Whilst ‘whacky’ ska and its chequered trousers continue to mire in the realms of the uncool the more mature sounds of traditional Jamaican ska and reggae are flourishing in the US. On the west coast The Aggrolites ready themselves to release a fourth album of acclaimed dirty reggae whilst on the east coast The Slackers, widely regarded as the premier interpreters of the genre, seem to put out an amazing ska record each year, somehow never forgoing quality despite such a speedy and prolific output. But now, lying about 300km north of the New York kings lurks a pretender to the throne. New England’s Westbound Train returns after three years with ‘Come and Get It’, the band’s fourth record and finest to date.
‘Come and Get It’ offers up vintage Westbound Train fare from the off. Opener ‘I Don’t Belong Here’ is an effortlessly cool slice of organ and horn infused ska, chilled and unhurried. The title track is an up-tempo number, the bounciest on the record, whilst ‘Why You Cry’, complete with guest vocals from King Django, is reminiscent of the track ‘Fatty Boom Boom’ from the band’s 2006 Hellcat bow, ‘Transitions’. It’s all marked out by some incredible musicianship and the glorious vocals of Obi Fernandez, second only to Vic Ruggiero in the cool voice stakes. ‘The Passage’, dripping with percussional tweaks, oddities and intricacies, and ‘Critical Ska’ offer up instrumentals that act as moments of reflection and give the album another layer of fascination.
Such was the predecessor’s quality you could have forgiven the band if this had simply been ‘Transitions: Part 2’. The band though probably wouldn’t have. There’s an apparent decision on this record to develop and extend the sound, embracing a wider range of influences. A touch of jazz, more than a hint of Motown, and a whole lot of soul add up to a more assorted and mature offering, diverse enough to sound fresh but not so different that it muddies the band identity. Add to this the gospel backing vocals of ‘What You Need’ and ‘So Many Things a Man Can Say’ (courtesy of NYC’s The Sweet Divines) and you have the ingredients for a soul revival, Jamaican style.
At a time when debate sparks again surrounding the ‘growing up’ of Green Day and how it has become detriment to the band’s music, it’s refreshing to see a band whose maturity can’t be criticised or questioned. ‘Come and Get It’ is a fine vintage, the best to be plucked from this particular vineyard so far. With the summer upon us it’s time to let the BBQ smoulder, nestle up close on a bench outside and let the evenings drift away whilst your soul flirts with these cool, smooth sounds.
Alex