The English Beat - Here We Go Love! (2018)

This CD landed on my doorstep yesterday. Let's slip it into the tray* and give it a spin. What follows are first impressions.

Three quick notes before we begin:

• Expectations are high. Last time I put together a list of 30 "desert island" discs, this group's last studio release Special Beat Service was on it. I realize it's not fair to compare a 2018 release to a 1982 release, but I can't help it - it's human nature.**
• Bob Sargeant, who produced the band's other albums, isn't on the console for this one. Production for this album is credited to a Kyle Hoffman.
• The band now is Dave Wakeling and his friends/session/touring musicians. I'll miss Ranking Roger and Saxa, but let's be honest - Wakeling was the lead singer and main songwriter for the band. And while the album credit goes to the band, Wakeling's name is almost hidden in the busy cover art:
  
  
  
  
  Also, the liner notes booklet doesn't list any playing credits, just a URL address for more info. Why make it so difficult?

Enough rambling and ranting, let's get to the tunes.

Peak on the US Billboard Top 200 chart: to be determined, fingers crossed for an appearance.

Tracks:

1. How Can You Stand There: This couldn't be any group but the Beat. All the characteristics are there: ska beat, accordion, organ, sax, etc. Plus Wakeling's voice is immediately recognizable. True to the title, it is hard to just stand there when this dance tune is playing. Great opener - off to a good start.
2. The One and the Only: Not ska, but guitar-oriented pop. Is that profanity?! Nice little piano break. Another good track.
3. Redemption Time: Reminds me of the old 2 Tone Specials stuff. Waiting for the toasting to begin. And there it is. Rub-a-dub. The chords/melody remind me a bit of the group's earlier song Rotating Head. Bonus points for the trumpet and trombone interplay. For the record, I still haven't stopped moving/dancing, which makes keying in these track notes quite difficult.
4. If Killing Worked It Would Have Worked By Now: anti-war tunes never sounded so good. Like track two, this isn't ska and the bridge on this one is weak, but it's got a good enough groove and a tasty sax solo so I can give this track a thumbs up.
5. Here We Go Love: Hard-driving rocker with a good riff and catchy chorus. More f bombs. Dave's frustrated with the state of the world today (as is this humble blogger), so why not some swearing to drive the point home? Great track. Wears me out.
6. Never Die: I was afraid a ballad might be coming, but I'll give it a shot. Reminds me of something Colin Hay might sing. Not bad as far as ballads go and it goes into double time for a bit, but it's not what I buy an English Beat to hear.
7. The Love You Give Lasts Forever: The album bounces back with a strong chorus and some almost uplifting lyrics. Sounds more like a General Public tune than English Beat, but I guess that's just nitpicking at this point.
8. You Really Oughtta Know By Now: a soul-infused shuffle with a Motown backbeat. Derivative, but nicely done so who cares? Hopefully female background vocals at the chorus? No dice, dadgummit. Woulda been nice, but the horn parts make up for it. Nice keyboard work, too.
9. You're Stuck: another high-energy rock tune with perfect Farfisa organ licks. I like how this one builds to the chorus. A rare guitar solo! Great tune. My favorite tune so far.
10. Every Time You Told Me: Who snuck a Huey Lewis b-side on this disc?
11. Dem Call It Ska: And finally another ska tune! Lots of wordplay in the lyrics, but the groove and chorus are solid in this happy cut.
12. Drive Her Away: The most '80s-sounding tune on the disc. This ska-pop fusion wouldn't have been out of place on Special Beat Service, so that's good enough for me.
13. Be There For You: Loping reggae-ish tune. I gotta say - whoever did the horn arrangements on this disc knew what they were doing. Well done. No hooks are grabbing me in this song, but the sax solos fit perfectly and the slow groove is a good way to close the album.

I'm glad I bought the disc. Should make for some great summer listening.

Personal Memory Associated with this CD: Not yet, but I'm glad Dave decided to use the classic Beat-girl image on the album. I loved that image so much I was known to draw it on book covers during my high school years (do they still have book covers?).

Previously revisited for the blog:
The Complete Beat (2012)

*Ever wonder what equipment The CD Project uses for playback? Currently, it's a Yamaha CD-S300.
**Back-to-back Michael Jackson references (apropos of nothing)

The English Beat - The Complete Beat (2012)

5 CD set from Shout! Factory with additional bonus CD & DVD of the group's performances at the 1982 & 1983 US Festivals.

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DISC ONE
I Just Can't Stop It (1980)

Note: this release was originally purchased as a LP, later replaced by a CD.

I was never a huge ska guy, but I've been a fan of The English Beat from the first time I heard the cover of Tears Of A Clown, which didn't happen until about 1983. Even though they were on the 2-Tone label and played some ska tunes, they were always more of a pop band than a ska band (to me, anyways). A perfect combination of vocals, songwriting, bass lines, drumming, saxophone, and Ranking Roger's toasting. This is one of those rare albums that doesn't sound dated; I actually enjoy it more every time I put it on.

Press of the time:

• Rolling Stone (★★★★★): "night music: wild and threatening, sexy and sharp."
• Robert Christgau (A-): "deep and driven"
• Record Mirror (++): "a big disappointment"
• Smash Hits (9 out of 10): "A real winner - get it!"
• Trouser Press: "If you've got the feet, they've got the beat."

Album chart peaks:

• US Billboard 200: #142
• CashBox: #155

Tracks: 42 minutes of pop bliss with oddly political lyrics. While my favorite is still the cover of Tears Of A Clown, the other 13 tracks here are not to be missed. It's a solid album.

Personal Memory Associated with this CD: As a teenager, I read a review of this album that called it "the ultimate album for dance parties" or some such. I always remembered that and, at a college party a few years later, I put this on and stood back to watch the party take off to another level. Instead, I was greeted with odd looks and comments that ranged from "What the hell is this?" to "Put the Madonna back on." Idiots.

Speaking of college, seen below are photos of me (ca. 1985-88) in my favorite English Beat shirt. I loved that shirt. I bought it while in high school, soon cut off the sleeves, and wore it throughout college until it was threadbare.

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DISC TWO
Wha'ppen? (1981)

For some reason, I never picked up this LP back in the '80s. The group brings in some worldbeat influences (Latin, African) to their ska/pop sound, but the songwriting isn't quite as strong. It's the proverbial sophomore slump, but only very slightly because I like the overall sound of this album better than its predecessor even if the writing just falls short. The music owes more to reggae than to ska, if that makes any sense. It's ambitious; I'll give 'em credit for trying something new - less frantic, lilting mid-tempo stuff. It's a unique sound they'd perfect as they headed into the next album. The lyrics are still very political, which provides a sharp, interesting counterpoint to the music. Of the group's three albums, this is my least favorite, but that by no means is meant to suggest that it is a bad album.

Press of the time:

• Rolling Stone (★★★★): truly complex love-and-jealousy tales, politics that are more keenly defined.
• Robert Christgau (A): "I hear not resignation or compromise but a stubborn, animated adaptability."
• Trouser Press: "a breathtakingly vital record"

Album chart peaks:

• US Billboard 200: #126
• CashBox: #121
• Rolling Stone: #65

Tracks:  My favorites are All Out To Get You, I Am Your Flag, Dream Home in NZ, Over And Over, and Get-A-Job. I usually skip Drowning, which was the album's lead single. There are 3 bonus tracks tacked on to the end of the album. All three fit in well with the feel of the album, but none stand out to me.

Personal Memory Associated with this CD: None

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DISC THREE
Special Beat Service (1982)

Note: this release was originally purchased as a LP, later replaced by a CD, which was later supplemented by this disc in the box set which adds 4 bonus tracks.

In 2004, I first put together a list of 30 "desert island" albums (no compilations allowed). This album made the cut. I haven't revisited that list in a while, but if I ever should, I'm confident this album's spot on the list is safe. I may listen to it twice today before moving on to the next discs. [ed. note: I did.]

Easily my favorite Beat album, this one has been in rotation since 1982. From the opening piano licks of I Confess, I knew there was something different and contagious going on here. The group had matured into a fantastic New Wave-ish pop band. Not only had the songwriting improved, the band kept their trend of experimenting with new instrumentation - a trumpet here, an accordion there. This album was a sales disappointment in the UK, but it fared better here in the US and, for me, it was anything but a disappointment. This music bears more than a passing resemblance to Pelican West, which came out the same year and shared a producer, Bob Sargeant.

Press of the time:

• Rolling Stone (★★★½): "demonstrates the creative possibilities of unassuming, heartwarming commercial pop."
• Robert Christgau (A-): "Careerwise, a conservative move"
• Record Mirror (+++++): "an album you will never tire of"
• Smash Hits (9 out of 10): "A great album."
• Musician: "you deserve Special Beat Service"

Album chart peaks:

• US Billboard 200: #39
• Billboard Rock: #36
• CashBox: #39
• Rolling Stone: #31

Tracks: In addition to the pop gems I Confess, Save It For Later, and Jeanette, there are also a few good ska/reggae-flavored numbers that harken back to the group's original sound (Spar Wid Me as well as Pato And Roger A Go Talk). My favorite deep cuts are Rotating Head and Sugar & Stress. Don't skip anything.

Bonus tracks: 4 bonus tracks included, all b-sides. They're all ok for b-sides (the best is probably the 8½ minute dub version of A Go Talk even though I can't understand a word of it), but they sound like b-sides and since they weren't part of the beloved original 12 tracks, I have a hard time listening to them as part of this disc.

Personal Memory Associated with this CD: None. As much as I've listened to this album over the years, I'm surprised that nothing springs to mind.

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DISCS FOUR &FIVE
Bonus Beat (1979-82)

Disc 1: 12" & Dub Versions, 79 minutes

Top tracks: 1, 4, 6, 10, 13, and 15

Disc 2: Peel Sessions & Live In Boston, 62 minutes

Top tracks: 1, 4, 6, 8, 12-14, 17, and 19.

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BONUS DISC AND DVD
Live At The US Festival '82 & '83 (2012)

Buying the box set direct from the Shout! Factory website had its perks. First, I received an extra copy of the box set's booklet autographed by Dave Wakeling.

Second, I received a copy of the group's performances from the US Festivals. For a thorough review of the CD/DVD set, click here. I enjoy watching the DVD not only for the band's tight, energetic performances, but also to check out the totally awesome '80s fashions and the general festival vibe. The '82 set runs about 47 minutes, the '83 set runs almost 53 minutes. The CD (59 minutes in length) is simply selected audio from the same performances. A must for any fan.

Not surprisingly, my favorite live tracks are the same as my favorite studio tracks.

Various Artists - This Are Two Tone (1983)

NUMBERS WEEK (MARCH 14-20, 2011)

2 Tone Records was a small, indie label in the late '70s/early '80s that mostly released ska music embraced by rude boys ("rudies"). I always think of ska music as reggae music performed by white Englishmen on speed. This is a compilation of music from the label's more popular bands, including The Specials, Madness, The Selecter, and The Beat (known in the US as The English Beat). I like ska music in general, but can't take much of it in large doses. As a result, this is one of the few ska discs I own. A lasting influence of the label was its logo which portrays a man, known as Walt Jabsco, in a black suit, white shirt, black tie, pork pie hat, white socks and black loafers.

Tracks: My favorite cuts are the two from The Beat, especially their cover of Smokey Robinson's Tears Of A Clown. The 6 tracks from The Specials are good as well. The Specials get more tracks than anyone else because the band's keyboard player and founder also started the 2 Tone label. The tracks from The Bodysnatchers, Rhoda Dakar, and The Swinging Cats are forgettable and/or disturbing.

Personal Memory Associated with this CD: Back to high school, of course. I had a few albums by the English Beat and one of my favorite band shirts had the female equivalent of Walt Jabsco on it. I wore that shirt throughout my college years until it was threadbare. The picture on the right is of your humble blogger, taken May 1988.