
Contemporary ska/reggae music has gotten a bad rap ever since The Mighty Mighty Bosstones hit the ground running in the early ‘90s with their occasionally catchy blend of classic Jamaican ska (via the early ‘80s British Two-Tone scene) and lunkhead metal riffs. Since then, more and more bands have taken the Bosstones and New York’s The Toasters as their role models rather than the original Jamaican groups that inspired them. Maybe it was too hard to understand what the classic acts were singing about, or they needed loud guitars to catch people’s rock-centric ears. Regardless, The Aggrolites have now arrived, showing everyone how to play old-school reggae and kick a lot of ass, thus rendering all the recent watered-down “third wave” ska music obsolete. Those porkpie hats were starting to look a little silly anyway.
A quick glance at their album cover or website shows a bunch of scowling dudes with shaved heads, all-black wardrobes, sleeve tattoos, and legions of skinhead fans. They fit right into the realm of SoCal tough-guy punk rock: the singer’s even brandishing a baseball bat, fer Chrissakes. But as soon as the music starts, there’s a serious disconnect between what you’re seeing and what you’re hearing. The Aggrolites play straight-up late ‘60s rocksteady, the grooving mid-tempo flavor of Jamaican soul that saw the transition between jumpy mid-‘60s ska and easy skanking roots reggae.
The band call it “dirty reggae” and that’s pretty apt. This is steaming funky music, without the gloss that Bob Marley (and crossover-minded Island Records chief Chris Blackwell) added when they unleashed reggae on the wider world in the 1970s. They have a classic Studio One sound, all heavy bass and drum rhythms (drummer Scott Abels earns extra points for his relentless rimshots and inventive snare fills), accented with tight guitar chanks, burbling organ, and playfully blaring horns. This is timeless soul music free of any modern synths or samples. It really sounds like it could’ve been recorded 25 or 30 years ago, and that’s meant as high praise. People just don’t play like this anymore, and that’s a shame.
Underwhelming vanilla vocals are always the weak link of White bands paying homage to old Black music, but luckily The Aggrolites have vocalist Jesse Wagner. Evoking the Maytals’ Toots Hibbert or Motown stars like The Temptations or Edwin Starr, Wagner shines throughout. You’re never really aware of color here, because The Aggrolites just sound like good music should: passionate and in the moment. Sure, the lyrics aren’t any great shakes, but neither were the great songs that inspired them. He’s mostly singing about relationships (both failed and successful) and how great the band sounds, but pulls it off because the band sound great. And while belting out the words, he’s throwing in some classic James Brown grunts and tics in between. Spot-on backing vocals from the band don’t hurt either.
The Aggrolites pack a heavy punch, and this could very well be the party album of the summer. There’s a heap of catchy songs perfect for dancing, and some tight and groovy instrumentals that wouldn’t sound out of place on the great Double Barrel album by Dave And Ansell Collins. The band are a juggernaut, and fortunately they recorded everything in a gritty analog style, definitely not lo-fi but miles away from sparkling shine of modern digital recording. It’s nice to see some dedicated individuals resurrecting this music, doing it right, and playing the shit out of it just like Sharon Jones And The Dap-Kings and Antibalas have done with classic soul and Afro-beat. Highly recommended, and be sure to keep an eye out for their live show and maybe even a DJ version of the album with toaster U-Roy.
www.aggroreggae.com
www.hell-cat.com
Ben Taylor