How many times have I been asked to review a new Lee Perry album? I stopped counting. My articles actually always had the same content. Here's the short version: important producer, interesting backings and the less you hear from Perry, the better. It's kind of tragic. Lee Perry, brilliant producer of the 1970s, innovative through and through, always a little crazy, but that's why it's also brilliant. A hero in music history, and rightly so. But instead of quietly enjoying his reputation, he decided to release countless more albums after the hand-held destruction of his legendary Black Ark studio - each one worse than the other. Nonetheless, the “Lee Scratch Perry” myth outshines all the inadequacies of his music from this side of the 1970s. Time and again, producers (not infrequently prominent) from a wide variety of music genres offered him sensational collaborations. And these always proceeded according to the same pattern: the producers went to great lengths either to reproduce the magical Black Ark sound as much as possible, or to create crossover tracks between their respective genre and Dubthat Perry could then, uh, “sing” about. However, Perry consistently avoided melody and content. With a little cynicism one could say that the DubVersions have always been the best thing about these albums.
Now we are dealing with a new Perry plant again. The main producer this time is perhaps no less legendary Adrian Sherwood. He has an outstanding position because it was he who wrested his only really good album “Time Boom X De Devil Dead” from Perry in 1987, around ten years after the Black Ark collapse. Even after that, the two found each other again and again, as they do now. The new work, "Rainford“(On-U sound), was created in different places around the world over the last two years and is marketed as the 83 year old's“ most personal ”work. Titled after his birth name, Rainford allegedly tells Hugh Perry about his life. However, I hardly manage to understand his mumbled lyrics. However, the album also appears in the form of elaborate editions - one even pressed on gold vinyl - with the lyrics enclosed as a booklet. Have fun while reading.
Do not get me wrong. I have great respect for Perry's contribution to reggae and music history and I also admire his energy to be in the studios and on the stages of the world in his old age. Perry is really unique. But unfortunately, unfortunately, his qualities as a songwriter and singer in the post-Black Ark era are extremely limited and I honestly have to admit: No matter how good the productions are, as soon as Perry adds his mustard, I'm just annoyed. It's no different with “Rainford”. Maybe even a bit worse: Sherwood tries to counter the scratchy toasting / singing Perry musically and often makes his backings sound no less gruff. A clever concept that produces really exciting music. But in combination with Perry's vocals it often just sounds chaotic. In short: I'm looking forward to the album “Rainford in Dub".
36 replies to "Lee Scratch Perry: Rainford"
High René!
Just by the length of your review you can see your inner conflict to evaluate this album more objectively than through the glasses or hearing aids of a completely infected on-U.Sound nerd. If I go to the level of rationality (for me almost even more difficult than for Lee Perry himself), I unfortunately have to agree with you on almost all points. I also have to (not only) have a high level of tolerance with "Rainford", especially towards the end of most tunes, because unfortunately he tends to use Mickey Mouse voices and noises that are more suitable for a baby with flatulence to be ridiculed. I don't know whether that's crazy or just resignation about the fact that music can't change the world after all. But I could also list a lot of Perry tunes where everything still fits for me. In “Rainford”, however, he already destroys the first tune towards the end, where unfortunately he totally loses it. Until then, I think the tune, including Lee Perry, is just really FAT! Unfortunately, towards the end I always think
mmmmh, you really can't play that to anyone else. Or fade out after two thirds ... Unfortunately there is too much of that on "Rainford". Or maybe we just have a different sense of humor than Lee Perry.
It is precisely the gruffness of the backings that makes this album something very special for me. And then we come full circle again, because I'm really looking forward to the album “Rainford in Dub“!!!!!
However, connected with the hope that there will be one at all. because neither of “Time Boom”, “Secret Laboratory” and almost all other albums with Lee Perry are complete DubVersions, as far as I've heard.
I'm a really big fan of Daniel Boyle (?), I think he also does magic in Cannada and together with Lee Perry he also delivers very cool showcase albums. At the moment I can't think of a single tune where Lee Perry nerishes or annoys me too much. And the DubVersions go deep into my core.
Well, let's hope for “Rainford in Dub“……………………. lemmi
Greetings Rene,
I've already written that here elsewhere (Pay It All Back 7):
“The album could only be topped with a few more Dubs from the master (AMS) himself. There would still be plenty of space on the CD ”.
I'm absolutely d'accord with you.
In my opinion, you're going a little too hard with the album!
Finally Sherwood manages to prevent Perry from babbling confused, meaningless stuff like a machine gun and then still annoying his cheeky croaking. Perry has never been able to sing and he will never learn it anymore.
Let's be honest, Lee Scratch Perry has been panting after his form since the end of the Black Ark and has been living off his well-deserved reputation for decades. Sometimes he delivers very lousy “ejections” and then again (relatively) beautiful works, which of course depends a lot on the producers, I agree with you. Only Adrian Sherwood and Daniel Boyle have succeeded in this feat so far, and I fear that nothing will change in the future. Perry would have been a zero for a very long time without these first-class producers, we all know that.
Anyway, I stick to the fact that “Rainford” is one of his better albums from the late phase. In any case, nothing annoys me about “Rainford”, not even Perry's croaks, we've been used to that for decades.
What for me puts “Rainford” way above the recent Perry releases is also the obvious discipline. Adrian Sherwood doesn't panic about making Perry's let's say “vocals / utterances” another part of the mix. You could even say in an equal, democratic Dub-Style. If so, then it's not a pure Lee Perry album anyway, more a collaboration between Scratch and Adrian Sherwood, who certainly contributed the more essential part. If you realize that neither protagonist is the obvious star of the show, then ... I repeat myself.
And last but not least, a very special thank you for your recommendations and we're back on the same line:
Guiding Star Orchestra - Natural Heights (current Riddim), Tomas Hegert - Dub på Svenska (Riddim years ago), Lightman - Roots and Nils Petter Molvaer to name just a few.
The northern lights (aurora borealis) are soooo beautiful and really can do it.
Stay tuned ... and happy Pentecost
This album tore me back and forth: I thought the teaser releases were awful, the album was much better ... but I was extremely annoyed about the horrible plastic bontempi production by AS. Then it dawned on me that exactly these Tupperware sounds are the right base for the comic strip character LSP - and suddenly everything was right again. LSP itself delivers flawlessly: just as he has always done and as one expects of him - and that at the age of 83. Chapeau!
I'm glad that you also have - at least a little - ambivalent relationship to the album. I am, in fact, a little very harsh in judgment with Perry. But this is my personal opinion and not a general judgment. The fact that you rate the album differently in part proves the subjectivity of my review. Incidentally, I usually try to express criticism in a cautious, constructive and conciliatory manner, because I know how much it hurts when one's own creative work, with which one identifies with and that one is proud of, is criticized.
But I just hated to write Rainford "beautiful". Perry is a legend, but that doesn't change the fact that his babbling about Rainford just annoys me. This becomes all the more clear to me, the more I want to be undisturbed, without being able to listen to Perry's “vocals”, the Sherwood rhythms - which is the case with Rainford on every track. Perry is not a gain for Sherwood's music, but a reduction in its quality.
Other producers have shown that there is another way by hiding Perry's voice largely in the mix:
https://dubblog.de/?p=2007
https://dubblog.de/?p=1695
https://dubblog.de/?p=1270
I mean, you are mostly right, René. I don't believe in talking more or less lousy releases nicely - not even if that is a "veteran" who delivered great years ago ... á la LSP or AS.
I also think that it is our job to break out of this strange, unconditional euphoria of homage (see Reggaeville & Co.) and see things as they are - as objectively as possible.
I myself am a sharp critic and I don't mince my words - I owe that to the music and the artist. You should constantly check and question what you love - artists cannot grow without criticism, especially since sales figures are no longer valid as a quality criterion; Neither do ticket sales to a die-hard community.
So, please: More courage to openly criticize - to free the artists from their “we-love-everything-what-you-do-bubble” and the music again in competition with each other, and most importantly, in competition with other genres to deliver. BMW showed the way ... make reggae great again, so to speak.
I think that you have to learn the blatant criticism first. When I discovered reggae for myself I was so enthusiastic and flashed that I wasn't even able to criticize anything. For me everything that came from Jamaica was sacred. Not just the music. It even went so far that I put all people of African origin above everything that "knows". The blacks (I even feel weird with this description) or the Africans were the victims and the whites were the perpetrators. The origin of all evil came from Europe. And that's not all that wrong. In the course of time I realized that even the Africans did not shy away from all kinds of brutalities. In addition, there were rituals that are still performed on little girls today, which I can only consider abysmally inhuman. Unfortunately, all these details contributed to the fact that I no longer like everything that has to do with Africa. Even today, really good imaginative music cannot do without African roots. I always find the rhythms, the melodies and actually everything musical from Africa (or with African roots) as pure upliftment. Whereas German music in particular could drive me into depressive suicide if I listened to it more often. Of course, we always have exceptions to the rule. For example Haindling or Hubert von Goisern.
But they are also so good because they allow African influences in their music and also convey them well for my taste.
Over time I noticed that the Rastas often only cook with water. Artists like Gregory Isaacs (Dead by Crack), Joseph Hill (probably too much rum) Eek A Mouse (crack), Buju Banton (Cocain) and musicians who genuinely believe that women were made out of man's ribs (sometimes think I, that's true), taught me that they are not all holy after all. That's why I would be much more likely to say to Lee Perry today that he sometimes gets really annoying. About 30 years ago I stood next to him at the gas station and although he is two heads shorter than me, I looked up at him.
Greetings ………… lemmi
All-inclusive tributes ... you are always wrong. I remember when I was in Jamaica for the first time in the 80s ... there was absolutely nothing like I imagined and how it was described in the reggae tunes. It was simply shocking, and the more often I was in JA (just for the sake of the music and the food), the more insight I got into everyday life in Jamaica. I still wish today that I hadn't experienced or noticed a lot. Rasta? Completely screwed up and egocentric up to the point no longer. Also a blanket judgment, admittedly - but I didn't get to know anything contrary ... not even from well-known artists I met. What you can hear from them on record does not correspond to what they live. They don't actually have to, but one expects them to be "real" if you already link a worldview with music.
As for black / white / whatever color: I don't care where someone comes from, as long as they don't bring anything disturbing irrational (= belief / religion) and live their roots. In this respect, I have problems with non-Jamaicans (that is, they were neither born nor raised there, nor have parental responsibilities) who speak broad patois. Ridiculous, regardless of whether they are Mellow Mood & Co. or a Faken Rasta from Grammat-Neusiedl.
Side note: The origin of all evil did not and does not come from Europe or elsewhere, but - and that has not changed to this day - from people who place one God above everything else. Religion kills.
Greetings Rene,
at the moment I have the feeling that apples are being compared to pears.
"Rainford" is a new Lee Scratch Perry (LSP) album under the direction of Adrian Sherwood. I can't help but get the impression that for you actually the fictional “Rainford In Dub“Would have been the non plus ultra, but“ Rainford ”is in fact not, here you have to accept the“ vocals ”.
The examples you have given are somewhat lagging.
In “Mad Professor and the Robotics featuring Lee Scratch Perry: Black Ark Classics in Dub“The“ featuring ”already indicates that LSP may appear a little. Even there you can hear goats complaining and babbling. These nuances seem to become LSP's trademark. In addition, these are not new titles but remakes of classic titles.
"Lee Scratch Perry & Subatomic Sound System: Super Ape Returns to Conquer" is such an overpowering, ingenious template that it really would have been an art to screw it up completely. In addition, these are ancient riddims as well as lyrics from the glorious Black Ark era, which LSP also partially quotes, so less spontaneous babble.
Those two albums are good, no “Super Ape Returns to Conquer” is very good. When it comes to Mad Professors Black Ark Classics, I'm a little bit split at times. “Soul Fire” actually always reminds me of this - I hated - Disco Fox and the remakes just don't really ignite.
In relation to “Rainford”, the two albums mentioned above generally have completely different approaches, “Black Ark Classics” are again shot through the wolf.
Only with "Lee" Scratch "Perry: Back on the Controls" do I agree with you, but that too - in contrast to "Rainford" - is a showcase album.
It may be that I'm on the wrong track. I too have verbally trashed LSP albums and then played them very rarely, but always in the hope of discovering hidden pearls. In my opinion, however, “Rainford” doesn't deserve that, because it's a new, independent album without any classic models.
If LSP's “singing / croaking / complaining whatever” bothers you, you have to go to the “Rainford In Dub" to hope.
See you ...
In the past I would have said that LSP would go to the studio with anyone who brings the necessary cash.
Today it will be enthusiast projects because you can't expect a profit ... unless you speculate about LSP's imminent demise: Then he will be celebrated as a pioneer without whom the music world would look different today. And his albums will sell or stream very well for a short time.
An allegation? Certainly, but we know: the business is merciless.
"Goat complaining and babbling"
Here, too, for me the dose is the poison. And especially with “Cricket On The Moon” I think it's a shame that it acts a little too extreme - also for my taste - in a pitch that gives you the feeling that you are just listening to the music and especially its listeners want to fool. Precisely because I actually consider myself a Lee Perry fan, I sometimes feel a little offended.
And it always resonates with me to get other people excited about Lee Perry and when I reach my limits when it comes to style, of course, I hardly hope that my colleagues, for example, will ever begin to understand why I'm such a fan of his.
To be honest, I don't think it's as bad as René rated the album. At least it was enough to get 4 stars ;-) And in my opinion he also makes it very clear that he likes the backings very much. If they weren't so good, we probably wouldn't have read anything about the disc anywhere.
“Side note: The origin of all evil did not and does not come from Europe or elsewhere, but - and that has not changed to this day - from people who place one God above everything else. Religion kills. "
I don't get along with that gtkriz. At least I have to make a counter thesis. It would be all good if we humans finally understood that (if there really is God, JAH, Allah) there is nothing and nobody about God. The mistake is imo not in the belief in God but in the fact that "the servants of satan" abuse the belief of the people and place religion above God and want to force upon us what, where and how we have to believe. And that's exactly how I interpret the song "Relijan ... .. killing in the name of the Lord" by Talisman.
I know people who are staunch atheists but basically strictly obey the 10 commandments without ever having read them. In the end, these people are “more pious” for me. than all popes ever existed, as well as their cardinals and all the other vatikangesox.
"Religion kills" !!! and belief in God moves mountains !!!
"What you gonna do when you know JAH is watching you" (Wailing Souls) ………………………. lemmi
"I believe that you have to learn the blatant criticism first".
That's Lemmi, you have to be able to hand out criticism but also take it with you. This is a very important learning process, because this is the only way to create the culture of debate that our politicians like to quote.
Unfortunately, I see more and more that many people no longer feel like dealing with criticism. For them, the “culture of debate” consists of giving the dissident one on the muzzle or, even worse, beating the hospital.
When I was at school you learned to question everything and not to swallow anything uncritically or to take something at face value just because it was printed somewhere. Learning to articulate and argue properly is very important and also promotes the use of the language. According to the current state of knowledge, only humans are able to communicate verbally. Unfortunately, when there is disagreement in public, this language ability takes a back seat and gives way to raw, mindless violence. This condition scares me.
I've never been able to do anything with these “Rastafarian” bawling “pseudo-Rastas”. Hence the corruption Ras Vorbei ;-))
A little treat on the side: the uncle of my brother's wife worked at Haile Selassi's farm, he didn't become a Rasta either ;-)
Nuja, lemmi ... it is imo okay if morality comes from common sense - but not if it is still determined today by some crazy psychos who wrote this or that book centuries ago. You have to read the parts once ... you don't believe what kind of abnormalities are in there and what kind of misguided, cruel, Tyran and inhumane God it is supposed to be.
But I think the topic goes too far here, I let myself be seduced by my disgust for religion, sorry.
PS: Many people believe more in God than in themselves or their neighbors ... how sad is that ...
“To be honest, I don't think it's as bad as René rated the album. At least it was enough to get 4 stars ";-)
@lemmi
To be honest, neither do I, René's criticism opens up a different point of view and I read his respect for LSP from every line. This is not a question
A “Rainford In Dub“Would have been better, c'est tout
What I wanted to say was that the comparisons (references to works) are a bit slow and I also tried to explain my point of view.
No lemmi, you're wrong! It was 3 stars, but I don't care about that either and if it were only 1 star, I would still have my opinion.
You can have a (different) opinion, you just have to know how to justify it and René definitely did.
Stay tuned ...
"PS: Many people believe more in God than in themselves or their neighbors ... how sad is that ..."
As you said, the subject is going too far here. I'm afraid you're right. But I can't help it now.
I not only believe, but I am firmly convinced that people who sincerely believe in God also believe in themselves and also have compassion for their neighbor. But “the unbelievers” can also do that, to use the words of a fanaticist. I don't know what reasons there can be as to why one now believes in God or not. To be honest, I do this out of sheer opportunism, even if that is not the whole truth now. I don't feel above every aspect of life. I have and had so much luck in life in many ways that in my opinion I could not help. I don't know where this tendency comes from, but I just wanted to thank someone for it. And since neither I nor any other person has consciously turned certain screws in my life, God was the most obvious thing I could turn to.
And when I then quite consciously discovered the reggae cosm for myself, it was clear to me that this music is not just made by people …………… ..
"Blessed is the man that walked not in the council of the ungodly" (STEEL PULSE) …………………. lemmi
"Blessed is the man that walked not in the council of the ungodly" (STEEL PULSE)
No: Psalm 1; Verse 1
Ey! come on now! Don't screw me! There were 4 stars! Mario Bart would say you just got rid of it ;-)
Or do I have to see a doctor now ?! ………………. lemmi
Just went to the doctor and he told me that I probably confused the 4 stars with On-U.Sound Vol. 7.
A little more concentration, please, Mr. Lehmann !!! ………………… .. lemmi
Greetings
@lemmi
"Goat complaining and babbling" - the dose makes the poison (Paracelsus)
I just don't understand what's bothering me because it isn't used as often as a dramaturgical device at all as it seems to you to be. But there are moments when the fly on the wall bothers you. Baby screams can even be found on “People Funny Boy”. No matter…
How, you want to evangelize your colleagues with Lee Scratch Perry to reggae? I am already a prophet today, you will never succeed. LSP is not intended for fleeting listening at work. I want to see the one to whom LSP's cosmos opens up with a fleeting listening.
I would like to emphasize that, even I am far from proselytizing anyone !!!
I just have to get rid of that:
Last night I had a visit from a very good old friend and "Dubhead ”, whose native language is English. We listened to the "Rainford" very carefully, step by step, and he pointed out semantic things that I / we can easily ignore with limited (school) English skills. I don't want to assume that someone doesn't speak English, that's not the point.
But mother tongue is mother tongue after all
"Cricket On The Moon" is an old fairy tale about a hopeless dreamer who is ridiculed by everyone but who never gives up his dream. The first words of the album are "People repent" (... repent), LSP is the cricket that is treated unfairly.
Some more aspects of many: The album is basically a tribute to many previous upsetter styles.
The album opener "Cricket On The Moon" is a quieter one Dub-Track, with references to Super Ape and Micky Mouse, which are considered Perry's classic stream of consciousness humor.
"Run Evil Spirit" is an exciting evocation against dark forces and quotes this classic upset Rocksteady Flow, combined with classic Perry Dub Melodies.
"Makumba Rock" then brings the "Black Magic Rock" track. Makumba is a traditional African phrase that is also frequently used in South American parlance and can be interpreted as "black witchcraft / magic". It fits the shamanic tendency of Lee Perry, that "dubby “Space Echo creates an almost psychedelic vision here.
"House of Angels" is a steady, almost gospel-sounding track.
With “African Starship” (based on Garvey's Black Star Liner), pilot Perry accompanies the listener on an interplanetary journey with classic ganja smoke Dub-Sound and meandering trumpets.
"Let It Rain" with beautiful cellos has a gospel-blues mood and Perry assures us that he won't die - let's hope so. "Let It Rain" has more serious lyrics about the familiar scratch theme of good and bad and and and ...
A Lee Scratch Perry "Monkey Reggae Party" ;-)))
Now I understand 100% Adrian Sherwood's statement: “It's the most intimate album Lee has ever made, but at the same time the musical ideas are very fresh. I'm extremely proud of what we've come up as a piece of work ".
It is noticeable that AMS does not speak of his album but that of Lee Scratch Perry. His album would then be “Rainford In Dub".
Let's take a look ... then we'll see ;-)
In any case, I know who is going to buy this cool piece today.
I like it when reviews are peppered with a lot of background knowledge ... You offer fine insights, Ras Vorbei!
LSP and reggae - can be divided into two phases: the 60s / 70s as a predominantly innovative producer ... and the time after that primarily as ... nuja, an artist who is produced by others and performs live. Should be taken into account if you want to introduce LSP to others.
By the way, I would like to mention the LSP subscription 'Panic in Babylon' with the White Belly Rats ... that's the very best that LSP has to offer in its late phase. I listened to “I'm a psychiatrist” in a loop for weeks ... a terrific production, and LSP's babble steered the producers into understandable paths. He should have got the Grammy for this album if it had been up to me.
Hey gtkriz, I hadn't heard Panic in Babylon for a damn long time, actually way too long. For me, the album is one of the really good ones, with the White Belly Rats LSP found a good backing band after almost 6 or 7 years of drought and moderate to poor output.
"Panic In Babylon" (Big Tune!) Has almost a brisk, almost ska riddim with a really fat fan and a "bouncing" organ - awesome ...
Yeah men!
Panic in Babylon is great! Above all and especially the title track creates ecstasy in me, as I have written before.
Yes, in my life it is always the case that I reach my limits very quickly and there is always someone who overshadows me or my enthusiasm. Your background knowledge is very well founded and always very informative for me. Because of you, I'm still online at all, otherwise it doesn't offer much for me. Apart from the music, of course. I also always like to flirt with my lack of interest. The only thing that really interests me is a complete and complete showering with great music or a great film. A book is almost too top-heavy for me. But well, I read two or three reggae books after all. My English is not worth mentioning. And as I said before, I am not interested in what someone sings, but how it is sung, toasted or rapped. Of course, I don't mind if I understand a text or mostly it is only the core messages of a text. I have often said to texts by Alpha Blondy, for example, “I have no idea what he sings about but the way he sings it, he can only be right.” In my small world, that is more than enough to be happy.
I have the impression that I often misunderstand myself and (despite a lot of text) still express myself too superficially. In any case, when I said “goat complaining and babbling” in connection with the dose, I didn't literally just mean exactly that. Besides, I'm often really into it. But let's just stick to "Cricket On The Moon". I think the tune is actually really great, but the babbling and blaring after about two thirds of the tune is simply exaggerated for my taste and it breaks the groove for me. The tune just isn't cool for me anymore.
I think that's a shame! But of course my tolerance and my enthusiasm for Perry goes far beyond this little "overdose of silliness" and the tune as well as the whole disc runs completely through with me (if I hopefully get it delivered soon). If you're already asking what's bothering you, I'll try to describe it. It is primarily the frequency of his voice that particularly annoys me in this case. I do not want to pretend to be superficial but it has been scientifically proven that the male sex cannot cope with frequencies that are too high. Ok, I admit, it's still a long way to the deafening frequencies of Maria Carry, but maybe I was able to get my problem across a little better.
Actually I'm not finished yet, but I have new discs at home ... I have to go now ....... until ……… lemmi
Ok, as it already got through, I don't have the record at home yet and accordingly my perception is still very superficial. At work, the record was sometimes more, sometimes less loud, and if I am now specifically looking for tones that I don't really like, then in the end I don't find that much that really annoys me. Especially “Cricket On The Moon” I always listened to full pot (2-3 times) and Perry came across quite awesome at minute xy: zv. When I hear it quieter, it's not that bad anymore and basically it's only short. With “Autobiography ……”, also a super tune and precisely because of that, a bit of a shame, someone or “something” always “sings” “I am the Upsetter”, so to speak in the background and I don't really like that either. But that is also against "complaining at the very highest level". My first impression of the record was actually pure enthusiasm and somehow I let myself be tempted to look for the fly in the ointment here.
My perception of music often (actually always) depends on many factors. We're not at Instagram here and I'm not telling you how thick I put the jam on bread, but the story doesn't really belong here again. But it may be funny for you and very embarrassing for me.
At gtkriz there was a record of Pickout All Stars in the playlist. It was one of the discs that I remembered very well. Now there were those as vinyl and three two one mine. Yesterday up on the plate and off it went.
Uiiii I thought “that’s a really dripping sluggish rhythm”. I was already "in other circumstances" and very open to all kinds of Dub. I listened to the whole first page and had a clue all along, but about that later. Then it was (finally home) "I have Seen" by Oku Onuora.
What a super-horny mega-slice !!! So far I have never fully heard it, but now it is my undisputed NO.1 !!! “If not yet, when” has pushed “The Groove” to number 1 from my internal charts. Linval Thompsen might say, “It's a big big big…. big tune “!
Then it was the turn of the second page of Pickout All Stars and I thought, nnnnnneeeee something is wrong.
Take the needle down again and let the vinyl LP run to 45. Boing! Suddenly I recognized the disc, as it was in the gtkriz playlist and I have to say, now I liked it a whole lot better. Well, I heard the whole first page at the wrong speed and just wondered a little why the riddims were consistently so nice and slow. Actually too embarrassing to “go public” with it, but I love breaking taboos.
Well, I would be happy if you could at least smile about it, otherwise it would have been better if I had kept the story with a true background to myself.
I greet you anyway ……………. lemmi
Damn right… the Oku Onuora album is awesome sound-wise, and it has really deep roots groves á la 80s on it… Simmons drums and so on…. wonderful!
Interestingly, the supadupa Riddims / production are from Najavibes, but their own new album is unbeatable in terms of boredom, the fat sound of the Onuora disc is also completely missing. Whether the Najavibes singer is still alive or is bored to death ... you don't know :)
It's strange how starkly different the two albums are ...
Another very exciting genre, cumbia, has its own sub-genre created by playing it too slowly: the cumbia rebajada. There is little information on this in German, so I have no idea whether they simply played the singles at 33rpm at some point (to only have to change every 5 instead of 3 minutes, haha) or battery-operated record or cassette players were involved at the end of their term. What was definitely involved is the sacred herb of the Rastafari, which is often sung about at Cumbia.
The Dub I imagine it to be really cool, because the bass then comes down even deeper: D
You are on the right track, I have that on the www. found:
“The“ Cumbia Rebajada ”is not danced at concerts or recorded in studios, but is a style that can only be heard on a turntable or cassette. These are songs that are played back with fewer revolutions than normal. This way, the music will be heard more slowly, as if the batteries of a recorder were dead. The rhythms are still tropical and happy, but slower, more numbing, almost like a cumbia that can be heard underwater ”.
Someone was definitely stoned and didn't feel like changing the incorrectly set speed from 33rpm to 45rpm or he just allowed himself a joke and whoops, “Cumbia Rebajada” was born. The singing also sounds completely muffled and almost "slurped". The original can only be recordings / singles pressed at 45rpm.
This is what it sounds like: https://song.link/i/284816033
Unfortunately does not work in the stream ;-(
There are plenty of examples on Youtube to get an insight. Is a matter of taste ...
You see ;-), that's what I always mean ... streaming is inadequate.
But a great tune that! Here we have our beautiful squeeze table again! Cumbia is also really a great rhythm, wherever I have to go. Probably comes from Africa rather than from d-country.
Greetings ……………… lemmy
I could now quote Burning Spear. "JAH is my Driver" !! JAH has not yet put the Najavibes on my way. Knowing full well that I would find them boring too. But now I'll see who they are. There we have it again, my disinterest! I just listened to the disc without asking who was actually playing. This information is important! It's just a CD cover. Small letters and so ……. my eyes not good!
Otherwise I would say Nyahbinghy or something like that …………………… lemmi
Greetings Lemi,
one of my favorite sayings is: “the human being is flawed” and I find it human when a mistake is made and one stands by it. Such things have happened to (almost) everyone - including me, unfortunately only some are unable to admit such things. Anyway, I think it's funny!
Regarding “Rainford” I can only say that at full volume I would have been pissed off by this croaking from LSP at the end of “Cricket On The Moon”. Possibly this should increase the damaturgy and we don't understand LSP again - who knows? I can understand your objections, too, sometimes LSP is a bit too much. But we have known that for a long time and already like this exalted person in his behavior. That's the way it is.
What is striking about "Rainford" is that LSP is very moderate and focused on the matter. I would never have trusted this living legend to do that again in my life. Maybe after LSP's death (no, he never dies) we will celebrate “Rainford” as his last great work. Time will tell ..
Taste is another very subjective thing. Personally, I like the voices of the two Sherwood girls Denise and Emily [(do you remember? “Hello Emily (LSP), Hello Lee Scratch Perry (child's voice)] very much and don't bother me at all.
"Rainford" is a classic (good) ON-U sound product, the more I listen to the work, the more I like it. I can't even count how many times this has happened to me at ON-U Sound.
Stay tuned ...
I never make mistakes !!! …………………. , -)
How long have you been playing a vinyl LP with more than 3 tunes per side on 45 ??????????????????
They made the mistake and I noticed it late. But I noticed it …… I noticed it ;-)… .. I still noticed it ……… lemmi
Greetings,
I just saw on 12.07/10. is there something new from the "Upsetter"; one of the legendary ON-U.Sound XNUMX ″ discoplates.
This is the info about it:
A follow-up to his recently released and critically-acclaimed "Rainford" set. The A-side of this EP serves up an extended version of album highlight “Makumba Rock”, vocal mashed into dub in classic Jamaican discomix style. On the flip is the essential non-album track "Heaven & Hell", a psychedelic funk shuffle with decaying horns disintegrating into the fog of effects and relentless upset wisdom. Both cuts are exclusive to this release, the latest in On-U's long-running and highly collectable discoplate series.
What I'm particularly happy about the two protagonists of "Rainford" is that the album is already sold out at Bandcamp, both on LP and CD. Obviously, surprisingly, Lee Perry & Adrian Sherwood have the taste of many reggae /Dub-Lovers then hit fully.
After the extremely positive response, maybe another will follow Dub-Album. Let's hope so!
Now that the album has been running at home under optimal conditions (great vibes in the form of great waves, with a perfectly sanded surfboard underfoot, in the form of "Healing Of The Nations"), I can understand that all too well . Regardless of whether Reinford hugs something at one point or another, this is in any case - as is so often the case with reggae - compensated for by excellent music and if I'm honest, I only find a few very few moments where Reinford - from my point of view - overshoots the mark a little.
I always wish that my colleagues and everyone I know in general would finally see that Lee “Scratch” Perry is the best. But when a SuperBigTune ends with the text “la, la, la, la …… kakakaka kackakakaa”, I always pour grist on the mill of those who think I don't have them all, if I always admit that Lee Perry is adamant a thousand and one times better than Michael Jackson, for example ………
But what I would particularly like to share is my enthusiasm for "Kill Them Dreams" !!!
In the meantime that has crystallized for me as the "top cracker". Could that be because the riddim sounds like it's from DUB SYNDICATE was recorded personally?!? The drums clearly sound like Style Scott to me and everything else is in no way inferior. The effects circus is once again completely to my liking. Anyway, the tune is my current number 1 !!! That had to
out now, so that you know ;-) ... .. A SoundSystem that does not have this tune in its program is a sound hitstim. Forget this sentence because it is superfluous. It was just a swipe for the "sounds" that put on more than one Romain Würgo song on a dance and think that Lee Perry is no good on a dance. I haven't explicitly heard that from their mouths either, but I haven't heard a Lee Perry Tune on a dance either. Except for me, of course. With me they all ran, from “Panic In Babylon” to “Secret Laboratory” to Time Boom - tunes like “Kiss The Champion” or “Jungle”. Ok, admittedly it was only a small dance floor but it was full! I didn't want to advertise myself here, but just get across what a great selector I was, or am ………… ;-)
In this sense :
“Killing Dancehall, Softly” ………… Lee “Scratch” Perry on the wire, Lee “Scratch Perry Ball Of Fire !!!!!! ……. lemmi
Greetings Lemi,
You have to give you one thing, you have good hearing ;-)), according to the credits, Lincoln “Style” Scott actually plays the drums on “Kill Them Dreams Money Worshipers” and that's why it sounds like it Dub syndicate.
Lincoln "Style" Scott's (RIP) death is, in my opinion, a really heavy loss for reggae /Dub.
Stay tuned ...
"Lincoln" Style "Scott's (RIP) death is, in my opinion, a really heavy loss for reggae /Dub. "
Apart from the many other heavy losses, you have put your finger really deep into my gaping wound.
There is so much that no longer exists. For example, I JAH Man concerts with his Jamaican band but the loss of the dated DUB SYNDICATE can no longer be undercut. I've seen them live at least 10 times. Extra hotel room rented and all the trimmings. And I was looking forward to at least 20 more live concerts from DUB SYNDICATE! Worst of all, I didn't "fall apart" in peace with Style Scott. At his (for me) last concert (in Cologne) that DUB SYNDICATE (as always) stopped after about 90 minutes and was ready for the evening. Somehow I had known in my subconscious that this would be our last date and I wanted more. I bellowed my heart out, so that there would be at least 5 encores, but the 2 encores stayed within the 90 minutes. I felt like half of my favorite pizza had fallen into the dirt and disappeared forever and ever in the swamp of crime. I was just too stupid to check that 90 minutes DubDrumming, a la Style Scott with a lot of flavor, could possibly be a bit exhausting. On the other hand, I wonder how the heavy metal drummers hold out, sometimes tapping the double bass drum for 2 1/2 hours. But that doesn't mean that I think that's good, because as you know, I already have enough to do with the simple steppers from Hinglan. Imagine that the downhill (these ole colonialists shouldn't come to me with racism now) would the UK steppersDub actually want to change more than just one nuance and suddenly come up with a double bass drum machine.
Rage against the machine …………………. lemmi