In this episode, I focus on the incredibly influential and often overlooked role that Eddy Grant has played in merging the sounds of ska, reggae, pop, dance and rock music. I’ve always been a huge fan and consider Grant a musical futurist who has successfully combined the best of James Brown, Jimi Hendrix and Bob Marley into something completely unique. I’ll be taking a look at Grant’s diverse musical career and will also dig into his most well known American hit “Electric Avenue” which went to #2 on the Billboard charts in 1983.Grant is a musical pioneer and trailblazer who has left his mark on ska, reggae, calypso, rock and pop music and deserves credit for combining the best of Black and White music beginning in the mid-60's and up through the mid 80's. Many of Grant's songs always display a lyrical or musical edge of some kind. I’ve always believed he creates protest music you can dance to.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series."Easy Life" by The Bodysnatchers may be one of the most deceptively revolutionary 2 Tone songs of all time. Though it sounds like an upbeat feminist ditty and it is remarkably catchy and danceable, a close read of the lyrics reveals some real layers to the song. “Easy Life” addresses and rejects the pressure and refusal to conform to pre-determined – often media driven – constructs of femininity. Dakkar sings: we are near to an equality/girls and boys with pay parity/we are near to an equality/the law says there is equal opportunity/but still it's a struggle/yes life is still a struggleSka Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.Dexys Midnight Runners were not a ska band, nor were they ever on the 2 Tone label, but there were interesting connections between their sound, musical approach and philosophy that make them 2 Tone adjacent. Instead of looking to Jamaica for musical inspiration, they turned to American soul and RnB and to the indigenous sound of British soul. That said, the band were part of the very first 2 Tone tour featuring The Specials, The Selecter and Madness and label head Jerry Dammers tried very hard to sign the band but to no avail. Clearly Dammers saw something in the band as their second single "Geno" went to #1 on the UK pop charts. Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.It's my humble opinion that Mirror In The Bathroom by The Beat is the most distinctive song of the 80s let alone the entire 2 Tone era. This unique sound that drummer Everett Morton and bassist David Steele created together on early songs by The Beat have served as the blueprint for much of the late 80s and early 90s American ska boom that followed. Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.If you've never heard it, "Madam Medusa" by UB40 is a protest song of the highest caliber that perfectly captures the impact Margaret Thatcher was having on Britain. It is as much a document of its time and place as "Catch a Fire" by Bob Marley and The Wailers is of early 1970s Kingston. And the song -- with lyrics written by noted British folk artist Ian Campbell and father to band members Robin and Ali Campbell -- was the main reason the band was under surveillance by MI5 in England for years.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.While Bad Manners is probably best known for their more lighthearted songs like Special Brew, Can Can and Skinhead Love Affair, one of their most memorable songs may actually be Inner London Violence, the dark and mesmerizing song written shortly before the Brixton and Hackney riots of 1981 that convulsed London and led to similar uprisings in cities all across Britain. In this episode I speak with Bad Manners original guitarist Louis Alphonso about the story behind the song, Gangster Fun singer John Bunkley about how the song influenced him. Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.If pressed to name my favorite album and song of the entire 2-Tone era I would have to say "Celebrate The Bullet" by The Selecter. Surprised? You shouldn't be. In my humble opinion "Celebrate The Bullet" broke the mold and remains the most creative and unique collection of songs to come out of the entire 2-Tone era. The Selecter created a haunting, bluesy iteration of ska that to my knowledge has never been attempted before or since. For that reason, it is a very unique record and it goes against the grain of what 2-Tone fans probably expected when it was released.Notably, it was also one of the few songs to address guns and gun violence in a direct and confrontational way that was sadly misunderstood when it was released around the gun death of John Lennon in December 1980 and the assassination attempt on Ronald Reagan in March 1981.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.On their second album Absolutely released in 1980, Madness began to develop and refine what came to be know as the "Nutty Sound." While ska still a large part of their overall approach, they were also tapping all of the musical influences that they loved as music obsessed teens -- late 50s rock and roll, pub rock and pop sounds like Motown. On "Embarrassment" it all comes together in a pure piece of pop that is so listenable that you may not even know they are tackling the sensitive subject of one family's complicated response to their white teenage daughter being pregnant with the child of her Black boyfriend. And while The Specials urged listeners to ditch their racist friends, Madness took another approach that was much more a slice of everyday life but no less 2 Tone in its approach to uncovering the ways that racism impacted everyday life, particularly personal relationships.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.Someone once said, "The Boiler is a song that everyone really needs to hear at least once. ... After that, it's your call." The Boiler was written by The Bodysnatchers and later recorded by The Special AKA is a first-person narrative of a "date" rape victim. The song is no less powerful and devastating today as it was when it was recorded more than 40 years ago. If you haven’t heard The Boiler, it is a powerful and important piece of music. It is social commentary of the highest caliber that will doubtless disturb but, hopefully also inspire. It is 2 Tone through and throughSka Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 2 Tone Legacy a special 10-part audio documentary series of the Ska Boom podcast that focuses on the stories behind the songs that contribute to the enduring legacy of 2 Tone music and its ongoing impact on popular culture. In each episode, I'll be joined by Paul Williams, author of "You're Wondering Now: The Specials from Conception to Reunion" and lead singer of UK 2-Tone band The Skapones. Paul is a noted 2 Tone expert and he'll be sharing his memories and insights on all the songs covered in this series.Free Nelson Mandela might be the song that finally demonstrated the power of 2 Tone. The song was originally released as a single in March of 1984 by The Special AKA from their In The Studio album to protest the imprisonment of Mandela by the apartheid regime in South Africa. The song soon became the unofficial anthem for the international anti-apartheid movement that put pressure on the then white minority regime in South Africa. It took 27 years but Mandela was finally freed in 1990 and then elected President in 1994. While the song had a world changing impact in helping to draw attention to apartheid and Mandela's situation, the origins of the song – written by Jerry Dammers -- are fascinating and quite dramatic, not only because of the impact of the song, but also the strange and surreal circumstances under which it was recorded. The In The Studio album on which it appears took 2 years and cost half a million pounds to produce making it one of the most expensive albums ever made.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on Pantheon Podcasts. Ska Boom is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History available from DiWulf Publishing and Amazon.  This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.  The goal of this podcast is talk about ska with an emphasis on American ska history and the bands, musicians and people who have helped to create and influence a uniquely American version of ska and reggae that spans from the late 70s until today. In this episode, I’m speaking with Noah Shachtman, the editor in chief of Rolling Stone Magazine. Prior to taking over at Rolling Stone, Noah worked as an editor at Wired Magazine and Foreign Policy Magazine before serving as the editor in chief for The Daily Beast. Before he was an award winning journalist, Noah was a bass player and played with a variety of leading American ska and reggae bands including Skinnerbox, Version City Rockers, Stubborn All Stars and Easy Star All Stars as well as helping to co-found the Sub-Atomic Sound System with Lee "Scratch" Perry. One of the first ska specific things Noah did once he was in charge at Rolling Stone was to book The Slackers to perform live at Rolling Stone Studios last December.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George.This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Stories which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.  The goal of the Ska Boom podcast is talk about ska with an emphasis on American ska history and the bands, musicians and people who have helped to create and influence a uniquely American version of ska and reggae that spans from the late 70s until today. Though Augustus Pablo never gained the international recognition of a Bob Marley, he is one of reggae's legitimate legends, a pioneer who flipped the genre completely upside down. Along with producer King Tubby, Pablo helped to pioneer dub – no mean feat considering his main instrument was the lowly plastic melodica. The fact is that Pablo was the first musician to popularize the melodica and had a direct influence on other more mainstream bands that added the plastic instrument to their songs. Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on the Pantheon Podcasts.This episode of the Ska Boom podcast is sponsored by BetterHelp.com. For more information visit https://betterhelp.com/skaboomPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Stories which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.  The goal of the Ska Boom podcast is talk about ska with an emphasis on American ska history and the bands, musicians and people who have helped to create and influence a uniquely American version of ska and reggae that spans from the late 70s until today. Like me, you’ve probably heard 'Pass the Dutchie' many times. And it probably makes you smile and dance. I never get tired of hearing it. What isn’t well-known is that MY trace their origins all the way back to the iconic 60s Jamaican rocksteady act The Techniques. What also isn’t very well know is the very sad story behind their ride from obscurity to fame and back again in just 15 months in the early 80s when the members were all still young teenagers.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George and appears on the Pantheon Podcasts.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.  The goal of this podcast is talk about ska with an emphasis on American ska history and the bands, musicians and people who have helped to create and influence a uniquely American version of ska and reggae that spans from the late 70s until today. In honor of the 30th anniversary of Stubborn Records, I interview Jeff Baker (KA: King Django) and Matt Wixson who have partnered to issue Still Stubborn Volume 1 which features a variety of artists including The Slackers, Big D and The Kids Table, Buford O’Sullivan and more performing songs from the vast and diverse Stubborn Records discography. I’ll speak to Jeff and Matt about the comp and also explore the early days of Stubborn Records and the Stubborn All Stars band and discuss Jeff’s important and long-lasting contribution to American ska and reggae.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George.Part of Pantheon PodcastsPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae. The musical development which ignited Danny Elfman’s interest in starting Oingo Boingo and inspired him to start writing his first conventional pop songs was the emergence of British 2 Tone ska bands whose music reminded him of the Highlife he had heard when he travelled throughout West Africa in the early 70s. As he said in an interview: “Hearing the ska that came out of England around 1978 is what turned me around. Highlife was a little more Latin than ska, but really up-tempo. It was hearing The Specials, Selecter and Madness and then XTC, who really clicked for me.”Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Part of Pantheon PodcastsLearn more about your ad choices. Visit megaphone.fm/adchoices

In honor of Black History Month and as part of my mission to share unique and often untold American ska stories, this episode of Ska Boom Stories is dedicated to John Spence the original lead singer of No Doubt.Spence often gets short shrift whenever the story of No Doubt is told and regrettably his contribution to the band has been somewhat overlooked and slightly scrubbed from No Doubt’s history. On the one hand I understand that because his story is a sad one. But the truth is that without Spence there might never have been a No Doubt. And I also think its important to make note of the important contributions of Black American musicians in helping to popularize a uniquely American version of ska.Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Part of Pantheon Podcasts.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae.If any band deserves the title of punky reggae kings its Steel Pulse. They helped invent British reggae and their debut single "Ku Klux Klan: is definitely one of the great punk singles, without actually being a punk record. Steel Pulse were also instrumental in making reggae part of punk’s repertoire and were as vital to the explosion of punk as The Clash and the Sex Pistols.Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Part of Pantheon PodcastsLearn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae.If any band could give the 2 Tone bands and The Clash a run for their money when it came to singing about the state of politics in the late 70s and early 80s, it was the Gang Of Four. And, if you listen carefully, many of the band’s earliest songs have bass lines inspired by dub reggae. Their debut single “Damaged Goods” employs the drop-in/drop-out stylings of dub. And instead of guitar solos, the band had anti-solos, leaving space and holes in songs. And by incorporating elements of dub reggae into their sound Gang of Four created something brand new.Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Part of Pantheon PodcastsLearn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae.On February 27, 1986, the Cosby Show, then the most popular TV show in America aired an episode that featured the music of Black Uhuru. Let that sink in for a moment. How often did you hear roots reggae on American network television in the 80s? Though just a few minutes and part of a comedic bit it really is an extraordinary moment when a Black Uhuru song was broadcast into the American heartland.More than any other reggae artists, Black Uhuru have successfully and consistently transcended stylistic barriers tapping rock and other musical influences, yet they have done so without compromising either the genre or the philosophy that propels it. And after the death of Bob Marley in 1981, the mantle of bringing the sound of reggae to America and the rest of the world was taken up by Black Uhuru. They covered a song by Little Steven Van Zandt, licensed their music for use on TV and toured with the The Rolling Stones and The Police. They also played a memorable show at Soledad Prison.Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae.I first became aware of Grace Jones late one night during the mid 80s when I happened upon her video for “My Jamaican Guy” on Friday Night Videos. For younger listeners, Friday Night Videos aired on NBC and was an attempt by the network to compete directly with MTV. The song was my official introduction to Jones and her backing band the Compass Point All-Stars with whom she collaborated to record her iconic trilogy of albums -– Warm Leatherette in 1980, Night Clubbing in 1981, and Living My Life in 1982 recorded at the Compass Point Studios in the Bahamas for Islands Records founder Chris Blackwell.Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.  The goal of this podcast is talk about ska and reggae with an emphasis on American ska and reggae history and the bands, musicians and people who have helped to create and influence a uniquely American version of ska and reggae that spans from the late 70s until today. In this episode, I’m speaking with Grammy nominated reggae legend Pato Banton.Born Patrick Murray in London, Pato was left for dead at the age of five, an orphan at six, a doorman and “lookout” for illegal late-night parties by eight, a DJ on a Jamaican sound system by twelve, and dropped out of school for good by thirteen.He was winning rap battles by age fifteen, became the father of three children at seventeen, and was incarcerated for the first time at the age of eighteen. By nineteen he was touring with UB40, and by twenty was at the top of the music charts in the UK. He spent his twenties and thirties recording album after album and touring around the world tirelessly, culminating in a Grammy nomination. By forty, the middle-school dropout became the Head of The Music Department at one college and Assistant Director of Creative Studies at another, even creating his own school and music program for disadvantaged youth in Birmingham. By fifty, Pato was homeless (by choice), living in an RV in a parking lot in Los Angeles. Now sixty, Pato lives simply but comfortably with his wife and still continues to tour the US and the rest of the world extensively and has become a minister. Throughout it all, he’s never stopped being a father to his eleven children, never stopped touring, and never stopped spreading his message of positivity and love.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae.The Members were one of the prime movers in the era's cross-cultural mix of reggae and punk. The NME wrote of the band in 1978: “Of the many rock bands co-opting reggae into their act, few do so with as much love and style as the The Members.” I have to admit that the first time I heard 'The Model' it was not the classic Kraftwerk electro version but an awe inspiring reggae cover version recorded by The Members from their 1982 Uprhythm, Downbeat album. It was only a few years later when I became a fan of Kraftwerk that I finally made the connection between the two songs. Its my humble opinion that The Members version of the 'The Model' may be one of the most overlooked and impressive cover songs ever recorded and the band wholeheartedly embrace a full on reggae sound for the song, transforming it into lost classic of the 80's.Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George.Part of Pantheon PodcastsPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae.So it was only a matter of time before I got around to talking about The Police and their embrace of reggae. If you are of a certain age -- I’m looking at all of my fellow Gen X-ers – then the band’s early records Outlandos D'Amour and Reggatta de Blanc were likely the soundtrack of your middle school and high school years  – they most definitely were for me.The Police took inspiration from Bob Marley, whose accessible reggae mixed with rock influences had established itself widely by the late 70s. It was this Marley influence that The Police synthesized into their sound and which set them apart from many of their contemporaries. And while they were riding the sounds of reggae to success, reggae artists in Jamaica took notice and in one case, the singer Sheila Hylton recorded a better version of "Beds Too Big Without You."Ska Boom is hosted/co-produced by Marc Wasserman & co-produced/engineered by Rob George. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.  The goal of this podcast is talk about ska with an emphasis on American ska history and the bands, musicians and people who have helped to create and influence a uniquely American version of ska and reggae that spans from the late 70s until today. In this episode, I’m speaking with Horace Panter – bassist for The Specials. Horace has been a huge inspiration to me and many others who emulated his choice of a Fender P-bass and his moving octave bass runs drawn from disco and funk. I’ve met Horace twice. Once when my band opened for Special Beat and he recognized me from being interviewed for a BBC news story about American ska in the early 90s and then again when he was on tour with Ranking Roger. Both times he lived up to his nickname of Sir Horace Gentleman. I'm honored that he wrote the foreword to my book.We talk about bass guitars, The Specials incendiary performance on Saturday Night Live and his take on America and American ska from his time touring here with The Specials, General Public and Special Beat.Ska Boom is hosted/produced by Marc Wasserman and co-produced/engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.  The goal of this podcast is talk about ska with an emphasis on American ska history and the bands, musicians and people who have helped to create and influence a uniquely American version of ska and reggae that spans from the late 70s until today. In this episode, I’m speaking with Jayson Nugent – guitarist for The Slackers.Nugent has been a member of the band for the last 15 years, but has been a long time fixture of the New York City ska community, helping to start New York City 3rd wave ska band Agent 99, before going on to perform with Stubborn All Stars, Victor Rice and Version City Rockers. Nugent has also diligently released music under the the Crazy Baldhead moniker and has produced a who’s who of American ska bands.I speak to Nugent about how he was introduced to ska and reggae, his guitar and guitar influences as well as a discussion about his time in late 90s 3rd wave ska band Agent 99 and how he ended up joining the Slackers and then talk about his work as a producer.Episode produced by Marc Wasserman and engineered by Rob George.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggaeThe convergence of punk with reggae and ska in the late 70's and early 80's resulted in some significant musical developments leading some punk and post-punk bands in England to experiment with the sound of reggae and dub in particular.Reggae was natural for punks to mine as inspirational fuel, just as earlier rock ‘n’ roll eras adopted ideas and energy from blues and R&B. And chances are quite a few English punks had more than a few scratchy Trojan 45s in their record collections and a love of reggae in their blood.In this episode I’m going dig into the history of Basement 5 who were arguably the first black punk reggae band and are described by many artists who followed them as "hugely influential" and "groundbreaking". And amazingly, Basement 5 continues to be one of the few remaining untold stories of its time.Check out Basement 5 here: https://open.spotify.com/artist/5ebPDGAR8t5CsUMOf8GfCfPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Episode produced by Marc Wasserman & engineered by Rob George.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggaeThough drum and bass rhythms drive the various eras of ska, rocksteady, reggae, 2-Tone, dancehall and beyond, drums and drummers have defined each distinct phase.  And like the divide in rock music that occurred in the mid 70's when synthesizers and drum machines began to make their way into pop and post-punk music, reggae also had a similar moment when the very first drum machine arrived on the island in the mid-70's and slowly became dominant during the early 80's with the advent of the Sleng Teng riddim that was driven by a Casio keyboard drum pre-set. In this episode I’m going dig into the history of drum machines and how they changed the course of reggae music. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggaeThe convergence of punk with reggae and ska in the late 70's and early 80's resulted in some significant musical developments leading some punk and post-punk bands in England to experiment with the sound of reggae and dub in particular.Reggae was natural for punks to mine as inspirational fuel, just as earlier rock ‘n’ roll eras adopted ideas and energy from blues and R&B. And chances are quite a few English punks had more than a few scratchy Trojan 45s in their record collections and a love of reggae in their blood. Perhaps the most unlikely collaboration (or should I say collision!) of reggae and avant garde punk occurred in 1978 when David Cunningham (who was beginning to have success with the U.K. experimental post-punk band The Flying Lizards ) remixed a series of songs recorded by Jah Lloyd (who’s give name was Patrick Francis), a well-known Jamaican-based reggae singer, deejay and producer. Though they never met face-to-face, Cunningham's mix of Jah Lloyd's songs remain a great example of the reggae/punk ethos. Though the songs remained unreleased until the mid-90's, 40 years on, this collection may be one of the more interesting and unusual dub collaborations albums of all time.Check out the Secret Dub Life of The Flying Lizards here: https://staubgold.bandcamp.com/album/the-secret-dub-life-of-the-flying-lizardsPlease note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the first episode of “Punky Reggae Party” a special audio documentary series of the Ska Boom podcast that focuses on the historical origins and impact of reggae on popular music that will explore the phenomenon of punk and post-punk bands adopting the sounds of reggae The convergence of punk with reggae and ska in the late 70's and early 80's resulted in some significant musical developments leading some punk and post-punk bands in England to experiment with the sound of reggae and dub in particular.Reggae was natural for punks to mine as inspirational fuel, just as earlier rock ‘n’ roll eras adopted ideas and energy from blues and R&B. And chances are quite a few English punks had more than a few scratchy Trojan 45s in their record collections and a love of reggae in their blood. One of the earliest and most interesting collisions of punk and reggae has to be the Scritti Politti song "The Sweetest Girl," which Rough Trade label head Geoff Travis described at the time as a “game-changer.'” Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to a special edition of the Ska Boom podcast which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History. I was very sad to hear that Astro, the vocalist and DJ for UB40 and later the splinter group UB40 featuring Ali and Astro passed away at the age 64 on Saturday November 6th. This episode is a tribute to him and the iconic role he and UB40 have played in popularizing reggae around the world. Astro – born Terrence Wilson – got his nickname as a kid because he wore a pair of Dr Martens boots with the model name "Astronaut. "Fortunately, no one called me astronaut because it is rather a mouthful so they shortened it to Astro and it has stuck ever since," he explained in a 2016 interview.  Sadly, Astro – who toasted and chatted over some of the band’s best-known tracks-- is the second member of the band to pass away in 2021.  Saxophonist Brian Travers died from a long battle with cancer in August. In a year that I lost my mother, I’ve felt despair each time I hear the news that a musical hero of mine has passed.  So many of them served as surrogate family members to me when I was a teen.  The small emotional reprieve I feel with each passing of these notable musicians is that their creative energy will live on through the amazing and timeless music they’ve created. May his memory be a blessing. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.   In this episode, I’m speaking with  Brendan Tween the guitarist and vocalist who co-founded Mephiskapheles along with drummer Mikal Reich. The two now play together in the New York-based ska band Barbicide Mephiskapheles started in New York City in 1990 after Brendan's hardcore band The Shaved Pigs split up and he and Mikal  -- who met as co-workers at a Mexican restaurant where they work alongside  struggling comic Jon Stewart  --  decided to start a ska band.As they put the band together they added something to ska that no one had done before: Satan. Looking to mix ska with elements of punk, metal and rock, the invocation of Satan was a hook that set them apart and certainly had something to do with Mikal's work as a creative for an advertising agency. And although satanic ska may sound gimmicky,  Mephiskapheles truly were and remain one of the most innovative and creative third wave American ska bands in the business. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.   In this episode, I’m speaking with  Dave Kirchgessner, who is the lead singer of Mustard Plug.  2021 is the band’s 30th anniversary and as of this recording they have played 1,900 shows, recorded 8 albums and sold hundreds of thousands of records, becoming one of the most well-known and popular American ska punk bands.I first became aware of the band through their incredibly catchy ska punk cover of “The Freshman” by The Verve Pipe in 1997. When given an opportunity to capitalize on its growing popularity, the band decided not to do so, taking a different path than other ska bands of the era.  We discuss the decision the band made not to promote the song as well as why it's never a good idea to leave the van when on tour and any similarities between Dave's job as a singer and his other job as a real estate agent. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Stories, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.   I’m heading  out to Los Angeles this week to take part in Top Rankin’: The ON Klub & Birth of the LA Ska Boom -- at the Grammy Museum on Saturday 10/23 this episode celebrates the 40th anniversary of the O.N. Klub and the two bands –The Boxboys and The Untouchables -- that were responsible for giving rise to the LA ska scene and helping to create a uniquely American version of ska.  The festivities kick off at 2 pm. The panel for the event will include a who’s who of LA ska royalty including Howard Paar who created the ON Klub and is the author Top Rankin’ a ska noir novel that is a fictionalized account about his first year of running the club, Jerry Miller and Chuck Askerneese of The Untouchables, Greg Sowders and Ivan Wong of The Boxboys, Norwood Fisher of Fishbone, Greg Lee of Hepcat and Laurence Fishburne who went to the ON Klub as a teen in the early 80s. In addition, both bands are performing and DJ Chuck Wren of Jump Up Records will be spinning the best of American ska.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available from DiWulf Publishing and Amazon.   In this episode, I’m speaking with Mike Sosinski -- who is the guitarist and lead singer of ska punk band Kill Lincoln and also the head honcho of Bad Time Records, a ska punk label based in Alameda, California. Bands on the Bad Time label include many of the bands now making waves in the American ska and ska punk scene and beyond including Kill Lincoln, We Are The Union, Catbite, Bad Operation, Skatune Network, Omnigone and more. We had a far ranging conversation that touched on Mike's ska "lightning bolt" moment, what is was like to grow up in the New Jersey ska scene of the early 2000's, the origin of the Kill Lincoln name and why ska punk is polarizing to parts of the ska community and why the success of the diverse range of bands on the Bad Time label is good for everyone in ska.  He also shares what its like to run a DIY record label and market new ska punk music.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to a special edition of the Ska Boom podcast which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History. I was very saddened to hear that news that Everett Morton, the original drummer of the English Beat passed away at the age 70 and this episode is a tribute to him and the iconic role he played in creating the unique sound of the English Beat and 2 Tone ska. I think its fair to say that the timeless quality of The Beat's sound is defined by Morton's distinctive drumming style that includes syncopation and polyrhythm within a rock beat. He plays the entire kit percussively versus the familiar kick drum/snare/hi-hat style favored by others, employing rim shots where you would normally expect to hear the snare drum. Influential to many (just listen to Stewart Copeland of The Police for example), Morton should be a household name.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing and Amazon.   In this episode, I’m speaking with Heather Augustyn who writes extensively about the history of ska music in Jamaica, the U.K., the U.S., and all over the world. Her books, scholarly journals, magazines, newspapers, and online publications aim to give recognition of these artists and this marginalized genre of music. She has also established a collection of ska oral histories and artifacts at the Archive of African American Music.Heather has written seven books about ska and reggae, was the writer for the "Pick It Up: Ska in the 90s" documentary  and is currently researching and writing her latest book "Rude Girls: Women in 2Tone and One Step Beyond" which is due out in the Summer of 2022.We discuss Heather's ska "lightning bolt moment,"  what inspired her to write her first book "Ska: An Oral History" in 2010,  how American ska bands of the 80s and 90s had an obsession with spies and spy imagery and her take on women in ska and how 2021 seems to finally represent an inflection point for women ska musicians. We also talk about The Specials new album "Protest Songs." Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing and Amazon.   In this episode, I’m speaking with Andrew Sacher, who is a senior editor at BrooklynVegan and one of the few music journalists who is regularly writing about and covering ska and ska  music.  I'm turning the tables on Andrew  and interviewing him about his ska origin story and the important role that he is playing in covering American ska music.Andrew and I discuss how ska and ska music has become a bigger part of BV's editorial coverage over the last few years and how engagement on ska content on the BV site has skyrocketed over the few years, which suggests that the genre is growing and bringing in new fans.  We also discuss, how in his opinion, Bad Time Records and bands on the label like We Are The Union, Catbite and Kill Lincoln represent the new face of American ska. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/books  In this episode, I’m speaking with music journalist and author Ken Partridge, whose new book "Hell of a Hat: The Rise of 90s Ska and Swing" is now out and available. Ken is a writer and editor with bylines in leading music publications including Billboard, The AV Club, Pitchfork, The Atlantic, USA Today, The Village Voice, and Genius, where he works as a managing editor.  Hell of a Hat is the third American ska book to be released in 2021 – after Aaron Carnes book “In Defense of Ska and my book. This is a pretty extraordinary turn of events given that there had been a grand total of zero books about American ska previously.  Ken makes the case in his book that the relative economic prosperity and general optimism of the late '90s created the perfect environment for fast, danceable music that--with some notable exceptions--tended to avoid political commentary.I speak to Ken about his ska "lightning bolt" moment and how he became a music journalist working for the Hartford Courant right out of Boston University.  We also compare notes on our  book writing experiences, discuss the importance of Hot Topic in outfitting would be suburban ska fans and discuss the meteoric rise of swing in the 90s, its impact on 90s pop culture and the Zoot Suit Riots of the mid 40's.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom Interviews, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksIn this episode, I’m speaking with my Rude Boy George bandmate Jenny Whiskey about her American ska story.  I’ve known Jenny since the mid 90s when her band Professor Plum opened for my band Bigger Thomas at the Stone Pony in Asbury Park, NJ.  She was just 16 and decked out in giant pair of JNCO Jeans – remember them – but boy could she play sax and should could sing too! I’ve always been impressed with her musicianship, her amazing singing voice and her witty observations about the ska scene and here sense of humor.  I count myself to lucky to have been her bandmate for the last three years in Rude Boy George where I’ve had a front row seat to watch her grow as a musician, singer and front person.  I’m continually impressed with Jenny’s musical instincts in the studio as well as live on stage and she can hold her own with our other singer Roger Apollon Jr.  Its clear that despite a “girls just want to have fun” vibe that she cultivated earlier in her musical life – witness the Whiskey” surname she goes by – she is a consummate professional and always seeks to serve the song we are playing.  She and her husband musician Rob George who joins her in Hub City Stompers and Rude Boy George -- are a dynamic duo who have added tremendous depth to our recordings and live shows.  I’m grateful to call them both friends and bandmates. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/books Though my band Bigger Thomas –originally called Panic! -- is not featured in Ska Boom, our 80s American ska story contains a lot of the same trials and tribulations experienced by the 18 bands whose stories I've documented. That is to say, the human condition set to a ska and reggae soundtrack. In this episode, I’m speaking with my long-time bandmate and close friend Roger Apollon Jr about his memories of the early days of the band.  Though we missed out on the ska boom of the mid 90s – the original line-up broke up in 1991 – our story is one you should know. We were the very first ska band from New Jersey.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/books  The X-Streams remain the band I wished I had seen live and their story is one that continues to draw me in. Perhaps because they came so close to success before self-destructing. Perhaps because they brought an energy and intensity that was both mesmerizing and a little bit frightening to those who saw and heard them. Perhaps because for one brief moment they may have been the best hope for what an American 2-Tone era ska band could have been. The story of The X-Streams is a difficult one to tell. The band never achieved the kind of broad popularity or success that they deserved. Sadly, the band was plagued by infighting, drug addiction, a nasty love triangle involving the singer and the band's two guitarists and a penchant for self-destruction that seemed to keep them from ever reaching their full musical potential. Nevertheless, they made a mark for themselves in Arizona and L.A. and are best remembered for their raw and edgy take on new wave styled ska.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksOften compared in look and sound to Steel Pulse, the Babylon Warriors were one of the first bands in Los Angeles in the early 80s to play nothing but reggae.  Though the never became a big name in the U.S. reggae scene of the late 70's and early 80's, they did manage to build a substantial local cult following in Los Angeles and opened and headlined shows across Southern California.  Members of Fishbone and Bad Brains name checked  them and HR of Bad Brains performed with them. Often described as an "American reggae band," the facts is that they were all immigrants from various parts of the Caribbean and Africa. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksThe Specials released their first single Gangsters in May 1979 and it is considered the spark that lit the ska-punk flame that still burns to this day. Though The Specials get the lion share of the credit for being the band that popularized the 2 Tone take on punk and reggae, the other one, which you’ve probably never heard of is The Offs who are American ska punk pioneers who released a punky reggae version of "Johnny Too Bad" in 1978.  One of the most interesting stories about The Offs was their relationship with Jean-Michel Basquiat who designed the cover for the band's only album "First Record." Today, original copies of the album sell for thousands of dollars. The original artwork for the cover sold at Sotheby’s for $300,000 in 2011! Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksIf I could have, I would have included a few more chapters on other important bands who also deserve credit for helping to develop a uniquely American version of ska and reggae.  For a variety of reasons, I wasn’t able to include them all, but over the next few episodes of the podcast, I plan to devote some time to more of these bands who deserve your attention.The first band whose story I wanted to include in the book, but wasn't able to is The Terrorists from New York City. Unfortunately there weren’t enough people available for me to interview about their story and history.  Sadly, most of the band members have passed away.  Nevertheless, their story is pretty extraordinary. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my book Ska Boom: An American Ska & Reggae Oral History now available for sale through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksIf you were one of the lucky people to order a pre-sale copy of Ska Boom!  you should have received a copy of an amazing 80 minute CD called “Ska American Style 80s edition”  curated by DJ Chuck Wren of Jump Up Records. The CD digs deep into the obscure world of privately pressed records proving that American ska roots were firmly planted during the 80s alternative music underground.I know a lot of people who have received the  book and CD have been asking about the track listing which Chuck did not include on purpose .  In the episode, Chuck finally reveals the bands and songs in the order they appear on the CD and shares stories about each band on the compilation. Here is the track listing:SHOCK EXCHANGE - SK 80BIGGER THOMAS  - CHAOS X-STREAMS -THAT’S WHY THEY WAITCLASS ACTION - GETTING NOWHERETHE URBATIONS - TURN IT DOWN THE HOOVERS - THE DAY THEY MADE HIM KINGTHE FABULOUS TITANS -DON’T EVER LEAVE MEPLATE O’ SHRIMP - IMMORALITY ACTALAN MANN BAND - I WANT TO KNOW YOUBLADES - TIME WON’T LET ME THE PINCH- MEETING YOUWINDFIELD - CADILLAC BILLY SHEET’S UNDERCOVER  - DOWNTOWN B.B.Q (SHAKIN IT)NU-CLEAR ENERGY - STORYBOOK TELLERSTHE SQUIDS - SHE JUST DON’T DRINK ITTHE STARS THAT WOULDN’T SHINE - ANYTHING #3S.L.K. - SO HARDSTEPPIN’ LAZER - FOLLOW THE LEADER6 FEET UNDER - NOTHING TO SAYTHE EFFECTS - ISLANDPRESSURE BOYS  - IS THIS NORMALPINHEAD  - STEALING YOUR WIFETHE DIVERSIONS - DANCETHE GOOD GUYS  - FUN LOVERLearn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksIn this episode of Ska Boom I’m going to explore the brief marriage between ska and acid house music that took place in the late 80s. Depending on how much of a ska purist you may or may not be, the acid ska (or skacid) phenomenon was either 1) a highly danceable ska resurgence which gave the remnants of the 2-Tone scene one last chance to shine or 2) an incredibly annoying and vapid fad that sullied ska and 2-Tone's reputation to no end (I'm in the former camp - I've always loved acid ska). Whatever your position, acid ska had its short moment in the sun in 1988 and 1989 when cheap ecstasy and rave parties were all the rage in the U.K. and house music producers saw a chance to put a twist on acid music (known as house music in the U.S.).Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for sale through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksThe Boilers were one of the most innovative and influential ska bands to emerge from 1980's NYC Ska scene that you may have never heard of.  Though they burned brightly for a short time, The Boilers were the starting point for a core group of musicians who have gone on to help define, create and perform some of the finest American reggae and ska and soul music. More than any of the other bands who came out of the NYC ska scene, The Boilers explored traditional reggae sounds as a vehicle for their songs about the tribulations of life and love in New York City. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksThe release in the U.S. in early 1973 of 'The Harder They Come' -- a movie that required subtitles so that American audiences could follow the dialogue -- had an impact far beyond its modest take at the box office. While the film had a cultural impact and developed a strong cult following in the years following its release, it was the movie soundtrack which captured the hearts and minds of like-minded people across the country introducing reggae to a wider American audience. In fact, the movie can be credited with giving rise to the first American reggae band -- The Shakers – whose story opens Ska Boom. The Shakers were musical pioneers playing reggae when it was an odd, foreign sound to most Americans born and raised on rock and roll. The band's legacy, which is sadly unknown to most, includes being the first American reggae band ever signed to a major label in 1975. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for sale through DiWulf Publishing.   Click here to order: http://www.diwulf.com/booksThe New York Citizens retain a certain mystique for those of us who remember them in their late 80s to early 90s prime. And if you missed seeming them, I feel bad for you. They embodied the spirit of New York ska in the late 80s like no other band on the scene.  While The Toasters may have been the King’s of the late 80's New York ska scene, it was the Citizens who best represented its musical soul through their constant genre experimentation, limit testing, outspokenness and their ferocious live show. They existed in that pre-Internet world before YouTube and Facebook so their is very little evidence of their important imprint on American ska. In some ways that makes them a fascinating band to document because they only inhabit the memories of those of us who saw them. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksIn this episode I focus on the origin story and the important role that Mephiskapheles have played in American ska.  From its early beginnings in 1990, the band set out to carve out its own niche within the so-called "third wave" ska scene and in my humble opinion created one of the most uniquely American versions of ska there is. Un my opinion, Mephiskapheles are the logical culmination of what I would define as the earliest days of the American ska era that started in the early 80s – began to take form in 1985 -- and then through the hard work of many of the bands featured in Ska Boom gave birth to what some, but not all ska fans refer to as the 3rd wave that took off in the mid 90s. I’d count Mephiskapheles as one of those bands whose embrace of a mutated version of ska influenced legions of future American ska and ska punk bands.    Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksWhile Los Angeles and New York get the lion's share of the credit for the nascent American ska scene of the early 80's, in this episode I highlight the Chicago-based band Heavy Manners who were American ska and reggae trail blazers whose multi-racial and gender mixed line-up and live show took the Windy City by storm. From 1980 to 1984, Heavy Manners built a huge cult following opening shows for a who's who of 80's bands in Chicago and across the midwest including The English Beat, The Clash, Third World, Jimmy Cliff, The Ramones, The Go Gos, Grace Jones and Peter Tosh among others. The band's live shows were so legendary, that a gig they played with Tosh during a sold out show at Chicago's famed Aragon Ballroom nearly changed their fortunes. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksIn the episode I look at the important role that 171A, a recording and rehearsal and performance space in the East Village of New York City and a band called The Cooties had on the birth of The Toasters and indirectly the New York City ska scene of the 80s. Like the ON Klub in LA, 171A is largely overlooked for its cultural impact, but in many ways it was responsible for bringing together the original members of The Toasters who all met there or in the various bars that then dotted the East Village. The Cooties -- an artsy new wave band included three of the original members of The Toasters -- bassist Vicky Rose, guitarist Ade McSpade and drummer Scott Jarvis. The Cooties often played after hours parties at 171A as well gigs at A7 and CBGBs and recorded one 7" single and were well known in the East Village.  The band members were into reggae and that familiarity helped them connect with guitarist and vocalist Rob Hingley.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksIn this episode I highlight the story of The Uptones from Berkeley, CA. If any city in the US was open to the message of 2 Tone it was Berkeley.  The city was steeped in a progressive vibe and the members of The Uptones came of age in the 70s when the city was on the frontline of anti-Viet Nam war protests.  Berkeley was also fairly moderate income wise and racially mixed in the 70s.The Uptones took the Bay area by storm in the mid 80s catching the ear of Joe Strummer of The Clash who praised their sound and message and influenced Tim Armstrong  (Operation Ivy, Rancid) to cover one of their songs and work with members of the band on writing songs for and recording on several Rancid albums.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksMore than most American ska bands, Gangster Fun were a product of their home. In a matter of decades, Detroit went from being one of America’s most prosperous cities to one of its most distressed. And during the 80s and early 90s it was in the midst of a battle for its own soul. Though Detroit was going through some incredibly tough times, its residents developed a dark sense of humor as a coping mechanism.  That black, absurdist humor is part of what makes Gangster Fun’s songs and their chaotic live shows so memorable and the band so important for its contribution to a uniquely American version of ska. They also directly influenced the formation of two leading American ska punk bands -- Mustard Plug and The Suicide Machines. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksIn this episode I highlight the key roles that Lionel and Constant Bernard -- two Haitian brothers from Brooklyn – played in the New York City ska scene of the mid 80s and early 90s; Lionel with The Toasters and Constant with Second Step. Their stories are fascinating – and are part of the larger story that young immigrants from all over the world played in the burgeoning New York City ska scene. But more importantly, nobody really talks about the fact that the New York take on Jamaican music was impacted by Haitian brothers who had a unique flow and style. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksI became enchanted and obsessed by the ON Klub in Los Angeles during the early days of writing my ska blog Marco On The Bass. As I dug deeper into doing research for Ska Boom! I learned about the essential role that the club’s founder and visionary Howard Paar played in creating the Los Angeles ska scene.  My interviews with him help shape key chapters of my book. Howard has just published his second book – Top Rankin’ – a punk ska noir novel that captures the spirit of LA in 1980 and is populated with real-life characters from the music world in Los Angeles, New York, and London, and leads readers on a tour of the dangers and importance of providing refuge on the precipice of major political upheaval. The book is available in most bookstores and is also available on Amazon. Howard is my guest on this episode of the podcast.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  The first 500 pre-orders get a rare 80 minute all USA ska mix CD courtesy of DJ Chuck Wren of Jump Up Records.  Click here to order: http://www.diwulf.com/booksNow that the book is finally finished and going into production, I want to use this series to share a behind the scenes look at what readers can expect from the book. In 400+ pages across 19 chapters, I’ve attempted to knit together the origin stories of groups of passionate musical pioneers who helped create a uniquely American version of ska and reggae. Fishbone have been one of my favorite bands ever since I picked up their debut self-titled EP in 1985 and my Fishbone t-shirt (with 'Bone In The USA' on the back) was a staple of my college wardrobe. I had the good fortune to see the band perform one of their legendary shows at The Ritz in New York City on Halloween in 1985 (on a bill that also included 24-7 Spyz and The Red Hot Chilli Peppers). It remains one of the best live musical experiences that I have ever had. Despite all that, I decided not to include a chapter on Fishbone in Ska Boom.  Believe me, it was a very difficult decision.  Its not that I didn’t want to include them and their origin story which is amazing. I did.  Now that doesn’t mean Fishbone isn’t included in the book.  Quite the opposite.  I’d venture to say that nearly every band mentioned, or name checked Fishbone. and I interviewed the band's bassist Norwood Fisher for the book.  Hear excerpts from that interview in this episode. If you’ve listened and received some value from this episode, then please help support the  podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of the podcast and advanced promo chapters from the book.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  Now that the book is finally finished and going into production, I want to use this series to share a behind the scenes look at what readers can expect from the book. In 400+ pages across 19 chapters, I’ve attempted to knit together the origin stories of groups of passionate musical pioneers who helped created a uniquely American version of ska and reggae.Before The Specials appearance on Saturday Night Live helped kick off ska a craze in America in the early 80s, the release of “The Harder They Come” in early 1973 (with subtitles so that American audiences could follow the Jamaican patois dialogue) had an impact far beyond its modest take at the box office. While the film had a cultural impact and developed a strong cult following in the years following its release, it was the movie soundtrack which captured the hearts and minds of like-minded people introducing the sound of reggae in the early 70s to a wider American audience full of young, impressionable listeners. Many of the musicians I interviewed for Ska Boom who came of age in the 70’s and early 80s and became early American ska and reggae pioneers like Rob Hyman of The Hooters, Alex Valenti of Skadanks, Ron Rhoades of The Shakers, Duck McLane of Blue Riddim Band and Dan Vitale of Bim Skala Bim -- cite the Harder They Come movie and soundtrack as a direct influence.If you’ve listened and received some value from this episode, then please help support the  podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of the podcast and advanced promo chapters from the book.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Ska Boom! Stories, which is the audio companion to my new book Ska Boom: An American Ska & Reggae Oral History now available for pre-sale through DiWulf Publishing.  Now that the book is finally finished and going into production, I want to use this series to share a behind the scenes look at what readers can expect from the book. In 400+ pages across 19 chapters, I’ve attempted to knit together the origin stories of groups of passionate musical pioneers who helped created a uniquely American version of ska and reggae. But this episode isn’t about what’s on the inside of the book, it's what’s on the outside. And there is a very specific reason why I chose to have a picture of Clyde Grimes - guitarist for Los Angeles mod ska band The Untouchables taken by noted LA rock music photographer Frank Gargani -- on the cover of the book. Hear what the iconic picture of Clyde means to a number of musicians featured in the book and how Gargani captured the photo of Clyde. If you’ve listened and received some value from this episode, then please help support the  podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of the podcast and advanced promo chapters from the book.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the first episode of Ska Boom Stories -- a new podcast series that will highlight stories, anecdotes and gossip taken from all 19 chapters of Ska Boom! An American Ska & Reggae Oral History that is now available for pre-order through the DiWulf Publishing website. The book will be available on 7/4/21. While Ska Boom! focuses on telling the story of the birth of a uniquely American version of ska and reggae that developed in the late 70s and early to mid 80s, there were early American pioneers in the mid 60s and early 70s who laid the groundwork for popularizing ska, rocksteady and reggae. Two of those American musical pioneers were pop soul singer Johnny Nash and his manager Danny Sims.In this episode I’ll explain how Nash -- once dubbed the King of Reggae – helped to bring Jamaican music into the American pop mainstream. I’ll also dig into how Nash ended up meeting and hiring a struggling, young, Jamaican songwriter named Bob Marley and how that relationship would change both their lives and the course of reggae music history. While I’m sure you’ve heard of Nash and Marley, you may not be familiar with Sims, but he is integral to this story and someone worthy of a Netflix documentary. The New York Times called Sims  -- who passed away in 2012, “one of the people most responsible for Bob Marley’s success who has gotten the least amount of notice for it.” If you’ve listened and received some value from this episode, then please help support the  podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of the podcast and advanced promo chapters from the book. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this  last episode of I Don’t Like Reggae, I Love It, a special audio series on the historical origins and impact of reggae on popular music, I focus on the 1976 UK top 20  hit “Reggae Like It Used To Be” by Paul Nicholas , who before he took a turn as a pop star had a very successful career in musical theatre starring in Hair, Jesus Christ Superstar and more. Nicholas was also cast as “Cousin Kenny” Tommy’s sadistic biker punk cousin in The Who’s 1975 rock opera film Tommy. Some people consider "Reggae Like It Used To Be" to be one of the worst cod reggae tracks, but have a listen and watch the Top Of The Pops video on YouTube and decide for yourself! If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from my forthcoming book Ska Boom: An American Ska & Reggae Oral History which is now available for pre-oder from DiWulf Publishing.  Just go to patreon.com/skaboompodcast for more information. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reportingLearn more about your ad choices. Visit megaphone.fm/adchoices

Unlike the macho posturing of 80s heavy metal, which I found misogynistic and dumb, goth bands and music appealed to me. The music was moody and danceable and explored the more existential and darker questions of life and death.  Where 2 Tone molded my emerging political sensibilities and gave me a world view and an identity, goth spoke to the misunderstood romantic in me who was interested in exploring my shadow self. I viewed goths as a tribe of long-lost musical cousins who like the rude boys and rude girls that I identified with, had their own unique customs and culture.  Being deeply immersed in ska and reggae made me acutely aware when elements of the genre were being employed by non ska and reggae bands. So, when I heard “Bela Lugosi’s Dead” by Bauhaus – nicknamed the “Stairway To Heaven” of the post-punk period, I was immediately drawn to the rhythm section which was decidedly non-gothic. In fact it sounded very much like reggae to me. And it was…  If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced excerpts from my forthcoming book Ska Boom: An American Ska & Reggae Oral History which will be finally be available on July 4th, 2021 and have a pre-sale starting around Memorial Day.  Just go to patreon.com/skaboompodcast for more information.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

As reggae and punk rock were colliding and coming together in the UK in the 70s, The Clash’s version of Junior Murvin’s "Police and Thieves" would create a cultural domino effect that would result in several iconic songs including Bob Marley’s “Punky Reggae Party” which gave the new social phenomenon a name. It was also to serve as a direct influence on a young up and coming singer-songwriter named Declan MacManus.  He  would later change his name to Elvis Costello and write the first noir reggae song – Watching The Detectives.  The song was written during a 36-hour jag while Costello was hopped up on caffeine and who knows what else. He had been listening to The Clash’s first album which he initially hated but which grew on him the more he listened, particularly “Police and Thieves.” If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from my forthcoming book Ska Boom: An American Ska & Reggae Oral History. Just go to patreon.com/skaboompodcast for more information.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this  episode of "I Don’t Like Reggae, I Love It"  a special audio series of the Ska Boom podcast about the historical origins and impact of reggae on popular music, I focus on the king of all cod reggae songs -- "D'yer Mak'er" by Led Zeppelin. As a new wave and ska kid who completely ignored hard rock, I was completely caught off guard when I started hearing the song, we Americans mispronounce as DIRE MAKER -- more on that mispronunciation in the episode.  It confused me that the kids at my high school who worshipped Zeppelin loved a song that sounded like straight up reggae to me.  Though I wasn’t inspired enough to buy the Houses of The Holy album at the time, whenever D'yer Mak'er was played on the radio – and it was played a lot – I secretly liked it. Led Zeppelin have been dogged for most of their career as having a reputation for stealing and plagiarizing songs from obscure sources and claiming them as their own.  Did they do the same with D'yer Mak'er?  You decide...If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from my forthcoming book Ska Boom: An American Ska & Reggae Oral History. Just go to patreon.com/skaboompodcast for more information.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this  episode of I Don’t Like Reggae, I Love It, a special audio series of the Ska Boom podcast, on the historical origins and impact of reggae on popular music, I focus on Patti Smith’s embrace of reggae that started with the song “Redondo Beach” on her 1975 debut album “Horses.” The origin story of Redondo Beach is fascinating.  Originally written and published as a poem in 1972, “Redondo Beach” was recorded, then lost, then re-recorded finally making it onto Horses. It may be evidence of the first official incidence of a punk reggae hybrid.Even more fascinating is Smith's respect for and musical  friendship with  Jamaican MC Tapper Zukie, who was one of the few Jamaican artists in the late 1970s that crossed over with the emerging punk/new wave audience. Smith was such a fan, that she said she had practiced her poetry over the rhythms of the Man Ah Warrior album before reworking them as songs with her band. If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from my forthcoming book Ska Boom: An American Ska & Reggae Oral History. Just go to patreon.com/skaboompodcast for more information.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this  episode of I Don’t Like Reggae, I Love It, a special audio series about the historical origins and impact of reggae on popular music, I focus on the 1971 UK one hit wonder “Johnny Reggae” by The Piglets that reached #3 in the charts selling 5 million copies! “Johnny Reggae” was notable as the first hit song with a cod skinhead reggae sound to have been written and recorded by white English singers and musicians. It was an attempt to capture the energy of an early  70s, white, working-class skinhead youth subculture. The Piglets was a studio concoction created by Jonathan King who was for a time a musical chameleon who placed many  songs into the British pop charts. In September 2001, King was convicted of child sexual abuse and sentenced to seven years in prison, for having sexually assaulted five boys, aged 14 and 15, in the 1980s. In November 2001 he was acquitted of 22 similar charges. He was released on parole in March 2005. A further trial for sexual offenses against teenage boys resulted in several not guilty verdicts and the trial being abandoned in June 2018.As it turns out the story of "Johnny Reggae" has a lot of interesting cultural twists and turns. In this case, a cod reggae song cooked up in a studio in England ends up being re-appropriated by Jamaican musicians in a variety of ways.  The Johnny Reggae character sung about in the original version transitions from being a member of a white, youth sub-culture into a Jamaican rude boy (in the Roosevelt Singers cover version) and finally into a Rasta challenging the rule of Babylon (versions by Big Youth, Dr Alimantado and Prince Far-I). It’s a pretty stunning cultural transformation. If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from my forthcoming book Ska Boom: An American Ska & Reggae Oral History. Just go to patreon.com/skaboompodcast for more information.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this  episode of I Don’t Like Reggae, I Love It, a special audio series on the historical origins and impact of reggae on popular music, I explore the convergence of punk and reggae music in the late 70s in England and how that extraordinary coming together of Black and white street  culture helped to change the sound of popular music as punks looked to apply the techniques of reggae music to rock and roll.While The Stranglers may not immediately come to mind as a punky reggae band, the fact is that they created their own unique take on reggae into one of their earliest and most popular songs “Peaches" which reached #8 on the UK charts in 1977.  Like other 70s era punk bands, they were part of a movement that brought punk and reggae bands together and they shared stages with British reggae and ska acts, most notably Steel Pulse. Punky reggae, or Jah Punk – a term coined by the writer and journalist Vivien Goldman in a story she wrote for Sounds Magazine in 1977 – is  the antithesis of cod reggae. This was best epitomized by Tony James of Generation X who told Goldman, “I really want to apply reggae techniques to rock and roll. I don’t want to be a white guy playing reggae” If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from my forthcoming book Ska Boom: An American Ska & Reggae Oral History. Just go to patreon.com/skaboompodcast for more information or click this link: https://patreon.com/skaboompodcast?utm_medium=social...Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this  episode of I Don’t Like Reggae, I Love It, a special audio series on the historical origins and impact of reggae on popular music, I go back to the beginning and tell the story behind the granddaddy of all cod reggae tracks – Ob-La-Di Ob-La-Da by The Beatles.  As Beatlemania was reaching a frenzy in 1964, ska music was also exploding in popularity in the UK. And like everyone else in England, The Beatles were listening. After an early and brief exploration with ska in their song   "I Call Your Name,"  it was just a few years later that the band would experiment with Jamaican music again but in a bigger, more direct way.  As more non-reggae artists began to appropriate the sound of reggae and white audiences responded, this new “regatta de blanc” as The Police called their second album, received a less than flattering name – cod reggae. It’s a harsh but efficient way of describing reggae music reconfigured for a mass audience.If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from the book. Just go to patreon.com/skaboompodcast for more information or click this link: https://patreon.com/skaboompodcast?utm_medium=social...Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the first episode of I Don’t Like Reggae, I Love It, a special audio series I’m doing on the historical origins and impact of cod reggae on popular music. The series will explore the socio-political cultural and racial implications of cod reggae's development. The series title is taken from the 10CC song “Dreadlock Holiday” which is one of the more controversial cod reggae songs that I’ll look into. As reggae became part of the musical landscape, more established white rock and new wave artists began to experiment with it. Soon direct musical influences – like dub effects, reggae styled guitar and keyboard rhythms and missing drum beats and side stick also began to find their way into popular music. As more non-reggae artists began to appropriate the sound of reggae and white audiences responded, this new “regatta de blanc” as The Police called their second album, received a less than flattering name – cod reggae. It’s a harsh but efficient way of describing reggae music reconfigured for a mass audience. If you’ve listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from the book. Link here: https://patreon.com/skaboompodcast?utm_medium=social...Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, I focus on the Jamaican band Third World and their iconic song "1865 (96 Degrees In The Shade) from their 1977 album of the same name. As a kid who loved social studies and world history and paid attention to current events, '1865 (96 Degrees In The Shade)” really drew me.  In case you aren’t familiar with the song, it is a dramatic and powerful retelling of the events of the October 1865 Morant Bay Rebellion, headed by Baptist deacon and preacher Paul Bogle who led an armed group of freed Jamaican slaves against the British authorities.As a young kid, I didn’t grasp what was going on, I just knew it grabbed me like the best stories do.  The song  starts with the extended drum intro and the opening lyrics immediately paint a vivid picture of another place during another time:  “Said it was 96 degrees in the shade ten thousand soldiers on parade taking i and i to meet a big fat boy sent from overseas the queen employ”  I'll unpack everything going on in this classic song that dramatizes a central event in Jamaican history. If you’ve listened and received some value from this episode, then please help support the  podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of the podcast and advanced promo chapters from the book.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode I turn my ska gaze up to the Great White North and focus on the amazing story of The Villains. Never heard of them you say….well, its your lucky day.  Sit back and have a listen to the story of the band of Brits who snuck into Canada and were then arrested and sent to prison for playing ska!The Villains became one of the most popular bands in Canada in the 80s and made a huge impression on the Canadian media and public becoming synonymous with ska. For those who never saw the band live or have never heard their music, they were a 2-Tone styled musical circus that toured Canada non-stop. I compare them to the musical love child of Madness and Bad Manners with a strong skinhead influence and style. One of the most challenging things about writing Ska Boom was deciding which bands to feature in the book. And as I made some truly tough choices, I kept coming back to The Villains.  Ultimately, because the focus of the book is on the birth of American ska, I had to leave them out.  But trust me, their music is great and their story is truly cinematic in scope and one worth writing about and documenting. They are most certainly one of the pioneers of North American ska and I hope to do their fantastic story justice with this episode. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

Listening to London Calling as a teen required an open mind and a willingness to follow The Clash on an existential and esoteric journey through the darkness of recent history and the darker realms of the human psyche.  It was a bit like a history and philosophy class set to music and it didn’t always make sense to me but listen I did, and as I listened, I found myself drawn more and more to the ska and reggae anthems on the album like “Guns of Brixton” with powerful calls to action and layered stories about characters battling impending social chaos and situations that were out of their control.  London Calling was the perfect soundtrack for the dawning of the Republican Party's Darwinian fantasy of “Morning in America” that would begin one year later with the inauguration of Ronald Reagan.As such, The Clash get name checked a lot in Ska Boom and for good reason. London Calling demonstrated The Clash’s move from punk rock to explore the sounds of reggae and ska and it resonated with other Gen X musicians in New York, Boston, Chicago and LA who hearing ska and reggae from multiple sources and also looking to raise their own voices. I know it inspired me to think I could be a musician too. In this episode I explore my admiration for Paul Simonon of The Clash and the effect the “Guns of Brixton” had on me and I share the story of how he influenced me to pick up the bass.  I’ll also dig into the story of that famous smashed Fender bass guitar.  Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

 On this episode I take a look at a number of key Gen X era musicians who dabbled in or experimented with playing ska and reggae music before they went on to have huge star making careers. While kids in the UK lived next door to Jamaican neighbors and were accustomed to hearing reggae music all the time, there was no corresponding culture or experience with the genre here in the U.S.  Occasionally a song like “My Boy Lollipop” or “The Israelites” or “Mother and Child Reunion” would end up on Top 40 radio in the 60s or 70s, but it was rare. But that began to change in the late 70s and early 80s when notable British musicians and bands like The Clash, The Police, Elvis Costello, and Joe Jackson -- began to incorporate the rhythms of ska and reggae into their songwriting and these songs began to find a receptive audience here in the U.S.  And as the sound of ska and reggae expanded, more American bands began to experiment. So let’s have some fun. I’ll play a ska or reggae song by three  of these future Gen X superstars and you see if you can guess who they are. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I focus on the incredibly influential and often overlooked role that Eddy Grant has played in merging the sounds of ska, reggae, pop, dance and rock music. I’ve always been a huge fan and consider Grant a musical futurist who has successfully combined the best of James Brown, Jimi Hendrix and Bob Marley into something completely unique. I’ll be taking a look at Grant’s diverse musical career and will also dig into his most well known American hit “Electric Avenue” which went to #2 on the Billboard charts in 1983. Grant is a musical pioneer and trailblazer who has left his mark on ska, reggae, calypso, rock and pop music and deserves credit for combining the best of Black and White music beginning in the mid-60's and up through the mid 80's.  Many of Grant's songs always display a lyrical or musical edge of some kind. I’ve always though he creates protest music you can dance to. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, I focus on the story behind the Madness song “It Must Be Love” which along with "Our House" is the song most Americans are familiar with by the band. Each of them charted in the top 40 with Our House hitting #7 and It Must Be Love at #33 in 1983.  Madness came along at just the right time for me.  I was a newly minted teenager when their music entered my consciousness and wouldn’t leave. Where The Specials were angry and confrontational, Madness was funny in a very English way. And “It Must Be Love” was one of the first love songs that made sense to me and it served as the soundtrack to my first high school romance. It later became a regular addition to cassette mix tapes I made during the 80s and early 90s for potential girl friends I was trying to impress. It was a bold choice to include on any mix tape particularly if the feeling wasn’t mutual.  It must have hit a chord with many other like me the song remains one of the band's most popular and continues to be a mainstay of their live set list. "It Must Be Love"  has a very interesting back story.Did you know that the song is a cover version of the original by Labi Siffre? Did you know that Siffre had a Top 15 hit with the song on the UK charts in 1971? Did you know that Madness did not want to record and release the song?Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, I focus on the story behind the 1990 live compilation album NYC SKA LIVE.   It’s hard to believe its been 30 years since it was recorded and released. The NYC SKA LIVE concert was originally organized by Moon Records so that the crop of bands then on the NYC ska scene could be filmed by director Joe Massot for New York City Ska Craze, a planned sequel to his 2 Tone era film Dance Craze released in 1981.  The show was taped live at the Cat Club, which was located on 13th Street and Fourth Avenue in Manhattan on March 26th, 1990.  The dawn of the 90s NYC ska scene was marked by the release of the Toasters third full-length album 'This Gun For Hire' -- the first without co-front men Sean Dinsmore and Lionel Bernard who had left and signed a record deal as The Unity 2 -- and the New York Citizen's seminal 'Stranger Things Have Happened' EP which it can be argued was the first American ska album to feature ska core.  Don’t believe me? Give “Hell Town” a listen. Nearly five years on from the release of the N.Y. Beat: Hit & Run compilation which captured the sound of mid-80's New York City ska, NYC SKA LIVE documents the evolution of New York City ska into a diverse, post-2-Tone mix of sounds with more of an emphasis on roots reggae, traditional ska, rocksteady and dancehall reggae. While The Toasters and The New York Citizens are evolving sound wise, newer bands including my band Bigger Thomas, King Django's post-Boilers band Skinnerbox, The Steadys, Skadanks and Long Island's Scofflaws all offer their unique takes on American ska at the start of the 1990's.Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode I focus on Ranking Roger and his autobiography “I Just Can’t Stop It: My Life In The Beat” co-written with Daniel Rachel. If you haven’t had a chance to read it, I highly recommend it. Sadly the book was released after Roger passed away in March of 2019 at the age of 56.   I fell in love with all of the 2 Tone bands around the same time when I was 14 years old and each had a big influence on me personally, but there was always something about Ranking Roger that drew me in.  Maybe it was his ever-present smile or the fact that he was just a few years older than me.  Whatever it was, his youthful energy and engaging personality were magnetic. And becoming a fan became the gateway into a right of passage from my somewhat sheltered suburban teen years to that of a young adult. What comes through the book loud and clear is how much music meant to Roger as both a fan and a singer. He was a true music fan and had incredibly eclectic taste that ran the gamut from punk to rock to reggae.  In fact, the parts of the book I enjoyed the most were the stories and anecdotes he shared about songs, band's and musicians that influenced him.  So sit back and have a listen to some of the great music that influenced Roger as well some of the great music he helped to create. Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I look back at the International Ska Festival held at the Greek Theatre in Berkeley, CA on Earth Day in April of 1990. The all day festival with a sold-out crowd estimated at 10,000, is a key event in the development of a uniquely American version of ska. First, the line-up included a number of leading American ska bands featured in my book including The Uptones, Gangster Fun and Let’s Go Bowling – who were then at the forefront of the late 80s American ska scene.  Next, the size of the crowd and its passionate response also opened the eyes and ears of original 2-Tone musicians there that day to the fact that young Americans were passionate about ska music and that the U.S. was now a viable market for touring.  During one 12 hour festival, a sea change in the American ska scene occurs. Older bands have reached the end of their road but newer ones are there to take the torch.  And legends like Roland Alphonso of The Skatalites and Ranking Roger who are there that day are  so inspired by the experience and crowd response, that Alphonso reboots The Skatalites and  Ranking Roger forms Special Beat. And so, I think its fair to say that on April 21, 1990, ska finally arrived in America.Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest on this episode of the Ska Boom podcast  is Josh Harris, keyboardist and vocalist for The Untouchables, who has a long history helping to popularize Jamaican music in the US. He also has the distinction of being in two the band featured in my forthcoming book Ska Boom: An American Ska & Reggae Oral History which will be published in 2021.Josh was one of the very first American musicians to play reggae after he joined a band called Huey & The Titans in Berkeley, CA in 1973. They later became The Shakers -- the first American reggae band signed to a major label deal).  Ten years later in 1983, Josh joined The Untouchables -- one of the earliest American ska bands -- just as their career was taking off and he was integral to writing, arranging and recording songs the band  recorded for their "Live and Let Dance" EP released in 1984 and their "Wild Child" album for Stiff Records in 1985.Josh and I discuss his introduction to reggae and his education in how to play a reggae "bubble" on his keyboard and the chance meeting he had with The Untouchables that led to him joining the band.  We then take a deep dive into how the band's most well known songs -- "Free Yourself", "What's Gone Wrong" and some of my personal favorites like "I Spy For The FBI" and "Laser Show" were written, arranged and recorded. If you are a fan of The Untouchables and their music then this is a must listen! Learn more about your ad choices. Visit megaphone.fm/adchoices

My forthcoming book Ska Boom: An American Ska & Reggae Oral History will feature 19 chapters that tell the stories of important bands  -- some well known, others not so much -- who deserve credit for giving birth to a uniquely American version of ska and reggae.  The stories of each band are intrinsically linked to the songs they wrote and performed and and in this episode I tell the story of The Boxboys from Los Angeles and their song “American Masquerade”. I think its probably safe to say that most of you have never heard of The Boxboys. They formed in the late 70s as punk, hardcore and metal were all the rage across LA.The Boxboys story is important because they were one of first American bands dedicated to playing ska and the first ska band from LA.  The shows they played and the scene they created quickly became an epicenter for a growing mod ska scene that exploded in 1982 and 1983.  Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest on this episode of the Ska Boom podcast  is Aaron Carnes, the author of the forthcoming ska book "In Defense of Ska" that will be published in May of 2021 by Clash Books. Aaron's book asks the important question: "Why doesn’t ska get its due as a rich, diverse genre the way punk, metal, hip-hop and electronic music does?" Or more to the point, why are ska fans so embarrassed of this music they love? In a mix of interviews, essays, personal stories, historical snapshots, obscure anecdotes, and think pieces, "In Defense of Ska" dissects, analyzes and celebrates ska, and challenges ska-haters’ prejudices to the core.As first time book authors of ska books, Aaron and I compare notes on the book writing process and I ask him about some of the specific essays and anecdotes he writes about including 1). how the mainstream media loves to out celebrities who have a ska past, 2). Aaron's love of Skankin' Pickle, 3). the story of 80s Portland ska band The Crazy 8's experience performing on the Ed McMahon hosted show Star Search and finally, why he thinks Annette Funicello ("Jamaica Ska") and Millie Small ("My Bpy Lollipop") ruined ska.Aaron has created a Spotify playlist from band's featured in his book.  You can stream it here.Learn more about your ad choices. Visit megaphone.fm/adchoices

My forthcoming book Ska Boom: An American Ska & Reggae Oral History will feature 19 chapters that tell the stories of important bands  -- some well known, others not so much -- who deserve credit for giving birth to a uniquely American version of ska and reggae.  The stories of each band are intrinsically linked to the songs they wrote and performed and in this episode I tell the story of The Hooters and their iconic reggae song “All You Zombies”.  The Hooters you ask?  Yes The Hooters! You mean that band that plays “And They Danced?” Yup, that band. Long before Cyndi Lauper, Live Aid and a major label deal, the Hooters were tearing up the stages of night clubs and high schools all around the Philly area as one of the earliest American ska and reggae bands. Learn more about your ad choices. Visit megaphone.fm/adchoices

Those of you of a certain age may remember that during Memorial Day weekend of 1997, MTV set up shop at an abandoned aquatic park outside Los Angeles and converted it into the set for the “Motel California”. The network used the beachfront location that whole summer to broadcast a mix of hair metal, grunge and hip hop which then ruled their video programming.  They also aired a one time show they called "Skaturday" on Saturday June 28, 1997 that was hosted by Carson Daly.In this episode, I take a look at the summer of 1997, when MTV briefly turned the spotlight onto American ska bands and how that attention helped grow an audience for the genre as well as cement the legacy of a uniquely American ska sound that many of us who love the music continue to debate and argue about. Is it ska?  Is it punk with horns? Learn more about your ad choices. Visit megaphone.fm/adchoices

As I worked on researching and writing Ska Boom: An American Ska & Reggae Oral History, two films were mentioned by many of the musicians I interviewed: one was the 1972 Jamaican crime drama “The Harder They Come” staring Jimmy Cliff.  The other was the 1981 2 Tone concert film "Dance Craze". They both play an important role in the development of a uniquely American version of ska and reggae and in this episode I’ll shed more light on the making of Dance Craze, including its origins, how it was filmed and its historical impact.  This episode also features commentary from the Dance Craze cinematographer Joe Dunton as well as interviews I conducted for the book with members of Fishbone, Skankin' Pickle and Let's Go Bowling on how the film influenced them .  Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of the Ska Boom podcast, I tell the untold story of how a band of reggae obsessed kids from New Jersey  --The Terrorists -- backed a Jamaican ex-pat saxophonist who had helped found The Skatalites  -- Roland Alphonso. Together they helped create a short-lived but important ska and reggae scene at Max’s Kansas City, which for a time was the punk rock club rival to CBGBs located less than a mile away.While Max's Kansas City was known as one of the birth places of American punk, its musical director Peter Crowley also had a passion for ska and reggae and began booking Sunday night reggae parties at the club beginning in 1976. His efforts helped to create a small scene and led him to discover The Terrorists, who along with The Shakers from Berkeley, CA and the Blue Riddim Band from Kansas City, MO are among the earliest American reggae bands.When members of the band discovered Roland Alphonso living in Brooklyn and convinced him to play with them, Crowley booked them as a double bill at Max's and based on the positive reception they received quickly took them into the studio to record albums he planned to release on the Max's Kansas City record label.  Sadly it was not be. Those recording were finally released last year as "Max's SKAnsas City" on the Jungle Records label in the UK and I was honored to be asked to write the liner notes for the album.The Terrorists and Crowley don't get the credit they deserve for their contribution to a uniquely American version of ska and reggae. Hopefully this audio documentary will help more people to hear their story. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Ska Boom I speak to Matt Wixson, who is a singer, songwriter, musician, podcaster, and improviser from Ferndale, MI.  We discuss the current state of American ska (what's the deal with Streetlight Manifesto and are they ska?) and have a lively intergenerational conversation– Gen X to Millennial -- about our different takes on what is and isn't American ska. Since 2005, Matt has been performing solo acoustic ska and punk under his own name, and electronic ska and reggae under the moniker Babylon Party Machine. Throughout 2007 he toured nationally and around the UK as keyboardist of the Connecticut-based ska-core band the Flaming Tsunamis. In 2010 he started the three-piece punk band Matt Wixson’s Flying Circus, with whom he has released three EPs, a live album, and various singles. As a guest musician he has appeared on albums by the Suicide Machines, Big D and the Kids Table, J. Navarro and the Traitors, the Fad, Heavensbee, and more. He continues to write and perform music and comedy in the Detroit area.Matt helped to found Hornpub Ska City, which is a vibrant and active Facebook group with more than 11,000 members focused on all things ska and for the past year has co-hosted Hornpod: a Ska Podcast.Learn more about your ad choices. Visit megaphone.fm/adchoices

I’m excited to share part two of my two-part interview with Lynval Golding of The Specials. In part one, Lynval shared his take on the final days of The Specials and the events that led him, Terry Hall and Neville Staple to leave the band and start the Fun Boy ThreeIn part two, Lynval shares interesting facts, stories and anecdotes about the Fun Boy Three, how they came to be and breaks down the stories behind songs on their first self titled LP released in 1981 and their David Byrne follow-up “Waiting” released in 1983. I've always been a huge fan of the Fun Boy Three.  I think its because they released these two albums just as I was coming of age and the adult themes expressed in the songs gave me a peek into the chaotic and crazy world of adulthood that was waiting just around the corner for me.   Where The Specials were social commentary packaged in a mix of ska, punk, reggae and muzak (particularly on their second album), the Fun Boy Three were much more subtle relying initially on minimal instrumentation, synths and percussion on their first album before moving on to the of orchestrated pop music of "Waiting" that touched on themes of divorce, infidelity, the sectarian violence in Northern Ireland and child abuse. When I think of the time I was getting ready to leave home and venture out into the world on my own for the first time, I always think of the FB3 and Waiting. I was very excited to talk to Lynval about all this and he was forthright in sharing his thoughts.  So sit back, relax and enjoy my conversation with Lynval Golding.Learn more about your ad choices. Visit megaphone.fm/adchoices

I’m excited to share part one of a two-part interview I conducted with Lynval Golding for the Ska Boom podcast.  Lynval is best known as the rhythm guitarist and vocalist with the The Specials.  He later went on to co-found the Fun Boy Three with his bandmates Terry Hall and Neville Staple and later joined the Special Beat a super group featuring members of The Specials and The English Beat who toured the world in the early 90s and helped popularize ska here in the US.  He has been the driving force behind the reunited version of The Specials and that patience and hard work resulted in a UK #1 for their album Encore released last year. Though I wasn’t able to connect with Lynval while I was writing my book, in this first part of the interview, he patiently answered my many questions about The Specials and their experiences touring America and addresses the friction in the band that arose while they were touring the U.S. in 1981and that ultimately led to their split and the formation of the Fun Boy Three after Ghost Town reached number 1 in the UK charts If you are a fan of The Specials, Fun Boy Three of 2 Tone, you won't want to miss this one. So sit back and enjoy Lynval Golding! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Ska Boom I speak to Phil DeJean, (AKA: Checker Phil) who is a New York City ska icon. If you've been to a big NYC ska show then you've seen Phil. He's hard to miss with his  slightly modified take on Don King's hairstyle. There is no denying that along with a number of key bands, Phil has been responsible for keeping the ska flame burning in the Big Apple since the mid 1990's courtesy of his long-running and entirely entertaining Manhattan Neighborhood Network cable access TV show "The Checkerboard Kids" which is a ska influenced variety show with funny skits, interviews and music videos. If there was a night time Emmy for cable access variety shows with a ska theme, then Phil would have a mantle full of them.You used to have to live in Manhattan  to see the show, but now you can watch them all on YouTube. Just about every major U.S. ska band has paid a visit to perform on Phil's show. He is a true treasure of the scene here and I have nothing but love and respect for the passion and energy he puts into keeping his show going. Phil and I discuss his "ska conversion" experience and the origins of The Checkerboard Kids since 1995 and what its like to be a cable access TV star in New York City and a character in a ska themed comic book.Learn more about your ad choices. Visit megaphone.fm/adchoices

The spirit of The Specials hover over nearly every chapter of my forthcoming book Ska Boom: An American Ska & Reggae Oral History. The band's two star-crossed tours of America in 1980 and 1981 may well have broken them, but their impact and influence -- particularly their incendiary performance on Saturday Night Live in 1981 on the embryonic  American ska scene  -- is incalculable. On this episode of Ska Boom, I speak with Paul Williams, author of You're Wondering Now- The Specials from Conception to Reunion, the definitive book on The Specials and Stephen Shafer author of The Duff Guide To 2 Tone to discuss how 2 Tone spread across the UK in 1979 and Paul's ska conversion story as well as how The Specials approached their tours of America and how it changed them and the American music scene. In addition to being the leading expert on The Specials, Paul is the lead singer for The Skapones, a U.K. ska band and is the head boss man for the Specialized Project, a U.K. charitable organization that produces live ska events and compilation albums that raise funds for needy organizations. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Ska Boom I speak to Wayne Lothian, who is a musician and producer and has played bass for the Special Beat, General Public and Dave Wakeling's version of The English Beat.I've been lucky to know Wayne for 25 years.  I first met him when we both lived in New Brunswick, NJ and he gave me bass lessons! He would also occasionally came to shows my band Bigger Thomas played in the 90s.  At the shows, I would hand my bass to Wayne and the band would play songs by The Specials and English Beat.Wayne was born and raised in Coventry in the U.K. and came of age during the height of 2 Tone.  He met Lynval Golding as a young teen and that relationship has guided Wayne's professional career in music.  In this episode, Wayne discusses his life in ska and what it was like to serve as the bassist for the Special Beat on the iconic Skavoovee Tour of 1993, which was the first ska package tour of the U.S.Learn more about your ad choices. Visit megaphone.fm/adchoices

Despite 2 Tone’s chart-topping success in the UK from 1979 through 1981, it was largely a commercial flop in the United States, as 2 Tone’s parent label Chrysalis had no idea how to market these bands and their music within a racially segregated American rock music industry. Yet, The Specials, The Selecter, The Beat, and Madness all managed to reach and convert enough fans on the underground, new wave scene that a slew of first generation American ska bands cropped up in their wake. In this episode of Ska Boom: An American Ska & Reggae Podcast, I'm joined by Stephen Shafer (The Duff Guide To Ska blog and author of the recently published The Duff Guide To 2 Tone) to discuss how the release of three milestone American ska records in 1985 —Fishbone and The Toasters’ self-titled debut EPs, and The Untouchables’ Wild Child — became the catalyst for everything that led to the US ska scene bursting from the underground into the mainstream during the American ska boom of the 90s.Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm Marc Wasserman! Welcome to the very first episode of the Ska Boom podcast, which is the audio companion to my forthcoming book Ska Boom: An American Ska & Reggae Oral History that will be published by DiWulf Publishing in early 2021.While the book is in production, I like the idea of sharing some of the stories and fantastic music featured in its 19 chapters. I did interviews with a few hundred musicians, band managers, booking agents, DJs and fans, so there are a lot of great stories and anecdotes that together help tell the origin story of American ska and reggae. I think it's important that they get heard. In this first episode, I introduce myself and share a bit about the book and upcoming episodes of the podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices