The Specials ¦ Ghost Town / Why? / Friday Night, Saturday Morning

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Veröffentlichung Ghost Town / Why? / Friday Night, Saturday Morning:

1981

Hörbeispiel(e) Ghost Town / Why? / Friday Night, Saturday Morning:




Ghost Town / Why? / Friday Night, Saturday Morning auf Wikipedia (oder andere Quellen):

"Ghost Town"
The Specials-Ghost Town-UK single.jpg
UK single cover of Ghost Town
Single by The Specials
B-side
  • "Why?"
  • "Friday Night, Saturday Morning"
Released12 June 1981 (1981-06-12)
Recorded3–9 April and 15–17 April 1981
Studio
GenreReggae rock,[1] two-tone
Length3:40
6:02 (extended version)
Label2 Tone
Songwriter(s)Jerry Dammers
Producer(s)John Collins
The Specials singles chronology
"Do Nothing"
(1980)
"Ghost Town"
(1981)
"The Boiler"
(1982)
Audio sample
"Ghost Town"

"Ghost Town" is a song by the British two-tone band the Specials, released on 12 June 1981.[2] The song spent three weeks at number one and 10 weeks in total in the top 40 of the UK Singles Chart.

Addressing themes of urban decay, deindustrialisation, unemployment and violence in inner cities, the song is remembered for being a hit at the same time as riots were occurring in British cities. Internal tensions within the band were also coming to a head when the single was being recorded, resulting in the song being the last single recorded by the original seven members of the group before splitting up. However, the song was hailed by the contemporary UK music press as a major piece of popular social commentary,[3][4] and all three of the major UK music magazines of the time awarded "Ghost Town" the accolade of "Single of the Year" for 1981.[5][6][7] It was the 12th best-selling single in the UK in 1981.[8]

Background

The tour for the group's More Specials album in autumn 1980 had been a fraught experience: already tired from a long touring schedule and with several band members at odds with keyboardist and band leader Jerry Dammers over his decision to incorporate "muzak" keyboard sounds on the album, several of the gigs descended into audience violence. As they travelled around the country the band witnessed sights that summed up the depressed mood of a country gripped by recession. In 2002 Dammers told The Guardian, "You travelled from town to town and what was happening was terrible. In Liverpool, all the shops were shuttered up, everything was closing down ... We could actually see it by touring around. You could see that frustration and anger in the audience. In Glasgow, there were these little old ladies on the streets selling all their household goods, their cups and saucers. It was unbelievable. It was clear that something was very, very wrong."[4]

In an interview in 2011, Dammers explained how witnessing this event inspired his composition:

The overall sense I wanted to convey was impending doom. There were weird, diminished chords: certain members of the band resented the song and wanted the simple chords they were used to playing on the first album. It's hard to explain how powerful it sounded. We had almost been written off and then "Ghost Town" came out of the blue.[3]

The song's sparse lyrics address urban decay, unemployment and violence in inner cities.[9] Jo-Ann Greene of Allmusic notes that the lyrics "only brush on the causes for this apocalyptic vision—the closed down clubs, the numerous fights on the dancefloor, the spiraling unemployment, the anger building to explosive levels. But so embedded were these in the British psyche, that Dammers needed only a minimum of words to paint his picture."[10] The club referred to in the song was the Locarno (run by the Mecca Leisure Group and later renamed Tiffanys), a regular haunt of Neville Staple and Lynval Golding,[3] and which is also named as the club in "Friday Night, Saturday Morning", one of the songs on the B-side. The building which housed the club is now Coventry Central Library.[11]

Recording

In March 1981, Jerry Dammers heard the reggae song "At the Club" by actor and singer Victor Romero Evans played on Roundtable, the singles review show on BBC Radio 1. Fascinated by the record's sound, Dammers telephoned the song's co-writer and producer John Collins a few days later, although as Dammers first phone call was in the middle of the night, Collins initially took it to be a joke.[12][13] Following further conversations with Dammers, Collins travelled up from his home in London to meet the Specials at their rehearsal studio and agreed to produce their new single.

After becoming overwhelmed with the multitude of choices available in the 24-track studio used during the recording of More Specials, Dammers had decided that he wanted to return a more basic set-up, and after a recommendation from bass player Horace Panter who was familiar with the place, the band chose the small 8-track studio in the house owned by John Rivers in Woodbine Street in Royal Leamington Spa.[12] The studio, which consisted of a recording space in the cellar and a control room in the living room, was too small to accommodate all the members of the band, so rather than their normal recording method of playing all together, Collins recorded each band member playing one at a time and built up the songs track by track.[13]

The three songs for the single were recorded over ten days in April 1981 in two separate sessions at Woodbine Street: seven days from 3 to 9 April and then a further three days from 15 to 17 April.[12] Tensions were high during the recording of the single, with little communication between the band members, and at one point a frustrated Roddy Byers kicked a hole in the studio door, angering Rivers.[14] Panter remembered, "Everybody was stood in different parts of this huge room with their equipment, no one talking. Jerry stormed out a couple of times virtually in tears and I went after him, 'Calm down, calm down'. It was hell to be around." Dammers said, "People weren't cooperating. 'Ghost Town' wasn't a free-for-all jam session. Every little bit was worked out and composed, all the different parts, I'd been working on it for at least a year, trying out every conceivable chord ... I can remember walking out of a rehearsal in total despair because Neville would not try the ideas. You know the brass bit is kind of jazzy, it has a dischord? I remember Lynval rushing into the control room while they were doing it going, 'No, no, no, it sounds wrong! Wrong! Wrong!'"[4]

Collins wanted the song to sound more like a Sly and Robbie roots reggae track, so he brought a copy of a Sly and Robbie-produced single, "What a Feeling" by Gregory Isaacs, to the studio so that drummer John Bradbury could mimic the drum sound. He also suggested the two-handed shuffle rhythm played by Dammers on the Hammond organ throughout the song. Using just eight tracks limited Collins' recording possibilities, but as a reggae producer he decided to use the common reggae method of recording everything in mono: "As we were recording eight-track, I did go with a track plan. I wanted the drums in mono on one track, the bass in mono on another and the rhythm – that shuffle organ and Lynval's DI'd guitar – on another. They're the backbone of a reggae song. Then there was brass on another track, lead vocals on another, backing vocals on another, and various little bits and pieces dropped in ...'Ghost Town' is basically a mono record with stereo reverb and echo that I added in the mix ... The same applied to the brass: John [Rivers] put one mic in the middle of the room, placed Dick [Cuthell] and Rico [Rodriguez] in diagonal corners, and when we listened in the control room it sounded great. Recording simply in mono really helped the instruments balance themselves." However, there was a tense moment towards the end of recording when Dammers decided at the last minute that he wanted to add a flute to the song, and with no free tracks available Collins was forced to record the flute directly onto the track containing the previously recorded brass section, with the possibility that any error would have rendered the entire track unusable:

The guy who played the flute was a member of the band King and we recorded him in the hallway with a microphone at the top of the stairs to get the natural reverb from the stairwell. However, overdubbing the flute nearly killed me because it was not on a free track. Dick Cuthell and Rico Rodriguez had already gone back to London, and I had to record that flute by actually dropping in. Originally, the lead part was done on Jerry's guide organ before the flute was dropped in on the brass track. Well, I had to put a piece of tissue under my chin because sweat was dripping off my face due to it being so scary – one mistake and that would have been it![12]

As it had not been decided where exactly the backing vocals would be used, Terry Hall, Staple, Golding and Dammers sang a full backing vocal track throughout the song, which Collins used to his advantage as the lyric "this town is coming like a ghost town" had become like a "hypnotic chant" by the end of the song.[12][13]

Collins took a recording of the separate tracks back to his home in Tottenham in north London where he spent three weeks mixing the song.[14] During this period Hall, Staple, Golding and Dammers all turned up at the house at various times to add further vocals. Since the song had no proper beginning or ending during recording at Woodbine Street, Collins recreated the idea of fading in over a sound effect, which he had used previously on "Lift Off", the B-side of "At the Club". To achieve the effect he wanted, Collins utilised a kit-built Transcendent 2000 synthesiser to create a "ghost" sound, which he used to fade in and out at the beginning and end of the track.[12][13]

B-sides

The single had two B-sides, written by two different members of the Specials. "Why?" is a plea for racial tolerance and was written by guitarist Lynval Golding in response to a violent racist attack he had suffered in July 1980 outside the Moonlight Club in West Hampstead in London, which had left him hospitalised with broken ribs.[15][16] "Friday Night, Saturday Morning" was written by lead singer Terry Hall and describes a mundane night out in Coventry.

Video

The video, directed by Barney Bubbles, consists of bass player Panter driving the band around London in a 1961 Vauxhall Cresta, intercut with views of streets and buildings filmed from the moving vehicle, and ends with a shot of the band standing on the banks of the River Thames at low tide. The video's locations include driving through the Rotherhithe Tunnel and around semi-derelict areas of the East End before ending up in the financial district of the City of London in the early hours of daylight on Sunday morning, where the streets were deserted as it was the weekend. The shots of the band in the car were achieved by attaching a camera to the bonnet using a rubber sucker: Panter recalled that at one point the camera fell off (briefly seen in the finished video at 1:18) and scratched the car's paintwork, to the displeasure of the car's owner.[17] The original Ghost Town car can be seen (and sat in) at The Coventry Music Museum.

Impact

Contemporary reviews identified the song's impact as an "instant musical editorial" on recent events (the 1981 England riots).[18][19] Although initial reviews of the single in the UK music press were lukewarm, by the end of the year the song had won over the critics to be named "Single of the Year" in Melody Maker, NME and Sounds, the UK's top three weekly music magazines at the time.[5][6][7] AllMusic's review of the original single argued that the song was the band's "crowning achievement".[20]

The summer of 1981 saw riots in over 35 locations around the UK.[4] In response to the linking of the song to these events, singer Terry Hall said, "When we recorded 'Ghost Town', we were talking about [1980]'s riots in Bristol and Brixton. The fact that it became popular when it did was just a weird coincidence."[21] The song created resentment in Coventry where residents angrily rejected the characterisation of the city as a town in decline.[3]

The song was featured in an episode of the Channel 4 sitcom Father Ted.[22]

The song experienced a thematic resurgence on music streaming platforms in 2020, after lockdown orders were placed following the COVID-19 pandemic.[23]

Track listing

1981 release

7" vinyl – 2 Tone CHS TT17 [24]
No.TitleWriter(s)Length
1."Ghost Town"Dammers3:40
2."Why?"Golding2:59
3."Friday Night, Saturday Morning"Hall3:32
12" vinyl – 2 Tone CHS TT1217 [25]
No.TitleWriter(s)Length
1."Ghost Town (Extended Version)"Dammers6:02
2."Why? (Extended Version)"Golding3:55
3."Friday Night, Saturday Morning"Hall3:32

1991 release (Ghost Town Revisited)

7" vinyl – Tone CHS TT30 [26]
No.TitleWriter(s)Length
1."Ghost Town"Dammers3:40
2."Ghost Dub '91" (credited to 'Special Productions')Dammers4:19
12" vinyl – Tone CHS TT12 30 [27]
No.TitleWriter(s)Length
1."Ghost Town"Dammers6:02
2."Why?"Golding3:55
3."Ghost Dub '91" (credited to 'Special Productions')Dammers6:34
4."Ghost Dub '91 (Version)" (credited to 'Special Productions')Dammers4:25

Personnel

The Specials
Additional personnel

Chart positions

Chart (1981)Peak
position
Australia (Kent Music Report)[28]68
Belgium (Ultratop 50 Flanders)[29]15
Ireland (IRMA)[30]3
Netherlands (Single Top 100)[31]12
New Zealand (Recorded Music NZ)[32]20
Norway (VG-lista)[33]7
UK Singles (OCC)[34]1

References

  1. ^ Bryant, Tom (25 June 2014). "17 rock-reggae crossovers that work... and three that don't". Classic Rock. Future plc. Archived from the original on 17 September 2021. Retrieved 23 September 2021.
  2. ^ "New Singles". Music Week. 13 June 1981. p. 24.
  3. ^ a b c d Montgomery, Hugh; Bignell, Paul; Higgins, Mike (3 July 2011). "Ghost Town: The song that defined an era turns 30". The Independent. London, England: Independent Print Ltd. Retrieved 5 September 2013.
  4. ^ a b c d Petridis, Alexis (8 March 2002). "Ska for the madding crowd". The Guardian. London, England. Retrieved 5 September 2013.
  5. ^ a b "Singles of the Year". Melody Maker. London, England: IPC Media. 19 December 1981. p. 29.
  6. ^ a b "Records of the Year". NME. London, England. 19 December 1981. p. 30.
  7. ^ a b "Singles of the Year". Sounds. London, England: Spotlight Publications. 19 December 1981.
  8. ^ "The Official Top 50 best-selling songs of 1981". Official Charts. 5 March 2021.
  9. ^ Kelly, Jon (2011) "The Specials: How Ghost Town defined an era", BBC, 17 June 2011. Retrieved 14 March 2015
  10. ^ Jo-Ann Greene. "Ghost Town - The Specials | Listen, Appearances, Song Review". AllMusic. Retrieved 29 March 2014.
  11. ^ Barton, Laura (19 May 2009). "Barton's Britain: Coventry". The Guardian. London, England. Retrieved 5 September 2013.
  12. ^ a b c d e f Buskin, Richard (November 2011). "The Specials 'Ghost Town' – Classic Tracks". Sound on Sound. Cambridge, England: SOS Publications Ltd. pp. 176–81.
  13. ^ a b c d Collins, John. "Ghost Town: The Producer's Story". Retrieved 29 October 2013.
  14. ^ a b Panter, Horace (2008). Ska'd for Life. London, England: Pan Books. p. 268. ISBN 978-0-330-44073-8.
  15. ^ Petridis, Alexis (January 2002). "Please Look After This Band". Mojo (98). London, England: EMAP. pp. 72–82.
  16. ^ Augustyn, Heather (22 September 2010). Ska: An Oral History. Jefferson, North Carolina, USA: McFarland & Co., Inc. p. 99. ISBN 978-0-7864-6040-3.
  17. ^ Panter (2008). pp. 274–275.
  18. ^ "Pop Beat", Los Angeles Times, 15 August 1981
  19. ^ "Ghost Town/Why?/Friday Night Saturday Morning". "Billboard". 8 August 1981. Retrieved 14 August 2011.
  20. ^ Waynick, Michael. "Ghost Town EP". Allmusic. Retrieved 14 August 2011.
  21. ^ Palmer, Robert (12 August 1981). "The Pop Life". The New York Times. Retrieved 5 September 2013.
  22. ^ Linehan, Graham; Mathews, Arthur. Father Ted DVD Commentaries (Podcast). United Kingdom: Channel 4. Retrieved 30 December 2013.
  23. ^ Paul Williams (29 April 2020). "The Specials' 'Ghost Town' Finds New Life Amid U.K. Lockdown". Billboard.
  24. ^ "2 Tone Records - Ghost Town - CHS TT17". 2-tone.info. 20 June 1981. Retrieved 29 March 2014.
  25. ^ "2 Tone Records - Ghost Town - CHS TT12 17". 2-tone.info. Retrieved 29 March 2014.
  26. ^ "2 Tone Records - Ghost Town (revisited) - CHS TT30". 2-tone.info. 20 June 1991. Retrieved 29 March 2014.
  27. ^ "Specials, The / Special Productions - Ghost Town Revisited (Vinyl) at Discogs". discogs.com. Retrieved 10 August 2014.
  28. ^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, New South Wales, Australia: Australian Chart Book. ISBN 978-0-646-11917-5.
  29. ^ "The Specials – Ghost Town" (in Dutch). Ultratop 50.
  30. ^ "The Irish Charts – Search Results – Ghost Town". Irish Singles Chart.
  31. ^ "The Specials – Ghost Town" (in Dutch). Single Top 100.
  32. ^ "The Specials – Ghost Town". Top 40 Singles.
  33. ^ "The Specials – Ghost Town". VG-lista.
  34. ^ "Official Singles Chart Top 100". Official Charts Company.

External links

Artist(s)

Veröffentlichungen von The Specials die im OTRS erhältlich sind/waren:

Ghost Town / Why? / Friday Night, Saturday Morning ¦ More Specials ¦ Protest Songs 1924-2012

The Specials auf Wikipedia (oder andere Quellen):

The Specials
The Specials im Mai 2009
The Specials im Mai 2009
Allgemeine Informationen
HerkunftCoventry, England
Genre(s)2-Tone, Ska, Reggae, New Wave
Gründung1977, 1996, 2008
Auflösung1984, 2001
Websitehttp://www.thespecials.com
Aktuelle Besetzung
Lynval Golding
Horace Panter
Terry Hall
Roddy Radiation (ab 1978)
John Bradbury († 2015[1]) (ab 1979 und 2008)
Jon Read (1996–2001, ab 2008)
Tim Smart (ab 2008)
Nik Torp (ab 2008)

The Specials ist eine britische Skaband, die insbesondere in den späten 1970er- und frühen 1980er-Jahren in ihrem Heimatland sehr erfolgreich war.

Geschichte

Die Gruppe wurde 1977 zunächst unter dem Namen „The (Coventry) Automatics“ gegründet, bevor sie sich 1978 umbenannten. Die Sänger der Band waren Terry Hall und Neville Staple. In einem von Arbeitslosigkeit und rassistischen Spannungen geprägten Großbritannien spielten sie, bestehend aus schwarzen und weißen Bandmitgliedern, eine Mischung aus Ska und Reggae.

Ihre Musik erschien beim Plattenlabel 2 Tone Records von Bandmitglied Jerry Dammers. Das Label nahm später auch andere Ska-Bands wie The Selecter, Madness und The Beat unter Vertrag. Sein Markenzeichen waren schwarz-weiße Schachbrettmuster, die die antirassistische Einstellung dokumentieren sollten.

Wie kaum eine andere Ska-Band repräsentieren The Specials die überbordende Lebensfreude der zweiten britischen Ska-Welle (Dawning of a New Era) ebenso wie die dann allmählich einsetzende Ernüchterung angesichts zunehmend rechter, gewalttätiger Skinheads (Ghosttown).

Die Band trennte sich 1981. Terry Hall gründete mit Neville Staple die Band Fun Boy Three und trat später als Solokünstler auf. Jerry Dammers benannte die Specials in „The Special AKA“ um, die mit Nelson Mandela einen weiteren weltweiten Hit landeten.

Teile der Band treten noch heute unter dem Namen „The Specials“ auf, doch dürften als reine Specials-Werke nur die Alben The Specials (1979) und More Specials (1980) zählen, außerdem die letzte Single Ghost Town, die in Großbritannien über 400.000 mal verkauft wurde[2] und Platz 1 der Charts erreichte.

Zwischen April und Mai 2009 fanden Konzerte zum 30. Jahrestag der Bandgründungen statt.[3]

Im Februar 2019 erscheint auf Island Records das Album Encore. Es wurde von den Gründungsmitgliedern Terry Hall, Lynval Golding und Horace Panter zusammen mit dem dänischen Produzenten Torp Larsen eingespielt. Das Album erreichte Platz 1 in den britischen Charts, damit konnte die Band das erste Mal seit 1980 wieder ein Album mit einer Top-Platzierung in den britischen Albumcharts platzieren.[4]

Diskografie

Alben

JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[5][6][7]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen
DE DEAT ATUK UKUS US
1979SpecialsUK4
Gold
Gold

(48 Wo.)UK
US84
(21 Wo.)US
1980More SpecialsUK5
Gold
Gold

(20 Wo.)UK
US98
(5 Wo.)US
1984In the StudioUK34
(6 Wo.)UK
als The Special AKA
2015The SpecialsUK94
Silber
Silber

(1 Wo.)UK
2019EncoreDE20
(3 Wo.)DE
UK1
Silber
Silber

(9 Wo.)UK

Weitere Alben

  • 1993: King of Kings (mit Desmond Dekker)
  • 1996: Today’s Specials
  • 1998: Guilty ’Til Proved Innocent!
  • 2000: Skinhead Girl
  • 2001: The Conquering Ruler
  • 2008: Ghost Town

Livealben

  • 1992: Live – Too Much Too Young
  • 1992: Live at the Moonlight Club
  • 1992: BBC Radio 1 Live In Concert (mit The Selecter)
  • 1998: BBC Sessions
  • 1999: Ghost Town ’Live’
  • 1999: Live Too Much Too Young
  • 2001: Greatest Hits Live
  • 2009: 30th Anniversary Tour Live (Promo, als kostenlose Beilage der The Sunday Times)
  • 2011: Aug 27th – Nov 3rd 2011 Paradiso Grote Zaal Amsterdam 14. September 2011 (2 CDs, limitiert)
  • 2011: Aug 27th – Nov 3rd 2011 München Backstage 21. September 2011 (2 CDs, limitiert)
  • 2011: Aug 27th – Nov 3rd 2011 Ricoh Arena Coventry 29. Oktober 2011 (2 CDs, limitiert)
  • 2012: More … or Less. – The Specials Live
  • 2014: Live 2014: The Tour Edition

Kompilationen

JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[5]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen
DE DEAT ATCH CHUK UKUS US
1991The Specials SinglesUK10
Gold
Gold

(9 Wo.)UK
2008The Best OfUK26
(10 Wo.)UK
2009Singles – Best OfUK73
Gold
Gold

(2 Wo.)UK
2021Protest Songs 1924–2012DE47
(1 Wo.)DE
CH85
(1 Wo.)CH
UK2
(2 Wo.)UK

Weitere Kompilationen

  • 1991: The Singles Collection
  • 1995: The Best of Ska Live (mit The Selecter und Special Beat)
  • 1996: Too Much Too Young
  • 1996: Best Of
  • 1996: Gold Collection (UK:GoldGold)
  • 1998: Concrete Jungle (als Coventry Automatics AKA the Specials, mit Desmond Dekker und Special Beat)
  • 1999: A Special Collection
  • 1999: The Specials and Co (mit The Coventry Automatics und Special Beat)
  • 2000: Stereo-Typical (A’s, B’s & Rarities) (3 CDs, UK:SilberSilber)
  • 2001: Archive Series
  • 2003: The Best of the Specials
  • 2005: The Ultra Selection
  • 2006: Greatest Hits

Singles

JahrTitel
Album
Höchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[5]
(Jahr, Titel, Album, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen
DE DEAT ATUK UKUS US
1979Gangsters
Specials
UK6
Silber
Silber

(12 Wo.)UK
Erstveröffentlichung: 30. März 1979
als The Special AKA
A Message to You Rudy / Nite Klub
Specials
AT7
(8 Wo.)AT
UK10
Silber
Silber

(14 Wo.)UK
Erstveröffentlichung: Oktober 1979
feat. Rico
1980Too Much Too Young
Specials
UK1
(10 Wo.)UK
Erstveröffentlichung: 18. Januar 1980
als The Specials AKA, Live-EP
Rat Race / Rude Boys Outa Jail
Specials
UK5
(9 Wo.)UK
Erstveröffentlichung: Mai 1980
Stereotype / International Jet Set
More Specials
UK6
(8 Wo.)UK
Erstveröffentlichung: September 1980
Do Nothing / Maggie’s Farm
More Specials
UK4
Silber
Silber

(11 Wo.)UK
Erstveröffentlichung: Dezember 1980
feat. Rico mit The Ice Rink String Sounds
1981Ghost Town
Singles
UK1
Gold
Gold

(14 Wo.)UK
Erstveröffentlichung: Juni 1981
1982The Boiler
Stereo-Typical (A’s, B’s & Rarities)
UK35
(5 Wo.)UK
Erstveröffentlichung: Januar 1982
Rhoda mit The Special AKA
1983War Crimes (The Crime Remains the Same)
Singles
UK84
(2 Wo.)UK
Erstveröffentlichung: November 1982
Racist Friend / Bright Lights
Singles / Complete John Peel Sessions
UK60
(3 Wo.)UK
Erstveröffentlichung: August 1983
als The Special AKA
1984Nelson Mandela
Singles
UK9
(13 Wo.)UK
Erstveröffentlichung: Februar 1984
als The Special AKA
What I Like Most About You Is Your Girlfriend
Singles
UK51
(5 Wo.)UK
Erstveröffentlichung: August 1984
als The Special AKA
1993The 2 Tone EP
UK30
(3 Wo.)UK
Erstveröffentlichung: September 1993
The Special AKA, Madness, The Selecter
und The Beat
1996Hypocrite
Today’s Specials
UK66
(2 Wo.)UK
Erstveröffentlichung: Januar 1996
feat. Kendell und Sheena Staple
Pressure Drop
Today’s Specials
UK100
(1 Wo.)UK
Erstveröffentlichung: März 1996
feat. Sheena Staple und Kendell

Weitere Singles

  • 1980: Sock It to Them J.B.
  • 1980: Hey, Little Rich Girl
  • 1980: Braggin’ & Tryin’ Not to Lie (Roddy Radiation und The Specials feat. Paul Heskett; VÖ: August 1980)
  • 1981: Concrete Jungle
  • 1987: The Peel Sessions
  • 1991: Ghost Town Revisited (VÖ: September)
  • 1993: Jamaica Ska (mit Desmond Dekker)
  • 1996: A Little Bit Me, a Little Bit You
  • 1998: It’s You
  • 2012: The Specials E.P. Live! (VÖ: 21. April)
  • 2014: Sock It to ’Em J. B. (Dub) / Rat Race (Dub) (VÖ: 19. April)

Videoalben

  • 1989: Specials
  • 2010: 30th Anniversary Tour – Special Edition

Audios

Weblinks

Commons: The Specials – Sammlung von Bildern, Videos und Audiodateien

Quellen

  1. The Guardian: John Bradbury of the Specials dies aged 62
  2. Oi, Oi, Oi in Der Spiegel vom 27. Juli 1981, Nr. 31/1981 (spiegel.de), abgerufen am 9. Februar 2021
  3. Ankündigung der Tournee auf offizieller Homepage (Memento des Originals vom 6. Februar 2009 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/www.thespecials.com
  4. The Specials secure first Number 1 album with Encore. In: www.officialcharts.com. Abgerufen am 8. Februar 2019.
  5. a b c Chartquellen: DE Singles Alben CH UK US
  6. The Billboard Albums von Joel Whitburn, 6th Edition, Record Research 2006, ISBN 0-89820-166-7.
  7. Auszeichnungen für Musikverkäufe: UK

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