Community Unity Love Truth Compelling Humanity's Abidance
CULTCHA Clash Outer National: Global-Community-Radio Broadcasting, Online Marketplace, Digital Zine & Subversive Propagandist Organization.
Combatting the mundanity and commodification of human existence with Art, Music, Comedy, Social-Criticism and the Promotion of Alternatives to Corporate Culture.
Fresh for 2022, Mark Stewart is at it again. This time in the form of a digitally released collaborative project with an all-star lineup of guests who are kindred in a free-thinking, status quo challenging aesthetic in art.
EBM commandos, Front 242 guest on the first track, 'Rage Of Angels' which hits as hard as a soup can chucked at a dome. The arpeggiated synths reminiscent of a slow-paced 'I Feel Love' by Donna Summer, the sample used on Mark's track, 'Fatal Attraction.' Stewart's cryptic lyrics delivered with an urgency that is reflective of the state of a world on the edge of destruction.
'The Last Enemy' is produced by West Coast stalwarts Mark Pistel / Consolidated, the heavy, Tackhead-esque beat is doubled up with a drum 'n' bass break to devastating effect.
'Ghost Of Love' is one of the standouts, featuring Eric Random, it's deranged techno sound is infectious, and is the perfect platform for Mark's heavily affected rant.
Previously released on 12" single, 'Outlaw Empire (Adrian Sherwood Dub Mix)' with Nun Gun is an excellent, abstract version on which Mark refers to "The collapse of everything."
KK Null, old-school Japanese noise artist guests on 'New Error,' which is spoken word over sonic terrorism, eventually morphing into a distorted breakbeat and what sounds like digital annihilation... "Fear is the weapon, no sanctuary."
KK Null appears again, this time with Mike Watt (Minutemen) from what is likely to be the most conventional rock song that one will find on the album, 'All My Senses' is its title. Being that Watt has been a known fan of The Pop Group, this is a logical collaboration that feels like the artists really enjoyed recording it. Null's contributions are surprisingly complimentary to the instrumentation and vocals.
More on the sonic terrorism front, Bristol's Ye Gods appears on two tracks, bringing the uncompromising noise to new levels.
The album closes with 'Alpha,' a project with the late, great Lee "Scratch" Perry and visual artist Peter Harris, mixed by Adrian Sherwood. Proceeds from the single's initial release went towards the famous Alpha Boys School in Jamaica, at which many of reggae's original players of instruments were educated. Perry and Stewart wanted to create a song for children with this one, which is evident upon listening, although it's thoroughly enjoyable by all ages.
The CD and Digital release are available at Bandcamp from eMERGENCY heARTS, an Austin, TX based label. There are four Lathe-Cut 7" Picture-discs of songs from the album available in limited quantities, as well. Get 'em while you can!
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This is the updated edition of the book that David Katz originally released in 2001, after having been Lee 'Scratch' Perry's ordained biographer (Ghost Writer as Perry put it) since the two first met in 1987. This version includes a forward by dub poet, Linton Kwesi Johnson (who once referred to Perry as the Salvador Dali of Reggae), as well as additional chapters detailing Perry's activities of the 20 years since the initial printing, up to his passage from his physical being last year.
It comes highly recommended for fans of one of the most important (and mysterious) artists of the 20th century. He mystified fans and collaborators with his idiosyncratic mannerisms and esoteric, shamanistic approach to music making, as well as to visual art and to life as a whole. Whether one believes in magick or not, it's hard to deny that Lee 'Scratch' Perry seems to be divinely connected to some higher force that acts as his guide, according to Perry, telling him what to do next in his progressions.
Katz does an excellent job of conveying the science behind the methods to the madness of such a fascinating persona. Testimony from fellow producers and musicians, friends and (sometimes) foes, lovers and family, who experienced the Upsetter firsthand illustrate the imagination and inventiveness, excellence and excess, fame and fortune as well as frustration, isolation and, at times, outright belligerence that this complex and sometimes self-contradicting personality manifested. The good, the bad and the ugly is all in here, with tales, anecdotes, explanation and a thorough selection of discographical references spanning over six decades.
Lee Perry - Pussy Galore (Coxsone Records)
I generally refer to L.S.P. my favorite artist, but I'm ashamed to admit that I hadn't read the original printing. After reading this, I feel as if I could go back and teach my old self a class on the man! He was present in every Jamaican musical phase from Ska to Rock-Steady, to Reggae, when his 'People Funny Boy' single, inspired by what he witnessed at a Pocomania Church revival, marked it's onset. His studio experiments were the blueprint to Dub, he ushered in the DeeJay era with his unique productions, and his generous attitude towards developing artists. He made way for new generations of dub-masters like Mad Professor,Adrian Sherwoodand countless others, for years to come.
Even in his latter years he never ceased to experiment, refusing to limit himself to the confines of strictly reggae, he worked with the house music, techno, ambient, hip-hop, drum 'n' bass, dubstep, even noise and drone jazz producers and musicians, all of whom's respective genres had been, whether directly or not, influenced by him, initially.
He was massively influential, and was reintroduced time and again with each sub-genre that he made way for with his sound innovations. The first Bob Marley & the Wailers LP that I got, at about 12 years old, was Reggae Revolution Vol. 2, which was a German repress of Soul Revolution Vol. 2. I noticed that several of the writing credits said L. Perry, a name which I had also noticed on the debut LP from The Clash,which I had also just acquired recently,for production of "Remote Control" as well as a writing credit for "Police And Thieves."
It was a few years after that that I was introduced to the On-U Sound label by the compilation, Pay It All Back Vol. 2. I was a young straight-edge kid hearing abstract reggae for the first time, and it was a real trip. It was wild from the intro, when a raspy voiced deejay proclaimed... "Right!" and an incredible Dub Syndicate rhythm dropped in, Perry's ranting lyrics about "voodoo, witchcraft... and vampires" or his command to "Sell all your riches, take off your clothes and follow me" had me virtually entranced. I found a used copy of Time Boom X De Devil Dead not long after that and was equally as impressed and awestruck.
I was hooked on Scratch, though still quite ignorant of how massive his catalog of material was and how much direction that he provided for artists that he recorded for the Upsetter label, and later at Black Ark studio at his home in Cardiff Cliff. The music made there was often reflective of Jamaica's turbulent state of poverty, corruption and often times political violence in the streets.
There is an incredible amount of information within these pages, truly capturing a glimpse into the mind of a mystical figure. Artists as disparate as Brian Eno, Paul McCartney, John Martyn, Robert Palmer, John Lydon andBeastie Boys all cited Perry's groundbreaking work, most of them recorded with him at one point or another.
Beastie Boys still from "Sure Shot" video.
There were also some interesting ideas for projects that didn't come into fruition, Tom Tom Club, for example, who Scratch had spoken with about producing, but when the time came to make the album, Perry raised his hourly rate to an exorbitant amount and claimed that he would finish it in a matter of only a few hours, anyhow... Obviously the band opted out. Kurtis Mantronik allegedly requested a remix that was denied, as well.
Some of the highlights, to me, are the humorous elements... For example, before starting to make music, the young Perry was known locally as a dancer, a talent which earned him his first nickname, Neat Little Man.
The antics surrounding, and harassment of Robert Palmer by localsat the Black Ark during his session there was pretty hilarious, as well.
Another instance of comedy can be found at one of Perry's art exhibits for Dem Passwords, titled Death of Baphomet(and his puppet Jay Z - in the description), which he claimed was mostly to get a laugh out of his American fans.
His complexity is evident. Ever the joker and often one to behave spitefully, or perhaps act in the manner of a madman, in order to passive-aggressively thwart unwanted assailants who would attempt to infringe on his time or energy, Perry consistently produced music that dealt with serious social, as well as spiritual issues. There is no question as to his revolutionary intentions and his obsession with the abolition of wickedness and imposing death to the Devil.
The final chapters delve into Perry's exploration into visual art, encouraged and assisted in his creations, often times, with Peter Harris. Harris had begun filming Scratch for his 2007 film, Higher Powers, and the two would go on to work together extensively.
All of these details and more are included within these fifteen chapters, it's a hefty read, but well worth the effort. The Youtube playlist below contains the songs, albums, performances, interviews, documentaries and clips from art exhibits that are mentioned in the book. It contains nearly 2,000 entries... Enjoy!
Youtube Playlist: People Funny Boy - The Genius Of Lee 'Scratch' Perry
The last two months of reading this has been a crash course in his work, for me. Check out the Dicogs.com list that I compiled while reading, I tried to include every Perry release mentioned. Releases not mentioned in the book will be added to the end.
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This is the latest, of several recent, major releases from On-U Sound, the legendary Jamaican vocalist makes his LP debut for the label and for producer, Adrian Sherwood. The result, a spectacular collection of new and recreated tunes that bring the unique voice from reggae hits at Studio One, Bunny "Striker" Lee's and highly acclaimed collaborative efforts with Massive Attack, into the 21st Century and beyond.
I've been a fan of Sherwood's production since I was a teen, On-U Sound being my first exposure to Reggae legends like Lee "Scratch" Perry, Prince Far I, Mikey Dread and Bim Sherman, as well as effectively acting as a gateway into dub (concurrently with a few of the ROIR tapes that came out at the time). On-U releases constitute a substantial amount of the material covered by CULTCHA Clash Outer-National, but as of late, his production has been particularly impeccable.
The dedication to the craft, precision of detail in sound and skill level of the musicians involved is evident with 2019's Heavy Rain, from Lee "Scratch" Perry (his first album to reach #1 on Billboard's Reggae Album Sales Chart). The same is true of this one, every track is top quality.
Set off by an update of Horace's 1979 Tapper Zukie produced "This Must Be Hell," the original of which rode on a version of the Take Five riddim, Sherwood's sparse adaptation acts as a perfect platform for Andy's silky smooth delivery of lyrics which are as relevant today as the day that they were written.
"Easy Money" evokes the sentiment of Andy's mid-seventies hit, "Money, Money," on which he declared it to be the "root of all evil." This time advising the listener as to the dangers of preoccupation with material gain, the refrain, "Fading just like yesterday" sends the message home. As an added bonus, the melodica on this track is from long-time On-U collaborator Doctor Pablo.
"Safe From Harm" is reworked here, not straying too far from the format of Massive Attack's version. The instrumentation is crisp and orchestrated with great sophistication, complimenting the fresh vocal delivery.
A vintage On-U Sound rhythm, previously used for Dub Syndicate's "Overloader" and "Hands And Hearts" by Congo Ashanti Roy, is resurrected for "Watch Over Them," a righteous tune which was co-written by Daniele Gaudi.
Gaudi's crucial contributions to the LP are noticeable on nearly every tune in the form of a vast variety of keys, as well as backing vocals on the socially / class conscious "Materialist," which Andy originally sang for Niney The Observer in 1977.
Andy engages in wise introspection with "Today Is Right Here," and "Try Love" is moving, gliding on the late George Oban's bass-line.
Next is a reworking of the 1976 single, "Rock To Sleep," a taste of smooth Lovers Rock with subtle string work from Ivan "Celloman" Hussey.
"Careful" finds Andy, once again, imparting proverbial knowledge to the young generation over an affected rhythm track.
The final cut, "Mr. Bassie," was featured on the compilation, Pay It All Back 7. A musical reworking of Andy's hit, "Skylarking," closes the album on a strong note.
All around an incredible work. I had hoped to hear an autobiographical tune as Sherwood has evoked from other greats like Perry, Prince Far I and Mikey Dread... perhaps on a future 10"Disco-Plate? A little wishful thinking can't hurt.
A final note, while on the topic of On-U Sound, the latest compilation, Pay It All Back Volume 8, is available for pre-order at the following link:
Highly recommended for fans of one of the most important (and mysterious) artists of the 20th century. This updated version (original pressing published 2001) traces Perry's activities in the new millennium, up to his untimely passing from physical form in 2021. He mystified fans and collaborators with his idiosyncratic mannerisms and esoteric, shamanistic approach to music making and to life as a whole. Whether one believes in magick or not, it's hard to deny that Lee "Scratch" Perry, if anyone, seems to be spiritually connected to some higher force that acts as his guide, according to Perry, telling him what to do next in his progressions.
Katz does an excellent job of conveying the methods to the madness of such a fascinating persona. Testimony from fellow producers and musicians, friends and (sometimes) foes, lovers and family, who experienced the Upsetter firsthand illustrate the imagination and inventiveness, excellence and excess, fame and fortune to frustration, isolation and sometimes belligerence that this complex and sometimes self-contradicting personality. The good, the bad and the ugly is all in here with stories, anecdotes and an excellent selection of discographical references spanning over six decades. 5 Stars!
I'm working on a full overview of the book with links and accompanying playlist on my website soon, stay posted - www.cultchaclash.com
