Sound System Scratch

One disc 69 minutes approximately. The sound is taken from the original dub plates-specials-that Perry would create for favored sound systems during the 70's. They have been restored to probably the best sound we'll ever get to hear from these "one offs". The booklet contains information on this period of Perry's work at the famed Black Ark studio, including song titles and artists. There's also a couple of nice atmospheric period photographs of "Scratch" at his studio.

These are the "Holy Grail" for those wanting to hear Perry's exclusive remixes he made for various sound systems, wanting something exclusive (and now rare), to play for the crowds of listeners and dancers who followed particular sound systems in Jamaica. Some are one-time, one-off mixes by Perry that up until now have only been talked about. Others have only ever been pressed in minute quantities-impossible to hear, let alone purchase. These tracks (along with many others) were found and bought by a dealer who, only until later, found quite a few of these remixes by Perry along with many other rare, "white label" singles. The sound is very atmospheric (yes they're a little rough in spots), which adds a certain period excitement to these tracks.

The musicians Perry used for these remixes is impossible to know with complete certainty. Suffice to say he used only the finest musicians (Sly Dunbar-drums, Ernest Raglin-guitar, "Robbie" Shakespeare-bass, "Chinna" Smith-guitar, Theo Beckford-piano, Winston Wright-organ, Augustus Pablo-melodica, Herman Marquis-alto sax, Vincent Gordon-trombone, Bobby Ellis-trumpet, "Sticky" Thompson-percussion, and "Scratch" himself-percussion/occasional vocal, along with a number of others. Artists include THE UPSETTERS (naturally), both alone and with Augustus Pablo, Winston Wright, Clive Hylton, Junior Murvin, Carlton Jackson, Keith Rowe, and Perry himself.

For anyone who likes deep dub-this is it. These tracks, in many ways, surpass anything you've heard on any of the "Black Ark" sets that have been previously released. These tracks go to the very heart of what Lee Perry was about-his genius for mixing (and remixing) rhythms with other existing rhythms and sounds, and "phasing", is evident on any of these fantastic tracks. The mysterious whooshes and clanking sounds, the occasional abrupt starts and stops, all add up to a great experience. The recordings have occasional imperfections, and a sound like frying bacon (as it says in the notes), due to the heavy needles which dug into the lacquered plates. But don't be put off by any of this. The music stands out from any original deficiencies, and is a very welcome, exciting addition to Perry's discography.

These tracks, fueled by weed, and Perry's own genius, show what a true innovator Perry was. The tracks, mostly concerned with ghetto life, suffering, and the possibility of a better life, are infused with the sound of a true individual. These rare sides have the flavor (and sound) of the period, and listening to them is to go back in time when "Scratch" would create a dub plate for a favored sound system-where people danced and listened to these exclusive sounds through the night. If you like authentic dub-this is it. The fact that they're rare is even more reason to purchase this set. I only wonder what the rest of the tracks found in this cache of "white labels" sounds like? Hopefully we'll get the chance to hear more.

Lee Perry created these dubs directly to Jamaican vinyl in the 1970s for use by sound systems, large PAs that would play (I suppose at ear bleed volumes) the latest reggae hits and remixes for the shantytown audiences.

These dubs are among the most radical, demented work of the radical and demented Perry from the period widely recognized as his greatest. Here are mixes unlike anything you will hear even on other dub mixes of the time, his imagination always fluid and completely bizarre.

Unfortunately, these mixes were not saved on tape, and this CD has been compiled from the old dubplate vinyl. Now I know vinyl has magical connotations today--do not be decieved. This is Jamaican vinyl, which was of extrodinarily low quality. The records were almost unlistenable thanks to constant scratchiness, as if these records had been tossed around like a frisbees after pressing. They often had these big gashes in them which made the needle leap from the turntable and commit hari-kari on the floor. If a track played all the way through, you had reason to praise jah. (I know some reading this will react with incredulity, but as an avid reggae fan in the late 70s who sought Jamaican records as the holy grail, I am not kidding.)

Pressure Sounds has used digital technology to clean up the flaws in the dubplates, and I think done a good job--BUT! the bass response on this CD is very poor, the treble seems way too loud, and on occasion you can hear where the engineer electronically masked that fun moment the needle lept from the record and took off into outerspace.

Well, you can't find this material anywhere else (the second track is a wonderful and rare Augustus Pablo improv on the great Java riff), and if you don't mind some rather annoying flaws in engineering (I am not second-guessing the engineer--just pointing out the facts) this is incredible dub.

By the way my wife thinks there are only 6 dub albums, and this is number 5.

OK this is a little lo-fi, but somehow that adds to the greatness of the tracks - close your eyes and you can imagine yourself listening to the radio in Jamaica the early 70's.