Official Lee Scratch Perry Musical Journey

Official Lee Scratch Perry Musical Journey

A notoriously eccentric figure whose storied reputation and colorful personality match the sheer strangeness of much of his recorded output, Lee Perry is unquestionably one of reggae's most innovative, influential artists. His mixing-board innovations, from his early use of samples to hallucinatory echo and reverb effects, set the stage for generations of musical experimentation, particularly throughout electronic music and alternative/post-punk, and his free-association vocal style is a clear precedent for rap. Active as a producer and vocalist since the early '60s, he helped guide Jamaican music's shift from ska and rocksteady to reggae with singles like "People Funny Boy" (1968). During the '70s, he became a super-producer, helming seminal works by Bob Marley & the Wailers, the Congos, and Junior Murvin, in addition to releasing dub albums such as Upsetters 14 Dub Blackboard Jungle (1973) and Super Ape (1976), often credited to his band the Upsetters. His work became popular in the U.K., and he collaborated with the Clash, broadening his audience. By the end of the '80s, he had begun recording extensively with dub acolytes such as Mad Professor and Adrian Sherwood. Compilations such as 1997's Arkology and acknowledgment from alternative acts like the Beastie Boys confirmed Perry's legendary status during the '90s. He remained highly active during the first two decades of the 21st century, touring often and collaborating with artists ranging from Andrew W.K. (2008's Repentance) to the Orb (2012's
The Orbserver in the Star House), in addition to revisiting earlier material on releases like 2017's Super Ape Returns to Conquer.
Born in the rural Jamaican village of Kendal in 1936, Perry began his surrealistic musical odyssey in the late '50s, working with ska man Prince Buster selling records for Clement "Coxsone" Dodd's Downbeat Sound System. Called "Little" Perry because of his diminutive stature (he stands at 4'11"), he was soon producing and recording at the center of the Jamaican music industry, Studio One. After a falling out with Dodd (throughout his career, Perry has a tendency to burn his bridges after he stops working with someone), he went to work at Wirl Records with Joe Gibbs. Perry and Gibbs never really saw eye to eye on anything, and in 1968, Perry left to form his own label, called Upsetter. Not surprisingly, Perry's first release on the label was a single entitled "People Funny Boy," which was a direct attack upon Gibbs. What is important about the record is that, along with selling extremely well in Jamaica, it was the first Jamaican pop record to use the loping, lazy, bass-driven beat that would soon become identified as the reggae "riddim" and signal the shift from the hyperkinetically upbeat ska to the pulsing, throbbing languor of "roots" reggae.

From this point through the '70s, Perry released an astonishing amount of work under his name and numerous, extremely creative pseudonyms: Jah Lion, Pipecock Jakxon, Super Ape, the Upsetter, and his most famous nom de plume, Scratch. Many of the singles released during this period were significant Jamaican (and U.K.) hits, instrumental tracks like "The Return of Django," "Clint Eastwood," and "The Vampire," which cemented Perry's growing reputation as a major force in reggae music. Becoming more and more outrageous in his pronouncements and personal appearance (when it comes to clothing, only Sun Ra could hold a candle to Perry's thrift-store outfits), Perry and his remarkable house band, also named the Upsetters, worked with just about every performer in Jamaica. It was in the early '70s after hearing some of King Tubby's early dub experiments that Perry also became interested in this form of aural manipulation. He quickly released a mind-boggling number of dub releases and eventually, in a fit of creative independence, opened his own studio, Black Ark.

It was at Black Ark that Perry recorded and produced some of the early, seminal Bob Marley tracks. Using the Upsetters rhythm section of bassist Aston "Familyman" Barrett and his drummer brother Carlton Barrett, Perry guided the Wailers through some of their finest moments, recording such powerful songs as "Duppy Conqueror" and "Small Axe."

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