DID VIKINGS ROW WITH DRUMS PATCH

I donвЂ™t see music like how other people see it, I see it just like a toy.вЂ™ You see like when you buy a kidвЂ™s toy, well you bring a joy to them, so is that way I see music. And itвЂ™s like a toy, a toy affair, thatвЂ™s the way music is. We didnвЂ™t have anything professional, but the sound was in my head and I was going to get down what I hear in my head. I didnвЂ™t have the Soundcraft mixer then, I did buy a lickle thing you call a Alice mixer. So the studio was all waiting, but only me could operate it.

DID VIKINGS ROW WITH DRUMS PATCH

I make the Black Ark over my shit piss, so the bass always go вЂњPoo Poo Poo PooвЂќ! Errol Thompson put the machines in there, and make the patch panel. Lee Perry: вЂThe Black Ark make over a pile of shit вЂ“ my pile and me put it under the Black Ark. Sometimes I think itвЂ™s as if I was born in the wrong country, because I just couldnвЂ™t do a two chord tune вЂ“ heheh! To me it need more than two chords to give it some excitement, like it need some changes or something.вЂ™ДЄfter years of moving between JamaicaвЂ™s competing facilities, Perry had decided to build his own studio at the back of his house in Washington Gardens. So the songs that I made you always hear chord progressions and changes. I was always ahead of my time as I can see it, in the music in Jamaica. So Scratch called me and asked me to come and do some sessions around his studio. He built it right there at the back of his home. So he came and roped me into the group when the Black Ark studio was in progress. Lee Perry used to be at Studio One same time as me, kind of working around, so he know me from there. I played on songs like вЂњFeel Like JumpingвЂќ, вЂњNanny GoatвЂќ, вЂњBaby WhyвЂќ by the Cables, the whole вЂњHeptones On TopвЂќ album, and вЂњParty TimeвЂќ. And we used to work four days per week, and we did four rhythms per day for 30 pounds a week вЂ“ it was good money.

Yet in the 60s and 70s he was one of JamaicaвЂ™s top bass players and arrangers, having an international hit with вЂElizabethan ReggaeвЂ™, and creating a run of classic tunes at Studio One.Д«oris Gardiner: вЂI did at least seventy or eighty songs at Studio One, all in this one short period between January and April 1968. A very great person.вЂ™Д«oris is probably best remembered today for his huge international hit from 1986, the schmaltzy вЂI Want To Wake Up With YouвЂ™. You just tell him what you want and him can do it. Boris is a very top musician, and with him you could put anything together, him do вЂњPolice And ThievesвЂќ and all that. Lee Perry: вЂBoris Gardiner was a good person, just a humble person, and heвЂ™s the best person I ever met in the music business so far. After a long conversation with Boris a few years back, I asked Lee about his contribution to the Black Ark sound. The musical director of the session is the afro-haired bass player, Boris Gardiner unusually, it is he who counts in the band to start each take.

Before the vocals are recorded, the Upsetters lay down the backing track. Taken from the film вЂRoots, Rock, ReggaeвЂ™, directed by Jeremy Marre, the sequence shows Junior Murvin collaborating with members of the Congos and the Heptones on a song improvised on the spot for the film crew. A quick internet search brings up some extraordinary footage of Lee вЂScratchвЂ™ Perry producing a session at the Black Ark.

Did vikings row with drums