It's been five years since Lee 'Scratch' Perry left us, but it seems his unique brand of musical alchemy is still conjuring up magic. Like a master chef adding the final seasoning to a dish, a new wave of publications and releases are bringing fresh flavours to the table, shedding light on the visionary producer's unparalleled contribution to music. For those who know him, Perry's chaotic and unpredictable methods were always part of the package – but beneath the eccentric public persona lay an artistic genius waiting to be unleashed.
Reggae historian David Katz offers a fascinating glimpse into Perry's world in his new book 'Dub Revolution'. Katz recalls his first encounter with Perry in London, where he was tasked with bringing "13 stones from your country" (yes, you read that right – 13 stones!). When Katz returned empty-handed, Perry sent him off to the River Thames, instructing him to fetch a few pebbles. The 'hazing' or 'initiation', as Katz describes it, marked the beginning of an extraordinary creative journey that would produce some of reggae and dub's most iconic sounds.
Perry's innovative spirit was contagious – before his move to London, he played a pivotal role in shaping Bob Marley and the Wailers' early sound on albums like 'Soul Rebel' and 'Soul Revolution'. His Black Ark studio became a hotbed of innovation, pumping out nearly a decade of peerless roots reggae and arguably the most important dub record of all time: 'Super Ape'. Perry's signature sound – think crying baby samples, bone-shaking sub-bass, and infectious melodies – was like nothing anyone had ever heard before. It attracted an eclectic crew of artists, including The Clash, Keith Richards, and the Beastie Boys, who all sought his unique counsel.
This renaissance includes a host of classic reissues, such as The Congos' 'Ark of the Covenant', plus a lavish illustrated book that delves into the secrets of Perry's legendary studio. And if that wasn't enough, there's also a posthumous 'final' album – a collaboration with German electro outfit Mouse on Mars recorded two years before his passing. This burst of activity suggests a collective desire to truly grasp Perry's legacy, moving beyond the 'court jester' image he sometimes cultivated in Europe during his later years.
Perry's interviews were always events in themselves – remember that 2009 takedown of Krishnan Guru-Murthy with rhyming couplets and playful antics? His long-time collaborator Adrian Sherwood notes that Perry relished these 'wind-ups'. This current wave of publications and releases aims to provide a more nuanced understanding of the man and his music, ensuring that his profound impact on reggae, dub, and popular culture is never forgotten.