 | |
|
What a difference three decades can make. The common thread between these two releases is the presence of Lee “Scratch” Perry, who mixed Mike Brooks' first record; but if “The Earth Is the Fullest” was ultra-serious, Panic in Babylon is all fun and games. Unlike the former record, this one is a new release, and Perry isn't behind the console. That says a lot. Lee Perry has been responsible for some truly massive high points in the history of reggae and dub since his pioneering work in the '70s (check out the four-disc Arkology set for a comprehensive introduction), but he's also been involved with some real disasters along the way. Caveat emptor, as they say. They say the man isn't too stable. Fortunately Panic in Babylon is a good fun record, a little on the wacky side but musically even. Perry handles the vocals (as well as costumes and antics, if you catch him with this group live in Europe, which I would recommend based on the live closing track and having heard tales). He's backed by the Whitebellyrats: DJ Star Trek (bass), Lorenzo Viennet (guitars), and Daniel Spahni (drums). Star Trek and P. Brunkow (of Major Boys) handle the production (and not Perry, which is important to note). The key to making a record like this work is to ensure that Perry's nutty lyrical spontaneity can thrive within an otherwise rehearsed (and carefully produced) musical setting. On “Pussy Man” he rambles on over an uptempo reggae groove of an old school temperament, complete with synth horns, keyboards, and guitar: “I am Lee Scratch Perry the cocky man... I'm Doctor Dick... I'm Doctor Quick... I'm Doctor Tree... I'm Doctor Lee... I'm Doctor Me...” and so on. You get the general idea. Nothing too serious. Typical of this record. Two songs later, “Voodoo” invokes Marcus Garvey, the Queen of England, the Pope, George Bush, and the twelfth tribe of Israel, though exactly what message the song is meant to convey (if anything) is up for grabs. One of Perry's hallmarks on record is the creative use of studio tricks to enhance performances, and while electronic processing is used throughout Panic In Babylon to enhance texture and broaden the sonic palette (it's also used on Perry's voice, though not very memorably), this is not a dub record in the usual sense. The tempos are mostly sped up, time is not particularly elastic, and there's none of the expansive head room that begs for intoxication. The Whitebellyrats play a solid backing role, but this is Lee Perry's record all the way. He's still out in space, touching down now and then to confuse the rest of us earthlings. See if you can figure this ”dub poetry” out. Visit Moll-Selekta and Damp Music on the web. The Earth Is the Fullness Tracks: Jah Is My Light; Moving; No Compassion; No Brother Man (long version); Money; Ship Sails; Good Herb; Holy Holy Lu Jah; Who Have Eyes to See (long version); Forever Life; Children of Babylon; The Earth is the Fullness; Fullness (version). Personnel: Mike Brooks, vocals with various unspecified other musicians. Produced and mixed by Mike Brooks, Prince Far I, Phil Pratt, Errol “Flabba” Holt, David Jahson, and Lee Perry. Recorded at Channel One, Harry J's, and Black Ark.
Panic in Babylon Tracks: Rastafari; Purity Rock; Pussy Man; Fight To The Finish; Voodoo; Panic in Babylon; Perry's Ballad; I Am A Psychiatrist; Inspector Gadget 2004; Are You Coming Home?; Baby Krishna; Greetings; Devil Dead Live. Personnel: Lee “Scratch” Perry: vocals; DJ Star Trek: bass; Lorenzo Viennet: guitars; and Daniel Spahni: drums. Produced by DJ Star Trek and P. Brunkow. |
|
Previous Entry · Dream · Share · Flag · Next Entry | |
