ZEN BASEBALLBAT – Album Review: “Rations”

I’ve touched on this a number of times on previous posts, but one of the advantages of being a music blogger is becoming exposed to all kinds of music I otherwise might not have ever heard. So it was a nice surprise to receive a message from British ska collective Zen Baseballbat – is that a fantastic name for a band, or what! – asking whether I’d be interested in reviewing their new album Rations. Let me state up-front that I dislike writing album reviews, as they’re a lot of work, plus my Attention Deficit Disorder makes it difficult for me to focus my thoughts on a large number of songs, further compounding my stress levels.

That said, the moment I pressed play, I was delighted by this album. It’s wild, it’s zany, it’s fun, and as thoroughly eclectic as any record could possibly be. Besides ska, which itself is an eclectic mash-up of Caribbean mento and calypso, American jazz and R&B, the songs feature generous helpings of electro, punk, new wave, reggae and dub, as well as an unexpected touch of bluegrass just to keep us on our toes – all served up courtesy of nearly every conceivable instrument known to man, along with seemingly silly lyrics that brilliantly reflect deeper meanings.

I’d never heard of Zen Baseballbat previously, however, from what I can tell they were formed some time during the first half of the 1990s by twin brothers Gary and Carl Gleavey, along with several other musicians. Their earliest recording I could find was the 1994 EP Kneel Down To The Mothers Of The Slums, released via Toebunger Records. They later released two albums under the Moon Ska Records label – I Am The Champion Concrete Mixer in 2000, followed by For Refund Insert Baby in 2004. They disbanded in the late 2000s, but reformed a decade later with a new lineup and a newfound burst of creativity.

Based in Widnes, England, a mid-size city located between Liverpool and Manchester, Zen Baseballbat now includes Gleavey twins Gary on guitar & vocals, and Carl on bass & backing vocals, Jordan Donaldson on keyboards & backing vocals, Mike Wilkinson on drums, Jonathan ‘Jogga’ Parker on guitar & backing vocals, as well as Anoushka Wittram-Gleavey and Colin Mackay, who produced the album. In 2020, they released an EP You Won’t Get Paid and two singles “Place Like This” and “Take the Skinheads Bowling”. On New Years Day, they released Rations, which features reimagined versions of 11 songs that previously appeared on I Am The Champion Concrete Mixer and For Refund Insert Baby.

About the album, the band explains: “Rations conjures up images of need, neglect, desire and food banks in the modern world. It definitely shouldn’t sound this positive and joyful. ‘Rations’ is the sound of misery turned on its head. This CD is a radar pulse crossing borders and political divides and says firmly, we are internationalists. These are songs of love, loss, hurt and a knee to the neck from every cunt who wants to keep you in your place. Words have space to breath and weave, voices sound measured with biting intent, bass lines jerk and slide under polyrhythmic prose, whilst organs bounce from corner to corner. This body of work has emerged clear eyed and victorious, handled to a T by producer Colin McKay.

They kick things off with “Whipping the Lash“, which opens with a woman chanting German numbers translating to “seven eight zero seven nine nine” to a synth beat. Things quickly expand into a bouncy retro new wave dance groove that sounds like it could have been produced by Missing Persons or Thomas Dolby. Though the track is heavy on synths, that driving bass line and those jangly guitars are fabulous. The song seems to be a love song told through clever car-oriented lyrics describing feelings of lust: “I just love the way you move your fingers up and down the wheel, Into such mechanical force. It’s the way that you want me to feel.”

Next up is the delightful “Captain Midnight“, a ska song at heart, but given a dramatic synthwave treatment that nicely plays off the lyrics: “Nobody knows who I really am. Nobody knows. Under my vest I’m a Superman. Well I’m a perfect stranger. They even baptized me danger.” On the hilarious “Masochistic Motown“, which to my ears has a bit of a Talking Heads vibe, they touch on a situation where there’s simply no pleasing the man, no matter how hard she tries: “He gets porn at his fingertips, but snubs her new knickers. She’s gone from mouse to blonde, but he never noticed it. She wants him back, she wants him back. She wants him back, she wants him.”

The tables are turned on “Year of the Dog (That Bit Me)“, as this time she’s left him, and he’s feeling like a loser: “Here I am at a municipal dock pond. Oh my god love hurts. She upped and left me in mid sausage, punctuating end with burps.” The song opens with a man’s voice saying “I wish you good luck, but you wouldn’t know what to do with it if you got it“, and ends with that refrain, followed by another man exclaiming that he is in fact a loser: “You lose! Good day sir! It’s all there in black and white, clear as crystal. You lose!” The song’s jaunty vibe, replete with an upbeat ska rhythm, exuberant horns and lively organ, belies the rather morose lyrics.

Brown Cows of Elocution” is a lovely serving of dub reggae delight, and I dare anyone to keep still while hearing it. The cheeky lyrics poke fun at high society’s penchant for verbal diarrhea: “In a compost heap where a language grew, us duffers in the meat yard never had a clue. Our vowels were strangled by the cattle gas. / Sure it’s a laugh sure it’s a gas.

The great tunes keep coming on strong as the album continues. “The Injection of Love is Wearing Off” features more of those lovely horns and organ, and speaks to a relationship in which love is fading” “The injection of love is wearing off. My heart’s wide open. There goes the heat. The magic carpet pulled from under my feet. She made me feel like an out of season seaside.” And have I mentioned that I love Gary’s distinctive singing voice, in which his charming accent is quite pronounced? On “Signed Off R. Mutt“, Zen Baseballbat delivers a surprising injection of rousing hillbilly-flavored bluegrass to lament about the soul-killing downside of most jobs: “I left the job club torture room with little applause. They broke up my horizons over them there town hall walls. I offered them the services of a Marcel Duchamp. They gave me the post of a lavatory attendant. / We know exactly where we are, going under together in a gas filled car.

Bananas” is a fascinating and darkly humorous track with a macabre vibe, thanks to an abundance of spooky synths and eerie guitar notes. The lyrics seem to address a downtrodden social milieu, sort of a Les Misérables meets Sweeney Todd, told through rather repulsive food and restaurant metaphors: “Where’s the crapper? They’re ready to order, ready to murder a braison elephant paddling in batter, two galloping gonads, and the next man’s earlobes. Mine’s a grated brick. And a ballbuster special seasoned with a banana skin. My gastronomic exit. Fly, there’s not enough waiters in my soup!” And on “Matching Houses“, they contrast a breezy reggae melody with pointed lyrics about the banality of suburban life: “Making the most of our matching houses in the middle of nowhere special./ Polluting the back of our nostalgic settee with lies and social security. Painting brown carpets with sunshine. Moving for the last time.”

Continuing on that theme of socio-economic ennui, “The Returner Prize” speaks to the frustrations of being stuck in a dead-end job with no hope of upward mobility, and expected to be thankful for the crumbs you’re thrown by the high and mighty: “Meet your average working stiff, pushing a button in a light bulb factory. Meet your average working stiff, I never touch my salmon paste sandwiches. When Her Majesty came to our dumb town we had a whazz in her brew. Down Stewards Avenue when Her Majesty came to our dumb town, we had to clear up the streets after the mess that she had left.” The closing track “Whipping the Drop” is a mostly instrumental dub reggae song with a strong techno vibe, and seems to be a sort of conclusion to opening track “Whipping the Lash”. The spooky yet stylish industrial synths, throbbing rhythms and whispered vocals repeatedly chanting “Sieben acht null sieben neun neun” give the track a sultry otherworldly vibe.

To expand on some of what I alluded to at the beginning of this review, Rations is a truly delightful album, filled with lyrical and instrumental brilliance that surprised me at every turn. There’s so much going on in every track that, even on my sixth listen, I still discovered another instrument or little nuance I hadn’t previously noticed. I did listen to Zen Baseballbat’s earlier recordings of some of the songs featured on Rations, with their more pure ska stylings, and they were also quite good. But with their reimagined treatments, I think they’ve taken these songs to the next level, giving them a whole new life.

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DOCTOR GONZO – EP Review: “PhD”

Doctor Gonzo Phd

Doctor Gonzo is a four-piece punk ska band from the Brighton area of Sussex, UK. They’re all about having fun and not taking themselves too seriously, but are very serious when it comes to making straight-up badass rock! Formed only a year ago, Doctor Gonzo consists of Ash Miles on vocals, Andy “Gibbo” Gibson on guitars and backing vocals, Tony “Tig” Tugnutt on bass and Louis Maxwell on drums. In late April, they dropped their debut EP PhD, featuring four boisterous bangers guaranteed to kick your ass!

The EP blasts open with “Poisonous”, a blistering-hot tune with heavy, chugging riffs of gnarly guitar, crushing bass and hammering drums. Ash’s urgent vocals ooze bitterness as he snarls the lyrics addressing someone who’s toxic to his existence: “In my veins, sucking the life out of me. Filled with pain until there’s nothing left. Pulsing through me with your liquid venom. You won’t stop ’til I take my last breath! Oh!

Before we can even come up for air, the guys are back pummelling our eardrums with “Something’s Gotta Give”. Man, can these guys rock, once again delivering frantic riffs of fuzzy guitars and throbbing bass, while Louis beats the living fuck out of his drum kit! Next up is the rousing “Mary Jane”, the fantastic lead single from the EP.  It’s a delightful love song to a woman named Mary Jane, set to a hard-driving beat and the band’s signature barrage of thunderous instrumental mayhem. The lyrics are fairly simple but charming: “Mary Jane I let you take my breath away. Remember that time I took you on an aeroplane? Oh Mary Jane, I think you’re driving me insane. But when shit hits the fan I know you’ll make me feel better.” The whimsical and fun video for the song was written, directed and edited by Nick Burdett.

The final track “Royalty” serves up more hard-hitting post-punk goodness. Gibbo does some fine shredding on his six-string while Tig lays down a deep, strutting bass line and Louis pounds out the driving beat. The lyrics speak to feeling like a loser in a rut, going nowhere: “I tell myself to stop complaining. Learn to read between the lines. I wanna be somebody, instead of just a casualty. I’ll go against the grain. You’ll probably know my name. I wanna live like royalty.”

Despite it’s short run time of only 12 1/2 minutes, PhD packs a mighty punch. These guys know how to rock and set the airwaves afire with their respective instruments. I found myself loving these songs more with each listen, and am now a huge fan of Doctor Gonzo. I also love their playful sense of humor, which is strongly evident in this hilarious video of outtake bloopers from the making of the “Mary Jane” video:

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JOHNNY KOWALSKI AND THE SEXY WEIRDOS – Album Review: “European English”

European English

Being the EclecticMusicLover, I enjoy a wide variety of music genres, and have a special appreciation for artists and bands that meld lots of different influences in the creation of their music. Well, Johnny Kowalski and the Sexy Weirdos – a self-described “body-snatching carnival punk band” from Birmingham, UK – are eclectic on steroids! And, honestly, who could possibly resist a band called ‘The Sexy Weirdos?!’ Fusing Celtic, Balkan and Gypsy folk melodies with reggae, ska, mariachi, punk and rock’n’roll, they create a uniquely eccentric sound that’s totally original and deliriously entertaining.

Like many bands, they’ve undergone some changes in membership over the years since forming in 2009. The current lineup consists of frontman Johnny Kowalski (Vocals, Lead Guitar), Chris Yates (Bass), Ilias Lintzos (Percussion), John-Joe Murray (Violin), Matthew Osborne (Drums) and Katie Stevens (Clarinet, Tenor Sax). They released their debut album Victory for the Monsters in 2012, and followed two years later with Kill the Beast. In October, they dropped their third album European English, an extraordinary work that reflects their experiences touring across Europe, as well as time spent amongst Romani gypsies and artists in Josefov, Czech Republic, where many of the album’s songs were written.

Sexy Weirdos2

Things get off to a rousing start with “Megahorse,” a lively tune that conjures up images of a Yiddish folk dance, and sets the overall tone for the album. A careful listen reveals a rich diversity of instruments at play, most notably guitar, violin, and a chirping clarinet, anchored by thumping bass and a frantic drumbeat. In his distinctive spirited vocal style, Kowalski sounds like he’s singing at a Jewish wedding as he wails “If everyone thinks it, it must be right, ’cause everyone can’t be wrong. The lies that we fight to feel safe at night, are the lies that help keep us strong.”

The band’s sense of playful silliness and love of camp is charmingly evident on the zany video, as they take turns dancing to the song (with varying amounts of success).

 

A seductive Latin-infused bass line introduces us to “Relative Rudeboy,” then a playful violin and drumbeat ensue, accentuated by Stevens’ jaunty sax and a bit of cowbell thrown in for good measure. It all makes for a fun romp that’ll have even the biggest wallflower on their feet. The hips keep swaying with the infectious “Serbian Rumba.” Murray’s sultry violin takes a starring role, and Kowalski’s low, smoldering vocals are a delight as he sings: “Why should I be thinking of you right now? Not in this place and not in this time. And now he will preach at me for a long eternity. And I will be forced to agree, that I’m an asshole yes I see.”

The band evokes the Scottish Highlands with a bit of a gypsy vibe on the exuberant instrumental “Sicilian Stallion.” I love the festive violin, flute and electric guitar work, all propelled forward by a peppy drumbeat. They keep the energy flowing with the “Minor Calamity” and bouncy “Didn’t Find the Money.”

Raggadub (Manifesto in Three Parts)” is an interesting and complex track, with added dubstep and hip-hop elements, courtesy of guest artists Anne-Marie Allen, Smut Rakhra and Jugganaut. The first part beckons us to feel a connection with each other and the earth through music and dance: “Mother earth and sister of soul. Feel that connection and let your body roll.” Part two speaks to social injustice and corruption: “Idled masses yearn to breathe free. Fat on bread for 26p. A trace of fruit, sugar and bleach. Fluoride toothpaste from the pharmacy. Rotisserie chicken is pumped with fat. The sanctity of life is on a wire rack.” Jugganaut’s vocals in the frenetic third part are sung so fast I couldn’t understand them, but it’s certainly a climactic end to an amazing track!

The lively instrumental track “Matthew Matthew” brings an explosion of fluttering clarinet, violin, guitar and crashing cymbals. Kowalski seems to channel the late Joe Strummer on the boisterous “Flight of the Juniper,” which to my ears sounds like a song that could have been done by The Clash. The guitar work on this short but powerful track is wonderful.

Closing out the album is the captivating, psychedelic-tinged “Chinese Icicles,” a real tour-de-force and one of the standout tracks. The violin in all its forms takes center stage, with electric guitar in a strong co-starring role. The band employs all sorts of exotic instruments to lend a mysterious Asian vibe to an essentially hard rock track. The song is so compelling it seems shorter than its five and a half minute length. It’s a dramatic finish to a remarkable album, which you can listen to here:

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Stream their music on Spotify and purchase on Bandcamp