12 Cents for Marvin

The increasing homogeneity of American culture hasn't completely wiped out unique characteristics of regional music scenes: Austin, Atlanta and even Denver still retain their sonic identities to a significant degree. Still, practically every city large enough to support a college has a band that plays the same sort of bouncy...

By Michael Roberts

February 16, 2006

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The increasing homogeneity of American culture hasn't completely wiped out unique characteristics of regional music scenes: Austin, Atlanta and even Denver still retain their sonic identities to a significant degree. Still, practically every city large enough to support a college has a band that plays the same sort of bouncy party ska that 12 Cents for Marvin specializes in. Some of these acts are better than average, and some are worse, but the differences among them aren't exactly huge.

Judging by this disc, Marvin ranks at the upper end of the scale. The lively horn charts are handled well, the dub touches are nice, and tracks such as "Dusty Roads" and a swinging version of the "James Bond Theme" skank along effectively. Unfortunately, most of the originals are distinction-free, and the cover of the Kinks' "Lola" would only work in a bar where drinks were on the house. For a week straight.

Change isn't bad, but more change would have been better.

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Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

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