Lee Perry is a myth. And although - with very few exceptions - he hasn't gotten anything worth mentioning since the late 1970s, his name is still very popular (at least among European and American producers). There are several reasons for this: Perry was undoubtedly one of the most innovative and creative protagonists of reggae in the seventies - but nobody would have been interested if punk had not discovered its weakness for reggae at that time and The Clash had not discovered Perry's “Police and Thieves ”. Since then, the name Lee Perry has been a solid brand in the consciousness of indie rock socialized music fans, which stands for pure (albeit alien) innovative strength. It goes perfectly with the fact that the madness of the eccentric Mr. Perry, which has now lasted around thirty years, is mostly confused with the genius of his early creative period. In addition, Lee Perry is (at least for the target group mentioned above) the inventor of the Dub. And since Dub was known to be the blueprint of remix culture, Lee Perry easily becomes the forefather of modern club music. Against this background, it does not seem surprising that the Lee Perry myth is often instrumentalized by producers and musicians outside the reggae context to enhance their own works. The most recent example of this practice is "The Orb Featuring Lee Scratch Perry Present The Orbserver In The Star House" (Cooking Vinyl / Indigo). Not that The Orb needed to push CD sales with the name Perry, after all, the band, founded by Alex Paterson in 1988, enjoys cult status as the founder of the house subgenre Ambient House. Still, I strongly suspect that Perry's choice was not musically motivated. The electronic orb beats and Perry's sharp, largely melody-free vocals harmonize like apple pie and Tabasco - namely not at all. The Orb (in the incarnation of the duo Alex Patterson and Thomas Fehlmann) approaches the matter just as skilfully as Doubblestandart did two years ago with their album “Return From Planet Dub"By using Perry's" vocals "rather sporadically, like a sample, and giving the music more space - but then Patterson and Fehlmann could have recorded an instrumental album as well. This would not have turned out bad - but then it would have no place in this blog. And that leads us straight to the question, dear readers and friends of reggae, what could be of interest to you about this album? Not much, unless you are also an avid listener of minimal electronics - or really fanatical collectors of Perry material who, for the sake of completeness, also want to incorporate this latest Perry audio document into the collection. If neither is true, then you can safely forget about "The Orbserver In The Star House" and this text and read on with the next review.