In 1997, MAROON TOWN released ‘Don Drummond’, the band’s fourth full-length in just under a decade. Since then though, it’s been all quiet on the South London front… sort of. While the Brixton collaborators haven’t been all that prolific in terms of records, a serious amount of Air Miles have been wracked up. Having played shows across the globe (from Brazil to Kazakhstan; from Kingston to Indonesia), the band now returns with ‘Urban Myths’, an album 15 years in the making…sort of.
The first thing to point out is that while ‘Urban Myths’ is technically an album, there are only actually five brand new tracks on offer. The first half of the release – let’s call it ‘Side A’ – is full of shiny, glistening new tracks. ‘Side B’ then, is full of shiny, glistening tracks pulled from the back catalogue, namely 1997‘s offering.
The first half of the release sets some truly unique standards. Opener ‘Ya Ya (Lemme Tell Dem)’ has a flowing vibe of Jamaican ska with a touch of The Specials, kneaded together with hip-hop vocals. ‘Lion’ has been basted in rocksteady, with the strings and keys not sounding like they’d be out of place on a 007 soundtrack. ‘Latin Moshpit’ is akin to a dirty Havana back-alley, all jazz arrangements and big brass melodies. ‘Wreckless’ (featuring London MC trio The Wreckless Crew) fits today’s urban scene, a banging number that maintains that sunny JA essence. ‘Bella Cosa’ is a more relaxed number, reimagining prohibition era jazz whilst throwing in a little spit. This is the sort of material Rancid would have had a field day with back in the mid-90s. Simply put, if this were an EP, it’d be a five-starrer.
The second side comes across as a little less sundry. While Maroon Town are still on top form, there is a definite identity here that displays cool, grooved ska music in more of a revivalist style. ‘Bullit’ and ‘Watermelon Man’ (a reworking of the Herbie Hancock jazz standard) are (near) instrumental tracks lavishly rich in tone. ‘Innocent Mind’ and ‘Clarendon Calling’ use soulful female vocals to generate another dimension.
Essentially ‘Urban Myths’ is a contemporary take on the traditional sounds and styles of the 50s and 60s, plying the listener with a diverse but focused dose of modern-day hip-hop and ska. Its intrigue is enough to warrant a listen but it’s the sheer quality on offer that makes it truly stunning. Maroon Town may have been around for a long time – albeit inconspicuously – but this is fresh and vital.
ALEX HAMBLETON