The Orb feat. Lee Scratch Perry - The Orbserver in the Star House

http://theorb.com

http://www.lee-perry.com

Origine du Groupe : U.K , Jamaica
Style : Electro Dub , Reggae
Sortie : 2012

 

By Tom Quickfall  from http://www.thelineofbestfit.com

Generally thought of as a seminal group of the ‘90s ambient house scene, The Orb have actually been surprisingly prolific over the last ten years. Various works with Pink Floyd’s David Gilmour and Tim Bran of Dreadzone (on Metallic Spheres and The Dream respectively) throughout the ‘00s proved that Alex Paterson and Thomas Fehlmann’s way with a collaboration hadn’t deserted them, further evidence of which comes in the shape of The Observer in the Star House alongside esoteric dub legend Lee ‘Scratch’ Perry.

The collaboration has arguably been in motion for a number of years now, since Paterson played DJ to Perry’s toaster in Mexico back in 2004 and was taken with the infamous and charming eccentricity of the dub pioneer. Eight years later, and that familiar, wiry voice and humorous flow is proclaiming “I’ve got something to say/You wanna hear it? Hear it!” over opening track ‘Ball of Fire’’s intro horns.

The Orb’s cosmic ambience and sci-fi sensibilities are a perfect match for the out-of-this-world Perry (a shared aesthetic that’s echoed in the album’s title), and references to space and its possible inhabitants are made regularly throughout. ‘Man in the Moon’ is a sparse production, a cavernous dub over which Perry explains his interstellar credentials, while ‘Hold Me Upsetter’ throws sliced guitar and string samples into the mix, the accompanying video a suitably psychedelic affair complete with galactic imagery and a Buddha holding a Chelsea FC badge.

‘Golden Clouds’ is a nod back to The Orb’s 1991 classic ‘Little Fluffy Clouds’, with the same “what were the clouds like when you were young?” question asked of Perry that was squared at Ricky Lee Jones in the original. Scratch answers in a surprisingly straightforward manner (“Blue space, white clouds/Sometimes we got rain”), before settling down into a more characteristic ramble.

‘Thirsty’ pairs an old skool hip-hop break with some echoing, offbeat dub chords, while a delightful mangling of the Perry-penned classic ‘Police & Thieves’ is a clear highlight, and perhaps the album’s most overtly dub-centric production.

Fehlmann’s techno instincts are tempered here in respect to Perry’s languid drawl, but hints of the industrial background of Berlin (where the album was made) make sporadic appearances. ‘Go Down Evil’ opens with a racing sequencer phrase, while ‘H.O.O.’ is full of the space and airiness of minimal electro.

Some of the best on moments on The Observer… occur during the mellower, more pensive tracks. ‘Soulman’ is a delight: a mid-tempo beat layered with a minor key drone, a chopped and twisted King Tubby sample coming and going underneath. Perry’s regular assertions that he is the titular “soulman” have different connotations in this context than the rhythmic grunts of the original godfather of soul, taking on a more spiritual meaning here. The hypnotic skit ‘Ashes’ seems like the sketch of an idea that unfortunately wasn’t extended to full song length, and closer ‘Congo’ is a mystical jungle dub, Perry’s filtered vocals drifting over an entrancing, percussion-heavy rhythm.

For those looking for more than veteran ambient electronica stalwarts backing up the charismatic, if slightly meandering, stream of consciousness from one of music’s great figures, disappointment was always going to be the outcome on The Observer... Yet the creativity and mutual respect on show here makes for a worthy collaboration and an intriguing listen, one worthy of a prominent place in the respective canons of both parties.


Tracklist :
01. The Orb (feat. Lee Scratch Perry) - Ball of Fire 04:11
02. The Orb (feat. Lee Scratch Perry) - H. O. O. 04:13
03. The Orb (feat. Lee Scratch Perry) - Man In The Moon 04:04
04. The Orb (feat. Lee Scratch Perry) - Soulman 06:02
05. The Orb (feat. Lee Scratch Perry) - Golden Clouds 05:44
06. The Orb (feat. Lee Scratch Perry) - Hold Me Upsetter 04:21
07. The Orb (feat. Lee Scratch Perry) - Go Down Evil 05:29
08. The Orb (feat. Lee Scratch Perry) - Thirsty 04:36
09. The Orb (feat. Lee Scratch Perry) - Police & Thieves 04:50
10. The Orb (feat. Lee Scratch Perry) - Ashes 01:25
11. The Orb (feat. Lee Scratch Perry) - Congo 06:23

 

The Orb feat. Lee Scratch Perry - The Orbserver in the Star House

http://theorb.com

http://www.lee-perry.com

Origine du Groupe : U.K , Jamaica
Style : Electro Dub , Reggae
Sortie : 2012

 

By Tom Quickfall  from http://www.thelineofbestfit.com

Generally thought of as a seminal group of the ‘90s ambient house scene, The Orb have actually been surprisingly prolific over the last ten years. Various works with Pink Floyd’s David Gilmour and Tim Bran of Dreadzone (on Metallic Spheres and The Dream respectively) throughout the ‘00s proved that Alex Paterson and Thomas Fehlmann’s way with a collaboration hadn’t deserted them, further evidence of which comes in the shape of The Observer in the Star House alongside esoteric dub legend Lee ‘Scratch’ Perry.

The collaboration has arguably been in motion for a number of years now, since Paterson played DJ to Perry’s toaster in Mexico back in 2004 and was taken with the infamous and charming eccentricity of the dub pioneer. Eight years later, and that familiar, wiry voice and humorous flow is proclaiming “I’ve got something to say/You wanna hear it? Hear it!” over opening track ‘Ball of Fire’’s intro horns.

The Orb’s cosmic ambience and sci-fi sensibilities are a perfect match for the out-of-this-world Perry (a shared aesthetic that’s echoed in the album’s title), and references to space and its possible inhabitants are made regularly throughout. ‘Man in the Moon’ is a sparse production, a cavernous dub over which Perry explains his interstellar credentials, while ‘Hold Me Upsetter’ throws sliced guitar and string samples into the mix, the accompanying video a suitably psychedelic affair complete with galactic imagery and a Buddha holding a Chelsea FC badge.

‘Golden Clouds’ is a nod back to The Orb’s 1991 classic ‘Little Fluffy Clouds’, with the same “what were the clouds like when you were young?” question asked of Perry that was squared at Ricky Lee Jones in the original. Scratch answers in a surprisingly straightforward manner (“Blue space, white clouds/Sometimes we got rain”), before settling down into a more characteristic ramble.

‘Thirsty’ pairs an old skool hip-hop break with some echoing, offbeat dub chords, while a delightful mangling of the Perry-penned classic ‘Police & Thieves’ is a clear highlight, and perhaps the album’s most overtly dub-centric production.

Fehlmann’s techno instincts are tempered here in respect to Perry’s languid drawl, but hints of the industrial background of Berlin (where the album was made) make sporadic appearances. ‘Go Down Evil’ opens with a racing sequencer phrase, while ‘H.O.O.’ is full of the space and airiness of minimal electro.

Some of the best on moments on The Observer… occur during the mellower, more pensive tracks. ‘Soulman’ is a delight: a mid-tempo beat layered with a minor key drone, a chopped and twisted King Tubby sample coming and going underneath. Perry’s regular assertions that he is the titular “soulman” have different connotations in this context than the rhythmic grunts of the original godfather of soul, taking on a more spiritual meaning here. The hypnotic skit ‘Ashes’ seems like the sketch of an idea that unfortunately wasn’t extended to full song length, and closer ‘Congo’ is a mystical jungle dub, Perry’s filtered vocals drifting over an entrancing, percussion-heavy rhythm.

For those looking for more than veteran ambient electronica stalwarts backing up the charismatic, if slightly meandering, stream of consciousness from one of music’s great figures, disappointment was always going to be the outcome on The Observer... Yet the creativity and mutual respect on show here makes for a worthy collaboration and an intriguing listen, one worthy of a prominent place in the respective canons of both parties.


Tracklist :
01. The Orb (feat. Lee Scratch Perry) - Ball of Fire 04:11
02. The Orb (feat. Lee Scratch Perry) - H. O. O. 04:13
03. The Orb (feat. Lee Scratch Perry) - Man In The Moon 04:04
04. The Orb (feat. Lee Scratch Perry) - Soulman 06:02
05. The Orb (feat. Lee Scratch Perry) - Golden Clouds 05:44
06. The Orb (feat. Lee Scratch Perry) - Hold Me Upsetter 04:21
07. The Orb (feat. Lee Scratch Perry) - Go Down Evil 05:29
08. The Orb (feat. Lee Scratch Perry) - Thirsty 04:36
09. The Orb (feat. Lee Scratch Perry) - Police & Thieves 04:50
10. The Orb (feat. Lee Scratch Perry) - Ashes 01:25
11. The Orb (feat. Lee Scratch Perry) - Congo 06:23

 

Lee Scratch Perry - Rise Again

http://www.myspace.com/leescratchperry

Origine du Groupe : Jamaica

Style : Reggae , Dub

Sortie : 2011

By John Bergstrom  from http://www.popmatters.com



Lee “Scratch” Perry turned 75 this year. He has been part of reggae music literally for as long as reggae music has existed. His huge influence on reggae, and dub especially, as producer and
artist, is undeniable. For the past couple decades, though, Perry has been more of a curiosity than a musician in the traditional sense.



From claiming that Island Records’ Chris Blackwell is a “vampire” to claiming to be an extra-terrestrial himself, Perry’s outrageous, though occasionally inspired, non-sequiturs have marked his
post-1970s career. The music has mainly come down to a series of well-known collaborators. Perry’s albums have been overseen by dub maestros Adrian Sherwood and Mad Professor, and Scientist. He
has also worked with the Beastie Boys, the Swiss experimental techno-pop band Yello and the Austrian dub collective Dubblestandart. He’s even appeared on record with film director David Lynch.
The one constant throughout has been Perry’s bizarre orating, made all the more endearing by his unaffected, grandpa-like croak.



Perry’s longevity in a Jamaican reggae world with a lower-than-average life expectancy is nothing short of extraordinary, but when was the last time you could honestly say you were excited about
a new Perry album? The not-so-subtly-titled Rise Again aims to change that. What hasn’t changed is the focus on high-profile collaborators. Only now there are more of them. Overseeing, producing,
and co-arranging the project is veteran dub/psychedelic artist Bill Laswell. The collaboration makes so much sense it’s surprising to realize Laswell and Perry haven’t teamed up before. To
sweeten the pot, Laswell has brought in legends like drummer Sly Dunbar and P-Funk keyboardist Bernie Worrell, and relative fresh faces such as Tunde Adebimpe from TV on the Radio. It’s a noble
effort, and it does result in some of Perry’s most effective work in years. Where and how exactly Perry fits in, however, is up for debate.



Perry hasn’t changed—why would you expect him to? If you were hoping for him to pull off some kind of Bim Sherman or Johnny Cash move and completely remake himself as a sort of shaman, with
musical gravitas to match, know that it doesn’t happen here. No, on Rise Again Perry is still the same eccentric jester. He rails against the “parasites” who threaten his inner peace. He
constantly reminds you who you’re listening to; “Lee Scratch Perry” is one of his favorite phrases. He’ll be rolling along on a fairly lucid line of thought and then hit you with something like
“I conquer Prince Charles”.  Over the course of the album, he claims to be, among other things, the lord of the earth, the father of time, an Ethiopian king and the heart of God. All in that
voice, mind you, that suggests you’re listening to something created by Jim Henson.



A certain amount of this is charming. No one else could utter the word “Satan” as charismatically as Perry does on “Scratch Message”. Each phrase of the chorus is a rebuke to, as Perry puts it,
“Seee-taan”. Really, the evil one had better listen.  When Perry subtitles a song “Japanese Food”, there’s nothing cryptic about it. As Worrell’s signature helium synth sound whines in the
background, Perry deadpans, “Japanese dude / I am a lover of the Japanese food”. But how much more of Lee Perry the Loveable Crazyman do you really need?



That’s where Laswell comes in. Wisely, he forgoes electronics in favor of live, earthy soundscapes that give Perry the rustic backdrop he needs. Laswell and his team of experts add some variety,
too. “Higher Level” sets Perry’s bravado against some soulful flute and backing vocals. It’s a bit Gil Scott-Heron, and it fits. “Orthodox” and “African Revolution” have a more rocksteady reggae
vibe. But Perry’s legacy and Laswell’s expertise lie in dub. Laswell fills tracks like “Scratch Message” and “House of God” with snaking bass, sneaky echo and sound effects that slip through the
cracks in your speakers. On the title track, he captures Perry’s best performance in years, if not decades. Against a somber, almost melancholic backdrop, Perry intones the one phrase, “I rise
again”. He says it with some self-assurance, with some defiance. He almost sings it. And the words beget the deed, because Perry once again has gravitas.



Of course, there’s no way Perry could deliver an entire album that’s so focused and powerful, regardless of who were behind the boards. Thus, on the latter half of the album the “guests” become
the primary vocalists and Perry wafts in and out, a guest on his own record. Put it all together and though the legendary Upsetter of Perry’s golden years has not been resurrected, on Rise Again
he’s closer in spirit to Perry than he has been in quite some time.



Tracklist :

1. Higher Level

2. Scratch Message

3. Orthodox

4. Wake the Dead

5. Rise Again

6. African Revolution

7. Dancehall Kung Fu

8. E.T.

9. House of God

10. Butterfly

11. Inakaya (Japanese Food)

Lee Scratch Perry - Rise Again

http://www.myspace.com/leescratchperry

Origine du Groupe : Jamaica

Style : Reggae , Dub

Sortie : 2011

By John Bergstrom  from http://www.popmatters.com



Lee “Scratch” Perry turned 75 this year. He has been part of reggae music literally for as long as reggae music has existed. His huge influence on reggae, and dub especially, as producer and
artist, is undeniable. For the past couple decades, though, Perry has been more of a curiosity than a musician in the traditional sense.



From claiming that Island Records’ Chris Blackwell is a “vampire” to claiming to be an extra-terrestrial himself, Perry’s outrageous, though occasionally inspired, non-sequiturs have marked his
post-1970s career. The music has mainly come down to a series of well-known collaborators. Perry’s albums have been overseen by dub maestros Adrian Sherwood and Mad Professor, and Scientist. He
has also worked with the Beastie Boys, the Swiss experimental techno-pop band Yello and the Austrian dub collective Dubblestandart. He’s even appeared on record with film director David Lynch.
The one constant throughout has been Perry’s bizarre orating, made all the more endearing by his unaffected, grandpa-like croak.



Perry’s longevity in a Jamaican reggae world with a lower-than-average life expectancy is nothing short of extraordinary, but when was the last time you could honestly say you were excited about
a new Perry album? The not-so-subtly-titled Rise Again aims to change that. What hasn’t changed is the focus on high-profile collaborators. Only now there are more of them. Overseeing, producing,
and co-arranging the project is veteran dub/psychedelic artist Bill Laswell. The collaboration makes so much sense it’s surprising to realize Laswell and Perry haven’t teamed up before. To
sweeten the pot, Laswell has brought in legends like drummer Sly Dunbar and P-Funk keyboardist Bernie Worrell, and relative fresh faces such as Tunde Adebimpe from TV on the Radio. It’s a noble
effort, and it does result in some of Perry’s most effective work in years. Where and how exactly Perry fits in, however, is up for debate.



Perry hasn’t changed—why would you expect him to? If you were hoping for him to pull off some kind of Bim Sherman or Johnny Cash move and completely remake himself as a sort of shaman, with
musical gravitas to match, know that it doesn’t happen here. No, on Rise Again Perry is still the same eccentric jester. He rails against the “parasites” who threaten his inner peace. He
constantly reminds you who you’re listening to; “Lee Scratch Perry” is one of his favorite phrases. He’ll be rolling along on a fairly lucid line of thought and then hit you with something like
“I conquer Prince Charles”.  Over the course of the album, he claims to be, among other things, the lord of the earth, the father of time, an Ethiopian king and the heart of God. All in that
voice, mind you, that suggests you’re listening to something created by Jim Henson.



A certain amount of this is charming. No one else could utter the word “Satan” as charismatically as Perry does on “Scratch Message”. Each phrase of the chorus is a rebuke to, as Perry puts it,
“Seee-taan”. Really, the evil one had better listen.  When Perry subtitles a song “Japanese Food”, there’s nothing cryptic about it. As Worrell’s signature helium synth sound whines in the
background, Perry deadpans, “Japanese dude / I am a lover of the Japanese food”. But how much more of Lee Perry the Loveable Crazyman do you really need?



That’s where Laswell comes in. Wisely, he forgoes electronics in favor of live, earthy soundscapes that give Perry the rustic backdrop he needs. Laswell and his team of experts add some variety,
too. “Higher Level” sets Perry’s bravado against some soulful flute and backing vocals. It’s a bit Gil Scott-Heron, and it fits. “Orthodox” and “African Revolution” have a more rocksteady reggae
vibe. But Perry’s legacy and Laswell’s expertise lie in dub. Laswell fills tracks like “Scratch Message” and “House of God” with snaking bass, sneaky echo and sound effects that slip through the
cracks in your speakers. On the title track, he captures Perry’s best performance in years, if not decades. Against a somber, almost melancholic backdrop, Perry intones the one phrase, “I rise
again”. He says it with some self-assurance, with some defiance. He almost sings it. And the words beget the deed, because Perry once again has gravitas.



Of course, there’s no way Perry could deliver an entire album that’s so focused and powerful, regardless of who were behind the boards. Thus, on the latter half of the album the “guests” become
the primary vocalists and Perry wafts in and out, a guest on his own record. Put it all together and though the legendary Upsetter of Perry’s golden years has not been resurrected, on Rise Again
he’s closer in spirit to Perry than he has been in quite some time.



Tracklist :

1. Higher Level

2. Scratch Message

3. Orthodox

4. Wake the Dead

5. Rise Again

6. African Revolution

7. Dancehall Kung Fu

8. E.T.

9. House of God

10. Butterfly

11. Inakaya (Japanese Food)