Here's further proof of truth in advertising: a show that was truly
Special. The Specials, of Coventry, England, one of the five major movers in the British two-tone ska movement of the late '70s and early '80s, managed to squeeze a Salt Lake date into its busy tour itinerary. The four original members who have reunited the band - vocalist Neville Staples, guitarist/vocalist Roddy "Radiation" Byers, bass guitarist Horace Panter and guitarist/vocalist Lynval Golding - haven't played together since 1981.Concentrating heavily on the band's best material, from its self-titled 1980 debut album, the Specials' 75-minute set proved that old duffers can get a crowd moving just as well as the youngsters.
Skank-heavy favorites like "Do the Dog" and "Dawning of a New Era," and the band's covers of "Monkey Man," "Pressure Drop," and "A Message to You, Rudy" were all swell reminders of just how talented the bands in the two-tone scene have been.
Staples, who roamed around the stage like a cheerleader, didn't need to do much prompting to get the packed house dancing. Not when the skittering rhythms punctuated by Golding and Byers - ska, unlike many rock music forms, relies heavily on rhythm guitars rather than leads - provided an irresistible
temptation. "Doesn't Make It All Right" was warmly received, revealing another dimension to the "two-tone" tag. Besides referring to the black-and-white clothing "rude boys" frequently wore, it was a hopeful plea for different shades of people to get along.
Measuring up to a legendary performance might be hard for many bands on any given night, but Let's Go Bowling, from Fresno, Calif., seemed up to the task.
Unfortunately, LGB had the unenviable task of telling many overzealous patrons in the crowd to stop jumping up and down like kangaroos and start dancing to the free-and-easy rhythms. If the band hadn't been so good, it's doubtful the audience would have listened.
The eight-piece debuted a lot of winning material, much of it from the band's upcoming second full-length release. Even better were punchy renditions of songs from the band's 1991 debut, "Music to Bowl By."
"Rude 69" and "Daddy's Girl," in particular, were crowd pleasers, while the old Jimmy Cliff gem "Miss Jamaica" was inspired.
Provo's Stretsch Armstronng - not to be confused with Stretch Armstrong, the rubbery toy - opened the night's entertainment, winding up the crowd uncomfortably with the best ska to be found in the Intermountain West. Particularly winning was the local radio jewel "Drool" and "Crack House." But I would have killed to hear "Borisoglebska" and "Charlie Brown," guys.
Salt Lake's Insatiable had the unenviable task of playing after the Specials and after most patrons - including this critic - had left.