Lee “Scratch” Perry & Bob Riddim: Destiny

On August 29, 2021, Rainford Hugh Perry aka Lee Perry aka Scratch aka The Upsetter aka Pipecock Jackxon died at an extremely old age and yet surprisingly for many. One, if not the pioneer of reggae and Dub-Genres. The man who says he saw the inside of a recording studio for the first time at the age of 26 and released his first debut single “Old For New” – a driving ska number – at the age of 30. The “Salvador Dalí of reggae,” as some reverently called him, took on the Wailers in their early reggae days and shaped them into what they later became – global stars. The Upsetter sessions produced the original versions of “Duppy Conqueror,” “Small Ax,” “Keep On Moving,” “Trenchtown Rock,” “400 Years,” and countless other classics.
Between 1974 and 1979, Scratch produced some of the decade's most captivating music using relatively primitive equipment at his Black Ark Studio. These include big hits like Susan Cadogan's popular cover of "Hurt so Good," Junior Byles' hypnotic dirge "Curly Locks," and a number of roots anthems like the Heptones' "Mistry Babylon," Max Romeo's "Sipple Out Deh" (aka " War in a Babylon”) and Junior Murvin’s strident “Police and Thieves.” Even during his lifetime, Lee “Scratch” Perry was considered an enigma, eccentric, pioneer and genius at the same time, and somehow every description applies in its own way, although the boundaries to madness were often fluid. Globally revered Grammy Award winner Lee “Scratch” Perry took reggae into sonic realms no one had ever ventured before, and for that he will forever have my respect.

All of this is already an essential and important part of Jamaican music history. A little more than two years after his death, his last album “Lee 'Scratch' Perry: Destiny“ (Delicious Vinyl Island), which the magician was still working on together with the Canadian producer and musician Bob Riddim. The special thing about this project are the collaborations that Bob Riddim, who wrote and recorded most of the instrumentals himself, suggested to the Jamaican veteran Perry. Perry shares the microphone with singers from the younger generation. Evie Pukupoo, founding member of the group The No-Maddz, can be heard with his gentle voice on the album's title track, which is based on a modern roots reggae beat. We hear classic elements like heavily reverbed snares and some nice guitar licks. You can also hear David 'Jah David' Goldfine from the Zion I Kings with a brilliant bassline. Kabaka Pyramid supports the project by denouncing those who judge people based solely on the color of their skin in the song “Black”. Perry returns to his spoken word style here and sounds almost like an invited guest on the track. Xana Romeo, daughter of the no less legendary Max Romeo, with whom Lee Perry produced the milestone “War Inna Babylon”, comes with a successful and original cover version of “Police And Thieves”. The original, produced in 1977 by Lee Perry for the singer Junior Murvin, is this time transformed into a dubShifted in a bigger direction, with Xana Romeo staying quite close to the original in terms of phrasing. A brilliant adaptation of the original, Perry shows he is still capable of carrying a vocal line with aplomb. The trio Leno Banton, Blvk H3ro and Wayne J bring a more urban vibe around a hip-hop beat with “Ring Pon My Finger”. dubbig reggae style. The spirituality of Yaadcore fits Perry's world perfectly on Infinity. Not to forget the opener “I Am”, a rich, dubgreat piece reminiscent of the glory days of Black Ark. It shows an age-wise, almost linguistically reserved Lee Perry, who is far removed from the machine gun-like babble that was common with him just a few years ago. The second track on which Lee Perry can be heard solo is “Space Echo”, which is divided into three parts and is accompanied by beautiful Nyahbinghi drumming. I would like the piece, which is over seven minutes long, even better if Bernard Lanis didn't keep singing the same melody over and over again with his saxophone.

Of course “Destiny” isn’t one Dubalbum in the traditional sense, but that fits very well with the legacy of Lee Perry, because his albums have always been exceptional. Scratch and Bob Riddim create a trippy, ethereal atmosphere with their spacey, repetitive patterns Dub takes it to a whole new level of psychedelic immersion. The album features many emerging Jamaican musical talents, but the glue that holds the album together in my opinion is Lee Scratch Perry and his inimitable skills. With its nine tracks, “Destiny” must be viewed as the final creative impulse of this reggae legend and is further convincing proof - if such was ever needed - of Scratch's ability to renew itself to the rhythm of the generations. RIP Lee 'Scratch' Perry!