Laurel Aitken was the first artist to have records released not only on the Blue Beat label ("Boogie Rock"/"Heavenly Angel" BB1 1960) but also Starlite ("Boogie In My Bones"/"Little Sheila" ST45-011 1960) Dice ("Mabel"/"You got Me Rockin" Laurel & Hyacynth CC-1. 1962) Black Swan ("Remember My Darling" [with Cynthia]/"Lion Of Judah" WI-401 1963) and Rainbow ("Don't Break Your Promises"/"Last Night" RAI 101 1966).

The very fact that no less than five British record labels kicked off with Laurel's tunes gives some indication of his popularity and selling power in the 1960's. It also makes him an elder statesman of Jamaican music and a living legend; justly earning him the title 'Godfather of Ska'. Now, in the year 2001 at the ripe and rare age of 74 he appears with his band Freetown at 'Club Ska 2000', North West London's newest Ska venue.

Laurel Aitken kicks up a storm 
As we filter in to the large old dance hall that is the Rayners Hotel the familiar sound of'Train To Ska-Ville' fills the air as the punters start to arrive in their droves. One great thing about these Ska gigs is the mixture of ages and cultures that attend them, and it is a credit to the music that it can attract so many youthful people, as well as older generations who have followed it for decades, and tonight is no exception. Among the arriving fans are people in their late teens, twenties, thirties, forties, and fifties of various descriptions. Laurel always attracts a small skinhead following but these days it is hard to tell who is skinhead by choice and who by necessity.

I am getting seriously worried about the DJ when he plays "Liquidator" for the third time, I mean there is nothing wrong with "Liquidator", but three times? come on! It's not even a 'rewind selector' situation. It would appear that he only has one album of "Trojans Greatest Hits", as he insists upon insulting our intelligence by bombarding us with the same hackneyed tunes; "Red Red Wine", "Return Of Django", "Double Barrel", "Israelites"; Reggae classics each one, but this is supposed to be a Ska club. Where is the classic Ska? Where are the Skatalites? Prince Buster? Derrick Morgan? Where are the great Rocksteady classics? Where are the fabulous Pama anthems?

Then he proves he does have another album by playing something by Madness to cries of "No! No!". It is like being back in some third rate 1980's youth club. Bad nostalgia we can do without! This is exactly the type of approach which has marginalised the music for years, and is a surefire recipe for disaster, you never hear these cliched records played at Gaz's or any of the bigger events, and look how popular and long-lived they are.

Fortunately, at this point I am invited backstage by tonight's special guest, the legendary Rico Rodriguez. We sit around the table with Freetown drummer Jah Bunny and a dread named Don and discuss music. Rico is always full of anecdotes and insights into the history of Jamaican music.

Laurel comes to the table and says "Rico man, you were the first man to persuade me to make record, back in the fifties." Rico replies "Yeah man, but when me come a England a '62 it you 'elp me out and introduce me to the music business 'ere".

Laurel Aitken and Rico share a joke with the band

To be present when these two legends talk like this is a priceless moment, and I feel privileged to be here. The small talk continues with anecdotes about life in Jamaica, playing music in the hills, Alpha School, early days in England and suchlike. It is nearly time for the band to go on, so I take my leave and head back out to the dance hall to catch the show.

Freetown start their set with a rocking rendition of the Skatalites classic "Confucius" and the crowd begin to surge towards the front. These guys play a pretty hot interpretation of the Jamaican original, with the tenor sax of Drew Stansall and trumpet of Steve Relieve taking the front line spot with confidence. Steve Harris's guitar and Nick Bandy's Hammond provide a suitably shuffling off beat over Tony Gethen's bass and veteran drummer Jah Bunny's crackling rhythm, which really drives the groove. The crowd seem suitably pleased with this warm up number and when the band introduce Laurel Aitken they erupt.

"This is how Ska music used to sound sixty years ago" announces Laurel, I am sure that this is a slight exaggeration, surely he means 'in the sixties' but no matter, as the band fires into an extremely authentic take on "Boogie In My Bones" we get what he means. The sound of fifties R&B rocks the dance floor with a groove stretching way back before Ska was born. In these old time shuffle rhythms can be heard echoes of the great sound system dances in Jamaica which in turn hark back to the US R&B and blues of the 30's and 40's.

Rico with Freetown's Drew Stansall and Steve Relieve

Indeed the blues is just what this is and Laurel sings them like the old master that he is, his second number "Bartender" is delivered with as much authentic blues feeling as his classic early 60's recording of the tune. It is certainly a breath of fresh air to hear a young band paying homage to one of the originators with such finesse, and by the time Rico takes the stage for "Eastern Standard Time", they are cooking a hot Ska groove.

The master trombonist was on the scene before anyone had ever heard of Don Drummond and continues to deliver a commanding performance. Unmistakable in his stylistic approach, Rico would add an air of authenticity to even the most inept band, fortunately for Freetown they are not in the slightest bit inept and provide a suitably tight and skanking backing for the master's guest spot. Rico leaves the stage after just one number to a collective sigh of disappointment from the crowd. No matter; Laurel is who we came for and we are not disappointed as he breaks into the classic Prince Buster tune "Al Capone" on which apart from providing the 'Peps', he also surprises everybody by blowing a Roy Richards style wailing harmonica, in true blues man fashion.

Freetown guitarist Steve Harris and Laurel Aitken

We are treated to several of Laurel's later compositions like "Sally Brown" who is "gonna whip you with the coo-coo-macka-stick" and "Skinhead"- the irony of whose lyrics are not lost on me - when Laurel sings "When a skinhead walks down the street, every chick heart skips a beat" he is presumably talking about the sharp young post mod types who wore two tone jackets and spent time trying to look cool, and not these fat, sweaty, shirtless blobs who are wobbling about in front of him now in a parody of everything that being a skin ever stood for.

The legend that is Rico Rodriguez

It is certainly hard to believe that this man, dressed in camouflage trousers, Fred Perry T-shirt, blue Doc Martens, and a straw boater, is actually 74 years old, you would take him for around sixty maximum, but here he is, still doing the job he has loved for half a century. In true unconventional style, at the end of the set the band don't bother to leave the stage for their encore, instead Laurel just says "Do you want to hear some more?" to which the crowd give a roar of "Yeah!"

Rico returns to the stage to great applause and Laurel says; "So many of you have shouted for 'Sahara' but we have never rehearsed it before, still we gonna try it out anyway." and the band launch into a really storming version of "Sahara". It must be said that, rehearsed or not, this turns out to be one of the hottest numbers in the set. the final number of the night is the Louis Jordan & The Timpani Five standard "Caledonia", which is played in just the right R&B groove and has the punters stomping like it is 1969.

Laurel Aitken, Rico and adoring fans backstage

As Laurel and the band leave the stage, there is a mighty eruption of applause, and the crowd break into a chorus of "Guantanamera" with the words "One Laurel Aitken, there's only one Laurel Aitken". It is a fitting end to a great night, and it is truly awesome to witness such a cool veteran inspiring so many generations to get up and boogie. The added and unexpected appearance of the great Rico only enhanced an already brilliant show.

Apparently tonight's event has been recorded for a live album, I hope the recording worked out OK because this was truly a gig to remember, The Rayners is an ideal venue for this type of gig, it certainly beats the claustrophobic St. Moritz, and Club Ska 2000 could take off as a top outlet for Ska/Reggae music with a bit of fine tuning. The fact that it is only two minutes walk from Rayners Lane tube station is an added bonus.

We hope you get it right guys, good luck!

Sir Marcus Downbeat

Pictures © 2000 John Gardner

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