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PREORDER
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01. The Flying Hats - Lightning Bottle
02. The Flying Hats - Kick About
03. The Flying Hats - Traffic Light
04. The Flying Hats - Double Up
05. The Flying Hats - Market Day
06. The Flying Hats - Pinball
07. The Flying Hats - Stout
08. The Flying Hats - So Long
09. The Flying Hats - Step Up
ARTIST
TITLE
Ups
FORMAT
LP

LABEL
CATALOG #
ATA 046LP ATA 046LP
GENRE
RELEASE DATE
9/4/2026

LP version. They say you've got to take your ups with your downs, but that's only because "they" haven't heard Ups, the second LP by The Flying Hats, which is all ups and no downs whatsoever. The album arrives little more than a year after debut long player The Return of the Flying Hats and mere months after the release of an instant classic 45 single featuring non-album tracks "The Blender" and "Hot Cakes." So it's fair to say that Ups finds the band riding the crest of an extremely funky Hammond-infused retro-reggae wave. Indeed, it's tempting to say not just "riding the crest of" but "increasing said wave's actual mass" -- for the new set delivers a second floor-shaking helping of a sound that joins the dots between Aggrovators-style reggae and Meters-style funk. Opener "Lightning Bottle" kicks off with an introductory drum-fill that briefly nods to a certain Dawn Penn classic before settling into a heavy, mid-tempo, Hammond-led riddim providing instant appeal for those who lean more towards the Bunny Lee/'70s side of things. The same can be said of a trio of easy-rolling bubblers consisting of "Pinball" -- a brisk number near the start of the album's second half -- along with the wistful beauty of "So Long" and "Step Up," which close the album. Those who prefer reggae that evokes the Kingston "Sound of '69," however, will salivate over the balance of tracks which deliver no fewer than five such cuts tempered with a fat slice of New Orleans sass, reveling in deliriously joyful Hammond melodies and funky backbeats, while maintaining that offbeat reggae rhythm. "Kick About," "Double Up," and "Market Day" provide up-tempo bounce, while the clattery syncopated drums on the stripped-back skank of "Stout" and the absolutely gorgeous Hammond-funky/ boss-reggae groove of "Traffic Light" provide something a little more loose-limbed. If Allen Toussaint and The Meters had upped sticks and relocated to Kingston (or Bunny Lee and Jackie Mittoo had moved to the Big Easy) in the early '70s, it would have sounded like this.