SKA-P

SKA-P
EUROSIS (1998)
320 KBPS

A ska-punk outfit based in Madrid, Spain, Ska-P (the name is a take on the Spanish word for escape) formed in 1994. At times political and at other times humorous, Ska-P released their first album, the self-titled Ska-P, in 1994. From there, the left-leaning ensemble released a number of hit full-lengths, culminating in 2002's Que Corra la Voz. In 2005, Ska-P announced an open-ended hiatus so that members could focus on other musical directions and projects. A farewell show outside of Madrid on September 24 of that year sold more than 10,000 tickets. The hiatus came to an end in 2008, and a re-formed Ska-P released their sixth album, Lagrimas y Gozos in October of that year, and also embarked on a short tour.

1. Circo Iberico
2. Villancico
3. España Va Bien
4. Paramilitar
5. Simpatico Holgazan
6. Kemalo
7. Poder Pa'l Pueblo
8. Juan Sin Tierra
9. Kacikes
10. America Latina !Libre!
11. Al Turron
12. Seguimos En Pie

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
DON'T KNOW HOW TO PARTY (1993)
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An attempt to mainstream the Bosstones' sound and accentuate their metal influences backfires somewhat here. The band's connection to ska has sometimes seemed tenuous at best, but on Don't Know How to Party, the ska is reduced to a mere stylistic quirk punctuating a set of essentially heavy metal songs, which mutes the band's originality. "Holy Smoke" and a cover of the Stiff Little Fingers' "Tin Soldiers" do manage to make an impact, and "Someday I Suppose" is recycled (in an inferior version). I heard many people claiming this is the Bosstones' finest and I'm puzzled at how they can produce such argument. It sure isn't a bad album but it remains the weakest of the MMB's discography. But, who knows, I might be wrong so, if you want to know what the metal side of the Bosstones sounds like or just want the too few good songs featured here, this might be a good idea to try it anyway.

1. Our Only Weapon
2. Last Dead Mouse
3. Don't Know How To Party
4. Someday I Suppose
5. A Man Without
6. Holy Smoke
7. Illegal Left
8. Tin Soldiers
9. Almost Anything Goes
10. Issachar
11. What Was Was Over
12. Seven Thirty Seven/Shoe Glue

SUBLIME

SUBLIME
STAND BY YOUR VAN (1998)
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A little over two years after Bradley Nowell's tragic death, Sublime released its second posthumous album, Stand by Your Van. Sublime never had the chance to tour the material from Sublime, which turned out to be their most popular album. That means that all 16 tracks on Stand by Your Van are taken from their first two albums, before Nowell's songwriting had truly come into its own. Nevertheless, he had several good songs on 40 Oz. to Freedom and Robbin' the Hood, and by consolidating the best moments from those two relatively uneven albums, the live record offers something of a "greatest hits" of their early years. If the performances aren't that different from the studio versions — they're simply a little rawer, a little faster, a little looser — they're still strong and energetic, capturing the essence of the group's live show. Ultimately, that energy is what makes Stand by Your Van the best posthumous Sublime record to date. Nobody outside of hardcore fans needs this record, but the quality of the music is better than either the What I Got... EP or the haphazard outtakes album Second Hand Smoke, and that alone makes its release somewhat noteworthy.

1. Don't Push
2. Right Back
3. New Thrash
4. Let's Go Get Stoned
5. Greatest Hits
6. Date Rape
7. S.T.P.
8. Badfish
9. D.J.S.
10. Work That We Do
11. Poolshark
12. Ebin
13. All You Need
14. Waiting For My Ruca
15. Caress Me Down
16. KRS-One

SUBLIME

SUBLIME
SECOND-HAND SMOKE (1997)
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Most posthumous albums are shrouded in a sense of morbid nostalgia and grim curiosity. In Sublime's case, there was also some cruel irony to contend with: the California nuevo-punk outfit's promising self-titled major-label debut and commercial breakout was released barely a month after frontman Brad Nowell's death from a heroin overdose--and their de facto demise. But such was the Long Beach band's longtime following that raiding the vaults, however sparse, was inevitable. Released 18 months after Nowell's death, Second Hand Smoke more than lived up to its title, cobbling together a collection of outtakes from their debut and padding them out with (sometimes multiple) remixes of old tracks like "Doin' Time," "April 29," and the Gwen Stefani duet, "Saw Red." There's a standout cover of Bob Marley's "Trenchtown Rock," but a lot of the rest feels like the incomplete discards and second (or third) choices they obviously were. Still, for the few brillant cuts available here, this is something somebody who enjoyed Sublime eponymous album should try.

1. Doin' Time (Uptown Dub)
2. Get Out! (Remix)
3. Romeo
4. New Realization
5. Don't Push
6. Slow Ride
7. Chick On My Tip
8. Had A Dat
9. Trenchtown Rock
10. Badfish
11. Drunk Drivin'
12. Saw Red
13. Garbage Grove
14. April 29th, 1992 (Leary)
15. Superstar Punani
16. Legal Dub
17. What's Really Goin' Wrong
18. Doin' Time (Eerie Splender Remix)
19. Thanx Dub

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
QUESTION THE ANSWERS (1994)
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From the leadoff track, the sizzling and real-life-realization of "Kinder Words," to the sizzling, real-life observation of "Jump Through the Hoops," the Bosstones opened up wide and said "ahh!" on "Question the Answers." Packing a sonic punch they had only hinted at in many of their earlier releases, the 'Tones brought ska core to the fore several years before the world's second (or maybe 10th) ska revival became all the rage. It was frat-party music for the thinking crowd: social commentary quite frequently pops up on their earlier albums, but the lyrics are especially strong here, especially on "We Should Talk" (actually one of the weaker cuts) and "Hell of a Hat." If you want to sample the Bosstones and their ilk, this is the one to try.

1. Kinder Words
2. A Sad Silence
3. Hell Of A Hat
4. Pictures To Prove It
5. We Should Talk
6. A Dollar And A Dream
7. Stand Off
8. 365 Days
9. Toxic Toast
10. Bronzing The Garbage
11. Dogs And Chaplains
12. Jump Through The Hoops

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
PAY ATTENTION (2000)
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The Mighty Mighty Bosstones' newfound willingness to take their time working out material paid off with Let's Face It, and thus, Pay Attention didn't appear until three years later. Even if ska's commercial momentum had slowed, the album was still worth the wait. Thanks to the band's tight quality control, the tunes here are catchy, but not quite as immediately poppy as much of Let's Face It — there's more punk and hard rock, with ska rhythms more integral to some tracks than others. The party anthems of yesteryear are pretty much gone, but in their place is a tone of reflective maturity; personal and social concerns are given an equal airing, and the band's sense of humor is still very much in evidence. Moreover, the Bosstones are still trying new musical approaches, as evidenced by the summery island feel of "She Just Happened" and the surprising Irish turn of "Riot on Broad Street." Other highlights include the alternately swinging and skanking opener "Let Me Be," the hard-rocking lead single "So Sad to Say," the bouncy sing-along "Where You Come From," the up-tempo "The Skeleton Song," and the poignant (yet not overly sentimental) album closer "The Day He Didn't Die." A few weaker numbers could have been trimmed without making the album seem short; also, a fairly large percentage of the songs would simply sound like catchy hard rock if the horn section was removed. Then again, it's not the first time the Bosstones have recorded material like that, and in the end, it's hard to see Pay Attention as anything less than the band's third high-quality album in a row.

1. Let Me Be
2. The Skeleton Song
3. All Things Considered
4. So Sad to Say
5. Allow Them
6. High School Dance
7. Over the Eggshells
8. She Just Happened
9. Finally
10. I Know More
11. Riot on Broad Street
12. One Million Reasons
13. Bad News and Bad Breaks
14. Temporary Trip
15. Where You Come From
16. The Day He Didn't Die

MADNESS

MADNESS
WONDERFUL (1999)
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Madness officially disbanded in 1986, but the members never seemed content to call it quits. Finally, after 13 years, six singles collections, five "Madstock" reunion concerts, three ill-fated spin-off attempts, two live CDs, and two box sets, the boys worked up enough courage to celebrate their 20th anniversary with their first new album since Mad Not Mad. Pianist Mike Barson was back, of course, but the real returning heroes were producers Clive Langer and Alan Wistanley, whose sure-handed pop sensibility is all over the record. Though these '70s ska pioneers might have benefited from the success of '90s ska bands like Blur, No Doubt, the Mighty Mighty Bosstones, and Smashmouth, Wonderful is not really a ska record. "The Communicator" and "Drip Drop Fred" (which features guest vocals from fellow Stiff Records alum Ian Dury, to whom the record is dedicated) are the only songs that seek to approximate the old, nutty sound. The rest harken back to the slickly orchestrated pop of early-'80s albums like Keep Moving and The Rise and Fall. If tracks three through 11 don't quite live up to the promise established by the two irresistible singles "Lovestruck" and "Johnny the Horse," they don't embarrass either. Among the best are "4am," a slightly more expensive version of one of the better songs from Suggs' solo career, and the typically self-referential "Saturday Night, Sunday Morning," which likens the band to "thieves returning to the scene of the crime." On the whole, it's a pretty successful return. Some fans might find the bombastic production somewhat cloying, but it undoubtedly delighted Virgin Records, which seemed sure to jump at the chance to release a few more greatest hits compilations.

1. Lovestruck
2. Johnny the Horse
3. The Communicator
4. 4AM
5. The Wizard
6. Drip Fed Fred
7. Going to the Top
8. Elysium
9. Saturday Night Sunday Morning
10. If I Didn't Care
11. No Money

SUBLIME

SUBLIME
SUBLIME (1996)
320 KBPS

Sublime's eponymous major-label debut arrived a few months after the band's leader, Brad Nowell, died tragically of a heroin overdose. As a show of sympathy, the album tended to be slightly overrated in some critical quarters, who claimed that Nowell was an exceptionally gifted lyricist and musical hybridist, but Sublime doesn't quite support those claims. The trio does have a surprising grace in its unabashedly traditionalist fusion of Californian hardcore punk, light hip-hop, and reggae. Switching between bracing hardcore and slow, sexy reggae numbers, Sublime display supple, muscular versatility and, on occasion, a gift for ingratiatingly catchy hooks, as on the hit single "What I Got." What they don't have is the vision -- either lyrical or musical -- to maintain interest throughout the course of the entire album. Sublime sags when the band delves too deeply into their dub aspirations or when their lyrics slide into smirking humor. The low moments don't arrive that often -- by and large, the album is quite engaging -- but they happen frequently enough to make the record a demonstration of the band's blossoming ability, but not the fulfillment of their full potential. Of course, Nowell's death gives the record a certain pathos, but that doesn't make the album any stronger.

1. Garden Grove
2. What I Got
3. Wrong Way
4. Same in the End
5. April 29, 1992 (Miami)
6. Santeria
7. Seed
8. Jailhouse
9. Pawn Shop
10. Paddle Out
11. The Ballad of Johnny Butt
12. Burritos
13. Under My Voodoo
14. Get Ready
15. Caress Me Down
16. What I Got (Reprise)
17. Doin' Time

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
LET'S FACE IT (1997)
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With No Doubt and Sublime having dominated the pop airwaves in 1996, it wasn't too much of a stretch for the Mighty Mighty Bosstones to hope for similar success, even if their sound was louder and heavier overall — after all, they had been arguably the best-known ska band in the American underground for some time and had laid much of the groundwork for the style's commercial success. So the Bosstones took their time with Let's Face It, crafting a catchy, solidly written record with accessible mainstream production courtesy of longtime collaborator Paul Q. Kolderie and Sean Slade. The results paid immediate dividends, with "The Impression That I Get" becoming a runaway smash on modern-rock radio and pushing the album into the Top 30 (it eventually went platinum). Some longtime fans complained that the band had toned down their manic metal tendencies too much in their push for mainstream acceptance, but really, Let's Face It simply draws more upon other influences the band had had all along. It's the Bosstones album most inspired by the British Two-Tone movement of the early '80s, when pop melodies and pleas for tolerance and equality were often as important as the grooves — and that's certainly the case here, as the band turns in probably their most substantive set of lyrics to date. There are a few punky hard rock numbers, too, and even if they don't quite have the hard-partying energy of past efforts in that vein, they are well-constructed songs that keep the album's momentum flowing. Even if the production is a tiny bit slick, and the playing time is rather short (a little over half an hour), it's still difficult to view Let's Face It as anything but a rousing success and easily one of the band's best albums.

1. Noise Brigade
2. The Rascal King
3. Royal Oil
4. The Impression That I Get
5. Let's Face It
6. That Bug Bit Me
7. Another Drinkin' Song
8. Numbered Days
9. Break So Easily
10. Nevermind Me
11. Desensitized
12. 1-2-8

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
MORE NOISE & OTHER DISTURBANCES (1992)
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This has become my favorite Bosstones album, bumping 'Let's Face It' to a very close second. 'Where'd You Go' is probably my favorite Bosstones song and their version of Slapshot's 'What's at Stake', their finest cover. In fact, the first seven tracks on this album are fantastic, with the only slowdown occuring at the start of 'Guns And The Young'. It almost seems awkward to have the Bosstones delivering a serious message. Aren't these guys just about partying and ripping through their unique blend of ska-punk-rock? Nevertheless, a very excellent outing and definitely the first album I would recommend to anyone wanting to try into the Bosstones of anything labeled ska-core.

1. Awfully Quiet
2. Where'd You Go
3. Dr. D
4. It Can't Hurt
5. What's At Stake
6. Cowboy Coffee
7. I'll Drink To That
8. Guns And The Young
9. He's Back
10. Bad In Plaid
11. They Came To Boston
Bonus Tracks
Where'd You Go E.P.
12. Sweet Emotion
13. Enter Sandman
14. Do Something Crazy
15. Ain't Talkin' 'Bout Love

MURPHY'S LAW

MURPHY'S LAW
MURPHY'S LAW (1986) + BACK WITH A BONG! (1989)
320 KBPS

Riding the fine line between obnoxious skatepunk and sodden metal, Murphy's Law came out of New York City's mid-'80s hardcore scene and formed in Astoria, Queens, around vocalist Jimmy Gestapo, but the group's frequently shifting lineup also included guitarists Todd Youth, Alex Morris, and Jack Flanagan; bassists Pete Martinez, Chuck Valle, and Dean; and drummers Doug E. Beans and Eric Arce. The group's self-titled debut, released on Profile in 1986, contained the usual '80s subjects (boredom, alienation, weed, beer, etc.), but the songs were definitely there, and Murphy's Law improved even more with their second album, 1989's Back with a Bong!
This two-fer combines Murphy's Law's self-titled debut — probably their loudest, snottiest effort — with their 1989 follow-up, Back with a Bong! The latter isn't any heavier on political content — song titles like "Panty Raid," "Cavity Creeps" and "Attack of the Killer Beers" underscore the fact that wild, irreverent fun is the primarily goal of these Astoria residents.

1. Murphy's Law
2. California Pipeline
3. Sit Home and Rot
4. Fun
5. Beer
6. Wahoo Day
7. Crucial Bar-B-Q
8. Day in the Life
9. Care Bear
10. Ilsa
11. Skinhead Rebel
12. I Got a Right
13. Intro
14. Panty Raid
15. Yahoo!
16. Attack of the Killer Beers
17. Cavity Creeps
18. Ska Song
19. Quest for Herbs
20. American Rules
21. Rage
22. Wall of Death
23. Sceret Agent S.K.I.N.
24. Push Comes to Shove
25. Bong

THE BEST OF TIMES (1991)
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New York '80s hardcore goofballs Murphy's Law usher in the '90s with a reinvigorated blast of their debauchery-laced brand of comedic punk. Stylistically, Murphy's Law makes quite a jump on The Best of Times. The band did dabble in skacore long before it exploded, but was always pretty much a flat-out hardcore unit in the '80s. The Best of Times finds Jimmy Gestapo and friends combining funk, reggae, ska, and hardcore into their own distinct brew, shedding any dogmatic restrictions applied to their ilk in the '80s. Production by Fishbone's John "Norwood" Fisher and Philip "Fish" Fisher lends authenticity and diversity to The Best of Times, as does the added instrumentation by several members of Fishbone. The result is a more versatile version of Murphy's Law at the prime of the band's fun-focused glory. Covers of James Brown and Stevie Wonder provide some insight into Murphy's Law's sometimes controversial and misunderstood affiliation with the skinhead faction, finally putting to rest any allegations that racism or fascism have anything to do with the band's outlook. Although the group manages to shed this stereotype and expand musically on The Best of Times, the subject matter doesn't otherwise stray too far from earlier work. Songs about pot, beer, girls, and cars showcase the glorious immaturity and quest for fun that pretty much define Murphy's Law. When the band does get serious, which isn't very often, it's in the interest of unity and friendship. The title track is basically a fan tribute, thanking a small but loyal group of followers for the support that's enabled Murphy's Law to continue the party. The ska-tinged but heavy "1%" revels in the outcast-minded punk rock ethos, giving nod to those who embrace the good and bad of surfing the fringe of culture and society. Classic Murphy's Law rage surfaces on "Harder Than Who," an attack on the mindless aggression and competition that sometimes rule the hardcore scene. On the whole, The Best of Times lives up to its title, with Murphy's Law celebrating its dedication to the band's fans, friends, and music, while maintaining the edge that gave the group its NYC hardcore credibility.

1. Intro
2. The Best of Times
3. Big Spliff
4. Freaktown
5. Tight
6. Did You Play War?
7. Ebony and Ivory
8. Harder Than Who?
9. Car Song
10. Beer Bath
11. Santa's Got a Brand New Bag
12. 1%
13. Burnt Toast
14. Hemp for Victory

GOOD FOR NOW (1995)
320 KBPS
1. Good for Now
2. Stay Gold
3. Little Pin Eyes
4. Crucial Bar-B-Q
5. Blazing Chalice

FISHBONE

FISHBONE
TRUTH AND SOUL (1988)
320 KBPS

By 1988, alternative/college rock was becoming a recognizable force in the mainstream. Several bands were big enough to play arenas, and many even earned gold and platinum albums. The tide was clearly changing for such previously misunderstood bands such as Fishbone. Their second full-length release Truth and Soul was issued that year, and remains one of the band's (and the '80s) very best. On past albums, Fishbone's sound was a melting pot of ska, punk, and funk. This time, hard rock has been added to the mix — especially evident in guitarist Kendall Jones' six-string work, with often-spectacular results. Also, the songwriting has improved tremendously and has become much more focused here. The party anthem "Bonin' in the Boneyard" is one of the band's finest (with superhuman bass work by Norwood Fisher), as is the ska-based "Ma and Pa," and a cover of Curtis Mayfield's early-'70s hit "Freddie's Dead." Also featured are several musically varied tracks that deal with the same topic: racism, past and present ("Deep Inside," "One Day," "Subliminal Fascism," "Slow Bus Movin'," "Ghetto Soundwave"). Truth and Soul remains Fishbone's most consistent album.

1. Freddie's Dead
2. Ma And Pa
3. Mighty Long Way
4. Pouring Rain
5. Deep Inside
6. Question Of Life
7. I Like To Hide Behind My Glasses
8. Bonin'In The Boneyard
9. One Day
10. Subliminal Fascism
11. Slow Bus Movin' (Howard Beach Party)
12. In The Name Of Swing
13. Ghetto Soundwave
14. Change

THE SPECIALS

SPECIALS
SPECIALS (1979)
REMASTER
320 KBPS

A perfect moment in time captured on vinyl forever, such is the Specials' eponymous debut album; it arrived in shops in the middle of October 1979 and soared into the U.K. Top Five. It was an utter revelation — except for anyone who had seen the band on-stage, for the album was at its core a studio recording of their live set, and at times even masquerades as a gig. There were some notable omissions: "Gangsters," for one, but that had already spun on 45, as well as the quartet of covers that would appear on their live Too Much Too Young EP in the new year. But the rest are all here, 14 songs' strong, mostly originals with a few covers of classics thrown in for good measure. That includes their fabulous take on Dandy Livingstone's "A Message to You Rudy," an equally stellar version of the Maytals' "Monkey Man," and the sizzling take on Prince Buster's "Too Hot." If those were fabulous, their own compositions were magnificent. The Specials managed to distill all the anger, disenchantment, and bitterness of the day straight into their music. The vicious "Nite Klub" — with its unforgettable line, "All the girls are slags and the beer tastes just like piss" — perfectly skewered every bad night the members had ever spent out on the town; "Blank Expression" extended the misery into unwelcoming pubs, while "Concrete Jungle" moved the action onto the streets, capturing the fear and violence that stalked the inner cities. And then it gets personal. "It's Up to You" throws down the gauntlets to those who disliked the group, its music, and its stance, while simultaneously acting as a rallying cry for supporters. "Too Much Too Young" shows the Specials' disdain for teen pregnancy and marriage; "Stupid Marriage" drags two such offenders before a Judge Dread-esque magistrate, with Terry Hall playing the outraged and sniping prosecutor; while "Little Bitch" is downright nasty. Those were polemics; "It Doesn't Make It Alright" reaches a hand out to listeners and, with conviction, delivers up a heartfelt plea against racism, but even this number contains a sharp sting in its tail. It's a bitter brew, aggressively delivered, with even the slower numbers sharply edged, and therefore the band wisely scattered sparkling covers across the album to help lift its mood. The set appropriately ends with the rocksteady-esque yearning of "You're Wondering Now," the song that invariably closed their live shows. Even though producer Elvis Costello gave the record a bright sound, it doesn't lighten the dark currents that run through the group's songs; if anything, his production heightens them. It's left to guests Rico Rodriguez and Dick Cuthell to provide a little Caribbean sun to the Specials' sound, their brass sweetening the flashes of anger and disaffection that sweep across the record. And so, this was Britain in late 1979, an unhappy island about to explode.

1. A Message To You Rudy
2. Do The Dog
3. It's Up To You
4. Nite Klub
5. Doesn't Make It Alright
6. Concrete Jungle
7. Too Hot
8. Monkey Man
9. (Dawning Of A) New Era
10. Blank Expression
11. Stupid Marriage
12. Too Much Too Young
13. Little Bitch
14. You're Wondering Now

EMIR KUSTURICA AND THE NO SMOKING ORCHESTRA

EMIR KUSTURICA
AND THE NO SMOKING ORCHESTRA
LIVE IS A MIRACLE IN BUENOS AIRES (2005)
320 KBPS

Formed in the early 80s in Yugoslavia, The No Smoking Orchestra is he formation of filmmaker Emir Kusturica. Recorded in Buenos Aires, Argentina, this live has been inspired by the critically movie of the band's leader, "Life Is A Miracle". Basing the shows on the music the band cooked up for the movie, The No Smoking Orchestra met great success with audiences throughout the world hence the need to immortalize the madness that happened on stage.
Those who already know the band know what is to be found here, for the others, this is a clever and energetic mix of ska, rock, punk and gypsy music that is displayed. If the band's music always sound happy it never forgets to be emotional too and this concert proves what a great experience a performance from this one of its kind formation is.
Get it and enjoy!

1. Intro
2. Fatal Wounds
3. Drang Nach Osten
4. The Judge Plays Boccherini Minuet
5. Upside Down
6. Ja Volim Te Jos
7. Meine Stadt
8. Vasja
9. Wanted Man
10. Introduction For Romeo
11. Was Romeo Really A Jerk?
12. Pitbull Terrier
13. Devil In The Business Class
14. Bubamara
15. When Life Was A Miracle
16. Introduction Of The Orchestra

LES SATELLITES

LES SATELLITES
RICHES ET CELEBRES (1990)
320 KBPS

Les Satellites were one of the many bands to shake the foundations of the French musical industry in the end of the 80's as part of the alternative rock scene that refused compromises with the big labels... Unlike most of the others, the punk part was left in the background in their mix of fun rock, rythm'n'blues and ska. Riches Et Célèbres is, in my opinion, their finest work.

1. Riches Et Célèbres
2. Les Situations Claires
3. Méfiez-Vous Des Savants
4. Le Compte Baroff
5. Abrutis
6. La Danse Des Ours
7. La Basse L'A Rendu Fou
8. Les Eléphants D'Inde
9. Fist Fuck Playa Club
10. Renards 3
11. Les Américains
12. Dégage!

BB DOC

BB DOC
THE STUDIO DISCOGRAPHY
1989-1997

This much overlooked french band mixed punk, ska, rock, metal, chanson, fun and many more styles. Formed by Piéro Sapu (vocals) and Drunk D'Alençon soon joined by Dominique "Moby Dick" Rivière (both on guitars) and various rythm sections, they released three albums on François Hadji-Lazaro's Boucherie Productions. This label also brought us bands such as La Mano Negra (featuring Manu Chao), Los Carayos (an all star folk band formed by musicians of the 80's french independant scene and, once again, featuring Manu Chao and the label's boss from Les Garçons Bouchers & Pigalle's fame), Les Tétines Noires (an indie dadaist industrial band I once posted on this blog) and many more great bands. BB DOC, though, has a special place in my heart. First, I was friend with them but mostly they were a terrific live act (one you don't meet too often) with Piéro doing the charismatic (yet funny and prompt to disguise) frontman. They started as a punk/oi band in the early/mid eighties, something that is not too obvious on their albums... "Jazz" (1989), their debut album, still has a few punk tunes but otherwise the only punk remains in the band's routine was the attitude and revolt which never stopped inhabting them. All albums are good, "Desintegraal" (1992, their second opus) is a bit more refined than "Jazz" was and "Rage de Raison" (1997) shows but little marks of what the band once was. They never got the success they deserved and called it quits a few months after this third and final album. Now it's time for you to catch up on a bit of french 90's alternative music, one too few are aware of. Have fun with BB DOC!

JAZZ (1989)
1. Skunk 1:45
2. Aids 3:12
3. La Revanche 3:11
4. Zorro (la marche des sangs mêlés) 2:15
5. Lolo Ganzaman 3:17
6. Final del Sol 1:34
7. Plouc Plouc Province 3:16
8. Nul Edge 1:27
9. S'il N'en Reste Qu'un 2:05
10. Lyon Company 2:32
11. Histoire d'Eaux (Geno) 3:37
12. Les Burnes 2:44

DESINTEGRAAL (1992)
1. Saint Est Le Seigneur ! 0:49
2. Pingouins ! 2:50
3. Roule Marcel 2:49
4. Paye ! Paye ! Paye ! 2:32
5. Non ! Jean-François ! 4:11
6. Otto Fuck Us ! 1:16
7. Passent Les Années... 3:14
8. Un Eléphant 3:25
9. Hooligans 3:35
10. God For Ya-Nus ! 0:14
11. On Est Laid ! 1:36
12. Skaman Luv 2:57
13. Gang Banger 1:47
14. Saint Est Le Saigneur 1:40

RAGE DE RAISON (1997)
1. Furya 3:41
2. R.I.Play 2:31
3. Jah ! Mais... 3:00
4. Pwyll Penn Annfwfn 4:43
5. Rage 4:56
6. Le Code Vénal 3:00
7. Soleil Vert 3:15
8. Compte A Rebours 2:17
9. Dellys 3:11
10. Delivresse 3:23
11. Rani Kareh 2:33
12. Tirn Aill 4:51

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