This Are UK Ska: Vol. 4
Posted by jamie on Dec 23, 2011
Various Artists
This Are UK Ska, Vol.4 – Do the Dog, 2011
9th December, 2011
Jamie
This is really, really exciting: the return of Do the Dog’s This Are UK Ska series of compilations is a long time coming, but definitely well worth the wait.
In the space of one wonderful little disc, the twenty two years (twenty two!) of tireless devotion given to supporting the UK’s DIY bands get their just rewards: the list of contributors to this record reads like a who’s who of ska and ska-punk in the UK in 2011.
The disc itself is, musically speaking, as diverse and exciting as you’d expect. It’s appropriate, given the brief and deliberately open-minded mission statement on the DTD website:
“We love ska in all its colourful guises, be it old school, laid back Jamaican style ska, bouncy 2-tone ska vibes, upbeat modern ska/pop or thunderous ska/punk!”
Given the enthusiasm with which DTD embrace new and different kinds of music and the rude health in which we find our scene, the potential was always there for a compilation this broad, this exciting and of such excellent quality.
To have pulled it all together, though, is still no small achievement. It’s excellent from start to finish, with scorching tracks from some of the scene’s exciting new talent mixing it with the more established names.
Of course, you’ll get to hear new tracks from some of the bands they’ve been supporting for years: alongside the sadly defunct Smoke Like a Fish, there’s also Do the Dog favourites, Rebelation, Drewvis and Cartoon Violence. The thing is, there are also exciting contributions from a new generation of great UK bands: keep an eye out for Miacca’s catchy Would You Like Me To Be the Cat? (unless you’re George Galloway), Copasetics’ sinister-yet-excellent Phantom Signals and the incendiary Wilsonator from John Player Specials. Then, fall in love with Breadchasers’ brilliant epic prog-ska-rock skankalong Time to Stop. It’s relatively light-hearted for the band, but fits perfectly on this compilation.
There’s so much here, and it’s all so different, so interesting and so enjoyable, that I could easily sit and type about it all day. Every track is a highlight.
This Are UK Ska Volume 4 is probably the most enjoyable so far, neatly showcasing a wide variety of established and up-and-coming UK acts. A perfect snapshot of where the scene is in 2011, it also highlights a few names to look out for in years to come.
Given that this was the label who first brought us Dirty Revolution, Catch-it Kebabs and the Skints, perhaps we were right to expect a lot from this disc. It doesn’t disappoint one bit.
This Are UK Ska, No. 4 is available now from Do the Dog Music.
Jimmy the Squirrel: Secret Garden Pub
Posted by jamie on Jul 17, 2011
Jimmy the Squirrel
Secret Garden, Battersea, London
16th July 2011
Jamie
The Secret Garden is a very surprising place. A quick squiz at their website in the afternoon had shown up some exciting looking photo albums, but it does look like they only take photos on special occasions. I mean, not everyone goes this far with their dressing up all the time, right? Wrong. The bar staff here are dressed like the Mad Hatter’s Tea Party, and the place itself is like the book the Secret Garden, only a pub as well. After a night time roam across an industrial Battersea landscape that felt as infinite, at the time, as Alice’s tumble down the rabbit-hole, we came to earth with a bump, suddenly realising that the pub had been creeping up on us for all of that time it only got more surreal from there.Nottingham quintet Jimmy the Squirrel have just begin to play as we arrive: it’s their first London show since March, but their status here seems undiminished. Perhaps we’ve remained loyal, or maybe we’ve just got more desperate for some Jimmy goodness, but either way the heavy, soggy air of a muggy South London evening is weighed down further by a sense of anticipation that quickly becomes joy when the lads shuffle on to a makeshift stage amongst the sofas on the little low balcony thing, decorated in ivy (the balcony, not the band), to begin their set.
If they’ve ambled on as casually as the queue in a corner shop, the reception is rather different. They’re quickly in to their stride, and it’s almost like they’ve never been away. The Secret Garden doesn’t look like any other pub I’ve ever been in, but apart from that this is a perfect small-venue show: it’s not an intimate gig – there’s too much sound and flashing lights for that, but there’s a genuine sense of euphoria amongst us punters: everyone’s happy to be there and just as delighted that everyone else has come down too. It’s a good, tight crowd and an amazing atmosphere that’s only helped by the cosy heat, the soft lighting and a nonchalantly excellent set by Jimmy the Squirrel. They really are ace, as well. The set is heavy on material from their first full-length Whatever the Weather, and older tunes like This One’s for You, while still instantly so recognisable that it’s greeted with a triumphant roar and by some (admittedly now gently tipsy) raised fists, are now performed in that more plaintive, soulful dub-come-reggae sound that’s so evident on Whatever the Weather. It sounds excellent: better than before, perhaps, as they seem to have got even tighter as a band and, for all the affable manner and cheekily self-deprecating wit about whether or not anyone bar Sam knows the setlist, the truth is that they’re actually playing without one, and are so in the groove that you’d never even realise.
Jimmy the Squirrel: back on it
Posted by jamie on Jun 23, 2011
Our mates in Jimmy the Squirrel are officially “back on it”, after Liam returned from touring his solo project in support of Babar Luck and Chris Murray. Here’s what they told us:
Back on it now! Getting ready to start recording our second full length album! Got some big tunes in the bag!!!
Jody Betts solo tunes
Posted by jamie on Feb 23, 2011
News nicked directly from the new Do the Dog tumblr profile.
Jimmy the Squirrel keyboard player Jody Betts has put some lovely new solo acoustic songs up on the internet for you to hear. Go here to listen to them.
Heavyweight Acoustic Ska Showdown: Robb Blake vs. Liam O’Kane
Posted by jamie on Jan 17, 2011
Robb Blake / Liam O’Kane
Heavyweight Acoustic Ska Showdown- Do the Dog, 2010
22nd December 2010
Jamie
There’s a lot of reasons for which we should be glad that the UK scene is blessed with grass roots labels like Do the Dog. It’s the enduring love and dedication of folk like these that has helped to keep independent ska music alive in this country by nurturing new talents and giving them that first shot at getting themselves heard. I went looking for a bit of back-story to tell here, but found a nice little bit of text on their own website, which puts it nicely enough for me not to want to change it.
Although there are many excellent ska record labels all across Europe and also further afield in the USA, Canada, Japan and Australia, the UK sadly has few labels that support and release up and coming ska talent. Through our operations we therefore hope in our own small way to help bring the sounds of UK ska to a wider audience.
It’s not quite as bleak as all that, if you ask me, but credit where credit’s due to Kevin and the team at Do the Dog because they’ve been a big part of keeping all of this alive. For those of us that don’t want to be stuck with the metal section at HMV (the metal section that includes Reel Big Fish) or the X-Factor, Do the Dog, Bananatown salutes you. Well done.
When this disc hit the doormat, it seemed to neatly showcase exactly what Do the Dog, from the outside, seems to be about. Firstly, you’ve got Robb Blake, who disappeared for a while after Whitmore split, but has returned rejuvenated and now released three solo records and this collaboration on Do the Dog and puts on shows himself, at the Winchester Gate. And then there’s Liam O’Kane, sometime solo artist and front man of Nottingham’s Jimmy the Squirrel, who just keep on getting better and better, and who all seem to be in other bands and involved in exciting things in Nottingham, where they live.
As the solo acoustic thing seems to be the in thing in ska at the moment, this delightful record is also a nice little microcosm of exactly what Do the Dog get up to. Some of it, at least, I guess, that they’ve managed to squash in to one record and into the acoustic, solo sort of genre. There’s a lot more to Do the Dog, and to Liam and to Robb, than is on this, but Heavyweight Acoustic Showdown is a lovely little disc nonetheless, and well worth picking up and enjoying.
At long last, we’ve mentioned the name of the record. Onwards, then, and let’s find out about it. This is a collaboration between Robb Blake, and Liam O’Kane: five tracks each, just them and their guitars. If you’re new to either of them, I guess it’s a nice introduction to the guys, rather than a full album, or if you’re a fan it’s a great thing to have in your collection. Of Robb’s five tracks, for example, two, Hit the Bottle and From Spain to Endorse It have already featured on his solo records, but are included here as acoustic tracks with a really enjoyable, straight-up, rough and ready, live feel to them. There’s a couple of moments in there where I’m sure I can hear him having a little laugh, but, true or not, it’s got all the charm of an intimate acoustic show: that personal, friendly charm that so rarely translates to CD, but that comes through really strongly here. Robb’s material is rowdy in parts, yet soulful and reflective in others. Opening track Any Day Now, for instance, has some amusing reflections on being alone, and lonely, in Germany. It doesn’t sound like loads of fun, but the song is cheerful enough and, if you’re ever in that situation, would make you want to grin and bear it. Besides that, it’s catchy, with some endearingly cheesy rhymes, a catchy little guitar part and plenty of trademark Robb growl. Similarly, Keep on Climbing seems to be written as a reassuring arm around the shoulder, helping you to feel down-and-out but to keep on looking up at the same time, and, again, keeps your feet tapping and your head bobbing. The last line, “til we get there” is repeated off mic, and joins on to a spoken “go for it” at the beginning of From Spain to Endorse It that reinforces the spontaneous feeling of an original live recording. It really feels like a good time, and party just for party’s sake. That’s basically what the song is about, in a sense, and that’s captured perfectly in this really enjoyable live recording. The other new one, Time to Break, is less of a rabble-rouser. Like the first couple of tracks, it’s about keeping going when things are tough, and this is arguably the most sombre of the three: it claims to be “the darker side of me”, and it’s the gloomiest I’ve seen here, but still there’s that fight in there, and still, at it’s lowest, it’s perfect for singing along to. Then it picks up. Ace.
Hit the Bottle, taken from Robb’s most recent album, has Liam singing the main verse. His voice is softer than Robb’s, and more melancholy, and that difference helps to give the song’s rabble-rousing chorus a little more punch. This one was a favourite for me last time out, and it still is here. It’s all acoustic: that endearingly catchy, deliciously simple little riff running right through the song and the two vocal parts that start slowly, and become stronger and more upbeat as the song goes on, climbing to a joyful chorus at the song’s climax. Excellent stuff.
Against that, Liam’s first song, Speak to Me, is immediately more sombre, giving the song’s message an urgent, desperate tone. His manner is markedly different to Robb’s, more plaintive, melancholy in places, and the contrast works well as the two different vocals complement each other well. Speak to Me is short and sweet, just under two minutes in length, and based around a short little guitar part and Liam’s vocal, which draws heavily on the foulful yet weary tone that’s so prevalent on Jimmy the Squirrel’s Whatever the Weather.
Breaking the Habit of a Lunchtime is breezier, and more upbeat, yet comes from a similar formula: a short, sharp, staccato guitar part picked out on an acoustic guitar and that plaintive vocal. It’s about the strife of giving up smoking, but is somehow positive throughout, and Liam’s vocal is stronger nd more positive. There’s even handclapping on it in parts. It’s instantly enjoyable, and, ironically, thoroughly addictive. It’d be great to sing around a fire, or at least sitting in a circle.
Leave the Grey is a personal favourite for me: I just love the way the intro builds slowly and steadily in to the verse, and the little drop out between the first and second verses. It’s similar in its tone and construction to Speak to Me, and highlighted with an echo in a couple of moments, just for effect.
There Goes the Wagon is a sort of cross between Taxi Man from Liam’s first record, and Breaking the Habit of a Lunchtime. It tells the story of a struggle with alcoholism through a conversation between two people. Unlike on Taxi Man, Liam plays both parts. Like in Robb’s material, there’s a very real sense of struggle, but at the same time a calm and confident feeling that it can be beaten. Without wanting to spoil it, he does win at the end: after landing a few really satisfying throaty, growly notes in the song. Ideal, really. There’s space for one last track, the stunning Coming Back for More, which somehow, in the context of this record, feels like some sort of lighters-out epic, done in three and a half minutes by one man and his acoustic guitar. If proof of its strength were needed, I’ve just had one of those adrenalin moments listening to it where I forgot to breathe. So now I’m huffing and puffing on the end of my bed from listening to a CD. It’s that good.
It’s a great little record, this, and a nice introduction to what Do the Dog have been doing over the last couple of years. Robb’s becoming quite prolific at this solo thing, and has what seems to be a blossoming understanding with Liam. There’s a really good collection of songs here that give a decent understanding of what both the guys are about, and show off their different talents nicely. Besides that, its tunes are infectious, so there’s plenty of foot-tapping sing-along fun here as well. It’s a treat for existing fans, and at the same time a great introduction to anyone who’s just discovering either of the guys, or the whole acoustic ska thing. It’s not groundbreaking, but the songs are really good quality, and really enjoyable. I’d get this just for that. It’s a must for hardcore followers, and a treat for the uninitiated.
Stand-out tracks:
Hit the Bottle
Keep on Climbing
From Spain to Endorse It
Breaking the Habit of a Lunchtime
Coming Back for More
Do the Dog: a million tour dates
Posted by jamie on Oct 28, 2010
Pretty much everyone on Do the Dog Music appears to be on tour right now. For new dates from Robb Blake, Dirty Revolution, Liam O’Kane, Jimmy the Squirrel, the Skints, the Skints, the Steady Boys, Rasta4eyes, Rebelation, Resolution 242 nd the New Town Kings (phew!) have a look here.
Jimmy the Squirrel: Whatever the Weather
Posted by jamie on Oct 4, 2010
Jimmy the Squirrel
Whatever the Weather (Do the Dog, 2010)
30th September, 2010
Jamie
Nottingham’s Jimmy the Squirrel release their first full length album, Whatever the Weather, on Do the Dog. Given that their EP only came out in April 2008, it’s pretty impressive for the record be hitting doormats already. Every time I look them up one of them is in another band as well, and then Liam brings another record out (with Robb Blake) straight afterwards. I’ve been waiting for this record for ages, though, and I doubt I’m the only one. The absence of any great fanfare when the disc arrives, with just a few brief sleeve notes for company, made it quite a surreal experience. Here it is, then.
Whatever the Weather opens with Boom and Bust. It’s got the big old intro, then a little solo, then Liam O’Kane’s melancholy, soulful vocal over backing vocal. The song is powerful, its message the uneasy feeling about the state of national, and international, bank balance. Lyrically, it’s best summed up in the words “and the people who put us here are keeping us afloat. But I don’t know if I trust ‘em. Do you?” The song’s lyrics are undoubtedly bleak, but its tempo is surprisingly, and delightfully peppy, totally skankable. Liam’s voice wavers and conveys a real sense of uneasy anxiety, and yet along side that, the keys and guitars lead your feet a merry dance right from the off. It’s totally addictive. The little backing vocals, reminiscent of the ones on Taxi Man on Liam’s solo record are a treat too. This is an absolute jam.
Bankrupt Man, predictably has similar subject matter, but the song is totally different, more in keeping with what it’s about: an ambient, melancholic tone, and softly reproachful words. It’s quiet, almost eerie, even, in places, with echoes in underneath the upstrokes on guitar and an edgy little melody on guitars and keys. It sort of washes over you, this one, leaving that dark, sombre message loud and clear. It’s dark, but it’s a really good song.
Sort it Out opens with an upbeat, more traditionally choppy, rhythmic, two-tone ska riff over the guitars and keys. The group backing vocals are a little first-Specials-album. The eerie, reggae drop-out bit is absolutely lush. The song kicks in with a rat-a-tat of snare drums and a killer guitar solo. It’s three tracks in, and this album is already packed with enough hooks to keep you dancing for days. The keyboard parts, on this track in particular, are a real treat.
The fourth track, How I Go, is probably the album’s real highpoint, though, as you can probably tell, that’s a really tough call to have to make. It’s a really moving, sad, romantic song about being able to die happy knowing that you’ve found a real, life-affirming, fulfilling love. The lyrics are wistful, dreamy and really touching, and Liam’s vocal is beautiful: crystal clear, and really believable. It’s actually one of the best love songs I’ve ever heard. The opening line, “if I die before I wake”, is sort of amusing, but that’s different. The backing vocals, in so many layers, are incredible, really well arranged and perfectly performed. Like Pet Sounds, but in reggae. The amount of detail in this is really astounding.
The song as a whole is a real example of how strikingly Jimmy the Squirrel have evolved as a group. Having first heard the guys as a regular ska/punk band, I remember being blown away by their first EP, as was Kevin at Do the Dog. Whatever the Weather is even better, and even more different. How I Go, in keeping with the record as a whole, has a soft, soulful, and at times sombre atmosphere, and gives off a distinctly eighties, almost-dub vibe: eerie and echoey, at times ever so slightly, just to accentuate its soulful, contemplative tone, and at other times to the extent that it’s almost haunting. I’m sure it was a massive risk to try and put all this in to an album, and it can’t have been easy either, but they’ve pulled it off really well and deserve credit for that as well as for being brave enough to try it in the first place. Kudos, Jimmy the Squirrel, you’ve made an absolutely outstanding record here.
Daydreamer is another slower tune: gently but firmly reproachful. Again, its backing vocals and keys are a real highlight. It’s a little heavier, with a bigger bassline, and Liam giving a cracking take on the classic reggae vocal.
Swings and Roundabouts, next, is a gentle, easy going thing, again loaded with everything that’s great about this record: it starts off nice and slowly, heavy on the harmonies and with a stunning melody. As always, the harmonies are lush, and the tune is perfect. A sunny, shiny little gem. And then it kicks in: without warning, the keys and drums run off in to a little riff and returns as a different tune. It’s totally addictive, this new bit.
Big Fists is an instrumental. Initially led mainly by guitars, but shifting to genuinely eerie dub, and then back to some punchy riffs. It gets really raucous by the end, this. You’ll love it. There is No Line, again, is a contrast to the previous track. For a start, there are vocals, and, this time, they’re not Liam’s on lead. It’s a deeper voice this time, a little richer, and it sounds good. The song’s got a lot of bass on it, and a catchy little keyboard part. The emphasis is different here, it’s warmer, more reassuring. It sounds a little like Rebelation, I guess. Liam’s back on Inflatable Mansions, really dreamy and soulful, it practically shimmers. I love the guitar on this track, but the whole thing is just lovely.
The record rocks out to A Little Less. It’s choppier than the other songs later in the record, all wailing guitars and a vocal with real angst. Quicker, but not the quickest, it’s got bags of bite: blues-y, wailing guitars, and with those the record fades to its end. It’s really mature and surprising throughout, with real depth and incredibly sincere. It’s excellent. All over. I love it.
Stand-out tracks:
Bankrupt Man
How I Go
Swings and Roundabouts
There is No Line
Inflatable Mansions
