The Toasters Albums (13)
What The Critics Say
Ska revivals come and go, but the Toasters just keep doing what they do -- which is play third-wave ska that draws on the sounds of late-'70s 2 Tone bands like Madness and the Specials as well as horn-heavy American R&B. The only original member remaining is guitarist and lead singer Rob "Bucket" Hingley, but he's really all it takes to make a band the Toasters: his everyman vocals and karate-chop guitar pretty much define the band's sound, along with the tight horn arrangements and modest hooks. The current incarnation also benefits from the presence of bassist Jason Nwagbaraocha, who also contributes harmony vocals and some incisive toasting on "Where's the Freedom?" and "Life in a Bubble." When they try to settle into a reggae groove on "Run Rudy Run Redux" the results are a bit clumsy, but when they appropriate material by the Dave Clark Five ("Bits and Pieces") and the Everly Brothers ("When Will I Be Loved") the results are lots of good, skanking fun. And by the way, if you download a pirated version of this album, Hingley intends to find you and beat you up. Fair warning. ~ Rick Anderson, All Music Guide
'Enemy of the System'
Release Date 4/16/2002
Tracks 14
Label Asian Man
See Album Tracklist and Review
What The Critics Say
You've got to hand it to the Toasters. When the third ska revival hit in the mid-'90s, they had already been on the scene for over a decade, and bandleader Rob Hingley's Moon Ska NYC label was home to some of America's (and Canada's and England's) best ska bands. They took advantage of ska's new wave of popularity by releasing a truckload of albums by young bands, and while some have criticized Moon for a certain lack of discrimination during that period, there was no question that the Toasters' own releases were of the highest quality. With the subsequent collapse of the ska revival and the partial collapse of the record industry, Moon went out of business, and the Toasters went back to doing what they do best: playing top-notch 2-tone-derived modern ska for live audiences. Their first studio album in five years shows blessedly little in the way of artistic maturation; it's chock-full of the same old straight-up, R&B-influenced ska that the band has been playing since the early '80s. Blues influences are both explicit (as in "Sweet Home Town Jamaica," a blatant rewrite of "Sweet Home Alabama") and implied (as in the song title "Sitting on Top of the World," which has nothing to do with the Howlin' Wolf classic), and tempos are generally brisk; things occasionally slow to a more sedate skank (as on the excellent "Pendulum"), but for the most part this is joyful, upbeat ska. There are two hidden tracks at the end of the album. Enemy of the System is maybe not quite up to the highest standards this band has set before, but then, those standards are very high. Recommended. ~ Rick Anderson, All Music Guide
What The Critics Say
Having bloated up to an 11-piece on their 1987 Skaboom! album, the Toasters had slimmed down to an octet by the time they recorded Thrill Me Up a year later. And while losing two horn players was a shame, the end result was an even tighter, cleaner, and more finely honed sound. And it certainly didn't dampen the group's enthusiasm, creativity, and, in a couple of places, outright chutzpah. That's the only way to describe "Johnny Go Ska," a sensational homage to the Chuck Berry classic, where Bucket's blistering guitar leads actually take second chair to John Dugan's swaggering sax solos, the rocking-ist horn you'll ever hear! But for sheer insouciance, "Rhapsody in Bluebeat" takes the cake, a high octane version of the evocative George Gershwin classic, that careens from cartoon-ish to James Bond-esque through slamming Two Tone. Brilliant! "Frankenska" skanks phantom-like through the opera, while "Ska Killers" brings rockabilly to Jamaica. "Decision at Midnight" just rocks, in '60s pop/rock fashion, albeit to a syncopated beat; which makes its tough take on inner city life-lyrics all the more surprising. "Haitian Frustration," meanwhile, tackles the terminally corrupt elite of that island nation, across a drum'n'bass fueled roots backing, shot through with chorale vocals and sharp brass. But mostly, good times are to be found here, notably on the easygoing title track, flush with harmonies and sweet melody. Equally sparkling is "Go Girl" which shifts from reggae-licious to ska'rific, while "Don't Blame Me" brings a lilting touch of calypso to the party. In fact, the entire album sounds fantastic, a reflection of Joe Jackson's enthusiastic production. The Celluloid label went belly up soon after this sensational set hit the shops, but thankfully the Toasters reissued it on their own Moon Ska label in 1995. The new edition adds a remix of "Haitian Frustration" that was slated for an EP of remixes from the original album; both sides of their debut 7" "Beat Up" single; as well as "No Respect" which the band under the alias "Not Bob Marley" contributed to the 1988 Mashin' Up the Nation! compilation. A fabulous album makes an extremely welcome return. ~ Jo-Ann Greene, All Music Guide
'Don't Let the Bastards Grind You Down (D.L.T.B.G.Y.D.)'
Release Date 10/28/1997
Tracks 17
Label Moon Ska
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What The Critics Say
After the exuberance of Dub 56, and its thrill-packed follow- up Hard Band for Dead, those expecting yet another high octane set from the Toasters were in for a surprise. The band had taken this opportunity to downshift a gear, further hone their songwriting, and offer up a new, more mature sound. There's a bit of a muted quality to the entire set, which may be a reflection of the mix and production, but more likely reflects the band's own tight rein. Case in point is "Weekend in L.A." The original, which featured on the band's Skaboom! album, had a sense of wild abandon, the recut here may be light speeds faster, but remains closely corralled. It all feels slightly pinched, like a too-tight corset, or a simmering pot readying to boil over. And that tension is reflected in many of the lyrics -- the aggression of "Devil and a .45," the up-yours attitude of the title track, the betrayal in "Everything You Said Has Been a Lie," the abandonment-fueling "Daddy Cry," and bursting out of "Fire in My Soul." But times were tense, and there was a toughening of sound across much of the musical spectrum, emanating from industrial, which was now spilling copiously into the mainstream. Thankfully, the Toasters were much more nuanced than that, and although for most of the set the band musically slice and dice everything in their path, there are at least a few numbers with more easygoing atmospheres. Most notable amongst the former are the dancehall goes grind-metal "Woyay," the steamroller reggae of the title track, the driving blues of "Rhythm and Pain," the coursing, jazz-fired "Big Red," and the slash and smash boogie "Rude, Rude Baby." Of the latter, the highly evocative "Spooky Graveyard" stands alone, its languorous pace and smoky atmosphere far removed from the rest of the set. On a brighter note, though, is the swinging "Bye, Bye Baby," the jazz fueled "Jackie Chan," and breezy "Fire in My Soul." And so, the Toasters have finally evolved into a giant whose world no longer ended, or had even really begun, with Two Tone, where thoughtful songwriting and carefully crafted arrangements now reign supreme. Their younger fans would still skank madly away, but the group's older supporters could take a welcome breather and appreciate the more nuanced sound this top-notch band was now unleashing. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
The Toasters' clever take on the title of Prince Buster's ska classic "Hard Man for Dead," says it all; this is a band who have soldiered on through thick and thin, determined to complete their mission of spreading ska to the masses. And to that end, the group open a window to the past, although the Buster cover apart, the band don't so much revisit ska's past as the '60s in general. Initially, the band toyed with titling this set "The Toasters Watch TV", and fabulous versions of two vintage theme songs -- "Secret Agent Man" and "Maxwell Smart" (the theme to Get Smart) -- illustrate why. But the group quickly widened their scope far beyond telly tunes. "Don't Come Running" briefly pays tribute to the British hard rock heroes who emerged at the end of the decade, "Properly" to the rocksteady that raged in Jamaica a couple of years earlier, and "Skaternity" shines that style through a Two Tone prism. But the sounds of the '60s were themselves rooted in the '50s past, and the instrumental "Mouse" marvelously resurrects the jazzy big-band sounds of that decade, assisted by Skatalite saxophonist Lester Sterling. Equally crucial to the ska mix was boogie, and "Speak Your Mind" delves into that style with sheer abandon, with the great Laurel Aitken taking the mic for the festivities. The Toasters even return to their early days, revisiting "Talk Is Cheap," a track from their 1987 Skaboom! album. The group pull past and present together on their musical homage to "Chuck Berry," as Bucket lyrically traces ska's path from American R&B to the shores of Jamaica, sailing off to the U.K., and washing back up on U.S. shores with Two Tone. And the "2-Tone Army" marches on, with its "'90s beats and '50s roots," on this rousing affirmation of the third wave, whose irrepressible riddim would eventually metamorphose into the theme song for the Nickelodeon cartoon Kablam!, bringing everything full circle. With its phenomenal mix of styles old and new, a guest cast of legendary veterans and younger heroes -- King Django, New York Ska Jazz Ensemble keyboardist Cary Brown, and Ventures guitarist Jerry McGee, Hard Band epitomizes the power and glory of the third wave, while continuing to pay tribute to all those who came before. ~ Jo-Ann Greene, All Music Guide
'Ska Killers'
Release Date 3/5/1996
Tracks 21
Label M.I.L. Multimedia
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What The Critics Say
A CD for the budget minded, this disk contains the Toasters' first two full-length albums, Skaboom and Thrill Me Up, which didn't run very long since they both fit on one CD. These two albums contain original recordings of Toasters classics, including "Weekend in LA" and "Talk is Cheap." Both of these were re-recorded on later albums when the band had a better lineup. The one problem with this packaging is that it doesn't contain any band or track information. While the casual listener won't mind, more avid Toasters fans might be interested to find out just how many people have been in this band over the years. ~ Curtis Zimmermann, All Music Guide
What The Critics Say
It had been a roller coaster ride for The Toasters, slogging up the ladder of success only to have their label go down, prompting three of their members to quit, and leaving the band floundering. Picking themselves up, the remaining group brought in new recruits, found a new label, Pork Pie, and new determination with bandleader Bucket setting out to turn Moon Ska into America's premier ska label. The pay-off finally came in 1993. By then, the ska scene was on the verge of breaking into the mainstream, and excitement electrified the air. No album captured the sheer exuberance of this time like Dub 56. The entire set is a rambunctious celebration of ska and, from the opening note to the closing refrain 14 tracks later, the listener is drawn into a party that just doesn't want to end. Although recorded in the studio, the band play like they're standing in front of an ecstatic hometown crowd, and eager to deliver up a set worthy of that adoration. "Direction" jubilantly sets the stage with anthemic abandon, "Mona" kicks it up a few more notches, its irrepressible melody and swing styling pulling even the wall flowers onto the dancefloor. And then up steps Skatalite Lester Sterling to send everyone into a slow-grinding "Dancin'" frenzy. He returns later for "Marlboro Man," a tight, flamboyant instrumental, that gives the veteran plenty of space to showcase his flashy skills. The title track, though, showcases the band at their most energetic, across a high octane skanker that defies its title. For those actually searching for dub, they'll find it on "Legal Shot," albeit in a splendid dancehall setting, a number that also boasts Coolie Ranx at his singjaying best. "Tunisia" throws a spotlight on the group's jazzier styling, "Midnight Hour" shows just how much fun you can have with a soul classic, and "Goody, Goody" just how entertaining the Toasters' own songs are. For those still on an adrenaline rush from the Skavoovie tour, this album went some way towards satiating a now unendurable longing for more ska'citement. Still, the Toasters take the set out on such a high that the relief is at best temporary, only raising anticipation for more. What higher accolade is there than that? ~ Jo-Ann Greene, All Music Guide
