Stop It" (1980)

vinyl cover

I Just Can’t Stop It [debut]
release date: May 16, 1980
format: vinyl (BEAT 1) / cd (1990 reissue)
[album rate: 4 / 5] [3,95]
producer: Bob Sargeant
label: Arista / Go Feet - nationality: England, UK

Track highlights: 1. "Mirror in the Bathroom" (4 / 5) - 2. "Hands Off… She’s Mine" (4 / 5) (live) - 3. "Two Swords" - 6. "Rough Rider" - 8. "Ranking Full Stop" - 9. "Big Shot" - 10. "Whine & Grine / Stand Down Margaret" - 11. "Noise in This World" - 12. "Can’t Get Used to Losing You" - 13. "Best Friend" - 14. "Jackpot"

Studio album debut originally released on Go Feet Records by The Beat (aka The English Beat / aka The British Beat), a sextet founded in Birmingham 1978 consisting of Dave Wakeling on lead vocals & rhythm guitar, Ranking Roger (aka Roger Charlery) on vocals & toasting, Andy Cox on lead guitar, David Steele on bass, Everett Morton on drums and with Saxa (aka Lionel Augustus Martin) on saxophone. The Beat released its first single releases on 2 Tone Records much like other ska revival acts like The Selector, The Specials and Madness. The Beat then signed with mother-label Arista and formed its own sub-label Go Feet Records. The name of the band was The Beat; however, because of an American band with that name (later identified as Paul Collins' Beat), they were launched as The English Beat in North America and as The British Beat for the Australian market. The original album release contains 12 tracks, the US re-issue comes with two bonus tracks (#5, "Tears of a Clown" and #8, "Ranking Full Stop" both of which had been released in '79 as a 7'' single (by 2 Tone). Much like The Specials and Madness, The Beat was highly inspired by the original Jamaican ska and also covered songs by Prince Buster - here: tracks #5 and 8, and the band's saxophone player, Saxa, had in fact played with Prince Buster and other Jamaican acts.
Stylistically, The Beat plays "2-tone" new wave in an original blend with 2-tone and pop reggae, which puts the band in the same drawer as Madness, The Specials, The Selecter and Bad Manners, but The Beat still sounded quite original with its bold focus on new wave, which in another way linked the band close to bands like The Clash, Magazine and Squeeze.
The album was met by critical acclaim and it peaked as high as #3 on the British albums chart list, and the best faring single, track #1 reached #4 on the singles chart list in the UK.
It's quite an achievement to produce this list of quality songs on the band's debut, also because many songs point in various stylistic directions: #1, 11 and 13 are tight new wave compositions, #5, 6, 8, 10, 12 and 14 are fine 2-tone songs with harmonic pop reggae, and track #2, one of my favourites, is the sheer positive conglomerate of all styles in one song.
Highly recommended.
[ allmusic.com, Rolling Stone, Spin 5 / 5, Smash Hits 4,5 / 5 stars ]

The Specials "The Specials" (1979)

The Specials [debut]
release date: Oct. 19, 1979
format: cd (1989 reissue) / cd (2002 remaster)
[album rate: 4 / 5] [4,02]
producer: Elvis Costello, The Specials
label: 2 Tone Records - nationality: England, UK

Track highlights: 1. "A Message to You Rudy" - 2. "Do the Dog" - *[ 3. "Gangsters" ] - 4. "Nite Klub" - 5. "Doesn't Make It Alright" - 6. "Concrete Jungle" - 7. "Too Hot" - 8. "Monkey Man" (live on the Old Grey Whistle Test) - 9. "(Dawning of A) New Era" - 12. "Too Much Too Young"
*Bonus track on 1979 and '89 Chrysalis reissue (other tracks numbered according to org. 14 track release.

Studio album debut by ska revival and '2 tone' band The Specials, a septet consisting of Terry Hall (aka Terence hall) on lead vocals, Neville Staple on vocals and percussion, "Roddy Radiation" (aka Roderick James Byers) on lead guitar and vocals, Lynval Golding on rhythm guitar and vocals, Horace Panter (aka "Sir Horace Gentleman") on bass guitar, Jerry Dammers on keyboards and vocals, and with John Bradbury on drums. Before calling themselves The Specials they were the Automatics, then the Coventry Automatics before settling with The Special AKA for a period, which was shortened for the album release. Still in '79, a reissue was released with the single hit "Gangsters" as track #3 was issued on Chrysalis, which is also on many later versions, but the original album version excluded this track, thus containing 14 tracks in total.
Together with Madness, Selector, and The Beat, The Specials were enrolled at the Jerry Dammers founded 2 Tone Records, which was primarily dedicated to ska revival bands, who all founded their music on the original (Jamaican) ska and combined that with elements of contemporary punk rock and / or British working class pub rock. The name of the record label gave name to the style 2 tone - the 'special' combo of ska and punk rock with stylistic influences from mod revival.
The Specials mostly consists of punk rock arranged cover versions of 1960s rocksteady and ska recordings (six out of the fourteen songs are composed by Dammers and the band; however, some of the Dammers' compositions are reworks of original Jamaican ska songs, e.g. "Too Much Too Young" and "Stupid Marriage").
Track #1 became the song that will always be associated with The Specials, although, it's really a 1967 rocksteady composition by Dandy Livingstone. Also track #8 was a popular remake of a 1969 Jamaican ska Frederick "Toots" Hibbert song, originally recorded by The Maytals, but it was track #12, the song "Too Much Too Young" that became the band's #1 single hit in the UK. Also the album fared more than well peaking as high as number #4 on the UK albums chart list.
I recall my fascination for the music by the The Specials, although, I never purchased the album at the time, but together with Madness they were the very best of the ska revival period and as contrary to Madness, The Specials stayed more loyal to the original style of ska and rocksteady and where Madness nearly always commented on life's more serious aspects from a humorous perspective, The Specials were more of the working class band with a clear political critical opinion on life under Thatcher - and they weren't afraid of commenting on homophobia and discrimination of any kind. Despite the band covered many original 1960s Jamaican songs, track #5 is written by Jerry Dammers but later covered and made more famous by the North Irish punk rock band Stiff Little Fingers.
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Uncut, Q Magazine 5 / 5, Rolling Stone 4,5 / 5 stars ]

[clip about the band]

Madness "The Heavy Heavy Hits" (1998)

The Heavy Heavy Hits (compilation)
release date: Jun. 1998
format: cd
[album rate: 4 / 5]
producer: Clive Langer, Alan Winstanley
label: Virgin Records - nationality: England, UK

Compilation album by Madness containing 23 tracks is basically a repackage of Divine Madness from 1992 with the addition of one track, "Sweetest Girl" (track #22) - the track order is identical with the extra track taken from the Mad Not Mad '85 album (informed on the back of the inlay: "Previously available as Divine Madness [except Sweetest girl]". This is in essence a compilation of all the band's singles from 1979 to 1986. The album was issued as Virgin began re-issuing new remastered and expanded editions of the band's back catalog after Madness had been reunited and had made legal contract with Virgin to record new songs for a comeback album.
The Heavy Heavy Hits is a mighty fine compilation, I think. The tracks have been ordered accordingly to release date, and the inlay info is accompanied by info about every track's chart position as a single release. However; if you already know Divine Madness this is (nearly) completely obsolete (and just another commercial stunt) - but if you haven't got the '92 compilation, this is the one to get.
Highly recommended.

The Madness "The Madness" (1988)

The Madness
release date: May 3, 1988
format: cd
[album rate: 2,5 / 5] [2,38]
producer: 'The Three Eyes'
label: Virgin Records - nationality: England, UK

Studio debut album by The Madness, or [rather] the 7th studio album by Madness, who had come together as a quartet consisting of the two vocalists Suggs (Graham McPherson) and Chas Smash (Cathal Smyth) together with guitarist Chris Foreman and Lee Thompson on saxophones and backing vocals. Founding member pianist Mike Barson had already left the band after Keep Moving (1984), and the remaining members bassist Mark Bedford and drummer Daniel Woodgate don't participate in this incarnation of the band. Actually, it could've been released under a completely different name as the members discussed other band names before settling on the smallest possible name change, which makes it easier to file... The album is produced by 'The Three Eyes' - unofficially credited the band, although, it seems certain that it's the first album without the Langer-Winstanley producer duo. As a natural consequence of the absence of both a band keyboardist, drummer and bassist - the quartet is sided by the necessity of a handful of additional musicians. Steve Nieve, who had replaced Barson on Mad Not Mad, is one of several additional keyboardists, which also includes Jerry Dammers (of The Specials), and also bassists Bruce Thomas (of The Attractions) and Earl Falconer (of UB40) take part as additional musicians. As drummer, only Simon Phillips is credited on two tracks, and the remaining songs are recorded using drum machines only.
The style is difficult to narrow in, but it's mainly mainstream pop / rock with sophisti-pop, new wave / synth pop influences.
The album peaked at a low #65 on the national charts list (historical low compared to other albums by the band), and the first single "I Pronounce You" (Feb. '88) reached #44 on the singles charts list and "What's That" the second and last single release from the album just made it into top 100 peaking at #92.
The Madness wasn't met by critical acclaim but rather negative reviews sums the picture of what remains a sole album as The Madness, which was a shelved project later that year in the aftermath of poor sales numbers.
Musically, it's not poor as such, it just doesn't contain any fine or valuable compositions. The sound is overall ruined by (cheap) drum machines, synths, strings / horn sections and 1980s guitar & bass sound when it's worst. Some tracks touch on musical styles and a production sound embraced by UB40 (later albums) and pop funk band Level42, which is really unheard of before considering previous albums by Madness, and this doesn't add anything worthwhile to an album that seems made more out of interests more than artistic drive.
In my mind, this is together with Mad Not Mad the low-point in the career of Madness, and of the two this is easily at the very bottom.
[ almusic.com 2 / 5 stars ]

Madness "Complete Madness" (1982)

Complete Madness (compilation)
release date: Apr. 23, 1982
format: digital (2003 reissue)
[album rate: 4 / 5]
producer: Clive Langer, Alan Winstanley
label: Virgin Records - nationality: England, UK

1st best of compilation album by Madness originally released by Stiff Records - the vinyl issue of the album was attached with an additional label saying: "16 Hit tracks".
The album is issued after only three studio albums, but it does fill out its role. Madness is by many associated with singles, specific songs and their always British comedy-directed videos.
In retrospect there are better albums compiling the band's material, but for someone looking for an album compiling the bad's earliest period this is a fine collection of songs. Six songs stem from the debut album One Step Beyond... (1979); four from the second album Absolutely (1980); three songs are taken from the most recent album 7 (1981); two A-side singles and one B-side are also included: "It Must Be Love" (cover of Labi Siffre 1971 song) from Nov. '81, "House of Fun" to be released May '82 (after this album release), and "In the City" (originally the B-side to 'Cardiac Arrest') from Feb. '82.
My only regret about it is the random order of the songs.
[ allmusic.com 5 / 5 stars ]

Madness "7" (1981)

7
release date: Oct. 1981
format: cd (1989 reissue) / digital (2010 Deluxe Edition)
[album rate: 4 / 5] [3,88]
producer: Clive Langer, Alan Winstanley
label: Virgin Records / Union Square - nationality: England, UK

Track highlights: 1. "Cardiac Arrest" - 2. "Shut Up" - 3. "Sign of the Times" - 5. "Mrs. Hutchinson" - 7. "Grey Day" - 9. "Promises Promises" - 10. "Benny Bullfrog"
*Disc 2: 2. "Sign of the Times" (BBC Richard Skinner session recording) - 7. "It Must Be Love" - 9. "In the City" - 10. "Cardiac Arrest (12" Extended Version)"
*2010 2 Disc Deluxe Edition

3rd studio album by Madness originally released by Stiff Records has like the first two albums the producer-team Langer-Winstanley - here with a title that simply refers to the size of the band.
The album sounds much like the predecessor with tracks pointing back in time with uptempo aggressive beats, songs that are more mainstream-founded and compositions with British pub rock attitude and humour. "Grey Day" was the first single from the album, and it does sound as if from another album in mind as it's a more political and rock-based track that would've been fitting for The Clash or the like.. The official video does, however quite nicely, try to make it a typical Madness production. It peaked as number #4 on the singles chart list. "Shut Up" reached number #7, but frankly I think, "Cardiac Arrest" would have been the easy choice for a single release - which it was though; however, not until Feb. '82 when it was issued in a remixed version [!?!] peaking at number #14...
Anyway, the album - reaching a position as number #7 on the albums chart list in the UK - didn't reach the same high sales numbers as its two predecessors, perhaps because the band still was hard to place: were they for the vast masses of mainstream pop / rock, or a cult-audience, and then why release an album that truly signals incoherence in terms of style, seriousness and production sound?
Well, I like it, and think of it as an album they needed to make before going mainstream. In retrospect it links nicely with Absolutely and the successor The Rise & Fall (1982).
The 2010 Deluxe Edition is a fine edition with relevant A- and B-side singles as bonus material. "It Must Be Love" (cover of Labi Siffre 1971 song) from Nov. '81 is an almost essential Madness song but it was only released as a single after the release of 7, hence otherwise only issued on compilation albums.
Highly recommended.
[ allmusic.com 4 / 5, Rolling Stone 3 / 5 stars ]

Madness "Absolutely" (1980)

Absolutely
release date: Sep. 26, 1980
format: vinyl / cd (2000 remaster)
[album rate: 3,5 / 5] [3,68]
producer: Clive Langer, Alan Winstanley
label: Stiff Records / Virgin - nationality: England, UK

Track highlights: 1. "Baggy Trousers" - 2. "Embarrassment" - 3. "E.R.N.I.E." - 4. "Close Escape" - 6. "On the Beat Pete" - 7. "Solid Gone" - 10. "Disappear" - 13. "You Said"

2nd studio album by Madness who has by now become a septet as regular associate / lyricist / contributor Cathal Smyth (more commonly known as Chas Smash) has joined the band on backing and co-lead vocals and trumpet. The album picks up the style established on the debut album with a slightly more polished production pointing towards a more mainstream audience without losing grip with the 2 Tone ska revival sound. The 2000 remaster is released on Virgin Records.
This album was my first acquisition with the band after having heard One Step Beyond..., and I always considered it a very fine album without being truly great. I do think my feelings about it only has increased making me think of it as yet another corner stone of British pop / rock music of the 1980s. Back in 1980, I think I thought of the band as being too silly, and certainly, even by comparing Madness to contemporaries like The Jam, The Clash, Siouxsie and The Banshees and Joy Division do seem like a bit silly; however, they unquestionably were among a handful of artist [which include Ian Dury, Toy Dolls, Undertones] who brought a [laugh and a] positivity into contemporary popular music, which was basically unheard of at the time.
The album fared quite well peaking at number #2 in the UK, and "Baggy Trousers" and "Embarrassment" reached number #3 and #4 respectively on the British singles chart making Madness one of the hottest names of popular music. Music critics were divided about the whole ska revival thing. Not surprisingly, the English press loved the band, although, some saw Absolutely as weaker and less raw than the debut, and the band sold well in the Netherlands, but the style wasn't embraced with the same enthusiasm on the other side of the Atlantic. Actually, far from it. Rolling Stone still rates it 1 / 5 stars and refers to another famous band of British ska revival from 2 Tone Records: The Specials, simply as 'not very good'. I guess something similar would've happened as British critics should review a new pure country album.
Anyway, the album is essential when speaking of the 1980s music.
I don't really think of it as a lesser work compared to the debut album. The only striking difference is an improvement in sound.
Highly recommended.
[ allmusic.com 3,5 / 5, Rolling Stone 1 / 5 stars ]

Madness "One Step Beyond..." (1979)

One Step Beyond... [debut]
release date: Oct. 26, 1979
format: vinyl (SEEZ 17) / cd (2000 remaster)
[album rate: 4 / 5] [3,78]
producer: Clive Langer, Alan Winstanley
label: Stiff Records / Virgin - nationality: England, UK

Track highlights: 1. "One Step Beyond..." - 2. "My Girl" (4 / 5) - 4. "Believe Me" - 6. "The Prince" - 9. "Bed and Breakfast Man" - 13. "Mummy's Boy" - 14. "Madness"

Studio album debut (originally released on Stiff Records) by English band Madness - up until the recording and release of the album a sextet consisting of Graham McPherson [aka Suggs] on lead vocals, Mike Barson [aka Monsieur Barso] on keyboards, Chris Foreman [aka Chrissy Boy] on guitars, Mark Bedford [aka Bedders] on bass, Lee "Kix" Thompson on saxophones and backing vocals, and with Dan Woodgate [aka Woody] on drums and percussion. Seventh member Cathal Smyth [aka Chas Smash] takes part on the album and would formally join the band a few weeks after the album release. The band took its name from Jamaican ska artist Prince Buster's track "Madness", from his studio debut album I Feel the Spirit from 1963, Also the title track [original song] stems from a B-side single to the track "Al Capone" from '65 is by Prince Buster. The 200 remaster is released on Virgin Records.
One Step Beyond... is the first in a long row of albums to be produced by the Clive Langer / Alan Winstanley team, who would later go on and work with artists such as Elvis Costello, Dexys Midnight Runners, They Might Be Giants, Morrissey, and David Bowie.
Stylistically, this is at the core of what would be known as 2 Tone, British ska or more precisely: ska revival as the style builds on the original 60s rocksteady and Jamaican ska, and also it's heavily inspired by British pub rock bands like Brinsley Schwarz, Kilburn & the High Roads, Eddie and the Hot Rods, and Ian Dury & The Blockheads. And British pub rock with its humour plays a central part in the music by Madness.
The track "The Prince" (by Lee Thompson) pays tribute to one of the original Jamaican ska artists Prince Buster (aka Cecil Bustamente Campbell) was a minor hit and the band's first single, which paved the way for a place on the [pre-MTV] TV show Top of the Pops.
The album is almost great as it contains some really classic songs of that particular period, and it's also made up of some minor fillers serving more as entertaining bits, but all in all it's a classic album, and a 'must-have' in any collection of modern pop music.
Highly recommended.
[ allmusic.com 4,5 / 5, Mojo, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]