(music) Yes, this is Scar, original and indigenous. The music of guitar, saxophone, trumpet, bass, and drums. (music) What's up, posers, and welcome to Punk Flutter Pod. I'm your co-host, Justin Hensley. I'm your other co-host, Dylan Hensley. I feel like I over-enunciated that intro to that. Losers, posers, it's the French pronunciation. (laughs) Yes, I've been spending my days watching the Olympics from Paris, so I've adopted a lot of French pronunciations of things. And welcome to SCOGGEST, our yearly tradition where we devote the month, sometimes the month, to only SCA and SCA-related music. I almost forgot to start this this week. We did the episode last week, where you were considering a sublime record, and you asked if it was too close for SCOGGEST. And I was like, "Oh, yeah, we need to do SCOGGEST." (laughs) Like, right after that. You're welcome. I saved SCOGGEST for everyone. I would have had, like, halfway through the month, like, "Fuck." (laughs) We'll have one episode of SCOGGEST this year. We've done those before in the past, too. Yeah. (laughs) So if you're wondering what I contribute to the show. It's funny. I get blind spots because I've been focusing on 300 is coming up, and this month will be our 60-year anniversary of the show. So those were things I was thinking of, but they also happen to correspond with every year with SCOGGEST. And so I think that's why every year I wind up forgetting, because I'm like, "Oh, planning for the anniversary episodes." And then, "Oh, yeah, we got this other gimmick that we do, too." So if you head over to patreon.com/punkglottopod for $1, you get access to all of our weekly bonus audio. Last week, we did an "I'm listening" where Dylan and I actually listened to a lot of the same albums. So we managed to have a decent amount to talk about there. A lot of new August 2024 releases there that we discussed. And if you would like to sponsor an episode and choose the album that we devote an entire episode to, you can join at the $10 tier. One-time $10 donation gets you a whole episode on whatever record you want us to talk about. So before we get into it, you recently went to a show. And we like to talk about the shows that we went to. I did. I went last night to see the gasoline at them. Kind of an impulse decision. I knew about the tour. For some reason, just didn't think about buying tickets for it. I don't know. I don't know. I felt the tour coming and I just didn't... I didn't click that I should go to it. And we were driving. It was like Sunday afternoon. We were driving basically past the Greek theater. We're not actually past the Greek theater. But if you drive down Los Feliz, Los Feliz, the hell that Los Angeles people mispronounced words. And I was like, "Oh, there's a show at the Greek tonight." Because there's always traffic. Like when there's a show at the Greek theater, there's just like they have to direct traffic on the main road that you turn off of. I was like, "Oh, yeah. Who's no wonder who's playing?" And I was like, looked at the Greek theater shows that were happening. And it was like no more Jones or whatever. Like while I was looking, I was like, "Oh, yeah. I guess I didn't have to be playing there." I totally forgot that they're playing at the Greek theater. Like when I saw the tour announcement, I was like, "The Greek theater. That's weird." And so my wife was like, "We should go." Like, "Do you want to go? Like how much are tickets?" I'm like, "Hey, it's kind of a weird venue to see them in." But I guess if the ticket's cheap enough, why not? I was off work that night, so we may as well. I was looking at the tickets and it's like, "All right. We can get terraced seats for less than 30 bucks. I know the terraced seats are a good view." So yeah, it felt like it was a good price. Not a well-selling show. I sent a screenshot of the tickets that were available like Day of to the Discord. We had a good conversation about like, "This is a weird venue. Why did they do this?" It doesn't really make sense. It's a seated outdoor venue that's huge. And the Gaslight Anthem does well in standing room, you know, general admission, maybe with a balcony kind of bigger, maybe not. Yeah, like theater sized. Yeah. I was like, "This is going to be a weird five, a half empty outdoor Gaslight Anthem show. I've never seen them where there wasn't an almost or completely sold out crowd." But it was a good show. It was fun. I had fun going. It was really, we got there. It was interesting. It was the Dirty Nill and Joyce Manor opening. The whole vibe was just odd because it's weird to see them there too. We walked into the exciting Chudrock sounds of the Dirty Nill. I did not enjoy that. People like them, right? I tried to think of what to call them. I listened to one of their albums a couple of years ago. And it was the worst album of the year that I listened to like front to back. Because a lot of times I just like give up on records that I don't like and just don't finish them. But for some reason, it was just enough to get me to listen to the whole record. And I listened to the whole thing. And I was like, "Is the worst record of the year?" I think they have that 90s alternative kind of revival quality. There's also like a guy that screams. It's kind of like Matchbox 20 meets pup. A Canadian too. Yeah, I didn't really enjoy that. I didn't enjoy the record that I listened to a handful of songs from four years ago. Yeah, 2020 I think when everybody was like, "I love the Dirty Nill." Yeah, I don't know what that was about. Yeah. You're thinking of violent Soho. That's the band you like. Yeah. Joyce Manor was fun enough, I guess. I have never cared about Joyce Manor. They played constant headache. Yeah, of course they did. Close on it. Yeah, I'm pretty sure. Yeah. We've seen Joyce Manor within the same year. So I saw them with Jawbreaker in Charlotte last year. And that's right. You and I both finally saw Joyce Manor 10 years later. Yeah. Yeah. And I was like, "This is fine." Did their clothes make you think did they dress like it was still 2011 to you? Yeah. Like I was like, "Those are blue jeans." Like they're not like any other kind of jeans. It was very like, "You are still wearing the same shit you were 10 years ago." That's weird. Yeah. They are frozen in time. Yeah. I mean, he still looks like he's 20. The main dude, the lead singer. There must be like a Doyan Grey painting in one of their attics of like the whole band. And they're just like decomposing there. Which, you know, my tweet about it was, "This is weird, but it's not better than seeing winter break on a foot high stage." You know, milestone or big kids in a shitty coffee shop. People love Joyce Manor though. There were a lot of people there that were clearly there. Maybe more for Joyce Manor than, which I'm like, "You have had to have had many opportunities to see them." This is a weird spot to go see them. But the guests that were really good, I was pretty happy with this outlist. They played, you know, a lot of songs from 59 Town, which was cool. They played about four or five songs from the new album. I mean, it's kind of the best songs from the album. They were mixed, oddly quiet though. I felt like in comparison to the Dirty Mill and Joyce Manor, they were quieter. So they can't even mix their live shows right either. I don't know why it was quieter unless they were just like, "This ain't sold out." Dial it back. They did not play an encore. It's like, "You don't deserve an encore." Which is like, "I think you just got stuck in the wrong venue." Like, I don't think it was spiteful. It was just, yeah, odd. When you end up with bands in 2024 booking the wrong size venues for their tours. Because that happened a lot this year already. Yeah, I don't know. I mean, it could have been Live Nation's decision. You know, they were like, "Oh, we really want to stick you in here." Like, I don't know what the reasoning was because Live Nation definitely could have gotten them in a more appropriate venue, palladium, where I've seen them before. So I don't know if it was just like a staffing thing. They're like, "You want to do the Greek theater? We're going to pay you the same anyway." And we'll make more off of charging people for parking. That's probably the reasoning. We can sell $100 pit tickets. They did do a cover of "Soul to Squeeze" by Red Hot Chili Peppers. Because they were in California and Brian Fallon loves the Red Hot Chili Peppers. It's so funny how much he loves them. That's weird. I don't think I knew that. Mostly for what's his name for the guitar player? John Frashante. Frashante. Yeah. He's a big Frashante fan. But you know, "Soul to Squeeze" is one of the best Red Hot Chili Peppers songs. It's one of the slower, more ballad-y songs that you would want to hear. They did a good job of it. Kind of fun to see. Yeah. It was a good show. I'm glad I went. I think we finally figured out that you should go park at the old zoo and take the shuttle rather than try to deal with. Because we've, well, I've picked her up from that venue before, which you saw the chicks. And driving up that hill is a nightmare. We've also done "Oobers" to and from. And that's just expensive. And like you stand around for like 30 minutes waiting for your Uber driver to come. Come pick you up. Yeah. The shuttle's the way to go. Anyway, that's my. Show report. Yeah. Slide Anthem. Show recap. I should think there's something coming near me soon. And I was like, should I go to that? And I don't know if I actually want to go or if I'm just like, I haven't been to a show in a minute. I kind of want to go. Even though I just went to South Varian and that was in June. What was that July? It might have been in July. It wasn't that long ago. I don't know. But there's nothing like that. I'm really burning to see. So we'll have to see. All right. So it is August. This is a thing that we started a couple of years ago when we came up with the pun. And then we were like, Oh, well, we got to do it now. Yeah, I commit a month to that. And we've done it a couple of times. I think we discussed last year. We wound up like skipping a couple of years because we just forgot to do them. Oh, no. We remembered in September, like Labor Day. So last year was the year where we, I think it's the first time we devoted like multiple weeks to it. Maybe I had to go back and look real quick, but we did a pretty good job last year. We did a two tone episode, a third wave Scott episode, and a new tone episode, the fourth wave of Scott. And the way we did it last year is, I believe Dylan, you chose the two tone record. I chose the new tone record and then we did a poll to determine the third wave record. So last year we did the selectors, too much pressure, the Bruce Lee bands, self titled album and flying raccoon suits afterglow. And I think this year, what we're going to do is I chose the two tone record this week. Dylan's going to choose the third wave record next week. And I think we're going to do traditional sky. Yeah, we're going to call it audible. We just decided like right before we started recording, like, should we do Jamaican Scott Rocksteady? Yeah. Something classic. Part of that was they why not? When else are we going to talk about, you know, that and I love, there's, you know, there's records that I love. Oh, yeah. And a lot of those 69, 70, you know, those. A lot of the records were super influential on two tone, you know, and a lot of the punk stuff from around the same time period, even a lot of the 90s stuff is very influenced by traditional sky. So the reason why I was thinking that too is because like there's new tone is a really fun movement in sky right now. There's also not that many bands. So we're already like running low on like which ones to talk about. So I was like, oh, maybe we'll let them build up another year and get some more stuff out. So, yeah, it, it feels like it needs a little more time to age. To gain a little bit of importance legacy, I guess, to be able to determine what's important. Yeah. Yeah. And, you know, newer albums. It's a newer movement. Yeah. And like our in general week, what are we kind of shifted to where our cut off now is like 10 years. Yeah. Try not to go to years that are too close to the current date just because people don't really seem to care. They don't really want to listen to episodes where we talk about something that came out in 2018. Yeah. Yeah. Yet our best of like the year episodes do really well. That's funny. Yeah. People want to, well, they want to hear it then. They want to hear it in the moment. Nobody's nostalgic for 2021. Yeah. No. No. No. Nobody ever will be 2020, 2021. Those are going to be like the most cursed, forgotten years. Yeah. Despite great music coming out during those years, but yeah. Yeah. Yeah. So to tone. I feel like we do this like every time we do like a two-tone record. We're like, well, let's talk about what it is. And I guess if this is your first episode of hearing us discuss it, welcome. But to tone famously spun out of the UK punk scene and was very much influenced by traditional Jake and Jamaican Scott being imported to the UK in the 60s and 70s by immigrants and in a lot of younger musicians just really getting into the music and blending together the cultural differences of like black and white musicians playing music together. Very progressive, radical movement within a punk and new wave at the time mixes in lots of elements of new wave as well into their sound. Yeah. I think to tone also kind of coincides with the broad mainstream interest in reggae. Is it really kind of is there on the same time period amid mid to late 70s where, you know, a lot of American bands have like a reggae song on their record or, you know, new wave, because American new wave also draws on like a lot of Scott and a lot of new and a lot of reggae more reggae probably than Scott. I think America takes more reggae influence and the UK took more from Scott. But yeah, I mean, you have, you know, you have mid 70s, you just stuff like Hotel California, you know, white reggae American rock bands just like trying to have a Jamaican vibe. Yeah. So this week's album was released in the year 1980 and I thought it would be fun to look at the other two tone and Scott and even to a degree reggae albums released in 1980. Let's focus on the two tone first. So the specials released their follow up album to their debut more specials. I've probably heard this record. I feel like I've heard this record, but I don't remember it very well. I think it's, it doesn't quite pop like the first record does. Yeah. It is not as good as what songs international jetset I have tried to think of what songs I know. Hey, little rich girl, maybe maybe a holiday fortnight because people want to put that on Christmas playlists. Yeah. It's about a two week vacation, not not Christmas, the UK usage of the word holiday. Yeah. The special discography is like, it's one record it for a band that like has so many albums. No one cares about any of them except for that first one, like, I don't know. I don't know. I've never heard in the studio or donning of a new era or any of that kind of stuff. Yeah. When you look at their top songs Friday night, Saturday morning, that's not even on the LP version of Morris specials. That's like a deluxe edition with single ghost town is on there too. And yeah, ghost town is just like a non album single, right? Or a B side. I thought ghost town was on the first record is it isn't? I don't think it's on the first record. Huh. Maybe not. So they're most one of their most famous songs is like a non album single, very, very UK. Yeah. Yeah. Two versions of ghost town that are in their top 10 songs on Spotify. One is from the singles collection. And one is from it looks like the 2015 remaster of or the deluxe version of more specials. So yeah, nobody cares about more specials. We have madness's second LP as well. Absolutely. Checkmakers is actually the second LP, but I think it is. Yeah. One step down was before. Yeah. So this was their follow up and I know I've listened to this record. I gave it four stars in the past, apparently. I do not remember this record at all. And I wonder if it's even all that two tone. I feel like they like were the least two tone of the two tone fans. Yeah. Yeah. They were they were as much a new wave band because they were all white. Yeah, I guess. Which is something that it does kind of make them run up. Yeah, it does kind of make them not a two tone band, technically speaking. That's one of the few genres that has like racial requirements to be properly categorized. Yeah. Madness have like 13 albums as well and like, eh, I love one step beyond, but I don't really know any of their other records that well either. People like them. People like madness. Like their first five records are all pretty well rated on regular music, but I think that's new wave fans. Not not fans. Yeah. That's the our house fans. Yeah. The selectors too much pressure also was released in 1980. They were one of the first two tone bands, but it took them a minute to get their their LP out a little longer than the rest. And as far as like strictly two tone, bad manners. Yeah. Yeah. They would be the other one. They have Scott and B. I don't know where that is in their discography. Bad manners. I know they were there, but otherwise a gigantic question mark says the first bad manners record. Yeah. Also a white band. Uh, so one of the things I will just go ahead and say this, that at the time there were like four really big Scott band or two told bands in England and it was the specials, the selector, the beat and madness, but then bad manners was like the fifth. We're here too. And one of the things that I read in an interview was that the specials, the selector and the beat were all in the northern part of England and in a more working class, actual like, you know, black and white and Asian and Irish and Indian, like all working together. But in London, it was a lot more more white people in the bands doing it. So like all the ones in the northern part were actually like black and white musicians playing together, but in London, it was like all the white guys together doing bad manners and madness with the interesting piece pointed out. I did specifically just go to tone only and like, yeah, there's like other things that have it as like a secondary with like, it's not, it's new wave. There is another bad manners record looney to tunes came out in 1980 as well. Oh, this is worth mentioning and we can use this to transition to some other stuff that came out in 1980. Desmond Decker did black and Decker that year. That is Desmond Decker doing a two tone record with actual two tone artists. I want to say there's some specials people on that record. Roland gift from finding young cannibals is on there. Yeah. He played saxophone and then Roland gift played saxophone. There's a bunch of saxophone players on this record. Yeah, it's a very like so many horn players. I've listened to the part of this record. I don't think I finished it. I did start it one day and I was like, wow, this is interesting to hear Desmond Decker in such a polished like two tone setting, because you know, Desmond goes way back, you know. Yeah. There's like somebody from the block heads in here. Yeah. Steve Golding. Yeah. Steve Golding from gang of four on here, it's, it's just kind of UK musicians. It doesn't seem like there's actually, it doesn't seem like there's actually anyone from any of the two tone bands. Yeah. If we look at music that's punk, but also inspired by SCA and reggae, we have Sandinista by the Clash. You know, this is one of their big records and the clash were really big into using like reggae and dub and their music. They always use reggae and dub specifically. They never felt as like SCA as other bands did, which I thought was always kind of interesting. We also have the police with Zenyatta Mandata police heavily influenced by reggae music in their sound. Yeah. Dixie's been that runner's release searching for the young salt rebels. That was their first record. They were, they were more influenced by like blue-eyed soul and northern soul, but they had some sky elements in there as well. UB 40, a famous British reggae band, also from Birmingham. Stiff Little Fingers, nobody's heroes has some reggae on there. Yeah. In the same way that the clash used reggae, the Stiff Little Fingers used it very similarly. They were considered the Irish clash for a while in the 70s and 80s. So a lot of similar elements there. That's a fun record. I love that record. And just to kind of get a big idea of what else was going on and just to make an inspired music in general. We have, there's a Wailers record, the Wailers uprising, there's release that year. Yeah. There's scientists, heavyweight dub champion, a lot of dub, Black Oohuru, since Amelia, Prince Farai on the Arabs, try tough dub and counter chapter three. All those Prince Farai records are just like wild names and covers and we got an Augustus Pablo record called Rockers Meets, King Tubbies in a firehouse. Tradition has kept in Ganges in the space patrol. Burning Spear, Hail Him, H-I-M. There's a Lee Scratch Perry record. Ja Wabble, there's a Mikey Dread record. There's a Steel Pulse record in the UK reggae band. Yeah. So I feel like some of the big, big stuff worth mentioning that's in that same vein. But let's get it in the actual album. So I chose the two tone album and I didn't even think twice. This is even one that I was like, what should we talk about? There's only like so many. I feel like we really have to do when we do this series. But this one, I was like, let's do this one. And I selected, I just can't stop it by the beat. I'm here in the bathroom, please, don't freak. The door is locked just you and me. Gotta take you to a restaurant that's got glass pebbles. You can watch yourself while you are eating. The new in the bathroom, I just can't stop it every Saturday and you see me, the window's shopping. I find no interest in the wrecks and shells, just a thousand reflects into my own sweet song. AKA the English Beat, what do you think they are most well known as the beat or the English Beat? In America, they're known as the English Beat, it just depends on how big the English beat audience is versus the UK beat audience. Probably the English Beat. I feel like they're probably best known for being the English Beat because the English Beat was probably the most active in recent years. The most active version of the band in recent years because Dave Wiggling has kept it going. Dave Wiggling is also like, what, an XM radio host? Yeah, probably the English Beat, because I don't know how to gauge the cultural relevance of what comes to the US from the UK that becomes a lasting cultural touchstone in the US. Like, does it stay as important in the UK? I kind of get the impression that two-tone is not like, people don't like discredit it, but I don't think it's something that is cited or referenced much in UK music culture now. Well, let's get some stats on the band. So they formed in 1978 in Birmingham, England. This was released May 23rd, 1980 on Go Feet Records in the UK and Sire Records in the US. This is the band's first full-length album, and the person on this record is Dave Wiggling, a guitar and vocals, David Steele on bass, Andy Cox on guitar, ranking Roger, AKA Roger, Charlie Charley, C-H-A-R-L-E-R-Y. So it's Charlie with an R at the end, Charlie Charley, but he does vocals and toasting, and we have Evermoreton on drums and Saxa, AKA Lionel Martin on saxophone, and the album was produced by Bob Sargent, who at this point had previously produced albums by The Fall, The Monochrome Set, and The Carpets. If you remember that band that we discussed way back in the old format days. So where do you remember your earliest experience with this band? I don't know. I don't know. Well, the earliest thing I can remember probably in 2012 or 2013, I bought you a copy of this record. Yeah, for your birthday, maybe, maybe, and you were like, "I have that." Yeah, I was like, "Oh, well, I guess now I do too." Yeah, there was... I would have heard it prior to that, to buying it for you, because I was like, "Oh, I know he likes that record. It's a really good record. Let me buy it. I don't know if he has it, but I'm going to buy it because it's like $10, probably." If that is a pretty cheap record. Yeah, I guess it would have been 2012-ish. The earliest I can remember hearing anything by them is there was like a YouTube video. We were looking up skanking on YouTube on how to do it. I think that we were like, "What do you do?" And there was a video of this girl had uploaded of... She had Liberty spikes, and she did multiple videos of her skanking. And the song she was dancing to was "Ranking Full Stop." And I was like, "This song is awesome." I didn't heard the song before. I was like, "Well, this song is great. It was a funny video, because she stops in the middle of it to take a sip of her Pepsi." It was just like, weird. It was early days of YouTube where people would just upload and shit. That's where the first time I've ever heard that song. And that song was always like in my head. I was like, "That song is really good. I really like that song a lot." And then I eventually probably just downloaded... I wonder if I downloaded... Was there a greatest hits that I might have downloaded the greatest hits that came out? It's the pink one, which they have a lot of pink on their albums, which I find the actual one, though. Either way, it was some sort of like best of the English beat compilation. That was probably the first thing I ever heard by them. And then eventually it was just like, "Oh, I'll just start getting into the rest of it." And downloading stuff initially. And then when I was in the final purchasing phase, kind of going like trying to find everything and like hunting down everything. I found the three LPs pretty easily. There's an LP comp that's like some best of, but it also has some like alternate versions on it. I found that pretty early on. I do remember at one time Earshot in Winston-Salem had like a shitload of 12 inch singles from like Scott and two-tone stuff from this time period, and there were like a bunch of these like go-feet English beat 12 inch singles. And at the time, I was like, I passed on them because I was like, "I have the LPs. I don't need the singles." Not realizing that the 12 inch singles were like extended versions and like alternate versions of a lot of the songs. And then when I realized that later, I went back and I was like, "They were gone." I was like, "Damn it, somebody else realized what they were before I did." Yeah, somebody knew. Because they're cool. They're really cool because they had a lot of extended versions that are like dub versions. The most common song that most people would know is the extended dub version, instrumental version of like March of the Swivel Heads because it's in the climax of Ferris Bueller's Day Off. So that's probably the first time anyone, you know, most people heard the beat, you know, was in that movie. But, you know, they actually have a song on the soundtrack, I believe, as well, too. But yeah, that would have been my thing. And then I just got into them. I was so into them. I listened to them all the time in the car, my burnt CDs, and I put on the LPs all the time at home. Like, they were very much one of my absolute favorite bands for a period there. And then eventually they're just like, "Oh, they're just like an all-time favorite now for me." Like, I love all their records. And, you know, you love a band when you're hunting down like extended cuts and B sides of stuff. You know, I want the double LP version of their comp because it has extended versions on it, whereas the single LP doesn't have as many of those. You know, when you're tracking down every single piece of audio you possibly can find by them, it's, you know, you're in deep. They're also a band that like, they didn't have so much material that it was hard to find all that stuff either. Like, you could get it fairly easy, come across it. So yeah, very, very just like into this band for a long time now. And one of my all, like I think I, one of my favorite bands now of all time. So this record especially means a lot to me. It's not my favorite record by them. I do think special beat service, their third LP is my favorite, but it's also like their least scott and two tone sounding album, a lot more new wave, a lot more, I'd say a lot more like other, not specifically like Jamaican music, but there's like African music featured pretty heavily in that record. But yeah, big, big fan of this band. We saw them live. We got to see them in carborough, cats cradle and it's just great. Just a really fun time. Just a really great set of everything you could possibly want them to play. They played a lot of songs too. Yeah. I remember that being a long, felt like a long set. Yeah. I really like the English beat. I wouldn't say that they're like all time favorite, but like I can listen to their records like anytime, like no problem. It's just like, I'm, I'm never not going to want to hear them if I hear them. Very easy to just throw their records on and just like vibe with it. Like they're just accessible and catchy and there's, there's so much, I think even like special beat service, like as much as it's like their least Scott record, technically like it's a very new way of record. It does retain that element of that aspect of Scott really, especially two tone. I think all of the two tone bands kind of have this quality of their being so much going on in every song, like every part, every instrument has something unique that it does. And it, they all slot into these little specific lanes and little syncopation patterns. And like, there's just so much of this like the rhythmic quality of Scott, like you can break it down to its beat, but even still, there's like the things that play outside of the beat, like the way the guitars accent the beat, the way the bass lines accent the beat. Like there's just these degrees of syncopation and it's like, it's like a, it's like a, in my, the way I hear it and maybe it's, it's, I think that makes sense sonically when you get into like the vocal toasting and things like that aspect up, but it's like the sound a socket wrench makes when it, when it twists and it's like, you get all the little clicks of the gears positions, like that's what the sound of two tone bands is. It's like, there's like this hit, hit, hit, hit, hit, hit, hit, hit, hit, hit. So there's just like this undulating gear ratio thing that's happening in, in Scott. It's so fun to listen to the, and like you can listen to so many different levels of it. Like you can listen to a two tone record and, and this record especially, but even still special beat service kind of holds on to that, that quality of like, okay, you can pay attention to the top line melody, or you can pay attention to the groove, or you can pay attention to the, the, the, the little guitar licks that poke in that in different places. And you can just bed down and focus on single instruments that gives you so much like repeat, listen, like enjoyment. Yeah. Wow. What's, what's the, what's the horn player doing here? It's true. You can like focus on every single different instrument in the band because they're all doing something different. Like there's two guitars in this band and they're both playing very different things. And like, I'll be like, oh, this song is like the melody is being carried by the bass in this song, you know, or you just like, I hear the horns, oh, there's a second horn there. Okay. There's multiple horns in here. Oh, there's some piano back there. You know, like it's just a really fun, I remember being like a teenager and like listening to music at night to try and fall asleep. And I would put on like five iron records and I would do that where I would just be like, I'm going to pick an instrument and listen to what it's doing in the song. And I think even in third wave, as long as like, there's enough different instruments in that band, you can do that. You can just like, just listen to what the horns doing in the song, just listen to what the bass is doing in the song because nobody's really doing the same thing. At most, you might get two guitars and like a third wave band doing the same thing. But yeah, it's fun to listen to this and just be like, pick an instrument and just listen to what it's doing. I was doing that listening this week. I was like, noticing what the bass was doing in parts of the songs where the bass wasn't like the most forward instrument. And I was just like, that is cool, but it's going on there. Yeah. And it's a genre in general, I think that just it gives an opportunity for every instrument to be the lead in a way and not in like the, you know, so guitar solo way, you know, but there's just like the most prominent instrumental element of the song will vary from song to song. Some are very bass driven, some are very guitar driven, some are all about what the horns are doing. Like, that's like the most important thing beyond like, I would say, generally speaking with two tone, like it does kind of follow the pop music convention of like, top line melody vocalist, you know, that's, that's the central, most important part of the song. But once you get past that, there is just like, some showcase, the drums, some showcase, the keys, you know, there's just something different. There's an opportunity for everyone. And I think that two tone like, I think maybe two tone, even there is a deliberate like intentional reason it is that way, because I think it probably fits in line with the idea of the genre as, you know, as a social statement, and a political statement beyond just being good, fun music, that it's like, we're all in this together. We're all important, equally important, like we're all, you know, it's very democratic. It's very fair to everyone involved and just like kind of recognizes the individual strengths and differences and unique qualities and kind of uplifts them all. I think it, I think it does that. I think it represents that racial harmony aspect and like the genre fusion that the genre, you know, is kind of specifically designed to do, they take that to the arrangement level of giving everybody a fair shot. Yeah, it's funny to have like the philosophy of like the social and interpersonal elements and political play in so much into the actual songwriting and not just, I mean lyrically, but in the, yeah, what you were saying by everybody gets apart. Everybody is important to the success of this song and everybody doing something different from each other to stand out. It's very much like, it's politically and socially conscious music, but it's also just like fun to listen to, it's really danceable and just super catchy. Yeah, it's very rare to have like a philosophy come into the actual music side of it as well. Like the Minutemen are another band that I think like they're like a philosophy and approach to everything. Like it really comes in through their music as well as just what they believe as individual people. Yeah, it's very cool. [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] Out of the Ska genre tree, I think two-tone may be like one of my favorites, my favorite sub-genre at least. I think I like two-tone better than I like third wave or fourth wave. Well, it's difficult because there's more good to great third wave fans than there are two-tone bands because there's like there's more great third wave fans than there are two-tone bands entirely because two-tone is like six bands. Yeah, I mean, it's very limited. It was very time in place, but what's interesting to me is that I don't think people have tried to, I don't know, maybe within Ska there is like a third wave, fourth wave kind of two-tone revivalist category of bands, but even those I feel like don't really claim the name two-tone. Yeah. Like, I feel like they're just like, yeah, we're just doing Ska, we're doing traditional Ska. And they probably sound the most like two-tone, but yeah, yeah, I think it's funny to me that that term has not become an actual genre that has continued, even though it really can be distinctly defined. Yeah. Yeah, it's pretty easy to separate two-tone from one because it's busier, like there's just a lot more instrumentation and stuff that tends to go on than in traditional Ska, Jamaican Ska, and third wave was like leaning harder into the punk side of things than the actual Ska. Yeah. It sounds like it's very easy to be like, you could just continue making more like two-tone type music going into the future, but doesn't really happen that often anymore. Yeah. They're either going back to Roots, traditional Ska, or third wave, but for some reason the two-tone doesn't really revive very frequently. It's funny because even within the time period that two-tone was active as a genre, it's you know the two-tone bands and you know who the new wave bands are. And even a band like the police who are like a fast reggae new wave band that is probably the closest you could get to two-tone, you hear it and it's not two-tone. There's just that thing that's missing. Yeah. Yeah. I guess a little bit into the backstory of this band. They're surprisingly not a lot to the story. So Andy and Dave were schoolmates and Dave gives tons of interviews. If you look up interviews, Dave has done like a hundred of them. I think Dave likes to talk, he has a radio show after all. So he does like every interview, but he also seems very happy with his place and he's got to just be this guy for his whole life, his whole career doing these songs. But Andy Dave first met in school. He says that the first person we encountered who played an instrument was then just added to the band. So they didn't try out people. It was literally Andy and Dave playing guitar. The first person they meet who plays bass, all right David, you're in, David's deal. You get to play bass now in the band, you know, Everett or you're a drummer now. It's also like Roger was 16 years old when he joined the band and they were older. I think Dave and Andy were already out of school at that time and working. And so they had Roger, he's like 16 in the band and they have Saxa who was in his 60s when he joined the English beat, which that also lends to the fact of the first person they ran into who could play the saxophone, they added to the band. And it just so happened to be a guy in his 60s who, oh by the way, played with Desmond Decker and the pioneers on live with them. He's like an old school actual Jamaican player, sax player who played with Prince Buster and Desmond Decker. It's just like, yeah, we got a veteran, someone joining our band and it was just who they ran across. And they're part of the same generation that really inspired a lot of the punk explosion. They are part of that UK recession era where like everybody's either like underemployed or unemployed and waiting in line for their government checks. And Birmingham was like a very working class city. And this is where Dave was talking about, there was like a really big mix of just like you had English and Irish and Indian and Jamaican and African, like all these different types of people with different backgrounds all living within the same city. And there was just this like, we're part of it. We're all in this together. And like he said, the beat could never have come out of anywhere else. He said, except Coventry. He's like, I think Coventry is where we could have come out of from, which is where the selector and the specials came out of. They were Coventry fans. So he's like there, that's where I was talking about earlier with like he was talking about Coventry and Birmingham having these like mixed race bands in a time where there was still like some segregation in the UK, like there's certain parts of the country that like you weren't allowed to have like black and white people in the same bar in the same pub. But Birmingham was one where you could. And that's why he kind of was like shouting out like madness and bad manners in London being like, oh, they're all the white guys down there. Like that's that was their version of two tone, not having a second tone, skin tone in the other bands, but yeah, one tone. So they start playing around and they're playing live shows and they get approached by two tone records. They're like, hey, we want, you know, we want you to put out a single on our label. You know, we want a mirror in the bathroom because that was like their big live song at the time. And they're like, oh, yeah, let's do that. Let's do that. And then Chris was came in and was like, hey, one second there because Chris was, I think, was who was over two tone records, like who own two tone records as a whole. And Chris was like, hey, if you give us mirror in the bathroom, it means you can't release it on any other LP for five years. Like we will own it for five years, basically just an exclusivity window is what that sounds like. And they were like, well, shit, we, we don't want to do that. We don't want to like give one of our best songs and our, you know, most famous song, you know, our show clothes are basically or, you know, big highlights of our live set. Like, we don't want to give that away and not include on the LP. And so they were like, well, what can we do, you know, well, we do cover tears of a clown in our set, which is a Smokey Robinson song, co-written by Stevie Wonder. And they were like, well, that was one of the songs that like no matter where they played was always a hit, you know, you could go to like a club and it would, you know, it would work there. It would work in like a bingo hall or, you know, anywhere you could think of that they played because they played all sorts of venues. That song was a hit regardless, you know, so like, well, we can do that. And one of the funny things about that even becoming part of their repertoire is that apparently when they were like first starting to play and like writing their own songs, they would get lost playing the songs. Like they would just like, they have odd times, I think, in some of their stuff. I think they have really weird time signatures. It's kind of hard to track down and like weird like chord progressions and tunings because like Dave apparently like changed tunings all the time. He's a tuning weirdo. I know when we saw him live that he he tunes his he strings his guitars backwards. Yeah, he does all the all the low strings on the bottom. That comes from when he was a kid, he had posters of Paul McCartney and Jimmy Hendricks on his wall who were both left handed guitar players. So he thought they were supposed to be that way. So he's like, I learned how to play the guitar backwards for the first year that I learned how to play guitar because I just didn't know any better. It's very similar to like the minute men tuning all their strings to the same note because they didn't know what they were doing. Yeah. But it's funny that he did that by accident, but like it makes like it kind of actually makes sense to string your guitar that way for SCA. Yeah. Yeah. SCA guitar playing, you kind of have to reverse the way that you strum because it's up strokes that's why, you know, people call that sound up strokes because you need that bright higher end to pop, you know, to have that attack at the front of the of the chord. And it's it's just also just kind of like lends itself to the, I don't know. But yeah, it's just like the muting is is well, I mean, that's your left hand. Yeah, you're muting, but but yeah, reversing the strings like then you can just down stroke and you get the up stroke found like you can get a more natural strum, but you get the up stroke qualities of it. So he said that they would practice and then I guess just the timing were all weirded off throughout the whole time. And so Everett suggested he's like, well, why don't we just play a song that we all know and then we can play your weird ones after. That was how he worded. He's like your weird tunings and weird pat time, you know, beats, but and so the only song that they all knew was tears of a clown. And so he said they would play here in the bathroom, tears of a clown, Justin crawl tears of a clown during their practices. They would play their song tears of a clown, their song tears of a clown for the whole practice to keep them on time because they're like, we know how this song supposed to go. So this is how we get our time back. Like it's very funny that that wasn't what they used to like just figure out timing with each other. We can't listen to each other and play in time with each other. We need to reset between every song on the one song we all know, how to play. And so they were like, okay, let's give them tears of a clown. So the first two tone single is tears of a clown and ranking full stop, which are not on the UK version of the LP, they are on the US version. And so those were the first thing out and they said like, thankfully it's good because originally we had mirror in the bathroom and he's like, that song is like not a happy song. It's a song about, he described it was like, he used to work construction and he would like take his clothes off after work and like hang them up to dry like his pants would be soaking wet because it's London and it's England and it rains there a lot. So his pants would be soaking wet, he'd hang them up to dry overnight. They wouldn't drive before they drive by the morning, he'd get, he'd put them on and they're still like cold and wet. And so he would go into the bathroom and hang them up and like start the shower. So the steam would like warm the clothes up and he said like the song is about literally staring in the mirror in the bathroom and just telling yourself like, hey, we don't have to go to work right now. And then eventually being like, we do have to go to, we do have to go to work. And so it's about like, psyching yourself up to go to work in the cold with your wet damp jeans, because I assume they just didn't have a dryer, you know? So he's like, it worked out better because tears of a clown wound up being like coming out at the end of the year and becoming like a Christmas hit because like the Christmas radio singles are like a big deal in the UK. Like a song being on the chart at Christmas time is like huge, even if the song is not a Christmas song. It's backwards, the country doesn't make any sense UK, just music industry. It's just singles are like singles come out at Christmas. What are you? I think it's a gift idea. I think it's like you give it as a gift because the song wound up being like number six on the charts because it was like, it's Christmas time and everybody knows this tears of a clown song. So like, let's give it a, you know, people know the song. So regardless of if you know the beat or not, you know, it became a hit just purely based on, oh, we know that song. And it's Christmas, Merry Christmas, here's your seven inch, you know, you're single. Pull a cracker and put on your beat, forty five. You got, yeah, your Christmas sweater on. So you got, yeah, your Christmas sweater on. So you got, yeah, your Christmas sweater on. And so, yeah, that's how they decided like, all right, we'll leave it for the record. So then they start their own record label, which is wild. I guess they're like, well, Touton did it. We should do it too. Like start our own record label. They start Go Feet Records, which like put out like nothing else. It was just them and like one other band, can't remember their band, like the Congo's maybe or something like that. One other artist like on the label and that's it. And they wound up, so they wound up calling themselves the English beating United States because there was a band in the US already called the beat, which has now retroactively been changed to the Phil Collins beat, his name, it's, it's a Paul Collins beat, Paul Collins, yeah. So now it's like, well, then you could have been the beat here, but whatever. But then in Australia, they're called the British beat. I don't know why that's the differentiation. Why they're like, we all English. Maybe that's what they're thinking. Yeah. The British beat. Yeah. And yeah, the way they talk about it, they're just like, it was, we got lucky. He said like, everything that happened to us, every band member we accumulated, we just got lucky with who it was. We got lucky that, you know, here's where clown was released around Christmas and became a Christmas hit. We were lucky that when we got into the studio with Bob Sargent that he had spent like, he's like, he said that Bob Sargent had worked with punk bands before and was like, would fight to get just three songs out of them. And but working with them, it was like super smooth and just like, I guess they were just better musicians than a lot of the people he was working with prior. And yeah, they were just like a series of like lucky breaks throughout time and wound up doing really well in general. Last album became number three on the UK albums chart. It was number 152 on the Billboard chart in the US, which charted in the US on the first record is really impressive for UK band. Like the clash didn't even get their records here until the first two albums here until what London calling came out to at the same time, certified gold in the UK. And then like the record is like a good mix of originals and some covers, you know, tears of a clown on the US version, rough writer and wine and grind are both Prince Buster songs that they covered. And then they added on to wine and grind by making it stand on Margaret. There's can't get used to loving losing you, which was an Andy Williams song. The jackpot is a pioneer's song, so a decent amount of covers on the record, but they also did their own sort of arrangements on almost all of it. And to me, they're just like the best of the two-tone bands. I think this is the best record out of two-tone. Yeah, probably. And I'd probably say the selector. The specials really are my like of the big, I don't even see, I don't even count. I guess of the big four, man, this is my least favorite. Yeah. But yeah, the being the speed selector specials, madness, if we're ranking the big four. Yeah, I love this record. This is one of those records I could talk about without listening to it. I mean, I really I can look at every track and like more or less know them instantly when I see them, like the titles, like maybe noise in this world, maybe best friend. I don't fully know as well as I know everything else, but you just gave me the name of your best friend. It's like the really fast-paced song. It's like a really fun upbeat, really fun song. Yeah, noise in the world is it's another faster-paced song. I think it's the one that maybe is like, faster, faster, faster, faster at the end of the song too. But no, that's click click that has the faster part. Yeah. Yeah. The noise in the world is like, whatever. I want it's got like the noisy kind of lead guitar part on it. It's such a strong record. Hacing is so good because it's mirror in the bathroom, killer opening song. Oh, yeah. Hands off. She's mine. Super catchy and memorable. Two sorts, hard kind of mean. Yeah. You know, I love that song. I really fucking hate those Nazis. Even the way he says, even though the kids are Nazi, I'm like, that's how the lyrics are written or listed as he's saying the kids are Nazis. I was listening to it last night and I'm like, is he saying kid? What are you saying? He sounds like he's saying even though the cons are Nazi. This how strong his accent is. I'm like, I can see him saying it. And then they were like, oh, we can't print that. I'm sure it is kid. I'm sure if I listen closer, but I've heard the song plenty of times before, but it just kind of stuck out to me that last night, I was like, it kind of sounds like he's saying something stronger, twist and crawl, twist and crawl, twist and crawl, twist and crawl. Tears of the clown is an incredible cover. Right. The usual song is great. Yeah. Their cover of it even better. Yeah. It's one of those examples of like the cover that's better than the original. I fucking love this version of the song. The original is great, but there's a funny story where he said like this younger girl in the US, like they were playing the US and like this younger girl came up to him and was like, I heard somebody cover your song tears of the clown. It was like really slow and hard to dance to. And it was just the, she had never heard the original before. Every song on it, Rough Rider. That's like they're the traditional, you know, the, which one was that one was that was a Prince Buster song. Yeah. Click, click, click, click. Is like the really fast song. Like a full stop is still my favorite beat song. I love that song so much. Big shot. It's such a big shot. Yeah. Oh, Wine and Grind stand out Margaret. Incredible stand out Margaret, especially when you get to that part of the song. They wound up donating a lot of the proceeds for the single because that was the B side. It was the B side to best friend, which is a fun mix of tracks. Best friend was the single and then the B side is stand out Margaret, Wine and Grind. And they wound up using the proceeds of that seven inch to donate to nuclear disarmament, which was like a really big thing in the 80s. Which it was funny because like he said, like we got lucky with our label because our label never questioned any of our lyrics. Even like lyrics were like talking shit about Margaret Thatcher, you know, like no one questioned our lyrics to any of our songs and like pushed back on them from the label, which I guess they expected some because Thatcher was like popular. She was actually really popular with conservatives very much like Reagan was really popular here in the US with conservatives, but like the youth like hated her and like the non-white people hated her and she's pretty awful. She's yeah, her and Reagan were horrible for their countries. Interesting ramifications to this day, yeah, yeah, I love this record. I listened to all of them this week in preparation as episode because they're just so easy to just listen to they go down smooth and what happened is fun. It's the weakest of the three, but they're still really good stuff on that record, especially the service being my favorite of their three albums. It is also much more new wave inspired, but this is the most sky record in their discography like their most two tone, their most traditional Scott album in their discography is this one. And it's kind of the, if you haven't heard a beat record, this is the one that most people would say start here, listen here, this is where you go, this is where you start. It's probably one of the more lasting records in their discography. It's like the one that is thought of more today for them. Well, there's, yeah, I mean, it's the first, it's an incredible debut record. They got huge on a cover for a single, kind of blew up immediately, but it also has the iconography. I mean, it has the two tone album artwork, got that bright pink, it's got their little beat girl, dancing girl. It's a good album cover, yeah, it's just memorable. Yeah, well, you know, save it for later is probably one of their biggest songs that came out on special beat service. Like everybody covers that song, Dave told a story about, he was like at home and he got a phone call from Pete Townsend and somebody else, I can't remember who it was, there's another like famous musician. And they were trying to learn saving for later, because Pete Townsend would, would play save it for later live and they couldn't figure out the tuning. So they called him or like, what's the tuning on this song? Like they, they didn't know what he was doing to the song and they couldn't figure it out until he had like, tell them it was just, this, this, this, it was just like, very different from what they would expected it to be Eddie Federer, apparently, and like Pearl Jam would cover it all the time here. And they would do it in that kind of where it's like, they're playing one song and then they would turn it into another song. Yeah. And they would do it during like better man, I think, it would turn better man into saving for later. Very, very weird. The beat wind up breaking up in 1983, like 83, 83, that's it, they're done, you know, they. Yeah. Like what? Their first show, 79. Yeah. So they played. So they played 80. They were around for four years. Yeah. And like, apparently a lot of the members were just tired. They were like, we want to stay home. Like they, they toured a lot. And there was a point where two tones stopped being like popular in England and they were getting more popular in the US. So like by the time like the third of them comes up, they're bigger here in the US than they are in England, like they've already like dropped down. And so they were touring the US all the time. And they were all just like, we just want to, we just want to like not tour for like a year or two. Like they wanted to like take a big, big break from it. And he's like, we all were tired of being around each other all the time. You know, half the day I wanted to stay home. And so then, you know, they're like, all right, well, we'll just call it a day then. They were done. And one of the big things that there's, I've seen Dave say this in interviews too. So he said that like part of it was the money. They started general public. It's just Dave and Roger and Saxa. They brought Saxa along and it's like, it's more money for us because we're the only musicians on the record now and besides accession people that we hire. And then Andy and David go and start finding young cannibals and have us smash yet. Like that song's probably bigger than any of the beat songs worldwide. And then Everett, I believe Everett and Saxa wind up doing some stuff together later too. So we have, yeah, Saxon Everett started the international beat and Roger would join in occasionally. Roger also played in a band called the special beat, which was like the specials plus Roger. And then they would do both beat and special songs. They made some like live records. And then years later, they decided like, hey, let's, let's get these, you know, let's try and do this again. And Dave was living in the U.S. at the time. So he formed a new band here in the U.S. Apparently, Roger didn't like that. He was pretty upset about, you know, him going on and starting and the beat without him because Roger still lived in England. And then so Roger wound up creating his version of the band that just went by the beat. They eventually like they eventually worked it out later. And then they just came up with the deal just like, you be you, you be the beat over there. I'll be the beat over here. If I'm over in the UK, I'll come out and play with you, you know, sometimes, you know, but we won't tour this version of the band in the UK, you know, we're not with, it became like this is your turf is my turf. We won't cross the lines. We're going to franchise the beat operation. And yet they just it's kind of how it worked. There was an attempt to get the band to reunite for the VH1 show, call it getting the band back together or something like that. Everett, Saxa, Roger and Dave were all down. They were all down for it. Andy and David, no, they couldn't even like get them to like appear on camera and talk to them like they just dodged the producers of the show. And it just didn't and just, nope, we're not going to do it. I think that actually probably more spans from David and Andy in Find Young Cannibals than so much like the beat portion of things. I think they might have had more problems with each other than the rest of the band. Yeah, cuz Find Young, Find Young Cannibals, do they do anything ever? I don't know. Do they play still? Find Young Cannibals tour 2024, let's see, not due to play. They are scheduled to play two concerts, upcoming concerts. They have the August 15th at Canary Wharf, Canary Wharf, I don't know. Yeah, I don't think they've done anything. They broke up in '92, they returned to the studio in '96 to record a new single and then that's kind of it. So I don't know if they've maybe tried to do some live shows, but they disbanded in '92, briefly returned to studio in '96 to record a single for their greatest hits. I think it might just be Roland touring or performing as Find Young Cannibals. Like it seems like maybe Roland Giff just goes out and plays by himself. Yeah, yeah, I don't know. I think they have more problems with each other than the other guys in the band. Because they've talked about when they did a big remaster for this, oh, it was like a box set. They did a box set of all the records and they were just gonna get it out, it's fine. But their manager's time is like, "No, you need to listen to all of these and make sure they're good. You don't want to put something out that you're gonna be like, "Oh, this sounds like shit. Why do we let them put this out?" And so he said they all got together over a call. It wasn't the in-person, but they talked over the phone together and talked about the whole, "Let's do this, let's do that," and he said, "Everybody was good with each other at that point. They could talk about it and talk to each other about stuff. Everybody's pleasant with each other. I just think they couldn't be in bands together anymore." It ultimately was. Because apparently Roger and Dave had a really bad back and forth public war in the papers back when they were first starting the US and English side of things. British press is really weird too. We're battling, I don't know. I guess it's not that weird, you know, Holland Oats doing their stuff in the public now. Yeah. I mean, one of them has a restraining order against the other one. Yeah. Yeah. It very well could have just been somebody was interviewed and they made a snippy comment and then something they went and asked, it's like, "Oh, did you hear?" Dave said, "Oh, well, you could tell Dave that they just print just some tabloid." Yeah. Right. Or just poking them to say bad things about each other. Yeah. But yeah, Roger's version of the band, at least two more records. Dave's version of the band released another, released a record. Apparently Dave's version was like done around the same time as the first one of Rogers. And he was like, "Well, there hasn't been a beat record in 30 years and I don't want two beat records coming out a month from each other. So let's just space it out and not flood the market with beat albums at one time." Yeah. It also helps to just not make it look like, "Oh yeah, well, here's mine." Yeah. Yeah. Ketchup? Cats up. Ketchup. But yeah. This is one of my all time favorite bands, incredible record, one of my all time favorite albums. I think it's one of the best of the two tone albums and bands. Just excellent, excellent album. So much to the point where I was like, "I don't even need to think about it." No, I do want to do like in future episodes, we should do the specials first record at least, you know? Yeah. Or the madness first record, you know? Because they're great records too. But yeah. Well, I think, you know, doing these we can do a bad manners record if we want to. Yeah. Yeah. We may as well. But yeah, any other closing thoughts? Um, no, I don't know. Listen to the English beat. If you have it, I don't know, if you listened to this episode and you've never listened to the English beat, you probably haven't made it to the end of the episode to hear me say this, but listen to the English beat more often. I guess that's a comment to myself as much as it is to the listener. What would you rate it? I would say it's a five star. I think it's a five star every album. I think I, for some reason I had it marked as a four and a half. I don't know why I didn't have it already marked as a five star record because I have a special beat service rated as five stars as well. Yeah. A thousand and one album. Is it? Is it the thousand and one albums to hear before you die? Um, did it make the book? You mean like the actual book? Yeah. The real book? I don't think it is. There's probably the specials and that's it. See, here's the index. Uh, no, it is not in the, in any edition of thousand one, uh, I mean, if you look at Wikipedia, enemy ranked to the third best album of 1980 sounds had at number 13, village voice had at 21st, OOR had at 41 in 95 spin ranked the album at number 94 on his list of top 100 alternative albums, fast and bulbous, ranked at a number 283 on his list of 500 best albums since 1965, a KCPR poll of DJs ranked it at number 40 on the list of top 100 records of the eighties, lay Iraq, Iraq, gopitables, included on this list of 50 years of rock and roll. Um, paste ranked it at 40 on the list of 50 best new wave albums, mirror the bathroom is ranked number three and enemy single of the year list of 1980 number 24 and sounds lists, Q ranked it at number five, 17 and the thousand and one best songs ever. Um, yeah. So it's very well, well regarded. The first guy ranked it twist ranked twist and crawl as number 10 on his list of the best songs of the eighties. Wow. So yeah, very well regarded, but yeah, not a thousand and one. And if I, it's not my thousand and one, my thousand and one is special beat service, but the beat are on the list. Oh, right. Well, I think that'll do it for us. So thank you all so much for listening. And we will be back next week with some more SCOGGEST this time of the third wave variety. Uh, in the meantime, you can follow us at all forms of social media at punk lotto pod, punk lotto pod at gmail.com and our voicemail line 202 688 punk. And I'll do it for us. So thank you all so much and we will talk to you next time to order punk. Call the number on your screen. Rush delivery is available. Remember this special offer is not sold in stores.
