Lee 'Scratch' Perry + King Capisce

Regarded with awe throughout the music world, Lee “Scratch” Perry holds status as one of the most enduring and original reggae producers and artists of all time. From his early days in the 1960’s as a singer and engineer for Coxsone Dodd’s Studio One in Kingston, through his production of the seminal Wailers’ classics African Herbsman and Soul Revolution, Perry’s innovative style marks him as one of reggae’s original treasures. His on the edge creative genius remains evident in his own solo albums of the 1970’s through his steady stream of mind-boggling releases of the 1980’s.

One of reggae’s undisputed pioneers, Lee “the Upsetter” Perry has worked with almost everyone from the Heptones to the Skatalites to the Clash. Certainly one of his most notable contributions was the pairing of Bob Marley, to Peter Tosh, and Bunny Wailer with the Barnet Brothers (Carley and “Familyman” who had been the heart of the Perry’s group, the Upsetters) and thus the forming of the Bob Marley and the Wailers.

After his own studio, “Black Ark,” burned to the ground in the late 1970’s, Perry laid low for a while, only to resurface with a vengeance in England in the mid-1980’s. He went back into the studio with a variety of partners, from Adrian Sherwood to Terence Trent D’Arby. During this time, Perry took up residence in the Swiss Alps (“The mountains give me the fresh Swiss air to replenish my structure so I can soon join the immortal race”). Proof positive that talent on this scale will win out no matter what, since the “madman” has come down from the mountain, the World Music market has been gifted with more Lee Perry Product.

Perry’s stream of consciousness rants have been called the babblings of the lunatic by some to the offerings of a prophet by others. Either way, his unique dubbing style is infectious. Often, the words are broken down into their purest elements, sound and feeling. Perry’s groundbreaking use of sound effects, echo reverb, and rewind adds a new dimension to the folk tradition of Reggae and has influenced countless other artists.

In his plethora of newer material, “Scratch” expounds on his favourite themes of extraterrestrials, judgment, justice, corruption, carnality, and self proclamation, all over some killer riddims.

Always one to follow the beat of his own drummers, the eccentric genius Perry continues to break new ground with the hardest rebel Rasta tunes and the most unpredictable instrumental dubs. Lee Perry has most recently been touring Europe, riveting both old and new fans with a full measure of his blessings.

The “Upsetter” charges forward making music that recalls African roots, at the same time, it reaches for the vastness of the outer space.
Lee Perry has collaborated with Mad Professor since 1983 and has recorded a number of released and un-released albums.

Ari lp 055 Mystic Warrior
Ari lp 114 Black Ark Experriments
Ari lp 130 Who took the voodhoo out of reggae
Ari lp 134 Dub Fire
Arem lp 001 Techno Party

Each album has it’s cooresponding dub album, with more freaky mixes than the vocal versions.
Lee has done many tours with Mad Professor & the Robotiks. They have played all over Europe, Japan, Australia, Ireland, New Zealand, Argentina, Mexico and many exotic places in the world.
He has also do a series of TV commercials for Guiness.

Lee is perhaps the only 70 year old that can dance on one leg for 1 hour straight!

/// King Capisce
http://www.myspace.com/kingcapisce

Sheffield quartet King Capisce have been astonishing audiences for almost two years with their heady blend of post rock, jazz, dub and prog . Now they have emerged with an album that does justice to their bizarre and sometimes unsettling sound.

Swaggering opener ‘Cheer Up Cyclops’ throws us straight into the fray, with bassist Roshan Lal’s unique style launching into progressive riffing that momentarily binds the whole band together. Then there’s a sudden shift into Talking Heads-style hypnotic interplay of all the rhythmic elements, which saxophonist Rich Harrison dances over the top of with his unique timbre. The dynamism of this piece allows the band to demonstrate not only their technical talents (which all members have
in abundance) but their musical sensitivity, a noticeable feature across the whole album. The drumming of Tom Ashfield at the end of the track provides a perfect example of the two in balance. ‘Catastrophic Sex Music’ again begins with a swagger, but soon empties out to make way for a dubbed out section, giving guitarist Tim Feben his first opportunity to demonstrate mastery over his rack of effects before the rest of the band subtly build things up again in heaving
layers to a dramatic and unexpected finish. ‘The Rift’ starts somewhat slower, building up through repeating phrases is a more post rock style. The harmonic interplay between members is more spine chilling than tingling though - they manage to avoid the bland euphoria of lots of music in a similar style, replacing it with something indescribable and separate. ‘The Sharp End’ provides an exciting conclusion to the first section of the album with frenetic rhythms and lines dipping
into discordance in a manner not dissimilar to King Crimson before an ambient interlude changes the mood nicely for the more delicate ‘Diallelus’. Here the post rock stylings of the band come to the fore once more, with patterns emerging out of overlaid guitar riffs and pedaling bass before the sax introduces haunting melodies gently, never becoming overbearing. The song then explodes into a funky cacophony, with restrained but firm bass underpinning the wild nature of the rest of
the lines. The next piece explores similar territory from some hip hop beginnings, which arrive as a pleasant surprise after the eerie opening guitar phrase. The ending of this song is an enjoyable exercise in musical showmanship, with all members adopting a single, rapid melody which is punctuated perfectly by the beats. Tight. Another sensitive ambient interlude leads us to the final track. This starts with a complex but unobtrusive piece of rhythm making from Ashfield as the rest of the band paint over the top, at first with held notes and then with gradually intensifying harmonic phrases, creating what is perhaps the most conventionally beautiful piece on the album, flush with the tonal sensibilities you might find in a delicate piece of avant garde jazz.

Evoking nostalgia through music that sounds alien to anything previous is a masterful feat, and Capisce pull it off with aplomb. Staggering.

All this talking does them no justice. Basically just buy this record.