Chapter Five
Tracking the “Living African Heartbeat”
Lee “Scratch” Perry
Perry from Studio One apprentice to the Black Ark: the Upsetters, the Wailers sessions, and a studio treated as an instrument until it burned.
89 records on this page
Songs & tracks
Every song the chapter names, in the order the text names them, each with the sentence that introduces it, set as printed.
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001
Roast Duck
Lee “Scratch” Perry (as “King Perry”)
These included titles such as “Roast Duck,” “Pussy Galore,” and “Chicken Scratch,” the last of which earned him the most enduring of uncountable nicknames.
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002
Pussy Galore
Lee “Scratch” Perry (as “King Perry”)
These included titles such as “Roast Duck,” “Pussy Galore,” and “Chicken Scratch,” the last of which earned him the most enduring of uncountable nicknames.
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003
Chicken Scratch
Lee “Scratch” Perry (as “King Perry”)
These included titles such as “Roast Duck,” “Pussy Galore,” and “Chicken Scratch,” the last of which earned him the most enduring of uncountable nicknames.
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004
People Funny Boy
Lee “Scratch” Perry
Perry was fascinated by the music of Jamaica’s Afro-Protestant faiths such as the pocomania sect, which supposedly provided the inspiration for the beat of his 1968 song “People Funny Boy.” In fact, Perry once famously exclaimed, “Them poco people gettin’ sweet,” and can be heard getting “happy” himself at the climax of his early 1970s recording “When You Walk,” as backing vocalists drone a “hallelujah” chant behind him.
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005
When You Walk
Lee “Scratch” Perry
In fact, Perry once famously exclaimed, “Them poco people gettin’ sweet,” and can be heard getting “happy” himself at the climax of his early 1970s recording “When You Walk,” as backing vocalists drone a “hallelujah” chant behind him.
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006
I Am the Upsetter
Lee “Scratch” Perry
It was his acrimonious splits with Dodd and Gibbs, respectively, that prompted several songs, including “I Am the Upsetter” and “People Funny Boy.”
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007
Tighten Up
The Inspirations
He scored early commercial successes during 1969: “People Funny Boy”; the Inspirations’ “Tighten Up”; and, especially, a instrumental remake of Fats Domino’s “Sick and Tired” titled “Return of Django,” featuring veteran tenor saxophonist Val Bennett.
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008
Sick and Tired
Fats Domino
He scored early commercial successes during 1969: “People Funny Boy”; the Inspirations’ “Tighten Up”; and, especially, a instrumental remake of Fats Domino’s “Sick and Tired” titled “Return of Django,” featuring veteran tenor saxophonist Val Bennett.
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009
Return of Django
The Upsetters
He scored early commercial successes during 1969: “People Funny Boy”; the Inspirations’ “Tighten Up”; and, especially, a instrumental remake of Fats Domino’s “Sick and Tired” titled “Return of Django,” featuring veteran tenor saxophonist Val Bennett.
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010
Run For Cover
Lee “Scratch” Perry
As early as 1967, Perry had released the song “Run For Cover,” accompanied by a B-side instrumental version of the same track.
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011
Set Them Free
Lee “Scratch” Perry
He would also release “Set Them Free,” an alternate spoken-word vocal over the same rhythm track, which presents a mock court case in which Perry as attorney defends the interests of the ghetto rude boys and sufferers, and the black race in general.
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012
Honey Love
Burt Walters
Pepper’s Lonely Hearts Club Band and the Jimi Hendrix Experience’s Axis: Bold as Love (both 1967), Perry used the flip side of Burt Walters’s 1968 cover of the Drifters’ “Honey Love” to reprise the original rhythm track, while Walters’s vocals were played in reverse; the B-side version was accordingly titled “Evol Yenoh.”
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013
Evol Yenoh
Burt Walters
… the B-side version was accordingly titled “Evol Yenoh.” On Walters’s cover of Bob Dylan’s “Blowin’ in the Wind,” Perry overdubs wind effects for the duration of the song, and on his own “People Funny Boy,” he overdubs the sound of a baby’s crying, to reinforce lyrics depicting a “crybaby” jealous of another’s professional success.
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014
What A Botheration
Lee “Scratch” Perry
Perry’s own “What A Botheration” vocal features a mix that foreshadows the evolution of his production style over the next ten years.
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015
Duppy Conqueror
The Wailers
The best-known material from this period includes songs like “Duppy Conqueror,” “Small Axe,” and “Don’t Rock My Boat”—cleanly produced, clear-sounding tracks competitive according to the commercial standards of the day.
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016
Small Axe
The Wailers
The best-known material from this period includes songs like “Duppy Conqueror,” “Small Axe,” and “Don’t Rock My Boat”—cleanly produced, clear-sounding tracks competitive according to the commercial standards of the day.
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017
Don’t Rock My Boat
The Wailers
The best-known material from this period includes songs like “Duppy Conqueror,” “Small Axe,” and “Don’t Rock My Boat”—cleanly produced, clear-sounding tracks competitive according to the commercial standards of the day.
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018
It’s Alright
Lee “Scratch” Perry
But Perry pursued a less conventional sonic vision on tracks such as “It’s Alright,” “No Water,” and Peter Tosh’s “400 Years” and “No Sympathy,” infusing the music with a mixture of ideas drawn from soul and Rastafarian Nyabinghi drumming.
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019
No Water
Lee “Scratch” Perry
But Perry pursued a less conventional sonic vision on tracks such as “It’s Alright,” “No Water,” and Peter Tosh’s “400 Years” and “No Sympathy,” infusing the music with a mixture of ideas drawn from soul and Rastafarian Nyabinghi drumming.
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020
400 Years
Peter Tosh
But Perry pursued a less conventional sonic vision on tracks such as “It’s Alright,” “No Water,” and Peter Tosh’s “400 Years” and “No Sympathy,” infusing the music with a mixture of ideas drawn from soul and Rastafarian Nyabinghi drumming.
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021
No Sympathy
Peter Tosh
But Perry pursued a less conventional sonic vision on tracks such as “It’s Alright,” “No Water,” and Peter Tosh’s “400 Years” and “No Sympathy,” infusing the music with a mixture of ideas drawn from soul and Rastafarian Nyabinghi drumming.
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022
Clint Eastwood
The Upsetters (Lee Perry prod.)
The first dub that really exposed, is that tune what we did for Lee “Scratch” Perry called “Clint Eastwood.” And then Duke Reid send for us when him hear that vibes and we did one they called “Lock Jaw.”
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023
Lock Jaw
Duke Reid production
And then Duke Reid send for us when him hear that vibes and we did one they called “Lock Jaw.” And then dub hit the road you know, ’til it get international.
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024
Sophisticated Cissy
The Meters
References to soul music abound, including riffs, licks, and songs copped from the Meters (“Sophisticated Cissy” on “Medical Operation”), the James Brown band (“The Popcorn”), and the Stax/Volt label (Eddie Floyd’s “Knock on Wood”).
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025
Medical Operation
The Upsetters
References to soul music abound, including riffs, licks, and songs copped from the Meters (“Sophisticated Cissy” on “Medical Operation”), the James Brown band (“The Popcorn”), and the Stax/Volt label (Eddie Floyd’s “Knock on Wood”).
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026
Knock on Wood
Eddie Floyd
References to soul music abound, including riffs, licks, and songs copped from the Meters (“Sophisticated Cissy” on “Medical Operation”), the James Brown band (“The Popcorn”), and the Stax/Volt label (Eddie Floyd’s “Knock on Wood”).
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027
French Connection
The Upsetters
Many of these tracks, such as “French Connection,” “Cold Sweat,” and “Live Injection,” were uptempo organ features clearly aimed at the dance floor, using soul to articulate the funky side of reggae.
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028
Live Injection
The Upsetters
Many of these tracks, such as “French Connection,” “Cold Sweat,” and “Live Injection,” were uptempo organ features clearly aimed at the dance floor, using soul to articulate the funky side of reggae.
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029
Connection
Lee “Scratch” Perry
Also notable were Perry’s crude tape compositions like “Connection” and “Kill Them All”: irreverent, Frank Zappa–esque collages of several different performances in which abrupt splices violate the dance- and pop-friendly conventions of tonality, groove, tempo, and thematic continuity.
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030
Kill Them All
Lee “Scratch” Perry
Also notable were Perry’s crude tape compositions like “Connection” and “Kill Them All”: irreverent, Frank Zappa–esque collages of several different performances in which abrupt splices violate the dance- and pop-friendly conventions of tonality, groove, tempo, and thematic continuity.
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031
Woman’s Gotta Have It
Jimmy Riley
Notable examples would include Tubby’s mixes of Perry productions such as Jimmy Riley’s “Woman’s Gotta Have It” (“Woman’s Dub”) and Leo Graham’s aforementioned “Three Blind Mice” (“Three Times Three”).
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032
Woman’s Dub
King Tubby
Notable examples would include Tubby’s mixes of Perry productions such as Jimmy Riley’s “Woman’s Gotta Have It” (“Woman’s Dub”) and Leo Graham’s aforementioned “Three Blind Mice” (“Three Times Three”).
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033
Three Blind Mice
Leo Graham
Notable examples would include Tubby’s mixes of Perry productions such as Jimmy Riley’s “Woman’s Gotta Have It” (“Woman’s Dub”) and Leo Graham’s aforementioned “Three Blind Mice” (“Three Times Three”).
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034
Three Times Three
King Tubby
Notable examples would include Tubby’s mixes of Perry productions such as Jimmy Riley’s “Woman’s Gotta Have It” (“Woman’s Dub”) and Leo Graham’s aforementioned “Three Blind Mice” (“Three Times Three”). While much of this material was actually mixed by Tubby, it still bore the unmistakable imprint of Perry and the Upsetters in the construction of the rhythms and the overall mood of the music.
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035
Bucky Skank
Lee “Scratch” Perry
Lee Perry: “Bucky Skank” > Upsetters: “Black Panta”
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036
Black Panta
The Upsetters
Lee Perry: “Bucky Skank” > Upsetters: “Black Panta” The best-known collaboration between Perry and King Tubby is the Blackboard Jungle Dub LP (1973) which, while credited to the Upsetters, was actually mixed by both engineers.
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037
Papa Was A Rolling Stone
The Temptations
The title track is built from a midtempo roots riddim in A minor that sounds derived from the Temptations’ 1972 soul hit “Papa Was A Rolling Stone,” and that had been previously used for Perry’s “Bucky Skank” vocal.
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038
Slippin' Into Darkness
War
In general, the nourish overtones of blaxploitation soundtracks and urban realist songs resonated in the tense climate of West Kingston—undoubtedly a factor in the frequent reggae adaptations of the rhythm patterns of soul songs such as War’s “Slippin’ Into Darkness” and Isaac Hayes’s “Do Your Thing.”
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039
Do Your Thing
Isaac Hayes
In general, the nourish overtones of blaxploitation soundtracks and urban realist songs resonated in the tense climate of West Kingston—undoubtedly a factor in the frequent reggae adaptations of the rhythm patterns of soul songs such as War’s “Slippin’ Into Darkness” and Isaac Hayes’s “Do Your Thing.”
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040
Curly Locks
Junior Byles
Junior Murvin, Leo Graham, and Max Romeo stepped to the fore as Perry’s main vocalists during this period, while the studio’s first commercial success was Junior Byles’ “Curly Locks” (1973), which was much simpler and more minimal in sound than the work he had realized earlier at studios like Dynamics, Randy’s and Tubby’s. A defining sound element of “Curly Locks” and other early Black Ark tracks (such as Junior Byles’s “Long Way”) is the offbeat keyboard pattern, played on an electric instead of an acoustic piano …
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041
Long Way
Junior Byles
Junior Murvin, Leo Graham, and Max Romeo stepped to the fore as Perry’s main vocalists during this period, while the studio’s first commercial success was Junior Byles’ “Curly Locks” (1973), which was much simpler and more minimal in sound than the work he had realized earlier at studios like Dynamics, Randy’s and Tubby’s. A defining sound element of “Curly Locks” and other early Black Ark tracks (such as Junior Byles’s “Long Way”) is the offbeat keyboard pattern, played on an electric instead of an acoustic piano …
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042
Kung Fu Man
Linval Thompson
The same mixing style, with the aforementioned clavinet added, can be heard on many of Perry’s concurrent vocal releases such as Linval Thompson’s “Kung Fu Man” and Junior Byles’s “Cutting Razor.”
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043
Cutting Razor
Junior Byles
The same mixing style, with the aforementioned clavinet added, can be heard on many of Perry’s concurrent vocal releases such as Linval Thompson’s “Kung Fu Man” and Junior Byles’s “Cutting Razor.”
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044
Black Candle
Leo Graham
Leo Graham: “Black Candle” > Upsetters: “Bad Lamp” > Leo Graham: “Doctor Demand” > Upsetters: “Black Bat” > Leo Graham: “Big Tongue Buster” > Upsetters: “Bus-a-Dub”
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045
Bad Lamp
The Upsetters
Leo Graham: “Black Candle” > Upsetters: “Bad Lamp” > Leo Graham: “Doctor Demand” > Upsetters: “Black Bat” > Leo Graham: “Big Tongue Buster” > Upsetters: “Bus-a-Dub”
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046
Doctor Demand
Leo Graham
Leo Graham: “Black Candle” > Upsetters: “Bad Lamp” > Leo Graham: “Doctor Demand” > Upsetters: “Black Bat” > Leo Graham: “Big Tongue Buster” > Upsetters: “Bus-a-Dub”
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047
Black Bat
The Upsetters
Leo Graham: “Black Candle” > Upsetters: “Bad Lamp” > Leo Graham: “Doctor Demand” > Upsetters: “Black Bat” > Leo Graham: “Big Tongue Buster” > Upsetters: “Bus-a-Dub”
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048
Big Tongue Buster
Leo Graham
Leo Graham: “Black Candle” > Upsetters: “Bad Lamp” > Leo Graham: “Doctor Demand” > Upsetters: “Black Bat” > Leo Graham: “Big Tongue Buster” > Upsetters: “Bus-a-Dub”
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049
Bus-a-Dub
The Upsetters
Leo Graham: “Black Candle” > Upsetters: “Bad Lamp” > Leo Graham: “Doctor Demand” > Upsetters: “Black Bat” > Leo Graham: “Big Tongue Buster” > Upsetters: “Bus-a-Dub” Perry’s mixing palette between 1970 and 1974 was particularly colorful: typically built around the substitution and replacing of parts rather than the soundscaping approach of King Tubby, the juxtaposition of fragments of previous versions made much of his work in this period seem like sound collages.
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050
Tedious
Junior Murvin
Perry often applied this same effect to horns; on Junior Murvin’s “Tedious,” Zap Pow’s “River,” and his own “Scratch the Dub Organizer,” Perry’s phase shifter reduces their majestic brassiness to the thin sonority of a kazoo.
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051
River
Zap Pow
Perry often applied this same effect to horns; on Junior Murvin’s “Tedious,” Zap Pow’s “River,” and his own “Scratch the Dub Organizer,” Perry’s phase shifter reduces their majestic brassiness to the thin sonority of a kazoo.
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052
Scratch the Dub Organizer
Lee “Scratch” Perry
Perry often applied this same effect to horns; on Junior Murvin’s “Tedious,” Zap Pow’s “River,” and his own “Scratch the Dub Organizer,” Perry’s phase shifter reduces their majestic brassiness to the thin sonority of a kazoo.
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053
Vampire
Devon Irons
Perry relied heavily upon the Roland unit for both reverb and delay effects, and its typically extreme application in his hands can be heard on reverb-saturated mixes such as Devon Iron’s “Vampire,” and Watty Burnett’s “Open the Gate.”
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054
Open the Gate
Watty Burnett
Perry relied heavily upon the Roland unit for both reverb and delay effects, and its typically extreme application in his hands can be heard on reverb-saturated mixes such as Devon Iron’s “Vampire,” and Watty Burnett’s “Open the Gate.”
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055
War Inna Babylon
Max Romeo
Between 1976 and 1979, Perry would achieve his commercial apex and score international commercial successes with albums like Max Romeo’s “War Inna Babylon,” Junior Murvin’s “Police and Thieves,” and Susan Cadogan’s cover of Millie Jackson’s tortured 1974 soul ballad “Hurt So Good.”
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056
Police and Thieves
Junior Murvin
Between 1976 and 1979, Perry would achieve his commercial apex and score international commercial successes with albums like Max Romeo’s “War Inna Babylon,” Junior Murvin’s “Police and Thieves,” and Susan Cadogan’s cover of Millie Jackson’s tortured 1974 soul ballad “Hurt So Good.”
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057
Hurt So Good
Susan Cadogan
Between 1976 and 1979, Perry would achieve his commercial apex and score international commercial successes with albums like Max Romeo’s “War Inna Babylon,” Junior Murvin’s “Police and Thieves,” and Susan Cadogan’s cover of Millie Jackson’s tortured 1974 soul ballad “Hurt So Good.”
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058
I Forgot to Be Your Lover
George Faith
The collection is assembled around Faith’s 1976 hit cover of William Bell’s “I Forgot to Be Your Lover.” Bell’s original was recorded for Stax/Volt in 1968, during the company’s “second great era” following the death of Otis Redding in 1967.
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059
To Be A Lover
George Faith
The body of the song is built on a chord progression of vi–I–IV–ii; like many reggae covers from the 1970s on, however, the Faith/Perry version (retitled “To Be A Lover”) has been harmonically flattened so that the entire tune is now comprised of just the I and IV chords.
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060
In the Midnight Hour
Wilson Pickett
A hybrid lyric comprising Wilson Pickett’s “In the Midnight Hour” and Lee Dorsey’s “Ya-Ya” is given a similar treatment, as is Tyrone Davis’s “Turn Back the Hands of Time.”
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061
Turn Back the Hands of Time
Tyrone Davis
A hybrid lyric comprising Wilson Pickett’s “In the Midnight Hour” and Lee Dorsey’s “Ya-Ya” is given a similar treatment, as is Tyrone Davis’s “Turn Back the Hands of Time.”
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062
Cross-Over
Junior Murvin
In fact Perry would elaborate this type of mixing on tracks such as Junior Murvin’s 1977 “Cross-Over,” in which he submerges the Upsetters’ heavy roots rhythm in an ocean of pure ambient noise while Murvin wails on top for black cultural liberation.
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063
Zion’s Blood
Lee “Scratch” Perry / The Upsetters
“Zion’s Blood” is a version of Devon Irons’s “When Jah Come” with added horns.
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064
When Jah Come
Devon Irons
“Zion’s Blood” is a version of Devon Irons’s “When Jah Come” with added horns.
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065
Dub Along
Lee “Scratch” Perry
“Dub Along” is an updating of Perry’s earlier “Come Along,” in which Perry has fleshed out the original version by adding the vocal trio Full Experience to sing additional lyrics.
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066
Come Along
Lee “Scratch” Perry
“Dub Along” is an updating of Perry’s earlier “Come Along,” in which Perry has fleshed out the original version by adding the vocal trio Full Experience to sing additional lyrics.
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067
Curly Dub
Lee “Scratch” Perry / The Upsetters
Other songs like “Curly Dub” (no relation to Byles’s “Curly Locks”), which offer fairly straightforward instrumental treatments of preexisting tracks, are subjected to the same additive approach, with the combination of sound processing and additional material stretching them beyond their basic jazz-derived song format of theme–solos–theme.
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068
Croaking Lizard
Prince Jazzbo
On “Croaking Lizard” (Prince Jazzbo’s DJ version of Max Romeo’s “Chase the Devil”) and “Black Vest” (Jazzbo’s version of Romeo’s “War Inna Babylon”), for example, Perry fragments the lyrics in typical dub fashion while using the Roland unit to reduce the remaining vocals to a stream of unintelligible, liquified exclamation.
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069
Chase the Devil
Max Romeo
On “Croaking Lizard” (Prince Jazzbo’s DJ version of Max Romeo’s “Chase the Devil”) and “Black Vest” (Jazzbo’s version of Romeo’s “War Inna Babylon”), for example, Perry fragments the lyrics in typical dub fashion while using the Roland unit to reduce the remaining vocals to a stream of unintelligible, liquified exclamation.
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070
Black Vest
Prince Jazzbo
On “Croaking Lizard” (Prince Jazzbo’s DJ version of Max Romeo’s “Chase the Devil”) and “Black Vest” (Jazzbo’s version of Romeo’s “War Inna Babylon”), for example, Perry fragments the lyrics in typical dub fashion while using the Roland unit to reduce the remaining vocals to a stream of unintelligible, liquified exclamation.
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071
City Too Hot
Lee “Scratch” Perry
Tracks like Perry’s own “City Too Hot” and the Meditations’ “Houses of Parliament” feature an order of what David Katz described as “radical Nyabinghi drummers” who had taken up residence at the Black Ark in 1977.
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072
Houses of Parliament
The Meditations
Tracks like Perry’s own “City Too Hot” and the Meditations’ “Houses of Parliament” feature an order of what David Katz described as “radical Nyabinghi drummers” who had taken up residence at the Black Ark in 1977.
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073
Love Thy Neighbor
Ras Michael
Perry would later extend this mood to its logical conclusion in his production of Nyabinghi drummer Ras Michael’s “Love Thy Neighbor,” in which Rasta liturgical drumming and chanting is augmented by electric guitars and keyboards and smeared with a thick layer of psychedelic haze.
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Albums, compilations & series
Albums, compilations and series, again in the order the chapter names them.
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074
Dub From the Roots
King Tubby
The influence of King Tubby on Perry’s sound during this period is reflected in the similarity between the dub sides Tubby mixed with Perry, and those released concurrently under Tubby’s own name, on Bunny Lee–produced LPs such as Dub From the Roots and The Roots of Dub (both 1975).
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075
The Roots of Dub
King Tubby
The influence of King Tubby on Perry’s sound during this period is reflected in the similarity between the dub sides Tubby mixed with Perry, and those released concurrently under Tubby’s own name, on Bunny Lee–produced LPs such as Dub From the Roots and The Roots of Dub (both 1975).
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076
Blackboard Jungle Dub
The Upsetters / Lee Perry & King Tubby
… as with “Curly Locks,” the sound is much simpler and stripped down compared to profuse works such as Blackboard Jungle Dub, and even compared to some of the early Upsetter LPs such as Eastwood Rides Again.
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077
Eastwood Rides Again
The Upsetters
… as with “Curly Locks,” the sound is much simpler and stripped down compared to profuse works such as Blackboard Jungle Dub, and even compared to some of the early Upsetter LPs such as Eastwood Rides Again. For example, Cloak and Dagger (1974) offers an album’s worth of atmospheric, instrumental jazz-reggae of a fairly traditional format.
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078
Cloak and Dagger
The Upsetters / Lee Perry
For example, Cloak and Dagger (1974) offers an album’s worth of atmospheric, instrumental jazz-reggae of a fairly traditional format.
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079
Kung Fu Meets the Dragon
The Upsetters
Gradually, however, Perry’s additive approach assumed the foreground on LPs such as Kung Fu Meets the Dragon (1975), in which rhythm tracks are reworked through the addition of electronic squeals, dissonant harmonica, incidental percussion, Augustus Pablo’s melodica, and Perry’s own vocalizing.
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080
Public Jestering
Lee “Scratch” Perry / The Upsetters
A series of versions from the Public Jestering compilation demonstrates his colorful way of elaborating his rhythm tracks.
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081
Africa Music Be Free By 1983
Hugh Mundell
Parts of Hugh Mundell’s Africa Music Be Free By 1983, Augustus Pablo’s East of the River Nile, and Max Romeo’s Revelation Time are all non-Perry productions recorded at the Black Ark that are nevertheless indelibly marked with Perry’s sonic stamp.
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082
East of the River Nile
Augustus Pablo
Parts of Hugh Mundell’s Africa Music Be Free By 1983, Augustus Pablo’s East of the River Nile, and Max Romeo’s Revelation Time are all non-Perry productions recorded at the Black Ark that are nevertheless indelibly marked with Perry’s sonic stamp.
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083
Revelation Time
Max Romeo
Parts of Hugh Mundell’s Africa Music Be Free By 1983, Augustus Pablo’s East of the River Nile, and Max Romeo’s Revelation Time are all non-Perry productions recorded at the Black Ark that are nevertheless indelibly marked with Perry’s sonic stamp.
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084
Heart of the Congos
The Congos
The Congos: Heart of the Congos Perry’s most widely-hailed work of dub-influenced mixing is probably the Congos’ Heart of the Congos album (1977).
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085
To Be A Lover
George Faith
George Faith: To Be A Lover Because it has been out of print for many years, George Faith’s To Be A Lover (1977) is one of the lesser-known works from this period of Perry’s oeuvre.
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086
Super Ape
The Upsetters
The Upsetters: Super Ape In addition to producing dub-influenced vocal albums, Perry also recorded a relatively straightforward dub album.
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087
African Roots
Lee “Scratch” Perry with Seke Molenga & Kalo Kawongolo
One of Perry’s most fascinating projects during this period was the African Roots album, a collaboration between him and two stranded Congolese musicians (Seke Molenga and Kawo Kawongolo) who turned up at the Black Ark in 1977.
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088
Roast Fish, Collie Weed and Cornbread
Lee “Scratch” Perry
This eccentricity probably made him more dependent on the international market and when Island Records refused four of his productions (The Congos’ Heart of the Congos, Perry’s own Roast Fish, Collie Weed and Cornbread, the Upsetters’ Return of the Super Ape, and Seke Molenga and Kalo Kawongolo’s African Roots) for reasons that remain unclear, it spelled the end of his deal with the company and the beginning of the decline of the Black Ark.
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089
Return of the Super Ape
The Upsetters
This eccentricity probably made him more dependent on the international market and when Island Records refused four of his productions (The Congos’ Heart of the Congos, Perry’s own Roast Fish, Collie Weed and Cornbread, the Upsetters’ Return of the Super Ape, and Seke Molenga and Kalo Kawongolo’s African Roots) for reasons that remain unclear, it spelled the end of his deal with the company and the beginning of the decline of the Black Ark.
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