The Prince

In the summer of 1979, the UK music scene was shifting. Punk’s raw aggression was giving way to a sharper, danceable sound rooted in Jamaican ska and infused with social commentary—the Two Tone movement. At its centre stood The Specials and their leader Jerry Dammers, who launched the Two Tone label as a platform for multiracial unity and political awareness. Hot on their heels came Madness, a band of cheeky North Londoners with ska in their veins and a mischievous streak that would set them apart.

Their debut single, “The Prince,” became the second release on Two Tone Records and a key catalyst in the ska revival. A high-energy tribute to their idol Prince Buster—aka Cecil Bustamente Campbell—the song oozed reverence and personality. Madness even took their name from a Buster tune and made no secret of their admiration. The connection was both musical and symbolic.

Outside their devoted North London following, “The Prince” was the public’s first glimpse of Madness. Their stylish suits, animated stage antics, and infectious rhythms captured attention instantly. Aligning with Two Tone gave them a strong cultural and visual identity, though it was never just branding—it reflected shared values and musical roots. “We’d hooked up with The Special AKA and realised we had a lot in common,” Suggs later said. Like their Coventry peers, Madness were working-class kids using ska to forge a distinct British voice.

The song was recorded on 16 June 1979 at Pathway Studios in Highbury. Known for its intimate setup, the studio suited the band’s raw energy. However, the initial mix had technical flaws, including a noticeable hum during Lee Thompson’s sax solo, prompting a remix session on 9 July. Even then, keyboardist Mike Barson expressed dissatisfaction—particularly with the B-side, “Madness,” a cover of another Prince Buster classic.

Both songs would later be re-recorded for their debut LP One Step Beyond…, released in October 1979. These album versions were slicker and more refined, with improved production and some lyrical changes. Barson, in hindsight, preferred the LP version of “The Prince,” a rare admission given the original’s iconic status.

The single had its roots in an earlier demo session with producers Clive Langer and Alan Winstanley, meant to pitch the band to publisher Rob Dicken. Of the three tracks recorded, “The Prince” and “Madness” were deemed ready for release. The third, “My Girl,” was held back—it had chart potential but didn’t suit Two Tone’s image. As bassist Mark Bedford later remarked, it was “not Two Tone in any way, shape or form.”

With “The Prince” leading and “Madness” on the B-side, the band delivered a powerful debut that honoured their influences while introducing a sound uniquely their own. The single earned them a slot on Top of the Pops and propelled them from pub gigs to national recognition.

While the Two Tone association was a gift—providing instant visibility—it also brought constraints. The label’s monochrome visuals and political framing often led to misconceptions about Madness’ style and intent. “The Prince” fit the label’s vibe, but as the band evolved, they gradually stepped outside the ska-revival box, exploring broader musical and lyrical territory.

Still, “The Prince” stands as a pivotal moment—not just for Madness, but for the wider ska revival. It was a vibrant, joyful track that bridged eras, paying tribute to Prince Buster while lighting the fuse on Madness’s own explosive rise. With it, they introduced their nutty energy to the world—and made history in the process.