Lee "Scratch" Perry

Born Edward O'Sullivan Lee, 23 August 1941, Jamaica, West Indies. Bunny Lee, aka Bunny and Striker, was introduced to the music business by vocalist Derrick Morgan in 1962. Morgan, at that time one of Jamaica's most prolific and successful performers, took Lee to producer/sound system operator Duke Reid, who gave him a job as record plugger for his Treasure Isle label. Following his stay with Reid, Lee began working with Ken Lack, erstwhile road manager for the Skatalites band. By 1966, Lack had started releasing records by Ken Boothe, the Clarendonians, Max Romeo, the Tartans, the Heptones and others. Lee's first production, "Listen To The Beat" by Lloyd Jackson And The Groovers, was released on Lack's Caltone label in 1967. His first hit was "Music Field" by Roy Shirley (1967), on the WIRL label. He then began releasing his productions on his own label, Lee's. He enjoyed local hits during 1967-68 with Derrick Morgan's "Hold You Jack", Slim Smith And The Uniques' "My Conversation", Lester Sterling and Stranger Cole's "Bangarang", Pat Kelly's "Little Boy Blue" and the Sensation's "Long Time Me No See You Girl". Lee's talent for producing music that was commercially and artistically satisfying ensured his position as the leading hitmaker in Jamaica by 1969. During the following four years Lee enjoyed hits with Slim Smith's "Everybody Needs Love" (1969), Pat Kelly's "How Long?" (1970), Delroy Wilson's "Better Must Come" (1971) and the Jamaica Song Festival winner, Eric Donaldson's "Cherry Oh Baby" (1971), later a UK hit for UB40, and John Holt's "Stick By Me" (1972). By 1974 he was producing Johnny Clarke on a string of local hits, beginning with "None Shall Escape The Judgement" and "Move Out Of Babylon". Owen Grey had showcased "Bongo Natty" that same year, while 1975 saw Cornell Campbell release a series of strong-selling tunes, beginning with "The Gorgon".

Lee, along with producer Lee Perry and engineer King Tubby, had changed the face of Jamaican music, breaking the dominance of the big producers such as Coxsone Dodd and Duke Reid. Bunny Lee's contribution had been to grasp the commercial opportunities created by technological innovations such as the multi-track studio. A rhythm track could be made that could then be used as the backing for many songs or "versions", often remixed or "dubbed". In addition to King Tubby, engineers such as King Jammy and Philip Smart developed their talents on Bunny Lee productions. During the period 1969-77, Lee produced literally thousands of tracks - vocals, DJ records and dubs - with a wide range of artists. As well as those already mentioned, he produced music for singers, including Jackie Edwards, Leroy Smart, Linval Thompson, David Isaacs, Alton Ellis, Dave Barker, Ken Boothe and Frankie Jones, and for DJs such as Dennis Alcapone, U-Roy, I. Roy, Prince Jazzbo, U Brown, Big Joe, Trinity, Dr. Alimantado, Jah Stitch and Tapper Zukie, most with additional corresponding dub versions. The early 80s saw a reduction in output; Lee was hampered because he did not control his own studio, although he continued to release music through his connection with Count Shelley in London and New York. He bought Joe Gibbs' old studio in North Parade, Kingston, and released material in the late 80s using computer-generated rhythms, but seemed contented to hire his studio to newer producers. The 4-CD overview of his career released by Jet Star in 2005 is essentially a history of Jamaican music and as such is highly recommended.