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“Mabel” - Goldfinger
(Words/music: John Feldmann, Charlie Paulson, Simon Williams, available on Goldfinger, Universal 1996)

“Sense of humor” is a funny term.  On one hand, it suggests that the person being described – usually a potential friend or date – can recognize and appreciate a joke rather than being offended.  We tend to load the term with far more than just that – having a “sense of humor” often means “finding the same things – and most importantly, me – funny.”  Guessing someone’s sense of humor becomes a sort of game, and so many of us put a disproportionate amount of stock into something that, at best, we can guess at.  Then again, some people claim that sense of humor is something that you can make a quick judgment about – you either have one or you don’t. 

Either way, there was a time in my musical development where “sense of humor” provided a major bonus.  I liked “serious” bands, but bands that were kind of goofy or made references to funny things strangely gained a little more of my attention.  Appropriately, the following phase went in the exact opposite direction – I seemed drawn to very serious bands making “serious art,” certainly spurred on by the glut of “silly” bands I listened to in my teenage years.  I’ve since settled somewhere in the middle – I like my music to have fun when it wants to be fun and dig deeper when it deserves to.  But while humor scored extra points in my book, Goldfinger found a place in my discman.  I have vivid memories of my friend Scott picking me up and blasting this album.  I listened to a lot of this late ’90s skate punk during that time and even though I’ve never skateboarded, this music always struck me as fun, so when Goldfinger injected some silliness into their music.  “Mabel” stands out in particular – it’s a tale of heartbreak and unrequited love filled with goofy rhymes, some absurd imagery, and even a dick joke.  When it’s explained like that, it sounds entirely unappealing, but listening to Goldfinger sing the song (especially as a teenager), they had an odd sort of magnetic charm based on the amount of fun they seemed to have playing music.  Since music was one of my major recreational activities, it makes sense that a band clearly having fun (even on a “sad” song) would be something I’d like.  Goldfinger songs still appear on my iPod from time to time, and they are a welcome reminder of times when a Saturday afternoon drive to Taco Bell was the most important event in my world.

TAGGED UNDER: goldfinger | 1996 | 1990s | track analysis | universal records |

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“2-Tone Army” – The Toasters
(Words/music: Rob Hingley, available on Hard Band for Dead, Moon Ska Records 1996)

As a teenager discovering punk rock in the 1990s, ska music was unavoidable.  Too many factors put ska in front of me - friends kept playing records by Goldfinger and The Mighty Mighty Bosstones every time they picked me up and my musician friends gravitated toward any record with a horn section, especially if those records had a bit of edge to them.  The “third wave” of ska (the one mixed with skate-punk, for lack of a better term), seemed catered to teenagers of my generation – it was fast, fun, and rebellious enough – and while I never became as obsessed as some of my friends, I enjoyed my share of it.  Even thinking about the first Reel Big Fish album brings me back to the time when I first had my driver’s license, picking up my friends to go hang out somewhere and do nothing.

The Toasters’ “2-Tone Army” styles itself as a rally call for the 90’s ska revival.  “It’s a modern look, but it’s all about roots” seemed to sum it up, as “Bucket” Hingley sings at the end of the first verse, and his song certainly owes a debt to The Specials and The Beat, in particular with his vocal delivery.  The horn section gives the song its hook and its most distinctive melodic phrase, and it makes complete sense to have the song begin with this.  After all, it’s the sound of ska music that entranced so many; people heard the horns and the upbeat music and started paying attention.  Hingley may outline his movement’s philosophical tenants in the song, but I doubt more than a handful still play it because of the “nineties beat on a fifties sound” line, no matter how well it sums up the band’s style.  While ska devotees still follow their bands with unparalleled devotion, ska’s moment in the spotlight came and left as quickly as the song.  Still, it was cool to see bands with more horns players than guitarists (and I wonder if bands like these indirectly inspired some of the current bands doing creative arrangements with brass instruments) and it gave us a handful of fun singles.  Even if most listeners don’t remember The Toasters by name, “2-Tone Army” probably rings a bell, either as the theme to Nickelodeon’s Kablam, or just bringing back fond thoughts of the late 1990s in general.

More on The Toasters: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: 1990s | 1996 | goldfinger | reel big fish | ska | the beat | the mighty mighty bosstones | the specials | the toasters | track analysis | theme song - tv |
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