In terms of retrospectives, 2016 has been a pretty good year for Rocksteady, the Jamaican subgenre that briefly flourished in the second half of the 1960s as the stylistic bridge between ska and reggae; in an unexpected twist The Frightnrs’ Nothing More to Say is loaded with high-quality contemporary slow-groove action. Thankfully eschewing a revivalist approach while being highly versed in tradition, the group’s soulful flair makes them a perfect fit as Daptone Records’ inaugural excursion into long-playing reggae. It’s out on vinyl, compact disc, and digital September 2; those ordering from Daptone’s website prior to that date will receive Victor Axelrod’s dub version of the track “Purple” as a download.
Rocksteady might be a relatively brief flash in the grand continuum of Jamaican music, but it’s been far from pushed aside by ska, reggae, dub, or dancehall. As evidence, earlier this year the 17 North Parade label issued a boxset of seven 45s and a 40-track 2CD collection; both titled First Class Rock Steady, they offer a sweet appetizer and immersive banquet into a style that’s more than just a transition.
The Frightnrs hail from Queens, NY, with the lineup that made Nothing More to Say featuring Preet Patel on bass, his brother Chuck on piano, Rich Terrana on drums, and Dan Klein on vocals. Sadly, Klein passed away in June after being diagnosed with ALS last November, a cruel circumstance turning this fine debut full-length into a vivid and surely durable document of his considerable abilities at the microphone.
Residing in the USA, The Frightnrs hurdle a major geographical stumbling block like Olympic champs, for far too frequently Jamaican-inspired sounds wafting from the North American mainland conjure up a Patchouli-reeking patchwork pants-clad nightmare. A clue to their success would seem to derive from the “punk rock spirit” mentioned in a Daptone press release.
Spirit but not sound, as The Frightnrs smartly avoid a pitfall common to the relationship of punk and Jamaica, one which has churned out a steady flow of horn-vamping knuckleheads bedecked in checkered bowling shirts; as the record spins a main ingredient in their achievement reveals itself as a reliable component in the original Rocksteady equation, specifically the strains of US Soul.
Nothing More to Say wields two Daptone-related soul covers in Bob & Gene’s splendid recovery from ’67 “Gotta Find a Way” and noted Dapettes Saun & Starr’s nugget from their 2015 LP Look Closer “Gonna Make Time.” What’s immediately apparent is The Frightnrs’ choice of deep, vocally-focused flow over torrid or gritty dynamics.
Ably assisted by producer Victor Axelrod, the album’s contents can be assessed as smooth without resorting to polish and instrumentally rich minus any grandstanding or faltering into the overly busy. This is abundantly clear right out of the starting gate with “All My Tears”; it weds Klein’s emotion-drenched singing to that spongy reggae rhythmic bed and well-controlled intensity; added treats are the lithe piano, the passage of adroit guitar, and the voluminous echo on the backing voices.
Smooth but not mellow and completely comfortable in an analogue environment, The Frightnrs don’t rely on equipment and ambiance as a crutch but instead use the studio to elevate smart tactics and expert execution as nine of the record’s selections are originals including the terrific title-track; Daptone mentions Smoky Robinson, and as “Nothing More to Say” unwinds the comparison is right on the money.
But the assertive erudition of the guitar is nearly as sweet. Impressive across the disc are tunes that could easily be proposed as adept versions of soul or rocksteady numbers, especially the organ accented “What Have I Done.” However, even more striking is the complexity that drives “Purple,” the standout building upon rather than simply replicating their inspiration and in the process solidifying this set as a cut above the retro.
It’s followed by a distinct change of pace in “Trouble in Here,” its rousing explication of a potential brawl the nearest Nothing More to Say comes to idling at the intersection of punk and Jamaica without forsaking the R&B template. It’s definitely a crossing of Brit byways, so those cherishing the work of The Specials and 2-Tone in general are encouraged to investigate.
Ballads are the main course, and “Till Then” finds Klein formulating a crooner’s atmosphere with appealing panache. Balladry means a focus on the romantic, and “Lookin for My Love” underscores The Frightnrs’ knowledge of the ’70s rocksteady descendant Lovers Rock. But it’s in “Hey Brother (Do unto Others)” that the group pull off the deft trick of employing rocksteady as the adhesive for doo-wop and ’70s vocal group soul to produce an engaging slice of positivity.
Again, listeners excited by this album’s prospects are encouraged to acquire Axelrod’s swell dubbing out of “Purple,” though there are also touches of the technique in “Gonna Make Time” and the finale “Dispute.” Nothing More to Say establishes The Frightnrs’ accomplishment while simultaneously demarcating its culmination, and whatever transpires moving forward will be a different if certainly related entity. But don’t let this reality arouse a bout of the blues; no, just cue up and celebrate the gift this LP so exquisitely delivers.
GRADED ON A CURVE:
A-
