Gordon Lightfoot Book, Music and More!

To walk through the middle of Toronto's Kensington Market on a Saturday in the early ’80s was to enter what locals called the “wobble zone.” There on a stretch of Kensington Avenue, between St. Andrew and Baldwin, the booming bass sounds coming from two sets of opposing speakers could throw passersby a little off balance. The duelling sound systems, like something out of The Harder They Come, belonged to a pair of Jamaican expat musicians who ran competing reggae record shops, each facing the other. Stranger Cole came first, in 1978, launching his Roots Records store – the first Caribbean business in the Market – at 58 Kensington. Four years later, Rannie “Bop” Williams opened Record Corner ...

Toronto loves ska music, the Jamaican-born style that’s a lot like reggae played at 78 rpm. Witness the large number of local outfits—including King Apparatus, Skaface, Hopping Penguins and One—playing that speedy, syncopated sound. Meanwhile, British groups like the Specials, Madness and English Beat have always enjoyed a huge following in this city. Last month’s Skavoovee show, featuring members of those bands plus veterans the Skatalites, drew over 1,400 devotees alone. Further proof of Toronto’s love affair with ska can be found at Harbourfront Centre’s massive New Year’s Eve celebrations tomorrow night. Headlining the bash is singer Adrian Miller, Canada’s own king of ska. And...

For some people, ska music died with the passing of Britain’s two-tone movement in the 1980s. But they only knew it as a post-punk dance craze anyway. As Jamaica’s peppy precursor to reggae, pioneered by legends like Jackie Mittoo, Don Drummond and Prince Buster, ska has a long and vibrant history whose influence still reverberates today.

In England, the ska banner was first held high by Desmond Dekker, a Jamaican singer whose songs “007 (Shanty Town)” and the classic “The Israelites” sent syncopated shock waves across radioland in the 1970s. By the end of the decade, ska was bubbling up big time in Old Blighty, with two-toners The Specials and The English Beat opening for the likes of Elvis Costello and The Clash.

Into those heady days stepped Adrian Miller, Mr. Rude Boy himself, a young Jamaican who found England’s music scene totally inspiring. “The whole climate was more experimental than what was going on back home,” recalls Miller. “There were older musicians like Saxa and Rico, who had first started doing ska back in Jamaica, playing with young groups like The Beat and The Specials. It was an amazing time.”