About 13 months ago I was handed five albums by someone “in the scene” for possible review. One thing led to another, I got suddenly very busy; went to more live gigs (which I reviewed) and low and behold the said album’s got shelved. Wind forward 13 months and with time on my hands I feel it only right to give these releases a listen and review. First off the top of the pile is “See You Down The Front” by Staffordshire Ska/Punkers Leftovers. Band info is scarce so I shall focus on the music.
This collection opens with “Johnny Pickup” – the rangey, confident vocals are paired with a rat-a-tat drumming style and a Ska Beat throughout. The male vocals in the chorus are anthemic while the bass throbs occasionally and subtly elsewhere. “Jeepers Creepers” begins with a fuzzy guitar intro before the heavy snare-tapping makes way for a clear and audible vocal. Bit of a dancefloor filler this one as it happily skanks away! The “hey hey’s” in the bridge suggest a slight rockabilly slant before the strained noodling takes centre stage to its conclusion.
“The Town” has a gentle vocal entry that builds with the song as the bass and snare bashing in the background keeps the beat. The “can’t pay, won’t pay, take it away” line is direct and in yer face but as for the lyrical content, I’m a little lost. ‘Sooner or Later’ has a comedic little edit to open with before that familiar snare beat and bass kick in. The male vocal takes on a bit of a “Paul Simenon” (The Clash) vibe, while the female vocal gives it some balance. It’s a corking little number with an infectious Ska beat. The harsh male vocal adopts a more direct and forceful tone latterly and it’s a sharp ending.
“God Save The UK” is a musical call to arms. Heavier snare tapping and strong dual vocals, matched to a throbbing bass and scratchy guitar chords. It’s at this point I believe the tempo of the album starts to go up a notch. The lyrics are slightly political, a rallying call if you like but the beat and tempo are infectious. “Hitcher” has a darker intro with heavier hitting and a fearful underbelly. The lyrics are delivered with a menacing, knowing style on what one assumes is a fictional tale. The bridge is interesting with scratchy guitars, while the drums downturn albeit briefly.
“Introvert Symphony Part 1” has an all too familiar Ska beat with a twisted guitar sound. The layered vocals go up and down throughout while the chorus sets the song alight. Latterly the bass throbs in the background but as in earlier songs it’s a clarion call once more – “I’m not that type, Fuck The Hype”, you get the picture!
“Introvert Symphony Part 2” takes the tempo down a notch but there’s no less cussing, while the overall beat remains the same. The guitars noodle away in the bridge before that familiar bass joins the party.
“Dreams And Promises” intro has more than a passing resemblance to “Brimful Of Asha” (Cornershop), before it morphs itself into a Leftovers number. It’s an uplifting song, one of hope and positivity. The ending could do with a little work; it sounds somewhat experimental, an afterthought even. “Fightback” ends this ten-song collection with another call to arms. Clear, concise vocals give way to a terrace chant “Fightback”. The snare hitting is sharp while that bass just throbs to its conclusion.
Leftovers are in no way reinventing the wheel here, they are however easy on the ear. This album may not make a dent nationally, but is a good start point for their music and gives them a platform to build upon. Most Ska/Punk bands are all about the live show, the energy etc. Having seen Leftovers they are not lacking on that front either. But in the current climate the live arena has been somewhat curtailed, so go online and give Leftovers and all the other DIY artists a listen and make a purchase – we are all in this together, for the long haul.
Track listing
Johnny Pickup
Jeepers Creepers
The Town
Sooner or Later
God save the UK
The Hitcher
Introvert Symphony Part 1
Introvert Symphony Part 2
Dreams and Promises
Fight Back
Links
https://www.facebook.com/Leftoverspunkband
Review by Ross A. Ferrone.
