1 Rock & Roll Hall of Fame – The Upsetter Biography – Lee 'Scratch' Perry Born Rainford Hugh Perry on March 20, 1936, the one they called Scratch had no idea what the island of Jamaica had in store for him; and similarly, the island of Jamaica had no idea what Scratch had in store for it. Before cementing his long and everlasting legacy on the musical world, Lee' Scratch' Perry worked way up the music scene of Kingston, Jamaica, in the 1960s. Moving from the country into the city on his success in various dance competitions as a teenager, Perry soon found the desire to make the music rather than dance to it. Gaining employment as a janitor and a basic jack-of-all-trades, he eventually found his way into the inner workings of Studio One. Studio One, often heralded as the birthplace of popular reggae music, was where any Jamaican went in the 1960s to break out as a recording artist. The Wailers (Bob Marley, Peter Tosh, & Bunny Wailer), Dennis Brown, Jimmy Cliff, and countless others all got their big break at Studio One. And more often than not, it was Lee Perry responsible for deciding who would make the cut in terms of an artist being allotted studio time. Perry himself also recorded over 30 songs for the studio, releasing his first works in 1968 before leaving the label to start his own. This new label would be called Upsetter Records (aka Black Ark). Initially, Upsetter Records was used as an outlet solely for Perry. He released various singles, chanting the vocals while his band, The Upsetters, provided the backing sounds. Perry never wrote down or rehearsed any of the lyrics he put to music. Instead, he relied on what felt right at the time, often referring to themes of good versus evil and other spiritual inspirations. Perry couldn't read music or play an instrument, but he knew the sound he wanted and how to get the musicians to play it. Scratch wasn't just looking to churn out reggae songs for a quick buck; he tried to push the boundaries of the genre of reggae and where it could go. Along with the great King Tubby, Scratch is credited with creating the sub-genre of reggae known as dub. Dub music is where the studio engineer is king, and Lee Perry was able to find his unique sound while sitting behind a mixing board and doing whatever felt right. Artists like The Wailers were looking for a sound that would separate them from the rest of the pack, and they knew Scratch was the one who could provide it. Songs like "Mr. Brown" and "Duppy Conqueror" sound nothing like the later records released by Bob Marley or any of his Wailer counterparts. The use of samples and sound effects was not something you heard in reggae at the time, but Scratch would dig up some of the most random sounds you can imagine and somehow incorporate them into the song. Everything could be made into an instrument in Scratch's mind. The sounds that you hear coming in and out of the vocals wouldn't usually seem in place, but it just sounded right with Scratch behind the controls. Finally, in 1973, Perry felt it was time to build his own studio. The Black Ark, built in the backyard of his house, enabled Perry to have more control over the music he was creating. With his studio at his disposal, he was able to push the boundaries even further. He didn't invest in expensive or state-of-the-art equipment; instead, he chose to go with recording equipment basics. Scratch insists that it's not the equipment that makes the sound but rather his sonic sleight-of-hand. It was also custom for Perry to bless all of the instruments and equipment before any recording session. This included blowing marijuana smoke into microphones. And if the vibes didn't feel right on a particular day, no recordings were going to get done. Black Ark soon became a gathering place for Rasta's in the community, as Perry 2 insisted that the music he produces comes from a place of Rasta spirituality. Studio One forbid such things at the time, as did many recording studios, leaving Rasta singers with very few options. Scratch filled that void, and artists like Junior Murvin, The Heptones, Max Romeo, The Congos, Junior Byles, and the newly Rasta-themed Bob Marley & The Wailers soon began recording material. These artists recorded albums under Scratch that remain some of the best and most unique reggae music ever recorded. He even found time to produce albums of his own, including "Kung Fu Meets the Dragon," "Super Ape," and "Roast Fish Collie Weed & Corn Bread," all of which are held near the top of any essential reggae/dub album list. By the late '70s, reggae was shifting, and Lee Perry wanted no part of it. The creative and experimental sounds Scratch was famous for no longer seemed in step with the direction the music of Jamaica was heading. So, in a fit of rage (or because of spiritual forces, depending on what stories you choose to believe), Scratch burned down his studio and moved to England. In England, he joined forces with fellow dub pioneers like Adrian Sherwood and Mad Professor, allowing Scratch further to push the boundaries of reggae and dub. Currently, Lee' Scratch' Perry is 82 years old and continues to record and tour almost nonstop. Over the years, he has produced artists from practically every spectrum of music. Artists like The Clash, Keith Richards, The Beastie Boys, Andrew W.K., Moby, Bill Laswell, The Orb, Ari Up, Bernie Worrell, and George Clinton. His influences can be heard on just about every electronic track you hear being made today. Before Scratch came around, the idea of a 'remix' to a song was almost unheard of. But Perry worked nonstop during his career to re-create new versions of songs he recorded with other artists. Using the mixing desk as an instrument, he could re-create new sounds from songs he had previously recorded with other artists. A musical mind like no other. Over the years, many have tried to mimic the man's musical styling, but the result is always an unsuccessful effort. Only one musical madman can create the kind of sound that emulates from any Upsetter/Black Ark production, and that man is Lee' Scratch' Perry. Induction Speech – Joe Strummer (The Clash) When it comes to reggae and its flag bearers, Bob Marley is almost always the one leading the charge, and rightfully so. But riding right up alongside him, you have many other artists deserving of much of the same acclaim afforded to Mr. Marley. Dennis Brown. Gregory Isaacs. Sugar Minott. King Tubby. Jimmy Cliff. Peter Tosh. Toots Hibbert. And of course, the musical madman himself, Rainford Hugh Perry aka Lee Perry aka The Upsetter aka Scratch aka Super Ape (the list of nicknames is practically endless). If one wishes to speak on reggae music, one cannot leave out Lee' Scratch' Perry. The madman. Or maybe he's a miracle man. Or perhaps he's both. Lee Perry, a man capable of innovating, twisting, turning, and doing whatever the hell else he wants to do with an assortment of sounds and somehow ending up with some pretty incredible music. When I heard "Police & Thieves" by Junior Murvin, I knew this was something I needed to check out. Everything about that song was perfect, and I had to hear more. The gates were opened, and my ears were blessed, and after receiving permission from the man himself, The Clash was able to record our version…maybe 3 some of you guys have heard it? After recording our version of "Police & Thieves," we were honored to share the studio with him. It was an experience that we have yet to come close to duplicating since. Since the early 1960s, Scratch has been a vital contribution to all things music. People often wonder how he came up with the music that he did. I say it's the work of a genius. A musical, mystical, and eccentric genius whose spirit and force lies behind anything he's touched; a genius that has almost 60 years of innovative musical productions to prove it. Lee Perry is a teacher. He is a producer. He is a writer. He is an artist. He is everything. And most importantly, at least for me, Scratch is an inspirer. He imitates no one, as true to himself as anyone can be, a pure originator in every sense of the word. But as interesting, entertaining, and fascinating as Lee Perry's life and personality are, it can almost all be forgotten and replaced with a straightforward idea: his music always has and will speak for itself. Spend an hour or two listening to his music, and no one would need to explain why he deserves all of the respect or credit for what he has done. Spend an hour or two listening to his music, and it'll be unmistakably clear as to why Lee' Scratch' Perry is deserving of induction into the Rock & Roll Hall of Fame. And with that, I give you the musical madman himself, Mr. Lee 'Scratch' Perry… Resources Bulger, J. (2018, June 25). Reggae's Mad Scientist. Retrieved from https://www.rollingstone.com/music/music-news/reggaes-mad-scientist-65011/ Dreisinger, B. (2011, April 22). Lee' Scratch' Perry: Over 75 Years, From Dub To Dubstep. Retrieved from https://www.npr.org/sections/therecord/2011/04/23/135630829/lee-scratch-perryover-75-years-from-dub-to-dubstep Katz, D. (2006). People Funny Boy. London: Omnibus. Nelson, D., & Nelson, S. (1998, June). Good Always Conquers Evil: The Musical Genius of Lee Perry. Retrieved from http://www.furious.com/perfect/leeperry/leeperry2.html Quirk, J. (2003, May 31). Never scratch him out. Retrieved from https://www.theguardian.com/music/2003/may/31/artsfeatures.popandrock2 Smith, D. F., Allen, J., & Hussey, A. (2018, August 17). An Influence on Everyone-Including Himself-Lee "Scratch" Perry Returns to Conquer. Retrieved from https://www.indyweek.com/indyweek/an-influence-on-everyone-including-himself-lee-scratchperry-returns-to-conquer/Content?oid=10954442 Wilkie, J. (1998, April). THE DREAD LIBRARY. Retrieved from https://debate.uvm.edu/dreadlibrary/wilkie.html 4
