{"id":56895,"date":"2022-12-29T11:18:02","date_gmt":"2022-12-29T16:18:02","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=56895"},"modified":"2022-12-29T12:16:43","modified_gmt":"2022-12-29T17:16:43","slug":"two-tone-ska","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/two-tone-ska\/","title":{"rendered":"Two-Tone and Ska\u2019s HUGE Influence on Music"},"content":{"rendered":"<div id=\"produ-1903035661\" class=\"produ-leaderboard-placement produ-entity-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-6581774486566-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-6581774486566-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-6581774486566-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-6581774486566-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-6581774486566-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGU1ktM19jajRmc2MlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text]Written by Thomas Hanslowe<\/p>\n<p>In the late 1970s and early 1980s, a new sound emerged from Great Britain: two-tone ska, also known as \u201csecond wave ska.\u201d Combining the attitude and aggression of punk rock with the danceable rhythms of Jamaican ska and reggae, bands like the Specials, the Selecter, and Madness bridged cultural and racial divides to bring together England\u2019s working class youth. The most important and iconic record label that documented this burst of creativity was 2 Tone Records.<\/p>\n<p>Two-tone ska first broke into the British mainstream in 1979, but its roots had existed for years. Ska was first heard in Jamaica during the 1950s, when musicians began fusing elements of Caribbean styles like \u2018calypso\u2019 and \u2018mento\u2019 with \u2018rhythm and blues\u2019 from the USA. This genre dominated Jamaican music for much of the 1960s, and was a huge influence on later \u2018two-tone\u2019 bands, many of whom would regularly perform covers of songs from this era. Some of the most famous artists, like Desmond Dekker, Prince Buster, and future reggae legends Bob Marley, and Peter Tosh, would later be recognized as \u201cthe first wave of ska.\u201d In Jamaica, ska would gradually evolve into related genres; like rocksteady, reggae, dub, and dancehall.<\/p>\n<p>Ska was brought over to England during the long aftermath of World War II. England needed workers to help rebuild London and other areas that had been devastated during the Blitz. They encouraged immigration from a number of Caribbean nations, including Jamaica, which was a colony of the UK until 1962. This wave of new Jamaican arrivals, which later came to be called \u201cthe Windrush generation,\u201d brought over its music with the influx.\u00a0 This created new points of contact between Jamaican and British working class culture. And by the late 1970s, the sound of Britain\u2019s working class youth was punk rock.<\/p>\n<p>Punk rock exploded onto the British musical scene in 1976 with the Sex Pistols. The Pistol\u2019s outrageous attitude and fashion, alongside their stripped down, aggressive take on rock \u2019n\u2019 roll, soon inspired a wave of British punk bands; including the Clash, the Damned, and the Slits.\u00a0 The British punk scene emerged so quickly that for a while, there were simply no British punk records for DJs to play at the shows.\u00a0 One of British punk\u2019s most important DJs was Don Letts, whose parents had moved to the UK from Jamaica. Letts changed the course of music by spinning Jamaican dub, reggae, and ska at British punk clubs. His contributions in creating the tie between punk rock and ska would directly influence bands like the Clash, who quickly began incorporating Jamaican rhythms and sounds into their hard-edged punk anthems.<\/p>\n<p>It was during this first explosion of British punk that one of the most important \u201ctwo-tone\u201d bands was formed. In 1977, keyboard player and songwriter Jerry Dammers teamed up with local musicians from his hometown of Coventry to form a punk reggae band called the Automatics. After several lineup changes (and a performance as the opening act for the Clash on their 1978 \u201cOn Parole\u201d tour) the band rechristened themselves to the \u2018Special AKA,\u2019 which was later shortened to just the Specials. Early in 1979, the Specials hit the studio to record their self-financed debut single, \u201cGangsters.\u201d<\/p>\n<p>\u201cGangsters\u201d was a reworking of Jamaican ska luminary Prince Buster\u2019s classic record \u201cAl Capone;\u201d and documented the band\u2019s experiences while touring in France. While they were in Paris, the Specials were held responsible for damages to their hotel rooms, damages which were reportedly caused by an entirely different English band. Their guitars were confiscated as collateral. Fortunately, the band got their gear back before that night\u2019s gig, but the incident was still memorable enough to inspire lines like: \u201cCan\u2019t interrupt while I\u2019m talking \/ or they\u2019ll confiscate all your guitars.\u201d \u00a0The band also took the original line from Al Capone\u2014\u201cAl Capone\u2019s guns don\u2019t argue\u201d\u2014and changed it to reference their former manager: \u201cBernie Rhodes knows don\u2019t argue.\u201d<\/p>\n<p>Unable to scrape together the funds to record a B-side, the Specials decided to include a reworking of an old demo, done by guitarist John Bradbury and local musician, Neol Davies. This song was \u201cThe Selecter.\u201d \u201cThe Selecter\u201d (named after the Jamaican term for DJ) was credited to The Selecter, who would soon flesh-out its own lineup, led by Davies, and grow into one of the most important bands in two-tone. The single garnered critical praise, radio play, and interest from a number of record labels. But it was only Chrysalis Records that was willing to sign the Specials and give financial backing for Dammers to run an independent label: 2 Tone Records.<\/p>\n<p>The term \u201ctwo-tone\u201d refers to second wave ska\u2019s interracial scene where young Black and white music fans went to shows and jammed together. Dammers and Specials bassist, Horace Panter, collaborated on the artwork for the label\u2019s logo, which has since become one of the most iconic images in ska music. The logo is a black and white drawing of a man in a suit, dubbed Walt Jabsco, whose face, hat, and skinny tie are outlined in the negative white space of the image. The inspiration for Walt Jabsco was a photograph of Peter Tosh in a sharp suit and dark sunglasses. The picture was from his early days with the seminal Jamaican ska and reggae band, the Wailers, which was led by reggae\u2019s first international superstar, Bob Marley.\u00a0 The logo also featured the checkered pattern of black and white squares that is still closely associated with ska music today.<\/p>\n<p>2 Tone quickly became the centerpiece of the second wave of ska. According to Don Letts: \u201cWhen two-tone broke, it hit big time. It had that magic combination of danceable music with style and attitude\u201d (\u201cUnder the Influence: 2 Tone Ska,\u201d Noisey 2015). Bands like the Specials, the Beat, Madness, and the Selecter signed to the label and became the soundtrack for a young, working-class, interracial fanbase that called themselves \u201crudies,\u201d or \u201crude boys;\u201d a slang term taken from 1960s Jamaican street culture that ska originally emerged from.<\/p>\n<p>Two-tone ska was also associated with the revival of the skinhead subculture and fashion, which often included suspenders, boots, collared shirts, and a close buzzcut. Unfortunately racist groups began to co-opt the style throughout the 1970s and 80s, and by the 1990s it was associated primarily with white supremacists and neo-nazis in spite of its originally close relationship with first and second wave ska.<\/p>\n<p>Musically, \u201ctwo-tone\u201d ska bands share many traits with the genre\u2019s Jamaican predecessors from the 1960s. One of the style\u2019s dominant traits is the \u201cskanking rhythm\u201d\u2014named after the long-associated dance style with ska music. It\u2019s heard in the guitar and organ, which most-often play on the eighth-note upbeats. \u00a0\u201cTwo-tone\u201d bands also continued \u201cfirst wave\u201d ska\u2019s practice of including horn lines that played hooky melodies, solos, and (sometimes) supporting sounds for the guitar and organ\u2019s upbeat rhythms. \u201cTwo-tone\u201d ska bands also paid tribute to their \u201cJaimacan\u201d ska influences through the many covers of first wave ska songs that they recorded and played live, such as the Specials cover of \u201cMessage to You Rudy\u201d originally by Dandy Livingstone, or Madness\u2019s cover of \u201cMadness,\u201d originally by Prince Buster.<\/p>\n<p>Two-tone artists also took cues from the Jamaican musical styles that came after ska, especially reggae and dub. This is particularly easy to hear in the bass lines. First wave ska frequently features jazzy walking bass lines, sometimes on upright basses. Reggae and dub bassists, on the other hand, played bass guitars and focused more on playing slow, swampy, rhythmic lines at very high volume, a sensibility heard in the bass of two-tone songs like \u201cGhost Town\u201d by the Specials.<\/p>\n<p>\u201cGhost Town\u201d is also just one example of how two-tone bands would sometimes adopt another one of dub\u2019s most distinctive musical traits: the heavy use of reverb and echo, which created \u2018trippy\u2019 sonic effects. The influence of punk rock on two-tone is evident, not only in the style\u2019s attitude or the biting social commentary in the lyrics, but also in their vocal style. Two-tone singers like the Special\u2019s Terry Hall often had a debt to the impassioned, half-shouted stylings of British punk rockers like the Sex Pistol\u2019s Johnny Rotten and the Clash\u2019s Joe Strummer that highlighted their working class English accents.<\/p>\n<p>Classic 2-Tone Albums: The Specials by The Specials<\/p>\n<p>Fueled by the success of their \u201cGangsters\u201d single, the Specials entered the studio in 1979 with producer Elvis Costello to start cutting tracks for their self-titled debut album. You can physically hear that the production is stripped down, and captures both the sound and energy of their live performances.\u00a0 The album features original songs, including \u201cNite Klub (featuring backup vocals by Chrissie Hynde of the Pretenders),\u201d \u201cBlank Expression,\u201d and \u201cIt\u2019s Up to You.\u201d It also showcases a number of covers from ska\u2019s Jamaican 60s roots, like: \u00a0Toots and the Maytal\u2019s \u201cMonkey Man,\u201d Prince Buster\u2019s \u201cToo Hot,\u201d and Coxsone Dodd\u2019s \u201cYou\u2019re Wondering Now.\u201d \u00a0\u201cToo Much Too Young,\u201d wasn\u2019t a cover in the strictest sense of the term, but it was an acknowledged adaptation of Lloyd Charmer\u2019s \u201cBirth Control,\u201d from 1969.\u00a0 Their cover of Dandy Livingstone\u2019s \u201cA Message to You Rudy\u201d was released as a single, and climbed up to number 10 in the UK Singles Chart. The band even called-in Rico Rodriguez, a prolific session musician from ska\u2019s first wave who played on the original Livingstone record, to supply the song\u2019s memorable trombone solo.<\/p>\n<p>Lyrically, the Special\u2019s self-titled album is full of biting, bleak, social commentary. Beneath upbeat, danceable grooves and hooky melodies, songs like \u201cConcrete Jungle\u201d painted a grim picture of social conditions in urban England at the end of the 1970s and describes violent crime and racism in lines like :\u201cI have to carry a knife \/ Because there\u2019s people threatening my life \/ I can\u2019t dress just the way I want \/ I\u2019m being chased by the national front.\u201d<\/p>\n<p>The Specials was released on October 19, 1979, and was a success, peaking at No. 4 on the UK Albums chart. Although the album received mixed reviews when it was first released, it has since become regarded as a two-tone classic and one of the defining moments of the British ska scene. Publications like Rolling Stone, Q, Pitchfork, and NME have included The Specials on a variety of retrospective \u201cbest-of\u201d lists.<\/p>\n<p>Classic 2-Tone Albums: Too Much Pressure by The Selecter<\/p>\n<p>Following the success of \u201cThe Selecter\u201d single, which was released as the B-side to the Specials single \u201cGangsters\u201d, guitarist and songwriter Neol Davies began recruiting other local musicians to form a full seven-piece band. This band included singer Pauline Black, one of the few women involved in the two-tone ska scene and who was later nicknamed \u201cthe Queen of British Ska.\u201d<\/p>\n<p>The Selecter recorded their debut album Too Much Pressure at the Horizon Studios in Coventry, the same studio where their labelmates, The Specials, recorded their first album. Too Much Pressure was recorded over the span of just two months, from December of 1979 to January of 1980. The band collaborated with producer Erroll Ross and drafted several horn players to help flesh out their sound, including the illustrious trombonist Rico Rodriguez who had helped out the Specials earlier that year.<\/p>\n<p>The track listing was a combination of original songs, primarily penned by Davies, and covers of Jamaican artists; such as \u201cTime Hard\u201d by the Pioneers and \u201cMurder\u201d by Owen Gray. The group drew from some more eclectic sources as well, recording ska renditions of the iconic James Bond theme-music and rewriting the 1956 Barbie Gaye doo-wop hit \u201cMy Boy Lollipop\u201d as \u201cMy Collie (Not a Dog).\u201d This thinly veiled ode to the effects of cannabis came complete with a faux-government health warning at the beginning.<\/p>\n<p>Members of the Selecter have said that they were somewhat dissatisfied with the hastily-completed recording and felt that, with more time, they would have been able to produce an album that they were happier with. This did not stop the album from reaching Number. 5 on the British charts after a well-received tour. Nevertheless, the Selecter left 2 Tone Records after just one album, and signed with Chrysalis.\u00a0 Their sophomore album, Celebrate the Bullet, departed from some stylistic conventions of \u201ctwo-tone\u201d ska, and was influenced by the burgeoning new wave genre.<\/p>\n<p>Classic 2-Tone Albums: One Step Beyond\u2026 by Madness<\/p>\n<p>In 1976, Mike Barson, Chris Foreman, and Lee Thompson formed a band called the North London Invaders. Over the next several years, the band expanded to a seven piece and, in 1978, changed the group\u2019s name to Madness\u2014as a tribute to a song by Prince Buster. The song would later appear on their first album. The band played extensively around the London area and quickly began to make a following. By 1979, Madness released their debut single on the newly minted 2 Tone Records. \u201cThe Prince,\u201d written by Thompson, was yet another tribute to their beloved Prince Buster.\u00a0 The single launched the band to a new level of success and reached Number 16 on the UK Singles Chart. Madness soon signed with Stiff Records and released a follow up single, a cover of (you guessed it) another Prince Buster song. \u201cOne Step Beyond\u201d peaked at Number 7 on the British charts.<\/p>\n<p>Propelled by their newfound success, Madness quickly entered the recording studio and began laying down tracks for their debut album, One Step Beyond\u2026, released on October 19, 1979 (the same day that The Specials debut album dropped). The band worked with first-time producers Clive Langer and Alan Winstanley, who would go on to collaborate with Madness on several more albums; as well as artists like Elvis Costello, Morrissey, and David Bowie. The album was a major hit, and stayed on the British charts for more than a year after reaching a peak position of Number 2. Madness was well-on-the-way to becoming one of the UK\u2019s most popular groups, with a string of no fewer than thirteen, back-to-back, Top Ten singles from 1979-1983.<\/p>\n<p>\u201cOne Step Beyond\u2026\u201d sweetened the raw, punk-inflected edge of the two-tone sound through its slick production and a pop sensibility. The album primarily features original songs by a number of different band members, though it also features re-recordings of their two \u201cPrince Buster\u201d covers, and a ska arrangement of Tchaikovsky\u2019s Swan Lake.<\/p>\n<p>While Madness is one of the key bands in \u201ctwo-tone\u201d ska, they were somewhat resistant to being pigeonholed as a \u201cska revival\u201d band. Drummer Dan Woodgate summarized the attitude which helped give the band such wide appeal when he said:<br \/>\n\u201c\u2026we don\u2019t want to be labelled as a rude boy ska band. We want to get across to as many people as possible so that they can all come along and have a good time.\u201d<\/p>\n<div>\n<div dir=\"ltr\" data-smartmail=\"gmail_signature\">\n<div dir=\"ltr\"><b><span style=\"font-family: arial black, sans-serif;\">\u00a0<\/span><\/b><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGU1ktM19jajRmc2MlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text]Written by Thomas Hanslowe In the late 1970s and early 1980s, a new sound emerged from Great Britain: two-tone ska, also known as \u201csecond wave ska.\u201d Combining the attitude and aggression of punk rock with the danceable rhythms of Jamaican ska and reggae, bands like the Specials, the Selecter, and Madness bridged cultural and racial&hellip;<\/p>\n","protected":false},"author":25,"featured_media":56897,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[12320,532],"tags":[],"class_list":["post-56895","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists-that-changed-music","category-history"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - 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