Lee Perry Scratch - Crucial Cuts From the Heart of the Ark (1973-1978)
Lee "Scratch" Perry: a genius? A madman? A mystic man? There can be no doubt that he is one of the most consequential figures in the world of music, creator of countless reggae classics, a mentor to Bob Marley, an architect of dub music, and inspiration to musicians around the world ranging from The Clash to the Beastie Boys.
Though Scratch may have at times seemed crazy it is worth noting that creative genius appears so because geniuses see things others do not see and inhabit realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid, Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent producer, naming his studio musicians The Upsetters and scoring instrumental hits with innovative rhythms that helped forge the new reggae style.
In 1970-1971 he produced what many consider the greatest works by the Wailers; in 1968 one of his Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots classic and there are many wonderful obscure singles such as Carlton and the Shoes' "Better Days."
Many dub creations made innovative use of Scratch's sonic wizardry via echo, phasing, reverb, flanging, wah-wah and various sound effects. It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious fanatics and assorted pilgrims, let the studio lapse.
And then he set it on fire, some say due to frustration, others say from mental collapse. He left Jamaica, collaborated with musicians around the world, toured as a sort of mystic trickster/shaman and prospered. But his work at Black Ark will always stand as his ultimate creative achievement.
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Lee "Scratch" Perry: a genius? A madman? A mystic man? There can be no doubt that he is one of the most consequential figures in the world of music, creator of countless reggae classics, a mentor to Bob Marley, an architect of dub music, and inspiration to musicians around the world ranging from The Clash to the Beastie Boys.
Though Scratch may have at times seemed crazy it is worth noting that creative genius appears so because geniuses see things others do not see and inhabit realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid, Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent producer, naming his studio musicians The Upsetters and scoring instrumental hits with innovative rhythms that helped forge the new reggae style.
In 1970-1971 he produced what many consider the greatest works by the Wailers; in 1968 one of his Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots classic and there are many wonderful obscure singles such as Carlton and the Shoes' "Better Days."
Many dub creations made innovative use of Scratch's sonic wizardry via echo, phasing, reverb, flanging, wah-wah and various sound effects. It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious fanatics and assorted pilgrims, let the studio lapse.
And then he set it on fire, some say due to frustration, others say from mental collapse. He left Jamaica, collaborated with musicians around the world, toured as a sort of mystic trickster/shaman and prospered. But his work at Black Ark will always stand as his ultimate creative achievement.
