MAXIMUM REGGAE

July 2, 2010
Lee’s Palace

In the early nineteen-sixties there was a worldwide musical revolution: Rock and roll transformed traditional three-chord blues and folk into an amped up, livelier style, taking over in the United States and United Kingdom. Meanwhile, in Jamaica, another genre took form from the foundations of traditional roots and folk music there, this is reggae music. In same evolutionary fashion as American rock, reggae takes aspects of Caribbean folk and blues as a stepping stone, and cranks it through modern electric amplifiers, usually accompanied by organs and forms of dub samples.

Sound aside, reggae stands as a bonding agent between cultures. During the first major wave in the mid-sixties, white and black members of the working class adopted reggae as a movement to break down racial borders. Labeled two-tone culture, these people hung out at reggae clubs after a hard day's work. This is the reason why ska (a derivative of reggae) and reggae fans wear checkerboard wristbands, two-tone shoes, or other black and white clothing. Many working class aficionados also sported a uniform of shaved heads, jeans and boots, and favoured reggae or pub-rock, in an effort to counteract the hippie movement. This is how the original skinhead movement began, a decade or so before its message was marred by neo-Nazi gangs stealing the skinhead name and aesthetic. (Hunt down Mr. Symarip's "Skinhead Moonstomp" at your record store for a completely sixties portrait of the movement.)

By the mid seventies, reggae was gaining huge popularity outside the Caribbean with notable bands like Toots & the Maytals, Mr. Symarip, and The Wailers hitting world charts. In the UK pub-rock and proto-punk scenes, The Clash, The Police and The Specials were among the first to infuse reggae techniques into rock music. This explains why there is still a strong tie between punk rock and reggae/ska music today. For an early Brit-reggae adaptation, listen to "Police and Thieves" on The Clash's first album. There are tons of punk bands that use reggae, ska and dub styles in their music. From the crusty ska-core of Leftover Crack, to the more traditional modern ska sounding bands like Less Than Jake, to street-ska with Operation Ivy, ska and reggae are a big part of punk.

One of the biggest contemporary purveyors of true reggae is The Aggrolites from Los Angeles, California. This five-piece has been rocking steady for almost ten years, now situated cozily on Tim Armstong's (Rancid) Hellcat Records. Fans of punk and ska know them well, perhaps just as another one of those punk bands that took on a reggae sound. But, the only thing I can say about the Aggrolites is that they are wholly and completely pure, maximum reggae. At Lee's Palace in Toronto they played to a diverse crowd of shade-sporting rude-boys, vest and tie wearing ska-kids, spiky street-punks and full-fledged brace-strapped skins.

In the nineties, Prince Perry helped form Frankie Foo and the Yo Yo Smugglers, a staple band in the Toronto ska scene over the past fifteen years. Prior to this, the Prince was tutored by one of the best, Rolando Alphonso of legendary ska group The Skatalites. Prince Perry's education shines clear with his entirely ska-themed lyrics often about meeting ladies and late night chillin'. In the music too, which is straight ahead, easy listening ska. Now, the Prince is embarking on a solo career, albeit with generous help from his backing band The Gladtones. They are a barrage of Toronto scene comrades including trumpetist Jan Hughes of Frankie Foo and guitarist Stefan Babcock of Stop, Drop N Skank. Tonight, the Prince and his Gladtones opened the show by hopping around to their light hearted ska jam "You Won't Say It" off their recent debut record, Songs About Girls. In response, the half-full Lee's Palace crowd also began grooving along with every note. Perry stood at centre stage with a handsome grin below his fedora for the entire forty minute set, occasionally kicking up his knees to the beat in exact unison with the other five Gladtones. Other songs included "Bee On The Bus,” "Girl On The Bus,” "Love At The End Of The Century,” and a crowd enthusing rendition of The Police's "Walking On The Moon.”

By the end of the Gladtones's set, there was little breathing room in Lee's Palace. The pit dense with about one hundred dirty aggro disciples waiting for their prophet. Other people lining the walls and clogging all possible walkways. The Aggrolites trotted onstage after a couple minutes of intro music. All five members clad in blue jeans and grey work shirts, they looked like a chain gang on the run, yet eager to spread their message. After lead singer Jesse Wagner gave the crowd a couple quick grimaces, they slipped into "Funky Fire" from their 2006 self-titled album. Rhythm guitarist Brian Dixon immediately started knighting people in the front row by bowing down and tapping them on the shoulder with the head of his guitar. For the rest of the set, if he wasn't doing that, he was either stomping around the stage like a giant, instigating dancing by physically approaching anyone within reach from the floor speakers which he would jump on, or hocking loogies beside him. His stature, his sneer, he is pure intimidation. By the time fourth tune, "Work To Do,” was underway, a joint was being passed around the Lee's Palace pit. I got a whiff and looked around for the culprit, but became mesmerized by the crowd: every single person dancing. People standing in the aisles pounding fists between their knees; those sitting on old wooden benches lining the walls shoulder grooving with the beat; arms and legs jetting out everywhere into the air. A reggae dance hall packed with people from all walks of life, united, entranced by the music. The band went on with a few instrumental tracks and "Time To Get Tough,” which saw Wagner lose his white Jaguar guitar and slip into his electrifying preacher persona. From the bottom of his soul he belted out his Yeahhhh's, reminiscent of James Brown intensity and stage presence.

The rest of the show went on in the same fashion. More doobies lit up in the pit, eccentric stage presence coming from the whole band, especially Wagner, and people dancing everywhere. About halfway through, the band played another instrumental, and keyboardist Roger Rivas literally judo chopped out his solo. I also couldn't stop looking at Alex McKenzie sitting low behind the drums, constantly head nodding and shoulder pulsing to his own spine rattling beats. Other tunes included "Countryman Fiddle,” "Feelin' Alright" off their latest record, Aggrolites IV, and the classic fan favourite "Don't Let Me Down" for which everyone helped out on the lyrics. After nearly an hour and a half The Aggrolites were sweaty, tipsy, and still all smiles. I recommend catching this band if you respect dedication, and just enjoy real dirty reggae.