I have to preface this with a confession:  I’m not a huge reggae/ska/dance hall fan having always pinned the genre to be slothful with lazy beats.   So when I got handed this Dirty Heads compilation CD, I wasn’t exactly enthused.  Did I really want to do 23 (!)songs of Tina Propaganda?

The cover featured four random guys I could’ve run into at any local fish taco shack in the OC.  Fingers crossed, I hoped they didn’t break through via The Hills, I pretty much ignored all the Itunes comments and “pfffft’d” the editor’s, “you’ll like them, they’re good, they’re good”.   I settled in and got slapped in the face by Sails to the Wind.  



Boy, was that a wake up call.  The creeping guitar with rolling surf intro intriguingly threatened another wanna-be Jack Johnson song but lo and behold, by the time lead singer Jared Watson started singing I realized it had picked up notes from Shirley Bassey’s “Hey, Big Spender” except to a reggae beat.  I thought, “Oh, no, they didn’t.” But they sure did, chasing it down with a jolt of Eminem-style rap against melodic instrumentation the Stranglers would’ve been proud of.  I’m pretty sure by the time I was 1:58 into the song, my nipples were hard. 

Now I realize it’s hardly a common yardstick to use but it was in a few words, a total turn on.  Somehow the CD song order went awry when I loaded it to the Ipod.  Hello, happy accident.  I can think of no better way to get inducted to the DH than with Sails to the Wind.  Of all the songs in the album, I’d peg this as perfect for the UK market.  Its combo of sharp, sexy vocals, and rap reggae easily redeems it from that dangerous slide towards island dirge, otherwise known as “music I like to get high to”.  It’s a clever and sophisticated piece. 


Shine was next and what a refreshing change.  Though reggae’s always been popular for socially positivist cum irie messages, there’s something thoroughly happy about the way these guys do it.  You know they mean it when they sing, “let it shine” and you kinda wanna do. 

I got into a Lonely One thinking this is one of the few songs I can respect any dude for singing while he’s crushed and heart broken.  It straddles that fine line between falling apart and vibing cool while doing it.  There seems to be a vocoder effect but it works subtly to harden up the vocals.  



Driftin’ is a great “coming to terms with my lazy crap” song, I’d vote it best theme for that post graduation summer limbo when you’re not quite sure where life is tossing you.  Not a bad soundtrack to backdrop a major life change.  Same with the Neighborhood, while more upbeat, it gets that down home in the Southland feel working through it, a real homage to the OC surf and sand lifestyle.  The boys are home and they love it here. 


Three songs I deem too laid back for me would be “Everything I’m Looking For”, “Chelsea” and “Believe”.  These are great chill out songs you want to play on a long plane to the road to the big boat to the dinghy to get to the island surf trip, when the miles stretch out interminably and your thoughts go a-wander.  Chelsea is almost Jason Mraz-y.  



Being mellow, the lyrics stand out more but don’t disappoint, still hitting that now to be expected feel-good note that’s effortless to this group.  Don’t get me wrong, it’s definitely not out of place but the more I’ve listened to the DH, the more I’ve come to respect that their talent lies in subtly creating tension where you least expect it.  



Still, for an even deeper reggae chill, the two songs most faithful to the genre would be Rains It Pours and I Got No Time.   The lyrics are a lot looser for my taste but ragamuffin die hards will take heart as these deliver melodic hypnosis in spades. 

Right now, these guys are on tour with Sublime.  Rome Ramirez, Sublime’s lead singer co-wrote and sings in Lay me Down, and I can see how this song has commercial appeal.  For my money though, it’s not my absolute favorite.  It’s catchy but most of all, it’s familiar.  Operating on the principle of “Sounds like”, this is a safe bet to go for first time DH’ers.



Still I relish the joy of being broken in by something fresh and unexpected.  Hip Hop Misfits for instance makes you think that even flip-flop wearing SoCal could spit out its own version of an Oceans 11/Elvis/Gangsta type who’s too cool for school, and can say “Bro” with an arched eyebrow.  The bridge is pure raw honey that makes you, ok, really me, want to stylishly kill. 



Morning Light follows the same lines, with hints of the Black Eyed Peas and Smash Mouth, it’s a consistently thumping song that’s not a bad way to start the morning.  I’d reckon this’ll be a juvenile favorite, beneath the rap which actually lifts the song, it has that slight whine of a tone that inflicted itself on the music scene when Blink 182 came along. 

I found this along with Antelope to be more rhythmically predictable.   Edging more towards hip-hop Antelope works a repeated melodic hook, leaving more room to high light the rap which lyrically, I didn’t find that riveting or witty.  No doubt it sits well with the more apathetic anarchist theme but it’s probably my least favorite having found the repetitiveness wearing.  



But all is forgiven with Check the Level which booms with that big stadium sound and a jumping lead in that’s absolutely revolt-ready.  That it’s a “living well is the best revenge” story about an ex fatty and an oddity makes the riot less depressing than most.  It scores points for an engaging and completely relate-able all too awesome story of ducks turning into swans.  



The bridge is seductive with guitars and a luring back vocal softening the rap, but never for a second does it let the tension go, which is frankly delightful. It’s too often the case that you get a great hook early in and it feels like you’re just waiting for it to come back round.  Not so with this, amazing energy. 

The non-stop rolling beat of Taint is all dirty rebellion, in fact I consider it the Dirty Heads’ official call to arms.  Irreverent and unapologetic, it’s the song that says, Here We Are. Not to mention being able to define the “x” spot quite precisely, it does make me wonder if this had something to do with the group leaving their first label?

Easy and Knows That I are way 311 reminiscent, it’s clear they’re an influence. For all that, I think Knows That I is a sure winner with the ladies, who wouldn't want to be called “welcome summer rain”? It’s immensely charming and at times made me recall Crazy Town’s Butterfly.  I wouldn’t be surprised if this extremely user-friendly song finds itself in a rom-com with Drew Barrymore or someone equally quirky.


Headphones has the same crisp sound as Check the Level, it’s less dramatic but carries a solidly sexy and subversive vibe that’s hip-hop danceable.  This is the song to make an entrance to without the overbearing pretentiousness of it being about a gun, which most of us are less likely to have than yes, a pair of headphones.   Likewise, I found Insomnia to be danceable and actually cinematic, it’s a great reminder that these guys really are songwriters, chiming words to tick-tocking beats to really bring the state of sleeplessness alive. 

I’ve saved the best for last with Stand Tall, both versions are good but the acoustic one is truly pure, acoustic heaven, beautifully devoid of vocal affectation. It’s wonderfully done while being remarkably simple and is sure to be someone’s personal mantra as “any port in the storm" would do. 

I think DH virgins would be hard pressed NOT to find at least three or more songs to like in this entire album.  It’s a free fall of unabashedly blended genres that works a hybrid charm all its own.  The band themselves are unassuming enough, which is quite attractive and well, easy to love. Two things are glaringly obvious:  One, these guys are unquestionably natural about their music, they’re comfortable in their skin and that kind of joy in music making is unmistakable.  



And two, they know how to apply tension, which can be hard to do with reggae - in short, they write good melodies and the songs are strong with it.  I’ve been hostaged the last few hours listening to DH do their thang and I have to say, it’s great to know there are bands like this which continue to define what SoCal music is about beyond the mass machine generated pop and hipster poseurs.  The “music industry” pulls up visions of the Iron Curtain but bands like these, do what No Doubt did for local music and keep fans spotting for local world-class flavor.  LA’s a big and sprawling city man, but the Dirty Heads sure make it feel more like home.