Reel Big Fish’s cover of “Take On Me” remains proof of society’s need for ska-punk

Single cover for “Take On Me” | Photo via Mojo Records

Dylan Masvidal | Staff Writer  

Reel Big Fish’s cover of “Take On Me” is a drug, and I’ve been fiending for a fix for the last month and a half.

My addiction is justified, so please hold your concerns for just a moment. 

When third-wave ska — a natural evolution of the two-tone sound which blended reggae with elements of punk rock and new wave — hit the airwaves during the mid-to-late ‘90s, its rise was as unexpected and sudden as its fall. 

What was poised to be the next genre darling that would hold mainstream music in the palm of their hands quickly became merely a transitional phase before nü-metal grabbed listeners by the throat and demanded respect, effectively stealing the hearts and minds of adrenaline junkies around the nation. 

With hindsight being 20/20 and all, no upbeat style of jams stood a chance in an era ruled by generational angst and unwavering pessimism. 

But that’s what makes the ska revival and ska-punk, in particular, truly fascinating. 

For a few fleeting moments, groups like The Aquabats, Less Than Jake, and of course, No Doubt, were able to hook audiences with a brand of fast tempo bounce that had just enough edge to not be considered corny without taking themselves too seriously. 

No better is this evident than with the aforementioned Reel Big Fish and their wonderfully bizarre cover of A-ha’s ‘80s synth-pop classic.

It’s scientifically impossible to understate the genuine reveling in absurdity that this track possesses. 

“South Park” creators Trey Parker and Matt Stone selected it for their equally outrageous sports comedy film “BASEketball” for a reason. 

There’s an infectious, fun-loving feeling behind every creative choice on this cover you just can’t shake off. 

Bright synthesizers are replaced by a triumphant horn section, and A-ha’s Morten Harket’s soft vocal stylings are exchanged for the unpolished and juvenile howls of Aaron Barrett and Scott Klopfenstein. 

Even the whirlwind keyboard break from the original isn’t safe, with an abrasive guitar lick of similar proportions taking its place. 

On paper, this sounds like a total desecration of the source material. 

However, what appears to be a recipe for disaster ultimately unfolds into an unforgettable antidepressant anthem. 

Despite the foreign nature of the ska-punk instrumentation, Reel Big Fish evokes the same carefree attitude present in A-ha’s version and the ‘80s as a whole. 

At the end of the day, regardless of the bittersweet subject matter and Harket’s gentle voice, “Take On Me” is a song inviting you to get up and dance. 

All Reel Big Fish are doing is updating the vibe to give ‘90s crowds what they yearn for: A reason to jump around.

It’s no different than Alien Ant Farm’s version of “Smooth Criminal“, an absolutely brilliant metal rendition that pays homage to its predecessor instead of mocking. 

How could I fail to mention the music video shenanigans of Reel Big Fish’s cover as well, complete with sped-up and reversed sequences, a “BASEketball” team mascot doing multiple back handsprings, and a crashing crescendo with a more satisfying conclusion than “The Lord of the Rings” trilogy. 

Simply put, Reel Big Fish’s version of “Take On Me” is the epitome of a good time. 

Confirmation bias tells me we’re not too far off from yet another return of ska in the public eye. 

In an age where TikTok can breathe new life into any musical genre on a whim, why can’t ska-punk receive said treatment? 

Modern day music listeners pine for a healthy blast from the past as frequently as they change clothes. 

When that day comes, let’s hope it stays for good.                

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