Greg Dona
02/21/06, 10:21 PM
Disclaimer: Most people reading this review will be looking to see the comparison between the Catch 22 and Streetlight Manifesto versions of Keasbey Nights. Thus, less stress will be put on the songwriting; those acquainted with either band are certainly acquainted with the album’s writing. As aforementioned, the focus will be placed rather on a comparison between the two albums.
Ska definitely had its heyday, and smack dab in the middle of it was the revolutionary third-wave group Catch 22. Fronted by singer and guitarist Tomas Kalnoky for arguably their most popular record, Keasbey Nights, the group slipped into hearts of ska fans across the globe.
This, however, caused significant amounts of drama and angst as Kalnoky and much of the Catch 22 crew parted ways from the original group and started a new super-group in Streetlight Manifesto. Those same adoring fans who grew to embrace the Keasbey Nights tracks as recorded with Kalnoky’s voice cried out at shows worldwide for “Dear Sergio” and title track “Keasbey Nights.” The group, however, was largely uncooperative in performing said tracks live.
Rumors of a Keasbey Nights put out by the Streetlight crew circulated throughout the ska world; would there be a Keasbey Nights II? Kalnoky and crew cover that base on the back cover of their album: “This record contains no new material. It is a re-recording of 1998’s Keasbey Nights, as performed by Streetlight Manifesto.” Fans then wondered, and rightfully so, would there be problems with Catch 22 or anyone other offended parties? This too is touched upon in the album’s artwork: “There is absolutely no way of explaining the existence of the record you now hold in your hands without somehow offending, infuriating, confusing or alienating certain parties, so we won’t even try. Please enjoy this for what it is.”
So, without further ado, I present a look at the music that is the Streetlight Manifesto version of Keasbey Nights…
Part of the initial immediate charm attached to Catch 22 was the raw element about its music. The simple fact that production was somewhat lacking made that same production impeccable; the lack of overproduction brought out the best in a band that thrived on chaos and disorder. Rough around the edges, Catch 22 was the working man’s ska band. The revised group that is Streetlight Manifesto, it seems, has lost a bit of that ragged touch in their re-recording of Keasbey Nights. Overproduction, though hardly present, still manages to take away from the record. Had this been an original release the production would not have posed the slightest problem; however, in comparison to the earlier version, it is a letdown. Even Kalnoky’s vocals have changed. As the ever-important resource Wikipedia so aptly puts it, “Kalnoky has a unique singing voice, which slightly changed during the period between his participation in Catch 22 (throaty and raspy) and Streetlight Manifesto (slightly nasal).” This mild case of overproduction, though, allowed for “As the Footsteps Die out Forever,” before an overlooked track, to emerge as one of the most impressive on the album.
Whatever problem is presented by the daunting cleanliness of the record is overshadowed luckily by improved musicianship. Cleaner guitar and bass lines, smoother horn transitions, and more impressively ringing singing allow for a more relaxed listening experience. Lyrics are this time more easily deciphered as Kalnoky projects with greater enunciation and confidence. Most importantly though are deviations from original horn pieces. Solos and background parts alike are manipulated on the reproduction of Keasbey Nights, and this time the horns give off a much more impressive aura.
What will hardcore fans of the original Keasbey Nights and Catch 22 think of this CD? In all honesty, all opinions hinge solely on a few key preferences of the listener. Most notably, would you as a fan take the raw, genuine approach of Catch 22 or the slick, more advanced musicianship of Streetlight Manifesto? Regardless, Keasbey Nights, both the Catch 22 and Streetlight Manifesto versions, is an essential disc to the record collector’s shelves.
Ska definitely had its heyday, and smack dab in the middle of it was the revolutionary third-wave group Catch 22. Fronted by singer and guitarist Tomas Kalnoky for arguably their most popular record, Keasbey Nights, the group slipped into hearts of ska fans across the globe.
This, however, caused significant amounts of drama and angst as Kalnoky and much of the Catch 22 crew parted ways from the original group and started a new super-group in Streetlight Manifesto. Those same adoring fans who grew to embrace the Keasbey Nights tracks as recorded with Kalnoky’s voice cried out at shows worldwide for “Dear Sergio” and title track “Keasbey Nights.” The group, however, was largely uncooperative in performing said tracks live.
Rumors of a Keasbey Nights put out by the Streetlight crew circulated throughout the ska world; would there be a Keasbey Nights II? Kalnoky and crew cover that base on the back cover of their album: “This record contains no new material. It is a re-recording of 1998’s Keasbey Nights, as performed by Streetlight Manifesto.” Fans then wondered, and rightfully so, would there be problems with Catch 22 or anyone other offended parties? This too is touched upon in the album’s artwork: “There is absolutely no way of explaining the existence of the record you now hold in your hands without somehow offending, infuriating, confusing or alienating certain parties, so we won’t even try. Please enjoy this for what it is.”
So, without further ado, I present a look at the music that is the Streetlight Manifesto version of Keasbey Nights…
Part of the initial immediate charm attached to Catch 22 was the raw element about its music. The simple fact that production was somewhat lacking made that same production impeccable; the lack of overproduction brought out the best in a band that thrived on chaos and disorder. Rough around the edges, Catch 22 was the working man’s ska band. The revised group that is Streetlight Manifesto, it seems, has lost a bit of that ragged touch in their re-recording of Keasbey Nights. Overproduction, though hardly present, still manages to take away from the record. Had this been an original release the production would not have posed the slightest problem; however, in comparison to the earlier version, it is a letdown. Even Kalnoky’s vocals have changed. As the ever-important resource Wikipedia so aptly puts it, “Kalnoky has a unique singing voice, which slightly changed during the period between his participation in Catch 22 (throaty and raspy) and Streetlight Manifesto (slightly nasal).” This mild case of overproduction, though, allowed for “As the Footsteps Die out Forever,” before an overlooked track, to emerge as one of the most impressive on the album.
Whatever problem is presented by the daunting cleanliness of the record is overshadowed luckily by improved musicianship. Cleaner guitar and bass lines, smoother horn transitions, and more impressively ringing singing allow for a more relaxed listening experience. Lyrics are this time more easily deciphered as Kalnoky projects with greater enunciation and confidence. Most importantly though are deviations from original horn pieces. Solos and background parts alike are manipulated on the reproduction of Keasbey Nights, and this time the horns give off a much more impressive aura.
What will hardcore fans of the original Keasbey Nights and Catch 22 think of this CD? In all honesty, all opinions hinge solely on a few key preferences of the listener. Most notably, would you as a fan take the raw, genuine approach of Catch 22 or the slick, more advanced musicianship of Streetlight Manifesto? Regardless, Keasbey Nights, both the Catch 22 and Streetlight Manifesto versions, is an essential disc to the record collector’s shelves.