|
|
Lee “Scratch” Perry |
|
|
Lee “Scratch” Perry |
|
As one of reggae music’s most prolific producers, Lee “Scratch” Perry has arguably done more to shape the genre than any other. His early work with Bob Marley helped to groom the nascent reggae king for stardom, and he later introduced the genre to the punk and new wave movements by working with the Clash on their debut album (where they covered his Junior Murvin classic “Police and Thieves”). Perry has put out many albums featuring his own music as a singer and percussionist, but this collection is primarily a “producer” album that features other artists. Junior Murvin starts off the set with “Roots Train,” singing in a near falsetto that approximates Curtis Mayfield. Perry simplifies the song’s melody to recall the time when Millie Small ruled the island airwaves with “My Boy Lollipop.” Perry is fond of referencing American rhythm and blues music and arranges his “Party Time” as smooth Philly soul for the Heptones, while his treatment of George Faith’s “To Be a Lover” would not sound out of place on a Marvin Gaye record. The heavy, thumping bass and scratchy rhythm guitar that make reggae instantly recognizable are prevalent on Keith Rowe’s “Groovy Situation” and several tracks that to which Perry contributes as a musician. “Dreadlocks in Moonlight” is Perry at his commercial best, tapping into the reggae groove as it was first given to the world while “Soul Fire” has more of a ska feeling. “Roast Fish and Corn Bread” is swaddled in thick ganja smoke; Perry slows down the pace to a stoned dance filled with dub effects and scat singing. Perry’s one miscue with experimentation here comes on Jah Lion’s version of “Hay Fever,” where the song is burdened with a squeak that sounds like a balloon being rubbed, or perhaps a hinge that needs oil. No doubt there were a few spliffs smoked while the decision was made to use the unintentional annoyance. Other artists representing here are Prince Jazzbo, Max Romeo and Perry’s back-up band, the Upsetters. These tunes were all recorded in the mid-to-late ’70s and should greatly please fans of Jamaican music from that era. —Kevin Wierzbicki |
