Lee "Scratch" Perry - Crucial Cuts From the Heart of the Ark (1973-1978)

Lee "Scratch" Perry: Genius? Madman? Mystic?
There’s no doubt that Lee “Scratch” Perry is one of the most consequential figures in the history of music. A creator of countless reggae classics, a mentor to Bob Marley, an architect of dub music, and an inspiration to artists ranging from The Clash to the Beastie Boys, Perry’s influence is vast and undeniable.

Though Scratch often appeared eccentric—perhaps even unhinged—it’s worth remembering that true creative genius often seems that way. Geniuses perceive what others cannot; they inhabit unseen realities. As the music on this album reveals, Perry's work at his famed Black Ark studio rearranged the familiar into something wholly new and magical.

Perry began his career working with legendary producers like Coxsone Dodd, Duke Reid, Joe Gibbs, Clancy Eccles, and Prince Buster. By 1968, he had struck out on his own as an independent producer, naming his studio band The Upsetters and scoring instrumental hits with cutting-edge rhythms that helped define the emerging reggae sound.

In 1970–71, he produced what many consider the greatest early recordings by the Wailers. Even earlier, in 1968, an Upsetters track reached #5 on the UK pop charts, opening the door to greater success and allowing Perry to build his own studio. In 1973, the legendary Black Ark was born.

Many landmark recordings emerged from the Black Ark: Max Romeo’s War Ina Babylon and Junior Murvin’s Police and Thieves (later covered by The Clash) are searing political commentaries. The Congos’ Heart of the Congos remains a roots reggae masterpiece. And there are countless deep cuts and obscure singles—like Carlton and the Shoes' “Better Days”—that showcase Perry’s brilliance. His dub productions were sonically adventurous, layering echo, phasing, reverb, flanging, wah-wah, and all manner of effects into otherworldly soundscapes.

But by 1978, it all unraveled. Besieged by extortionists, freeloaders, religious fanatics, and hangers-on, Perry let the studio fall into disrepair—and then, famously, set it on fire. Whether from frustration or mental collapse is still debated.

He left Jamaica, toured the world as a mystic trickster and shaman, and continued to collaborate with a wide range of musicians. But his work at the Black Ark remains his definitive creative legacy—visionary, unrepeatable, and essential.