Half An Hour Of Lee Scratch Perry

I had the idea of a Lee Scratch Perry mix a long time ago but then baulked- where to start??? In the end I just went with my gut. Part of me then thought, having selected Soul Fire as the starting point, 'how on earth do you follow that?', but when I relaxed into it and just let it flow, it seemed much easier. There's an embarrassment of riches with Lee and I was tempted to include some post- classic roots/ dub 70s material- his song with the Beastie Boys, a Terence Trent D'arby remix or his stuff with The Orb- but decided eventually that was a mix for another Sunday. After finishing this mix I looked back through my folders and files and found hundreds of tracks and songs that could appear on it but by that point I decided to leave it alone. As it is, this is Lee Scratch Perry, The Upsetter, straight out of the Black Ark, for your Sunday morning. 

Half An Hour Of Lee Scratch Perry

• Soul Fire
• I Am The Upsetter
• Roast Fish And Corn Bread
• People Funny Boy
• Disco Devil
• Cloak And Dagger
• Throw Some Water In
• Scratch Walking
• River Stone

Soul Fire, Throw Some Water In and Roast Fish And Corn Bread are all from Lee's 1978 album Roast Fish Collie Bread And Corn Bread, his first solo album to feature his vocals, recorded at his Black Ark studio, Kingston, Jamaica. Soul Fire is absurdly good, so far from home, so rich in sound and so righteous, as Perry sings, Soul fire! And we ain't got now water...'. Lee's unorthodox approach to production and instrumentation is typified nowhere more than the use of a cow mooing in Roast Fish And Corn Bread. Still startling. 

I Am The Upsetter was a single in 1968, recorded with legendary producer Joe Gibbs.

People Funny Boy was a 1969 single, an attack on Gibbs with whom Perry split the previous year. The crying baby, heard as Perry walked past a church was to catch the vibration of the people. People Funny Boy's fast chuggy beat and distinctly Jamaican sound was a game changer on the island, sending the sound systems and producers down an entirely new path. 

Disco Devil is a dubbed out version of the song he produced for Max Romeo in 1976, Chase the Devil, with the famous 'put on me iron shirt' line. 

Cloak And Dagger was recorded with Tommy McCook and The Upsetters in 1973, recorded on his TEAC four track at Black Ark. 

Scratch Walking was recorded with The Upsetters, dating from the Return Of The Super Ape album in 1978 and the last album he recorded with The Upsetters before he shut down Black Ark, is wonky instrumental reggae from another world. 

River Stone is the B-side dub of River, a Perry produced track by the group Zap Pow. In the mid- 90s Pressure Sounds released an album called Voodooism, thirteen Perry productions with their dubs on two sides of vinyl. Blew my mind then and still does now. 

Uptown

It takes a special kind of genius to cover a song and completely reinterpret it and produce a version that is the equal of the original. In 1998 Luke Haines' post- Auteurs group Black Box Recorder achieved this with their cover of Althea and Donna's 1978 classic Uptown Top Ranking. Haines along with former Mary Chain and Expressway man John Moore and singer Sarah Nixey approached Uptown Top Ranking on their album England Made Me, the usual Haines mix of sardonic songs, shocking/ funny lines/ song titles and a take on modern life inspired by the 1970s. Songs on the album included Girl Singing In The Wreckage and Kidnapping An Heiress, typically Luke Haines song titles. Uptown Top Ranking was one of those one off hits of the 70s, a massive playground song as well as being genuine roots reggae from two Jamaican teenagers and a legendary producer (Joe Gibbs). Slipping a cover of it onto an album called England Made Me is as Luke Haines as it gets.

Haines and Moore created a mechanical, strictly non- reggae backing track, stripped of feeling and off beat rhythms, led by a horn blast and an occasional piano melody line. Over this they got Sarah Nixey to recite the words. According to Luke she didn't know the song and they wrote the words out in Jamaican patois, phonetically. To add to the performance Nixey had a hangover. The vocals are so detached and devoid of life, so completely glassy eyed that they almost become meaningless, the absolute opposite the total celebration of youth and being young in the original. But Sarah's deadpan delivery of the lines works, lines such as 'see me in me heels an' ting', 'see me in me 'alter back', 'love is all I bring in me khaki suit an' ting' and 'gimme little bass make me wine up me waist' transformed by a haughty English accent looking down her nose at you as she sings them. 

Uptown Top Ranking

The original version with Joe Gibbs at the controls had Althea and Donna, seventeen and eighteen years old, ad- libbing Trinity's Three Piece Suit over a 1967 Alton Ellis song, I'm Still In Love. Although Gibbs saw it as a bit of a joke, there's no doubting the authenticity Althea and Donna bring to their vocals and performance. 'Nah pop no style, we strictly roots'.

Uptown Top Ranking

Two Sevens Clash

Meanwhile, in Jamaica in 1977...

Two Sevens Clash

Culture formed in 1976 and recorded several singles with Joe Gibbs which had a huge impact, none more so than Two Sevens Clash. Released in 1977 it was picked up by John Peel and played at The Roxy by Don Letts ensuring its popularity with the London punk crowd. Two Sevens Clash predicted the apocalypse on July 7th 1977. Righteous roots reggae- the whole album is well worth your time.

I try really hard not to pour scorn celebrities wearing band t-shirts. I understand the knee jerk reaction when a celeb is pictured in a band t-shirt. 'I bet they couldn't name two songs by xxxx' we think, 'I bet they don't even know the name of the drummer' we mutter.It's a bit unfair- they might genuinely be a fan, they might love the artist's work as much as we do. And who's to say someone might not look at us in a band t-shirt and think the same?

But...

Yes, that's Paris Hilton.

No Pop, No Style

What could be less appropriate for this week's weather than a blast of summer from Jamaica? Althea and Donna were 17 and 18 respectively when legendary producer Joe Gibbs took the rhythm from Alton Ellis's I'm Still In Love and got them to sing over the top. Less than a year later, in 1978, this went to number one in the UK singles charts. Strictly roots, as the girls remind us repeatedly, strictly roots.

Uptown_Top_Ranking.mp3