The dub
revolutionary, whose rhythmic stylizing and dub beat creations precedes the contemporary
sounds of hip-hop, dancehall, drum and base, techno and 2-step, performed Tuesday October
30, 2001 at SOB’s. The lyrical dub master, Perry, still has the skill to build sound
effects and beats to form a rhythmic porridge.
Billed as the “Black Ark meets Ariwa’s 1st stage appearance together in a
long time,” Lee Scratch Perry and Mad Professor put forth a generous show.
Those in attendance were privy to the mesmerizing eccentricity of the mad genius team of
Perry and Professor (Neil Fraser), alongside Sushi –who provided the dancehall chants
to take us on a sound journey. Scratch, the original human beat box, gave a generous show
with syncopated lyrics on top of syncopated dub beats. Adventurous and unpredictable, yet
consistent in all these things watching Perry is a very tentative experience –you
don’t know quite where he is going next. Scratch did everything from crawling on the
floor to walking on his knees, balancing on one foot, flailing his arms to prove his
point. To quote Perry, “this is reggae, not a streggae.” It was awesome to see
his approach to his stage performance. One felt as though they were in a live recording room
with the songs segueing into each other as if seemingly created on the spot. The lyrical
don uses steam of conscious and free association, “who put the voodoo in your mud
cloth.” Singing of “Hot Love,” he hailed the praises of Marley, Marcus,
Malcolm and Bogle. Mad Professor held it down on the boards in full effect. The Scratch
experience is both visual and aural. His layering of beats and thoughts is echoed in his
visual stage presence. For this performance he wore shiny denim jeans adorned with
CD’s –everything from the R & B group Hot Chocolate to various assortments
of record able computer discs. From head to toe, Scratch’s style demonstrated his
layering of symbols and icon. Currency functions as a significant message within his
persona. Everything seemed to echo one another. His hat was decked out with coinage
depicting
the images of Garvey as well as other world coinage, including crystals, and the Star of
David. Scratch, it seems, is fond of legal tender, and as right he should be –the
original pioneer is still with us to reap the benefits of his creations.Perry operates
from a mystical power. It is this mystical power that has maintained this legend and has
allowed him to still generate new fans. Despite his eccentricity, he was coherent knowing
exactly what he wanted. As Perry sang, “I came to nature’s place –a Celtic
Shaman in good grace.” Perry says, if you have no feeling you have no heart,
-if you don’t scratch…at which point he got on all fours and proceeded to
scratch at the floor. It was a sight to see.
The dub
revolutionary, whose rhythmic stylizing and dub beat creations precedes the contemporary
sounds of hip-hop, dancehall, drum and base, techno and 2-step, performed Tuesday October
30, 2001 at SOB’s. The lyrical dub master, Perry, still has the skill to build sound
effects and beats to form a rhythmic porridge. 
performance. One felt as though they were in a live recording room
with the songs segueing into each other as if seemingly created on the spot. The lyrical
don uses steam of conscious and free association, “who put the voodoo in your mud
cloth.” Singing of “Hot Love,” he hailed the praises of Marley, Marcus,
Malcolm and Bogle. Mad Professor held it down on the boards in full effect. The Scratch
experience is both visual and aural. His layering of beats and thoughts is echoed in his
visual stage presence. For this performance he wore shiny denim jeans adorned with
CD’s –everything from the R & B group Hot Chocolate to various assortments
of record able computer discs. From head to toe, Scratch’s style demonstrated his
layering of symbols and icon. Currency functions as a significant message within his
persona. Everything seemed to echo one another. His hat was decked out with coinage
depicting 