Bim Skala Bim was one of America's initial responses to Britain's 2-Tone movement in the early '80s. Also inspired by the Clash, UB40 and Bob Marley, the group has also become one of the longest-lasting ska groups in America and has the tightest lineup. Formed in Boston in 1983 by vocalist Dan Vitale and bassist Mark Ferranti, Bim Skala Bim's lineup has been unchanged since 1989, presently including Vitale and Ferranti plus drummer Jim Arhelger, percussionist Rick Barry, keyboard player John Cameron, guitarist Jim Jones and trombonist Vincent Noble. Bim Skala Bim released a self-titled album in 1986, and appeared on the Boston ska compilation Mash It Up two years later. The group signed to Celluloid Records in 1988, but 1989's Tuba City proved to be its only Celluloid release. The band recorded and released How's It Goin'? (1990) and Bones (1991) on their own; in 1992, however, Relativity agreed to distribute their records through the group's own Bib Records (Big Indie Beat). (Subsequent albums appeared on Bib, as well as reissues of efforts going back to Tuba City.) Live at the Paradise (1993) captured Bim Skala Bim's energetic live show, and the group's sixth full-length, American Playhouse, appeared in 1995. Two years later, the group released Universal; Test Patterns followed in 1999.-allmusic.com
One of the earliest and most important ska revivalist groups, Birmingham's the Beat formed in 1978 (the band had to change its name to the English Beat in the U.S. to avoid confusion with Paul Collins' band of the same name). The multiracial band carved a distinct sound through the use of alternating lead vocals by guitarist Dave Wakeling and punk toaster/rapper Ranking Roger, supported by a tight band consisting of Andy Cox (guitar), David Steele (bass), and Everett Moreton (drums). The addition of 50-year-old saxophonist Saxa, who originally played with Prince Buster and Desmond Dekker, gave the band credibility and fleshed out its sound. An opening spot for the Selecter led to the band's signing to 2-Tone, where they released the hit single "Tears of a Clown," a wonderful version of the Smokey Robinson classic. In 1980, the band decided to form its own 2-Tone-inspired label, Go-Feet (distributed by Arista). A string of hit singles followed in the U.K., including "Mirror in the Bathroom." Their debut LP, I Just Can't Stop It, combined the early hits with other pop/ska-oriented material. "Stand Down Margaret," with its anti-Thatcher stance, found the band moving in a more political direction, leading to several benefit gigs for "radical" causes. Musically, the Beat slowed down the tempo for a more traditional reggae sound showcased on 1981's Wha'ppen. This direction failed to bring the chart success of its predecessor. Featuring a more pop-oriented approach, 1982's Special Beat Service helped the band increase its U.S. fan base through MTV exposure of "Save It for Later" and "I Confess," but the bandmembers decided to call it quits early the following year. Wakeling and Ranking Roger went on to form General Public, and Cox and Steele formed Fine Young Cannibals.-allmusic.com
Bad Manners, composed of vocalist Buster Bloodvessel (born Douglas Trendle), Louis Cook (guitar), David Farren (bass), Martin Stewart (keyboards), Brian Tuitti (drums), Gus Herman (trumpet), Chris Kane (saxophone), and Andrew Marson (saxophone), were one of the many bands to take their inspiration from the Specials and the ska revival movement in England in the late '70s. They quickly became the novelty favorites of the fad through their bald, enormous-bodied frontman's silly on-stage antics, earning early exposure through 2-Tone Records package tours and an appearance in the live documentary Dance Craze. In the early '80s, they managed several U.K. hits including "Ne-Ne Na-Na Na-Na Nu-Nu," "Lip Up Fatty," "Special Brew," and "Can Can." By the mid-'80s, the ska craze was over and the band retired temporarily after the release of 1985's Mental Notes, only to return in 1989 with Return of the Ugly, remaining a live attraction despite a lack of recent hits. By the mid-'90s, a third wave ska revival renewed interest in the band. Eat the Beat was released in 1996 and Uneasy Listening followed in 1997, as well as several collections from the band's peak years.-allmusic.com
I had a pretty long review written out for the new Aeroplane, 1929 album “Attic and Cellar”. Essentially it was a bunch of ways of rewording my love for this album. As I continuously proof read I came to the realization that I am making my review way too complicated. “Attic and Cellar” is a simple record. It isn’t flashy and it isn’t a huge change in sound from their previous work, but it is truly a joy to listen to and immerse yourself in. Instead of lacing my review with comparisons to other artists and relentless amounts of praise, here are a few simple reasons you need to listen to this album and support Aeroplane, 1929.
Aeroplane, 1929 deserve respect. Before "Attic and Cellar", the band had 3 stellar releases under their belt, two of which were released on north east indie label Topshelf Records (sidenote: this label is killing it, I recommend every artist on Topshelf). While all three are praised by critics and fans, it seems as if Aeroplane isn’t as big as they deserve to be. They have paid their dues, playing countless shows and working tirelessly throughout their career to continually release a steady flow of excellent music despite a healthy amount of non musical commitments. For that, they should be commended.
Aeroplane, 1929 are breaking up. "Attic and Cellar" will act as the bands swan song, and even though it may be too late to jump on the bandwagon, there is no reason to not try and catch up. The band will play their last show in August at the Space in Hamden, but not before a brief tour (more on that at the end). This album and the coming shows in the next few months are your last chances to appreciate a band that has done a lot for the Connecticut music scene.
Aeroplane, 1929 have released the best cohesive piece of local music thus far in 2010. "Attic and Cellar" is interesting, exciting and moving. The immense talent of everyone in the band is showcased. Frontman Alex Mazaferro’s vocals will remind you of the singer from Deer Tick if that guy had a little more soul and anxiety. The core band of Mazaferro, Noah Goldman, Jacob Goldman and Wil Mulhern lead a lengthy list of contributers through the album with an undeniably tightness. The instruments used throughout, including flute, marimba and trash can(!), all fit the flow and vibe of the album perfectly and never once does the use of “crystal glasses” seem pretentious or unnecessary.
Aeroplane, 1929 are great at what they love to do, make music. If given the chance, this album will become something that you play regularly, it's a truly special effort from a fantastic local talent. The band's record release show will be this Friday July 2nd at the Wallingford American Legion with Sidewalk Dave, Luke Elliot, Lion Cub and more. It costs 10 dollars to get in, but you get a free copy of the album, which is worth the price of admission alone. Don't miss your last few chances to see and support a fantastic and criminally underrated Connecticut band.
Aeroplane, 1929 record release show with Sidewalk Dave, Luke Elliot, Lion Cub and Elison Jackson
Wallingford American Legion
190 Ward Street, Wallingford Connecticut
Friday July 2 6:00 PM
$10 includes copy of "Attic and Cellar"
Aeroplane, 1929 has approximately a dozen shows left in their career. You can check all of the dates here. More will be written about their last show, at the Space in Hamden as more of the information is made public.
courtesy of Meg Wachter
