When I noticed that one of my favorite labels, Liquidator Music, was preparing to release a new record by Laurel Aitken, I was a little worried. Since Laurel Aitken passed away in 2005, I wondered what kind of material this could be. Would it be recordings made for an album that was never completed, or perhaps some obscure unreleased tracks, as is sometimes the case with posthumous releases? This time, however, I got a surprise unlike anything I’ve encountered with another artist so far.
Liquidator managed to obtain tapes containing recordings Aitken made during his lifetime, during periods when he wasn’t touring. These were only vocal versions — essentially unfinished fragments of songs that had never received a final arrangement or been released. Liquidator therefore teamed up with The Mighty Megatones and gave these recordings a new life. It might sound a little strange at first, but judging by the result, it was an excellent idea.
The album contains twelve tracks based on Aitken’s original vocal recordings, with The Mighty Megatones creating the complete musical backing. And I have to say, they approached the material with great sensitivity and a real understanding of Aitken’s work. That was something I was slightly worried about when I first read what the concept behind the album was. Those concerns disappeared as soon as I dropped the needle onto the vinyl.
The Mighty Megatones approached the album with great care and respect for the original material. I would describe the resulting sound as something between ska and rocksteady, obviously leaning much more towards the ska side, while on some tracks the band isn’t afraid to introduce a subtle dub influence. When Grover presented Aitken’s work on the 2002 compilation LP Rudi Got Married, he selected material that represented a more modern side of his music, built around a laid-back atmosphere and his distinctive, slightly soulful vocals. That particular side of Aitken’s work is what the backing band draws from here.
The Mighty Megatones have created arrangements that never feel excessive or try to overpower Aitken’s vocals. Instead, they give them plenty of room to breathe and allow the character of the songs to come through. The music works as a natural accompaniment and creates an atmosphere in which Aitken’s voice sounds as though it were part of a proper studio recording.
For me, this is a great and, above all, very enjoyable listening record, one that can turn an ordinary evening into a small musical experience. It isn’t some explosive dancefloor monster or an album desperately trying to grab the listener’s attention. It’s primarily a record built around atmosphere, and it works precisely because of its lightness and natural feel.
Liquidator Music has released a huge amount of interesting material over the years, and its catalogue contains records that today are worth almost their weight in gold. In this case, though, I think the label has done something more. It has managed to rescue material that would otherwise probably have remained hidden away on old tapes and gradually disappeared into obscurity.
I’d really like to know how Laurel Aitken himself would have judged the finished record. I’ll nevertheless go out on a limb and say that The Mighty Megatones have turned these unfinished recordings into something truly special — a release that doesn’t feel like a hastily assembled posthumous album, but rather a genuine tribute to one of the great names in ska and reggae.
