From this time through the ’70s, Perry produced an incredible volume of work under his own name and a plethora of imaginative pseudonyms: Jah Lion, Pipecock Jackson, Super Ape, the Upsetter, and his best-known alias, Scratch. Many singles issued during this era were significant hits in Jamaica and the UK, featuring instrumentals like The Return Of Django, Clint Eastwood, and The Vampire, which solidified Perry’s status as a key player in reggae music. Becoming increasingly flamboyant in his statements and appearance, Perry collaborated with virtually every artist in Jamaica alongside his exceptional house band, the Upsetters. It was in the early ’70s, after experiencing some of King Tubby’s groundbreaking dub techniques, that Perry developed an interest in this innovative form of sound manipulation. He promptly released a wealth of dub albums and ultimately established his own recording studio called Black Ark.
It was here that Perry produced and recorded some of the earliest iconic Bob Marley songs. With the Upsetters’ rhythm section, consisting of bassist Aston “Familyman” Barrett and his drummer brother Carlton Barrett, Perry led the Wailers through many of their greatest achievements, capturing powerful tracks like Duppy Conqueror and Small Axe. Unfortunately, the good times didn’t endure, particularly after Perry secretly sold the tapes to Trojan Records and kept the proceeds for himself. Chris Blackwell, head of Island Records, swiftly stepped in, signing the Wailers to an exclusive deal and leaving Perry with hardly anything. For years, Perry derogatorily called Blackwell a vampire and accused Marley of currying favor with politicians for profit. Yet, these setbacks didn’t hinder Perry’s output, as he continued releasing new material and an extensive range of anthologies.
All that relentless effort was taking a toll on Perry’s already fragile mental health, resulting in a breakdown. Tales of his mental turmoil were intensified by gossip about significant substance misuse, despite his public position of refraining from all drugs except for ritualistic marijuana. These narratives, like much else related to Perry, blur the lines between truth and fiction. However, one aspect that was undeniably factual is that Black Ark, along with everything inside it, was reduced to ashes. Accounts of how the fire ignited differ, but one story claims that Perry set the studio ablaze in a fit of uncontrollable anger, believing that Satan had claimed Black Ark as his domain. Shortly after the blaze, Perry, increasingly disillusioned with Jamaica’s music scene, decided to leave the island.
The Upsetters is the name assigned to the house band for Jamaican producer Lee “Scratch” Perry. This title was inspired by Perry’s moniker, the Upsetter, stemming from his track I Am the Upsetter, which was a musical rebuke of his previous employer, Coxsone Dodd.
Initially known as Gladdy’s All-Stars, and led by pianist Gladstone Anderson, they were the original artists behind the international hits “Live Injection” and “Return of Django.” When the All-Stars had other engagements that kept them from touring, a different band called The Hippy Boys was brought in for the UK tour. This lineup featured guitarist Alva Lewis, organist Glen Adams, along with brothers Aston “Family Man” Barrett on bass and Carlton Barrett on drums. Under the guidance of Lee “Scratch” Perry, this group provided backing for Bob Marley consistently, particularly on the albums Soul Rebels and Soul Revolution Part II.
By 1972, the Barrett brothers had joined The Wailers, prompting Scratch to recruit new musicians to fill their spots. The core Black Ark Upsetters then included Boris Gardiner (bass), Mikey Richards, Sly Dunbar, Benbow Creary (drums), Earl “Chinna” Smith (guitar), Winston Wright (keyboards), and Keith Sterling (keyboards).