WAYBACK MACHINE SERIES: Keeping it Hot with the Cool Sounds of The Prizefighters – Firewalk

Originally posted February 5th, 2019

The Prizefighters are a Midwest rocksteady force to be reckoned with, and I have no problem saying they are leaders in their genre right now as a still fairly young band. I first heard them in the infancy of this blog when I reviewed their record Follow My Sound back in 2012. Not long after that, this blog went on a hiatus for a couple years while this band continued to build their mastery of the ska and rocksteady sound. This is no exaggeration.

The Prizefighters have been a backing band for respected legends like Derrick Morgan, Stranger Cole and Patsy ToddRoy Panton and Yvonne Harrison, just to name a few. They have teamed up with legendary harmonica player and vocalist Charlie Organaire on a trio of 45rpm singles (released on Jump Up! Records) and a European tour. When it comes to an American band injecting real authenticity into a Jamaican sound, the Prizefighters have done more than their share of homework. They present this respectfully and as authentically as possible. This is clearly evident when you hear their new album, Firewalk.

The love and deep respect for the ska and rocksteady sounds is loud and clear through this record. In fact, the album was recorded in a 100% analog environment to preserve that sound and energy and it truly has the feel of something straight out of the 1960’s. I was immediately impressed by this. In a modern recording world with so many artists relying on technology to polish their sound, I respect deeply how much care went into the preservation of that vibe that we all know and love. It was perfectly captured. The groove of the record itself from start to finish is purely classic while still highlighting the modern chops of this band.

Right out of the gate, the record is a hitter. The opening track, Just Let The Music Play, has a steady bass groove, great smooth horns, and a gentle but hitting vocal. The next track, You’ll Never Know, kicks the energy right up with a sound that sends you straight back to the 60’s with the beat and the vocal energy. This is a fun song, and the horn and drum work is great, capturing that energy and sending it upwards and outwards. I would look forward to seeing this one done live, it’s a LOT of fun.

As much as I dig the Prizefighters’ vocals, they do a fantastic job with the traditional rocksteady sound as an instrumental as well. The third track on the album, The Accolade, is a great example of what they can do without vocal. Spectacular brass work and that steady chugging groove keeps feet tapping through to the end. Bebop Rocksteady is another one. It kicks right in with those horns to grab you and then holds on tight with a steady drum and bass groove. The thing about these folks is the way they make the music sing without having to say a word. They bring all the energy of an enormous crowd and funnel it through horns and bass to come out steady and smooth.

Skip on over to Burnt Toast and Black Coffee next and feel the energy immediately. That cool sound, great backup vocals, a great modern yet traditional sound. The vocals on this one are probably my favorite on the whole record. The title track, Firewalk, is another one worth mentioning. It’s got a sexy, creeping groove and these quick and shadowy vocals woven in that get right to the heart of the matter, “If the ground gets too hot, you must do the fire walk…” The sax work is really catchy and this track is the kind that will stick with you while keeping you moving. This is not a record to stand still listening to at all. 

All in all, this record is a must have. There is a lot of big talk out there about capturing a traditional sound and vibe in a recording. Usually instead, you get something concocted and over produced. The Prizefighters took their love for that sound and brought it way back. It rings bells in the soul to listen to their work on this record. It’s really, really well done.

Firewalk will be available on CD, cassette (yes!), and digital on February 15th. There will also be a vinyl release on Jump Up! Records later on in 2019, if you want to add some Prizefighters goodness to your library. The band’s record release show will be happening at the Turf Club in St. Paul, MN on February 15th, presented by Ska Brewing. For those of us on the East Coast, we can expect the band for a tour later on this year as well so we can get our own booty’s shaking.

You can check out more tour dates and release info on the band’s website, theprizefighters.bandzoogle.com

Feeling The Groove With The New Single from Coolie Ranx – “Oh Girl”

When I was 16 years old, I was introduced to the wonderful world of ska music. It was the mid-90’s and ska was in its third wave height so it was easy to fall in love with the sound and the energy. We were buying comps, heading to The Wetlands in NYC, covering ourselves in checkers, and enjoying this craze for everything it was worth. It was easy back then as it was on MTV and in the malls where we found ourselves creeping most weekends. I have memories of traversing the mountain roads of northern New Jersey with the sounds of the Toasters blaring from crackling speakers in an old Mazda, trying like hell to sing along with the chat version of The Toasters’ “Dub 56” and failing miserably. The man behind that fast chat was Coolie Ranx and in our minds, he was the master of that sound.

Since his work with The Toasters, Coolie went on to found The Pilfers which brought ska and punk rock energies into a rugged but danceable sound he called “raggacore”. Meanwhile, he continued to add his particular style and power to the mixes of dozens of releases and has remained a fixture in New York City’s ska and reggae scene. Coolie Ranx is honestly one of the hardest working members of the scene since 1990 and continues to bring that signature sound he nurtured and perfected to the masses.

Credit: Jeff Pliskin

Fast forward to now, and I have a message from Coolie asking me to check out his soon to be released single, “Oh Girl” for the blog. Suddenly I was 16 years old again. I have been devouring this song since I got the link and I honestly cannot get enough.

This track is everything you would expect from Coolie Ranx and more. His vocal is that soaring and brilliantly melodic sound that he has cultivated throughout his career. It carries you through the song with a comforting presence while telling a story of struggle, self-doubt, and a pure but heavy yearning. It’s a gorgeous combination, rounded out with a pulsing, heavy vibe and his signature “raggacore” sound in breakdown. The flow rises and falls in a multifaceted grind and infectious groove while pulling at your soul in the way he uses his voice. The drums, guitar, and those vocals culminate in aggressive tone at the build-up, creating a feel of pure ache, climaxing while still being groove heavy and danceable as the song comes to a close. Absolutely brilliant.

The accompanying credits go to Phil Wartel on steady hitting drums, Steve Capecci on groove-heavy bass, Jonathan Uda bringing the sky-high guitar riffs, and programmed drums, overdubs, and those flowing keys to Computer Paul. Honestly, if you can get through this song without moving with the beat and the energy of it, you might want to check your pulse. This is pure groove.

But as always, you don’t have to take my word for it. Check out the track “Oh Girl” on Spotify, Apple, and other streaming services today and see for yourself…

You can check out Coolie’s Bandcamp link below:

https://coolieranx.bandcamp.com/album/days-gone-by-2