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We can argue and argue and not really get anywhere.” “We get caught within our own lexicon and our own worldview. “What I’m trying to suggest is the words we use sometimes have other words inside them,” Wakeling says. It’s music instead of dinner rather than after-dinner music.” People always used to say, ‘That’s happy, isn’t it?’ And it is, but it’s more about being resolute in the face of poverty. There’s something very cheery about it, in the same way there was about reggae. “I still think rocksteady is my favorite beat in the world,” Wakeling says, referring to the ‘60s sound that formed a bridge between fast-paced ska and the mellow reggae that followed. That just leaves more space for ska and reggae songs like “How Can You Stand There?” “Redemption Time,” and “Be There For You.” The one facet of the Beat’s sound Wakeling avoided was the experimentation with calypso and African music heard most prominently on 1981’s Wha’ppen?. “The One and the Only,” about the Trump lurking inside everyone, is new wave guitar-pop reminiscent of the Beat’s timeless 1983 single “Save It For Later.” The profanity-laced title track, which Wakeling describes as “an aging warrior railing against time” and “a confessional of stereotypical male uselessness,” has the terse, punky energy of the group’s 1980 debut, I Just Can’t Stop It. Working with producer Kyle Hoffman, Wakeling made a joyful, defiant record that touches on most of the Beat’s signature sounds. “How much will it sound like the first record, the second record, or the third record, because they all seemed to me to sound quite different.” “It seemed like an easy idea in the beginning, but then you start thinking, ‘How much do you make it sound like a Beat record-or what people imagine Beat records sound like?’” Wakeling says. Of course, before he could even start recording, Wakeling had to figure out what this new album should sound like. That arrangement left him at the mercy of the studio’s schedule, and since he was playing upwards of 150 shows a year with The English Beat, the album took a couple years to finish. Whenever the place wasn’t in use, Wakeling was welcome to record there-all he had to do was pay the engineer. In response, Wakeling launched a successful PledgeMusic campaign in 2015 and accepted a generous offer from his friends at L.A.’s famed NRG Studios.
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But then fans started coming to the merch booth asking where they could buy the new songs he sometimes slipped into the set. playing his back catalog to enthusiastic audiences of original 2 Tone fans and younger listeners who discovered ska during its ‘90s resurgence. When he first reactivated the English Beat brand in the mid-‘00s, Wakeling was content to travel the U.S. With Here We Go Love (out June 15), Wakeling looks to continue the story, even though he’s the only original member in the group. Technically, The English Beat were only 2 Tone artists for one single-a cover of Smokey Robinson’s “Tears of a Clown”-but they embodied the label’s ethos on the three excellent albums they released before splitting up in 1983. From that ugliness came 2 Tone, a record label whose roster of punky, multiracial ska bands crashed the pop charts with a fiery anti-racist message.
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was facing a wave of racism and xenophobia. When he co-founded The English Beat in 1979, the U.K. Wakeling is less a prophet than he is a student of history.