Perry began his career in the late 1950s working with Clement Coxsone Dodd's sound system. He eventually performed a variety of important tasks at Studio One as well as recording about thirty songs, but the pair eventually stopped working together due to personality and financial conflicts.
Working with Joe Gibbs, Perry continued his recording career, but once again, financial problems caused conflict. Perry broke ranks with Gibbs and formed his own label, Upsetter, in 1968. His first single "People Funny Boy", which was an insult directed at Gibbs, sold very well. It is notable for its innovative use of a sample (a crying baby) as well as a fast, chugging beat that would soon become identifiable as "reggae" (the new sound did not really have a name at this time). During the 1970s, Perry released numerous recordings on a variety of record labels that he controlled, and many of his songs were popular in both Jamaica and the U.K. He soon became known for his innovative production techniques as well as his eccentric character.
In the early 1970s, Perry was one of the producers whose mixing board experiments resulted in the creation of dub. In 1973, Perry built a studio in his back yard, The Black Ark, to have more control over his productions and continued to produce notable musicians such as Bob Marley & the Wailers, Junior Byles, The Heptones, and Max Romeo. With his own studio at his disposal, Perry's productions became more lavish, as the energetic producer was able to spend as much time as he wanted on the music he produced. It is important to note that virtually everything Perry recorded in The Black Ark was done using rather basic recording equipment; through sonic sleight-of-hand, Perry made it sound completely unique. Perry remained behind the mixing desk for many years, producing songs and albums that stand out as a high point in reggae history. By 1978, stress and unwanted outside influences began to take their toll: both Perry and The Black Ark quickly fell into a state of disrepair. Eventually, the studio burned to the ground. Perry has constantly insisted that he burned the Black Ark himself in a fit of rage, but it was most likely an accident caused by faulty wiring. After the demise of the Black Ark in the early 1980s, Perry spent time in England and the United States, performing live and making erratic records with a variety of collaborators. It was not until the late 1980s that Perry's career began to get back on solid ground again, after working with British producers Adrian Sherwood and Neil Fraser, better known as Mad Professor.
Perry lived in Switzerland for a while with his wife Mireille Campbell-Rüegg and two children. He continued to record and perform to enthusiastic audiences in Europe and North America late into his life. His later music is a far cry from his reggae days in Jamaica; many saw this part of Perry's career as more of a performance artist in several respects. In 2003, Perry won a Grammy for Best Reggae Album with the album Jamaican ET. He teamed up with a group of Swiss musicians and perform under the name Lee Perry and the White Belly Rats. in 2015, Perry’s recording studio in Switzerland was damaged by a fire that destroyed various unreleased recordings and some of his stage gear. In 2020 Perry moved with his wife to Jamaica, where he died on 29 August 2021.
Revelation Dub
Lee "Scratch" Perry Lyrics
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War inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh, wha' you say
It sipple out deh, oh yeah
War inna Babylon, tribal war inna Babylon
It sipple out deh, wha' you say
It sipple out deh, oh yeah
De dreadlocks man nuh like de baba man, no
De police men nuh like de dreadlocks man, oh
De dreadlocks man nuh like de police man, no
So war inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh, wha' you say
It sipple out deh, oh yeah
War inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh, wha' you say
It sipple out deh, oh yeah
When come pride then cometh shame, ah
A man pride shall bring him low, yeah, oh yeah
Honor shall uphold the humble in spirit
And you know it's true, yeah, oh yeah
War inna Babylon, tribal war inna Babylon
Wha' you say, it sipple out deh
So wha' fe do ? We slide out deh, oh yeah
War inna Babylon, tribal war inna Babylon
Wha' you say, it sipple out deh
So wha' fe do ? Make we slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, so wha' fe do?
Make we slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, let me tell, we slide out deh, oh yeah
Marcus garvey prophecise, say
"One mus' live ten miles away, yeah, in this time"
I-man satta at the mountain top
Watching Babylon burning red hot, red hot
War inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh
So wha' fe do ? We slide out deh, oh yeah
War inna Babylon, let me tell, tribal war inna Babylon
So wha' fe do? It sipple out deh
So wha' fe do? Make we slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, so wha' fe do? Slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, make we slide out deh, look at that
True, true, true, true, true, true
It sipple out deh, so wha' fe do? Let me slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, look at that, slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, oh yeah, slide out deh
The lyrics of Lee "Scratch" Perry's "War in a Babylon" describe the ongoing tribal conflict and violence, that has engulfed Babylon (symbolically representing the modern world). The opening lines "It sipple out deh, war inna Babylon, tribal war inna Babylon" indicate how the roots of this chaos have spread deep and wide. Babylon has become a warzone where different groups are constantly at odds with each other, with the baba man, dreadlocks man, and the police involved in a dangerous game of one-upmanship. Each group seems to hold a deep-seated grudge against the other, which has its origins in prejudice and misunderstanding. These prejudices and misconceptions are what have caused the conflict to escalate to the level it currently is, and the lyrics are a call to action for people to become aware of the danger of such prejudices.
The lyrics also seem to suggest that this conflict is becoming increasingly more significant, and if not checked, it will result in the self-destruction of Babylon. The lines "When come pride then cometh shame, a man pride shall bring him low, yeah, oh yeah, honor shall uphold the humble in spirit" highlight how pride and arrogance are leading to the downfall of Babylon. The pride of each group is so strong that they can no longer coexist peacefully and are willing to destroy Babylon instead of finding a way to coexist. The song finishes with "True, true, true, true, true, true, it sipple out deh so wha' fe do? Make we slide out deh" where the lyrics are indicating that the situation is steadily worsening, and the only solution is for people to leave the area as it is no longer safe.
Line by Line Meaning
It sipple out deh
The conflict is spreading and getting worse
War inna Babylon, tribal war inna Babylon
There is a war going on within Babylon, with different tribes/clans fighting against each other
Wha' you say
Do you agree?
De baba men nuh like de dreadlocks man, oh
The non-Rastafarian men do not like those with dreadlocks and show hostility towards them
De dreadlocks man nuh like de baba man, no
Those with dreadlocks do not like or trust the non-Rastafarian men
De police men nuh like de dreadlocks man, oh
The police officers do not like those with dreadlocks and often target them
De dreadlocks man nuh like de police man, no
Those with dreadlocks do not like or trust the police officers
When come pride then cometh shame, ah
A man pride shall bring him low, yeah, oh yeah
Honor shall uphold the humble in spirit
And you know it's true, yeah, oh yeah
Pride will lead to downfall, while humility and honor can elevate one's spirit. This is a true principle
So wha' fe do ?
What should we do?
Make we slide out deh, oh yeah
Let's leave and avoid getting caught up in the conflict
Marcus garvey prophecise, say
"One mus' live ten miles away, yeah, in this time"
I-man satta at the mountain top
Watching Babylon burning red hot, red hot
Marcus Garvey prophesied that to survive during these troubled times, one must live away from the conflict. The singer is watching from afar as Babylon burns in chaos.
True, true, true, true, true, true
This is true, repeated for emphasis
Look at that
Expressing a realization or observation
Let me slide out deh, oh yeah
I will leave and avoid the conflict
Lyrics © Universal Music Publishing Group
Written by: LEE PERRY
Lyrics Licensed & Provided by LyricFind