He's one of the old guys. Big girls don't cry. You know that guy? Yeah, there's like so much footage of him. He lip syncs like with the least energy of someone ever lip syncing. It is like so, so like, oh, it looks like an animatronic is there singing. Frankie Valley. Frankie Valley. Oh my god. If you haven't seen any of those, there's a lot on TikTok and like catatonic youth on Instagram did like a compilation of them. And it's just like, oh man, it's, sir, go home. You don't have to do this. You don't have to be out there lip syncing. Like just, just go home. You don't need it. Are you that broke? Are you bet that bad with your money, you know? Yeah. That you gotta be like 85 and pretending to sing. We know it's not you. We can see. Yeah. Nobody thinks you can still do that with your voice. It's too high. You probably haven't able to do that since the 70s. Yeah, it's weird. Big buts, tone, fart. Yes, this is Scott original and indigenous. The music of guitar, saxophone, trumpet, bass, and drums. [Music] What's up, posers and welcome to Punk Lotto Pod. I'm your ghost, Justin Hensley. I'm your other co-host, Dylan Hensley. And this is the show where we choose when you're random and select one punk hardcore emo or punk adjacent album from that year to discuss. And this week we are wrapping up our scoggiest celebration where we discuss all things, Scott. We started off with two tone with the English beat record. I just can't stop it. We follow that up with third wave and five iron frenzies, our newest album ever. And this week we are going back in time to traditional or first wave, Scott, because we've discussed it a few weeks ago when we decided on doing this. Instead of doing new tone or the modern wave of Scott, because there's only so many bands and so many albums to talk about, that we decided to go back in time and look at the stuff that inspired two tone. So that's what we're doing today. Head over to patreon.com/punklottopod for one dollar. You get access to all of our weekly bonus audio. And last week we did a news of the world where you talked about some of the recent news stories that happened over the last month. And I have also posted a recent episode of challengeography Joan Jett season. The second part of that has gone up where I discussed glorious results of misspent youth, good music, and up your alley. So we wrapped up the 80s output of Joan Jett. And we were talking about her on the show, and you were asking me, because I mentioned my favorite Joan Jett record was in that batch, and you were asking which one it was. And you guessed glorious results. And you were right, but I didn't want to admit it yet. I was like, no, no, wait till the audio comes out. But yeah, that's probably my favorite one so far. But yeah, that is on the patreon. And there are probably a metalcore chronicles on the way. I started doing some notes on the metalcore albums of 1990. Not a lot, if you can believe it, but a bunch of EPs. So we'll talk about some of that stuff too. And two things of note on the patreon as well. One, let's do some little like housekeeping type stuff. So, Patreon recently announced that if you subscribe through the iOS Apple Patreon app, that Apple is going to start instituting a 30% surcharge only on purchases made in the Apple app. So if you subscribe to any Patreons on the Patreon app, they are going to start charging you 30% more. Apple is just stealing from all these companies is what they're doing. Because they're doing this across the board. So anything that you have to like purchase through the app, the Apple apps, they're going to start charging a Apple surcharge. Don't know how that's legal. You're just like stealing money from everyone. So what they're telling what patreon is telling people to do, because this is an Apple thing, they're saying sign up through the website. Don't sign up through the Apple app. You can sign up through Android app. That one's fine. That one's still okay. They're not charging the extra 30%. But it's just Apple. So if you subscribe, if you sign up, apparently they say that everyone who is currently signed up won't be charged if they're being grandfathered into this old system. You never know. They'll probably eventually change that too. But you'd probably get a warning on that. I don't think they would just randomly start charging you without telling you. But yeah. So if you have not, if you have not signed up for a patreon before and you would like to sign up directly through the website, either on your computer, and I think it's fine through Safari, I'm not 100% sure. I think it's fine. I think it's purely the app. It'll tell you though, you'll see like it's like 30% higher or whatever it is. So I think the web version's fine. So you should be fine there. But don't sign up through the app. It's shitty. It's shitty. They're doing this because now it's just like being an extra like step or confusing thing for people. But yeah. And I think that goes into effect in November, I believe. So you got a little time. And that leads us to our second little announcement. So Dylan and I have talked about it for a while now, actually, probably over a year that we are launching a new tier to the patreon. So we currently have the $1 tier that gets you all the bonus audio that is staying the same. That's not changing at all. $1 gets you all of the audio. That's still there. And we're keeping the $10 tier. That is where you get to choose the album we devote an episode to. That's staying the same too. But we are launching a third tier. And it's between the $1 and $10. So we are going to launch a producer tier, which will also get you another little treat, which I'll explain in a minute. But for the producer tier, it'll be $5 a month. And you will get your name said on the podcast every single week. We will announce you every single week that this episode is brought to you by Dylan, that kind of thing. If you want us to say something specific, we can do that too. Like this episode is brought to you by songs about chocolate and girls, for an example, or one band five song. If you want that to be how you want us to, you know, call you a producer, we can do it that way. Or just say your name either way. That'll be up to you. Just let me know if you sign up at that tier. And then the other idea was actually inspired by our buddy, Dave Brown and one band five songs. He does these monthly book clubs. And he's got one that he does over Zoom. And it kind of made me think it would be neat to do a music version of that, where we pick an album, everyone listens to it. And then we all get on a Zoom or a Skype call. And we discuss about it, like a book club. I guess we call it like a record club or album club, whatever you want to call it. Listening club. Yeah, listening club, that's perfect. Because record club and album club kind of implies like you're getting vinyl or something like that. Yeah. Yeah, listening club. That's perfect. We'll call it that the, yeah, we'll just get together on Zoom once a month and we'll chat about a record together. And I've pitched the idea to the few people in the discord. They all seem to think it's a really fun idea. So I think we'll launch this. We'll launch this at the beginning of September. That way, I don't want to do it in the middle of the month and then you'd be charged like before we can even do anything. So what we'll do, that'll get launched probably, I'll probably just launch it on the first of September, just so you get the whole month to sign up for it. And we will pick a date sometime that month, we will communicate through the discord and through the Patreon. And I also think what we'll do is we'll do a live chat, but I might still upload the video of it to the Patreon so that if you missed it, but you wanted to hear the conversation, you could still see it and watch it. So we'll make sure to get everybody's permission before we do that. But yeah, I think it's a really fun idea. I've wanted to do another tier for a while. We did have the idea of doing live streams, but we couldn't quite figure out what to do and how to do it. And I think this will be a little bit more fun and more interactive. So that is patreon.com/punkglotopod. $1 gets you all the audio, $5 gets you also all the audio, and a producer credit and access to this listening club, and then the $10 tier. So yeah, all the housekeeping kind of the way, but yeah, we want to do this for a while. So I just wanted to think of something else to give you because we could have just done the producer credit, but I wanted to do something extra along with it. So it wasn't just one thing. All right, so now that all of that is out of the way, let's talk about sky. So we did talk about a little bit at the top, but we wanted to do something with traditional and Jamaican sky. I wanted to do something for a while about it, but because it was pre-punk, I was never 100% sure what we should, you know, do or how we should do it. And ultimately, because traditional Scott Jamaican sky were such a big impact on two tone, and even just like the punk bands of like the UK punk explosion, then I was like, you know, it'd be cool to talk about something from this era. So how much first wave Scott do you listen to or have listened to in the past? Not a ton. I've dabbled in it. There's definitely, you know, artists that stand out in terms of like, in, I guess we'd call it Scott, and then like rock steady by extension, the way people like categorize rock steady and and reggae and Scott from this time period. It kind of varies a lot and stuff that you would think would get counted maybe doesn't. But anyway, a little bit, I have, I have dabbled in some of the kind of late 60s stuff as I've been deep diving from 67 and 68, I've hit some Scott records from those years. It's not, it's not something I've spent a huge amount of time with, but I'm definitely pretty familiar with all of the major players in that scene. And there's, you know, certainly some favorite records that I would consider first wave Scott or traditional Scott or whatever you wanted to call it. Yeah, there are the distinctions between Scott and reggae and like rock steady. They're very, very fine line distinctions. Like they're not, they're not drastically different styles. Scott might be, I guess if you're looking like at the original stuff, like the real first wave Scott stuff, that's pretty uniform sounding like it's all upstrokes. It's like very simple beats. You get a little bit of horn work in there too. I don't know a huge difference between rock steady and Scott. Honestly, I guess rock steady is kind of like what the middle step between Scott and reggae. Yeah, rock steady is kind of originates mid 60s. It's, it's something that that came out of Scott and it was kind of, I think ultimately like it really boils down to a slower version of Scott, and which was definitely like that step towards reggae of like ultimately slowing that beat down and like really shifting that accent. And it is also that degree of an accent change kind of happens in rock steady and then a little bit more to reggae in the rhythm. But I think rock steady is kind of like, they, they say it kind of happened by accident because they were trying to record some stuff. I can't think of who exactly it was, where the term originated. But it was like, I think it was the whatever drummer it was, was talking about it in an interview and he was saying like, he just, he couldn't play the beat as fast. So they just played slower. And then like kind of changed the beat a little bit, that kind of created the whole genre from there, which that's the thing with, with Scott, right? Scott, rock steady, reggae, and it's something that happens a lot in a lot of other like Afro Caribbean music. Like it, so much of it is defined by the beat that they're playing like entire genres of music are just like, yeah, it's that beat. That's the genre. I mean, that's, and that's like, that extends into a lot of Latin music. Yeah, it's just, it's funny. So you're like, well, these aren't, these aren't really that different because it's like, we have the kinds of chords and melodies that they're playing and like, you know, they're still drawing from the same like influences and from the same culture, but it's just like, no, yeah, it's this genre because this is the rhythm that you play. Yeah, reggae, reggae feels a little bit more easy to identify. Like it feels more defined. It's definitely the slowest of the three. And it, I think also with reggae, it doesn't have to only be upstrokes. I think you could do a little bit more chord wise there or our strumming technique. Like it does. It's not as hard to find as like, sky is. Well, yeah, there tends to be, sky is very like, chica, chica, chica, chica, chica, like that's kind of the rhythm. And then reggae is more like, chica, chica, chica. It's a little more like waltz, you know, it has a little more of like an undulating, like a little more sway to it. Because sca, sca is definitely like, you're dancing. Like this is just, yeah, this is one foot, two foot, one foot, two foot, you know. Yeah. And then also one point, it kind of just like all becomes reggae too. Like, Jamaica is, is the source of sca and Rocksteady and reggae. And at one point, it's just like, all right, everybody's done with sca, we're all doing reggae now. Like, there's not too many, not as many Jamaican sca artists coming out of there as much as there used to be. Now, most like sky is like, oh, American, or some English too, but like, a little bit more international now. But I think Jamaica, like, I think it's music scene progressed more than it gets credit for now. I do think it gets kind of just like boiled down to just being, oh, it turned into reggae. And then that was it forever. And it's like, the roots reggae stuff did kind of like stay for a while. And those bands certainly had like those artists, Bob Marley, you know, those artists had their like cultural relevance for longer than maybe like a lot of the sca stuff did. But reggae itself as a genre like progressed in multiple other directions like for, you know, years and years, like it, you know, goes into dub and it goes into lovers rock and it goes into, you know, it just, it goes in different directions and changes as music, the style of music changes over time. And, you know, late 80s, it brings in pop influence from, from the US and, you know, in the UK and like it, it brings in rap influences. It brings in, you know, it, it changes over time and it has continued to do. So I'm sure you could find new music in coming from Jamaica right now that's like wildly different. Yeah. Oh, yeah. But there still is like a progression, like kind of a through line through it. Yeah. Yeah. For me, most of the sca from like the classic era that I do still enjoy stuff like Desmond Decker and Jimmy Cliff, who Jimmy Cliff also utilizes lots of like soul and R&B and his music as well. Like he's not just Scott. And he has some stuff that's just like straight reggae to those probably being like some of the bigger artists that I listen to. I do listen to Jimmy Cliff pretty regularly. It's probably the one that I go to the most frequently. But yeah, there's definitely a period where I was just like, ah, Trojan Records compilation? Sure. I'll listen to those, you know, listen to some yellow man or, you know, Prince Buster and that kind of stuff. I guess dub dub is kind of its own special thing. It is a, well, sonically, it's very similar and it comes from Scott. It's also like one of the earliest forms of for lack of a better term electronic music because original dub is literally just taking audio files and cutting and pacing them together. Back then, it would have been like real to real, you know, that kind of stuff. So taking the tape and then gluing them together. And yeah, very much a precursor to, yeah, you know, and mixing out the, you know, turning up the bass in the mix and turning down the guitar or like, you know, really, really shopping up the guitar, like, you know, messing with the vaud, you know, faders bringing the guitar in and out or the vocal lines in and out, depending on where you want it, like sending that stuff to like, to a tape delay. Definitely was definitely became very influential as a genre on electronic music in terms of like the mixing, the mix moves that you do and the use of effects, but definitely not electronic music in the sense that it's made with like synthesizers. Though they did, you know, they venture got there. Yeah, we're using synthesizers in dub too. They just like add a little synth line or you hit the little space drum, the sounds. Yeah, yeah, I don't listen to a lot of dub. A lot of it's instrumental. So I don't see a ton of instrumental stuff either. Like a lot of, there's a lot of like Lee Scratch parries that like made a whole lifetime career out of dub, essentially. It's not one that I go to very often. And plus it's also like, I won't, it's a little spaceier. So like, it's not really a mood that I go to very often. But yeah, it's definitely worth mentioning as one of the genres. And dub was dub, I guess, is might be more influential than reggae is in punk music. Like I feel like a lot of third wave bands also have like dub songs, you know, like there's a dub song per per Scott record, you know, depending on depending on the band, obviously, but and there's not as much like throwback to first wave reggae and or and Scott. Yeah, like what, like the Agro lights. That's kind of like the big one. Yeah, but yeah, very, I don't know, it's a genre that I do. I do enjoy quite quite a bit. That's why we devote, you know, a month to it now, you know, lots of different variation, different kind of stuff that we can talk about. So so this week's episode, the album we're talking about has a weird release history. There are two dates associated with this album because there's two albums. The one we listened to and are talking about today was released in 1975. So let's take a look at the other Scott reggae albums that came out in the year 1975. So at least according to rate your music.com, the Scott music that comes out in 1975, that's a lot of dub. What I'm saying, some DJ, some dub. Yeah, we've got revolution dub by Lee Scratch Perry on the upsetters. We have King Tubby, the roots of dub, multiple Lee Scratch Perry records. Kung Fu meets the dragon, Joe Gibbs in the professionals, Herman Chin Loy, more King Tubby, King Tubby and the aggravators. There's a lot of King Tubby. Yeah, King, there's like a billion King Tubby records and then upsetters records and Lee Scratch Perry records like just so much in that style. There is also a decent amount of roots reggae. We have Burning Spear, Yabi Yu, Keith Hudson, Yu Roy. There's not very much if any, Scott. There's some skinhead reggae. There's a Judge Dred record. Right. Yeah, it is. I guess by '75, most of the sky guys are just doing dub records now. It's super easy to make. Yeah, there's a reason why. Desmond Deckard had released a record on Israelites that year. It's considered Pop reggae, but he's a connection to sky. A lot of dub. Wow, lots and lots of dub. There's a Jackie Matoo record. Let's put it all together. There's a Derek Morgan record. Feel so good. The Dragon airs. They're one that's actually tag, Scott. They did a record on the Midas Touch. Yeah, not a big year for sky itself, in which makes sense. The way the scenes have evolved at that point, reggae is pretty popular by the mid-70s. That's kind of the thing that is taken off at this point and then dub, just so much dub. What's interesting about a lot of this is the releases, which we'll get into the record too, but there's so many different records that are just like, this was only available in Jamaica. This was only available in the UK. This is only available in the US. All these different formats and issues and reissues and track listings, variant track listings, so much of that. It's not very uniform. It's very messy, as far as a discography and stuff like that, go. I assume that is more to do with, that feels like they're having a lot here in the '60s and the '50s and stuff like that. A lot of stuff was only in Jamaica, didn't make it outside of the country. And then just years later, people on the internet find it. They're like, "Oh, this is rules." It can be tough to navigate discographies and albums from this time period, like our album today. So I think we just go ahead and get into it. All right. We both agreed on this record, so neither one of us were assigned anything in particular to choose it, but we selected "Funky Kingston" by Toots and the Mate House. [Music] [Music] [Music] [Music] [Music] Some stats on the band from Kingston, Jamaica. The band formed in 1962, and there are two albums called "Funky Kingston," a 1973 version. And then when we're talking about today, from 1975, we'll talk about the distinctions later. But the personnel on this record is Frederick Toots-Hibbert on vocals, Ralphus Raleigh Gordon on vocals, Nathaniel Jerry Matthias on vocals, Radcliffe Dougie Bryan on guitar, Neville Hines on keys, Jackie Jackson on bass, and Paul Douglas on the drums. We also have some additional musicians, Winston Grenin on drums, and Sons of the Jungle on horns, which were a Ghana-based horn group. And the album was produced by Chris Blackwell, Dave Bloxam, and Warwick Lynn. And Chris Blackwell was the owner of Island Records. And Dave Bloxam was like a big time producer with Trojan Records, and Warwick Lynn is another one that was involved in, I think, involved in Island. But what do you want to do first? Should we talk about what this album is, or should we talk about our personal experiences with Toots? Let's talk about what the album is. Okay. Since we kind of talked about the issues, I feel like that's something we can get into, essentially talking about the reissue version of the record. Yeah. So the version we're talking about today is the 1975 version. That is the version that's on Spotify. That is also the most famous version of the record, because it was the one that was widely released in the United States first. So this record is not a true record in the sense that they went to the studio and put this album together. This is a compilation of three different Toots of the Matals record. So the original 1973 album released in Jamaica and the UK only has three songs that appear on this record. Those are released on Dragon Records. It was an imprint of Island Records. This version is a combination of tracks from Funky Kingston, as well as the album In the Dark, which was the next album. That features six songs off of In the Dark, and Pressure Drop from the Harder They Come soundtrack, which was the Jimmy Cliff film with an incredible soundtrack. So it's three songs from Funky Kingston, six songs from In the Dark, and the song Pressure Drop. So it is not a real album in the sense of it's a studio record, like the original 1973 record is where they just went in the studio and recorded a bunch of songs and put those out as a record. The only songs on the actual 1973 version that are on this one are Pumps and Pride, Louis-Louis, and Funky Kingston, the song itself. The other six are from In the Dark, and when we were choosing the albums, we were like, which one should we do? Should we do Funky Kingston? Should we do In the Dark? And I don't remember where we just like, eventually just were like, let's do Funky Kingston. Those were the two to do, and I was like, it seemed like Funky Kingston was the record. Yeah, because we looked, they have a lot of the same songs on it. So which one is the one? And I think we ultimately decided on, do we want to talk about Pressure Drop, or do we want to talk about five, four, four, six was my number? That was kind of like the deciding line, and we went with the one with Pressure Drop on it. And the funny thing is, I knew that this. I knew this wasn't a real record, but I had completely forgotten. I had done some deep digging on like Funky Kingston at one point years ago at this point. And I was like, that's when I discovered there was a difference in the records. And I had clearly forgotten that the version that we hear mostly in the US is the fake Funky Kingston, which is just a compilation. In the dark, you can listen to in the States from front to back in its original form. I don't know why Funky Kingston has not really had very many reissues in the US with the original track listing. And I think it's purely because the US got this one first, and it has bigger songs on it than the original Funky Kingston. So yeah, it's a mess. And I initially was like, I kind of wish we'd picked in the dark, because that's a true record, you know, front to back album that we know and six of these songs would have been on it too. Yes. And I forgot which one we had chosen. And I asked you, which one did we pick? And you said, Funky Kingston, I said, well, I would have been wrong. I'm glad I asked, which was a perfect opportunity for us to just pick the right one. I had already made my notes when you'd asked. So I wasn't going to start over within the dark, though I could have just used my notes from six of the songs and just added the extra ones. But I was like, all right. So ultimately, it's fine. We're doing the 1975 version because it is the most famous version of the record. It is the version in the US that people heard. It's the version that appears on lists today. Like it's still being referred to in the US. Like, yeah, it's in three different editions of like the Rolling Stone 500 greatest albums of all time because they redo it every couple of years. I don't know how frequently they do it, but they always like do it every few years to add newer albums that have come out since the last time they published it. And it appears in like the three most recent and actually gets like, it's like gets higher up the list as, you know, closer to number one, each time they do it, like the newest one is really close. So this is like the one this is the one people know. It's the right it is the most popular one on Spotify is the most listened to one on Spotify. So in all reality, it's fine to talk about this one, the 75 version, just because it's the one that most people know and most people are familiar with. So I'm a little annoyed by it, but also it's fine. I guess that's just my brain being like, it's not a real record. You got to listen to the real one 50% on release material. Well, if you look at the rate your music version too, they have the 73 version as a tracklist. And it's like, you have to go into like the issues to find the 75 version with this tracklist. So rate your music gets it. It's also an international website. It's not just a US users, but yeah. So that was the confusion. I was just like, that's annoying. But it's only gonna bother me, I guess. I don't know if you care about it or not. I guess I'm a little irritated that the 73 original version of it is really kind of unobtainium, you know, like that it really, there should be an addition of it on Spotify. Like, I should have the option to go listen to the 73 version. Yeah. The 75 version being the more popular, like, that's fine. I think I don't think that that would change. I think that's what people would reach for because people are gonna expect to see certain songs on it. But yeah, I don't know, or like a special like a deluxe edition of it that has all of the songs that are on both versions, you know, that would make a lot of sense. There is a version that it was released in like 2013, but it was a physical version. It's not a it's not a streaming version. Yeah, because it has, I think the way they have it listed, it's like the 75 version in order, and then they put the other 73 songs on there at the back end, it's kind of like bonus material, which is, I think they should at least done that with this with the streaming version. Like, I understand when people are like, I want to listen to Funky Kingston, they're talking about this one when they say that, you know, because people in Jamaica, in the UK, at least at the time, they're not going, my Funky Kingston has pressure drop on it. Their version does not, you know, also, if this is essentially a compilation, why the fuck didn't they put 5, 4, 4, 6 on here too? The second like greatest to the Maitel song is not on this one. I don't, I don't know what, unless they were like, well, we want to sell in the dark too. I don't know how that was decided. It is also weird that the rate that is so high up on the rate your music version, and I know for a fact, people are rating the 75 version, not the 73 version. Yeah, but it defaults to the 73 version first. It's just weird. You can actually listen to the 73 version, though. It's on YouTube, all the tracks up there. It's one of those ones, a playlist where it's each song individually. So you can listen to it there. It's got a different cover too, which might have been, I think there was a reissue of that one later in the US as well, but I didn't listen to it because I didn't really want to listen to a bunch of the same songs. But what I did hear out of the 73 version that was not on the 75 version, some good stuff on there. It's from this time period of "Tuts and the Maytals" where they were just firing on all cylinders, and everything they were putting out during this little stretch was great. Let's do our personal histories now. Do you remember the first time hearing "Tuts and the Maytals"? Yes, I think so, unless I heard something on a comp. I didn't realize who it was, but my introduction to "Tuts and the Maytals" is the film "This is England." There's multiple "Tuts and the Maytals" songs on that soundtrack. I remember downloading them and listening to them a lot, and primarily those songs. Unless you're going to tell me that there was a "Tuts" song on some compilation that I forgot about. I don't know. No, I can't think of any other instances. I do think "This is England." The movie is the one that really, I probably heard the name "Tuts and the Maytals." Maybe it's seen the name, read it. I'd probably even heard "Pressor Drop," because it's a really well-known song. But I think "This is England" when it came out on DVD, and then I downloaded the soundtrack. That's when I really got into them as an act. And those are some of the best songs on there on that comp. So yeah, that was probably my first real dive. I mean, there's always a good chance. We may have heard the selector before we saw that movie, not the selector, the specials first record. They do "Monkey Man," I think on that album. Do they do "Pressor Drop?" I think they do a version of "Pressor Drop 2." And we may have heard a cover "Pressor Drop" and not known it. Yeah. Yeah, I wouldn't be too surprised. Outside of a handful of songs from that movie, did you have a period where you listened to "Tuts Records"? Not a ton. I do have a copy of "Funky Kingston," though. Did you look it up? Yeah, it's the US 75 pressing of it. So I have that copy. I want to say I've had that for a long time. I probably found that at Harvest Records in Nashville, if I had to guess. It was probably cheap. So I've had this one record for a long time, and I really haven't really gone too far outside of this one record. So I haven't listened to "The Ton." I'd listened to this record before. I'd listened to "In the Dark" as well. I may have listened to their next record. What is that one called? "Riggy Got Soul." But that's probably it. And it's kind of... It's interesting. So "Tuts of the Maytals" are huge in Jamaica, but they had 31 number ones throughout their career. And I feel like it's just a lot more singles and maybe album cuts, stuff like that. Not entirely sure. But for me, it's just "Funky Kingston in the Dark." That's really the only ones I go to. And whatever one that I listen to, I then go listen to "The Missing Song." So it's either if I listen to "Funky Kingston" when I'm finished, I go listen to "5446." If I listen to "In the Dark" when I'm finished, I go listen to "Pressure Drop." I always have to make sure to go listen to the one that's not on the other, because it's great. They're great songs, and I wish they were just on the same record. I guess I could just listen to "The Greatest Hits" and probably get the exact same feeling. Is there? Let's see. There's got to be a "Greatest Hits" comp. Yeah, there's a 20th-century masters. This would be the one. Yeah. This is probably what I want when I want to listen to "The Most." Because it's "Funky Kingston." It's "Country Roads." It's "Time Tough." It's "5446." It's "Sweet and Dandy." "Pressure Drop." "Monkey Man." "Pomps and Pride." "In the Dark." "Greater Got Soul." I've got dreams to remember and "Freedom Train." So it's literally all the songs I want to hear when I listen to. I guess it doesn't have Louie Louie, but yeah. So I should... Even the best stuff doesn't have everything that I want to hear. Very funny. Let's do... It's like the... It's like the heart to find Statler Brothers flowers on the wall where you get King of the Road too. Right, right. Because there's like a bunch of Statler Brothers "Greatest Hits" that have either flowers on the wall or King of the Road, but very rarely do they have both. Because I guess different labels put them out, right? Yeah. I mean, King of the Road is Roger Miller anyway. Yeah. You can just go listen to the Roger Miller version, but... But I do. I have one that has both, which I'm happy with. Mm-hmm. Mm-hmm. Oh, it's fine. Mm-hmm. Oh. Yeah. Listen. I'm always having a question on my car. The churries are more than shining down the river. All my friends there, holding on those reach, filming them the mountains. Oh, it'll ever be from the road. Take me home, for the days. I got to do a little bit of the backstory of Tuts, because I didn't know much about them, honestly, so I had to look into the backstory. And this is like a thing that we don't tend to get into very frequently, so. So, Frederick Tuts Hibbert was born in Maypin, Clarendon, Jamaica, in 1942. He is the youngest of seven children, and grew up singing gospel in a church choir, and that really shows on this record. He later moved to Kingston, Jamaica in the 50s, and this is where he meets Raleigh Gordon and Jerry Matthias, and they start a vocal trio, and they're called the Matals. So, the original version of the Matals is just the three of them doing close harmony. That is how they started. Some of their early material has the scotlites as the backing band on there, and they were actually very, very popular, like right away. Their style of singing together was immediately a hit. They were overshadowing the whalers at this point, too. They were bigger than the whalers, and they worked with Prince Buster, and Leslie Kong, and Byron Lee. They did a lot of stuff through the 60s, and then in 1966, Tuts was arrested for marijuana possession. He went to jail for a year in Jamaica, Marriott. I mean, maybe the rules were different back in the 60s, but it's so funny that the stereotype of Jamaica is a giant pot leaf. He went to jail for marijuana possession. I think it gets overlooked to the political and civil unrest of Jamaica, because the music is chill by, but it's a radical music. Bob Marley is singing about shooting cops. Like Bob Marley may have never actually shot a cop, but he probably knows somebody who did. Well, the heart of they come is a fictional story, and Jimmy Cliff is the star of the movie, but that's about money and guns, and crime, and music. It's a radical movement there in the country. It is a former territory. Yeah, part of the British Empire, so I can imagine that's where most of the civil unrest comes from at this point. So the song 5446 was my number is actually about Tuts' time in prison. So that's what that song is based on. But then in 1971, the Mehtals signed to Island Records, and this is where Chris Blackwell comes in. He is a British Jamaican producer who looks very white. So I think his mother might be from Spain, which also might still be white, too, depending on what her ancestry is in Spain. Very much a British man, though. He's born in Britain, and then moved to Jamaica with his family as a young child. So if I had to guess, I didn't look up any interviews with Chris Blackwell, but I bet he's got a thick British accent. But he started Island Records. He is also the one responsible for being one of the first people to record and release SCA music. So he started putting out music in the '50s. And then in 1962, he goes to England to start selling the music of Jamaica in the UK. So he's selling reggae and SCA and everything from Jamaica out of the trunk of his car. Like he just straight up was like, I'm taking this stuff and selling it to the Brits. And he is probably the most responsible for bringing SCA and reggae to the UK, for wide, you know, wide relates to wide distribution there. But so he signs the band to the island, and he's the one who suggested to restructure the band, and to make Tuts the lead singer, and to bring in instrumentalists to fill out the band. And they changed their name to the Maytals band at one point. And then the producer Brian Lee, he's the one who later renames them to Tuts and the Maytals. So they start as a vocal group, and they stay above a group through like all of the '60s. And then the '70s is when they're like, we should have our own actual band. And that's when they bring in everyone else to play the music on all their records. So they appear on the Heart of the Come soundtrack in 1972, which is where the US becomes introduced to Tuts the Maytal. And like really, that's where the US, it became like a cult hit. And we're a lot of these artists, reggae and SCA. We're just introduced to Americans for the first time. Very funny that it took that long to get it to America, where like it's already been in England for like a decade before. And we're closer to Jamaica, but I guess Jamaica's being a former part of the British Empire that it makes it easier to get over there, but weird. Yeah, there was definitely more, well, there's more British cultural influence to Jamaica too. Yeah. Well, though that being said, a lot of the SCA comes from is influenced by US radio stations being brought AM. You can go hundreds of miles away from the station. And yeah, so a lot of that original SCA was inspired by US like R&B and Seoul and Motown and stuff like that. So it's funny that the US was a direct influence on SCA, but we didn't take SCA until well after England had shared it. Yeah, it's just funny how that worked out. And so then they release three best-selling albums. Funky Kingston becomes a big hit. They, in order to get to the US, one of the island producers just took a bunch of songs from all the records and then put them together as one and shipped to the US. And that's how we wind up with the album here. So what do you think of it? It's great. I think it's a great record. I've always thought it was a great record. It has been a little while since I've listened to it. So I was part of the reason I was wondering, do I have the original, like a UK dressing of it, a 73 dressing of it, was while I was listening to it, I was like, I'm not recognizing some of these songs the way that I thought I would. Like maybe I have a different track listing, but no, I just haven't listened to it in a while. I guess is why I didn't recognize a couple of these songs. But I think what ultimately, I think what surprised me was how much it's, well, how much of it isn't SCA. And I guess it's probably, you know, we're kind of like risking a scolding. [laughter] By talking about this, this is the Maytals record on our traditional SCA, when it's kind of not actually really a SCA record. And we probably should have done like, I don't try to think of what we could have done and said instead, but like, is it up? Yeah, it does have been Deckard record, record would have made sense. I was going to say like an upsetters, but like they're mostly instrumental. Prince Buster. Yeah. Yeah. Yeah. I don't know. I think a lot of people just consider the SCA, even though it is reggae. It's more reggae dancehall than it is actual SCA. There's enough rock steady. There's enough of that in-between, you know. And I mean, even the, there's stuff here that isn't even really fully reggae that's almost, you know, there really is almost like soul. Like it isn't, this LP really isn't one genre overall, but it does cover a lot of genres that are interconnected in this scene and at this time. And yeah, the Maytals definitely were a SCA band. I've heard some Maytals stuff that is just like, yeah, that's SCA. That's definitely the Scotland lights playing the backing music. But I think it's a broader record than I remembered it being. I feel like a lot of the most famous like SCA musicians do that too. Like Jimmy Cliff, he's like, Jimmy Cliff is everything. He is SCA, he's reggae, he's soul, you know, he's all of that kind of like mixed together. Toots, and even like Desmond Decker, like a lot of the stuff, they just devolve with the sound of the time and they're not just gonna do the exact same type of music, you know, forever. Especially when they're so closely similar, you know, sonically similar to each other. I don't know, I don't think we're gonna get a scolding on this. Maybe maybe I'm wrong, but I don't think so. I think it's enough people are like, yeah, Toots and the Maytals, Scott. There's SCA songs on here for sure. Like specific, I mean, I don't think it's even like the none, the stuff that's done exactly, Scott is not that far away from Scott that it's really gonna be too out there. There's a lot of soul in there, a lot of R&B in there, especially in Toots' voice. He was compared a lot to Otis Redding back in the day, which I could hear. I can hear a little bit of that. Yeah, yeah, there is, there is an Otis Redding sensibility in the roughness of his voice and in like the dynamics of it. Definitely that gospel influence comes through. It's a good comparison. Yeah, yeah, the gospel stuff, it really comes through on this record a lot, like the way that the backing vocals work together is these like, yeah, more choral style, more group sung. I wouldn't call it gang vocals, I would call it more just, yeah, it's closer harmonies and melodies. I know there's women's voices on here, but none of the credits I ever read listed any women, which I found that interesting too. Hmm, interesting. Were they just crediting the band really on this record, or just like whoever was an island like didn't get the names of everyone who's actually on the record? I could see that. A bunch of Brits making money off these Jamaican artists. [Music] [Music] [Music] [Music] Yeah, I mean, it's hard to like not call this a great album because it's essentially a great series hits up to this point. Like it's missing Monkey Man and 5446 and like, I don't know, there's not a ton more missing. Sweet and dandy maybe, yeah, be the other big one to have on there. Yeah, sweet nannies, like the record, sweet nanny is probably the one that's like the most guy that we probably should have done, but yeah, and it has all of them. Yeah, 5446, that's my number. Yeah, but you don't get the covers. And really, there's some top tier covers on here. So the two biggest covers on the record are Louie Louie and Country Road. And I think this is the best version of Louie Louie. It's the best version of both of these songs. Yeah, I'd agree with that. I'd agree with that. Country Road, yeah, yeah. I'd say, you know, it's Country Road. Take Me Home is certainly the best thing John Denver ever did. Yeah, outside of singing with the Muppets. But that's funny. My wife is it. And I have talked about John Denver before and she like, she really, she doesn't try to think about it. Say this, like, she doesn't listen to John Denver a lot. But occasionally, she does. And she's like, it's such beautiful music. And it's like, but he's so uncool. It's like her takeaway is like, is it it's like, it's considered cringe to like John Denver, but he's like, objectively, the music is beautiful. Like the arrangements are beautiful. The harmonies are beautiful. He's singing this very earnestly about very sentimental things. And maybe that's what makes it so uncool. But it's kind of just like, the raw talent is there. There's a reason he was extremely popular. But it's definitely like, yeah, it's not cool. You don't want to tell people you're listening to John Denver. Like, yeah, what do you call him? Just folk? Is that what he is? Yeah, you know, folk, easy listening. Middle of the road folk, you know, it's very slick and very. Yeah, he's very soft. Yeah, because it, my first introduction to take real country roads was the W's version of that song. And I remember the first time I actually heard like the John Denver version, I was like, this is it? Oh, man, where's the power? Where's the energy behind this song? It is very slow and soft. I always think of like him and James Taylor, like very similar, like, oh, yeah, really soft guitar guys. And they can craft some melodies, but they're not cool. I don't think anybody says James Taylor's cool. Taylor was cool. Was he? I mean, he was in two lane blacktop with Dennis Wilson. That's just like the two of them looking cool as fuck for like an hour and a half. I guess I'm just thinking, uh, Caroline on my mind, James Taylor is really. Oh, yeah. Like it immediately after the first, like first album, it's like this guy's a herb. Yeah, yeah. I'll give it if somebody wants to say they prefer the John Denver version of country rose to this one. I'll give it to them. I get it. Yeah, sure. Sure. Yeah, but it's so good. The the tooth version is so good. Oh, it's so fun. I love it so much. It feels like there's at this point, you know, and I know lots of other artists also covered it too. Like that's the other bit of the thing about like Scott and and regulating in this period. It's like it's lots of covers, like everybody's covering stuff all the time. A song will get popular by an artist and then like everyone will cover their own do their own version of it. You know, I'm sure there's a Jimmy Cliff country rose out there, you know, but the version of Louis Louis, fuck yeah. So why did Louis Louis become like the the song that every single band covered in like the late 70s and 80s or the 80s because easy. It is easy. It is incredibly repetitive. It was very popular originally. And I guess it's like the original version is like it's kind of cool for the time, right? Like it's like they're yelling like this is a loud song. It's like clipping even though that technology doesn't clip, but you know what I mean? Like it's like it does clip. You can you can hit the you know, the threshold. Yeah, you can overdrive the the amps. It's like it's loud or saturated. They're screaming the song like it. I get why all the hardcore bands did it, especially if like the ones who had very little experience playing instruments like Black Flag like being really young and doing. But we Louie and well, when you say the original version, well, which version are you referring to? It's what? Who's it like? What's their name? The Kingsman or something like that? That the who is it? Yeah, the Kingsman version is not the original. Louie Louie came out in 1955. Oh, yeah, it was a that's long has been covered. Billions. Okay, there's a shitload of versions of it in the 60s. Who is it? Literally everybody learned it. It was just a it was a the Kingsman version was 63. The there's a Richard Berry is the original Richard Berry. Richard Berry in the Pharaohs, maybe I have the original. I mean, I guess everybody's doing the Kingsman version. Yeah, everybody did it. God, but this version is the best. Like the took in the Meitel's version is so good. And it it doesn't feel as repetitive, even though it is the same song and it is actually the same repetitive song, it doesn't feel as repetitive as any other even the Kingsman version feels way more repetitive than this one. And they did just a good enough job with like their instrumentation and performance to like really make it stand apart and really feel less repetitive than the original because like I just listened to Louie Louie for the Joan Jett album. I live rock and roll like it's on there too. I don't know if it's on the LP actual LP or if it's just a bonus track, but the the the the the the Kingsman version was it it is cool though like to its credit. It was 65 or something like that when it came out. 63. It was banned from the radio by the FBI. The FBI. We can't play. We can't be playing this song about a drunken sailor. Can't let people listen to this Louie Louie song. It's subversive. The screaming. It is. It is very loud, especially for the time. I bet hearing that in like 63, you're like, what are they doing? Oh, and the Kingsman, they have something to do with some of the members were like, they have something to do with sun amps. Maybe they were just like notable for using sun amps. I want to say like one of the members of the band had some kind of connection to the I think they got amps built by by Sun really early. So like they're kind of like the first band to be known for using those amps. Let's see. 1966 also saw two Kingsman departures. Barry Curtis was drafted and Norm's son home opted to work full time for Sun amplifiers. It doesn't see had started in 1964 with his brother. Okay. So that was the Kingsman started sun amps. Wow. That is wild. But it tracks though, right? Like with the way that song sounds and then like being known for like an amp that's famous for just like being loud. So yeah, the band son is they were just they're just doing their version of Louis Louis slow. Yeah, you don't you can't tell because honestly, I don't like most covers of Louis Louis. Like I don't even think the black flag one is that good? No, though isn't like the famous story of like somebody quit the band, right? Somebody the singer quit the band in like the middle of a show. And so then they just or left the show or something happened. And they just played Louis Louis for like 20 minutes. I do like the voter head version though. That's a pretty fun one. Again, it makes sense. Motorhead is also known for being loud as hell. It's a it's sailing on sailing on the cover too, right? The final track on here. No, it was an original. That's it. It's just been covered a bunch. Yeah, everything. So everything is by him or at least co-written by him and someone else other than Louis Louis and country road. Yeah, but all songs were written by Frederick Hibbert. And then the original 73 version has, I can't believe that I turn her song. Oh, yeah. And daddy's home, which is Shep and the limelight. And there's like, I think there's a might be another notable cover. I think that just I think that's just got covered a lot. Yeah. So within the yeah, the total between the two additions, there's four covers, but only two on the 75 version. That being said, the original is on here. So good. Like time tough. That's the opening track. Such a good song. I feel like you could probably look up every single song on this track listing and then see this been covered by like someone else. Let's say that. And then it's only took some of the main toss doing time tough. Weird. Nobody else has covered time tough. Weird. That feels like a very standout track on this album. The agro lights. Nope. They have it's not called time to get tough, which is not the same thing. Huh, that's surprising. There's that. That theory's thrown out the window. I'll bet money on this. Oh, I'm wrong. Immediately. What's the what's the TikTok sound? Let's make some money. Ah, dang it. Ah, dang it. But yeah, time tough is great. In the dark is really good. I'm really there's no bad songs on this album. Like I genuinely think the weakest song on the album might be the Funky Kingston. I don't even know if that I 100% agree with that. I just after saying it. I don't agree with that. What do you think is the weakest? Hmm. Maybe love is going to let me down. Yeah. Maybe. Yeah, Funky Kingston does have like a like the vocals go like kind of wild at the end of that song. That's a song that builds. I feel like it starts slower and then it builds up. Yeah. Funky. Funky Kingston's got some little guitar parts on it that I'm like, I'm pretty sure the talking heads ripped that off. Oh, I believe it, right? And weren't they really influenced by? Yeah. Well, yeah. I mean, they recorded songs about buildings and food in Jamaica, right? Right. And then they're like very, very influenced by funk a lot too. But yeah. Yeah. So maybe I don't even agree with my own statement there. Love is going to let me down is I think love is going to let me down is the most outside genre song. It is the most like it really is fully a soul song. Yeah. And I think that it maybe is the one song that like it defies expectation. And it's not a bad song, but it's it feels the most out of place. I think it's probably the weakest song on the record. But it feels weird to say that because it is a really good song. Yeah. It really feels weird to say that any song in this record is the weakest because it's such a consistently enjoyable record that like, I don't know, just to say that is to say that there's something not good about the record. That being, and I don't think that there's anything not good about the record. But at the same time, I don't know if it's a perfect record. Well, it's because it's not a real record. Well, I can't stop thinking of this record this way. I know it's just, you know, a record is a record. You know, it is what it is. But I just can't get over the fact that it's like, it's a comp. It's a best of. It's not like a it's not a real album in the sense of like, yeah, we record all these songs in the same session, and we put them all together in this particular or, you know, all that kind of stuff. It was just an executive made this record. They're like, all right, we got these three records. All right, let's take that that that. All right, I'm going to put it in this order. And here we go. Just some like someone who didn't actually work on the record. He was just an island records executive or producer. They actually say his name on the Wikipedia. It's just some guy. And he's just like, yep, I picked him out. I picked the songs for the for the thing. But for him to, for it to have been someone else doing that, they did a really good job. Like he really could have easily. It's funny that he would even that they would even do it this way instead of just really seeing the 73. Like, I don't even know what the rationale for changing the track listing was other than they probably needed to get. I guess I could see them wanting to take off. I can't believe even daddy's home because they were covers, not wanting to have to pay the licensing. But they still have to pay the licensing for the John Denver. But it would have been worth it to pay the licensing for that John Denver one because it would have been, he got to have it. Like, if you're going to pay maybe the thinking, maybe there's a little bit of a thinking of like, well, if we're going to pay, you know, songwriters to use their songs on the records, let's use the ones that are going to sell. Yeah, I guess the ones that Louis Louis and Country Road, those are going to be the two nodes noticeable. Like, oh, I know that song. There's no way that's anything else. Yeah, I wonder if they were released as singles to see. Yeah, I'm sick. I'm sure was. Let's see if I can find 75. Um, 72 versions. I don't know. I don't see. Maybe they weren't released as singles in the US. I don't, I feel like probably were. There we go. Luke. No, that's another one, Jamaican version. I don't know. I don't know how these got out in the US. They don't really give you US charts. They must not chart it in the US ever. Singles was. Yeah, I don't understand. Like, what is, why didn't they just go like, yep, in the dark? That's the record we're going to push, you know, because it, okay, in the dark, their second international album issued in Jamaica and the UK on Dragon Records. So maybe that was never actually released in the US until way later. Yeah. And so it looks like in the dark was not ever released here either. So is the only way to get it here, I guess. And so if you're going to, I guess, take the chance on releasing a Tuts record in the US with not much prior, you know, proof that it would be successful. You do this. You just like, well, let's just take some of their best songs and put them all together on one record and then see how that does. And then I assume just like later reissues or what we got here of in the dark. Actually, we're the in the dark, like, basically exists on streaming in its original format, but the funky Kingston does not stray odd. Yeah, there was a 2003 issue of in the dark that was released on CD by Universal with the original track listing of in the dark or fucking Kingston in the dark, complete in its original format. Yeah. So maybe that's why there's the streaming version. But because there really wasn't a US version of in the dark forever, and funky Kingston was the version of in the dark, essentially, funky. Funky Kingston basically took the place of two Tuts and Tuts and the Matales records for the US. They were like, yeah, let's put together the best material from these two. Yeah, I didn't look into mango records. Like, I know nothing about them. See if I can find anything or quick. Mango records is, you know, it's a label. Oh, it just takes me to island records. So maybe it was like a US imprint then. Interesting. So then in 76, you get reggae got soul. Yeah, that was like the proper island record. Yeah, very weird. Yeah, I guess it was a test. It was probably the cheapest way to do it to just be like, is this artist going to do well? Let's put an album together, see how it does. We know the material's good, so. Yeah, let's just hedge our bets that we're going to get a great, put it out a great record. And it certainly did well enough for them to be able to sell. Reggae got soul hit 157 on the Billboard 200 in 76. Yeah, so funky Kingston hits 164 on the Billboard 200 in the US. It was called the 11th best album in 1975's jazz and pop poll. I don't think I ever realized that the Paz and Jop poll was making fun of. I don't know how you would describe that list. The Paz and Jop poll was like what the Village Voice list that they did every year, but the jazz and pop poll was like a poll that people could vote in and it gets published in a magazine. It was the critics poll. Yeah, Paz and Jop or Jaz and Jop was the critics poll. And Paz and Jop I guess is just the Village Voice's own poll that they did. Rolling Stone calls it one of the greatest albums of all time. They would then tour with the Who? Jackson Brown, the Eagles and Linda Ronstadt in support of these albums. It's kind of like all of them kind of together, which is wild. The Eagles, when did Hotel California come out? 77. Did they write that because they brought Tuts in the Mehtals on tour with them? Where's Linda Ronstadt? Everybody was, I mean everybody was cop and reggae in the mid 70s. Outside of the like the big big standout tracks, you know, like Louis Louis and Country Roads and Pressure Drop, I love Poms and Pride. That is like one of my favorite songs on this whole record. It happens right after Louis Louis and before got to be there, but it's so good. I love that song so much, which was an older song too. Got to be there might be one of the weaker songs though too. It doesn't have like a really memorable hook. Tuts in the Mehtals or the Mehtals are the first band to use the word reggae in a song. They have a song called Do the Reggae spelled R-E-G-G-A-Y. It's the first song ever to use the word reggae and I think they're credited with creating the word. I don't know if that's true. It was probably just being said and they were just the first ones to record it. Let me take us accredited with yeah, naming de genre. Yeah, maybe. Which I guess is another like line in the column for like, is this a reggae record? Is this a, you know, a Scott record? Tuts says there's a word we used to use in Jamaica called Streggae. If a girl is walking in the guy's look at her, it says, man, she's Streggae. It means she don't dress well. She looks raggedy. The girls would say that about the men too. This one morning me and my two friends were playing and I said, okay man, let's do the reggae. It was just something that came out of my mouth. So we just started saying, do the reggae, do the reggae and create it a beat. People had called it Bluebeat and a bunch of other different things. It's kind of, you know, rock steady by, I think. Which the Bluebeat is also just a beat too, right? Like, isn't it? Bob Marley says reggae came from the Spanish term for the King's music. Sounds like Bob Marley's trying to fancy it up a little bit though. That feels like a, no, not, not the real one. Let's see something else. Not raggedy because it's really what it really means. Raggedy. It's funny. That's the genre. So we, um, this happens later in their career, but we were talking on the Patreon about fucked up releasing, you know, recording and releasing an album in 24 hours. So apparently Tuts and the Maytals tried to break the world record for the fastest album recorded and released. And what they had done was they recorded a record. Let me get the exact, exact description of what happened. So they recorded, pressed, and distributed an album in 24 hours. They, they did a live concert. It's called Tuts Live. They did it live, recorded on reels, two inch, 24 track and log tape, then rushed by van to sound engineers. After the running order was determined, the record label quickly designed and sent to the printers. The album masters labels and outer covers were then separately sped to the Gedmo factory near Leicester. So this is happening in England. And the finished product was assembled and delivered to Coventry where the band was playing the next day, successfully meeting the 24 hour deadline. So they literally had so wild that you could even do that. Um, but due to record label oversight, the achievement was not successfully registered with the Guinness Book of World Records because they forgot to tell Guinness they were trying it. And you can't put it in the Guinness World Records if there's not a Guinness representative there to see it happen. Because you can just say you did it then, you know. Yeah, we forgot to tell Guinness that we were doing this. It's fine. It's not a real, it's a beer company that makes a book. It was just to settle like bets and dais in bars. No, no, no, the world's fattest man was. No, he wasn't. It was this guy. It was. Then like some other band actually did that later. Volga's company claimed the honor in 2008 by doing it the same thing 24 hours. They matched the tots time so they didn't actually beat them. But they're in the record book because they told Guinness in advance. That's funny. Uh, you know, the band just, you know, continues to release music and tour the world until 1981 where they decide to call it quits. Uh, then tots. He continues as a solo artist throughout the 80s and then in the 90s, early 90s, a new version of the lineup of the Mehtals was formed. I believe it is 1990. They performed on VH1's new vision's world beat and they started touring and releasing music again. Um, is anything they released after like the 70s very well regarded? So there's like 20 albums listed on, rate your music. And so say, okay, they don't release anything. Okay, they don't release anything between 81 and 98. So, knock it out and 81 has like a 3.11. Uh, they released Sky Father in 1990. That has like a 2.75 98. Yeah. So I said, you said, oh, I heard 90. Well, 90 was when they got back together and started playing, but 98 is when Sky Father came out. They, I guess they only did, it looks like they only did six things, six records after 81. And I don't know how much of it's even like original or new. It seems like light your light from oh seven is decently regarded. It's got like a two, 3.21, but like flip and twist from 2010 is not low regarded at all. Hmm. Yeah, I don't know. But I also don't like, I don't know anything after Regga got sold. Like there's other records there, but like they're not beloved. They're not super well known. It's really just Funky Kingston in the dark and Regga got sold. Like those, and even Regga got sold is not even like huge. It just like was well distributed in the US. I guess sweet and dandy before they had the backing ban and then took Sibbert passed away in 2020 and the Maytells were like, well, we're going to keep going in honor of him, but then took his family sued and said, hey, you can't do that. I don't know why. I mean, like they got to say we're not getting paid from that. That's what it is, right? It's just like we're not getting a cut of that. They did a cease and desist and then in 2022, they dropped the name and now are referred to as former members of the Maytells band. Such a mouthful. I wonder if it's like real tiny like former members in Maytells band and big letter, big letters. Premiere. Now that I have your attention. I guess lineup wise, the three singers are all gone. You know, the three original Maytells. They're not in the band anymore, but it does look like everyone on this record. Well, three of the members of this record are still here. We still have Paul Douglas, the drummer. We saw Jackie Jackson on bass, and we still have Red Cliff Dougie Bryan on guitar. And then Cal, they have Carl Harvey. He joined in 1980. They got some backing vocals from '99, '02 and '08. So I mean, you have like the three instrumentalists are still performing. I guess that does make it a little weird when like the three singers who were the Maytells before toots in the Maytells are going on without, you know, without them, but also like they were there since what, '72? It's a long time to be a part of a band. But I guess if you don't have toots, then it's also not quite the same thing. I don't know. I don't know when the other guys dropped out, Raleigh and Jerry. I wouldn't be surprised if they just didn't come back when they were United in the 90s. Oh, well, what? What should we rate it? What are you giving it? I've had it at a four and a half. I guess there's something that just doesn't quite make it a perfect record. Because it's not a real record, because it's not a real record. But also like in the dark, in the dark is not a perfect record either. I don't know that there is a perfect toots record, but also like a lot of artists from this time period, they they don't have perfect records, like most of their best songs or singles, you know. So yeah, like what's the best? All right. What's the best Elvis record? You know, is there one? You know, he redid the songs all the time. A lot of the records are like hodgepodge, mix, match stuff. Who is it like who solidifies the album as a concept, the like original record front to back? Is it the Beatles? The Beatles, the Beach Boys. Yeah, I think those are kind of like the ones that people check as being like these are master pieces, you know? Yeah, I mean, you could definitely argue that like most jazz LPs from the 50s, 60s are like because of the way the records, I mean, they were kind of made in single sessions, like, but that's just kind of like the nature of an album was just like, well, this is what we recorded then. And it was like, this is what we have takes of, you know, like they weren't necessarily, well, some, I mean, yeah, there's definitely like some Mingus records and Ellington records that are like composed records, you know, so yeah. But I think the point where people think of an album as something that transcends being just a collection of songs, it's I think people really associate that with the Beatles. Yeah, that seems right. Definitely one of their big cultural influences is like making such a big emphasis on the album. Yeah, because before it was it's singles, getting the singles out there, and then the albums were just like, here's the singles together in one place, you know. Yeah, so here's the singles on the B sides and a couple of other songs that might be successful singles. Yeah, it is interesting. So and I guess that's probably, well, no, they were releasing albums though in Jamaica. So like, even though I said that this is like, it was from that time period, but no, they were releasing actual albums in Jamaica in the UK. They just weren't coming here to get them. But yeah, but there's always weird, I feel like releases get are weird up until I feel like the 80s is when it's finally like, all right, here's our records now. Like, this is these are, this is just how we do it now and how it is going forward. You know, there's your outliers of weird stuff, but we're like, oh, well, the US version of this clash record has a different track listing than the UK version. But yeah, that kind of stops happening. That finally stops happening in the 80s, thankfully, where they're just like, we're not going to chop up this record that we're importing from another country. We're just going to put it out the way it was put out originally, because clearly it was popular enough to put it to bring it here as it was released originally. But why not just release it the way it was originally released? That has to be, you know, that happens in the 80s. There are 80s records where it's like, yeah, we took some besides to put them on the record and took other songs off, you know, and you know, we swap some stuff out for the US versions. That has to be just a holdover mentality from old ass executives who are still in charge of these record companies and labels during the 80s. But because they're like, this is how we did it in the 60s, we just took the best songs and put them all together. And it's like, but we don't do it that way. And we don't make albums that way anymore. You know, we make front to back records. Well, they want to own a piece of it. They want to have a special piece of it that is the labels. Yeah, make it theirs versus the, well, you want to get our version, not the import version, you know, like, well, nobody wants to get the import version because they're more expensive. That's why we want you to put it out here. Yeah, it is weird. Even a lot of like the most classic like punk records of like the late 70s are like, well, the version in the US is different. It's like the annoying trait that you have to then like, when you're doing this kind of podcast, you're like, what the, which version are we listening to? It's the version we can get on streaming. That's the version we're talking. Yeah, yeah, usually. Yeah, I'm with you. I'd say it's 4.5. It's not a perfect record. But it might be, I mean, I guess if we're looking at what's available, what you can get front to back from them, it might be the best thing that you can get outside of just a greatest tip that has everything on it. Because even like sweet and dandy, it's rough. It's not, you know, it's not the, the the maitau backing band on that record. It's like whoever the session musicians are. So they don't quite sound the same. So the versions on this record are much more like definitive versions. Like the version of pressure drop is the same version from the harder they come. So yeah, I guess this is, if you're going to give someone a record to listen to by them, it's probably this one, right? The 75 version? Yeah, probably in the dark. It's hard to give somebody the 73 version and I wouldn't give someone the 73 version of this. So it's either this, the 75 version, or just in the dark. So I might give them in the dark because it feels more like a record front to back. But yeah, well, I think that will conclude our skaucest. I enjoyed doing this instead of a new tone this year. Love new tone. There's a lot of great stuff there, but a lot of it's really new music that a lot of people don't know. And we mentioned it before. It's like, people don't want to listen to episodes about albums that are not very old. So with albums where there's no nostalgia, but who knows what we'll do next year? Maybe we'll do, maybe we'll start alternating, but we'll see. That's a whole year from now. So I believe, I should have mentioned this at the top of the episode, but I think the week this episode comes out is our sixth anniversary. It is. So this episode is coming out August 28th. Our first episode was August 29th, 2018. That was when I did our first episode. We released our first episode. So what are we doing next week? Probably should be something special, right? No, we're not doing anything special. We're waiting for the episode 300. Okay, fine. 300. That should come up before the end of the year. That is the episode you're listening to right now is episode 296. So we're very close to episode 300. We're counting down the days. So yeah, we're getting there. We're getting there. We got something special planned for episode 300. In the meantime, next week's episode, I believe, will be a Patreon sponsored episode. So be on the lookout for that. And in the meantime, you can follow us on all forms of social media, Instagram, Twitter, Facebook, @punkglotopod, punkglotopod@gmail.com, and our voicemail line, 202-688-PUNK. So love to hear your feedback, 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.
