Keasbey Nights
| Keasbey Nights | ||||
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| Studio album by Catch 22 | ||||
| Released | March 24, 1998 | |||
| Recorded | 1997 | |||
| Genre | Ska punk | |||
| Length | 46:13 | |||
| Label | Victory | |||
| Producer | Catch 22, Hillary Johnson, James Egan | |||
| Catch 22 chronology | ||||
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| Keasbey Nights | ||||
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| Studio album by Streetlight Manifesto | ||||
| Released | March 7, 2006 | |||
| Recorded | 2004, June–September 2005 | |||
| Genre | Ska punk | |||
| Length | 46:57 | |||
| Label | Victory | |||
| Streetlight Manifesto chronology | ||||
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| Source | Rating |
| Allmusic |
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Keasbey Nights is the debut album by the East Brunswick, New Jersey ska punk band Catch 22, released on March 24, 1998 by Victory Records. It is the only album by the band's original lineup, as singer/songwriter/guitarist Tomas Kalnoky, bassist Josh Ansley, and horn player James Egan all left the group later that year. Kalnoky re-recorded the entire album in 2006 with his new band Streetlight Manifesto in response to Victory's plan to re-release it. The album's title references Keasbey, New Jersey, an unincorporated area within the Woodbridge Township of Middlesex County.
All tracks written by Tomas Kalnoky.
In 2004, Kalnoky decided to re-record Keasbey Nights with his new band Streetlight Manifesto. The decision was prompted by Victory Records' plan to re-release the album with additional content. The Streetlight Manifesto version was originally scheduled to be released in late 2004, but was continually delayed until being released on March 7, 2006.
The re-recorded version includes several musical and lyrical changes from the original. "Dear Sergio" includes an extra verse that Kalnoky had added when he recorded the song with the Bandits of the Acoustic Revolution on A Call to Arms (2001). Day In, Day Out features a new verse in place of playing the first verse again. The muted trumpet solo in "This One Goes Out To..." was replaced with a tenor saxophone, and different instruments were also used during the solo section of "Kristina She Don't Know I Exist". Most notably, Kalnoky replaced the shout-outs during the extended ending of "1234, 1234" with a text-to-speech transcription of an interview in which he explains his motivations for re-recording the album:
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