Johnny Socko

Johnny Socko was founded by Dylan Wissing in Bloomington, Indiana in 1990. Affected by genre-hoppers like Fishbone and Crimson Popular Chili Peppers, along with the even more traditional funk and spirit of James Dark brown and Parliament/Funkadelic, Socko also got an affinity for the party rhythms of hip-hop, ska and reggae. But after nearly ten years to be lumped in to the sometimes-schlocky third-wave ska picture, Socko experienced a change, and surfaced as a good, road-tested rock and roll & roll music group. In the first nineties, Johnny Socko broke from its regional lifestyle, getting into a countrywide tour with American ska stalwarts Bim Skala Bim. The sound was raucous and crowd-driven, with liberal dosages of toilet pan humor thrown in to the blend to differentiate the music group from its third influx compatriots. The Bim Skala Bim tour will be the to begin a cycle that could eventually set up Johnny Socko as you of America’s most constant touring rings. In 1994, Socko released Bovaquarium through Bim Skala Bim’s BIB imprint; the Oh I REALLY DO Hope It is the Roast Beef EP adopted two years later on. The music group jumped to Asian Guy for 1997’s Total Trucker Impact, and honed their dynamic audio with 1999’s Quatro. But lineup adjustments adopted, as they usually perform. Solidifying in 2000 around drummer Wissing, Christopher Smail (acoustic guitar/vocals), Joshua Silbert (saxophone/vocals), Demian Hostetter (trumpet/vocals), and Matthew Wilson (bass/vocals), Johnny Socko’s audio began to develop from its campy, third-wave ska-influenced hijinks. It started to emphasize the greater rocking edges of its initial affects, and drew upon such organizations as Vehicle Halen and Cheap Technique. Dubbing their fresh direction “Big Rock and roll,” Socko finally required a rest from touring (having performed over 2,000 displays coast to coastline since its inception) to create and record a fresh album. In past due 2002 the self-titled, Ken Lewis-produced affair made an appearance. It showcased a far more refined audio that incorporated components of rap-rock and pop, but didn’t forgo the band’s brand love of life or solid horn section.