Recording review - Tokyo Ska Paradise Orchestra, Ska Me Forever (2015)

One step back and one step beyond

^4.0/5.0 

Music reviews shouldn't start with a history lesson, and ska fans are already familiar with the twists and turns of how Jamaica’s interpretation of R&B evolved through the Two-Tone revival, leading to third wave’s pop punk approach. A review would come in handy in this case, though, because Tokyo Ska Paradise Orchestra works their way through the whole rainbow of chank beat experience on Ska Me Forever. They adroitly leap from DYI, rough punk jams to tightly arranged horn masterpieces, replete with retro pop cool. That perspective grows out of the band’s own extensive back story, starting in back 1988. While they've been a mainstay of the Japanese scene for most of that time and they've build a strong fanbase in Europe, their biggest exposure in the US has been their 2013 Coachella appearance. Ska Me Forever aims to expand on that toehold.

The Japanese have demonstrated plenty of talent for taking on jazz, classic rock, metal, and garage rock, but I wasn't quite sure how they’d do with ska. It turns out that Skapara, as their fans call them, brings a deep love for the genre, especially its older forms, but they retain a playfulness that is rooted in modern third wave ska. Except for the smattering of Japanese language across these tracks, it would be easy to imagine Ska Me Forever as the product of a SoCal band that still respected the roots. I especially enjoy how they reach beyond the obvious, such as with the opening track, “Peddlers”, which leaps from a surf guitar riff into a hyperactive Eastern European vamp, or with their jaunty cover of the mariachi standard, “Cielito Lindo”. In both of these songs, Skapara takes the natural rhythms that already favor a chop beat and they bring in other ska elements to add their own twist, like the percussive hiccup vocalization.

“Peddlers” is also a great start because it builds up a frantic energy that sets up the next track, “One Way Punk”, to propel the album forward. That fun tune blends “Blitzkreig Bop” with “I Fought the Law” and shows off sneering English vocals. Like so much of the Ramones’ work, it can’t decide whether it’s a love song or an outsider declaration of freedom. The “Hawaii 5-0” tagline wraps it up with a bit of light irony.

My favorite track on the album, though, is “Damned”, which features the DJ Fantastic Plastic Machine (Tomoyuki Tanaka). The band lays down a jazzy, spy music groove, with FPM contributing a busy mechanical percussion against the chank beat and some great glitchy breaks. The guitar fills are full of greasy twang, anchored by a bassy sax. The organ solo is phenomenal, but the tune never loses sight of the nightclub dancefloor, eventually accelerating into a full-blown “oonce” beat accented with a Latin horn line. As if that wasn’t enough, FPM added another layer of surprise, punctuating the song with a vocal sample (“Ai!”) that I thought was lifted from the intro of Ozzy Osbourne’s “Crazy Train”. Instead, it turned out to be the start of a non-sequitur phrase, “I want more discos,” delivered in a Bart Simpson voice. This chopped and mutated cubist soundscape finally collapses, but it’s a false ending that slides right back into the original jazzy progression to take it home.

“Damned” is an extreme example, but Ska Me Forever sticks its fingers in everybody’s pies, and each time pulls out a ska plum. Even at their strangest -- Skapara’s cover of “Tennessee Waltz” is a Jimmy Smith inspired soul-gospel revival, but with jaw harp in the background -- they never lose the joy and movement that ska embodies. The bulk of the album stays on more familiar ground, with tracks like "Senkou" and "Wake Up!" capturing the party attitude of bands like Reel Big Fish and Skankin' Pickle. Ska Me Forever succeeds on several levels: it's a great introduction to the band, it shows off ska's evolution and connections to popular music, and, with songs like "Damned", it offers some ideas for taking ska into future without losing the core character.

Concert review - Reel Big Fish with Suburban Legends, Mighty Mongo, and The Maxies

17 January 2013 (Gothic Theatre, Denver CO)

Aside from getting pelted with somebody's half-full mixed drink while taking pictures of Reel Big Fish, I've got little to complain about. Well, I could also mention the traffic between Ft. Collins and Denver. It took longer than expected to get down to the Gothic and we arrived shortly after the Maxies came on stage. This means we missed the secret opening act: Reel Big Fish drummer Ryland Steen performed a solo set to promote his new album, This Magnificent. I wish I had caught it; sampling the album on iTunes, it would have been interesting to hear how he translated the driving rock sound into solo guitar arrangements.

But traffic is a constant pain and rowdy crowds are a fixture at hyped up ska-fests, so let's dive right into the bands.

The Maxies

The first thing you notice about The Maxies is how well the band leader moves for a fat guy. Actually, that not true; the first thing you notice is that the band are all sporting crazy masks and distinctive red and white costumes. Aside from the kitschy outfits, the band also hid themselves behind a family of pseudonyms: Maximum Maxie, Android Maxie, etc. Oh, yeah, they also had a polar bear on stage and claimed to be the biggest band in Greenland.


It's all a glorious gimmick, but the band committed completely to the conceit. Lead singer Maximum Maxie was a frontman determined to affront. Like a super-hero (villain?) Don Rickles, he abused the audience with a sneer and a wink. He taunted the crowd, singling out people to mock and making one outrageous statement after another. This only let up when he turned his insults to the other bands playing with them on the tour. Meanwhile, the rest of the group clowned around, capering around the stage like deranged mimes. That barely-reined comedic chaos drove the set and spurred the whole venue to party.


The group's stage work fit well with the smart ass punk attitude permeating the songs. Each tune was a power punk explosion of tight chops, catchy riffs, and irreverent lyrics. In deference to the skankers, the band threw down a chank beat now and again, but neither that nor their masks could disguise their punk roots. It was a high energy set from a well-practiced group and cheap shot one-liners added just as much character as the costumes. Their own press says it best, "More PUNK than ROCK. More ROCK than PUNK!"

Mighty Mongo

When a band kicks off their set at a ska show with the heavy reverb of Dick Dale's "Miserlou" AND a member is playing a wicked-ass keytar, you know you're in the throes of cognitive dissonance. After the Maxies' in-your-face performance, Mighty Mongo initially seemed a bit restrained. But that impression faded as they quickly gave us a taste of their stage personas and made it clear just how much fun they were having. Bass player Alex Card in particular had an outsize personality, moving from rock god pose to self-consciously Caucasian rapper without a pause. Those shifts were scripted into the setlist, but, like a good actor, Card owned the role at any given time, laughing his way through a hip-hop call and response ("When I say 'hot', you say 'dog'!) or earnestly singing an '80s style rocker.


Fellow singer Lindsay Vitola balanced him out with an exuberantly wholesome performance. She had a strong voice and a warm stage presence. Completely at home in front of the crowd, she danced and bounced along with joyful abandon, but locked right into the mic to nail her part. The early songs in the set emphasized her keytar work but even more would have been welcome. Instead, she focused on her singing. She and Card had worked up some great vocal arrangements, trading verses then harmonizing on the choruses.


Mighty Mongo's setlist skipped across a stream of genres, favoring alternative rock and '90s pop, but they leveraged enough ska to satisfy the crowd. Of course, it didn't hurt when they brought in Chris Lucca from Suburban Legends for a couple of tunes including a solid rendition of "Never There" by Cake. Tapping into such a versatile sound, the band had the crowd moving from start to finish.

Suburban Legends

The sound check teased us when bass player Brad Polidori riffed through a taste of Rush's "Limelight". That served as fair notice that the band would pepper their set with a host of interesting covers. Their show actually opened with the hard punching "High Fives" (Rump Shaker, 2003). A perfect blend of catchy pop, driving beat, and ska breakdowns, this song jump started the audience. The music was super high energy enough but Suburban Legends demonstrated the value of their experience playing at Disneyland and crafted every moment to wring out maximum entertainment. Whether it was Vincent Walker charming the crowd, the tight stage choreography keeping everything in motion, or the big reveal of their trademarked backdrop, the band never wasted an ounce of opportunity to create a big splash impression.


While Walker and the horn players performed the most intricate stage moves, all of the band had their parts.  Walker was an incredibly dynamic frontman, working the edge of the stage, and projecting theatrical facial expressions that played all the way to the back of the room. In fact, it's clear that they're well prepared for much larger venues than the Gothic, but that didn't dampen their enthusiasm.


Their Disney background bubbled to the surface as they ran through several company classics, from turning "Duck Tales" into a rousing party anthem to channeling the spunky arrogance of "I Just Can't Wait To Be King" from The Lion King. Walker even traded roles with guitarist Brian Klemm so Klemm could take "Kiss The Girl" (The Little Mermaid) over the top. Klemm topped himself, though, with a spot on Neil Diamond impression for "Sweet Caroline". Several of the Disney tracks are available on the band's recent EP, Dreams Aren't Real But These Songs Are.


The non-stop extravaganza stage presence is great, but it plays so large that it could make Suburban Legend as mockable as the latest boy band. Fortunately, they understood that and remembered to give the occasional wink that acknowledged the campiness, balancing the sincerity with satire. And it helps that they weren't just a set of dance moves and posturing; their musicianship was top notch. The arrangements could be infectiously poppy, but they knew how to bring in a rocking solo riff or nail a horn blare in tight formation to give the music the right edge. This made them a fine match up for the headliners.

Reel Big Fish

Last year, Reel Big Fish landed high up in my list of favorite shows for the year, largely based on their fun, party atmosphere, great songs, and frontman Aaron Barrett's wildcard humor. They tore up the Gothic during their set, inciting the mosh pit to reach for the edges of the room and the tunes were as droll and sarcastic as ever. Barrett seemed in even better form than last year's show. But with trombonist Dan Regan retiring from touring, the act lost some of the stage repartee magic that Regan helped create. Saxophonist Matt Appleton, proud beneath his mohawk, did his best to contribute to the mood, but I missed the good-natured sniping that Barrett and Regan had developed.


That said, the band still put on a hot show that rocked their fans. After the precise choreography of Suburban Legends, Reel Big Fish seemed fairly loose and relaxed, but Barrett and the band made more karate kicks than you'd have seen in an Elvis show. Otherwise, Barrett was content to spin across the stage while the horns coordinated some of their movements. But while the stage blocking was left to chance, the music was locked down into the groove. Lead guitar would take the dive and fall just as the horns burst in to clamor for attention. The bass and drums insistently propelled the songs with well-oiled synchronization.


The set list favored the group's early material, leading off with "Everything Sucks" and later hitting crowd favorites like "I Want Your Girlfriend to Be My Girlfriend" and "Beer". Dropping the banter, Reel Big Fish flew through the songs, juxtaposing old with the new: "I Dare You To Break My Heart"  led to "Good Thing" before the band transitioned back up the timeline to "Your Guts (I Hate Them)". One of the funniest moments came in the set up for "Sell Out". They launched into a deadpan ska cover of Carly Rae Jepsen's "Call Me Maybe". After nailing the chorus, Barrett said, "Yes, we're going to play the whole song." Then they challenged the men in the audience to start the second verse, but immediately detuned into chaotic discord before rebooting into "Sell Out".


Lindsay Vitola from Mighty Mongo joined the band for a pair of their classic male/female duets, "I Know You Too Well To Like You Anymore" and "She Has a Girlfriend Now". Vitola brought her own character to the parts, acting out and holding her own with Barrett. Their chemistry was perfect.


The encore skipped the multi-genre romp of "S.R." that they often perform in favor of "Thank You For Not Moshing", but they still closed with their iconic cover of A-ha's "Take On Me", which I think I've finally heard more often than the original. Gladly.

More photos on my Flickr.

Concert review - Skyfox, with Discount Cinema, The A-OKs, and The Brixton Guns

27 November 2013 (Marquis Theatre, Denver CO)

What am I thankful for?

Bands that play small shows and still rock their guts out
To crowds of their friends who love them and must shout
Drummers that pound as the guitar tone sings,
These are a few of my favorite things.

This was a pre-Thanksgiving show that offered a strong mix of local acts. Two pop-punk focused bands bookended the night with a couple of wildcards tossed in the middle.

The Brixton Guns

Naming a band after a Clash song sets a high bar that demands an over the top performance. Fueled by a raw, unpolished stage presence, the band's sound borrowed more from Green Day than their namesake inspiration. The lead singer, Cody Brubaker, coiled up behind the mic like he was ready to take on the whole bar. The second guitarist moved around a bit as well, but channeled most of his focus into his playing.


The instrumental line up was unconventional: two guitar, drums, and a keyboard providing some bass and most of the leads. They played well enough, but their presentation has a ways to go to catch up with the other acts on the bill. In particular, I didn't notice the keyboard player interact with the rest of the band, much less the audience. He partially made up for it with some solid playing, especially on one poppy, new wave tune ("Dance"?) where he locked in synch with the guitar for a tight, twinned section.


The band's original songs were strong and Brubaker did a good job of selling them. That said, their cover of Social Distortion's "Far Behind" got the biggest crowd response during the set.

The A-OKs

As a hardcore ska punk fan, I was primed for The A-OKs before they even started. Moments after the group packed the stage and kicked into the first song, all those expectations were satisfied. Solid horn section? Check. High energy beats and a staccato bassline? Check? Guitar nailing the chank but capable of thrashy leads? Check. Charismatic frontman who could harness the rambunctious energy of his band and magnify it into a non-stop spectacle? Check and double check!


That energy is the key to ska punk. It's an alchemical transformation of Brownian motion on stage into a free-for-all party in the crowd. The musicians caromed off one another, trading grins and knowing looks. When the horns periodically dropped out, they never stood idle; they flailed and bounced along to the beat. The audience fed off this excitement and began to wake up. Lead singer Mark Swan had no problem helping the process along. Early in the set, he leaped into the crowd to jump-start a skanking mosh pit while the band ground into a heavy punk groove.


All of the players were expressive, making every moment more of a show, but Swan and Mark Malpezzi were the clown princes. When he wasn't blowing sax, Malpezzi roamed the stage, taunting and teasing his bandmates or mouthing along with the lyrics. Swan played a host of characters. One song would have him raging against the world and the next would evoke a bemused goofiness.


The style also supports a good mix of anger and sarcastic wit. The A-OKs' songs did a great job of pulling in everything from sucker-punch metal leads and cathartic punk flail to tight horn riffs and smooth vocal harmonies. Individual tunes like "Brain Bucket" effectively flipped from pop-punk sneer to chop beats and horn fills and back. This was a rock solid performance that would be very hard to follow up.

Discount Cinema

Fortunately, Discount Cinema made a strong visual impact as soon as they hit the stage. Each musician expressed their own persona, from Kevin Dallas' anarcho-punk to Ian Gray's feral night-feeder. Bass player Gray was especially focused, never breaking character. The band matched their striking look with well-orchestrated songs and a theatrical performance. Lead singer/keyboardist Jordan Niteman comfortably filled the role of front man for the band, spending as much time interacting with the audience as he did behind the keys.\

The band's hard, heavy edge had the Gothic undertones to match their artful appearance, but it was hard to pigeonhole their sound. The keys added a post-punk/synth-pop vibe, but there was a fair amount of metal shred and punk slash in the mix as well. Drummer Steve Zimmerman provided the thunder to Dallas' guitar lightning, but the songs magnified their punch with adroitly handled dynamic drops.


Discount Cinema largely relied on Niteman to connect with the crowd along with their flash appearance. They finally broke that pattern when Dallas took the mic to make a few sincere remarks. His theme of self-acceptance resonated with the audience, although it provided an interesting introduction for the band's next song, a cover of Miley Cyrus' "Wrecking Ball". Ironic punk covers of pop music are fairly common, but the band tapped into the roiling emotion of the lyrics and let it vent.


The band finished on their song, "Dreamcatcher", packed with insistent new wave shadows.The ominous bridge built up the tension, but the catchy chorus closed out the tune, transforming it into an ear worm that lingered well after they left the stage.

Skyfox

Skyfox wrapped up the evening out with a strong set that showcased bandleader Johnny Hill's cocky persona. He and bass player Matt Lase provided the stage patter that created a relaxed impression while it shaped the flow of songs. They kicked off their show with a big, pre-recorded entrance. At first, it seemed self-indulgent, but they quickly brought enough humor to reveal the irony. A staged ending/encore closed the show in a similar manner.


Compared to Discount Cinema, Skyfox had a much more natural presence, but they worked the space just as aggressively. Guitarist Mike Rich migrated from one side to the other to involve the whole front line of the stage and Hill struck his own set of guitar god poses. Their pop-punk tunes were tight and clever, reminding me more of Bowling For Soup than Green Day even though Hill's voice is closer to Billie Joe Armstrong's. Songs like "Counter Counter Culture" managed to cram in social commentary, self-deprecating irony, and hard-driving guitars.


Even though most their songs fell into my favorite "snotty boys with guitars" sweet spot, they took one detour for a moving song about Hill's father's death, called "Our Last Breath". Arranged for two acoustic guitars and pre-recorded strings, it provided a sweet, sentimental moment. Where the rest of the set built up the band as glib and a bit arrogant, this risky but powerful tune showed Skyfox's wider emotional range.



More photos on my Flickr.

Concert review - Reel Big Fish with Pilfers and DanP

12 January 2013 (Aggie Theatre, Ft. Collins CO)

My son joined me for this show. We waited in the freezing line outside the Aggie so we could get a good vantage point. Despite the bitter cold outside, the dancing crowd kept it cozy warm inside once the show began. All three bands were on the national tour and that seems to have drawn a good sized crowd, even for the opening acts.

Dan P

In band mode, Dan Potthast plays with ska punkers MU330 as well as Dan P and the Bricks. On this tour, though, it was just him and his guitar. As a solo act, his set was heavy on acoustic punk and light on chank & skank. This could have set him up for a tough set, but he managed to win over the crowd with a mix of boyish charm, high energy, and humor.


His 20 minute set moved along quickly, with short, mostly funny songs. Between the single joke tunes and self-deprecating stage patter, it felt like a cross between an open mike night and a standup routine. For example, the first verse of "KKK Highway" (from MU330's Ultra Panic") set up the punchline second verse:

I guess they dress up in sheets and they pick up the trash
...
They should know it when they see it
They get a good look every day in the mirror 

Sure, targeting racists and homophobes (as in "Don't Say Gay") were easy crowd-pleasers here in Ft. Collins, but his earnest attitude and geek style just clicked. In many ways, Potthast was the opposite of Reel Big Fish's Aaron Barrett: cheery, sincere, and optimistic.

Pilfers

If you know your ska history, you're familiar with the Jamaican first wave, the 2 Tone second wave, and the punk/alt-rock third wave. Fans and critics argue about fourth wave ska, debating whether it exists or what the sonic definition will be. Pilfers' set was a strong argument that they're at that leading edge. Starting with a punk/ska-core foundation, they extended the sound with hip hop attitude and stage style as well as a strong element of headbanging metal. 


Front man Coolie Ranx was a monster. He owned the stage with an animal charisma, trading heavily on hip hop stagecraft. He stalked the stage like a lion, goading the band one moment, then turning to confront the crowd. He taught us our cues to participate: "Elevation!" to pogo dance or "Wipers!" for arm waving. This engagement took the easy going party of the first set and channeled it into a visceral tribal feel, uniting the audience.


In another page from the hip hop manual, touring trombonist Billy Kottage tag-teamed Ranx, acting as hype man. Their twin delivery, with Kottage emphasizing Ranx' lines, kicked up the energy and whipsawed the stage flow.


They started off with an older track, "Chawalaleng". The guitar started too low in the mix, but the bass heavy groove gave the song momentum. While the dark grind of the melody snaked around, Ranx tossed out comments with a speedy toasting rhythm. Kottage's trombone added the perfect fills. The audience joined with the chanted chorus. They followed up with a more classic ska jam to chill the mood, then Ranx started working the crowd.


He walked us through our parts for "Yakuza", explaining our lines and cues. Then band kicked into the punk thrash of the tune. Along the way, Nick Bacon's guitar shred led the song back and forth between punk and metal, setting the mood for the following songs. The ska beat would slide in and out depending on how hard the band pushed it, but Ranx' coiled tension was a constant challenge, urging us on.

Reel Big Fish

Reel Big Fish did their best to assure that nothing has changed since their heyday in the late '90s. Aaron Barrett's sly sarcasm, the whip-smart arrangements, great musical chops, and an irreverent attitude -- all the standard ingredients of a Reel Big Fish show were there. The setlist included a lot of songs from last year's Candy Coated Fury (review here), which meshed perfectly with the classic older material. Everybody at the show must already have the new album because they happily sang along when the band opened with "Everyone Else is an Asshole". In fact, as dedicated fans, the crowd joined in on every song.



The band fed off that energy and delivered a fantastic performance. Barrett, trombone player Dan Regan, and Matt Appleton on sax provided most of the patter and direct interaction, but the whole band was disciplined, zipping from song to song. It's paradoxical, a kind of organized anarchy. They maintained a tight sound that followed the studio arrangements, but the stage show felt very loose. The clowning was fairly choreographed, but like the Three Stooges, Reel Big Fish had great comedic timing and a dedication to getting the laughs.



Much of the humor was already there in the songs. "I Know You Too Well To Like You Anymore", "She Has a Girlfriend Now", "Your Guts (I Hate 'em)": the band plowed through the songs with venomous joy and the occasional snarky aside. Even on a more sincere cut, like the upbeat "Good Thing", Barrett acknowledged, "That song was the nicest song I ever wrote...I was in a good mood one time. For a minute and I wrote a song. Anyway, here's another mean song."


Regan and Barrett in particular had great chemistry here. On "Where Have You Been", Barrett danced around with his guitar during the break while Regan worked Barrett's wah-wah pedal. Near the end, the song shifted into a head cutting session between the guitar and the trombone. After Barrett shredded out a wicked solo, Regan responded with a trombone version of "The Imperial Death March" from Star Wars to win the contest.


They also had fun with a bait-and-switch set up. They announced that the next tune would be about their favorite beverage. They launched into "Tequila" , with Barrett vocally covering the bridge horn line before giving it up. Then they tried "Red Red Wine" and "Margaritaville" before settling into "Beer" from Turn the Radio Off.


The funniest moment came during the encore. Their Madness-inspired ska jam "Don't Stop Skankin'" morphed into "S.R.", an early track decrying the break up of fellow ska band Suburban Rhythm. When the song wrapped up, they asked everybody to stop skankin', "Just for a minute. Take it easy...but don't stop circle spinning." Then they immediately whipped through "S.R." again, this time as a punk song. They used similar segues to shift into disco, country, and death metal. They finished with, "Don't stop clapping." They closed out the encore with a speedy, ironic cover of A-ha's "Take on Me".


More photos on my Flickr

Front Range - Recommended shows 11/12

A couple of ska-oriented groups this week to enjoy, along with some other fine choices.

12 November(Boulder Theater, Boulder CO)
B.B. King

I've said it before, B.B. King is a living legend. He was just here at the end of August with the Tedeschi Trucks Band and now he's back at the Boulder Theater. This intimate setting will provide the perfect venue to appreciate King's incredible blues. Even if you were at Red Rocks, drop by the Boulder Theater and soak it in.


15 November (Hi-Dive, Denver CO)
MTHDS

Party time band MTHDS are releasing a new CD, Pretty Deep. Their mix of rock, ska, and hip hop promises a good show (and a good album). Drop by the Hi-Dive for the CD release party and support a great regional band.

16 November (Fillmore Auditorium, Denver CO)
Nas
Lauryn Hill

Nas and Lauryn Hill are partnered on the "Black Rage/Life is Good" tour. Hill has had some odd twists in her career since her time with The Fugees. Still, she's been a powerful and outspoken voice with strong convictions. She recently debuted her new song, "Black Rage".

Nas, meanwhile, has a new album out, Life is Good. A great rap lyricist, he will be sure to deliver some solid flow and knowledge. Pairing these two strong personalities makes this show a high point for hip hop in Denver this month.

18 November (Gothic Theatre, Denver CO)
The English Beat

One of the great 2Tone-era ska bands, The English Beat blended catchy arrangements with a strong, up tempo ska beat to create some great music. Their arrangement of Smoky Robinson's "Tears of a Clown" redefined that song as a ska classic. Their originals, like "Mirror in the Bathroom", "Hands Off, She's Mine", and "Save It For Later" were tight masterpieces. Last time I saw them, they still had the energy and spunk of their early days.

Recording review - Reel Big Fish, Candy Coated Fury (2012)

A return to classic ska rock form

Reel Big Fish caught my ear in 1996 with Turn the Radio Off. I wasn't alone: Sell Out was all over MTV and the third wave of ska (ska punk) was building in popularity. Compared to peers like Sublime, No Doubt, and The Mighty Mighty Bosstones, Reel Big Fish always brought a sardonic sense of humor to their songs. Whether clever or sophomoric, their smart ass attitude paired perfectly with their catchy tunes. Loosely categorized as ska punk, the band leaned towards a hard rocking power pop sound filtered through the uptempo ska beat. I've mentioned my love of "snotty boys with guitars"; Reel Big Fish were snotty boys with guitars and a smoking ska horn section.

After a five year dry spell, Candy Coated Fury offers some new original material. As a bonus, the band has reached back to the earlier sound of Turn the Radio Off and How Do They Rock So Hard?. They've succeeded, riffing off familiar themes of snarky misanthropy, screwed up relationships, and frustration with an unfair world. The titles alone set the mood: Everyone Else is an Asshole, I Know You Too Well to Like You Anymore, P.S. I Hate You. Frontman Aaron Barrett still delivers his sarcastic lines like a self-absorbed kid. It's cathartic to hear him launch an attack like:

Dear wicked witch I wasted my time with (P.S. I Hate You)
I'm finally leaving you today (P.S. I Hate You)

It works because the anger is tempered by the hyperbole, the über-cheery horns, and Barrett's juvenile, joyous singing.

The first single out is I Know You Too Well to Like You Anymore, which sets up a duet between Barrett and Julie Stoyer as a couple well past the point of You Don't Bring Me Flowers. Reel Big Fish has brought in a female guest singer before (Monique Powell on She Has a Girlfriend Now). Once again, the (flawed) chemistry with Barrett's character is part of the song's setup. As the song runs through the couple's disfunction, the shared memories are amusing:

JS: When we first started, even if you farted
I'd laugh and ask for more
AB: And in the beginning, we always were grinning
We didn't even know what we were smiling for
JS: We'd hold hands and then break-dance
Or rap like Dr. Dre
AB: And side by side, we'd drink all night
Disgusting all our friends with our PDA
JS: You felt so good deep in my heart and that's for sure
AB: But now I feel sick when I'm around you
It hurts me head to think of how
I know you too well to like you anymore

That sets up the real sniping. Meanwhile, the frantic pace allows for a speedy double chank ska guitar and tight horn fills. The chorus switches over into a hard rocking power pop drive.

The most grown up tune on Candy Coated Fury is the sarcastically titled Famous Last Words. It's a defeatist tune about giving up on music: "I'm gonna quit while I'm ahead". The punchline is that he missed his chance to go out on top: "It's too late, I'm a home body now." But Barrett could be singing about slitting his wrists and the ska beat would rob it of any pathos. It's clear that Reel Big Fish is happy to tackle any doubt that the band has something left to say.

One of my favorite tracks from the album does drop the juvenile humor to raise the ska flag. Don't Stop Skankin' sets up a Madness-tribute jam that riffs off One Step Beyond. Mostly instrumental, Reel Big Fish uses Madness' trademark of a repeated heavily echoed tagline. The sassy horn solo in the middle is moody and expressive. When the song ends, though, the track runs on to toss out another tribute, this time to A Message to You Rudy (Dandy Livingstone, remade by the Specials). Produced like an old record playback, the Julie Stoyers' vocals on the new lyrics are sweet and the horns hit the classic tune's call and response.

Reel Big Fish may not be breaking new ground on Candy Coated Fury, but I don't really want them to. They've done a great job of resurrecting their classic sound and delivering the party-happy, high energy attitude that their fans always loved. Raise a black and tan (it's two-tone after all) and enjoy the skank.