Shanachie Entertainment Presents
New Vinyl Release from
LEE “SCRATCH” PERRY
BLACK ARK PRODUCTIONS;
CRUCIAL CUTS FROM THE HEART OF THE ARK (1973-1978)
Click Here to Order CD & Vinyl
(Vinyl available now; CD 8/29)
Compilation of Seventies Records Includes
Reggae Classics & Great Rare Tracks
Crucial Cuts From The Heart of The Ark (1973-1978) track list:
SIDE ONE:
1. AUGUSTUS PABLO/LEE PERRY Vibrate On
2. LEE PERRY/CONGOS: Fisherman Dub
3. MAX ROMEO: War Ina Babylon
4. THE HEPTONES: Sufferer’s Time
5. JR. BYLES: Fever
SIDE TWO:
1. THE UPSETTERS/KING TUBBY/DILLINGER: Scratch The Dub Organiser
2. CARLTON & THE SHOES: Better Days
3. JR. MURVIN: Police & Thieves
4. LEE PERRY/ UPSETTERS: Traveling In Dub
5. ZAP POW: River
6. LEE PERRY/UPSETTERS: Dreader Dub
“Perry was a prolific reggae singer, producer and studio wizard who reinvented the genre and pushed the boundaries of Jamaican music—he pioneered and expanded the use of the studio as an instrument in itself, which forever changed the sound of music everywhere.” —ROLLING STONE
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 his often-appointed title as a 'creative genius' appears accurate, as geniuses tend to see things others do not see and inhabit realities unseen.
Shanachie Entertainment just released Crucial Cuts From The Heart of the Ark (1973-1978), a special vinyl LP compilation of Perry’s celebrated Black Ark studio recordings, including both reggae classics such as Max Romeo’s “War Ina Babylon” and Junior Murvin’s “Police and Thieves” and wonderful rarities such as “Fisherman Dub” and Carlton & The Shoes “Better Days.” As the music on this album reveals, Lee Perry’s Black Ark creations re-arrange the familiar into something new and magical.
Lee Perry a/k/a Scratch, Pipecock Jackson and the Upsetter, was born Hugh Rainford Perry in 1936, growing up poor in a rural parish of Northwest Jamaica. From a young age he was fascinated by music, was a great dancer and attended sound system dances whenever possible.
Around 1960 he arrived in the vibrant music scene of Kingston, determined to become a singer. He was taken on by producer Coxsone Dodd as a “handyman,” helping with his Downbeat sound system and studio work. Soon he was pitching songs to Dodd, who was impressed with his clever--sometimes risqué—lyrics, if not Lee’s limited singing voice.
In 1963, The Wailers auditioned for Dodd and Lee became involved in helping them shape their music. Soon Lee was able to record and some of his tunes became popular—especially “Chicken Scratch,” which gave rise to his nickname.
Over the next few years, he worked for most of all the top producers—Duke Reid, Coxsone Dodd, Joe Gibbs, Clancy Eccles, and Prince Buster—as an A & R person and songwriter, always departing due to lack of remuneration and credit. He often recorded mocking tunes such as “People Funny Boy” directed at his former employers.
By 1968 Lee “Scratch” Perry 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 via Trojan Records and more hits followed. That gave him the funds to build his own studio and in 1973 the legendary Black Ark was born. The equipment at Black Ark was very basic; some musicians marveled that it was not even “professional.” Yet Lee was able to orchestrate an amazing, powerful sound out of it.
Because of his strong musical sense and commitment to Black culture, Rastafari and creativity, musicians both established and new flocked to Black Ark. 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” and Zap Pow’s “River.”
Many dub creations made innovative use of Scratch’s sonic wizardry via echo, phasing, reverb, flanging, wah-wah, and various sound effects. “Crucial Cuts From The Heart of the Ark” is an immersive sound experience that takes the listener into the magical world of Perry’s classic work at Black Ark. The album cover features an iconic photo of Scratch at work in the studio, taken by celebrated photographer Kate Simon, who notes that Scratch liked it so much he had a mural of the photo painted on the studio wall.
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 Lee “Scratch” Perry’s work at Black Ark will always stand as his ultimate creative achievement.
For PRESS inquiries ONLY,
contact Monifa Brown
(646) 886-5629
mbrown@shanachie.com
“…Take a listen to this essential vinyl LP – A testament not only to Lee Perry’s genius at the mixing-board but…his ultimate creative achievement.” — Echoes Magazine
“Releases like this one remind us of his achievements as a producer during the golden age of roots reggae in the 1970s. Deeper than most Scratch collections…” —TheWire Magazine
“The special vinyl LP compiles some of the groundbreaking results of Scratch’s newfound artistic freedom through iconic collaborations with reggae’s biggest names… Nearly five decades later, the pathbreaking sounds conjured from its jury-rigged equipment are still fondly recalled, and the influence of the mad genius–The Upsetter–continues to ring out through generations of devotees.”— Relix Magazine
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