Lee Perry is unquestionably one of reggae’s most innovative, influential artists. His mixing-board innovations, from his early use of samples to hallucinatory echo and reverb effects, set the stage for generations of musical experimentation, particularly throughout electronic music and alternative/post-punk (…).
The music on this album isn’t quite as eccentric as the music (and appearance) that Perry would become known for, but the setup is already more or less the same as Perry would favour for many of the hundreds of recordings he released in his lifetime. Instead of a “band/artist album” he presents a loose selection of songs and instrumentals, partly covers and partly original compositions, recorded by his studio band The Upsetters and by solo artists who released their (reggae and dub) music through his studios and labels.
The album cover shows Perry embracing an unknown woman, both looking into the lens of photographer Lenz. Design studio C.C.S. Associates set the title on a curve, embracing the two. The text is set in Tip-Top, using Antique Olive for the artist’s name.
Funny enough, the booklet for Lee ‘Scratch’ Perry & The Upsetters – The Trojan Albums Collection (1971–1973), a CD compilation from 2017 (also from Trojan Records, Africa’s Blood and others included), also uses Tip-Top for some of the titles inside.