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Sound System Scratch


Download links and information about Sound System Scratch by Lee Perry & The Upsetters. This album was released in 2010 and it belongs to Reggae, Roots Reggae, Dub genres. It contains 20 tracks with total duration of 01:09:22 minutes.

Artist: Lee Perry & The Upsetters
Release date: 2010
Genre: Reggae, Roots Reggae, Dub
Tracks: 20
Duration: 01:09:22
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No. Title Length
1. Dub Plate Pressure (featuring Lee) 3:39
2. Lama Lava Mix One (featuring Augustus Pablo, The Upsetters) 5:25
3. Groove Dubber (featuring The Upsetters) 3:33
4. Groove Rider (featuring The Upsetters) 3:07
5. Jucky Skank (featuring The Upsetters) 4:09
6. Chim Cherie (featuring The Upsetters) 2:54
7. The Rightful Organiser (featuring Lee) 4:13
8. Stagger (featuring Lee) 3:11
9. Big Neck Cut (featuring Lee) 3:46
10. Zeal of the Lord (featuring The Upsetters) 3:12
11. Dub of the Lord (featuring The Upsetters) 3:19
12. Returning Wax (featuring The Upsetters) 2:33
13. Bushdub Corntrash (featuring Winston Wright, The Upsetters) 3:43
14. From Dub Four (featuring The Upsetters, Clive Hylton) 2:18
15. Roots Train Number Two (featuring The Upsetters, Junior Murvin) 3:57
16. Locks In the Dublight (featuring Lee) 1:56
17. Moonlight Version (featuring The Upsetters) 3:48
18. Dub History (featuring The Upsetters, Carlton Jackson) 3:09
19. Groovy Dub (featuring The Upsetters) 4:05
20. Living Dub (featuring The Upsetters, Keith Rowe) 3:25



Though Lee Perry has made brilliant music at all stages of his career, the years between the opening of the Black Ark studio in 1973 and its 1979 closure found the Jamaican producer operating at his creative peak. During this period he cut some of the most revered reggae full-lengths of all time, with artists like the Congos, Junior Murvin, Max Romeo, and others. He also produced a slew of wildly experimental dub sides that carved a new role for the producer as musician, arranger, and organizer of sound. These tunes originally appeared as dub plates, pressed in limited quantities and distributed among the operators of Kingston soundsystems for use in the dancehalls. They are, if anything, even more wildly experimental than what appeared on Perry’s officially released dub full-lengths. Indeed, many of these cuts are mind-bendingly strange. Take “Chim Cherie," a loose instrumental workout yoked to the heavily treated rhythm of a primitive drum machine, or “Roots Train Number Two,” a spaced-out take on Junior Murvin’s “Roots Train Number One” that dubs the original into cosmic oblivion.