"Lee 'Scratch' Perry needs very little in the way of an introduction. Like so many other Jamaican artists, he began his career at Clement Dodd's legendary Studio One. Apart from his recordings there, Scratch often supervised auditions, and was instrumental in shaping the early career of Delroy Wilson. Indeed, he penned several songs for the latter, mostly casting musical stones on Dodd's behalf, at rivals Duke Reid and Prince Buster. After leaving Studio One, Scratch spent some time working as in house producer for Joe Gibbs. Feeling he wasn't receiving his full due, Perry eventually moved on to set up his own operation, subsequently launching the Upsetter label in Jamaica. In 1969 he signed a deal with Trojan Records, which resulted in the formation of a counterpart Upsetter outlet in the UK. The venture proved almost instantly successful. Perry scored an international hit with only the second release on UK Upsetter, Return Of Django, an instrumental from his Upsetters house band (featuring Val Bennett on sax). Between then and the following year, Perry built a solid reputation for himself, with a series of similarly styled instrumentals. In terms of his signature sound, Scratch continually reached for higher ground, and honed his skills at the console. From 1972 onwards, his productions became increasingly quirky, moving in a similar direction to King Tubby. At the end of 1973, after striking fresh licensing deals with a number of record companies in the UK, he fulfilled his dream by opening his own Black Ark studio. It was here that Perry, finally the master of his own musical destiny, produced groundbreaking music. Using minimal equipment, he produced multi-layered rhythm tracks, which to this day, nobody has been able to emulate. A deal with Island Records followed, but some of his better work was confined to Jamaica, issued on a bewildering variety of his own labels, in 7" and 12" format. These now rank amongst the most sought after records with collectors of Perry's music, and the producer has gained near cult status through his willingness to experiment at the mixing desk. Winston 'Niney' Holness (otherwise known as Sir Niney The Observer, and George Boswell), also spent time at Studio One. In addition, he worked with Bunny Lee, before moving on to join Joe Gibbs. It was here that he came into contact with Lee Perry, and took over the latter's role as in house producer, following Perry's departure. After producing hits on Ken Parker, and Nicky Thomas for Gibbs, he too decided to go his own way. Towards the end of 1970, Niney hit the big time with his second release: Blood And Fire. The single reportedly sold in excess of 30,000 copies in Jamaica, and took the Record Of The Year title for 1971. Indeed, so successful was it, that he cut further versions, including Brimstone And Fire, Mud And Water, Psalms 9 To Keep In Mind, and Lightning And Thunder, which is included here. Like Perry, he launched his own (Observers) label, and applied the same name to his house band. During the period that followed, Niney collaborated with Scratch (and Max Romeo) on some distinctly cultural sides, including When Jah Speak (humorously credited to Murt, Turt & Purt), Rasta Bandwagon (featuring Perry on the intro), and Babyloose Burning (featuring Niney, Romeo and Perry). These, and other recordings, marked out both as 'rebel' producers. It would take a whole series of compilations, to do justice to the output of Niney and Lee Perry. Whilst this is acknowledged, One Stop put a great deal of thought into sampling their output. Not only does this collection aim to showcase the main talents of both producers, it hopes to illustrate their contrasting, yet complimentary signatures sounds as well. Perhaps more importantly, it presents some superbly enjoyable examples of Jamaican popular music, in a sound clash style." Artists include: The Upsetters, The Sons of Selassie, Junior Byles, Niney the Observer, Leroy Sibbles, The Observers, Lee Perry, George Boswell, The Reggae Crusaders, Junior Murvin, David Isaacs, Horace Andy. Reduced price, last copies.