The Specials: Specials (Two Tone) *****
Garry Bushell Sounds November 1979.
“All you punks and all you Teds/National Front and natty dreads/Mods, rockers, hippies and skinheads/Keep on fighting till your dead/Who am I to say?/Who am I to say?/Am I just a hypercrite/Just a piece of your bullshit?” (‘Do The Dog’)
This is the album that proves The Specials really are as special as our pumping purple hearts would have us believe. Its got the lot: the tunes, the exuberance, the beat, and the philosophy, god-dammit. This is an important record from an important band, a band that stands for something – and something a bit more than getting wrecked and shagging around.
There are fourteen songs on The Specials’ debut album – five covers, nine originals. But each and every one of them is shot through with invigorating energy and irresistible excitement.
It’s been a mighty long wait down rock ‘n’ roll since their first debut gig supporting The Clash at Aylesbury Friar’s Club last summer, via Bernie Rhodes and the Paris debacle but it’s been worth it. Some of the credit has to go to producer Elvis Costello, but we all know that the real kudos belongs to Jerry Dammmers for making this dream happen and for having the brains to make it mean something.
Jerry’s themes often boil down to a simple Oi, You, The Teenage Person Lurking At The Back, Think About What You’re Doing. ‘Just because you’re a black boy/Just because you’re a white/It doesn’t mean you’ve got to hate him/Doesn’t mean you’ve got to fight, run his lyrics on ‘Doesn’t Make It Alright.’
It’s an attitude spelt out with perfect clarity in the album’s opening track, Dandy Livingstone’s sixties classic ‘A Message To You Rudy’ (‘Stop your messing around/Better think of your future/Time to straighten right out/Creating problems in town… better think of your future/As you wind up in jail…’).
Keyboardist Dammers credits ‘Do The Dog’ to Memphis soul legend Rufus Thomas but he’s taken the song and twisted it like a pretzel until he could have almost claimed it as an original, Jerry’s ‘(Dawning Of A) New Era’ continues the friendly hectoring which feels close to lecturing on ‘Too Much Too Young: ‘You’ve done too much, much too young/Now you’re married with a kid/When you should be having fun with me.’ It’s friendly advice – don’t waste your life - delivered by a mate with a marked anti-social streak: ‘Call me immature/Call me a poser/I’d love to spread manure in your bed of roses…’
Musically the album sounds sparse but as tight as an assassin’s garrotte. The Specials are now a seven piece with brass supplied by Dick Cuthell on flugelhorn and trombonist Rico Rodriguez who by coincidence played on the 1964 original version of ‘A Message To You, Rudy’. Horace’s bass playing gives the whole enterprise pace; the guitars are simple but effective; the vocals a mix of scowling punk and howling rude-boy.
All of the band’s originals are by Dammers except for the short, sharp ‘Concrete Jungle’ – a phrase taken from Bob Marley’s Catch A Fire – which was written by Roddy Byers, aka guitarist Roddy radiation. There isn’t a duff track on here. Even the live highlight – the band’s cover of ‘Monkey Man’ (a hit for the Maytals in 1969) loses none of its sweaty enthusiasm in a studio setting.
The album married clear and glorious echoes of the past (Toots, Prince Buster, Lloyd Charmers and The Skatalites) without ever sounding naff or retro-escapist.
We know the formula for the Specials success: old-time ska meets today’s punk attitude. We knew it worked live. What we didn’t know was how good it could work in the studio; how it would turn out to be the soundtrack to life in a decaying modern Britain.
Other bands have tried to combine reggae and punk before – from the rowdy Chelsea Shed singalongs of The Members to the classier driving power of The Ruts (Fuck The Police!) But none have got the formula as right as The Specials have.
Record Mirror 27TH October 1979
MADNESS: 'Onel Step Beyond' (Stiff SEEZ 17)
SPECIALS: 'Specials' . (2 Tone CDL TI5001)
"DON'T WATCH that, watch this!" as Chas Smash, lead dancer and rabble - rouser of Madness, would say. You may have read one or two primary school essays elsewhere in the music press recently, clumsily slagging the Specials in particular. Take no heed of these nauseating little toadies, boys (rude or not) - they're just showing symptoms of critical paranoia, which is where The Hack scrabbles desperately to be the first to put down a success story – any success story, to maintain his own dodgy credibility. It makes you sick. Enough about the problems that plague the pen though, Let's talk about two bands who spell ACCESSIBLE in 15 foot letters.
'The Prince' and 'Gangsters' respectively drew Madness and the Specials into the limelight, with the requisite appearance on 'TOTP' easing them into the mass-popularity market. We are now presented with debut albums from two bands who have built up a following through consistently playing the most enjoyable gigs around. None of yer arty-farty nonsense with all that beating off and around the bush, but straight ska/bluebeat with careful attention to fashion applied. (And there's nothing wrong with that, you stinking elitists.)
'One Step Beyond' is the opener on Madness’ LP of a like name, and immediately lets you know what to
expect: heavy, nutty monster music. Entirely instrumental, apart from Chas' intermittent interruptions, with fat sax contributions from Lee Thompson. It's a brillo dancing record - no party will be complete
without this, as it's the current single as well.
Vocalist Suggs likes to spin a tale or two in the course of a song. For instance, 'Night Boat To Cairo' is a song for chuffing across foreign seas to middle eastern shores with some rising and falling sax almost bringing on seasickness. 'Land Of Hope And Glory' isn't the same unless performed before a live audience, even Suggs' fine growling vocals can't do themselves justice, 'The Prince' you all know about. A classic in honour of the original father of bluebeat, Prince Buster.
Mike Barson and Dan Woodgate should get a mention for their fine contributions on keyboard and drums respectively on 'Bed And Breakfast'. Barson's piano on 'Razor Blade Alley' gives it the hazy, run- down feel of a backstreet club. 'Swan Lake' is the only mistake on the LP. Yes, its the original tune by the Big T and I never could stand it – reminds me of hours of piano practice by other kids at school. 'Rockin' In A Flat', Mummy's Boy' and 'Chipmunks Are Go' rectify the situation. But sitting on your bum and trying to listen to a dance band is next to impossible, so if you'll excuse me... ('Chipmunks Are Go'? Wot a stupid title)… madness, they call it, madness...
Coventry's other rude boys are like Madness' older, more responsible brother. They've got a social
conscience, see, they worry about kids getting into a 'Stupid Marriage', and heavies like 'Gangsters' and even living in a 'Concrete Jungle'. The Specials rely heavily on the trumpet and those distinctive post – punk vocals by Terry. The competition is hot - Selecter are breathing down their necks with 'On My Radio'.
Where they score over Madness is the greater vocal flexibility they have in their power. Terry shares
the vocal work with Neville ("Don't call me scarface") resulting in their own special (whoops) sound.
Elvis Costello plonked himself smartly behind the mixer for this one. Not surprising really: this lot display the reggae/ska/bluebeat/rock blend that he's been chasing through numerous albums and here it is in black and white. The production, mercifully, is faithful to their live sound.
'Nite Klub' is an anthem to the essence of the band - sweaty, cramped, good – time music. Whether or not the Costello control is responsible for it, no one can really say, but this is a consistently taut effort and for a debut, to use the vernacular, shit hot.
Whereas Madness are plagiarists, this lot are purists. This is really how bluebeat should be played, if it's going to be played at all, and what a perfect alternative to John Travolta!
'(Dawning Of A) New Era' has Terry singing through a rolled – up newspaper. The boy would make a wonderful pixie with looks like that.
The Specials don't take everything seriously though: they laugh at themselves, at their race (whatever
that may be) and things in general. 'Too Much Too Young' contains a wistful invitation to a pert young married, who could be having fun as a Special instead.
Specials keep a hold on your interest, Madness let it slip. They are both prime cuts live, but when they
come in a black, flat round shape, the Specials take the prize.
:So *** and ***** respectively.
SIMON LUDGATE
Smash Hits 1st November 1979
THE SPECIALS: The Specials (2 Tone)
Sick of overnight ska trendies? Me too. But hang on – this album is actually very good with The Specials showing enough genuine talent to outlast any passing fashion. Good balance of old and new songs, some excellent original touches (especially the very strong lyrics), first rate production by Elvis Costello, fourteen tracks – a very promising debut and highly recommended. Best tracks: ‘Too Much Too Young’, ‘Doesn’t Make It Alright’. (9 out of 10).
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