K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

The Sherlocks – Last Night

The Sherlocks_RingMasterReview

Last year saw The Sherlocks release a pair of magnetically catchy and accomplished singles, two very well-received proposals waking up another flock of eager ears to their presence. Hoping to continue that success, the UK quartet is set to release new track Last Night, another single which has feet and hips as involved as ears and enjoyment.

The Sherlocks Last NIght art_RingMasterReviewHailing from Sheffield, the band came about after the Davidson brothers, Josh (guitar) and Andy (bass), moved in next door to the grandparents of another set of siblings, Kiaran (vocals/guitar) and Brandon Crook (drums). A bond over football and music alongside mutual inspiration taken from the likes of Arctic Monkeys, The Beatles, Libertines, Oasis, and The Jam amongst many, led to the creation of The Sherlocks late 2010. Previous singles and the First Bite Of The Apple EP have all marked the band out for attention , as too a potent live presence which has seen them share stages with the likes of The Enemy, JAMES, Simple Minds, Scouting For Girls, Reverend and The Makers, Buzzcocks, The Twang, CAST, The Beat and Starsailor amongst many.

Escapade and Heart of Gold helped push the band into keener spotlights in 2015; two tenaciously infectious and enterprising singles now matched in potency by Last Night. The song is arguably less imposing and dramatic with its virulence and energy compared to its predecessors, but straight away a swinging and inescapable catchiness is offered by rhythms and the lively gait of voice and melodies. The rumble of bass is especially enticing in that initial bait too, matched by the firm beats and a jangle of chords and hooks eager to get their claws into the psyche.

A subsequent sonic shimmer adds to the pull of the song whilst its contagious chorus is temptation only leading to listener involvement. Though for personal tastes not quite matching Escapade and Heart of Gold in impact, Last Night still only leaves pleasure in its wake and a reminder that The Sherlocks are becoming one of the bright lights of the British indie/rock scene.

Last Night is released March 4th @ https://itunes.apple.com/gb/album/last-night-single/id1076703980?i=1076703984

http://thesherlocksmusic.co.uk   https://www.facebook.com/TheSherlocksOfficial   https://twitter.com/TheSherlocksUK

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Hub City Stompers – Caedes Sudor Fermentum: The Best of Dirty Jersey Years

hubcitystompers_RingMaster Review

It never takes much of a reason to get our stomp on here, any excuse to fling limbs and energy around like a headless chicken devoured. One band which has perpetually been a spark is Hub City Stompers but in collecting a horde of their horniest ska bred tunes for their latest album, the band has set the fuse to global skanking like no other.

     Caedes Sudor Fermentum: The Best of Dirty Jersey Years is an irresistible bundle of songs personally chosen by band founder Rev Sinister and taken from previous releases Dirty Jersey, Blood Sweat & Beers, and Mass Appeal. It is also offers a long awaited outing on vinyl from the band, its songs re-mastered by David Perez of Memphis Street Studios for the format.

For those new to Hub City Stompers, the band was as mentioned, formed by Rev Sinister, the former vocalist for NJ Ska band Inspecter 7. When that band went into a kind of hibernation around 2001, Sinister searched out to like-minded musicians and by the following year, Hub City Stompers, with a line-up consisting of ex-members of bands such as Inspecter 7, Bigger Thomas, Professor Plum, Predator Dub Assassins, Bomb Town, and The Heavy Beat, was unleashing irrepressible creative romps. Infusing essences from styles such as reggae, punk, oi!, and hardcore amongst a few others into an array of ska flavours from the 60’s through to the 80’s, the band quickly bred a unique voice to their music which took little time in awakening greedy appetites, as shown by the success of 2004 debut album Blood Sweat and Beers and the Mass Appeal EP a year later. Both the Dirty Jersey and Ska Ska Black Sheep full-lengths of 2006 and 2009 followed suit before the band took a year out on hiatus as Rev Sinister members returned to help revive Inspecter 7. Last year though saw the frontman quit the band and return to Hub City Stompers, bringing it back to raucous new life as evidenced by their last album Life After Death which came out last December. It was of course a heftily welcomed return with their new compilation alone holding all the reasons as to why.

HCS Cover low_RingMaster ReviewThe twelve-track escapade opens with the epic sounds of Wtfiu, ears instantly under a cascade of roving rhythms and sultry brass whilst keys seduce and romance the imagination. Soon into a trampoline like gait, every beat and riff a bold bounce, the track is quickly the puppeteer to the body and soul of the listener, its contagion and energy aural addiction and merciless incitement. Uncaging a scuzzy intensity in its climax, the glorious opener sets release and ‘victim’ off in insatiable style before Bumbl-B is allowed to swarm over ears with its choppy stride and infesting key bred melodies. Vocals snarl and invite whilst the bassline coring it all, is heavy nectar, just two aspects colluding to stir up air around and the passions of all in close proximity in an encounter reminding of the UK’s own King Prawn at times.

Both the smooth skinned, Scarlet & The Harlots meets The Beat like Skinhead Boi and the ska ‘n’ roll canter Johnny Date Rape, captivate with their individual swaggers, both enticing as masterfully through the voice of Jenny Whiskey as they do with their ever tenacious weave of sounds whilst Chatterbox swings with reggae hips as the flirtatious clipping of the guitar aligns with hypnotic beats and another juicily moody bassline. Again the two tone elegance of The Beat comes to mind as the song seduces feet and sparks thick attention but once more Hub City Stompers employ all spices in their own renowned inventive and hungry adventure.

Trojan Night lifts bodies and dance-floors with its insatiable infection of sound and revelry next, early Specials a scent within its romping body, whilst a great Hub City Stompers infested version of The Cure’s Boys Don’t Cry hits the passions in the form of Skins Don’t Cry which hounds and brawls with ears; its punk toned sound and words twisted with Hub City Stompers warm irreverence.

A sixties smooch comes with the lively dance of Leave Me the F**k Alone after that thrilling pair, its own body a mischievous and flirty tempting sure to ignite everything from toes to voice in all to fall under its spell. Another exciting physical workout is guaranteed by band and song, a promise pretty much applying to all songs on teh album let us be honest, the following I’ve Got a Boot even in its belligerent and rawer ramble, a tonic to enliven the body, its relaxed and resourceful hooks and boozy brass lures especially intoxicating.

The magnetic punk irritability of F**k You, You’re Irish hits the spot with ease, its Dropkick Murphys like bar-room tromp a grin inciter matched in fun and unique persuasion by the jazz lined, blues charmed Little Julie Swatstika before the album is closed off by Mass Appeal and one last undiluted swing of sound and energy.

     Caedes Sudor Fermentum: The Best of the Dirty Jersey Years  is the cream of Hub City Stompers in the ears and thoughts of the band. Sometimes it is easy to forget the power of a band in consistency and evolving adventure over time and a good Best Of as here, can bring that home. This is simply a brilliant compilation which excites whilst igniting even greater and eager anticipation of the band’s exploits ahead.

Caedes Sudor Fermentum: The Best of Dirty Jersey Years is available from September 30th as a co-release between Rebel Sound on 150x White Riot Vinyl, Crowd Control Media on 150x Clear Vinyl, and Not Dead Records on 150x Green Goblin Vinyl, each colour exclusive to the individual label with 50x Classic Black Vinyl versions also available.

https://www.facebook.com/hubcitystompers

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Meow Meows – Friends On Benefits EP

meow meows_RingMaster Review

Starting with one of the most flirtatious embraces likely to be heard this summer and proceeding to cast another two slices of pure aural suggestiveness, the Friends On Benefits EP from UK ska rockers The Meow Meows, puts the irresistible into virulent temptation. Three songs of the Brighton nine-piece’s increasingly renown fusion of eighties ska and even older garage rock with a more than healthy punk bred diversity, the EP is one inescapable incitement for body and imagination.

The Meow Meows emerged on the Brighton live scene around 2005, the collective rising from the ashes of several bands from the south-coast ska-punk scene. It was not long before their reputation and fan-base flourished through their energetic live presence and a sound which bewitched feet and ears with infectious ease. The years since forming have seen the band share stages with the likes of The Temptations, The Skatalites, Reel Big Fish, The Beat, The Selecter, King Blues, The Skints, and Hollie Cook amongst many, and the release of a couple of well-received albums. Debut full-length Songs From The Fridge stirred up plenty of attention but it is probably fair to say that its 2013 successor Somehow We Met, helped push the band into new spotlights. Friends On Benefits, like that album, was recorded with producer and reggae legend Prince Fatty and quickly confirms The Meow Meows as one of the UK’s truly instinctive creators of contagion.

cover_RingMaster Review     The seeds to the Friends On Benefits EP arose from the band being one of ten artists commissioned by Fuel Theatre for their Music to Move to project, its aim to create works from bands in union with choreographers which would inspire the general public to dance. Equipped with another pair of toe inciting swingers, also loaded with humour laced and snarling social /political themed lyrics, band and release swiftly set hips to work with the EP’s title track. Brass and rhythms instantly collude in a gentle but forceful sway as guitars within another breath add their sultry hues to the melodic smile of the keys. Alternating their individual vocals over the verses, both Danny and Hanna spark further hunger, the two ladies temptress like within the rousing swagger and shuffle of the song. With a whiff of The Bodysnatchers to it, as well as The Beaubowbelles and The Jellycats, the track is a spellbinding and lingering bounce of a persuasion swiftly matched by its successor.

London Road has an even chirpier gait to its stroll, brass and beats quick-footed protagonists within the key’s smouldering caress. As in the first, the music embraces the vocals with a more restrained energy yet it never loses the infectious lure ripe in its presence and enterprise, in fact springing new melodic flames with every twist of its irresistible tempting. As it proceeds with a distinctive and magnetically quaint Hammond organ tone seducing, the song gently and seamlessly evolves to subsequently emerge with a Martha and the Muffins like new wave colouring which seems to feed and accelerate the excellent ska fuelled and increasingly agitated climax of the outstanding song.

The EP is completed by Tits & Hatred, a more old school punk endeavour which echoes with essences of bands like Au Pairs and The Raincoats within its severely tantalising and eagerly varied character. The track is again primarily brewed from the band’s seventies inspired 2-tone/ska punk inspirations which of course are in turn dosed up with the band’s compelling touch and imagination; the result being one mouth-watering end to one thrilling proposition.

The Meow Meows create ska punk ’n’ roll to lose your inhibitions and body to, with Friends On Benefits the spark to lustful endeavour.

The Friends On Benefits EP is available on vinyl from July 13th via Jump Up! Records and digitally @ https://itunes.apple.com/gb/album/friends-on-benefits-single/id997669416 or http://www.amazon.co.uk/gp/product/B00Y6EIGXO?keywords=Friends%20On%20Benefits%20EP&qid=1436784848&ref_=sr_1_1&sr=8-1

http://www.themeowmeows.com/     https://www.facebook.com/themeowmeows

RingMaster 13/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

 

The Talks – Radio

the talks pic

It is never hard to get feet and passions up for a healthy infectious dose of ska punk and it does not come in any finer form of potency than Radio the new single from UK quartet The Talks. An irresistible toe tapping escapade with the vitality of The Selector, the addictive prowess of The Mighty Mighty Bosstones, and the irrepressible invention of The Specials, the single ignites the imagination and passions with sublime efficiency whilst breeding a boisterous hunger for not only itself but the band’s highly anticipated forthcoming album Commoners, Piers, Drunks and Thieves. One song does not make an album but if the rest of the exploits are half as enslaving and potent as Radio than a heady ride is coming our way.

Since forming Hull’s The Talks has built and earned a strong reputation for sound and presence across not only the UK but Europe. Their sharing of stages with the likes of The Specials, Rancid, Madness, The Beat, King Blues, and The Toasters has only put the quartet of Jody Moore, Pat Pretorius, Iain Allen, and Richard “Titch” Lovelock into increasingly intensive spotlights. It has been a recognition reinforced and enhanced by their releases; the 2012 single Can Stand The Rain which featured the legendary Neville Staple easily marking the cards of a great many whilst last year’s West Sinister EP took things to greater levels of attention and support. The band’s last single Don’t look behind you pushed it all on again, its success leading to slots at festivals such as Boomtown and Camden Rocks at home and the Sapi Festival in France and the Fusion Festival in Germany.

The new album is the source of the next great hunger sure to be inspired by the band, greed set to be intensified with the rampant appearance of Radio. The single instantly casts a rhythmic coaxing and melodic bait to be pounced upon with feverish energy, an entrance swiftly exploding into a magnetic canter of irrepressible enticement through keys and guitar stabs under the great anthemic singular and group lure of vocals. As all good ska fuelled emprises, the track holds a riveting swagger which is as anthemic to feet and passions as the punchy rhythms framing the whole dance. Complete with flames of brass and constantly seducing keys, the track is an epidemic stride of sound and melodic magnetism with just that edge of punk belligerence.

Radio is a song for steamy climates and floor quaking dancehalls, a celebration to indulge in time and time again alone or in a crowd as we wait the next rigorously intriguing and sure to be majestic exploit from The Talks.

Radio is available on All Our Own Records now digitally and on LTD Edition 7″ Vinyl.

http://www.thetalks.co.uk/

9/10

RingMaster 30/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Michael Franti and Spearhead – All People

MF

This week sees the UK release of All People from Michael Franti and Spearhead, an album of feel good hymns which brings fun filled light and adventure to any day. Consisting of sixteen tracks which flirt with and incite feet through to the imagination to romp with refreshed energy and appetite against any ills clouding personal climates, the album is a mouthwatering sunspot of diverse pop flavoured enterprise. It is pop though bred from the richest essences of everything from rock to funk, ska to Hip-Hop, soul to folk with plenty more in between. It results in a release which brings a persuasive familiarity to new adventures, an encounter which ultimately shines like a beacon in the shadows of life.

     All People is the tenth album from Michael Franti, a very different proposition from where the San Francisco based singer/songwriter/guitarist began. Starting his journey with post-punk band The Beatings and then acclaimed hip-hop group Disposable Heroes of Hiphoprisy, Franti has always fought and supported the ‘underdog’, something which has never lessened as his music found its course into a more varied and pop accessible destination. It is just as full and vocal on All People, songs looking at an array of issues and flaws, worldly and intimate, but all realised in anthems for summer days and sultry nights. The follow-up to the acclaimed 2010 release The Sound of Sunshine, the new album, which sees Franti collaborating with the likes of Adrian Newman, Sam Hollander, and Canadian production team The Matrix on many of the songs, may have taken its time hitting British shores after its US release last year but it is hard to imagine it not taking over the impending summer’s soundtrack over coming weeks.

The title track starts off the party with a gentle seduction initially; acoustic guitar and the instantly evocative keys of Raliegh Neal caressing F4A96317-E24D-4C83-833F-CBCA94257239ears before Franti and guest vocalist Gina René add their tender touches to the opening coaxing. Soon pulsating heavy beats from Manas Itiene join the enticement but it is when a switch is flicked and the piano slaps its keys down on the senses that the song takes off in climatic style. Drama suddenly soaks the dancefloor incitement; the throaty bass of Carl Young bringing richer textures to the excited stomp as both vocalists again court thoughts and emotions with ease. It is the first song and first anthem of the release, setting things off explosively.

Things hit a new pinnacle right away with the following Earth From Outer Space with features K’Naan. Again as the first song, its entrance is a soothing beckoning rather than anything gripping but once the song slips into its reggae bred stroll, melodies and vocals streaming warmth and aural smiles from their notes and syllables, slavery of feet and emotions is a done deal. Lyrical repetition and easy going hooks ensure as in most tracks you can join in within one chorus and a single stride of a verse, the sheer revelry dancing resourcefully with ears. The great vocal mix and seductive colour of the song leaves that feel good factor in full flow which new single I’m Alive (Life Sounds Like) embraces ravenously. The guitars of Franti and Dave Shul from the first breath are lending a creative warmth and mischief to the imagination, contagion subsequently pouring from theirs and every rhythmic and vocal design. Again the catchy heart of the pop rock track is irresistible, body and soul joining its swagger and a festivity so potent that even the downright miserable will be swept up in its scintillating arms smiling broadly outside and within.

Things take a breather with next up Long Ride Home, the song a gliding evocative croon of expressive keys and moody basslines over which Franti lays his engagingly textured tones. There is still a pulse beat to the tempered balladry of the song which eggs feet and emotions in to a keen stride of movement and reflection respectively. It is constantly brewing up a passion across its offering which ends in a potent crescendo before making way for the folkish charm of Life Is Better With You, a song with a definite Simon & Garfunkel spicing, and the pungently emotive hip-hop seeded 11.59, a track inspired by the Trayvon Martin shooting. Though the three songs cannot match the fire of their predecessors, each brings an invigorating variation and impacting enthrallment to the album.

That diversity continues with the darker light of Closer To You, a track finding its origins seemingly in the post punk formative years of Franti, its opening especially reminiscent of the chilled climates of a New Order or early Cure before expanding into an electro sculpted slice of indie rock, and the brilliant Gangsta Girl. Flaming with a delicious ska/pop stomp and sultry swerve of melodic spicery, the track is infectiousness uncaged. Its feisty canter is just like The Beat in their heyday, a broadly grinning flirtation which has feet and passions swerving like a puppeteer.

Through the again uniquely shaped pleasures of emotive rocker Show Me A Sign, the richer ska seeded I Don’t Wanna Go, and the funk infested Do It For The Love, the album continues to diversely excite and thrill whilst musically it continues to hit the sweet spot in skill and invention. The trio of songs also slip below the irrepressible temptation of the songs right before them, though each leaves body and heart alight and greedy for more which the warm and breezy Let It Go featuring Ethan Tucker, and the Lennon-esque On And On feed fully with their own unique characters in the suasion of the album.

The evocative pop enchantment of Wherever You Are followed by the emotionally fuelled ballad Say Goodbye, lead the album to its enjoyable conclusion though they do lack the kick of the rest of the album. Nevertheless they do leave a lingering breath and tempting to dive back into the album once an acoustic mix of Life Is Better With You finally brings things to a fine close.

All People is an excellent proposition to inflame the day and heart, rock pop in its most potent and impressively flavoursome forms. It is fair to say that Michael Franti and Spearhead with All People has just ignited the British summer.

All People is available now!

https://www.michaelfranti.com/

9/10

RingMaster 03/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

The Nine Ton Peanut Smugglers: Drop Some Leg!

Sometimes a day just does not go to plan with frustrations bringing their mischievous devilment to taunt and obstruct whilst other times everything is blissfully on course and one can bask in warm glories and self pleasing satisfaction. For those days and anything in between one needs a soundtrack to feed and ignite the inner sun and inspire the reaction required to fight or fully enjoy. This is where bands likeThe Nine Ton Peanut Smugglers come in. They heat up the emotions and stir up the heart with irresistible sounds and feel good energy that is impossible to ignore or avoid. So with a collection of songs to fulfil any need meet the soul reaching pleasure that is Drop Some Leg! It is a pulsating re-energising array of Jamaican-style bluebeat and rhythm’n’blues songs with a concentrated dash of ska and more that leaves one pumped up and swaggering like they just won the lottery.

Now we will make no claims of knowing much about the sounds that have inspired the music of The Nine Ton Peanut Smugglers but we know what we like and Drop Some Leg! definitely falls into that category. The band is Oxford based and consists of the ubiquitous guitarist, vocalist, and song writer Sir Bald Diddley (Hipbone Slim and the Kneetremblers, Louie and the Louies, Sir Bald Diddley And His Right Honourable Big Wigs to name just three of his expansive list of exploits), drummer Bash Brand (Milkshakes/Headcoats/Link Wray/Holly Golightly), plus trumpeter AJ (Intensified/Laurel Aitken/Dave Barker/Dennis Al Capone and Winston Francis), trombonist Napolean Trombonaparte, Kid Wig on piano, Johnny Loafer on tenor sax, and  the double bass of ‘Later’ Ron McRobbie (previously of Sam Brown’s band). Labelled Oxford’s Skatalites’!! the band feed from influences such as the Skatalites, Prince Buster, Laurel Aitken, Derrick Morgan, Fats Domino, Huey Piano Smith, Rosco Gordon, James Brown and Ike Turner, to create tunes that makes one just get involved, music to elate and inspire the emotions with a smile on the face and grin in the heart.

If you were a fan of the late seventies/early eighties ska boom Drop Some Leg! is an exhilarating feast of sounds though the music of The Nine Ton Peanut Smugglers has a wider and more expressive depth which will please everyone. From the opening brass charms of If The Coast Is Clear the album lights up the ear. Ska guitars nudge and poke  whilst the piano strolls boldly behind bringing an instant engagement. Sir Bald lays down his vocals with a fifties blues rock n roll gait whilst the brass take the emotions on a hazy saunter into warm vibrant climes.

The sultry temptation of following instrumental The Elusive Mr. Kaplan takes the hand next leading one through a beckoning tease into the excellent title track. Drop Some Leg opens with a glorious throaty bass from McRobbie which instantly recalls the wonderful deep moody equivalent sounds of The Beat. The song transports one into a welcoming and sweaty smoke filled dancehall, everyone blissfully swaying and matching bodies in a relaxed mass exultant dance. There is nothing complicated about the music but not many songs sweep one up into an inner peace and wanton giving of their hearts as here, a reflection of the genre in general .

The foot provoking persistence of instrumental Bare Our Souls comes next to continue an eclectic mix of sounds with its jazz/soul stomp to be equalled by the likes of the captivating Everybody Ska with its obvious but irresistible jaunt through the ear, the brilliant instrumental Hugh Mingus where the band simply own the heart with its soulful emotive passion and imaginative craft, and the rock n roll blues gem that is Shot Full Of Holes. As mentioned the album is openly varied with these four songs alone coming from different corners and inspirations.

Every track on the album is an outstanding treat but the side by side Baldhead and Pempelem create the deepest affair. The first is just one of those sing-a-long triumphs that has one engaged within a few notes, its cheeky amble though the ear picking up emotions like hitchhikers to drop them off at a party of pure elation. There is no way if you have a pulse you can resist joining in with the chorus and vocal returns. Pempelem quite simply takes thoughts and feelings downtown into another inviting house of hungry and insatiable warm sounds. The song swings with and seduces with clean and rousing musical passion.

    Drop Some Leg! is pure pleasure, an album to turn every day into one of joy and stirring animation. Place The Nine Ton Peanut Smugglers on your daily soundtrack right now and feel the warmth and energy wrap around you.

RingMaster 25/04/2012

MyFreeCopyright.com Registered & Protected

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.