How Lee 'Scratch' Perry 'Forever Changed the Sound of Music Everywhere'

It was a sunny Saturday afternoon in 1977 London when I popped in to visit the already-legendary dub creator Lee “Scratch” Perry to get his reaction to a new version by

People always said Scratch was nuts, because he did things like stick a symbolic toaster up in a tree when he got sick of Rasta reggae DJs — called “toasters” — and dreadlocks in general. Once past his own Rasta phase, Scratch called them deadlocks and banned them from the Black Ark. At the same time, re-naming himself Pipecock Jackson, he graffiti’d the entire studio with esoteric symbols, giving the compound the feel of an obeah shrine.

But everyone agreed that when it came to sound, he was spot-on. In finessing rhythms, isolating bits of a track, muting others, and stirring it all up with some chilling found sounds, Scratch was laying the foundation for the next four decades of popular dance and electronica. Featuring those infamous DJ/toasters on the mike, Scratch led his generation in enabling all of hip-hop. You can hear Scratch in Hank Shocklee’s production for Public Enemy. The remix – that’s Scratch.

In a long, stormy career, with Scratch often battling the industry, trying to get his own “Complete Control,” Scratch always worked. He continued to gig and record with dub descendants like Subatomic Sound System, Adrian Sherwood, the Mad Professor and the Orb

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