Category Archives: Reggae/Ska
Flow Dan – Original Dan (Music Review)
Flow Dan
Original Dan
Eskibeat Recordings
Rating: 2.5 out of 5
Links:
Original Dan on MySpace: http://www.myspace.com/rolldeep1
Eskibeat Recordings on MySpace: http://www.myspace.com/eskibeatrecordings
Flow Dan, born Mark Viera, returns with a solo project, Original Dan. Hailing from London, England, the sounds spilling out of the release are anything but the expected London sound. Jungle, DubStep, and Grime beats and rasta-hip hop lyrics fill out the majority of the LP. The album is full, frenetic, and varied, but all sticks together well. Electronic samples, blip noises, sound effects, auto tuned vocals and triple-tracked voices are the fleshy appendages on this DubStep skeleton, and the occasional super-deep bass tracks help to balance the creature out.
For a good representation of the album, check out “Show Theme, “Dumpers,” Stage Show,” and “Run”. These fun, strong tracks are the best on the release.
Much of the album is the expected topic of hip hop lyrics- explaining how tough he is, how “street” he is, and about how talented he is. Unfortunately for hip hop fans (of most every sub-genre of hip hop), this is par for the course- instead of demonstrating the talents an artist has, they tell the audience how talented they are. It too often seems like more advertising than substance.
Being hypersensitive to racial politics, one track, titled “Kack Back” caught my ear in a negative way. Repeating a chorus of “…when black men are talking, you better keep on walking,” I was unimpressed to say the least. I could see how I could be wrong about his intended message, but this strays too close to negative politics. I really could have done without the track.
RIYL: Miami-Bass music, DubStep
Westbound Train – Transitions
Westbound Train
Transitions
2006- Hellcat
Origins: Boston, Massachusetts
Style: Ska Reggae, Motown Soul
The beginning of this album, “Transition 1,” plays like the intro to Orson Wells’ Touch Of Evil. You remember that famous extended crane shot that follows a bustling Tijuana street and the echoing sounds of people entering and exiting cantina and nightclubs. On Transitions, you can hear the natural environment of city life from a first person point of view, it’s vocalist Obi Fernandez that is heading to what could be a practice space or inner city hangout. You hear doors open and close with the echo of music that crescendos into old-style rockabilly. A guitar strums and 55 seconds later Westbound Train kicks in with the fair-tempo’d reggae ska romp “Please Forgive Me.”
This song is a perfect indication of where Westbound Train is in their musical state of mind. Fernandez’ vocals leads to an imagination of the white soul triumph of The Commitments. Equally bold as it is smooth, Fernandez bellows out comforting words of apology, making you contemplate why Transitions was named for what it was. If his sincerity does not impress you, then the rare option for a ska band vocalist who doubles up as trombonist should show some gratitude.
Extending way past the ska revival, Westbound Train is in a place that incorporates Kingston ska with Motown soul and a genuine historical sound, especially when they rough up the recording to make the organs sound like it’s on its last leg and the guitars crunch in up-beat movements.
I can imagine the rain coming down on the streets of Boston. Deeply embedded in the city is a small charming room that is empty except for a sparse couch and a conglomerate of instruments resting on a hardwood floor. And once these band members pick up their instruments, the drops beating on the window succumb to the talent of this group as they pound out consistently impressive ska ditties with impressive soloing.
The rare instrumental “The Test” barks back to the extraordinary talent of David Hillyard and the Rocksteady 7, trading off solo spots to show off individual talent. But what really sparks on this album and could have only helped land them several award slots on the 2007 Boston Music Awards (http://thephoenix.com/onthedownload/PermaLink.aspx?guid=a8bcd88b-a09f-4aad-8901-9f8e52caeba4) are things like the Dave and Ansell Collins homage “Soul Revolution” and the King Tubby-style “Fatty Boom Boom,” showing how versatile in the ska style this band can be.
With not a second to spare, the band transitions from one song to another with no break in between songs, only adding an impression of urgency in a positive sense.
Not a groundbreaking record, Westbound Train demonstrates a fine niche for preserving the style and even if the kids don’t flail around in a hyperactive frenzy, they will show love in their own special way..
Cross-Reference: David Hillyard and the Rocksteady 7, The Slackers, The Pietasters
