Lee ‘Scratch’ Perry
Shanachie Records has been delivering quality reggae albums since the 1980s, including their role as US distributor for the UK’s Greensleeves Records through approximately 1987, plus collaborations with Augustus Pablo via his Rockers International label. Now they’ve dropped Crucial Cuts From The Heart Of The Ark (1973-1978), a Lee ‘Scratch’ Perry compilation focusing on his Black Ark studio years – widely regarded as his most creative and productive period. This remarkable chapter in reggae history ended abruptly in 1979 when Perry, struggling with psychological instability and accumulated stress, burned down his own studio. The LP showcases Kate Simon’s striking cover photography and combines beloved classics with rare tracks and dub cuts that highlight the genius of Perry’s Black Ark era.
Max Romeo / Junior Murvin
War In A Babylon by Max Romeo represents an undisputed cornerstone of roots reggae, making its mark in 1976 with uncompromising social and political commentary. Using biblical imagery and Rastafari philosophy, Romeo crafts a scathing critique of oppression that leaves nothing to interpretation. He exposes the hypocrisy of those in power while calling for active resistance – delivering a message that continues to resonate powerfully today.
Junior Murvin contributes another 1976 masterpiece with Police And Thieves, where his haunting falsetto vocals and the track’s gripping musical foundation created an instant classic. The song addressed Jamaica’s escalating violence, particularly the bloody confrontations between criminal gangs and police forces that were tearing the country apart. Its impact spread globally, becoming particularly significant in the UK as a rallying cry during the Notting Hill Carnival disturbances of the same year. Also included in the collection is Junior Byles’ version of Fever, originally an R&B hit for Little Willie John that Peggy Lee later made into a global chart-topper.
Heptones / Carlton & The Shoes
From the 1960s into the 1970s, The Heptones established themselves as an influential vocal trio, creating the Party Time album under Perry’s guidance. Their contribution Sufferers Time stands as a solid roots reggae statement addressing Jamaica’s poverty and social inequality. The song amplifies the voices of the “sufferahs” – society’s downtrodden – while delivering messages of resilience and hope. The track merges deeply emotional vocals with appeals for spiritual fortitude, securing its place as an enduring anthem of resistance in reggae. Carlton & The Shoes contribute Better Days, which originally served as the flip side to King Koba’s Station Underground News in 1973 – King Koba being yet another pseudonym for Lee Perry. While the group enjoyed success working with Coxsone Dodd at Studio One, they never reached the international acclaim achieved by groups like The Congos, The Mighty Diamonds or The Heptones. Their heartfelt, soul-infused vocal delivery shines through as they express hope for “better days” ahead, maintaining unwavering belief that justice and positive change will eventually triumph.
Dub & Instrumental
The A-side showcases two signature Perry instrumental pieces, beginning with Vibrate On, where Perry collaborates with The Upsetters and Augustus Pablo to create this pulsating track. The vocal interpretation of this melodica-driven instrumental appeared as Reggae Music performed by Hugo Blackwood & Dr Alimantado. Following this is a dub treatment of The Congos’ celebrated Fisherman, which maintains a relatively calm atmosphere for a Perry production, allowing vocal snippets to float ethereally above the mesmerizing rhythm section while Perry skillfully incorporates his characteristic sound manipulations.
Opening the B-side is Scratch The Dub Organiser, representing one of Perry’s quintessential dub adventures. The track originates from Cloak & Dagger, an instrumental piece attributed to Tommy McCook & The Upsetters – a gripping, disciplined instrumental showcase built around Tommy McCook’s commanding saxophone performance. Perry’s dub interpretation demonstrates his artistic growth in the dub realm, as he floods the soundscape with strange effects and weaves in Dillinger’s vocals to construct a genuine masterwork.
Traveling In Dub from 1978 showcases Perry as a true dub virtuoso, as he transforms and twists Debra Keese’s (also known as Debbie Defire) vocal piece Travelling into something entirely new. The original track also inspired a lively deejay interpretation titled Green Bay Inquest by Lord Sassafrass. During the same period, Creator (Lord Creator) released the 12″ Such Is Life on the Seven Leaves Records imprint, featuring The Jolly Brothers’ Dread Dreader on the B-side. Perry’s dub contribution, Dreader Dub here feels more like an elegant instrumental arrangement punctuated by vocals and subtle dub elements.
Mysterious
ZaP Pow’s River claims the distinction of being the album’s most unconventional track. This Perry-stamped creation exudes mystery through its slightly jazz-influenced atmosphere, measured riddim tempo, and effects that conjure images of a gently flowing river with enigmatic depths. The recurring vocal passages introduce an additional layer that inspires meditative, contemplative, and introspective moods. It’s a masterful piece of artistry.