Imagination, razor blades and ganja: How Lee 'Scratch' Perry changed the sound of popular music

,” Perry — who at various points nicknamed himself Little, King, Scratch, the Upsetter, Pipecock Jackson, Super Ape, Ringo, Emmanuel, the Rockstone and Small Axe — toasted over a hazy, weed-fueled journey through reverberating organ, bass and drums. “They who want total control always lose control / Some always lose their soul for silver and gold,” Perry shouted in rhythm during the track.

The voices guided him in the late 1950s to Kingston, where he landed a job with producer and Studio One owner Clement “Coxsone” Dodd. Perry was soon scouting for talent — and helping to discover the vocal trio the Maytals. After an unsatisfying stint working with producer Joe Gibbs, Perry formed Upsetter Records and released “

Perry used his system’s weaknesses to his advantage: over-saturating tapes with sound waves and manipulating the results; harnessing distortion and feedback for use as sound effects; reversing and slowing tape to transform voices into ghostly moans; feeding drums through electronic echo chambers to make them wobble and jerk. Perry’s 7-minute dub version of Max Romeo’s “Chase the Devil,” called “

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