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Back with their first album in over forty years, On-U Sound's original house band, Creation Rebel is back with a vengeance.
With an album titled after former Prime Minister Theresa May's heavy-handed immigration policy, the band who originally formed to back the late Prince Far I on his European tour and went on, along with with Adrian Sherwood, to spark a punky reggae revolution in the U.K. with the developement of On-U Sound, is dread in every sense. Serious music for serious times.
Original members Crucial Tony (guitar), Charlie 'Eskimo' Fox (drums / vocals), and Mr. Magoo (percussion / vocals) come together (Keith 'Lizard' Logan, their original bassist has passed but is present in tribute, a print of his image adorns the insert) with bass player, Kenton 'Fish' Brown and keyboardist Cyrus Richards for the album. Of course, Sherwood is at the controls!
It was pressed on yellow vinyl and the A side is set off by Swiftly (The Right One) which, fittingly, features vintage vocals from Prince Far I as well as the conscious singing of Mr. Magoo. Production is crisp and the players are tight.
Stonebridge Warrior is a version, or instrumental, it's steppers type beat drives the track that treads the line between dub reggae and jazz. Quite sophisticated when juxtaposed with the groups early work.
Drummer, Eskimo Fox steps up to the mic for Under Pressure, singing, deejaying and generally nicing up the tune.
That's More Like It is a dub, the instrumentation is spacious, leaving plenty of room for Sherwood's mix-board wizardry and sound effects. The spaced-out psychedelia present in earlier work from the group, like Starship Africa, is captured on this track.
Jubilee Clock rounds out the first side on a strong note, another steppers type track with peaking bass, play it loud!
This Thinking Feeling sets off side B with pure fire, pairing posthumous Prince Far I lyrics with lyrical assassin, Daddy Freddy, who has collaborated on a few On-U releases, of late.
Another Mr. Magoo vocal track, Whatever It Takes is an uplifting one accentuated by Dean Fraser's saxaphone and trumpet by Okiel McIntyre.
The jazz infused Salutation Gardens Crown Hill Road is a dub with haunting keys and space age reverb and delay that the label has become known for.
Gaudi is the guest synth player for The People's Sound (Tribute To Daddy Vego), another heavy dub version with all of it's players in top form.
The final cut is Off The Spectrum, ending the LP in a fine style. From the tip-top to the last drop, this one is a winner.
Here's an interview from On-U Sound with the group discussing the new album.
This is a digital only release. I've often neglected non-vinyl releases, in the past; however, there is an environmental cost to record production, as much a we'd love to see a green alternative to the carbon footprint of pressing plants, we're not there yet... not even to mention the current delays in actually pressing records. So, compromise becomes necessary. I never wanted to be dogmatic, anyway.
I read that Kevin Richard Martin (The Bug) described this as the first, non-dancehall / reggae, one rhythm album. The practice is standard within the genre of Dancehall, evolving from the early days of dub, in which the original "riddim," or backing track, was repurposed, remixed and repressed multiple times, resulting in myriads of songs with the same drum & bass-line. Each tune was customized by the studio wizardry of the producer, as well as with further instrumentation, singing or toasting.
The Bug's sound has evolved over the years with several phases, and unique sounds, influenced by the drum and bass of dub and dancehall, as well as by the D.I.Y. ethos of punk, all the while. (Check out the CULTCHA Clash Outer National Artist Profile: Kevin Richard Martin / The Bug). Some of his more recent work has minimized all of the block-rocking beats of past works, like London Zoo (2008 Ninja Tune), and stripped the sound down to a raw, aggressive and heavy ambience, oxymoronic as that may sound. The result is stunning.
This latest venture is sort of like that. The "trudging through the mud" pace may not be too noticeable when juxtaposed with the energy of some of the guest artists on these tunes.
The late Nazamba, who's life was cut short due to a heart attack earlier this year, sets things off with "Satan." A righteous vocal performance that blurs the line between dub poetry and dancehall, is starkly contrasted by the next track, "Shamed," on which JK Flesh growls and grunts his verses with the rage and furor of a rabid dog.
A few names that were previously unknown to me come with some pretty impressive work, like HTRK, YL Hooi, Fatboi Sharif and Relly.
"Your Laws Aren't Free" features Jaimie Branch, American composer and musician who passed away last month.
Several prior collaborators with Martin are featured, Roger Robinson's "Please, Please" evokes memories of Robinson's London Zoo contribution, "You & Me." The pair (Martin & Robinson) have amazing chemistry as is made evident by their discography as King Midas Sound.
U.K. rudebwoy Logan kills the riddim with "Judgement Time," lyrically double-timing the down-tempo.
Dis Fig, whose In Blue LP (2020 Hyperdub), with Martin, displayed their "Tunnel" style of dub-infused, electronic music, makes an appearance on "Too High."
Experimental Hip-Hoppers, Dälek, come with the hard-core on their tune, "Fractured."
My personal favorite version is "King Of The Cage," on which Mark Stewart's vocal stylings intermingle with the spacious groove.
Wrapped up with the instrumental version, all 17 tracks are well worth a listen.
Back to Martin's point about this being the first album of it's kind*... I'm sure that his well of information is more vast than mine, but, to my knowledge, I would have to agree that this is a first, as well as the most eclectic mix of artists on such an album.
* I was corrected by Bug Man, himself, who remembered that there were two or three one-riddim grime releases that were released prior to Absent - respect due.
Much props to The Bug for always innovating, never imitating, and coming with original concepts with each new release. Check it out!
Infinite Felines is CULTCHA Clash Outer National's Animal Activism Project, we care for over 40 feral and domestic cats at our home, we'll be sharing our activities on our new blog, check it out!
Once again, in usual C.C.O.N. fashion, I'm a little late on a few of these titles. However, some of the vinyl pressings are also late, relative to the release dates.
To begin with, Disintegration Dubs, the full album release split between JK Flesh and G36, which was released digitally on Pressure last year. The wax is out now, mine just arrived the other day.
The double record set comes superbly packaged with artwork on the inner sleeves, as well as track listing and credits that clarify some of the mystery behind G36, who had previously been described as a Japanese Anarchist collective. Kevin Martin (The Bug), come to find out, is 1/2 of G36 and is credited with the first track on each side.
Martin's contributions here, such as "Wrong Place, Wrong Time" and "Body Crusher" are synth heavy, evolved steppers tracks, which may invoke images of marching stormtroopers or mass destruction, depending upon the listener.
The second track on each side is credited to G36's Gorgonn, who's "Sulfer" sounds like a slow motion dancehall riddim with flanged claps propelling the sound. "Ghengis" is percussive, reminiscent of 23 Skidoo's more ambient work, to me.
JK Flesh is credited with the third song on each side and he brings more of the hypnotic groove to the album. Atmospheric, industrial soundscapes, are the vibe... some not too dissimilar to something from Cabaret Voltaire's Johnny Yesno soundtrack, not to say that there is anything at all "retro" about this work.
Recorded in Berlin, where G36 is now based, the minimalist techno element is ever present in all of Disintegration Dubs. However, this bass-bin rocker is also heavily infused with abstract dub elements that make it not only club friendly but a captivating listen, beginning to end. Released on Pressure, The Bug's label, and available from Bleep or Bandcamp... this one comes highly recommended.
Various Artists - Pay It All Back Vol. 8 (On-U Sound)
Pay It All Back Vol. 8 is the latest in the long-running series of samplers which spotlight On-U Sound's current crop of artists and projects.
Set off with "You'll Own Nothing" by Mad 45 - an American toaster who has obviously been influenced by the likes of On-U veterans Gary Clail and Andy Fairley - with an ominous forecast for late-stage capitalism over a sparse dub-step-ish track.
"Many Names Of God" is a metaphysical journey across the universe with Lee "Scratch" Perry featuring LSK. The chorus comes off a bit like one of those "Coexist" bumper stickers, jetting across the universe on a supernova. Rhythmically, this one moves - the energy reminds me of a previous P.I.A.B. entry, "What A Wonderful Day" by African Head Charge.
The mighty Tackhead return with two contributions, "Rulers & Foolers" and "I Don't Wanna Work A Fake Job" (this one particularly speaks to me!) - heavy alternative-electro-funk jams with Mad 45's slightly white and nerdy rapping style reminiscent of Bay Area leftists, Consolidated.
African Head Charge return with the tribal, club energy of "Asalatua" and Creation Rebel appear with an awesome new tune, "Stonebridge Warrior."
Jeb Loy Nichols brings his Country-Reggae style with "What Does A Man Do All Day?" There are two previously unreleased Andy Fairley tunes that do not disappoint, "Your Best Tune" and "Deranged Man." LSK makes an appearance with "Money Masters," a fine display of his smooth, conscious lyrical flow. The Ital Horns cut, "Metropolis" is a fairly conventional instrumental cut (with subtle vocal samples) that sounds fresh and vibrant.
Sherwood & Pinch contribute two tracks, the comical "Excessive Drinking" and the hardcore, "We No Normal" with vocals from Daddy Freddy.
As the series has been for nearly forty years, P.I.A.B. 8 is a excellent example of the variety of artists and groups that record under On-U Sound for the great producer, Adrian Sherwood.
Various Artists - Dub No Frontiers (On-U Sound / Real World Records)
The long-awaited compilation, Dub No Frontiers, that features non-English language, female vocalists performing on Reggae / Dub rhythms, produced by Adrian Sherwood, is finally almost here!
It's been many years in the making, I've looked forward to it's release with much anticipation, release date is September 30 and it's available at Bandcamp.
Check out the video for Rita Morar "Meri Awaaz Suno (Hear My Voice)" here.
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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