Back catalogue: Reggae

Review: Hey, Mr. Music! The expertly rediscovered North West London soul singer Candy McKenzie (sister of Bunny McKenzie) hears her Trojan Records debut, and only album, reissued through MOV. "Upset" by Lee Perry of all people - the late great dub producer titularly "introduces" McKenzie as person of interest here - this sole LP from McKenzie, first unearthed in 2011 but recorded unmistakably in the 80s - betrays a nonconformist character, crossing blurrily between percussive lovers rock and bubbly new wave. McKenzie's vocal style is aplomb and vigorous, and is well contrasted to the otherwise soothing laryngeals of Perry's many other femme familiars, such as Susan Cadogan.

Review: The legend of the late great musical maverick and fascinating soul that was Lee 'Scratch' Perry will never diminish, such was the impact of what he did in the world of dub and reggae. He sure did a lot of it, too, so reissues will always come thick and fast with the latest being Jamaican E.T.. It came on February 5, 2002 via the Sanctuary/Trojan label and went on to win the 2003 Grammy Award for Best Reggae Album. His psychedelic dub roots are at the heart of each tune with elements of modern, roots and lovers rock all featuring. Check his cover of 'I'll Take You There' for the real highlight here.

Review: Lee "Scratch" Perry, a Jamaican record producer, singer, and songwriter, is largely acclaimed for his innovative and experimental production techniques. His Black Ark Studio, established in the mid-1970s, became a renowned hub for reggae music production, fostering the talents of numerous artists. Perry's Black Ark studio was not merely a recording space but an alchemic laboratory where he conjured sonic masterpieces. With his use of tape loops, heavy reverb, and other unorthodox techniques, Perry created a distinct and hypnotic sound that transcended conventional reggae boundaries. Artists such as Bob Marley, the Wailers, and Max Romeo flocked to Black Ark to collaborate with Perry. In his studio, Perry's intuitive approach to music making blurred the lines between producer and artist. He considered himself a "musical doctor" whose role was to guide and inspire the musicians. The Black Ark became a sanctuary for musical experimentation, where artists were encouraged to explore their creativity freely. This vinyl has been out of print and completely unavailable until now.

Review: Being the prolific maverick he was known and loved for, we're still catching up with the output of the mighty Lee Scratch Perry long after his passing. Amongst the posthumous releases coming to light of late is this album on Tricky's False Idols label, in which Perry linked up with UK producer Daniel Boyle for a follow-up to their double hits of Back At The Controls and Black Album. It's a wide-ranging affair taking the dub approach to many different genres, with some noticeable contributions from artists like Greentea Peng, Shaun Ryder and Tricky himself. It's another fine reminder of what a gift of inspiration Perry was to the world of music, restlessly creative well into his later years.

Review: Scratch Came Scratch Saw Scratch Conquered is the 2008 album by Lee 'Scratch' Perry, legendary Jamaican producer, composer and singer known for his innovative studio techniques and pioneering contributions to dub music. From his Black Ark Studio in Kingston, Perry produced for artists like Bob Marley and the Wailers, Junior Murvin, and The Congos. Relocating to Switzerland later in his career, Perry continued to innovate, collaborating with The Beastie Boys, The Clash, and George Clinton. This album is the second in a trilogy created with English musician and producer Steve Marshall, also known as John Saxon. Featuring guest appearances by George Clinton and Keith Richards, Scratch Came Scratch Saw Scratch Conquered showcases Perry's enduring influence and creativity. The 2LP limited edition is pressed on translucent green vinyl and housed in a gatefold sleeve, with only 1500 individually numbered copies available. This release is ideal for fans of Perry's groundbreaking work in dub and beyond.

Review: This double-disc collection offers a fascinating glimpse into Lee Perry's evolution as a producer during a pivotal year in reggae music. 1970 saw Perry at the top of his game, fresh off the success of Return Of Django, and these recordings capture his adventurous spirit and groundbreaking studio techniques. The compilation features a wealth of instrumental works, showcasing the proto-dub experiments of his backing band, The Hippy Boys. With 14 tracks new to CD and many others unavailable since the 1990s, this release is a treasure trove for dedicated Upsetter fans. From the infectious grooves of 'Yakety Yak' to the dubwise explorations of 'Bush Tea' and the soulful sounds of 'Let It Be', this collection is a must-have for any reggae enthusiast.