The Impossibles - Anthology (1999)

Fueled by Ramen (1999)

Taking their name from a Hanna-Barbera cartoon, the punk-ska act the Impossibles formed in 1994 in Austin, Texas. They slowly built up a local following and released a self-titled LP in 1997 on the Fueled by Ramen label and followed up with the Back for the Attack EP in 1998. Citing internal pressure and college plans, the Impossibles called it quits shortly after their EP, but managed to posthumously develop a strong national following. Demand for their recorded material grew and availability dropped, so in 1999 Fueled by Ramen issued Anthology, a compilation of the LP, EP and several unreleased tracks from pre-’97 recordings. They reunited in 2000 (sans ska) to tour and release Return in 2000 before ultimately disbanding in 2002.


Anthology innovatively blends Weezer’s characteristic loud/soft shifts, catchy choruses, and “nerdy” lyrics with the underground ethos and ska beats of punk-ska pioneers Operation Ivy. The thrashing guitars, poppy melodies, and infectious lyrics of the choruses play off of the subdued upbeats and introspection of the verses to great effect. Complemented by driving bridges, dueling vocals, and healthy doses of “oohs and aahs,” the Impossibles craft multiple anthems that teeter on the edge between fiercely local punk band and three-minute pop-rock radio fare. Lyrically, the Impossibles tend to reflect sincerely on what they knew best: the awkward adolescent years. Authentic themes of self-doubt, failed relationships, and growing up “uncool” drip off of Anthology without coming off as whiny or preachy (as so much 2000s rock did). Every track from the 1997-8 recordings emanates effortless catchiness, but “Eightball,” “Erin with an E,” “So Much” and “Priorities Intact” especially stand out. 

Listeners fed up with the typical ‘90s alternative sound or eager for something truly revolutionary should probably look elsewhere; the Impossibles have a formula and they stick to it for the most part. While they may take an approach to punk-ska steeped in mid-’90s traditions, the Impossibles absolutely nail the execution and infuse each track with their quirky charm. Simply put, the whole is definitely greater than the sum of the parts here. Anthology may not reinvent the wheel, but it oozes personality and delivers anthemic punk-ska in a huge way.




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Grim Luck - Alexandra Volume 2: The Dread (2011)

Grim Luck formed in San Diego, California sometime between 2004-6; legends and internet rumors vary. Standing head and shoulders above the rest, Grim Luck has led the San Diego ska scene for several years with their unique sound which blends dark, minor tonality ska with folk, hardcore and anything else they can mesh together using their markedly varied instrumentation. In their first three albums, Grim Luck wrote songs that pushed the boundaries of 3rd Wave ska, albeit in the dark sounding and calculatingly paced direction that Streetlight Manifesto pioneered. However, with Alexandra Vol. 2: The Dread, Grim Luck breaks nearly all of their ties to the bright, crisp melodies of the 90’s and forges their own identity without losing any of their hectic energy, unique song writing and fiercely underground ethos.

In place of bright, clean and simple riffs and melodies, a la 90’s 3rd Wave Ska, Grim Luck crafts a dark, hectic (always on the verge of sloppy) and layered sounding ska blended with folk and hardcore. The horn section usually carries the melody and engages the listener with interesting melodies, both new and familiar. Unique instrumentation (cello, accordion and banjo) add depth and variety to songs but sometimes verge one gimmicky. Grim Luck hits their stride when their massive horn section pumps out brooding melodies through songs like “Odessa!!” and “Monarchs Can’t Dance!!” Vocally, Rob and Erich bare their souls belting out authentically inane lyrics oddly focused on vintage nautical imagery. Wisely, they keep their lyrics out of the overly “zany” and “wacky” territory of the 3rd wave. Vol. 2 has much tighter and more together sound than the often loose and sloppy Vol. 1. This strips away some of Grim Luck’s “small time” charm, but, ultimately, greatly improves the band’s sound overall.

Grim Luck’s maturation as a band and movement away from the formulaic sound of 3rd Wave Ska does come at a price, however. The increased presence of the horn section largely eliminates the catchy choruses of yore, to the album’s detriment. Only “The Dread...” evokes the sing-along choruses of “Bouquet of Lillies” and “College/Going to Santa Barbara”. Also, the band’s massive ensemble leads to a lot of instruments doubling up on parts. The bari-sax, cello and bass often follow the same bass line (and occasionally needlessly clutter it) while the horns almost always play in unison on the melody. A more layered approach that has the horns playing off of and against each other (polyphony) would really step things up an notch. Borrowing some plays from Keasbey Nights would be a great start.

If Reel Big Fish is “Green Day with horns,” then (very approximately) Grim Luck is Gogol Bordello with horns- plus a cello, accordion and banjo. At times, the sheer size of Grim Luck’s ensemble seems paradoxically cluttered and minimalist while pushing aside the infectious choruses of older albums. However, Grim Luck manages to craft a truly unique and engaging sound from a largely stagnant genre with impressive results. They have quite possibly created the most unique recording to ever with the words punk or ska attached. Anyone looking for a wonderfully original and truely engaging sound will love Alexandra Volume 2: The Dread.

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Big D and the Kids Table - Fluent in Stroll (2009)

Rude boys need not apply because this isn't ska- it's "stroll." In a departure from their traditionally uber-hyper punk-ska, Big D & the Kids Table claims to have fused reggae, dub, ska, soul and a myriad of other genres into the new sound called "stroll" on Fluent in Stroll. As a huge fan of Big D, I'm personally offended that they could completely throw out their signature sound and betray their fan base. However, it's pretty unfair to judge an album on what it doesn't do, so let's try and keep this focused on what it actually does do. Ska or not, Fluent in Stroll is still mediocre at best. This is a flat and uninspired album that drags on for fifty minutes, but does show some promise for all of the "strollers" out there.

Lyrically it's a mixed bag; sometimes David McWane crafts thoughtful lyrics, and other times he pours out sappy love themes. Worse though are the painfully stupid nonsense lyrics straight out of Grease's "We Go Together" that pepper tracks. The title track opens with a shrill and piercing vocals, akin to nails on a chalkboard, vamping "Chin-chin, chadda-wadda-wa he." Speaking of vocals, the guest backing vocals provided by The Doped up Dollies does everything but tank the opening and title tracks in my opinion. Most songs plod along at slow tempos vamping ad nausea, but occasionally the group will ramp up to a faster rock'n'roll tempo for old times sake. And why bother keeping around three horn players if you're going to keep them inconspicuously in the background except for the occasional riff? But it's not all bad and high points include the Strictly Rude style "Been Wishing On" and "Chin Up, Boy!", and the surprisingly catchy "Not Fucking Around."

Judged on its own merits, Fluent in Stroll would probably a promising, but ultimately mediocre, début attempt by an up and coming band experimenting in a "new" genre. It really isn't a terrible album if you cut it some slack for being the first entry in the "stroll" cannon. However, long time fans of Big D's distinct Third Wave sound will mourn this as the band's complete abandonment of their punk-ska roots.

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Reel Big Fish - Monkeys for Nothing & the Chimps for Free (2007)

If you don't know Reel Big Fish, you didn't listen to the radio in 1997. Their mega-hit "Sell Out" smashed through mainstream playlists and blazed the train for the 3rd Wave punk-ska breakout of the late 90's. They followed that up with a decade of constant touring, honing their stage performances to near perfection, but I've always felt disappointed by their studio catalog since Turn the Radio Off. Their subsequent albums always felt tired, uninspired, formulaic and oddly flavored with more and more hardrock/metal. But after being dropped from Jive Records, Reel Big Fish turned it around with the 2007 Monkeys for Nothing & The Chimps for Free, which I would venture to call their best effort since Turn the Radio Off.

First and foremost this album is fun to listen to. Most tracks are quick, upbeat and have that effortlessly fresh sound that makes ska so fun. The crisp horn riffs, engaging vocals, hectic tempos and "snarky" lyrics that made Reel Big Fish world famous fly out of every track. And as every veteran act does eventually, RBF expands their style a little and ventures into some new territory on a few tracks. The harder, darker and more mature songs sound authentic and work really well here. The laid-back and chill songs feel forced and entirely miss the mark. The standout tracks come in an epic fan service that especially puts a smile on my face when RBF covers and slightly updates "Call Her" and "Hate You", two fan-favorites from their pre-breakout era.

Monkeys does have flow, but isn't bullet-proof as some tracks feel out of place and break up the overall experience. Also the trademark irreverence and "sillyness" critics love to praise RBF for venture into the sophomoric and mornic on occasion here. However, that shouldn't stop die-hard fans and newbies alike from jumping headfirst into Monkeys for Nothing & The Chimps for Free, Reel Big Fish's best studio work in a long time and the spiritual successor to Turn The Radio Off.

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Big D and the Kids Table - Strictly Rude (2007)

For a band that put out its first self-release, Shot by Lammi, in 1997, Big D and the Kids Table has managed to stay insanely active and independent over the years. Forgoing major labels and keeping an almost legendary DIY stance, the Boston natives managed to criss-cross the country for years touring with some of the biggest names in the game while cultivating a reputation for especially hectic and rowdy shows, even for punk-ska. The 2007 Strictly Rude understandably shocked die-hard fans with its mature, sophisticated and often "chill" approach to what had been before defined as raw, aggressive and energetic. But slower tempos be damned, Big D still brings their A-game in a huge way with Strictly Rude, easily one of the best alternative albums of the decade.

The most remarkable thing about this album is just how fun it is to listen to. The songs are well written, well performed, easy to listen to and very danceable. And it's amazing that a band that has been together for almost two decades can put out a record with at least four legit anthems like "Shining On" and "Try Out Your Voice". Frontman David McWane beautifully crafts authentic, meaningful and smart lyrics and puts them out there with passion, intensity and a healthy dose of melody. Songs move effortlessly from "Joe Sixpac" topics like drinking PBR with friends and getting kicked off the subway to heavyweight themes like political activism, preaching tolerance and substance abuse. And for as much press that Strictly Rude gets for being "chill" and "laid back", Big D proves that they can still turn up the distortion when they want to with "Souped-up Vinyl" and lead-off track "Steady Riot."

I'll have to admit that I personally like the older Big D catalogue a little bit better. Their frantic pace and high energy songs that I've grown to love are definitely missed on this record. But that doesn't mean that the more grown-up Strictly Rude is any less fun to listen to. Big D’s trademark DIY sound, smart and sarcastic lyrics, and authentic local vibe all blast out of every byte on the album. When all is said and done, Strictly Rude is a much more mature and accessible record that has some damn good music on it.

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Mustard Plug / Bomb The Music Industry - Under the Influence Split Vol. 3 (2008)

Covers can be tricky. You have to strike a balance between staying true to the original source material and infusing it with your own unique sound. Thankfully Mustard Plug's version of "Waiting Room" by Fugazi walks that fine line and does not disappoint.

On this two band, two track EP, Mustard Plug offers passionate vocals, pounding base and ripping guitar riffs that mimic the Fugazi classic strikingly well. The added a layer of punctuating and angsty horns bring a lot and manage to sound right at home. After one or two listens to the MP version, the original almost feels a little empty with out the blaring horns. I think that the real draw here is "Waiting Room", but Burn the Music Industry does a good job with the stylistically different cover of Pavement's alterna-pop "Gold Soundz."

It really is refreshing to see an established band like Mustard Plug to reach out and cut an EP with up-and-comers like BTMI. Industry commentary aside, the unique juxtoposition of underground post-hardcore and alterna-pop covers makes for an interesting 5-minute listen for fans of the original material and ska-freaks alike.

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The Skank Agents - Something for Everyone (2008)

To quote a friend, The Skank Agents are "super fucking legit." An underground San Diego Ska band that started way back in 2004 and solidified a line-up by '06, you're more likely to see band members making laps in a circle pit than in the recording studio. They trade in the frantic punk energy of other bands for a healthy dose of melody and a surprisingly mature sound. "Canon in D" and "Flight of the Bumblebee" references remind the listener that this is no 3-chord act. Like a lot of bands in the genre, this album doesn't quite capture the energy, fun atmosphere and skankability that characterize a live performance, but Something for Everyone definitely deserves a listen.

Though the engineering on this album doesn't really showcase it, this blaring horn section is loud, upfront and surprisingly complex. The frontman/lead vocals/trumpet has some chops and strikes a balance between passionate vocals and crisp instrumentation. He's complimented by the dark and biting sounds of bari and tenor saxes for a very full bodied sound. Add in a solid guitars, versatile bass and steady drums and you get a band that really locks in and hits a groove. Lyrically they are generally pretty solid but can be transparent at times. Even the lyrically simpler tracks like"Party Song" and "Smash Dance" (does this remind anyone else of Planet Smashers' "The Manta Ray"?) have a certain charm and catchyness though.

My only concern with this album is the "chill songs." I'm all for expanding the genre with creative and musically sound songwriting, but I like my ska fast. Sure many will argue that occasionally slower tempos and longer songs create a more mature sound and increase the general listenability of the album, and they're probably right. But I just personally prefer higher energy songs. Still, when they want to The Skank Agents can turn up the tempos and trash with the best of them; songs like "Peace" and "Friends" showcase their punk influences and biting attack.

The Skank Agents are an archetypal "local band" and are a bunch or really cool guys. They play shows loud and fast, have a ton of energy and stage presence, and clearly love what they do. At the end of the day, Something for Everyone doesn't quite capture that feeling, but that's a problem with the genre in general and not the band. It's a really solid album with some stand-out tracks that definitely deserves repeated listens. It may not be perfect, but these guys are down in the trenches fighting to keep ska alive for 2009, and they're doing a kick-ass job. And what do you really expect from guys that still read off of sheet-music at shows?

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Planet Smashers - Planet Smashers (1996)

Planet Smashers strike an amazing balance between classicism and innovation on their debut album, juggling all of the quintessential elements of punk-ska without feeling boring or derivative. Founded in Montreal in 1994 they released the self-titled Planet Smashers two years later on their own STOMP label. Over the years they managed to stay independent and build a modest following but failed to really break-out. They've released five more full lengths since then but have failed to keep the magic they had on Planet Smashers.

This album has everything you would find in the text-book definition of "Third Wave Punk-ska." Clean horn riffs, gritty vocals, jaded and sarcastic humor and the occasional punk attack all blend together here in perfect ska fashion. But the most amazing thing about this album is that it doesn't overplay any of the single elements and their sound manages to stay fresh and interesting. The horn riffs are clean and punctuating but not poppy and bubblegum. High tempos and punk breakdowns keep the energy up without venturing into metal territory. Smart, sarcastic and totally jaded lyrics add a remarkable sense of humor without getting wacky, zany or just plain silly like some bands (*cough* Aquabats *cough*). Songs poke fun at everything from relationships and job interviews to mainstream and alternative culture but never seem preachy or high-handed. Simply put, everything on Planet Smashers comes together and it all works.

Some may label Planet Smashers as unoriginal, but it is anything but. True, Planet Smashers do stand on the shoulders of giants, but they infuse their own sound into everything they borrow keeping this album fresh and exciting all the way through. Bottom line: everything on Planet Smashers- the horns, the vocals and especially the smart and observant lyrics, come together in exactaly the way you'd expect to create one of the better Third Wave albums ever released.

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Grim Luck! - Alexandra Vol. 1 (2007)

They may not have high production values, but damn Grim Luck! has massive potential. With a full, dark sound, a heavy and deliberate pace, and unflinchingly underground ethics they are the front runner in the San Diego Ska scene and a band that everyone should look out for in the coming years. You can download all three of their full length albums via their Myspace but Alexandra Vol. 1 stands out above the other two.

Grim Luck! brings catchy lyrics and a steady energy to the table but it's their distinctly San Diego flavor that really sells. Proud of their home town and not afraid to sing about it, half of their songs burst with a "fuck yeah, we're from San Diego" vibe. The surprisingly clever mariachi themed "Jose and Pancho" is about two Mexican teenagers that sneak across the border to see a ska show. The double song "College" and "Going to Santa Barbara" about going to UCSB for Spring Break has an eerily authentic feel. Maybe I'm a little biased but I haven't seen such whole hearted civic pride that doesn't come off as preachy since East Bay legends Rancid.

But that's not to say that the album doesn't have a few rough edges. They have a tendency to vamp the chorus ad nausea and some songs drag towards the end. Some definite Streetlight Manifesto plagiarism occasionally leaks through too, but not nearly bad as other bands. And Reel Big Fish fans need to look elsewhere for clear, crisp horn riffs. But despite their shortcomings, Alexandra Vol. 1 is full of good songwriting, a rich horn section and an unstoppable driving tempo and Grim Luck! is one of the most hopeful up-and-coming acts out there.

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Common Rider - Thief in a Sleeping Town (2001)

Common Rider is one of my favorite bands and it pains me to see their two full length albums get such little attention, from anyone. The fact that their 2001 four-track EP Thief in a Sleeping Town was hardly noticed at all (allmusic.com doesn't even list it) is almost criminal as it represents a high point for the band and (ex-Op Ivy) frontman Jessie Michaels. Michaels brings his characteristic energy and passion to the songwriting, vocals and guitar work in traditional punk fashion in stark contrast to Common Rider's usual "post-ska" approach.

With only one track barely past the two minute mark, this blistering EP is over before you know it and leaves you wanting more. The lyrics deal with personal demons, the value of social activism and the pitfalls of modern society and are delivered with the energy, passion and conviction that define Michaels. More reminiscent of early Op Ivy songs than anything else Common Rider ever did, you could easily mistake Thief in a Sleeping Town for something written in 1987 by an overly-ideal punk band... and that's not necessarily a bad thing. The only stylistic outlier is the end track "What the Heart Looks Like When it's Hot" which is an intentionally laid-back ska tribute that sounds oddly like the extended version of "Healthy Body".

Any fan of Common Rider, Operation Ivy or punk in general needs to give this gem a listen, now. Even those that shy away from punk should give Thief in a Sleeping Town a chance because of the exceptional intensity and care put into every track.

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