(TVT)
Ska has officially entered America's pop music party, but rather than knocking on the front door, it has come in through the bedroom window. With the last wave of ska encompassing the 2-Tone bands such as the Specials and the English Beat (later morphing into Fine Young Cannibals and General Public), this style of music was nearly dormant in the 80s, with the periodic newcomer such as the Mighty Mighty Bosstones and Fishtone attempting to revive the lost art of horns, fast rhythms, and party tunes. However, with the "overnight" (read: 10 years of touring all over the place) success of No Doubt on their watered down breakthrough success album, Tragic Kingdom, other acts such as Reel Big Fish and Goldfinger are getting the chance to strut their stuff. Two more entrants to the big ska pool at the record store are California's (surprise!) Save Ferris and Buck O Nine.
Save Ferris may owe its name to a John Hughes film, but its roots are firmly planted in the late 70s and early 80s. Though lead singer Monique Powell's vocals and good looks draw instant comparisons to No Doubt's Gwen Stefani, the music on this album draws on those 2-Tone bands and even early eighties groups such as Altered Images. And occasionally, they'll toss in a surprise; "Superspy" has a touch of 30s swing, not unlike what the Squirrel Nut Zippers have done. The traditional "life is fun" lyrics are here as well, typified on "Under 21", where our heroine just wants to get into a free concert...and what's wrong with that? Although Introducing Save Ferris originally was released in 1996, it has recently been re-issued by Epic.
San Diego's Buck O Nine is a seven piece outfit fronted by lead vocalist Jon Pebsworth. Rather than fully embracing the 2-Tone bands, Buck O Nine owes more to the Clash, Joe Jackson, Elvis Costello and other new wave British bands with a three piece horns (trumpet, trombone and saxophone) section tossed in for good measure. The strongest part of Twenty Eight Teeth is the writing - rather than the tracks existing *only* in the range of ska, these songs could have viable hooks if performed by other bands - and that's the true sign of good writing. "Steve Was Dead" and "My Town" could have been stolen from Joe Jackson's repertoire, and "Little Pain Inside" might have been bastardized from an R.E.M. outtake session. But it's songs such as the title track, "Nineteen" and their nearly flawless cover of Jackson's "I'm Your Man" which are just a few of the highlights on this surprising record.
