Since 2020 and continuing through this year, Aggrobeat Records in the Netherlands has been reissuing a series of fantastic skinhead reggae vinyl singles both from and written/produced by the incomparable Laurel Aitken--all of which fans of this era of reggae music will desperately want safely nestled in their 45 box(es). (Disclaimer: The Aggrobeat shop is carrying copies of my book The Duff Guide to 2 Tone.)
Laurel Aitken (who was then based in the UK) was particularly prolific from 1969 through 1971 (see the truly extraordinary 5xCD compilation Skinhead Train Pressure Drop/Cherry Red released in 2020 containing every Aitken cut and production he released in 1969 and 1970--138 songs in total!). During this time, Aitken issued dozen upon dozens of singles for Pama and its imprints Nu Beat/New Beat, as well as the Trojan subsidiary Doctor Bird (some of my faves from this period include his essential High Priest of Reggae LP and some of his greatest singles: "Heile Heile (The Lion)," "Fire in Mi Wire," "Skinhead Train," "Rise & Fall," "It's Too Late," and the sublime "Reggae Prayer,"--the perfect fusion of the sacred and the profane--which will be played, appropriately enough, when I slip this mortal coil decades from now).
Aggrobeat's reissue series features Aitken's 1969 blank label/promo single for Nu Beat "Benwood Dick" b/w "Apollo 12." The A side is a hilariously rude--but never explicit--cut about "a man with a long, long cukumaka stick" (though Pama got cold feet, benched this single, and instead issued the less overtly rude, but still slightly naughty, "Mr. Popcorn": "Some like it hot/I like it warm/That's why they call me Mr. Popcorn!"), while the flip is his moon stomping classic "Apollo 12" (one of several skinhead reggae sides inspired by the first lunar landing, including Derrick Morgan's "Moon Hop"), which sets another goal for humanity (which we haven't quite achieved): "Skinhead moon invasion/Leaving from shantytown, Brixton/It's not black/It's not white/It's what's right/Everything will be alright/If we just unite!" (Back in 2011, Jason Lawless (RIP) also licensed "Apollo 12" for his excellent Moondust series of singles, though the flip was "Moon Rock.")
Originally released as a blank label through the Trojan imprint Ackee in 1969, the Winston Groovy "Skinhead Wreck the Town" b/w Laurel Aitken's "Moon Rock" single features two great tracks written and produced by Aitken. Winston Groovy (whose most famous song is probably "Please Don't Make Me Cry," which was famously covered by UB40 on their first and best Labour of Love LP) decries skinhead thuggishness on this anti-rude boy violence cut that borrows a bit of Desmond Dekker's "007" (see the Trojan compilation Rudies All Round for more "rude boy records"). "Moon Rock" continues the late '60s pop-culture fascination with the moon landing with Aitken's offbeat imagining of what one would do with one ("When you smoke the moon rock/You say, "Sistah, I am your mister!...Why, what a ting, like this moon rock/Strong like a lion/Make you feel to go back/To Mt. Zion!"). Aitken's friend Rico Rodriguez contributes a lovely trombone solo, too.
The Versatiles "Pick My Pocket" b/w The Freedom Singers "Freedom" 45 was released in 1970 on Nu Beat and features more amazing Laurel Aitken compositions/productions. "Pick My Pocket" is a supremely catchy tune warning all who can hear about being taken in by a pretty girl whose sole intention was to rip him off (and the song briefly and deftly quotes Toots and the Maytals' "54-46 (Was My Number)"). The almost hypnotic "Freedom" is simultaneously about deliverance from slavery/Babylon and repatriation ("I wanna go back") to Zion.
Another "rude record" featuring Aitken compositions/productions, The Versatiles "Give It To Me" b/w Tiger & The Versatiles "Hot" issued on New Beat in 1971 is full of suggestive lyrics to titillate. "Give It To Me" is exactly what you think it's about ("You say you want it now/Well, I'm gonna push it up!"), while "Hot" is more boastful than bad: "My love is like quicksand/The more you're in it/The deeper you'll sink!" (Later that year, Tiger had a hit with the Aiken production "Guilty," which UB40 also covered on Labour of Love.)
The two non-Aitken produced singles in the Aggrobeat series (so far!) are The Gladiators' rocksteady tracks "Socking Good Time" b/w "I'll Take You To the Movies" issued by WIRL in 1968 with a blank label (the latter has some sweet harmonizing), and The Royals "Pick Out Me Eye" b/w "Think You Too Bad (AKA Mind Yourself)" released on Trojan in 1969 (the latter is a version of The Pioneers' "Jackpot," which, of course, was covered by The Beat).
Each limited-edition single was pressed on recycled vinyl at a green powered pressing plant (!) and includes terrific, lengthy, and incisive liner notes by Aggrobeat label-owner Paul Benschop.
This is an incredible opportunity to obtain some high-quality vinyl reissues of some rare and wonderful skinhead reggae music. Don't let it pass you by.
If you're connected to the US ska scene--particularly in Southern California--you've most likely learned the awful news via social media that long-time ska fan, record collector, promoter, DJ, and blogger Jason Lawless (nee Sirota) passed away around New Year's Day at age 41 (Lawless had a long history of complex medical and financial issues). Lawless was a vital and beloved fixture on the LA-area ska scene--and was also connected to many ska fans and players around the world.
I didn't know Jason well and had never met him in person, but was a big fan of all of his efforts to big up the ska scene through his Lawless Street blog, Dancing Mood ska forum, and Moondust Records label.
I offer my deepest condolences to his family and friends. May he rest in peace.
+ + + +
If you're anywhere near the LA area, a show in honor of Jason's life will be taking place on Sunday, January 19, 2020 at 3:00 pm at Boomer's Cocktails in Long Beach, CA. All details are below.
Live performances by Greg Lee (Hepcat), Chris Murray, Jesse Wagner (The Aggrolites), Los Aggrios, Jah Faith, Swinging Johnny, Queen P., and The Lawless All Stars (featuring members of Western Standard Time, See Spot, The Debonaires, The Expanders, The Aggrolites, Ocean 11, The Allentons, Capsules, and Mobtown).
Editor's Note: As the end of the calendar year sneaks up on me--as it always does, since the fall is always so damn busy!--I always scramble around to put together my "best of" lists of the ska singles, albums, reissues, books, etc. that I really enjoyed over the past year and want to highlight for all the ska fans out there. But I also thought it might be interesting to feature some other opinions, so I approached a diverse group of ska musicians, bloggers, DJs, and label heads to find out what their favorite ska things were in 2012. And thus the "2012: The Year in Ska" series was born! Thanks to everyone who is taking the time to participate--I really appreciate it! Jason Lawless runs the extremely informative Lawless Street blog, as well as the excellent Moondust Record label.
2012: The Year in Ska - Jason Lawless (Lawless Street/Moondust Records) Top 5 Favorite Ska Releases
Jason Lawless and Doreen Shaffer
1) Skatalites - Walk With Me: This was released in the UK last year, but we just got around to getting a US release out. I think this collection is so tight and is one of their best modern collections. The band is still making tunes better than neary every other band in the land that say they play ska. Just so far ahead -- I mean they have been playing for a few years, right?
3) Western Standard Time - A Big Band Tribute to the Skatalites: This goes without saying. The lineup in this band is unparalleled. A full orchestra doing Skatalites tunes with big band arrangements. It's just sublime.
4) The Lions - This Generation: This group of LA musicians is simple sublime. A true all-star collective that is making such sweet, sweet musical gems. The album isn't yet out, but it will be a real highlight of 2013 and take these guys to another level (http://reggae-steady-ska.com/the-lions-the-joy-music-brings/).
5) Los Granadians - Reggaelatico: These cats are doing the most exciting new music in the world right now. Everything they do is well thought out and fun. They make the music seem effortless, but there is a lot of depth and experimentation in their songs that is pushing the music forward. And yet it still seems classic. Love this album (http://www.lawless-street.com/granadians-new-album-reggalactico-is-out-now/).
Top 5 Ska Shows
I didn't go to too many actually, unless you count all The Skatalites dates I did this year! That and all the amazing LA shows we've had! WOW.
The whole tour with The Skatalites, Sammy Kay, and The Delirians in April was the best time I've ever had. Hands down, the number one most important thing I've done in my career. I was so happy and blessed to be a part of that tour. You can see a bunch of updates from that tour at the Echoes of Kingston site: http://www.echoesofkingston.com/.
There were so many legends that came through this year it's hard to say which ones were better than the others. They were all amazing. Here were a couple favorites:
I continued to pick up every book that I could related to the music. I've got a pretty good collection, but there are a couple choice publications still missing (I'm looking at you "Studio One Covers").
The biggest get was one of the first run of the updated version of the now very rare and expensive "Boss Sounds" book. The updated version has a full color all new layout with tons more info than the first. I'd still like an original copy for my collection, but the new one is beautiful. If you love early reggae at all, this is a must have book. There were limited quantities of the first run and the next batch will take some time, but it's def worth it. This is a must have.
It's been great that it's the 50th anniversary of JA independence, 'cause so many things have been happening and with the celebration of 2 Tone the last couple of years, there has been a lot of looking back.
Top 5 Ska Regrets
There is only really one regret of the last year and it's a big one. That I can finally make good on a few things that I've had to put to the side this year due to health and financial issues that I've been dealing with. I've let the label fail on more than a few levels and I am very sad about that. I really want to make sure we do positive things and keep it moving forward. That's a promise.
1) More bands getting out and touring, recording, and releasing music. This has to happen to remain vital and exciting. We need to get new blood into the music and the scene.
2) More legends getting a chance to perform before the specter of time catches up to them. Every month someone else passes away and getting a chance to see these great artists that have brought so many great tunes into the world is precious.
3) Getting to the London International Ska Fest again.
4) Echoes of Kingston Tour 2013 is even bigger than it was this year. This is very personal to me to create a tour that brings that sounds of vintage ska and rocksteady to to the masses.
Back in the mid-1990s, Ocean 11 were one of those bands that had this crazy, under-the-radar buzz about them. If you didn't live in Southern California with direct access to that almost mythic ska scene (which seemed to exist apart from every other ska scene in the US in terms of its sheer size and the number of incredible bands it generated), Ocean 11 seemed particularly mysterious and elusive. Someone in a band or a college radio station would rave about them to you over the phone or you'd glean some bit of news about their activity from a fanzine (these were pre-internet times, so everything was word-of-mouth, second-hand).
Eventually, the Moon Records store (when it was a teeny shop on East 2nd Street between Avenues A and B) obtained a few copies of The Good, The Bad, and The Ugly (released in 1995) and I was able to get my mitts on a copy (this is now one rare CD--used copies of it are going for close to $70 on Amazon and GEMM). It's a mix of well-known and obscure ska and rocksteady covers (The Tartans, The Caledonians), as well as some terrific originals. I just dug it out to give it a listen and found that The Good, The Bad, and The Ugly still stands up as one of the best traditional ska records of the 1990s.
The band never made it out to the East Coast (and I never caught them there), but we were lucky enough to feature them on two Moon Records releases: California Ska-quake, Volume 2: The Aftershock (compiled by Luis Correa of Steady Beat, who did a damn fine job--his label also distributed The Good, The Bad, The Ugly) and the Bang soundtrack. For those wanting to track down more of their discography, Ocean 11 cuts also can be found on Ska Island (Island Records), Girls Go Ska (Simmerdown Productions), Skauthentic (Steady Beat Recordings), Step on It (The Ska Parade), Keep the Pressure On (Kingpin Records), Ska Sucks (Liberation Records), and Ska Stars of the 90s (Gaz's Rockin Records).
[Ocean 11 fans should take note that Moondust Records just released a new single from the band that contains "Miss Understanding" (which appeared on the aforementioned Girls Go Ska comp) b/w "Spring in Rome" (a previously unreleased track that also features Malik Moore of The Bullets). I was lucky enough to pick up a copy at this gig along with a live Ocean 11 CD!]
So, I was pretty psyched to hear that King Duncan of The Shifters was using his birthday as an excuse to fulfill a ska fan-boy fantasy by flying out Queen P--Ocean 11's singer, who has recently been gigging with The Delirians--for some shows backed by The Shifters in Washington, DC, Baltimore, and New York City. (Read King Duncan's tribute to Ocean 11 here.)
Their New York gig took place at The Shop Brooklyn in Williamsburg, which is motorcycle shop by day and bar/BBQ joint by night. Bands play in the large garage in the back of the building next to a sea of choppers, which makes for a cool and unconventional venue. However, the one downside to this somewhat DIY set-up was the sub-par PA system that was in use (apologies for the sometimes poor sound quality in the videos below--but I think enough of the musicians' amazing performances come through that they're worth posting and watching). The next show there features H.R. of the Bad Brains (on November 26)...let's hope the venue figures out their sound issues before then.
DJs Han Solo (Dave Hahn of Dub is a Weapon) and Grace of Spades prepped the crowd with some choice selections of vintage ska and early reggae and then The Shifters were up. Hitting the concrete floor in matching Hawaiian shirts, the band tore through their set of excellent swinging, soulful ska original tunes (plus their signature cover of "Rockfort Rock") with such obvious glee (look at them do their synchronized moves in "Dance with You"!). It's been a long time since I've seen a band have such a blast playing out--and the audience couldn't help but being won over by their terrifically tight performance. If these guys play your town, make sure to see them.
Queen P's phenomenal set was mostly comprised of material off The Good, The Bad, The Ugly (not unexpected, of course) and included The Clarendonians' "Rules of Life," The Tartan's "Solid as a Rock," Cornel Campbell's "Let's Start Again," Ocean 11's "I am Queen"--and the highlights for me were Marcia Griffiths' "I Shall Sing," and Phyllis Dillon's "Picture on the Wall" and "I Can't Forget About You Baby." Queen P's voice has such an amazing purity, warmth, clarity, and directness to it (sadly, sometimes hard to hear through the terrible PA system that night) and she exudes such a cool confidence and ease as she sings. She's a wonderfully gifted performer to watch in action. I hope she'll make the trip out East again to play with The Shifters soon--and if you're anywhere near where they play, you make make sure to catch 'em!
[The Frighteners also played later this night--I didn't catch enough of their set, which sounded fantastic--but will review one of their live gigs soon...]
+ + + +
(Again, sorry about the quality of the sound--the PA at the venue wasn't great--so it is what it is...but there is still lots here to like and enjoy!)
+ + + +
UPDATE: Here's a link to some videos (with much better audio) of Queen P and The Shifters performing in Washington, DC and Baltimore on this same tour--see them here.
Editor's note: Jason Lawless is the man behind the amazing new Reggae 69 Fan Club and its just-launched imprint Moondust Records. Modeled on music fan clubs from the 1970s, like the Trojan Appreciation Society, Reggae 69 Fan Club's mission is simple: "Release new music and help foster the sounds of '69 from today's modern bands." Everyone who loves ska and reggae and vinyl needs to know more about--and then join--this amazing club (samples of many of the Moondust Records releases are at the bottom of this post!).
The Duff Guide to Ska:What initially inspired you to start the Reggae 69 Fan Club and Moondust Records? Why did you want to link the label to a club?
Jason Lawless: Why is easy. I love vinyl. I'm a junkie for it. I'm a collector and a selecter, so I have to have things on vinyl, of course. Which is why I've always been trying to get things going in the right direction to launch a new label. I knew it was going to be vinyl-focused (with some CD/digital at some point too) and with the right push behind it. There are plenty of “labels” out there, but are they doing things for the fans or for themselves? Everyone needs to make money of course, but I hope to be able to do some really interesting projects/ releases and not just because the band needs a CD out. There needs to be some passion behind it--a reason for it to be put out.
I got to thinking that there needed to be something that made fans want to participate more, too--sort of like back in the day with the Madness Information Service or Trojan Appreciation Society (which has now relaunched, too!). I really wanted to make that sort of exclusive and fan-driven aspect a big part of the new label. Back in the day, fan clubs were a big thing. You got special deals, exclusive releases, letters from bands, etc.--so that idea of making something special and exclusive appeals to me greatly. I think it can make for a really great package and promotion too. Especially in today's market. I envision the fan club being able to help market and distribute releases from other like-minded and musically-inclinded bands from around the globe too in the future--not just our releases, but a real collective of DJs, bands and labels working together to support the music.
DGTS:The first two releases from Moondust are reissues from the great, late Laurel Aitken (Reggae 69 b/w Big Fight In Hell Stadium and Apollo 12 (Skinhead Invasion) b/w Moon Rock). How did you ever manage to get your hands on these amazing tracks?
JL: Well, it was pretty easy actually. I licensed them from the label that is overseeing Laurel's catalog at the moment. Reached out to them and we worked out a deal. It went pretty smooth, in fact. The idea behind the whole thing really came out of my love for the work of Laurel Aitken. He was the first JA artist I started listening to via the old Moon Ska release and he is, after all, the Godfather. It worked out so well to come out swinging with some top tunes that fit perfectly into what I was trying to do, as well. It set the tone for what I hope to do in the future. It was just awesome to be able to do something with an artist I hold with such high respect.
DGTS:Down the line, which other ska or early reggae artists would you really like to reissue on Moondust?
JL: Oh man, so many. But the collector/ reissue market is very specific. I debated really issuing the Laurel Aitken tunes on my own label for instance. We all love the original labels deeply, right? I wanted to give people an instant idea of what I hope to do, so getting the Laurel tunes was a perfect way to do that. Trojan pretty much has a lock on so much of the original material, but as Rock A Shacka has proved, there are plenty more producers that are looking for outlets for their music. Should we have issued it on our own label instead of a true classic? Well, I felt strange really just taking an old label and reissuing a new release on it, especially if it was not a true repress (meaning tracks from different releases, but on the same label, for instance). I even asked the licensor what they thought about doing a New Beat release. They did not really say no, but that they didn't have the rights or anything for that art, so I decided that issuing it on the Moondust was the next best thing.
I also knew I was not going after the reissue market as much as I am the new collectors and DJs. No one plays modern records really, but if I could make some new releases that looked and fit in with all the old ones, maybe they'd be more apt to play 'em out. The DJs are a big part of everything I plan to do. Being one myself--getting that group on board was key for me. They are the ones keeping the music alive, playing it at clubs, collecting, and promoting it. That is why we've set up parties across the nation with a lot of them that I know. Most have been very enthusiastic about it and spreading the word.
So many times lately the fans have really been passed over by bands trying to get their music out. Sort of like bands saying, “well they don't have much choice, so they have to buy what I put out” and then dropping the ball on a lot of things that people do care about. This is a big part of why I think we're in such bad shape with modern band, really. So as far as orginal artists I can't say for sure, but Derrick Morgan and Dave Barker are high on my list since they are still active and more apt to do something. There are so many artists that I just don't have enough money to make deals with yet, but maybe one day. So going forward there are some new artists and releases already worked out --some more in the 70s style, rootsy stuff like more Irie Beats and Soulutionaries. I'm a big fan of the Rocksteady 7 stuff from David Hillyard too, so been talking to him about that and it's pretty much a go. Then more Delirians hopefully.
DGTS:All the Moondust singles feature a UK-style center punch (a brilliant detail!)—where did you find a record pressing plant that could still manufacture these? JL: There is only one and in the US, in fact! I've been working for a few years to get more material to release. But it never seemed right or the music just wasn't there. It was something I wanted to do for a long time. But as a few of my collector/ label friends and I always said, "man, it would be really tight if we could have those UK centers." It was like the thing we never thought we could do. We always want things to be as original and old school as possible. Many of them like Rhygin Records, Axe or Jandisc record only to tape (no digital) or do silkscreened sleeves-- that sort of stuff to make it more original. We all want it to be super tight and outta sight--clean and 60s as much as possible. So I'm always looking at deals for pressing plants. One day I found this ad for the pressing plant talking about UK style centers and I immediately said, "perfect!" After this and some other things that are coming up, I think they might start getting more business from it.
DGTS:The Reggae 69 Fan Club was successfully launched as a Kickstarter project. With actual sales of recorded music increasingly limited to diehard music fans (since the vast majority of recorded music now acquired by the public is obtained through illegal file sharing), do you think that this is a viable model for indie labels and bands to utilize going forward? It seems like groups of dedicated fans will have to become investors in a recording project before it can be put into production and fully realized….
JL: I love KS! Been a fan for a long time--always looked at the site and the projects thinking, "wow, that's a really cool and fun way to connect with fans." So once I got some things lined-up, I dove into using it for my project. The first one failed by just a bit though, but I looked at it--figured out why and relaunched it to success. I think I'll be using that in the future. I've got some other ideas that I think will be fresh and fun, including new music, of course.
DGTS:What are your plans for the label once the initial eight limited-edition singles are all released? Are you going to expand the label’s focus beyond (mostly) California early reggae bands?
JL: More releases, for sure, as I mentioned! We already have two to four more in the planning stages. There is a punk label that releases a single a month every year --they pre-sell the year of releases and then go about doing it. That is the model that I would love to be able to do. Constantly releasing --there are still a lot of bands around the world keeping the flame alive, like The Granadians, Crabs Corporation, The Prizefighters, just to name a few.
DGTS:To state the obvious, you’re a big fan of vinyl. When did you start collecting records; how big is your collection, and what are some of your most treasured records?
JL: Not nearly enough--that will never end. Before I moved into my current place, I had a really small apartment. It was funny, because in the kitchen I didn't have dishes, I had records on the shelves! Now I have an extra room with shelves and more storage, so I've moved the records out of the kitchen. I started buying music in '94 in high school, and then over the last 16 years just kept collecting. I don't actually have a collection that some others have, like Nina Y Viktor (The Rocksteady Lounge) or Mark Morales (Hot Shot Sound System) or the SF Vintage Reggae Society guys-- these cats have been collecting a lot longer with more money than I.
DGTS:During the 80s and 90s, the SoCal/LA-area ska scene was massive—much bigger than NYC’s. What’s it like now? What are some of the bands that you’re following now?
JL: Well, honestly there has been a massive drain over the last 5 years. Hepcat doesn't do much anymore and every other band has gotten older, had kids, etc. They still play every now and then, but the young bands have just disappeared in the traditional style. There are plenty of the Latin Ska crowd but that's not my scene too much. I think there isn't anyone for kids to look up to and idolize, so they don't go that way. For a while, there was a lot of good talent and they had something to emulate.
Then the Bluebeat Lounge and Chris Murray came along, For a time there was something to look forward to each week. Some were good, some were bad, but it was there. I think that really created a black hole of sorts once it was gone. We've got some promising talent here and there again. I can't say it enough, but The Delirians are just so tight. The Revivers/Debonaires are still working it. The Expanders, if you want that 70s heavy roots, but we need some of the older acts to really show the kids how it's done again.
Maybe Hepcat can hold a retreat or something. I kid, of course, but maybe not that much. Hepcat Camp where they teach some kids how to play or pass along their knowledge. Been trying to get a industry night together where we could have some of the people that have been around for a while talk about different aspects of the business and invite anyone that is in a band down. Still working on that.
DGTS:The graphic artist Chema created a limited-edition print for Reggae 69 Fan Club members who pledged at a certain level. Why did you select him/how did this come about? JL: I've known Chema for many years now. Talked off and on and he would always ask me about doing art. I used to work for a large Latin music company that represents artists like Manu Chao and Los Fabulosos Cadillacs, so he was a big fan of those artists. I really liked his work and def wanted something special for the Kickstarter. Just worked out great with his piece. I want to do more. As a art collector myself--I have some Shag and Manu Chao pieces--I want to support artists, make what is happening a joint art and music thing. There are some amazing artists out there doing very ska-centric art, so why not bring them into the fold? Just like working with the DJs to make sure the artists join in the fun. It's all about being creative and fun for the fans.
DGTS:Since these releases are all in limited-runs, are there spots still available for fans to join the Reggae 69 Fan Club, make their pledge of $45, and receive this series of singles?
JL: Of course! We're doing launch parties around the nation during November and have a pre-sale going on 'till that time. You don't get everything that the KS supporters do, but you can get a really great deal on the first series. Just go to http://moondustrecords.bigcartel.com and you can see the packages available. Once that is over, the prices go up on each release. Then stop by our Facebook page at facebook.com/reggae69fanclub and say hello. Got some more surprises coming up, too. It's all really about showing the love for the music of a young Jamaica and for fans around the world. It's Reggae for the People! Thanks so much for chatting with me.
"About 95 percent of music downloads in 2010 were unlicensed and illegal, with no money flowing back to artists, songwriters or record producers, according to Alex Jacob, a spokesman for the International Federation of the Phonographic Industry."
I have to admit to being completely bummed out after I came across that paragraph in The Times. How can bands and labels--particularly those on the underground scene--ever hope to survive (let alone thrive) if they can't expect to even cover their expenses? Why should they ever bother to go through the huge effort to put out recorded music if they're just going to be ripped off by the "fans"? (As many of you know, I'm old school and believe that people should actually purchase recorded music--and have written extensively about the evils of illegal file sharing here, here, and here.)
But then I came across the picture below today and it makes me think that everything will be alright! The music fanatics like Jason Lawless (and many others) will always find a way to keep things going!
This photo is from the pressing plant where the first Moondust Records release is being readied from the late and absolutely great Laurel Aitken: "Reggae 69" b/w "Big Fight in Hell Stadium." I'm a member of Reggae 69 Fan Club, which funded this project through Kickstarter--yes, a whole bunch of us ska and reggae fanatics got together and put up our money in order to make a whole series of 7" releases happen. So, I'll be receiving one of these sweet babies in the mail soon! (Get in touch with Jason to find out how you can join, too!)
Perhaps this is really the only feasible way forward for the independent side of the music industry--the new (and somewhat awkward and unorthodox) model for selling recorded music: the fans have to become investors in a project before it can be put into production and fully realized. It may be the only means for recorded music to re-acquire value and significance in the digital era. Collectively, we have to pay in advance, in terms of both cold hard cash and an unshakable trust that the band will make the most of our faith in them and create some amazing music. It's sort of a Darwinian way approach to making records and CDs--only the strong will survive to reproduce. But I suppose it's much more preferable than the slow slide into oblivion. (Really, the future is now: I've already helped to sponsor Portland, OR's new ska/rocksteady act The Sentiments in their effort to record and release two 7" singles...)
Is this the only way back from the brink for all of us?
What They're Saying About My Book "The Duff Guide to 2 Tone"
“An essential read…Stephen's eye for detail is incredible and his love for 2 Tone oozes from each page.” — Kevin Flowerdew, Do the Dog Skazine
“Written with a personal touch and with great passion about the bands and releases while giving a lot of emphasis to the lyrics, Stephen’s book is a great guiding hand to navigating your way to some great new music.” — Peter Walsh, 2-Tone.info
“It's some of the finest Madness analysis I've ever read.” —Donald Trull, Stateside Madness
“Steve's own story would make a great book, but instead he's written The Duff Guide to 2 Tone, a 250+ page collection of 2 Tone-related pieces from his blog. There are reviews of original pieces, but the book's real purpose is to show how the 2 Tone sound and—more importantly its ideals—carry on today...Get this book right away!" — Charles Benoit, Reggae Steady Ska
"...Shafer has definitely not forgotten how socially conscious issues were at the root of Ska even from the beginning. He makes certain to thread the political issues that motivated the development of Ska throughout his narrative; painting a picture that took both the oppressive political environments and the often ecstatic musical content into account. And in that, he nails down for me what the enduring pull of Ska was to its many fans. Was there ever a more upbeat dance music that combined its boundless energy with a push for progressive social values and calling truth to power?" —Post-Punk Monk
"...[The Duff Guide to 2 Tone is a] chatty, informative and knowledgeable work, one that you can either sit down and read or use as a reference source..." —Nik Skeat, Scootering Magazine
"During the reading of the book it is dangerous to have a screen open next to you with Discogs. I have found lots of ‘new music’ via the stories in The Duff Guide to 2 Tone which I must have." -- Peter Vrakking, Blue Beat & Ska
In the mail today, I received the first copy of my new paperback book The Duff Guide to 2 Tone --and am thrilled to announce that it is now...
About Your Duff Guide
Steve Shafer/The Duff Guide to Ska For most of the 1990s, I was the promotions, marketing, production guy for Moon Records (RIP). It was one of the best jobs I ever had. Seriously, I miss it badly. During 1999/2000, I ran 7 Wonders of the World Music, the first digital download-only ska label that was too ahead of the curve for its own good (RIP).
I filmed and edited this Toasters video for $2,500, which made its debut on MTV's 120 Minutes. I also put together these compilations for Moon: the first three Skarmageddons; Ska United: A Global Ska Sampler; Skank Down Under; This Are Moon Ska I, II, and III; and Moonshot!
Here's an old interview with Adam Monkey from Read Magazine that covers my days at Moon and 7 Wonders. I also did a somewhat more recent interview with Read Junk.
I've been interviewed about ska music and Moon Records for The New York Times, Heather Augustyn's "Ska: The Rhythm of Liberation," Aaron Carnes' "In Defense of Ska," Kenneth Partridge's "Hell of a Hat: The Rise of '90s Ska and Swing," and Marc Wasserman's "Ska Boom: An American Ska & Reggae Oral History" (I also wrote the introductory chapter "1985: The Year American Ska Broke" for Wasserman's book).
And I'm the author of "The Duff Guide to 2 Tone," which can be ordered from Amazon--and is available in the US from Jump Up Records, and in Europe from the 2 Tone Village Shop (Coventry, UK), Champion Sound Records (Hull, UK), Aggroshop (Nijmegen, Netherlands), and Copasetic Mailorder (Hamburg, Germany). Plus, my book was on sale in the museum shop for the "2 Tone: Lives & Legacies" exhibition (May 28 - September 12, 2021), curated by Simon Reynolds, Cory Barrett, Pete Chambers, Jennifer Otter Bickerdike and Daniel Rachel, at the Herbert Art Gallery Museum in Coventry, UK.
I'm now working on my next book, "Calling All the Rude Boys: The Duff Guide to The Toasters, 1981-1992," to be published in 2023.
If you have a ska or reggae release that you'd like me to consider reviewing, please send an e-mail to Steve at duffguidetoska@gmail.com. You should know that I am old school and prefer music in tangible formats (plus I might use your music when I DJ ska events). I'd also appreciate any news or tips you may have about bands.
All reviews and interviews posted on The Duff Guide to Ska are copyrighted and are the sole property of Steve Shafer. Please contact me for permission to reproduce anything on this blog.
Search This Blog
See Live Ska Bands in NYC!
Check out the NYC ska shows I co-host and co-DJ with Ryan Midnight!
Check out The Duff Guide to Ska Video Channel for footage of ska bands in action in clubs around NYC, as well as unusual and rare ska videos from the 90s! Bands featured include The Toasters, The Bluebeats, The Forthrights, Across the Aisle, The Caroloregians, The Moon Invaders, The Rudie Crew, Tip the Van, Hey Stranger, Beat Brigade, Bigger Thomas, King Chango, The Scofflaws, UB40, The Hard Times, Jah Love and the Valentinians, The Shifters, Rudies Don't Care, Big Audio Dynamite, Stranger Cole and Patsy with Crazy Baldhead, Queen P of Ocean 11, King Hammond, The Snails, King Django, Doomsday! The Ultimate Tribute to Mephiskapheles Consisting of Former Members of Mephiskapheles, Destroy Babylon, The Frightnrs, The Pandemics, Los Skarroneros, The Bullbuckers, The Scofflaws, The Reggay Lords, The Copacetics, Rude Boy George, Dave Hillyard and the Rocksteady 7, Tokyo Ska Paradise Orchestra, The Specials, Roddy Radiation and Lynval Golding, The Ladrones, Chris Murray, Radio Riddler, UB40 featuring Ali Campbell, Astro, and Mickey Virtue, Barbicide, The Twilights, Bim Skala Bim featuring John Bunkley (Gangster Fun), The Pomps, and more!
(Review by Steve Shafer)
