Reggae Greats (Island Records, 1984)

It's hard to underestimate the deranged genius of Lee Perry; Reggae Greats provides a small but life-affirming sip. If you are unfamiliar with the mid-'70s works he produced at his Black Ark Studio, this is a great way to dip a toe into the vast pool of songs he has produced and/or performed. Included are the crucial tracks "War ina Babylon" -- with its classic, rolling bass line -- by Max Romeo, the falsetto poignancy of  Junior Murvin's "Police & Thieves," the melodic "Party Time" by The Heptones, and "Roast Fish & Cornbread," sung (?) by Scratch himself (unfortunately, no Junior Byles or Congos tracks, however). Various versions of these tracks are included on Arkology, but since that comprises 3 CDs, while Reggae Greats is only one, the latter is a better bet for the beginning Scratch listener.

History, Mystery, Prophecy (Island, 1984)

Lee "Scratch" Perry could seemingly do no wrong in the '70s.  His funky, edgy, bass-laden production -- sometimes featuring his raspy, manic vocals and sometimes not -- created one of the most distinctive and intoxicating of all time.  Since then, however, his material has been erratic (Some might say despite of, and some might say because of, his continued productivity.).  The zaniness and experimentation that made him so likeable in the '60s and '70s wore thin more often in the later decades, as his music began to sound stale and/or too experimental, incorporating varied musical styles that simply didn't work.  On History, Mystery, Prophecy, "Funky Joe" is a perfect example of Perry's over-experimentation.  This digital New Wave tune makes him sounds like a cheap '80s George Clinton clone and is simply unbearable.  I see History, Mystery, Prophecy as Perry's final transition to '80s mediocrity, his releases prior to this one much more reliable than the ones after.   Despite the title, this album is largely a light-spirited party set.  Songs like "The Ganja Man," "Mr. Music," and "Bed-Jamming" are typical, with their playful music and topics and their less-than-edgy sound).  The best track here is easily the cover of Bob Marley's classic "Nice Time," while the lewd lovers track "Bed-Jamming," is fun as well, along with "Mr. Music" and "The Ganja Man," although the latter two grow dull and repetitive quickly.

Time Boom X de Devil Dead (EMI/On-U Sound, 1987)

*GUEST REVIEW*
Just a glance at the cover and sleeve notes suggests there is something a little different about this album. It was recorded in 1987 with the help of Adrian Sherwood, Dub Syndicate and of course Perry himself. This is a typical On-U Sound recording as it is distinctive, quirky, has many layers and is unlikely to be instantly liked. The sound is typical Dub Syndicate with many samples, loops, drums and a strong bass. There are some nice Asian influences and African Head Charge chanting here. A harsh critic may call the music slightly plastic. But that's to ignore the unique sound that has influenced various artists such as Ghetto Priest, Asian Dub Foundation, and Fundamental.  Perry sings, toasts and trips his way through tracks. These are not the rantings of a madman. Like Mark E Smith, Perry is intelligent, a good actor, eccentric and has a unique way of communicating his observations. On a recent series of documentaries about Lee Perry, Mark Lamarr declared this to be the best post-Black Ark Perry album. This may be true but probably reflects the poor quality of other releases. Its quite fun, funny and interesting at times but is not a patch on Super Ape or the three Perry compilations from Pressure Sounds. Highly recommended for Lee Perry and On-U Sound obsessives. Otherwise, approach with caution and an open mind.

- ragudave

Battle of Armagideon (Millionaire Liquidator) (Trojan, 1988)

Along with From the Secret Laboratory, Battle of Armagideon helped establish the fact that Lee Perry still had it in the late '80s and early '90s.   Since it's a later release, the sound on Battle of Armagideon is more modern, more digital, and less organic than his classic '70s material.  The worst example of this modernity has to be the "Sexy Lady," a sloppy attempt at funk/dance that simply bites.  Scratch's experimentalism is often a boon, but on this tune, it's a burden.  The Stomp-like percussion on "Time Marches On" is a better example of his experimental side, but it too is somewhat lacking.   What buoys this album is the playful exuberance of a quintet of songs, headlined by the driving "I Am a Madman," which should be Perry's theme song.  Also strong are the chattering "Introducing Myself," the bouncy "Grooving," the quirky "Happy Birthday," and the grimy "All Things Are Possible," whose folksy sound is aided by the so-cheesy-they're-enjoyable Casio-esque keyboards.   The rest of the album is merely average, but these few tracks should leave you so full of glee that you won't really care.

Give Me Power (Trojan, 1988)

Lee "Scratch" Perry is known more for his mid- to late '70s Black Ark Studio years than for any other time in his music career, but he made his name in the '60s and early '70s with songs like the ones included on Give Me Power.  Although Perry specialized in ska in the '60s, most of the material here is slower, more rootsy, and less R&B-influenced rock steady and early reggae.  As such, people who aren't big ska fans should be OK with this set.  And even listeners who aren't big fans of the rock steady/early reggae sound should enjoy quality tracks like "Give Me Power," the bluesy romp "Sick and Tired," the rock-edged "Justice to the People" (the music of which carried The Upsetters' superb instrumental "Waap You Waa" on the Double Seven album), Little Roy's righteous "Don't Cross the Nation," the emotional "News Flash," and an early recording of "To Be a Lover" -- later to be made famous by George Faith --  performed by the unfortunately-named Stanley Duffus.

Scratch Attack! (RAS, 1988 [orig. released 1974? and 1980])

Scratch Attack! combines two albums --  1980's Scratch and Company Chapter 1 and the mid-1970s Blackboard Jungle Dub -- both of which were originally attributed to the Upsetters, although Scratch Attack! itself is released under Perry's name (an indicator of how much the man and the group overlap).  Blackboard Jungle Dub is among Perry's most highly regarded albums, but in my opinion, Scratch and Company easily outperforms it.  Scratch and Company is comprised of the first 10 tracks, and from top to bottom, it shines.  This is Perry at the top of his form: funky, intoxicating, bass-propelled lunacy.  "Scratch the Dub Organizer" is a classic regal horn dub, "When Jah Come" is powerful, exemplary roots with emotional vocals (not by Scratch) -- "Who You Gonna Run To" being its DJ version, featuring a Prince Far I-like speaker -- and "Little Flute Chant" is a masterful utilization of the great "Words" (AKA "Words of My Mouth") rhythm.  The rest is just about as good, from the "horny" dub of "Scratch Walking" to the Untouchables' rock steady classic "Tighten Up" to Bunny & Ricky's classic "Bush Weed Corn Trash" (despite bad sound) to a dub of the great "Curly Locks" ("Curley Dub").  Blackboard Jungle Dub is OK, but it pales in comparison to Scratch and Company.  Little on Blackboard strikes me as absolutely vital, although there are versions of some of Perry's most loved productions: "A Place Called Africa" ("Dub From Africa"), "Words" ("Rubba, Rubba Words"), and "Kaya" ("Sin Semilla Kaya Dub").  The best track on Blackboard Jungle Dub, however, is probably "Blackboard Jungle Dub [Version 2]," a groovy, jazzy horn-led gem that livens up this otherwise drab, understated set.

Scratch and Company Chapter 1:

Blackboard Jungle Dub:

Scratch Attack!:

Open the Gate (Trojan, 1989)

The second in Trojan's trilogy of Lee Perry 2-CD sets -- between The Upsetter Compact Set and Build the Ark (see reviews in The Upsetters section) -- Open the Gate rivals the latter for the best of the 3, easily outdistancing the former.   Four of Perry's all-time great productions appear on Open the Gate: the gritty (especially with the marginal sound) roots classic "Words" (AKA "Words of My Mouth") by Anthony Davis (formerly of The Gatherers, who did the original version), the rugged "Sons of Slaves" by Junior Delgado, the swirling, tinny "Ruffer Ruff" by Horace Smart, and the emotional, lovers-edged "Know Love" by The Twin Roots.  Like Build the Ark, this is a collection featuring a good number of vintage Perry-produced tunes not readily available elsewhere.   "Words," Devon Irons' (AKA Devon Russell) "Vampire," and Eric Donaldson's "Cherry Oh Baby" might be fairly well-known, but the lesser-known "Garden of Life" by ex-Heptone Leroy Sibbles, Carlton Jackson's "History," and "Ruffer Ruff" are no less impressive.  Perry's work in these his peak Black Ark Studio years is nothing short of amazing.  The sheer number and quality of the intoxicating, dreamy tunes he put out during this time is so staggering that decades later, there still are new collections of his '70s work released every year.  Fans of Perry will certainly enjoy the rare cuts on Open the Gate, along with the fact that dubs/versions/extended mixes of most of the songs are included.  Beginning listeners, too, should find this set worthwhile, as it's fairly accessible and not as difficult to listen to as some of his harder, wilder dubs.

From the Secret Laboratory (Island, 1990)

As zany as ever, Lee Perry  here serves notice that he's also as capable as ever -- even in the '90s -- of putting out quality material.  A second collaboration with On-U Sound producer Adrian Sherwood, this largely unheralded set easily outshines 1987's overrated Time Boom X the Devil Dead, in my opinion.  Unlike that album -- and unlike some of Perry's '80s and '90s material -- the songs on From the Secret Laboratory sound mostly fresh and likeable.  Scratch is at his best when his madness is tempered by truly good music, and this album delivers exactly that.  "Push, Push," for instance, is about as funky as anything he's ever put out, while "Seven Devils Dead" has a great emotional, apocalyptic feel to it.  A remake of his collaboration with Augustus Pablo, "Vibrate On," is also included, accompanied by Perry's loony vocals.  "You Thought I Was Dead" meanwhile wins for best title (although some might prefer "African Headcharge in the Hackney Empire"), and it is as good as its name (while "African Headcharge" is not).  As with some of Perry's latter-day stuff, Perry here explores some different styles -- sometimes it works, as with the dancehall-rhythmed "Secret Laboratory," and sometimes it doesn't, as with the techno-ish "I Got the Groove."  Most of the music, however, is good ol' roots and dub, albeit with a slightly more moderns edge.  Although the background singers on these 2 songs sound borderline corny, it's hard to call Scratch corny; he's too crazy to be corny.  And, as he says, if you thought he was dead, he'll come back to fly upon your head.

The Dub Messenger (Tassa, 1991 [orig. released 1980])

The first 7 tracks on The Dub Messenger are rather pedestrian and mind-numbing.   Not that they're un-listenable, but there's a reason why this album was released on the Tassa label.  This is one of Perry's '90s sets that helped to form the mass of  generic stuff he produced in the decade (Actually, he didn't literally produce this one; the producer was Lloyd "Bullwackies" Barnes.).  The same zany edge that made him a mad genius in the past makes him sound like a rambling derelict on an imaginary soap box here.  More than his vocals, though, the real culprit is the so-understated-it-sounds-like-background-noise music.  The beats often sound like pre-programmed keyboard riffs.  The zaniness factor is nil.  Only in the last 3 cuts -- "Wackie's Plan," "Hard Drive," and "Greetings" -- does it seem to register in Scratch's and Bullwackies' heads to create actual songs.  Perry doesn't speak in these 3, allowing the solid rhythms to carry them.  These tracks are the only ones that have a coherent, cohesive, catchy melody, even though they're still fairly understated, especially for Perry.  I doubt it's easy to find this trio of tunes outside of The Dub Messenger, but if you can listen to them without sifting through the rest, I'd recommend it.

Roast Fish, Collie Weed & Corn Bread (VP, 1992 [orig. released 1978])

Although one of Scratch Perry's most-loved albums, it seems to me that you can find the best of this album -- "Soul Fire," "Curly Locks," and "Roast Fish & Cornbread" -- on better collections.  Additionally, the sound quality here leaves a bit to be desired.  Solid, but otherwise not entirely necessary.

Kung Fu Meets the Dragon (Esoldun, 1995 [orig. released 1975])

Although recorded in 1975, Kung Fu Meets the Dragon has a distinctly up-tempo pace, more akin to ska and rock steady than reggae and faster than his later '70s material.  I generally prefer his slower, more rootsy, more funky and bass-heavy music (as epitomized by Super Ape and the like), but this album certainly makes a strong case for his energetic, melodica (This at times seems like an Augustus Pablo album, his melodica playing is featured so much.), horn, and flying cymbal-heavy stuff.  As you might guess from the title, Kung Fu is fun, first and foremost.  The pace is quick and bouncy, and Perry imbues the tracks with his offbeat air, inserting mumbles, frenzied yells, growls, and occasional sound effects.  Despite the on-again-off-again vocals, most of the tunes are instrumentals, with only "Kung Fu Man" having consistent singing throughout (Is that Horace Andy?).  A solid album overall, Kung Fu is a bit bottom-heavy: my favorite cuts are the last 5 on the album.  This quintet spotlights Perry's creativity, versatility, and talent.  "Skango" features a driving beat accompanied by roaring, "Fungaa" revolves around a melodica and digital buzzing, "Black Belt" is peppered with choppy electric guitar snippets, "Iron Fist" is one of the only slow, funky Super Ape-tempo tracks, while "Kung Fu Man" packs a rocking wallop with its catchy vocals.

Words of My Mouth (Trojan Records, 1996)

A superb sampling of some of the best productions of Scratch's career -- some of the lesser-known stuff not available through Island Records.  Highlighting this collection is the title track, a typically funky, gritty, heavy-bassed rhythm with a nice melody sung by The Gatherers.  Two dubs of this song are included, including a more contemporary version, "Kuchy Skank," with a cleaner, crisper sound.  Moving from one classic to another, The Silvertones' "Rejoice in Ja Ja Children" likewise has an entrancing, slow, rolling bass line and spiritual lyrics, this time punctuated by melancholy moaning in the background.  The hit "Curley Locks" and "Bushweed Corntrash" also fit the ingenious funky Perry mold, while more up-tempo tunes like "Da Ba Day," Kentucky Skank," and Stay Dread" display  his range a bit.  Even lesser-known tracks like "Many a Call" and "Too Bad Bull" are excellent.  It's amazing to think that all of this greatness emerged within a 3-year span, from 1973 to 1975.  Scratch isn't for everyone, but this is some of his best stuff, so it's good exposure to his style.   However, this compilation may be a bit skewed towards the hardcore fans, since there are several dubs and alternate versions of songs, etc. included.  Although there are 22 tracks on this album, there are only about 12 different songs, which someone just trying to get a taste of Lee Perry might not like.

Voodooism (Pressure Sounds, 1996)

*GUEST REVIEW*
Imagine getting a call from Lee Perry requesting you to compile some of his rare Black Ark singles.  Well, this is what prompted Roger Eagle and Pressure Sounds to compile Voodooism.  For the ignorant, Pressure Sounds is one of the UK’s premier reggae reissue labels, as well as an imprint of On-U Sound.  Voodooism collects a number of singles and their versions together.  Artists include James Booms, Lep Graham, Earl 16, Lloyd & Devon, and The Hombres.  Versions are, as expected, credited to The Upsetter.  All of the tracks on the album work really well and demonstrate why Perry is oft referred to as a genius.  This is high quality roots music that is essential for Perry fans, their extended families, and reggae fans more generally.  The standout tracks for me are "Africa Style," "Voodooism," and "Freedom. "

- ragudave

Upsetter Shop Volume One: Upsetter in Dub (Heartbeat, 1997)

Although not necessarily designed as such, this compilation makes a nice companion piece to Arkology.  Both feature some rare, raw material -- dubs of popular songs, alternate mixes, and the like -- Upsetter in Dub adding some tracks that Arkology missed.  As such, neither is recommended for beginning Scratch listeners, while seasoned fans should squeal with glee at previously unreleased tracks like "Fun and Games" (dub of Junior Byles' "Fun and Games"), "Son of Black Ark" (dub of Junior Delgado's "Sons of Slaves"), "Babylon Thief Dub" (dub of Junior Murvin's "Police and Thieves". . . how many Juniors can one album have?), "Bionic Rat Dub" (dub of Lee Perry's own "Bionic Rats"), and especially the vibrant, how-could-it-not-have-been-released "Rootically Dub."   Songs that were released and that pack a wallop include "Ketch a Dub" (dub of Devon Irons'/Russell's "Vampire"), "Dub a Come" (dub of "When Jah Come"), "Rejoice in Skank" (dub of The Silvertones' "Rejoice in Ja Ja Children"), "Bagman" (dub of Junior Byles' "Da Da"), and "Tedious Dub" (dub of Junior Murvin's "Tedious").   As you can guess from the title,  Upsetter in Dub focuses on Perry's dub work, primarily the B-sides from singles he produced in the '70s.  While not as comprehensive as Arkology, it's more efficient and doesn't risk becoming "tedious."

Dub Fire (Ariwa, 1998)

What a disheartening experience this album is.  Even Perry's  biggest fans have to admit that he's lost a step (and a few marbles) over the years, and Dub Fire displays his shortcomings in vivid color.  This album has the feel of a bunch of half-assed cover songs.  Included are no less than three Bob Marley remakes: "Soul Rebel," "Rock This Boat" (AKA "Satisfy My Soul"), and "On the Street Again" (AKA "Duppy Conquerer").  These aren't exactly the most obscure reggae songs, so rehashing them sounds tired and lazy.  On top of them, he also re-works Junior Byles' "Place Called Africa" ("Africa Place"), his own "Soul Fire" ("Dub Fire"), and The Staples' Singers' "I'll Take You There" ("Come Go With Lee" -- the music of which The Staples Singers culled from Harry J Allstars' "Liquidator").  The pun of the latter's title wears thin quickly as the plucky less-than-reggae gospel remake tears through your ears, adding nothing to the original.  "Dub Fire" likewise is not reggae, but its retro funk sound is appealing enough to carry it off.  You have to give Perry credit for continuing to push the envelope and exploring other genres, but songs like the puerile what-it-sounds-like "Doctor Dick" provide negligible entertainment value.

Produced and Directed by the Upsetter (Pressure Sounds, 1998)

*GUEST REVIEW*
Produced and Directed by the Upsetter is the follow-up to Pressure Sound’s Voodooism and is a high-quality Perry production.  The album consists of 10 rather hard-to-find Black Ark singles and their versions.  Quite a few artists featured will be known to reggae fans already, including Junior Murvin, The Heptones, The Silvertones, and George Faith.  Lesser-known artists include King Burnett and Winston Heywood.  The tracks are generally unknown but some of the riddims should be familiar.  When I listen to this album, three words comes to mind: roots, dub, and harmony.  This is another highly recommended compilation from Roger Eagle and the Pressure Sounds team.  An essential purchase for Upsetter, roots, dub, and harmony fans.

- ragudave

Ultimate Collection (Hip-O, 2000)

Maybe you can sum up Lee Perry's own recordings in 15 tracks, but there's no way you can adeptly do so if you throw in his productions of other artists.  Somewhere between the potent yet anemic Reggae Greats and the expansive yet perhaps overly specialized Arkology comes The Ultimate Collection.  There actually is a viable need for a "best of" that is broader than the 10-song Reggae Greats but not quite as much for Perry diehards as the massive 3-CD Arkology.  A nice two-CD set would be perfect -- perhaps one focusing on his productions of others and one on his self-production.  Still, Ultimate Collection makes a good go at it, featuring some of his best-known productions -- like Max Romeo's "War ina Babylon," Junior Murvin's "Police & Thieves," Junior Byles' "Curly Locks," and Perry's own "Roast Fish and Cornbread."  Where Ultimate Collection stands out, though, is where it reaches beyond both Reggae Greats and Arkology to include classic dub tracks like "Enter the Dragon," "Dread Lion," and "Three in One" (the latter two from the Upsetters' great Super Ape) along with Perry's early work with the Wailers on "Small Axe" and "Duppy Conqueror."  The only omission that strikes me as glaring is the lack of a Heptones track (The "Mr. President" here is Jah Lion's DJ toast of their song.).  Meanwhile, the Congos and Junior Byles each have two songs, neither "Neckodeemus" nor "Roots Train" being a particular favorite of mine.  Overall, excellent, but certainly not "ultimate."

Divine Madness...Definitely (Pressure Sounds, 2001) 

*GUEST REVIEW*
You can see Lee Perry performing live in the 21st century, often with the Mad Professor. He also releases new albums and gets involved in collaborative projects on a regular basis. However, even the real Upsetter fans just don't get that excited about his present work. Divine Madness is the third and last Perry compilation on Pressure Sounds. It celebrates the soulful music that was recorded at the Black Ark between '74 and '78. Sweet roots music is probably the best way to describe these rare singles, although some lovely dubs also get a look in. A second CD in this package contains snippets of three On The Wire interviews with Perry, as well as an impromptu toast. Fans owning Arkology may think they've got Perry all wrapped up. However, they would be missing so much great music. Can you really ignore the screwball roots of "Africa We Are Going Home," Reggie Antonie's fragile vocals, or Scratch's freestyle performance over "Noah Sugar Pan"?

- ragudave

Jamaican E.T. (Trojan, 2002)

Things and time may change, artists may come and go, but one of the few enduring icons in reggae remains: Lee "Scratch" Perry.  Also resilient is his lunacy, and the title of his latest album alone should leave no doubt that his zaniness is as irrefutable as ever.  Perry largely eschews conventional reggae here (which shouldn't surprise those who sampled his work in the '90s) in favor of an amalgam of funk, rock, soul, gospel, blues, jazz, and even classical music (witness the strings on "Evil Brain Rejector").  Only about 5 of the 15 tracks here present straightforward reggae (with Perry's typical rhythmic layered vocals rambling on about how evil the world is and how great he is, or something to that extent), the best being "Babylon Fall."  The rest is hit (as in the funk-heavy duo of "Hip Hop Reggae" and the title track, plus the aforementioned rock/jazz/classical/reggae hybrid "Evil Brain Rejector."  I just like saying "Evil Brain Rejector.") or miss (the gospel-influenced "Love Sunshine, Blue Sky" and another remake of the Staples Singers' "I'll Take You There").  Your listening pleasure basically depends on how much you like the distinctly non-reggae music.  Personally, I like reggae music, and while some of the funk rhythms are nice and toe-tapping, they ain't reggae.  Perry's maniacal persona is admittedly agreeable, but it's been equally agreeable on better albums than this one. Grammy voters apparently disagreed, however (What do they know anyway?), and awarded Jamaican E.T. the award for Best Reggae Album in 2003.

14 Dub Blackboard Jungle (Auralax, 2004) 

*GUEST REVIEW*
This was not the first dub album released, but is certainly one of the most influential early ones.  Blackboard Jungle was originally released in 1973 with in a limited run of around 300 copies.  This resulted in it being an obscure and collectable LP.  Auralax, the imprint run by Perry academic and author Dave Katz, have reissued it in its original form with great packaging, four extra tracks and extensive sleeve notes.  Trojan has also released this album as part of their Dub Triptych package, but the sound here is much deeper and bassier.  Listen closely to hear the channel separation annoying your neighbourhood pets.  At first, this may appear to be a purely Perry production, but dig a little deeper and you find that Mr Tubby had a finger or two in the proceedings.  The Upsetter introduces each side of the album.  Sound-wise, the tracks reveal the classic Perry samples, his humour, and left field effects.  At times, this gets as funky as the Average White Band and as eccentric as Last of The Summer Wine.  Innovative but primitive dub.

- ragudave

Click pic to buy!

Live in San Francisco with Mad Professor & the Robotiks Band (2b1, 2004)

If you've ever seen Lee "Scratch" Perry perform live, you know that it's a surreal experience, and the makers of this DVD do their best to recreate it by adding a trippy '60s tie dye/lava lamp effect to the video of this live concert performance.  The effect isn't as annoying as you would think, but that's only because the video quality is murky enough that it more or less blends in with the film.  That said, the producers to a good job of making you forget about the picture clarity by providing a variety of angles that capture the spectacle as well as can be expected given the limitations of watching it on a DVD (A scratch 'n sniff edition would've been a nice touch, however.).  Thankfully, the sound is crisp, delivering the full thrust of Perry's spacey, jazzy performance and translating well to the CD that's included, so you can easily take a little slice of crazy with you.  If you aren't lucky enough to see the man in person, Live in San Francisco is the next best thing.  You haven't truly experienced Lee Perry unless you've seen him in his bizarre get-up (in this case, a head-to-toe American flag outfit with his oft-present crown, ornately decorated microphone, and mirrored shoes), puttering around onstage with a backpack slung around his shoulder, a cheap little voice recorder toy in one hand (along with a silly bicycle horn, both of which he puts to surprisingly nice effect; the man's a mad genius, after all!), and a big ol' spliff in the other.  The songs are chosen fairly well -- recognizable to fans, but not overly familiar -- all slow and meditative, contributing to the "far out, man" vibe. (The only exception is his somewhat cheesy, up-tempo take on the Staples Singers' "I'll Take You There," "Come Go with Lee.")  Sure, with only nine tracks, you might crave a few more hits; the "Papa Was a Rolling Stone" interpretation "Bucky Skank" seems like it could've been sacrificed for something a bit more well-known, but the songs are all extended jams that nonetheless provide over an hour's worth of material, and Perry's performance rarely fails to entrance, particularly on the DVD.  As an added bonus, you get a five-minute clip of Perry fielding questions from an audience; decide for yourself if they understand what the hell he's talking about.

Click pic to buy!

Dubstrumentals (Trojan, 2005)

*GUEST REVIEW*
No one doubts The Upsetter's productivity, with hundreds of singles produced at The Black Ark and around 20 albums made after he left JA. Dubstrumentals harks back to three albums released in 1975 on the DIP label. Kung Fu is an album of instrumental material which won't set the heather alight. Return of the Wax, as with Musical Bones, was more of a white label release the first time around and came coverless. Wax is not the sort of album that should be played to reggae virgins. It's lazy instrumental reggae that destined to be background music without a lift from some vocals or samples. "Samurai Swordsman" is the one saving grace of Wax with its strong and well defined hooks. "The Musical Bones of Vin Gordon" are more likely to get more than a listen or two. This is instrumental reggae played with a strong love of jazz. Think scaled-down Skatalites in dub with trombones upfront. Quantity exceeds quality on this release, and an EP based on the 35 tracks here would be a better format.

- ragudave

Panic in Babylon (Narnack, 2006 [orig. released 2004])

In a genre plagued by untimely deaths, Lee "Scratch" Perry is still making reggae music at 70 years of age, and as Panic in Babylon shows, he's still as vital as ever. Originally released in his adopted home of Switzerland, this album has been repackaged with a bonus CD of three remixed tracks featuring notable avant-garde artists DJ Spooky and TV on the Radio's Dave Sitek. The core album, meanwhile, includes some of the strongest, most consistent work Perry has done in over a decade, including his overrated Grammy winner Jamaican E.T. The music, full of lush organs and regal horns, is performed by a (Swiss?) backing band billed as The White Belly Rats on the original release, but who remain more anonymous on this American edition. Whatever their moniker, their sound is a brisk roots slap in the face: refreshing and invigorating without leaving a mark. Perry doesn't produce himself, so the unpredictable, zany effects that helped make his '70s tunes so much fun are largely absent, giving Panic in Babylon a surprisingly restrained (save perhaps for the spacey "Voodoo" and "Baby Krishna") and, well, sane sound. That said, there are still lovely layers of traditional roots reggae -- not unlike Burning Spear's steady, regal output -- to be found. The Upsetter's vocals haven't lost anything over the years (considering they didn't have much to begin with), as he sings/talks/rambles his cryptic tirades and light-hearted self-promotions (my favorite, from "Perry's Ballad": "Have a Perry salad, for this is Perry ballad"). But the melodies themselves remain fairly tight, perhaps an indication that sanity is catching. Only on the last third of the album -- which includes versions of his own "Inspector Gadget" (from From the Secret Laboratory) and "Devil Dead" (Time Boom X De Devil Dead) -- do the tracks fail to fully captivate, and even then they're not bad.

*Alternate Review*

The Upsetter Selection: A Lee Perry Jukebox (Trojan, 2007)

Summing up the mad genius of Lee "Scratch" Perry in one album is certainly a daunting task, but who better to do it than the man himself?  In a fairly unique concept, Trojan got Perry to pick 45 tracks the he performed and/or produced, compiling his own personal "jukebox," and while I'd imagine it's hard to remain objective (and let's face it, clarity of thought isn't generally associated with the Upsetter), he does an excellent job.  Jukebox skews more towards established Perry fans than newcomers, as it leaves off standards like "Roast Fish and Cornbread," Max Romeo's "War in a Babylon," and The Heptones' "Party Time," in favor of more obscure cuts like Seke Molenga & Kalo Kawongolo's "Bad Food" (interestingly, just recently released on DJ Spooky's Trojan album), U-Roy's "Rhythm Land" (voiced over Bunny Wailer's classic "Dreamland" riddim), and Romeo's "War in a Babylon" redux, "Fire fe the Vatican."  Still, there are enough "expected" tunes to keep the album feeling representative -- including "Return of Django," Junior Byles's "Curly Locks," The Gatherers' "Words of My Mouth," Junior Delgado's "Sons of Slaves," The Silvertones' "Rejoice Jah Jah Children," and a series of Bob Marley tracks that would later be re-recorded with more fanfare for Island Records.  This career-spanning compilation goes all the way back to 1966's "Give Me Justice," a song recorded as a shot at Studio One's legendary head Coxsone Dodd, who Perry felt failed to pay him what he deserved for his music.  This one tune is symbolic of the fierce independence that has marked Perry's career, making him ever wary of the establishment and label bigwigs (see his dis of Island's Chris Blackwell on "Judgement inna Babylon," which details Blackwell's alleged proclivity to vampirism) and leading him to form his own Black Ark Studio (which he subsequently burned down; he's a madman, after all).  But perhaps more than anyone else in the history of reggae, he is an innovator, and his lasting impact is apparent throughout Jukebox.  Some consider "People Funny Boy" to be the first true reggae song, for instance, while "Tighten Up" inspired a string of Trojan compilations of the same name.  His revolutionary dubbing and remixing skills are on display on tracks like the layered "Cow Thief Skank" and the truly bizarre "Eyol Yenoh," which is just what it looks like: the song "Honey Love" played backwards.  That is, the vocals run backwards, a stunt that is more admirable as a gutsy, artistic move than anything aesthetically pleasing.  More musical is the original Black Ark version of "Natural Mystic," a jazzy rendition that goes a long way to showing why many people prefer The Wailers' Lee Perry productions over the slicker Island versions.  Those who are wary of his uneven work in the '80s and '90s, should be pleased to note that only two songs on Jukebox were recorded after 1981, one of which is the wonderful, thundering "I Am a Madman" (the other the funk title track to the Grammy-winning Jamaican E.T...now, how 'bout a lifetime achievement award?).  Since Perry played such a large role in compiling Jukebox, the liner notes are well-informed, with no-holds-barred, moderately sane quotes from him on many of the songs.  Grab a coin and stick it in this Jukebox today!