A wave of new releases is prompting a reappraisal of reggae pioneer Lee 'Scratch' Perry, shifting attention from his eccentric antics to his profound musical genius. David Katz's book Dub Revolution, the illustrated volume Lee 'Scratch' Perry: Black Ark, and a posthumous collaboration with Mouse on Mars titled Spatial, No Problem are among the works celebrating the late producer's legacy.
Initiation by Stones
Katz recalls his bewildering first encounter with Perry in 1987, when the producer demanded he present 13 stones from his home country. Unable to return to the US, Katz gathered stones from the River Thames. Perry then unscrewed a TV monitor, placed the stones inside, and resumed work. This initiation reflected Perry's belief in obeah, a West African spiritual practice, which guided his life and music.
Musical Mastery at Black Ark
Perry's Black Ark studio, built in 1973 in Kingston, Jamaica, was a modest setup with a £35 mixing desk, a four-track Teac 3340, and a drum kit reportedly once owned by Ringo Starr. Despite limited equipment, Perry produced landmark records like Super Ape and the Congos' Heart of the Congos. His techniques included blowing weed smoke into the desk, pouring whisky and urine on gear, and burying recordings in the garden.
Perry's influence extended beyond reggae; the Beastie Boys, the Clash, and Keith Richards sought his collaboration. He also helped shape Bob Marley and the Wailers' sound on albums like Soul Rebel.
Reassessing the Eccentric Persona
In later years, Perry's flamboyant attire, riddling speech, and tendency to turn interviews into farce often overshadowed his work. Adrian Sherwood, his longtime collaborator, notes: 'What upset me in later years was people marvelling at him as some kind of joke.' Katz adds: 'The circus stuff? That's a diversion: the genius is in the music.'
New Books and Album
Katz's Dub Revolution explores reggae through practitioners like Perry. Lee 'Scratch' Perry: Black Ark unveils studio secrets. The posthumous album Spatial, No Problem, recorded two years before Perry's death, features collaborations with Mouse on Mars. A live performance at Barbican Centre included field recordings from the Black Ark site, honoring Perry's legacy.
Perry's Enduring Impact
Edward George, of the Strangeness of Dub series, emphasizes the Black Ark's role as a community and spiritual sanctuary. Perry's open-door policy welcomed Rastafarians and fostered black empowerment through music. Despite the studio's chaotic end—Perry burned down the control room in 1982—his innovations in dub, sampling, and studio-as-instrument remain unparalleled.
