THE SPECIALS Vinyl & CDs

Review: The Specials are real UK national treasures, aren't they? And rightly so. Alexis Petridis has even gone so far as to say their standout single 'Ghost Town' is the second greatest UK single to have ever been released. Again, it's hard to really argue with that one. It was a UK chart topper at time of release and speaks eloquently of the urban decay, unemployment and ongoing racial tensions of the period. Sound familiar? Sadly, you once again have to agree. This 40th Anniversary Edition has been mastered and cut at half-speed for extra oomph.

Review: It's been 40 years since The Specials changed the ska game with their self titled debut, so what better time to remaster and re-cut it at half speed at the legendary Abbey Road Studios. Spread out over 2 x 12" vinyl it was originally produced by Elvis Costello and was a loud and proud blend of big and energetic tracks, no-messing lyrics and hard hitting grooves. It includes a few covers along the way, such as their fabulous take on Dandy Livingstone's "A Message to You, Rudy" and red-hot version of the Maytals' "Monkey Man". A strong anti-racism message on "Doesn't Make It Alright" sits next to the tongue in cheek takedown of local pubs on "Nite Club" and much more.

Review: The Specials' ghostly pop-dub classic 'Ghost Town' resonated far and wide with international audiences ever since its initial release in 1981. First springboarded by the gothic ska/rocksteady group's song of the same name - with its gloomy meditations on destitution and winters of discontent around the time, manifested in statements like "all the clubs are being closed down" and "too much fighting on the dancefloor" - the ensuing album is similarly political, urgent and doomy. Classics such as 'A Message To You, Rudy' and 'Gangsters' appear once more on this stealth limited edition reissue.

Review: More Specials is the second studio album from the Coventry band, originaly released in 1980 and reportedly splitting opinion among their fanbase, although it's come to be seen as a classic containing many of their best loved songs, from ska knees up 'Enjoy Yourself' to the deadpan reggae of 'Do Nothing'. Produced by the band's own keyboardist Jerry Dammers, it had a more eclectic and less obviously punk sound than its Elvis Costello-produced predecessor, with the band's constant disagreements on the direction of the sound proving a creative rather destructive force here, even if it would - barely more than a year later - cause them to eventually split.