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40 Watt Gigolo


The Specialized Project is a group of UK-based music folk who raise money to help those stricken with teenage cancer, and other dreadful afflictions.  The fundraising largely focuses on the release of multi-CD tribute albums that feature dozens of great bands.  Their forthcoming release - Gifted: A Tribute To The Jam - is a four-CD affair containing 65 ska and reggae artists covering tunes by The Jam. 

I can't wait to taste the whole enchilada.

The first track I have stumbled across for this record is by Rude Boy George (great band name) taking on the classic tune Town Called Malice.  They are an NYC band that specializes in ska remakes of 80s New Wave songs.  I dig it.

The primary differences between this version and the original are the ska backbeat, a slightly slower tempo, and the dual vocals of Megg Howe and Roger Apollon Jr.  The ska vibe and groove combine nicely with the sentiment of the original, making this an easy and enjoyable listen.  Perfect for your next party.

Click Here to watch the official video for Rude Boy George's cover of Town Called Malice.

Click Here to watch The Jam's original music video for Town Called Malice.

The Setonian

Rude Boy George’s set included influences from 80s music to ska or reggae with covers of songs like “Always Something There to Remind Me” by Sandie Shaw and “Talking in Your Sleep” by The Romantics.

The bands Laredo (pictured) and Rude Boy George performed song covers with their own spin.
Claudia Emanuele/Staff Writer

Loredo drew from multiple genres, concluding their set with a country song.

In an exclusive interview with The Setonian, two members of Rude Boy George, lead singer Roger Apollon Jr. and bass player Marc Wasserman, expressed an early love of music. Both men grew up with music in their lives from the start.

“Besides family and friends, music is the biggest part of my life,” Wasserman said. “I have to listen to music every day.”

According to Apollon, his professional career in music started with a chance encounter.

“Music has been a very big part of my culture and I’ve always been listening to the radio,” Apollon said. “I only sang in the shower until someone in college overheard me and said ‘my friend is starting a band and you should sing for them.’ That was the moment the arts started to take up a big part of my life.”

Though both Rude Boy George and Laredo performed covers of songs that night, Wasserman explained that they are not just a cover band.

“We have to reinterpret the songs,” he said. “We have to put our own spin on it but keep the parts people know and love.”
Apollon added that it is important to them that they “pay homage” to these songs and have the original creators enjoy this new spin.

Gary Shippy, the drummer for Laredo, said his band sometimes plays originals, but for “Locals in the Loft” they would only perform covers. Shippy then talked about the origins of the band, which started out as “a jam session in [his] basement with local musicians who wanted to get together to play.” The people who consistently showed up to these “open jam sessions” became members of the band.

Though this event was Rude Boy George’s first performance at SOPAC, Laredo played at the venue once before for The President’s Ball. Shippy said “Locals in the Loft” is a “unique concept.”

“Since there are a lot of bands like Laredo and Rude Boy George there is a thriving music scene where people have real jobs but are in bands for fun,” he said.

Claudia Emanuele can be reached at claudia.emanuele@student.shu.edu.

SkaPunk Photos

RUDE BOY GEORGE @ OSKAR SCHINDLER PERFORMING ARTS CENTER, WEST ORANGE, NJ – 8.19.17

AUGUST 20, 2017 | CONCERT PHOTOGRAPHY

It’s always fun to see Rude Boy George! As you can tell, I shoot them a lot but that’s because they are fun to shoot and they are also my friends. It was great to see them not in a club setting for a change and it was a gorgeous night too!

I had my kid with me for this, so I didn’t get to shoot as much as I usually do but I let my twin brother Matt take some shots and later on my wife snapped a couple as well. My brother got a good shot of Roger doing the “rock on” devil horns.

Since the band urged people to stand and dance, I didn’t feel as bad of getting up close to them to get some shots. I even went on the side of the stage at one point since some of the band members were hiding in the back. I used my 70-200mm f2.8 lens for the most part, but took out the other lens to get some wider shots as well.

If I didn’t have my family with me, I would have tried to bring my tripod and try to get some stars in the skies with the stage but I was lucky I made it this far in the set. My son loved the music, and loves dancing. He’s been dancing at a very earlier age, especially to ska and reggae music. He was cranky as hell all afternoon but once we got to West Orange, he had a big smile on his face. Since RBG’s set was around bedtime, we had to cut out a little early.

Follow Rude Boy George on Faceook for show updates, which they have a few shows in the area coming up!

CLICK HERE FOR THE FULL ARTICLE AND PHOTOS!

ReadJunk

The Selecter @ Knitting Factory, Brooklyn, NY

Live Reviews | By  on Aug 16th, 2017

The Selecter @ Knitting Factory, Brooklyn, NY (3)

Date: August 9th 2017
Opening Bands: The Pandemics, Rude Boy George

If there is one city in the US that has cultivated a prolific amount of any given music scene it is New York City, especially in regards to music subculture like that of punk rock and the like. Case in point, NYC’s ska scene has always been able to cater to the fans that have sought this predecessor of reggae music and distant cousin of punk rock (through marriage, a la 2 Tone). At its height a couple of decades ago, the NYC ska scene was massive. Reaching mainstream, everyone wanted a piece of ska and so the scene flourished, bands by the van loads played ska music and performed shows nationwide. Although, the scene may not be as prevalent as it was, no matter how small the scene got there was always an outlet as well as a fairly easy means to find out who was still playing the music and where to see them perform in this city.

Flash forward to the present and we have yet another visit and therefore another US tour from legendary 2 Tone ska band The Selecter who after many periods of hiatus and a couple of reformations, come back to touring and recording new music. Fronted by the stylish and beautiful Pauline Black and unflappable Gaps Hendrickson, the two founding and remaining original members of the band seem almost as excited as the fans themselves to be at the Knitting Factory in Brooklyn on this summer night. The Selecter is still in the thick of things, touring relentlessly all over the world and promoting their latest album aptly titled Subculture.

Kicking off this much anticipated night of ska was New York’s Pandemics. They have become a regular staple of the current NYC ska scene with their upbeat, soulful, and melodic brand of the third wave. With this particular show they seemed musically tighter than they ever have. The highlight of their set, however, was their energetic rendition of Gangsters by the 2 Tone godfathers, The Specials.

Following the opening set was yet another NYC ska band that has become one of the more prominent bands of the current NY ska scene, Rude Boy George. RBG with their trademark sound of ska infused new wave, brings to the table a marriage of two much loved subcultures and genres thus cementing themselves as a high energy party machine for hire. In their arsenal are beloved tunes from the post punk to make all move and dance to the rhythm and beat with classics originated by Squeeze, Eurhythmics, and Kim Wilde.

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Selecter capped off the night with an amazing set full of high energy and tight instrumental harmony. On hand were signature Selecter classics like 3 Minute Hero, Missing Words, On My Radio, and Too Much Pressure. Absent from this set is one my all time favorite Selecter tunes, Whisper, which I have heard them cover live at a previous show. Despite that being the only misstep to this excellent set in this humble reviewer’s opinion, this was hands down the best Selecter performance I have caught so far. A real treat and pleasing spectacle. The band also littered their set with new tunes from their forthcoming Daylight, due out this October. The new tunes which include new tracks like Frontline and The Big Badoof have me itching to pick up this record when it hits. Also present in this set was a fair share of music from their latest album appropriately titled Subculture, which by the way is great as it holds up nicely to its namesake and the social commentary that are often found in the band’s songwriting. Out of all of the original ska bands out of the 2 Tone ska era of the late 70’s early 80’s, Selecter is proving to be the most consistent and prolific for quality new material, that’s even over The Specials, Madness, and Bad Manners.

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In every sense, Pauline Black is the Queen of 2 tone ska and that will never change (respect due to the irreplaceable Doreen Sheaffer as the Queen of ska’s first wave). I clearly still have my teenage crush on this woman. Her style still exudes sex appeal and her dance moves are infectious plus her ability to control her vocals at seemingly almost every pitch truly set her apart from most female lead singers. Her commanding performance and her graceful lead have both her band and fans follow. Selecter’s skill at musicianship is not only apparent, it’s obvious. Their openness and modesty shows as Pauline Black welcomes and invites all for meet and greets and maybe a conversation or two with her, Gaps, and any other members who may be lingering around before and well after the show. Truly a class act.

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Topics:

Ska Express

Thanks to Ska Express for naming us Band of the Week!

Cryptic Rock

Anyone needing proof that absence does make the heart grow fonder, look no further than Ska Punk veterans Save Ferris. Begun out in Orange County, California back in in 1995, like many bands, they started from the ground up, selling their 1996 EP, Introducing Save Ferris, out of the trunks of their cars. 

With a name inspired by the iconic 1986 John Hughes movie Ferris Bueller’s Day Off, Save Ferris would follow-up with the successful 1997 full-length, It Means Everything. Following with a spot on the main stage at 1998’s Vans Warped Tour, two singles in the Billboard top 100, and their sophomore album, Modified, in 1999Save Ferris were a force to be reckoned with. Since then, they have survived several lineup changes and a hiatus, but thankfully, lead lady Monique Powell has kept the dream alive.

Now, after seventeen long years, Save Ferris returns with brand new original material with the release of their five track EP, Checkered Past. Released back on February 10th, in celebration of the band’s return, the very same day, they kicked off their New Sound 2017 Tour that takes them coast to coast through March 26th. A tour which finds Save Ferris with Vista Kicks on the West Coast dates and Baby Baby on the East Coast dates, on Saturday, March 4th, the party landed down in New York City at Gramercy Theatre.

As the fans, both young and old, checked in from the freezing cold, they walked in to see opening support, Baby Baby. Coming together back in 2009, the Atlanta, Georgia based band comprised of Fontez Brookes (vocals/guitar), Grant Wallace (drums), Colin Boddy (aux percussion), and Hsiang-Ming Wen (bass) provided the perfect start with their brand of self-pattened Fun Rock. 

As the lights went down and the crowd continued to grow, Baby Baby invited everyone to begin dancing as they went into “Serge” and the chant along “Hang in There.” Going into other tracks such as “Teach You How to Dance” and Punk Rock tingling “Keep on Dancing,” the band certainly lived up to their name of Fun Rock.   

Sharing fun stories in between the music, during the second half of their set they pulled out all the stops as Wallace left his drum set several times to get closer to the crowd, even jamming on the cowbell. Going into “Turnip” and “Just Because You’re Here,” the party-like atmosphere continued with wild stage antics and rowdy guitars. Closing out with “Fire,” Save Ferris’s Alexander Mathias hopping out to lend his saxophone skills to the finale. A band that provokes a let loose and have a good time vibe, Baby Baby are as much a party band as B-52s or Andrew WK, but do it their own way. 

 

A hard act to follow, New York City’s own Rude Boy George came out next. Becoming well known in the area for their upbeat Ska revivals of classic New Wave tracks, Rude Boy George is made up of Megg Howe and Roger Apollon Jr. sharing vocals, Jackie Chansen on saxophone, Jesse Gosselin on guitar, Mark Wasserman on bass, Dave Heise on drums, and Pam Buckley on piano.

 

Ready to go, they opened with Berlin’s “The Metro” before going into Howard Jones’ “Things Can Only Get Better” and The Cure’s “Close to Me.” Rude Boy George offered a unique take on the ’80s classics. Possessing a stage presence that was infectious, it was impossible not to dance along as the energy level elevated with other songs like Blondie’s “Atomic” and the anthemic Kim Wilde’s “Kids in America.” Fans of Ska looking to get into a band with instantly recognizable cover renditions done to perfection, look no further Rude Boy George.

 

With two acts down, it was time for the headliners Save Ferris to take on the New York crowd for the first time in over fifteen years. A long time coming, Powell and her bandmates Gordon Bash (bass), Patrick Ferguson (guitar), Erik Hughes (trombone), Alex Mathias (saxophone), and Brandon Dickert (drums) did not keep the eager audience waiting long as they promptly kicked into old favorite “The World Is New.”

 

From there, it was on into other oldies but goodies, “Nobody But Me” and “Little Differences.” A rush of a beginning, taking a moment to catch her breath, Powell expressed gratitude to those who came out to see the band. Slightly under the weather, Powell showed no sense of such while singing, but poked fun of her own raspy speaking voice. 

Unshaken, Powell not once let her ailment hurt her performance, saving all her energy to unveil new tracks, including “Golden Silence,” “Anything,” and “Do I Even Like You?” Of course there was a good balance of all Save Ferris’ history for all to enjoy, but perhaps the most delightful aspect of the night was Powell’s engaging personality. Constantly joking around, the night took on a feeling of old friends getting together for the first time in too long a time. In addition, Powell gave the show a burlesque feel as she slowly removed her dress, but do not get too excited, there was another dress underneath, showcasing more of her playful stage manner.  

While the band leader shined bright all night, she was far from the only one to enjoy the spotlight as Bash stood tall during “Superspy” when switching out his electric bass for an upright bass. Going into what was thought to be the final song of the night, “I Know,” Save Ferris expressed more thanks to the audience before shuffling off the stage. Quickly returning, the encore offered one more modern day cut, “New Sound,” before wrapping it all up with their distinctive cover of Dexys Midnight Runners’ “Come On Eileen” to a sea of applauses.

Sharing a bond with the live crowd like few can, those three simple words “You Mean Everything” in the set closer perfectly summed up Powell’s view on each and every person who has ever picked up a Save Ferris album or purchased a ticket to a show. Wearing her heart on her sleeve all night, Powell revealing how grateful she was for love, for music, and for her fans.

The checkered past that kept Save Ferris out of sight so long has made the return all the more meaningful. Ending their performance in New York City with promise that they will be back again, Save Ferris prove there is light as long as their is hope. 

SkaPunk Photos

Rude Boy George@ Gramercy Theatre, NYC

Live Reviews | By  on Mar 6th, 2017

March 4th, 2017

Opening Bands: Rude Boy George, Baby Baby

Rude Boy George were up next and I’ve forgotten how many times I’ve seen them. I’ll be seeing RBG next month when they play 2 sets for our ReadJunk.com 20th Anniversary party at Otto’s Shrunken Head. That should be a blast! They started things off nicely with “The Metro,” originally done by Berlin. Their most recent cover of Howard Jones’ “Things Can Only Get Better” is definitely a stand out and quickly becoming a favorite of mine. Gotta love the upbeat ska versions of the new wave songs.

Every time I see them, they introduce a new song. This time it was “Atomic,” the classic Blondie song and later popularized by Sleeper for Trainspotting. The band has been appearing on the Specialized compilations lately, and did a cover of “Iron Lion Zion” by Bob Marley but they didn’t do that song for that set. Their next one will be The Jam so I’m really curious to hear how that will turn out! Perhaps they will debut it at the ReadJunk party or maybe they will surprise me and finally do The Comsat Angels “Will You Stay Tonight” that I have been asking them to do for 2 years now haha. Anyway, they finished the set with their awesome cover of “Kids in America.” It’s always such a good closer for their set. They got the crowd into it and ready for Save Ferris.

 

Tone and Wave

(Speaking of Marco...another old thing that came back in 2016 was Marco on the Bass that was dormant for a couple years is now being refreshed with new posts. Marco's current band Rude Boy George released a fantastic EP this year which includes one of my favorite songs of the year - a cover of Howard Jones' "Things Can Only Get Better")

 

Record Collector

VARIOUS ARTISTS - ONE HEART: TRIBUTE TO BOB MARLEY & THE WAILERS

Fascinating Bob Marley tribute charity compilation

This terrific series, in aid of Teenage Cancer Trust and The National Foundation For Youth Music has produced various artist tribute albums to The Specials, The Beat, Madness and The Clash – first-rate compilations with a dazzling array of artists contributing new tracks to the project. 
 
Spread over a mammoth four discs, this tribute to Bob Marley & The Wailers contains many tracks that stick satisfactorily to the blueprint laid down by the originals, like The Skatalites featuring Doreen Shaffer’s Nice Time, One Love Orchestra’s take on Jamming, Steel City Rhythm’s Could You Be Loved and Annabella Lwin’s Cheer Up. 
 
King Hammond’s Kinky Reggae is suitably slinky, while Black Symbol’s strident Get Up Stand Up is an effectively modern version, as is Rude Boy George’s souped-up, nippy, Iron Lion Zion. The Spammed boast an improbable line-up of Neil Innes, Horace Panter, Micko Westmoreland, Rat Scabies and Kevin Eldon, who delivers a heartfelt vocal on I Shot The Sherriff. 
The Funadicts’ Lively Up Yourself is delightfully bright ’n’ breezy, and The Uplifters deliver a bouncy, infectious Pour Down Your Sunshine. And we close, surprisingly, with Pelenna Valley Male Voice Choir’s lusty, rousing, Three Little Birds. Fabulous! 

 

4 stars 4 stars 4 stars 4 stars

Specialized | CD 003 (4CD)

Reviewed by Shane Baldwin

SkaPunk Photos

Rude Boy George @ Knitting Factory, Brooklyn, NY – 12.29.16

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Rude Boy George opened up The Skints show at Knitting Factory in Brooklyn on December 29th 2016. I did a full review over at ReadJunk.com if you want to read that.

It’s always fun to photograph my buddies Rude Boy George. Since there’s no photo pit at Knitting Factory, I sat in the crowd for the entire show shooting and dancing. Sometime it’s better that way since you can shoot the entire set. But then you have to contend with people getting in the way, dancers bumping into you and things like that.

The lighting for their set was basically atrocious. Knitting Factory is better than this because Skints set looked fine! But for whatever reason, they had no front lighting for their set and just ugly red lighting for the back. It makes it hard to shoot bands this way so I was cranking up the ISO up to 4000-5000. Hence why every photo is black & white & very grainy. I just wish they would leave some white front lighting in front, especially when band members like to stand on the ledge part. The members just get dark and it’s hard to see. Sigh…the life of a concert photographer.

Check out my favorite shots:

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The Entire Gallery

Buy Prints/ License Photos:

Prints in this set are available for purchase! Just email which photo(s) you’re interested in (please provide alt tag or #) and I’ll give you a quote. Photos are also available for licensing to your website, magazine, Facebook page, etc. as well.


ReadJunk

The Skints @ Knitting Factory, Brooklyn, NY

Live Reviews | By  on Jan 1st, 2017

The Skints, Rude Boy George, The Far East @ Knitting Factory, Brooklyn, NY (18)

Date: December 29th, 2016
Opening Bands: Rude Boy George, The Far East

What a way to end shitty 2016 with two awesome ska/reggae shows at The Knitting Factory in Brooklyn. The first night featured a stellar lineup of Rude Boy George and The Far East opening up for The Skints from London. The sold out show was not to be missed, well unless you were up in Boston for Hometown Throwdown then you had a good excuse.

My buddies Rude Boy George opened up the show with their awesome ska tunes of new wave tunes and believe it or not, this was the first time seeing them in 2016. I’ve only been to 10-12 shows this year but never got a chance to see them in 2016 until this day. They always put on a fun show, so much that they will be playing the ReadJunk 20th Anniversary party in April! Since the last time I saw RBG, they released a few songs on their Bandcamp page. My favorite out of that batch is their latest, the Howard Jones’ song “Things Will Only Get Better.” They played that song towards the end of their set. Highlights for me include “The Metro,” “Dance Hall Days,” “Always Something There To Remind Me,” “Tainted Love” and “Kids in America.” The band seemed to play for a good 40-45 minutes so I was happy each band got a decent amount of time to play.

The Far East played after Rude Boy George and a lot of people came out to see the rocksteady band play since they are from Brooklyn. I only saw them for the first time in September when they opened for The Specials at Terminal 5. I thought they were pretty good but I ended up liking their set a lot more this time around. Maybe it was something about their set being longer, the show being sold out and the venue was a lot smaller than Terminal 5. Really been liking the soulful rocksteady sound that NYC bands have been producing lately and The Far East are at the forefront. Maddie Ruthless has a unique singing style and fits with the rocksteady sound. All three bands featured some terrific female vocals. I don’t really know what songs they played but they definitely got everybody moving on the dance floor. At one point, JonnyGoFigure (part of the Frightnrs posse) came out to sing a song with the Far East and that was a highlight. I’m really curious to hear The Far East in the studio and hope they release a debut album in 2017. The two songs on Spotify isn’t cutting it anymore.

I’ve been wanting The Skints to headline in NYC for awhile so I wasn’t going to miss this one. I saw them for the first time 2 years ago opening up for Fishbone. Their set blew me away but since they only played for a half hour, they definitely made you want more. Since the Skints sold out The Knitting Factory, there’s a demand to see them in New York so I hope they come back soon, and perhaps play a bigger venue? Anyway, their set was amazing and as soon as they started playing, the crowd was moving and having a great time.

I was sort of up front, dancing and taking pictures for most of the set. I forgot how amazing Marcia was at playing just about every instrument in the world on stage. She would go from playing the keyboards, drumming and singing, to playing the flute. Then she would break out the melodica and then go play to the sax…flawlessly. They played a mixture of new and old songs such as “Rubadub,” “Come To You,” “Just Can’t Take No More,” “Rat-At-At,” “Friends and Business” and “My War.” Josh kept bringing up Home Alone 2 and I was cracking up at the references. Towards the end of the set, he mentioned how shitty 2016 was with all these musicians dying and saying he hopes Trump is next in 2017. Everybody cheered that sentiment.

I particularly liked hearing “Tazer Beam” and “This Town.” At one point, the guys from New Kingston hopped on stage to sing with them. That was pretty cool. I believe they finished the set with “Tomorrow” and came back for an encore where they played “Culture Vulture.” It was a great show and the Skints continue to impress me. I have a feeling 2017 will be a big year for the London group!

Here are some photos from the shows. All the photos will be on SkaPunkPhotos.com:

Rude Boy George

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The Far East

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Topics:

Ska Me Crazy!


13 de diciembre de 2016

Rude Boy George Love and Dancing 2016 + Confessions 2014 ▀▄▀▄

 
 
Resultado de imagen para Rude Boy George
Rude Boy George es una banda de Nueva York que realiza versiones de ska, rocksteady y reggae de clásicos new wave y post-punk de los años 80.
 
Love and Dancing es la segunda colección de canciones de las olas de los años 80 que la banda ha grabado en un estilo de ska y reggae. En vez de lanzar todas las canciones juntas como un álbum, la venda lanzará una canción y un vídeo cada dos meses sobre 2016 y 2017 con una meta de tener 12 canciones compiladas en la colección a mediados de 2017.
 
El álbum se llama "Love and Dancing" porque las canciones que la banda ha grabado hasta ahora son todo sobre los altibajos del amor y las alegrías del baile. También rinde homenaje a la Human League que tuvo un proyecto paralelo llamado The League Unlimited Orchestra y lanzó un remix de su álbum "Dare" con ese título a principios de los 80's.
 
El primer lanzamiento del álbum en abril de 2016 es una versión punky ska / new wave de Soft Cell "Tainted Love", que era una tapa del clásico del soul del norte de 1960, grabado por Gloria Jones.
 
 
 
1.Tainted Love 03:03
2.Close To Me 03:57
3.Dance Hall Days 03:56
4.Kids In America 03:09
5.Iron Lion Zion 03:10
6.Things Can Only Get Better 03:32
 
Descarga dando clic en la imagen
Resultado de imagen para felix the cat psychedelic
 
Resultado de imagen para Rude Boy George - Confessions 2014
 
1.The Metro 03:50
2.Always Something There To Remind Me 03:02
3.Don't Change 04:41
4.(Keep Feeling) Fascination 03:45
5.Talking In Your Sleep (f/ Antonee First Class) 03:59
6.Eyes Without A Face 04:02
7.Driving In My Car 03:21
8.Tempted 03:30
9.Sweet Dreams (Are Made Of This) 03:25

Specialized Project

Specialized Project

Rude Boy George – Iron Lion Zion

Exclusive One Heart Album Pre-release!

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Rude Boy George – Iron Lion Zion. Exclusive One Heart album pre-release!

We can tell that you’re anxious to hear what’s coming for One Heart. So we’re making Rude Boy Georges outstanding version of Iron Lion Zion available for download on from CD Baby and iTunes.

Rude Boy George have given us a collection of outstanding tracks over the years. Driving In My Car in 2014 and Magnificent 7 in 2015. Their explosive new wave version of Iron Lion Zion is no exception.

Rude Boy George is a NYC-based band that reinterprets 80s New Wave classics in ska, reggae, and rocksteady versions. They are motivated by a shared love and respect for ska (reflected in the reference to 1960s and 2 Tone rude boys) and the extraordinary amount of good music produced in the late 70s and early 80s New Wave/post-punk era.
 

 

But thats not all, you’ll also be able to download The Reggaskas version of the Marley epic ‘No Woman No Cry’. This a bonafide exclusive because this version will not appear on the One Heart album. The version that appears on the album features the Choir Vibe and has been remixed by Specialized. The Reggaskas are a 7 piece band – playing original alternative music with an unique but cheeky reggae/ska vibe.

 
Both Lion Iron Zion and No Woman No Cry are now available from CD Baby

Click on the link below to be taken to the download page
 

 

ReadJunk

Rude Boy George @ Knitting Factory, Brooklyn, NY – 11.13.15

 

Rude Boy George @ Knitting Factory, Brooklyn, NY - 11.13.15 (5)
Rude Boy George played after Sunnyside Social Club at the Knitting Factory last Friday. You can read my review of the showhere.

My buddies Rude Boy George always put on a fun set and it’s always a blast taking photos of them too. You’ll never come away with bad photos of them since some members of the band like to ham it up.

Like the other sets, I was using the 24-70mm f2.8 lens for the majority of the set. I did take a few photos with the 14-24mm f2.8 lens and 85mm 1.8 lens as well. The lighting was the best for RBG’s set, and was notably brighter too. Not sure why some sets are different, maybe it’s the band’s preference?

Check out my favorite shots:

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The Entire Gallery

Buy Prints/ License Photos:

Prints in this set are available for purchase! Just email which photo(s) you’re interested in (please provide alt tag or #) and I’ll give you a quote. Photos are also available for licensing to your website, magazine, Facebook page, etc. as well.


ReadJunk

Mustard Plug @ Knitting Factory, Brooklyn, NY

Live Reviews | By  on Nov 15th, 2015 | 0

Mustard Plug, Survay Says, Rude Boy George, Sunnyside Social Club (11)

Date: November 13th, 2015
Opening Bands: Survay Says!, Rude Boy George, The Sunnyside Social Club

I haven’t been to a show in over 2 months since the birth of my son. I figured this would be a great first show to come back to. Unfortunately, with the tragic events in Paris, the mood was a little more somber. That still didn’t stop people from going out and enjoying themselves like they usually do. The Paris events might have kept a few people home but it was still a decent sized crowd for a ska show.

I wasn’t even sure if I was going to go after what happened in Paris. Whether or not club owners would cancel their shows or if mass transit would be extremely delayed or whatever. I decided to go and glad I did because the show was a lot fun. Just like last year’s Mustard Plug show, this lineup was solid from top to bottom. First up was The Sunnyside Social Club and they had a Dixieland, Swing, New Orleans’ Blues sort of thing going on. They had a lot of energy on stage and great stage presence. The singer/trumpet player was singing with a megaphone a lot of the time. Towards the end of the set, he jumped into the crowd and was getting donations from the crowd. You can clearly tell they are a busker type of band.I wasn’t sure how they would fit in with a ska show but they did nicely.

After Sunnyside Social Club, were my buddies in Rude Boy George. They always deliver a fun set! Who doesn’t like hearing ska versions of 80s songs?! Since the last time I saw them, they introduced two “new” songs into the set with The Cure’s “Close To Me” and Wang Chung’s “Dance Hall Days.” They started off with The Pretenders’ “Middle of the Road,” which is perfect song to start off with. At one point, singer Megg got a little feisty with someone up front who was checking her phone. Glad she called someone out on that because that would have annoyed me too. Other songs they played included “(Keep Feeling) Fascination,” “Always Something There To Remind Me” and “Kids in America.” Mustard Plug enjoyed their set too and even said they did this tour just to see Rude Boy George play. Couldn’t have asked for more of an awesome praise. They always play at Toshi’s Living Room every month so you can check them out there too.

 

 

Survay Says played after RBG, and brought the punkier side of ska to the show. I’ve seen those guys quite a lot over the last few years. The crowd started to fill in when they came on. The circle skank pit was out in full force for them. They played songs like “I Aim to Misbehave,” “This is Why We Can’t Have Nice Things” and I think “Some Me Potato Salad.” At one point they played a fun cover of Dance Hall Crashers’ “Lost Again.” They said they learned a bunch of DHC stuff for a private gig last week and decided to play another song that night. Glad they played that one.

Finally, Mustard Plug came on stage and started things off with “Send You Back,” followed by “Skank By Numbers” and “Go.” By this point, everywhere who wanted to see Mustard Plug was inside the Knitting Factory and all in all, it was a decent sized crowd. Practically the entire crowd was a circle pit for certain songs. The crowd was a little rambunctious at times and throwing stuff around. I witnessed one guy throw a water or beer on stage. Not sure why you would do that when you could have hit a band member or hit some wires that could have shorted out the sound system. People need to think before doing stupid shit.

Mustard Plug was one of the first ska bands I got into back in 1996 so I always love hearing their music live. Hearing songs like “Mr Smiley,” “Everything Girl,” “Throw A Bomb,” and “Mendoza” puts a smile on my face. In the middle of the set, they broke out their cover of “Waiting Room” by Fugazi. The singer/trumpet player of The Sunnyside Social Club popped on stage to play with the guys during “Life’s Too Short.” The last song I saw was “Beer Song,” which is still a crowd favorite after all these years.

I was definitely glad to get out of the house and see the show. Beats sitting inside and watching the depressing news all night long. If there’s any type of show in your area, be sure to go to it because we need to keep concerts and other events going. Just because some dickless cowards want to disrupt our way of life, doesn’t mean we should stop doing that stuff. Ok, off the soapbox. Mustard Plug will be out on the West Coast in January so check them out if they play your town.

Here’s some photos from the show. All will be posted on SkaPunkPhotos.com.

Sunnyside Social Club

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Rude Boy George

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Survay Says!

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Topics:

Specialized Project

Specialized Project

RBG LIVE in NYC

Rude Boy George @ Fontana’s, NYC – 4.25.15

 
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Rude Boy George are quickly becoming the band I photograph the most these days. They are certainly giving Carbon Leaf a run for their money. It helps that I’m friends with the band and they are just quite fun to see live. I like ska music, I like 80s music…what’s not to love?

Like the other sets at this Fontana’s show, I used my flash throughout the show. I’d take a picture, continue dancing and singing along. I used the 24-70mm f2.8 lens throughout the show, used the flash, shot at around ISO 1250-1600 and at f2.8.

Rude Boy George recorded a new cover for the upcoming Specialized, this time of The Clash’s “Magnificent Seven.” The band always turns the original songs into their own and something different. If you haven’t heard their Confessions full-length, be sure to pick that up too!

Check out my favorite shots:

Rude Boy George @ Fontana's, NYC - 4.25.15 - Photo by Bryan Kremkau (39)

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Specialized Project

In The Studio With Rude Boy George

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Remember how jaw dropping good Driving in my car was last year. Well i reckon they’ve done it again. The Magnificent 7 that are Rude Boy George
 
How did you decide to get involved with Specialized?

We are all 2-Tone ska and reggae fanatics and have played in ska and reggae bands here in New York for many years, so it seemed like a perfect fit in many ways. We also wanted to give back. I have a young family member who was diagnosed with brain cancer and while she is in remission, it’s taken quite a toll on her and our family. Our singer Roger’s wife is an oncology nurse and cares for patients with cancer on a daily basis, so we are all pretty aware of the important role organizations like the Teenage Cancer Trust play it making things a bit easier for patients and their families.
 
The Clash have an exceptional body of work and possibly wrote some of the most influential songs in rock history, how did you decide which track to cover?

The Magnificent Seven was very popular here in the U.S. when it was first released in the early 80’s and the 12″ remix was particularly popular here in New York City. I remember hearing it on WKTU (a Black radio station) between four to five times a day! I’ve always loved the song because Mick Jones and Joe Strummer wanted to write song inspired by all the rap and hip hop music they were hearing while here in New York to record Sandinista. So in many ways its really a New York City song! It was really the first attempt by a rock band to write and perform a rap song and remains of the earliest examples of a hip hop record with political and social commentary about the way capitalism and consumerism effects life for a working person.
 
As a band who specialize (forgive the pun) in cover versions how do you go about taking a song like The Magnificent 7 and make it your own?

We wanted to try and put our own spin on the song, so we spent some time talking about ways we could do that. Once we started playing it, our drummer Dave hit on a particular drum pattern that made it all click. We rehearsed it a lot and recorded the rehearsals so we could listen critically and make changes. Once we had the form of the song sorted out, we spent a lot of time fine-tuning the little things that would make the song stand out. Our keyboardist Pam came up with great sound effects that add so much and Roger and our singer Megg worked out different parts on the vocals that turn it into a song for two singers. All the pre-production paid off as the recording went very smoothly. We had a lot of fun in the studio!
We are all fans of The Clash and were familiar with the song but approached re-arranging it with open minds and open ears. We didn’t want to do a straight cover and as we make it our business to re-imagine and re-interpret 80’s new wave all the time, we wanted to do something that would pay respects but stand alone as our version. We figured Joe and Mick would be drum and bass fans, so when our drummer Dave started to play a drum and bass pattern we had a place to start and then slowly but surely everything fell right into place.
 
There are hundreds of musicians taking part in Combat Cancer and sometimes we lose sight of those who assist the bands in creating these tracks. Can you name check the studio you used and tell us a little about the studio personal that helped you?

We recorded the track at Orange Music Sound Studio in West Orange, NJ which is about 20 miles from New York City. It’s a great semi-private studio owned by the music producer Bill Laswell (Sly and Robbie, Mick Jagger, PIL, Motorhead, Ramones, Iggy Pop and Yoko Ono). It has a lot of history (Frankie Valle & The Four Seasons recorded there in the 60’s!) and we recorded our Confessions album so we are very comfortable there. The track was engineered by James Dellatacoma, who works with Bill Laswell. We’ve worked with James quite a bit over the last two years, so he has a really good feel for the band and makes great suggestions and recommendations for trying different things. He also has a great ear and we trust him to let us know when something is working or not.
 
Thanks Rude Boy George, you’ve been magnificent
Rude Boy George on the web
 
This interview will also appear in the May issue of the TC Times

 

 

 

 

ReadJunk

Rude Boy George @ The Wick, Brooklyn, NY – 3.14.15

 

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Rude Boy George are quickly becoming one of the bands I’ve photographed the most and I have no problem with that. They played third in the Pilfers record release show. The full review is at ReadJunk.com“>ReadJunk.com.

 

I love photographing Rude Boy George. They are such a fun band, and never boring to shoot. Megg is very animatic with singing and Roger is always bouncing around. Just like the other sets, I was using my flash for the majority of the set. I wish they played longer but they will be playing a lot more times this Spring.

 

I tried to find the right settings so it used some of the LED lighting on the stage, and light some of the faces. I think I got the settings down pat with this set. I did occasionally switch to no flash and ISO 6400, to try not to irritate the audience and the band.

Check out my favorite shots:

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Rude Boy George @ The Wick, Brooklyn, NY - 3.14.15 - Photo by Bryan Kremkau (6)

Rude Boy George @ The Wick, Brooklyn, NY - 3.14.15 - Photo by Bryan Kremkau (4)

Rude Boy George @ The Wick, Brooklyn, NY - 3.14.15 - Photo by Bryan Kremkau (2)

Rude Boy George @ The Wick, Brooklyn, NY - 3.14.15 - Photo by Bryan Kremkau (1)

Buy Prints/ License Photos:

Prints in this set are available for purchase! Just email which photo(s) you’re interested in (please provide alt tag or #) and I’ll give you a quote. Photos are also available for licensing to your website, magazine, facebook page, etc. as well.


Ska Party Radio

We made this weeks Ska Party Radio podcast this week with some SERIOUS company: The SkintsThe AggrolitesBrooklyn Attractors and Maddie Ruthless!!!

 

Ska Party Monday March 16 2015! by Dj_Skip on Mixcloud

Rude Boy Train

Rude Boy George – Confessions – Trilby Records

rbg confessions

 

(Translated to English by Karyn Bauer)

 

A little bit of history:  We have already talked about Rude Boy George several times. A little reminder: Stephen Shafer, who started this project, is well known for having actively participated in the marketing, production and promotional aspects of Moon Ska.  Today, Steve is the man behind the highly regarded The Duff Guide to Ska.

 

In the middle of the 1980’s, during his high-school years, the Long Island radio stationWLIR broadcasted the best of the New Wave music and a lot of 2-Tone ska.  As the two styles were mixed sporadically, the two naturally came together in Steve’s mind.  When he talked to his friends in Bigger Thomas about combining the two, they agreed that it was an excellent idea as they had grown up listening to the same music.

 

It was in January 2013 that Rude Boy George was born. Steve surrounded himself with renowned New York musicians from groups like Bigger Thomas, Across the Aisle or The Toasters.  Among them, Bigger Thomas band member Marc Wasserman, author of the blog Marco on the bass.

 

The group was very busy in 2014 releasing 5 digital titles and participating in the compilation Specialized 3: Mad Not Cancer and a split 45 with the Hotknives on Jump Up Records.  It was also the year of the current release of the digital LP Confessions, available at the usual outlets.

 

The record:  for those who already know the group, no disappointments here. The recipe is the same: a hit from the 80’s remixed to a ska or reggae beat.  For those unfamiliar with the time period, it is one of the pleasures of listening to the album, playing a blind test and trying to guess the original title.

 

Three of the songs from this LP were already on the group’s first production: “(Keep Feeling) Fascination” (The Human League), “Don’t Change” (INXS), and “Talking in your Sleep” (The Romantics).  We won’t talk about these songs again, not for lack of interest, because all three are excellent, but because we already talked about them for the release of the Take One EP.

 

Among the new songs, the very well orchestrated “The Metro” by Berlin has an introduction reminiscent of The Beat’s “Mirror in the Bathroom” and a very up-tempo ‘80’s keyboard.  Their version is faster than the original and Megg Howe’s voice is perfect.  This same acidic voice, that evokes Gwen Stefani, is equally as marvelous in “Tempted” (Squeeze), which is a bit of unpretentious and very pleasant ear candy.

 

“Always Something there to Remind Me” (song by Burt Bacharach made popular by Naked Eyes in the 80’s and by Eddie Mitchell in France (“Toujours un coin qui me rappelle”) is perhaps a bit less convincing but remains honorable in its performance.  Rude Boy George also tackles “Driving in My Car” but it is not easy to capture the chaos of this Madness song with its sound alarms and turn it into something more melodic.

 

We will round it up with two particularly successful adaptations: “Eyes Without a Face” (Billy Idol) and “Sweet Dreams” (Eurythmics), two songs we have heard so often we can’t imagine how it could be possible to reinterpret them. But the group does an excellent job, giving them a fresh new sound thanks to an astute re-orchestration.  The group’s experience provides us with the possibility to allow us to forget the otherwise unforgettable original tunes thanks to the voices of Roger Apollon Jr. (Bigger Thomas) and Megg Howe (Across The Aisle).

 

To sum it up, Rude Boy George has delivered a very entertaining production that combines both the nostalgia and light heartedness of the ‘80’s.  Even if the exercise might appear confining and risky, the variety of songs and the coherent production keeps it from being boring. We impatiently await new adaptations of other songs!

 


Posted by  in Reviews with the tags: 

 

Tone and Wave

Tone and Wave's ska favorites of 2014

Reggae Steady Ska

The Jury has voted!  Here's what ska experts and enthusiasts from all over the world had to say about Confessions!
"These guys from the USA were on Specialized 3 and what a version of “Driving In My Car”. I love this album because it covers no bread and butter staple ska/reggae tunes but good old 80s classics like you’ve not heard them before and some have top production. Its just something different done very well." Paul Williams -- Specialized founder (UK)
 
"Great debut album! Reggae and SKA versions to tribute eighties sounds. From XTC, INXS, to the great versions of Eurythmics and Billy Idol."  Oscar Serrano -- Radioskandalo (Mexico)

Thanks so much to everyone who contributed to the year-end polls at Reggae Steady Ska – by making music, organizing events, publishing stuff, by voting, sharing, liking etc.

To us, these polls are the best way to keep track of what happened in the year. All the records and events involved will be featured in the Ska Music Yearbook that will be here soon.

And now to the results.

 

Album Of The Year 2014

1. Various – Specialized III – Mad Not Cancer
2. The Mighty Fishers – Soul Garden
3. Los Elefantes – Grandes Éxitos de Otro
4. The Dualers – Back To Paradise
5. Many Loves Ska Jazz – Dreamlike
6. Kingston Rudieska – Everyday People
7. Transilvanians – Echo, Vibes & Fire
8. Skamanians – Ride Again
9. The Talks – Commoners, Peers, Drunks & Thieves
10. Clinton Fearon – Goodness

 

Debut Album Of The Year

1.  The Mighty Fishers – Soul Garden
2. Gang Holiday – Ocean Dub Hookers
3. Many Loves Ska Jazz – Dreamlike
4. The Talks – Commoners, Peers, Drunks & Thieves
5. Los Aggrotones – 10 Reggae Shots
6. Rude Boy George – Confessions
7. The Delirians – Get Up!
8. Policulture – The Bridge
9. Alaska Q – Berteman Kata
10. Broken 3 Ways – Return To The Shack

 

7″ Vinyl Of The Year

1. Various: Bim Skala Bim, King Hammond Night Boat To Cairo, Bed & Breakfast Man (taken from Specialized 3 – Mad Not Cancer)
2. Specialized 3 – ep with The Hotknives, Crabs Corporation, Rude Boy George, The Values feat. Neil Innes & Bedders
3. The Bluebeaters – Toxic / Catch That Teardrop
4. Stahl feat. Keith & Tex – Solid As A Rock, Pripyat
5. Kingston Rudieska, The Eskargot Miles – Far East Asia
6. David Hillyard & The Rocksteady Seven – Little Man Blues, Sisyphus
7. Roy Ellis with Thee Hurricanes – Can You Feel It, Get Up
8. Masons Arms, Babayaga – Fuß nach Vorn, Redheaded Woman
9. Los Hamptons – Stop! In The Name Of Love, Born To Lose
10. Smooth Beans – Turn The Coin

Bucks County Courier Times

Philadelphia Inquirer

Back to the '80s

Formed by Bigger Thomas singer Roger Apollon Jr. and bassist Marc Wasserman with a plethora of bandmates drawn from New York City's music scene, Rude Boy George features a rocksteady recall of the heyday of 1980s two-tone ska and New Wave. They play at the Sellersville Theater, 24 W. Temple Ave., in Sellersville. Time: 7:30 p.m. Tickets: $19.50. Information: 215-257-5808 or http://www.st94.com

New Haven Register

Taken aback by Rude Boy George’s ‘Confessions’

Rude Boy George puts its own ska spin on some of our favorite hits from the ’80s.

 

Rude Boy George is all about the 1980s updated to the modern era. The band plays ska and reggae versions of new wave and post-punk classics (only some of which deserve to be resurrected, in my opinion, but what do I know?)

 

In any case, there’s a lot to like about Rude Boy George’s new album, “Confessions,” which just came out as a digital album on Dec. 5, featuring jumpy covers of all those ’ 80s songs you didn’t know you wanted to hear again.

 

“Eyes Without a Face”? Check. “There’s Always Something There to Remind Me”? Yep. “Sweet Dreams (Are Made of This)”? Absolutely – and it grooves! “Tempted (by the fruit of another...)” It’s there.

 

“’Confessions’ is Rude Boy George’s way of paying respect to new wave and post-punk artists whose songs meant everything to us when we were teens,” said member Steve Shafer in a recent actual letter – printed on actual paper.

 

“The nine songs we selected to wrap in a loving ska and reggae embrace were originally recorded between 1981 and 1983, a period that corresponded with the explosion of new wave, 2 Tone and reggae on the radio, MTV and in movie soundtracks,” wrote Shafer, a backup vocalist who also plays the melodica.

 

If you’re at all curious about how all those songs translate to post-apocalyptic ska, you can find out Saturday night at Cafe Nine, 250 State St. Showtime is 9 p.m. New Haven instrumental surf dudes The Clams and Someone You Can Xray open. Admission is $5, with tickets available at www.cafenine.com.

 

You also can download the album via Bandcamp, iTunes, CD Baby.com and other digital retailers.

 

Rude Boy George features NYC and Connecticut ska musicians from Bigger Thomas, Across The Aisle and The Royal Swindle.  “We’re motivated by our shared love and respect for ska (reflected in the reference to 1960s and 2 Tone rude boys) and the extraordinary amount of good music produced in the late ’70s and early ’80s New Wave/post-punk era (Boy George),” the band says in its bio. “And we want to have some fun doing it. That’s Rude Boy George’s agenda and mission statement – simple as that.”

 

Rude Boy George formed in January 2013. It’s members came from several long-standing NYC-area ska bands, including Bigger Thomas, Beat Brigade, The Toasters and Across the Aisle. Among those members is guitarist Jesse Gosselin, who by day is a digital producer for WTNH-8 in New Haven, as well as a former producer for WPLR radio.

 

Other members include Megg Howe and Roger Apollon Jr. on vocals, Shafer on backup vocals and melodica, Jackie Chasen on saxophone and backup vocals, Pamela Buckley on piano and synthesizers, Marc Wasserman on bass, Jim Cooper on drums.

 

Wayne Lothian, former bassist for General Public, Special Beat and the English Beat, produced the album, which Rude Boy George recorded at Bill Laswell’s studio in West Orange, N.J.

 

The band played its first live show on April 13, 2013, at Electric Avenue in Manhattan. Its sets include songs by Human League, Soft Cell, The Romantics, Billy Idol, INXS, The Smiths, Cyndi Lauper, Squeeze, Culture Club, Gary Numan, Psychedelic Furs, Talking Heads, Berlin and The Pretenders, among others.

 

Call Mark Zaretsky at 203-789-5722.

ABOUT THE AUTHOR

Mark Zaretsky

Reach the author at mzaretsky@nhregister.com or follow Mark on Twitter:@markzar.

Ska-Boom!

I Have a Confession to Make…

Rude boy George

 

Not simply content with singing a few 80s cover tunes like many ska bands out there, Rude Boy George only does songs from this era. Despite only being around since 2013, RBG is rich with experience as its members come from several New York area ska acts to include: Bigger Thomas, Across the Aisle, and the Royal Swindle. Rude Boy George also features the creator of the quintessential ska blog, Duff Guide to Ska, Steve Shafer. Let’s have a listen to their debut full length, “Confessions”…

 

1. “The Metro”(Berlin)- “The Metro” seems to meld not only the glorious synth pop sound of the original, but percussion and horns of a traditional ska number. While the instrumentation is great, it is Megg’s hypnotic vocals that carry this tune. Grade: A

 

2. “Always Something There to Remind Me” (Naked Eyes)-Comparisons are always made between cover tunes and the originals. It is often difficult to not compare these songs to other bands that have covered them as well. “Always Something There to Remind Me” was also covered by the now defunct ska-synth group The Hippos. While I enjoy both versions of the song very much, it is Rude Boy George that captures more of a catchy, whimsical sound with its ever changing melodies. Grade: A-

 

3. “Don’t Change” (INXS)- Despite hearing “Need You Tonight” and “New Sensations” probably hundreds of times in my life, I was not familiar with “Don’t Change.” To be honest after previewing it, INXS’s version was just ok for me. However, I really like how RBG turns an otherwise gritty-sounding song, slows things down a bit, and combines the vocal stylings of Megg and Roger. What a gem! Grade: A

 

4. “(Keep Feeling) Fascination” (The Human League) – This song embodies the wackiness that was the 1980’s. Megg and Roger trade off well vocally to match the original. I also dig the synth and organs. Grade: B+

 

5. “Talking in Your Sleep” (The Romantics) – Great reggae feel with echo-vocals. There is also top notch harmonization. Check out the guitar and organ solos. Love this tune! Grade: A

 

6. “Eyes Without a Face” (Billy Idol) – I never was a huge fan of Billy Idol, but as it turns out, I really like this song. Smooth vocals and a sax solo give this tune a little extra oomph. Grade: A

 

7. “Driving in My Car” (Madness)-A quirky song that has a definite Madness feel to it (I could not find the original to compare this version to). Sorry guys, I’m not feeling this one as much as the others. Grade: C

 

8. “Tempted” (Squeeze) – RBG adds some much needed pizzazz to this otherwise overplayed song (although the original is a great tune). I really enjoyed the trading off of vocals near the middle of the song. Grade B+

 

9. “Sweet Dreams (Are Made of This)” (Eurythmics) – Unfortunately it is difficult to remember the original after this song was butchered by Marilyn Manson. This album’s version creates the darker tones with the organ and totally nails that synth solo. The great vocal harmonies at the end make this a great album from start to finish. Grade: A-

 

Although I typically enjoy songs done by the original artists more than the cover version, I always enjoy a good ska cover song. Cover songs are one thing, but dedicating your entire existence to playing nothing but someone else’s songs? This is my gut reaction when I hear about any cover band, in any musical genre. However, I began to eagerly await this release, and I wanted to be open-minded. When I heard the first track, to be honest, I still wasn’t sure if I liked it. In a way, it felt overproduced, more so than any ska album I have ever heard. It wasn’t until my second listen-through that I really appreciated what Rude Boy George has to offer here. There is a delicate balance between giving each song a ska feel (which a lot of bands do),yet maintaining the essence of the new wave sound as well (which a lot of bands do not). This was created by not only the synthesizers, but studio production as well. The band is certainly not lacking in experience and the vocal double-threat of Megg and Roger is second to none. My only critique is that I wish the band hand either a trumpet and or trombone, to make the horn parts stand out more. I will toss my preconceived notions aside. If ska music has room for hardcore (Mighty Mighty Bosstones), a boyband (Suburban Legends) and even Satanism (Mephiskapheles), than why not a cover band? Rude Boy George has the energy and musical chops to drive a new group of listeners to the often sputtering world of ska. So do not walk, do not run, but rather, skank your way down memory lane! Overall Grade: A-

Do The Dog Music

DO THE DOG SKAZINE TOP 20 ALBUMS OF 2014!

2014 has been an incredible year for exciting new album releases from awesome bands from all over the Globe. Here are my Top 20 favourites!

 

8. Rude Boy George - Confessions (Trilby Records)

The debut album from this NYC based 8 piece is a real breath of fresh air delivering 9 killer cover versions. For this release Rude Boy George selected a bunch of new wave hits from the early 1980’s & then re-invented them as 2 tone, rocksteady & reggae anthems. The likes of The Eurythmics, Berlin, The Human League & Inxs never sounded so good! Imagine early No Doubt or The Beat’s brand of 2 tone & reggae with a serious 80’s pop injection & you pretty much capture the fun of this release. http://rudeboygeorge.bandcamp.com/album/confessions-2

 

ReadJunk

Rude Boy George @ Otto’s Shrunken Head, NYC – 12.5.14

Rude Boy George @ Otto's Shrunken Head, NYC - 12.5.14 - Photo by Bryan Kremkau (2)
Rude Boy George played second in their record release show. Beat Brigade played last but unfortunately, it was already late night for me so I had to miss their set. They always seem to be going on too late for me but I’ll definitely need to make it up to them and shoot their set again soon. it’s been awhile since seeing RBG and the last time I saw them, they didn’t have Jackie playing sax or Pamela playing keyboards. So it’s been a long time but their set was awesome!

Before their set, I was joking around in trying to get the band to take a selfie with me, only Megg heard me though. Still a funny photo. I was getting shots with my buddies in the crowd as well. I’m loving the 14-24mm lens because I can get some shots of me for a change without having to ask someone take a blurry photo of me. Just like the Scofflaws set, I didn’t really move around and just took shots of the band from the one spot. I filmed 2 songs as well, one for “Always Something There To Remind Me” and “the Metro.” If you love 80s and ska music, give Rude Boy George a listen! Their new album Confessions is now available!

Do The Dog Skazine

Telegram.com

Rude Boy George plays Beatnik's Nov. 29

Ever wondered what some of the new wave hits of the '80s would sound like performed by a third wave ska band? You know, songs such as "Eyes Without a Face," "Always Something There to Remind Me" and "Sweet Dreams (Are Made of These)"? No? Yeah, neither had I, but listening to Rude Boy George play these songs is a ridiculous amount of fun. It's a VH1 '80s flashback by way of No Doubt, and that — despite all odds — works surprisingly well. Rude Boy George performs with The New Limits and Across the Aisle at 9 p.m. Nov. 29 at Beatnik's, 433 Park Ave., Worcester. (508) 926-8877. $5. 

CHLY 101.7 FM

 

 

LOOK WHO'S #3!

Rude Boy Train

Rude Boy George dévoile un peu son premier album

Confessions cover art

 

RUDE BOY GEORGE, on vous en a déjà parlé car ce combo new-yorkais a une démarche pour le moins originale. Après un sympathique Ep, « Take One« , en début d’année, le combo composé notamment par des membres de Bigger Thomas, continue de s’amuser à reprendre des standards new-wave/pop qu’on écoutait quand on était gamin (enfin moi j’étais gamin), et dans le genre, leur nom est particulièrement bien choisi.

 

Voici donc Rude Boy George qui se repointe, mais cette fois avec son premier album dont la sortie est programmée pour le 5 décembre prochain avec une release party où l’on retrouvera aussi Beat Brigade et les historiques Scofflaws.

 

Le disque, produit comme l’Ep par Wayne « Waylo » Lothian (General Public, The English Beat, Special Beat) comportera neuf reprises (dont trois qui étaient sur l’Ep), avec au programme The Human League, Eurythmics, INXS, Berlin et même Madness (« Driving In My Car »).

 

Pour l’instant, Rude Boy George a mis deux morceaux en écoute (et en téléchargement gratuit) sur sa page bandcamp, et moi j’avoue que j’accroche à mort à « Eyes Without A face » et ses choeurs en français…

ReadJunk

Rude Boy George Confessions Album Review

 

Rude Boy George – “Confessions”

Album Reviews | By  on November 1, 2014

Record Label: Trilby Records
Genre: Ska
Band Link: www.rudeboygeorge.com

 

The new wave loving ska band, Rude Boy George, are about to release their first full-length album and it’s everything I hoped it would be! It’s ’80s songs and ska music, what’s not to like!? So go get your leg warmers, your checkered sunglasses and your slap bracelets and party to the ’80s covers from Rude Boy George. Bitchin’!

 

It’s hard reviewing something when you’re friends with the band but thankfully, there’s no need to sugar coat anything. Confessions is nostalgic good fun and one of my favorite albums of the year! For those that don’t know, Rude Boy George consists of members of Bigger Thomas, Across The Aisle and former Moon Records employee Stephen Shafer. Roger from Bigger Thomas and Megg from Across the Aisle share vocal duties and sometime get their own spotlight. Sometimes, songs require female vocals so I like the dual vocals approach.

 

“The Metro” is the first track off the full-length, and time warps you back to 1981 when Berlin originally did the song. Megg does a beautiful job with the singing, and I love the baseline by Marc. It’s very Mirror in the Bathroom-ish and I believe that’s where they got some of the inspiration for it. When Rude Boy George got together, they were lacking horns but now have a sax player (Jackie from Across The Aisle). It certainly helps with a lot of the 80s songs that have sax. I’m still waiting for a Huey Lewis and the News cover but Huey isn’t really considered new wave is he? “Always Something There To Remind Me” is next and the heavy sax and keyboard playing is noticeably right away. Roger sings most of this song, with others join in during the chorus. If the band played the song from start to finish, you’re legs would be tired from skankin’ around.

 

The next 3 songs you might be familiar with if you bought the band’s first EP. Since the members of the band have rotated in and out of the lineup, I believe these songs have been re-recorded though. Or at least some of the songs sound different to me but what the hell do I know. There’s “Don’t Change” by INXS, “Keep Feeling Fascination” by The Human League and “Talking In Your Sleep” by The Romantics. While I like those songs, I was hoping for some other new songs though. The last portion of the album is brand new stuff and lots of songs to like. If you like the slower tunes, there’s “Eyes Without A Face,” originally by Billy Idol. Most of the song contains reggae style beats but picks up at the end. RBG cover “Driving in My Car,” which they did for the Specialized 3 charity album. I never liked that Madness’ song (one of the few I suppose) but surprisingly I liked this cover. Megg adds a certain punk snarl to the tune which I like as well.

 

Rude Boy George may not be for everyone; like people that didn’t like these songs when they originally came out. But those who love 80s music and ska/reggae as well, you’re in for a treat! Give this band a chance, see them live, and buy their merch!

 

Bottom Line: 80s and ska go together like peanut butter and jelly.
Notable Tracks: The Metro, Always Something There To Remind Me, Don’t Change, Talking In Your Sleep, Sweet Dreams (Are Made Of This)
Overall Rating: 4.5 stars

 

ReadJunk

Rude Boy George 

Rude Boy George releasing debut full-length “Confessions!” on December 5th

Music News | By  on October 5, 2014


Who doesn’t love 80s new wave and ska music? Well if you do then you’ll love Rude Boy George, featuring members of Bigger Thomas and Across The Aisle. Their debut full-lengthConfessions will be released on December 5th and be available on iTunes, Bandcamp, Cd Baby. You can also just get the album at the band’s record release show on December 5th. More details about that and more below.

 

The record release show will be on December 5th at Otto’s Shrunken Head in NYC. Beat Brigade is playing as well as a special guest band from the area, which will be announced soon. Show is at 9:30pm and its FREE!

 

Besides the record release show, Rude Boy George will be playing at Two Boots in Bridgeport, CT on November 14th. Across The Aisle and The Screw Ups are also playing.

 

So back to that debut album, the band updated their Facebook page with this news:

What’s up, people? We’ve been BUSY behind the scenes getting ready to put out our first LP titled Confessions! We are very proud of what we have done with our producer Wayne “Waylo” Lothian and can’t wait for you to hear it!

We’re also setting up our new digital label, Trilby Records, that will not only put out our music, but the music of our very talented friends and band mates.

In the meantime, check out our revamped website at www.rudeboygeorge.com loaded with new pictures, shows and bios.

Thanks for your support and we hope to see you at a show soon!
RBG

 

…And finally check out a preview track from the new album. The brilliant cover of “The Metro.” I love this cover so much!

 

 

The Panel

The music scene in New Haven and neighboring towns is extensive, ranging, from artists who play classical to hard rock. Bars and venues such as Toad’s Place or Stella Blues in New Haven hold music shows almost every night whether it is a mainstream or an underground artist. Large music shows can be fun if you enjoy going bankrupt, assigned seating, viewing the performance from a great distance, or hearing the same songs you hear on the radio over and over again, however, I prefer the more social, cultural, and artistic experience that local artists give. I have found that local artists allow for a broader, more artistic expression, as they have more room for experimentation. Recently, I went to the Fairfield theatre company in Fairfield, CT, to check out a band called Rude Boy George which provided a memorable performance for only 25$, which was refreshing to find out as a broke college student. Since I enjoy upbeat bands that are good for dancing, a fellow student recommended the band to me. Rude Boy George had a reputation as a ska band with jazz undertones, which I like very much in music. I decided that I had to check them out.

The theatre hall was a perfect fit for the show and the vibe that Rude Boy George brought about. I especially loved the large stage and open area directly in front of the band, so there was room for my friends and me to dance. The stage was set up with lighting, which added more exhilaration to the performance and got the audience even more engaged. Overall, the venue itself contributed to making the show as good as it was. It felt like a more involved experience for me as a concertgoer.

As the venues for these local shows are smaller than concert stadiums, the artist gets more involved with the audience because the stage set is closer. As an audience member, you truly get the entire picture of the artists’ through the emotions they show in their music and performance. Being up front in the crowd at the Rude boy George show, allowed me to view music performances from a different perspective; I could feel the energy of the musicians and was able to feed off of their energy. The audience is able to make more of a connection to the music, the artist, and their fellow fans during a local, underground show. Rude Boy George came on and immediately began with an upbeat song to get the audience involved. Since there were no seats, it was easy to meander my way to the front of the crowd. The audience did not seem to mind the constant shifting of people to and from the stage since they were all having a good time. It was at the front of the stage where every aspect of the artist’s work was on display. The lead singers head was nodding to the music and he was putting all his effort and breath into singing a good song, the drummer’s wrinkled eyebrows suggested that he was deep in concentration and the bass guitarist was dancing along, having a good time, and doing what he is most passionate about. These artists performing on stage were giving their performance all their effort because it truly is a piece of art. All of their creative thoughts go into writing their songs and then their hard work is what makes them able to express what they’ve created. I thought about the fact that for weeks, this band probably rehearsed the same songs over and over again in order to perfect them or to make them better and that made me appreciate the music a little more. During their performance, it was easy to feel the energy between the band and the audience. It was easy to tell in the musician’s faces, as they were playing, that they were feeding off of the positive feedback from the audience.

Not only does attending a local show add support to the community but also it is a great way to meet new people or see new places around town. The Rude Boy George show took me to a town in Connecticut where I had never been and to a place, which I was not familiar with but that did not matter because I felt right at home. All of the other attendees of the concert were super friendly, outgoing, and accepting of everyone there due to the sense of community that transpired. Everyone was able to bond with each other because we all were related in regards to music interest and the community. I had a good experience in Fairfield and at the Fairfield Theatre Company because I found a new place where music shows and theatre shows occur regularly and connected with other members of the local area who could be potential friends if I pursue other shows at the theatre. Also, during local shows, the audience is able to view what goes on behind the scenes of a show, as there usually is no curtain when they are switching sets. During the show in Fairfield, it was interesting to see the stage put together before the band went on, as I had never seen this before and learned something new.

Though large mainstream concerts are fun, they do not truly give the audience the complete creative explanation of the artist. Usually, the venues during conventional concerts featuring famous artists are extremely large, meaning that most of the audience is far away from the artist, therefore, not being able to see their expression or how they play their instrument. When I am going to a show, I expect to engage with the artist, somewhat, since they are the sole reason for my attendance in the first place. I’ve gone to a Jonas Brothers concert during my teenybopper years and the arena was so large that I couldn’t even tell that their lips were moving. Luckily, they have a large screen TV that projected the performance through a live feed but that’s basically the same thing as watching one of their old concerts on DVD at home. Also, since so many seats are available and the concerts usually feature famous artists, the arenas price the tickets way too high as well as the food or any of the souvenirs. Meanwhile you could go to a local show and buy a full meal, a ticket to the show, a couple of drinks, and a band t-shirt for half the price. For instance, attending the Rude Boy George concert in Fairfield cost me a total of 25$ but a concert to see Mumford and Sons is over $100. Going to see a local show over a big concert is more affordable and accessible. Besides that, it usually costs extra for a chance to speak to the artist, however, most local artists are usually willing to come talk to their fans. After Rude Boy George’s performance, the band came out and sat at a table for about an hour after the show to sell CD’s and t-shirts. Audience members frequently went up to them just to compliment their performance or ask questions and the band reacted extremely kindly and grateful for their having come out to support them. I definitely felt genuine appreciation from the band to their audience for their support because they actually took extra time to make sure that everyone was enjoying the show. I had each member of Rude Boy George shake my hand and personally thank me for coming out to listen to their work, which not most people who see bands like Coldplay, or Kings of Leon can say simply because large venues don’t offer them the chance.

Most importantly, going to different local shows is a way to find new music. The music industry has to get their artists somewhere and any local band could be the next person you hear on the radio but it is up to us to choose by venturing out and finding new people; maybe one day I will turn on the local radio station and hear Rude Boy George playing.

Rude Boy Train

Rude Boy George – Take One Ep – Autoprod

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UN PEU D’HISTOIRE: Mélanger la musique jamaïcaine avec de la new- wave, une idée qui peut paraître saugrenue au premier abord, et bien c’est le pari adopter par Rude Boy George. Soyons honnête, l’opération aurait été menée par des illustres inconnus, les efforts du groupe serait probablement restés lettre morte.

 

C’est Stephen Shaffer qui est à l’origine du projet, connu pour avoir participé activement à l’aventure Moon Ska pour la partie marketing, production et promotion. Steve est aujourd’hui l’homme derrière notre très sympathique confrère « The Duff Guide To Ska ». Dans le milieu des années 80, au cours de ses années Lycée, une radio de Long Island appelée WLIR diffuse tous les meilleurs groupes de New wave mais aussi une bonne part de 2 tone. Comme les deux styles sont diffusés indifféremment, les deux vont naturellement ensemble dans l’esprit de Steve. Quand il évoque son idée de fusionner les deux genres devant des amis du groupe Bigger Thomas, ils lui disent que c’est une excellente idée et qu’eux aussi ont grandi en écoutant les mêmes musiques.

 

C’est en janvier 2013 que Rude Boy George voit le jour et Steve s’entoure de musiciens renommés de la scène New-Yorkaise, issus de groupes comme Bigger Thomas, Across The Aisle ou The Toasters. Parmi eux, nous noterons le présence de Marc Wasserman à la basse, membre du groupe Bigger Thomas et éminent blogueur auteur de « Marco on the bass ».

 

LE DISQUE:  »Take One » est donc un EP de 5 titres de classiques New Wave des années 80. Plus exactement, il y a 3 titres et 2 remix. Le disque est produit par l’ex-bassiste de the English Beat, Wayne « Waylo » Lothian.

 

A la première écoute, le son surprend  par sa production très années 80 et un clavier au son un peu daté et puis on réalise que c’est justement l’idée, et passé ce cap, l’écoute est bien agréable comme un bonbon acidulé et on éprouve un plaisir coupable comme après avoir vu un film de John Hugues. Le premier titre  »(Keep Feeling) Fascination », une reprise de The Human League, est une merveille de petite chanson pop et le chant mixte contribue largement au plaisir de l’écoute.

 

Le second titre est une ballade reggae bien nostalgique intitulée « Don’t Change », qui est cette fois-ci une chanson d’INXS mais avec une réorchestration vraiment différente. A nouveau, on se dit que que l’écoute est bien agréable et qu’après tout, c’est bien l’objectif premier d’une chanson.

 

On enchaîne avec le succès interplanétaire des Romantics « Talking In Your Sleep », cette chanson est plus proche de l’originale que les deux précédentes mais la nostalgie opère pleinement.  Evidemment, pour qui n’a pas connu cette chanson à sa sortie, ce sera moins parlant.

 

Les deux derniers titres sont des remix de  »Don’t Change » et  »Talking In Your Sleep » assez similaires aux versions précédentes avec le renfort d’Antonee First Class, le toaster de the English Beat version US sur le second morceau.

 

Au final, un concept original, des titres bien exécutés et agréables à écouter, « Take One » donne réellement envie de mieux découvrir ce groupe. Bien sûr, le puriste uniquement amateur de son 60s passera sa route tout comme le fan des Mighty Mighty Bosstones, mais le nostalgique des 80s ou de ska pop devrait apprécier ce groupe. A suivre donc en espérant peut-être des chansons originales qui permettraient de faire s’épanouir Rude Boy George.

Rodoliv

Do The Dog Skazine

Reggae Steady Ska

 Rude Boy George

Published on March 28th, 2014 | by Charles

Blending 2Tone Ska And New Wave – The Rude Boy George Interview

NY-based Rude Boy George is receiving a lot of attention for the fun way it blends the two best things to come out of the 70s and 80s—2Tone ska and New Wave. The band’s 5-track debut EP, Take One, captures the sound of a time that could have been. Band co-ounder, backing vocalist and Duff Guide to Ska blogger, Steve Shafer sits down with RSS to field a few questions.

 

Reggae Steady Ska: The band’s lineup reads like a Who’s Who of New York City ska. How did you all end up on the same stage?
Steve Shafer: Rude Boy George was born out of an idea that had been rattling around my head for a few years: to form a band that would do ska covers of New Wave and post-punk classics. I was in high school in the first half of the 80s and loved all of the New Wave that was coming out of the UK, which included 2 Tone ska—lumped under the New Wave umbrella in America along with a lot of other musical sub-genres. So in my mind/experience, ska and New Wave fit together quite well. I finally shared this idea with my friend and fellow ska blogger Marc Wasserman of Bigger Thomas and the Marco on the Bass blog. He loved the idea — and then he, Roger Apollon, Jr. (also of Bigger Thomas), and I discussed it all one night when we were out seeing Morrissey perform at the Brooklyn Academy of Music. Things moved very quickly after that and the band was formed out of members of Bigger Thomas, The Toasters, and Across the Aisle — and a few months later it solidified into its current incarnation: Marc Wasserman on bass, Roger Apollon, Jr. on vocals, Jim Cooper on drums (all from Bigger Thomas), Megg Howe on vocals, Jackie Chasen on sax and backing vocals, Jesse Gosselin on guitar (all from Across the Aisle), Jeff Usamanont (Funkface/Daft Phunk/Electric Company) on guitar, and Steve Shafer (ex-Moon Records promo guy and Duff Guide to Ska blogger) on backing vocals and melodica. In a moment of sheer brilliance, Roger came up with our name—Rude Boy George—which beautifully illustrates our blending of ska and New Wave.

 

 

Vocalists Megg Howe and Roger Apollon create a hauntingly cool sound, especially on Don’t Change. Was this the first time these two had worked together?
Yes, actually! I had become friends with Megg after reviewing Across the Aisle’s debut EP a few years ago on my blog and then talking/hanging out with her and the band after some of their live shows. I’ve always been really impressed with her voice and stage presence and she immediately came to mind when Roger, Marc, and I were putting together Rude Boy George. In true 2 Tone fashion, we wanted the band not only to reflect ethnic/racial diversity, but a mix of genders. So, I approached Megg with the idea and she agreed to become one of our co-lead vocalists on the spot. She and Roger instantly clicked in our first rehearsal. Both of them are really dynamic performers and have a really great chemistry on-stage. Plus, they’re both really great people.


Your setlist is packed with New Wave classics from bands like Human League, the Romantics, Talking Heads, Culture Club, INXS and Squeeze. With so much great raw material from that era, how do you decide which songs you’re going to reinterpret?
It isn’t easy! We have these long, involved email threads between everyone in the band where we offer up suggestions for songs that we think will translate well into ska or reggae versions (and each of us has extensive lists of songs/bands we want to cover). Since we try to operate the band in a democratic fashion, the songs that generate the most interest—or someone is most insistent about—are the ones we try out in rehearsals. What’s funny is how most of the songs that we cover click immediately, while others that we thought (and want) to work just won’t, not matter how hard we labor at them. We also struggle a bit over whether or not to do the more popular New Wave hits or the deeper album cuts—but we’re working toward getting the balance right. Megg was the one that suggested that we cover Cyndi Lauper’s Witness off Lauper’s debut album; it’s a song that no one else in the band knew—and we were all in high school and college in the 80s—but it turned out to be one of our best covers and always goes over well live.

 

 

Take One was produced by Wayne “Waylo” Lothian, a gifted musician who’s played with General Public, Special Beat and English Beat, as well as New Wave artists like Thomas Dolby and ABC. How did his many experiences help shape the Rude Boy George sound?
We’re so, so fortunate to have Wayne as part of our group. Wayne did an incredible job with our EP—few ska recordings sound as good this! As you mentioned, he possesses such incredible skills and experiences in both the ska and New Wave realms, as both performer and producer. In working with Wayne on this project, we discovered that he brings a very modern sound while keeping a very soulful and “classic” quality to the music he produces. We were absolutely floored when we heard the first mixes of the EP, as he gave the band a very full and textured sound that the band wasn’t aware of when we recorded. It’s fair to say that he is responsible for crafting our sound to make it accessible not only to true ska/reggae fans but to fans of pop music as well. He has this great affinity for the project and completely believes in the band and our mission. Plus, he’s just a really wonderful and decent human being. Roger and Marc have known him for years and when he heard about Rude Boy George he wanted in!

 

 

The EP has a cover of The Romantics’ Talking in Your Sleep as well as a remix of your version, featuring English Beat toaster Antonee First Class. His new single Who Are You? was also produced by Wayne Lothian. Was that how your paths crossed?
Yes, Wayne was the common thread in that collaboration!  Roger and Marc opened for the English Beat with their band Bigger Thomas at least a dozen times over the past two-to-three years. During that time, Wayne and Antonee were part of Dave Wakeling’s touring band and they got to know each other fairly well from having conversations before and after shows. Needless to say, once Wayne began working with us, he called in a favor and had Antonee chat over the track at his studio in LA. One of the many perks of having Wayne on board is that we benefit from his vast connections to some of the most talented musicians in the industry!  When we go into the studio again in the near future, be on the lookout for more “surprise” guests!

 

 

Have you heard any reaction from the bands you cover?
Not yet—though Lynval Golding of The Specials (who is good friends with Wayne Lothian) really likes our EP and what Rude Boy George is doing. Before we released our EP, I wrote an email to Boy George’s management letting them know that our name was, in part, an homage to Boy George and how he represents the New Wave aspect of the band and our name—but we never heard back. In a way, I think we were seeking his blessing and even though he didn’t respond, it wouldn’t have felt right not to let him know what we were doing. (Boy George has a new reggae album out and some of us are planning to go see him at Irving Plaza next month!) A few people in the band have connections to several New Wave-era artists and we’ll see if we can get them to guest on some of our new recordings…


What’s next for Rude Boy George?
We’re going to be recording a cover of Madness’ Driving in My Car for the Specialized 3 charity album that benefits the Teenage Cancer Trust in the UK (plus there are plans for our track to be released as a vinyl single by Jump Up Records) and we’re returning to the studio soon to lay down some new tracks with Wayne in the next few months, releasing some of them on vinyl later this year. In addition, we’ll be continually adding new songs to our repertoire and playing gigs in the New York City area and beyond. So, more recorded music and more gigs!


Roots Rock Rebel!

Rude Boy George on Roots Rock Rebel! March 19 podcast

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Roots Rock Rebel

Wednesday, March 19, 2014

10pm-12am, CKUT, 90.3 FM, Montreal!

 

Welcome back to another weekly podcast of Roots Rock Rebel. This week we took a nice trip back in time, to an era with arguably funkier haircuts, more synth, and analog kitch madness. Our special guests on the podcast were Roger Apollon and Megg Howe, the two vocalists of a new NYC ska outfit Rude Boy George.

Rude Boy George fall somewhere between a concept band and a side project, bringing together members of prominent NYC/NJ ska bands like Bigger Thomas, Across the Aisle, and The Toasters to do ska covers of 80′s new wave and post-punk classics. The results can be heard on their newly released EP “Take One”, available for download on the band’s bandcamp page. Be sure to check it out!

Having this band on my show also inspired me to dust off some albums that I seldom play on Roots Rock Rebel, so you’ll hear some great tunes from the likes of Joy Division, Devo, Pere Ubu, and Men Without Hats on this podcast.

Be sure to tune in next week – we’ll be interviewing Jamaican ska pioneer Roy Panton!

Until next week, stay rude, and stay rebel!

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To download or listen to this week’s podcast, visit: http://ckut.ca/c/en/oldgrid/wednesday,22:00

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Playlist March 19 2014

The Planet Smashers – Too much attitude

Deal’s Gone Bad – Messin’ around

Bim Skala Bim – Summer of ska

The Skinny – Killing time

The Beatdown – Mary

Vinny Savage and the Wild Side – Night of the skankin’ dead

Tim Timebomb feat. Jesse Michaels – Living in a dangerous land

Rude Boy George – Don’t change

Interview with Roger and Megg from Rude Boy George

Rude Boy George – Talking in your sleep

Bigger Thomas – Panic!

The Slackers – Like a virgin

Devo – Gates of steel

Talking Heads – Tentative decisions

Men Without Hats – Safety dance

Pere Ubu – The modern dance

Joy Division – Transmission

The Specials – Stereotype

Cock Sparrer – Riot squad

The Class Assassins –  The addiction

Solids – Traces

The Clash – Washington bullets

Tarrus Riley feat. Big Youth – Five days

Roy Panton w/ Teddy Garcia’s Musical Combo – Ohh la la

 

Reggae Steady Ska

Wicked Sounds 2014: Rude Boy George – Take One

Other bands like The Valkyrians (Finland, “Punkrocksteady”, 2011), The Orobians (Italy, “Slave To The Riddim”, 2012) and The Slackers (USA, “The Radio”, 2012), have taken old hits and transformed them into their established Ska style, tried to make them their own. At the end, what was left of the original track was often not more than the words and the melody.

Take One

Rude Boy George from New York (USA) go another route. They are after a balance between the original and the new version. Everyone in the band has a history in Ska, but synth pop songs from the 80s were also the soundtracks of their earlier days. Today forming a band like Rude Boy George means a chance to integrate those influences that made fellow bloggers Marc Wasserman (“Marco On The Bass”), Stephen Shafer (“Duff Guide To Ska”) and the other band members who they are today. If you hear the airy keyboards and guitar sounds next to the earthy riddims and bass, you know what I mean. This mix makes Rude Boy George unique in the Ska scene today and (by the way) would suit lots of radio stations very well. Another thing that sets Rude Boy George apart are the female/male vocal arrangements. Lead vocals are split between Megg Howe (also of Across The Aisle) and Roger Apollon (also of Bigger Thomas).

Production

In the search of the right producer, Rude Boy George decided on someone whose history also integrates Ska and 80s Pop in his history: Ex-General Public/Special Beat/English Beat bassist Wayne “Waylo” Lothian. A perfect match. After you’ll have listened to the songs of “Take One”, you will be pleased to hear that more recordings are already being planned. Next time it shall be a physical release. Why not make it a 12’’ Super Sound single?

Lineup

Megg Howe – vocals, Roger Apollon – vocals, Steve Shafer – backup vocals, melodica, Jackie Chasen – (Across The Aisle) saxophone, backup vocals, Jesse Gosselin (Across The Aisle/The Royal Swindle) – guitar, Jeff Usamanont (FunkFace/Daft Phunk/Electric Company) – guitar, Marc Wasserman – bass, Jim Cooper – drums


Calling all wicked REGGAE STEADY SKA bands: Send us links to your new soundcloud, bandcamp, or reverbnation sounds – we will do our best to spread them.

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About the Author

 With his Ska band THE BRACES (1984-1991, 2000-2006) Joachim Uerschels released three albums for Unicorn, Pork Pie and Mad Butcher Records. He lives in Cologne, Germany as a writer and musician. He's currently writing songs for the first album of his Acoustic Ska project JOE SCHOLES

 

ReadJunk

Rude Boy George

Interviews | By  on January 22, 2014


Are you a fan of Ska and Reggae? How about New Wave as well? Well you’re in luck because Rude Boy George have been playing ska/reggae versions of New Wave songs for almost a year now. You might have caught them playing at Characters in NYC a few times last year. The band consists of members of Bigger Thomas, Across the Aisle and some other NY area bands. The ReadJunk staff sent over some questions for co-singer Roger Apollon to answer. Here’s how it went down:

 

1) How did this new wave/ska cover supergroup come about? Has Boy George sued you yet?
The idea of the band was something that Marc and Steve discussed over a year ago. Marc told me about the concept and asked if I would be interested. 80’s New Wave? Reggae/Ska? I’m in! As it happened, Morrissey was playing at BAM around that time and the three of us decided to go. Before the show, we had dinner at a Haitian restaurant across the street and really started to figure it out. Marc and Steve had a monthly show in NYC (Electric Avenue) and got to see a lot of great bands and musicians over the past year. One singer who we felt we HAD to have was Megg Howe from Across the Aisle. Her voice and energy (and the fact that a lot of 80’s tunes feature female singers) made her a must. Jim Cooper from Bigger Thomas was a natural next choice as he and Marc have played together for over 25 years. We initially had Spencer Katzman from Bigger Thomas as well as he was our de facto musical director and a great musician. I’m not sure who reached out to Dave Barry on keys but he was another (no pun intended) key acquisition as he is probably the best ska/reggae/jazz/whatever keyboard guy around!

As for Boy George, we have sent MULTIPLE email and snail mail messages to his management company telling them of our band name. We have gotten no response. Our consciences are clear that we tried our best to contact him however, if (or when) we get more attention, we may yet hear from him.

 

2) You just released an EP called Take One. What was the process like and how did you decide which songs to cover and put on the album?
The process was amazing! We played about 4 or 5 shows and decided to go and record 3 songs for an EP. Marc (and I) knew Wayne “Wayylo” Lothian from playing shows with the Special Beat and English Beat. Marc was really the one who kept him abreast of what we were up to from the beginning. As it turned out, Wayne decided to take a break from the non-stop touring with Dave Wakeling and wanted to focus on music production. I believe Marc asked him if he would be interested in producing the EP. To be honest, he lives in LA and has toured and played with some of the biggest acts in music so I didn’t have much hope that he would do it. Not only did he want to produce it, he wanted to FLY IN for the recording!! On his own dime, he flew in for a weekend and we recorded 3 tracks in 8 hours. The best part (for me) was working with a professional producer who had a very clear idea of how he wanted to songs to sound. He was very encouraging and that positive energy made the session a breeze.

We always were going to record “Fascination” and “Don’t Change” as they were the first songs we learned that really came together quickly. We were trying to do “Tempted” but it was a bit more complicated (we WILL record it for the full length!) and we all weren’t all that confident of doing it in the studio. We toyed with “Cars” but, at the time, it was still in the woodshedding stage. “Talking In Your Sleep” was chosen because we knew that song pretty well and time was of the essence. It turned out to be a great substitution as that’s probably my favorite song on the EP right now…

 

3) The 80s was one of the most fertile and diverse eras of music. How do you decide what to cover? Do the originals need to be new wavey and synthy, or can we expect a Phil Collins or Ratt cover at some point? 

Song choices are pretty random right now! It’s a free for all with emails flying around with all kinds of suggestions. We came up with a “List” of something like 30 songs that we said we would do so there could be some order but nobody looks at it!

As it stands so far, we’re stick to 80’s New Wave since that’s “our thing”. Not sure if I would be able to convince the band to do “Round and Round”…

 

4) Do you see RBG leaning toward the karaoke hits or are you more interested in going deep into an artist’s catalog?

It’s a bit of a juggling act. We want to cover songs that haven’t been covered before and like the “album cuts”, but at the same time, we know when we tell people we do 80’s New Wave, they want to hear stuff that was popular back then. I’d say it’s a 60/40 split between album cuts and popular tunes…

 

5) You’re a new wave cover band yet I don’t see a keytar player in your lineup? What’s up with that?

We haven’t been around a year yet!! Give us time!! LOL!

 

6) Have there been any songs that you absolutely love but simply cannot possibly translate over into ska music? What are some tunes that you tried shoehorning but didn’t work out?

This happens more often than not. At our very first rehearsal, we thought Billy Idol’s “White Wedding” would be a perfect ska tune! Wrong! It was very dry and didn’t sound that much different from the original. Although we learned and played The Smiths “Ask” live, we found the same thing even though we messed with the song structure and added the Fishbone “La, la, la, la, la, la” bit from “Lyin’ Ass Bitch”. It’s a bit of a drag because you spend precious rehearsal time learning a new tunes only to decide they don’t work. Oh well, that’s the process!

 

7) Has there been any consideration in making original music, inspired by new wave?

Yes! There are a couple of tunes and lyrics that we’ve kicked around as of late so that’s definitely on the agenda.

 

8) Do you consciously avoid songs that might come off as kitsch? (For instance, Rick Astley’s Never Gonna Give You Up or A-Ha’s Take On Me) 

We really don’t have our antennae tuned for kitsch. We are like minded group and have very similar tastes in 80’s New Wave so “out there” songs have not really come up. The driving force behind what songs are considered is what songs the individual members like.

 

9) Rude Boy George have stuck with playing in the NYC area but are their plans to tour outside of NY this year?

The plan was always to be the Electric Avenue house band for the first year. We needed a safe place filled with friends and family to try our stuff out. Now that we’ve done that, you’ll see us play more and more out of state. We’ve got a BIG show coming up in NY state so be on the lookout for that one…

 

10) Do you think there’s a challenge in attracting a younger audience to 80s music? Hate to say it, but an 18-year old kid today was born in 1996. 

The biggest challenge is not whether a younger audience will enjoy the music, it’s finding the venues that would book us to play in front of that crowd. When I play the music for the students I teach in high school, they love it! They don’t know the originals and just hear the songs for what they are: good music! However, when promoters and clubs hear “80’s New Wave”, they automatically pigeonhole it as “nostalgic” and “older crowd”. I believe that if we were to open for Macklemore, the crowd would be into it.

 

11) Since the new wave/post punk era of music was specifically chosen for this project, is there any boundary that Rude Boy George would cross in terms of the music or even the time frame?

Right now, there are SO MANY songs from the 80’s that we want to do, we can’t even think about another era! Let us get through our “List” first and they we’ll see…

 

12) Here’s a series of random 80s questions:

1) Best concert you saw in the 80s? 
Steel Pulse at the old Pier in NYC! Absolutely transcendent!

2) What is one fad of the 80s you wish never existed?
Parachute pants! They look REALLY stupid now.

3) Funniest 80s movie?
Airplane! I laughed with tears streaming down my face!

4) Your favorite 80s TV show?
Diff’rent Strokes! ESPECIALLY with Janet Jackson back then!!

5) Which band’s fanbase is more depressed: The Smiths or The Cure?
Tough question. I’d have to say The Smiths as Morrissey is infinitely more depressed that Robert Smith.

6) Would you ever consider doing a new wave/reggae version of the theme song to MacGyver? 
Theme songs are out. Talk about kitsch!

7) Exactly how safe is the Safety Dance? 
Not very. Apparently, if your friends don’t dance, they risk alienation from the members of Men Without Hats.

8) Most memorable music video of the 80s?
“Too Shy” by Kajagoogoo. For me, when I see that video, I can’t help but feel: “THIS IS THE 80’S”.

9) Do you feel Walk Like an Egyptian is racist toward Egyptians?
You mean they don’t walk like that? I don’t understand.

10) Who do you like the most: The Cult, The Jam, or Lisa Lisa & the Cult Jam? 
I have to ask YOU a question: I wonder if I take you home, will you still be in love with me?  Because, I need you tonight…

You can purchase Rude Boy George’s Take One EP at their Bandcamp page,AmazoniTunes, or just check them out on Spotify as well! Check out their official website and like them on Facebook as well.

 

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Rude Boy George - Take On EP

What happens when one day meet a group of fans of Jamaican sounds, which, however, does not condemn indiscriminately music that his glory years - and we are talking about the end of the 70s and early 80s, when he triumphs hallowed  new romantic - has already seen? Then, dear readers, is formed creature called Rude Boy George  (the other option was to Flock Of Scooters).  similarity nickname Culture Club singer Boy George is by no means accidental, after all, this gentleman - known for such hits as "Karma Chameleon" or "Do You Really Want to Hurt Me" - is almost an icon of the new romantic movement.
Team Rude Boy George was founded in January of last year in New York by the musicians who experience gained in Bigger Thomas and Across The Aisle . The RBG consists namely: Roger Apollon (vocals, Bigger Thomas), Megg Howe (vocals; Across the Aisle), Steve Shafer (melodica, backing vocals), Jim Cooper (drums, Bigger Thomas), Marc Wasserman (bass; Bigger Thomas) Jackie Chasen (saxophone, vocals; Across The Aisle), Jesse Gosselin (guitar; Across The Aisle / The Royal Swindle) and Jeff Usamanont (guitar; FunkFace / Daft Phunk / Electric Company). Previously, the team played well Spencer Katzman (Guitar, Bigger Thomas) and Dave Barry (keyboards, Beat Brigade / The Toasters.) 
Two of the members of the Rude Boy George is also known ska bloggers. Marc Wasserman blog Marco on The Bass , and Steve Shafer - The Duff Guide to Ska .
The team scored its stage debut on April 13 at Electric Avenue  (project mentioned earlier bloggers) in a Manhattan club Characters NYC .

A little moving the images from the debut gig:
a cover of Soft Cell
cover of Culture Club
Squeeze cover

However, before they decided to concerts, they let the world his version of "(Keep Feeling) Fascination", one of the most emblematic songs of The Human League. The manufacturer of their version is Wayne "Waylo" Lothian (ex-Angielski Beat, General Public, Special Beat). In addition, announced that in the summer of 2013, will be released 6-track EP is. I could not wait!

Summer passed and nothing but. She passed autumn, winter began. Year is over, and here still than widu than słychu. Up to 8 January. That's when I was released an EP "Take On". With the announced 6 songs, finally found themselves on the 3, plus 2 remixes.
Among the 3 songs are " (Keep Feeling) Fascination "Human League," Do not Change"by INXS and" Talking in Your Sleep , "The Romantics (at the end you will find the original version). Also added remixes of the last two songs, including one featuring Toaster The Angielski Beat. All the songs were recorded in May 2013 in the studio of Bill Laswell (by the way, listen to wearing his "Dreams of Freedom: Ambient Translations of Bob Marley in Dub", a good job) in West Orange. Produced by the aforementioned "Waylo" Lothian.


If you are not Orthodox music and like musical experiments, the "Take On EP" should you like it. Members of the Rude Boy George broke the perfect balance between Jamaican rhythms that play every day, and the music, which no doubt can be called synonymous with embarrassment. Embarrassment, which is still listened to by many people, and not necessarily those of New Romantic soaked in his youth. Admittedly, at first I thought that this EPCE too little ska and reggae, but ... quickly realized with it.Take efficient instrumentalists Let us add to this great vocal Megg Howe from Across the Aisle, a few dub flourishes here and there, and even the length of the tracks (the shortest is almost 4 minutes) somehow do not mind. Note! How to listen once, it is highly likely that you listen to a few (or a dozen and) times.


By the way, let's instead noworomantycznych synthesizers and Hammond organ can be accomplished, for example, a real firecracker skinhead reggae - " Smalltown Boy ina regeneration stajli "even. I'm waiting for something like this!


Spirit of the 80s! 
  
Maybe someday one Polish team will take on the workshop something from the repertoire of Captain Nemo or Wagon? I think only one band could be on a dare.Zgadujcie, can you hit that.

MNSKA.COM

Rude Boy George releases “Take One” EP

Rude Boy George releases “Take One” EP

NYC-based band Rude Boy George have released their Take One EP.  The band is a psuedo-supergroup of ska musicians that performs ska, rocksteady, and reggae versions of New Wave classics.  Take One EP features songs made famous by Human LeagueINXS, and The Romantics.

You can buy Take One EP on bandcamp. Stream it below

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  • January 21, 2018
    Sellersville Theater 1894 ,  Sellersville, PA
     
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