Lee 'Scratch' Perry ADD

Review

Book Review: People Funny Boy - The Genius of Lee 'Scratch' Perry

01/27/2022

by Gerry McMahon

First published to wide and entirely appropriate acclaim in 2006, author David Katz has taken the opportunity provided by Lee ‘Scratch’ Perry’s passing to update his mighty tome on the late legend. Running to over 660 pages, this is not a read for the flighty, but it is most certainly a ‘must’ for the enthusiasts, who will be pleased to find an additional 50-page chapter updating readers on more recent Perry-pursuits, including his recent passing.

Though the publisher’s publicity blurb accompanying the revised edition is understandably exaggerated – calling Perry "the most celebrated figure in Jamaican reggae" – it is to Katz’s credit that he undertook, completed and has now updated an accomplished work that can only be described as a ‘labour of love’.

The book takes a chronological approach to Perry’s story, starting with the parental influences and proceeding to his time working on the Kingston-based sound systems with Duke Reid and Coxsone Dodd. Notably, it was the latter who effectively ‘promoted’ Perry from runner/messenger to producer, lyricist, talent spotter and developer. Perry’s capacity to wheel and deal and to excel at more than just dominoes and dancing is also relayed, as is evident from as early as 1969, when he was able to afford a Jaguar S-type saloon car and have it shipped from England back to Kingston!

However, this tale is told on the same page that vocalist Winston Jarrett recalls Perry’s propensity for issuing ‘rubber cheques’. Of course, money matters criss-cross the text, starting with Perry’s strains with the aforementioned Reid and Dodd, but also contributing to his People Funny Boy hit single, that focused on financial neglect from producer Joe Gibbs. There are also numerous testimonies in the book to the pleasure but often penniless produce from working with Perry. But it is to Katz’s credit that he balances these tales with testimonies to Perry’s generousity.

The text also records Perry’s reputation as a ladies’ man, with the ‘warts and all’ dimension thereof relayed, including his survival of a knife attack for infidelity. These tales are told alongside all-important contextual reviews of the rise of Rastafarianism – incl. Perry’s phase of adherence to Nyabinghi theocracy – and the transition to ska, rocksteady and reggae. This encompasses Perry’s development of a distinct Upsetters’ sound and the addition of the Barrett brothers to his musical mix.

A recurring theme in the text is Perry’s strong bond with Bob Marley, including his re-assembly of the Wailers at a time when Marley was considering the solo route. This contributes to Katz’s conclusion that the oft-unpredictable and tricky Perry’s "greatest gift was his ability to teach". Given that he was neither gifted as a vocalist nor an instrumentalist, this is an important and insightful assessment of one accorded a Rolling Stone Top 100 ‘Greatest Artists Of All Time’ ranking.

Though the text focuses primarily – and perhaps pedantically – on the subject’s musical produce, it also squarely addresses many of the less public (or appealing) dimensions of the man’s make up. These include the occasional neglect – financial and otherwise – of his Jamaican-based dependants, the demise of the Black Ark, the numerous failed attempts at its re-construction, an insensitive inclination to summarily dismiss people, moodiness, money matters that soured relationships (incl. with Marley), on stage exposures, incidents of physical violence, alcohol abuse and speculation about his moody mental health, with terms such as schizophrenia, bipolarism, personality disorder and Tourette’s Syndrome all getting a look in.

En route to Ireland’s Body and Soul festival a decade ago – when discussing the first edition of the book – Perry and his partner explained to this reviewer that "Katz doesn’t know everything about us." Of course, the psychotherapy profession and many more must surely agree with this assessment. However, his knowledge of the subject matter is extensive – even if (as stated) the Mad Professor didn’t accompany Perry to Dublin in 2016.

All round, this is a wonderful testament to a truly unique character, and we are all indebted to David Katz for his persistent and painstaking produce, even if it’s a lot less than our debt to Perry for his.  

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