Sly, Slick, and Wicked Sound System began playing out for the public in March 1973, and the first event was a staff party for the Bank of Nova Scotia on Rodney Street in Falmouth, Jamaica. Owner and founder Steve Gregg had started buying music in high school, and by the time he played his first gig, he had amassed fifty albums. At the very first Bank of Nova Scotia party, Gregg vividly remembers playing selections such as Big Youth’s Screaming Target (Jaguar label, Gussie Clarke producer, 1972) and Dennis Brown’s “Money In My Pocket” (Gibbs label, Joe Gibbs producer, 1972). Gregg highlights some more of the songs that he loved and played on his sound system in the early years:

"I was told that before I could read and write, whenever my father had friends over for drinks, they would play music. Any record they wanted, I could find, and they always tried to figure out how. I remember one Christmas Eve in 1968 or 1969, when everybody wanted toys, I wanted an album by the Upsetters, and the song “Lock Jaw” [Dave Barker and Tommy McCook, Treasure Isle label, Duke Reid producer, 1969]. Back then, Jamaican radio mostly played English music. I was exposed to a lot of music at a man named Mr. Shirley on King Street in Falmouth. His son attended the same high school in Mo-Bay that I did. When I first started playing at parties, I recall playing reggae along with songs by The Chi-Lites and The Stylistics. I heard Dennis Brown for the first time with songs like “Silhouettes” [Move & Groove label, Derrick Harriott producer, 1972], “Things In Life” [Syndicate label, Lloyd Daley producer, 1972], and “Baby Don’t Do It” [Secret Agent label, Lloyd Daley producer, 1979]. The first nightclub in Falmouth was called Happy Garden. I used to hang out there sometimes after school. That’s where I heard “God Bless The Children” by The Staple Singers" [Stax Records, 1970] (Steve Gregg interview, R. Lowe, 16 February 2026).  

In the seventies, our sound system played mostly for parties, like staff parties for National Commercial Bank, Nurses Home, Long Pond Sugar Company, Hampden Estates, and Trelawny Beach Hotel. Music that we played included the Cilla Black album Conversations [Parlaphone Records, 1969] and Vikki Carr’s album It Must Be Him [Liberty Records, 1967]. This was the music on the radio then. There was also the Aretha Franklin Greatest Hits album [Atlantic Records, 1971] and the In-A-Gadda-Da-Vida album by Iron Butterfly [Atco Records, 1968] (Steve Gregg, written correspondence).
Steve Gregg served as the lead selector for his sound system, with assistance from his friend Henry Smart, who also selected and worked with the sound for a quarter-century. In the 1980s, another selector, Peter Pryce, joined the team. The technical work on the sound was done by Gregg himself, with help from other expert technicians.     
     Important recurring events in the 1970s for SSW were the Annual Trelawny Homecoming and the Annual Police Ball, held at the Trelawny Beach Hotel in a little district called Coopers Pen, about five miles from Falmouth. The December Police event drew 400 to 500 people and featured live bands, Byron Lee and the Dragonaires, and the Fab Five. SSW played in this event for five straight years. As a party sound that played soul music, Sly, Slick, and Wicked (SSW) later transitioned to reggae and other genres, including disco and soca. Gregg explained, “In the seventies, it was mostly parties. After ‘89, it was mostly dances.” Gregg defined the transition from parties to dances: 

"I like all kinds of music and played mostly parties with music by The Fab Five and Byron Lee. Parties are by invitation for a celebration or birth night by a group of people held in a yard. Dances are for the public - they pay to go in, and they listen to the music and can buy liquor and food. When I was young, I remember seeing two girls that I knew at a backyard party in Trelawny. They said it was a party, and not a dance, but to me, it was all the same. In my time, gatherings that had a HiFi, play was considered lower class, while the “discos” attended by everybody. Again, to me, it was all the same.  
     One Friday before I started SSW, I bought some new records and attended a dance where Shaft Sound was playing. I asked him to play one of the new records, but as soon as it started, he snatched it off, saying, “Why did you make me play slow music?!” It was the reggae version of “Tracks Of My Tears.” That’s when I learned that party music was different from dance music" (Steve Gregg, interview). 

Because they were based on the northwest coast of Jamaica, SSW took pride in their region, and this would come to reflect the traditional chafing between country and town. For instance, when a sound system from Montego Bay city or Kingston passed through, territoriality would take over. Gregg recalls an early experience, “In the early 1970s, there was a clash between Echo Vibration Sound versus Screaming Target Sound from Trelawny, at Cornwall Beach in Mo-Bay. I was there when Screaming Target arrived to shouts of, ‘The country sound come!’” This form of tension or challenge would turn out to be a recurring experience for SSW.
     SSW played at The Annual Street Dance for numerous 1980s Independence celebrations, bringing a bounty of talent. They played in a rub-a-dub style at these Independence celebrations, gathering DJ talent to work with the crew, like Charlie Chaplin, Meeky Meeky, General Trees, Barry Brown, Lee Van Cleef, Rappa Robert, and Yellowman.  General Trees was hired once for The Coastline Club in August 1989, and another event at Hague Show Ground.     
     In the 1980s, SSW brought popular radio DJs to host their dances on various nights, including Donovon Dacres, Barry G, GT Taylor, and Deron “Ron” Muschette. Super Don was hired for a dance at Fisherman’s Inn on two occasions and even brought along Rappa Robert and Tippa Lee with him for the show, while Barry G was hired for a different dance on a different night at The Duncan’s Skateland. In this period, SSW worked as a rub-a-dub sound, even though playing party music and selecting songs for dancing were preferred. As an example of their rub-a-dub activity, in an interview with the regional newspaper Western Mirror in Jamaica, Steve Gregg recalled a 1981 contest with Studio 54 Sound System where Sister Nancy was to perform with a sound system, “Nancy surprised everyone by refusing to perform with what she termed ‘the Mobay King Sound’ but opted for ‘the little set inna the corner’ in reference to Sly. This irked the Studio 54 crew, who tried to test Sly in a clash after the DJ contest, but had second thoughts when Sly started answering them dub for dub” (Gilchrist, 1981).  
     A defining but unwelcome incident took place in 1982. You see, Trelawny was split into four political divisions. SSW was from the Trelawny area, but there was an opposing sound system from Falmouth, Scorpion Sound System (not to be confused with Black Scorpio from Drewsland). In early 1980, Gregg was approached by Keith Russell, a schoolmate and family friend, who said he was entering politics and wanted to hold a series of Carnivals in north Trelawny. Not knowing anything about politics, but happy to play music, he went along. As a result, SSW became linked to a political party, and this is where a conflict with a neighboring sound system, Scorpion, came into play. Gregg described his opponent from so many years ago, “My main competition was Scorpion. So, when I was approached to clash, I was ready to play music.” Gregg’s goal was the joy of playing music, but simply because he was from Trelawny, there was friction. The 1982 Scorpion “clash” was filled with tension that had built up over the years. SSW entered the clash, armed with live DJs Welton Irie, Neko Rankin’, and Prince Psalms.  Scorpion had six DJs: Early B, Pants, “Sonny” from Montego Bay, Tranny Rankin’, and two more. SSW ultimately won the 1982 clash that night with the strength of their new power amplifier, but the tension remained unbroken. 
     At its height, SSW sound operated with a four-way design, with three amplifiers dedicated to the bass alone. In 1979, Gregg purchased his power amplifier, and the next advance came in 1982, when, during a visit to New York City, he purchased a crossover system for his sound system. A valued audio resource was Dermot Rodney of Shaft Sound System in Falmouth. Gregg could borrow Shaft’s double-twelve speaker box, ask Dermot any technical question, and get solid answers. Another technical resource was Fitz Campbell, who worked as the engineer on the first Falmouth sound system, called Minstrel. Minstrel started in the 1960s and played for Jamaica’s Independence in 1962 at Falmouth Square. The owner was Duke Chen with selectors Relva and Mousie. Fitz Campbell’s son, Feedo “Feedodubmixer” Campbell, continues the family musical tradition as a sound owner, dub cutter, and engineer. Steve Gregg played music at Feedo’s tenth birthday party held at Fitz’s home on George Street, and later, Feedo worked as a selector for SSW. Feedo explained, “My sound name Mentally Disturb. The name was given to me by Suku of Ward 21. Steve Gregg teach me different genre of music. I end up leaving dancehall and worked in hotel for about ten to fourteen years. Johnny Osbourne even recently mentioned to me that Sly, Slick, & Wicked, ah his sound!” (Feedo Campbell, written communication, 06 April 2026).

The All Island Sound Clash of 1989
By 1989, SSW had become more of a dance hall sound system, operating as a rub-a-dub sound system with DJs and singers, and had begun competing in clashes. In 1989, SSW competed in the All Island Sound Clash. Pieces was a rising, very competitive sound system from Montego Bay, building steam in the mid-1980s. The owner, Lloyd Young Junior, also known as “Pieces,” was hungry. The bad blood between Pieces and SSW began with a complaint in December 1988. Gregg’s sister Margaret worked for Air Jamaica at Sangster International Airport in Montego Bay, and SSW was selected to play for a staff party. Before the party, Lloyd from Pieces approached the Air Jamaica management and argued, “Why are you using this country sound!?” Luckily, Margaret heard about the protest, but this complaint sparked the war. Just a few short months later, in March 1989, the two sound systems clashed at Blackie’s Lawn in Falmouth. That night, at the height of the clash, Pieces attacked with a “three-the-hard-way” tune that featured three top DJs on one special. Fortunately, SSW was aware that Pieces had this song in their dub basket, so they secretly recorded a dubplate of their own at King Jammy’s studio. They collected five DJs for a “five-the-hard-way” answer tune, including Ninjaman, Barka B, and Johnny P. The song had a tremendous impact, and they won the clash.  The “return clash” between the two rivals was held in Montego Bay, but this time it was at the much-anticipated All Island Sound Clash.  
     In early 1989, Sly, Slick, and Wicked applied for the July “All Island Sound Clash” in the rub-a-dub category. Gregg considered himself more of a party sound, but he registered for the competition in the rub-a-dub category, representing Cornwall Parish. In the competition, SSW competed only once, in Montego Bay and at the Bob Marley Center. The four-sound competition included SSW, Pieces, Turbo Force, and Sound Dynamic sound systems. In addition, SSW was considered the only “outside sound,” as Gregg put it. He explained, “As an outsider, it made all the difference because Montego Bay and Kingston were the big cities; they couldn’t give me the cup to go back to Falmouth with.” This notion made Steve Gregg even more determined.
     The build-up to the All Island Clash involved weekly “Letters To The Editor” printed in the Western Mirror between SSW and Pieces. Well before social media, each week the two sound system owners exchanged spicy messages, generating excitement and drawing eager crowds to the clash. The night of the All Island Sound Clash for SSW was the second leg of the “Cornwall Elimination Round,” held on the fifteenth of July 1989.
     The night of the clash, two of the four sound systems dropped out quickly. Turbo Force with selector Gary Hibbert and Sound Dynamic with selector Fitzroy Knott, both had technical problems, and due to poor sound quality, were completely unable to play. The night’s competition also had its playing time reduced: a one-hour round was shortened to forty-five minutes, and the thirty-minute round was reduced to fifteen minutes. So, it became a head-to-head clash between SSW and Pieces. Gregg was selecting for SSW and Turbo (Nash Lawson) as the selector for Pieces. During the “soul selection” sequence, Gregg played the song that was the template for what would become one of Killamanjaro’s all-time anthems; Earth, Wind, and Fire’s “Reasons.” Gregg supplied a dash of additional flavor by playing the 1975 extended live version of the song (Gratitude album, Columbia Records, 1975). He read the crowd right, and the song was an instant success with a sensational forward. So much so, that Gleaner reporter, Howard McGowan, wrote that the song was, “Perhaps the selection of the night” (McGowan, p.12). 
     Gregg and SSW won in four categories. With their four fifteen-inch speakers in one box, and newly painted red, green, and gold speaker enclosures, they won the “best stage appearance” category. They won the Best Selector and Originality categories for the introductions they had on a dub of someone impersonating The Prime Minister, Leader of the Opposition, and the Governor General, all endorsing SSW. These introductions are what Howard McGowan described as creative in The Daily Gleaner. Lastly, they won the award for “best soul selection” for their play of the Earth, Wind, and Fire tune. Even with these wins, Pieces still won the overall competition, notably thanks to the play of a special featuring three top artists: Pinchers, Admiral Bailey, and Tiger. Pieces was victorious with a point score of 225 over SSW’s 208. Again, reporter McGowan related that it was “a tight contest that could have gone either way” (McGowan). Long after, the two sounds met up again in Montego Bay beside the fire station. This time, the owner Lloyd selected. The night turned out to be not much of a clash, and the two adversaries just played music for the crowd.  Steve Gregg never saw Lloyd Young again after that. ​

Sly, Slick, & Wicked – Onward and Upward
In the 1990s, SSW played at dances with some of the top sound systems, including Silver Hawk, Killamanjaro, Bodyguard, Stone Love, Electroforce, and Black Cat. They also had a weekly stint at Washies Club in Falmouth, and another weekly gig at the Grand Lido Braco Hotel. Sly, Slick, & Wicked had many wonderful nights playing music. One of his most successful events in this period was the week-long Carnival held in 1990 at the University of the West Indies campus in Kingston. Another favorite dance memory was between SSW and GQ Sound System in April 1990 at Blackie’s Lawn in Falmouth. This was a rub-a-dub-style dance, and the crowd did not expect SSW to play so well. All their attention was fixed on anticipating GQ’s featured DJ, Ninjaman. As the night commenced, Ninjaman was a no-show for GQ, but SSW came prepared with the live singer Johnny Osbourne and DJ Gregory Peck. The dance held good memories for Steve Gregg because the crowd jumped up and ran excitedly in all directions when the selections hit hard. The crowd showed full support for SSW that glorious night. 
     Sly, Slick, and Wicked owner Steve Gregg migrated to Florida in 2004 and packed up his sound system, only to return to Jamaica in 2008 to play more music. In 2010, the SSW sound system permanently closed down its operation.  
     Steve Gregg continues to enjoy retirement, and for over thirty-five years, his sound system played music to the pleasure of crowds on the north coast of Jamaica and was a draw from just about every parish in Jamaica. Sly, Slick, and Wicked - another great sound system that has left its stamp on Jamaica’s musical history.
 
References
Gilchrist, Carl. “Sly, Slick, and Wicked – the ‘Original Sound.’” Western Mirror [Trelawny, Jamaica], 1981.
McGowan, Howard. “Pieces Dico Takes Top Honours.” Daily Gleaner, 20 July 1989, p. 12.
Interviews and Correspondence:
Gregg, Steve, written correspondence, 13 February 2026; Interviews, 30 July 2023; March 2026; numerous additional correspondences.Griffith, David Timoschenko – “Django,” (Recording Engineer), Toronto, Canada, 29 September 1990. 
Campbell, Feedo, written correspondence 06 April 2026.
 
Photos:
Sly, Slick, & Wicked Sound System Crew (l-r) Steve Gregg, Stainrod (from Electroforce, but hired as MC by SSW), Henry Smart. Photo taken at the 1991 Scorpio vs. S Clash. Photo courtesy of Steve Gregg.
Sly, Slick, & Wicked Sound System Crew (l-r) Peter Pryce, Java (Promoter), "Mop" in back row/center, Steve Gregg, Henry Smart, unknown man kneeling. Photo taken at the SSW vs. Digitek clash, 1994. Photo courtesy of Steve Gregg.

Soon To Come in 2026, the new book: Jamaican Dance Hall Story: Lord Sassafrass and the Black Scorpio Sound System, by Rich Lowe. 
In 2019, the biography of Lloyd Daley, “The Matador,” was released. In 2022, Two Kings: King Edwards “The Giant” Sound System chronicled George and Vincent “Vin” Edwards. The trilogy concludes with Horseman Journey: Lord Sassafrass and the Black Scorpio Sound System, which shifts the focus from Jamaican music in the 1950s and 1960s to 1970s and 1980s dance hall, seen through the top sound system Black Scorpio and its DJ, Lord Sassafrass.
    Welcome to an insider’s view into sound system culture with Lord Sassafrass of Black Scorpio Sound System. Jamaica has given birth to reggae, rock steady, ska, mento, and dancehall. Each genre germinated in the dance halls of Kingston. This book has many layers reflecting the golden era of the 1970s and 1980s. It was a time when reggae was just hitting its stride, and people of the world were becoming interested, and musicians like The Rolling Stones, The Clash, Tom Tom Club, and The Police took on the energy.

 
   

David Rodigan BBC Radio 1XTRA radio program
Book review (live on radio), 23 May 2023
Two Kings, Jamaica’s King Edwards “The Giant” Sound System 
The Era of The King, The Duke, & The Sir
 
*The following is a transcript of David Rodigan's review:

If you’re into Jamaican sound system culture, then you’ll probably want to get your hands on a book by Rich Opre Lowe — the man who gave us The Matador story, that was quite a story. His latest is entitled Two Kings, and it’s all about two brothers, George and Vin Edwards, who founded King Edwards “The Giant” Sound System. Sir Lord Comic, being one of the selectors. They had more than two sound rigs on the road at the time. They also had two record labels and a record shop, as well as the famous sound system. They were innovators in the early development of Jamaican sound systems with a customized amplifier, which they named “Hercules.” We’re talking 1950s Jamaica, into the sixties. They were involved in the cutting of soft wax recordings, now known as dubplates, from boogie-woogie to early ska. They also recorded their own productions at studios such as Federal, and both radio stations - RJR and JBC Radio One, and they released them on their own labels. Songs such as the original ska version of “Shank I Sheck” by Baba Brooks, on trumpet, on Giant Records. Their extensive catalog of records released between ‘61 and 1966 is listed in the rear of the book. This a real trainspotter’s book, packed with information and anecdotes. Fascinating and very detailed study of the contribution and impact that these two gentlemen had on the early years of Jamaican music. The book also lists the names and details of a variety of notable sound systems that prevailed around Jamaica in those early days, such as Count Nick, Tom The Great Sebastian, Bells The President, and Sir Dee’s, just to name a few. They also list other sound systems that I absolutely never heard of, but they were popular sound systems in the day. Fascinating insight and study. 
     Both brothers are still alive. George is 93, and Vin is 89, and over the past four years, they’ve been relaying their anecdotes to the author Rich Opre Lowe when he went down to Jamaica, incidentally, for decades. Rich used to broadcast reggae music in Cleveland, Ohio. The book is published by Jamaica Way Publishing, which is a company based in Sonoma, California. So, check it out, a brand-new publication thanks to Rich Lowe. It is called King Edwards “The Giant” Sound System. 
 
[Thanks to David Rodigan for his support of this book and his lifelong support of Jamaican music]

​*Press Button Below To Purchase...

​Sadly, Lloyd Adams passed away in July 2024, but his musical legacy is strong. He is the drummer from Jamaica that played on Augustus Pablo’s “King Tubby Meets The Rockers Uptown,” Eric Donaldson’s “Cherry Oh Baby,” Errol Dunkley’s “Black Cinderella,” Delroy Wilson’s, “Riding For A Fall,” and many-many hallmark Jamaican songs enjoyed throughout the world.
     Drummer Winston Grennan taught Adams how to play, and Adams recorded hundreds of commercially released songs. He was active in sessions for Duke Reid and Randy’s recording studios in the 1960s. He was a member of The Upsetters, Now Generation, Inner Circle, and in America with The Fabulous Titans. Lloyd also enjoyed singing; at live shows, he would sing “Waiting In Vain” and Carl Malcolm’s “No Jestering.” 
     Although he was small in structure, earning the nickname of Thin Legs or Tin Legs, he had power and a distinctive style on the drum set. As a drummer himself, Ron Rhoades was honored when Lloyd joined up with his band The Fabulous Titans in 1979, revealing his reverence with his first action, “Lloyd was the first drummer that I got out from behind the drums to play another instrument. He was the first guy I ever did that for, and since. He had that ‘pan style’ where the drum [sounds out loudly], Rainng ding ding ding! It’s the snare style on those old Jamaican records where the intro sounds like he’s playing on a tin pan [a steel drum], as opposed to playing the intro on a snare drum fill and dropping into the song. It was more like playing on a pot like a cooking pot, a cooking pan, or a saucepan. Really bright. Really crisp. He would hit the rim and the head at the same time with the stick, and it created that sound” (Ron Rhoades interview, 18 April 2025).
          Lloyd had a quiet, mild-mannered nature. Rhoades commented on his demeanor, “We were doing a lot of traveling. Lloyd, he would just be in his room at the hotel. He would never go out with us and hang out with us. When you see backstage photos of the band through the years, he’s not in them. We respected him so much, and we were honored that he was playing with us. If he wanted to sit in his room and read, then that was fine with us” (Rhoades, interview). Rhoades continued, describing Adams’s punctuality, “Timely – He was there every time!  Every time. I can’t think of one time that we ever had to wait for Lloyd. He was always there.” Adams was also a snappy dresser. Miranda, his daughter's mother, remembers first meeting Lloyd, “I was walking down Charles Street at the corner of West Street, and he had on this nice yellow outfit—a beautiful yellow outfit - yellow shirt, yellow pants, and nice shoes. I said, ‘Damn! He looks good!”
     Lloyd had an adventurous spirit. He traveled throughout the US, to Miami, Florida, and Oakland, California, played with Hux Brown at gigs in Chicago, and eventually landed in Texas. After leaving Jamaica, he led a life of nonstop exploration of America. One aspect of his life is that when he left Jamaica, it was not believed that he ever returned. For decades, few knew where Adams was living in the US. He occasionally connected with instrumentalists from Jamaica who were on US tours, but a direct line of communication was nonexistent. This absence of information created a mystery - Where was Lloyd “Tin Legs” Adams?  It was a true mystery of how one of the greatest drummers from Jamaica could disappear without a trace. His daughter Astarza commented with some first-hand history revealed by Lloyd about his time in Jamaica that may explain: “All the band members were sitting around, and who they were performing for said, ‘Why are you guys not practicing?’ He said, ‘How can somebody practice a talent that they are born with?’ And he got up and left. He was a loner. He would let you know, ‘Don’t question me.’”
     Writer David Katz played an interesting role as a detective in the search. He used many contacts to find Lloyd Adams and then linked his daughter Astarza, her mother, and family up with Adams in his last years. This was a big deal for his family, and they made Mr. Katz’s efforts known. The family was joyous about their time with their father, grandfather, and great-grandfather! Katz commented, “Tracking down Mr. Adams was a massive task.”
     The musical heart of Jamaica’s music resides in the drum and bass.  When considering drummers playing on a kit, such as Sly Dunbar, Hugh Malcolm, Carlton Barrett, Horsemouth Wallace, Lloyd Knibb, Paul Douglas, Winston Grennan, and Santa Davis, just about every player is celebrated by reggae music lovers for the music they created over the decades. As these musicians played for studio recordings, the lesser-known drummer Lloyd Adams also played in sessions busily. Adams is a drummer that people should become more familiar with as Jamaican music continues its march through time. 

After seventy years, the American rhythm and blues “scratch-off” 78rpm single that Jamaican sound system owner Duke Reid called “Hey, Hey, Mr. Berry” or just “Mr. Berry” has been located and recently confirmed by King Edwards Sound System owner Vin Edwards. 
“Hey, Hey, Mr. Berry” is Ducky Drake’s (Kent Harris) song titled “1992,” released in 1954 on Trend Records. Duke Reid played this American song at Kingston, Jamaica dances in 1954 on into the 1960s. The true title has never been known until now.
 
*We would like to corroborate this finding with another source. Please add comments for anyone old enough to have heard the song played at a Duke Reid dance in Jamaica.
Dimples Harris “Hey, Mr. Jelly” Trend Records (a-side)
Ducky Drake (Kent Harris), “1992,” released in 1954 on Trend Records (B-side)
 
            The title remained unknown for many reasons, but at the core is the desire to eliminate all traces of the original record label to maintain exclusive play in a dance, to declare, “One in the world! You can’t play it!” So, the record label was scratched off to remove all information on the label. By removing labels, 1950s sound system owners thwarted their competitors’ attempts to keep pace with the hot music featured on dominant sound systems. In so doing, the record owner guarded their list of songs, frustrating budding music industry organizers.
 
In writing the book, Two Kings-Jamaica’s King Edwards “The Giant” Sound System, I asked George and Vin Edwards, “They say people never figured out who sang ‘Mr. Berry’ or what they sometimes call the song ‘Hey, Hey Mr. Berry.’ Do you know who sang that song?” Vin replied, “No. You could never know because we generally scrape the song titles off the disc. That is original rhythm and blues.” 
 
I learned from music collector Horace Primo Bartley that Duke Reid took glue and pasted another record onto the B-side of “Mr. Berry” and that it was so scratched off you couldn’t see a trace of the label. It was pure black. The song was hugely popular in dances. People would attend a dance just to hear and celebrate this one song. Duke also played “Mr. Berry” on his Treasure Isle Time radio program. 
 
The first clues on the song's origin came from Jamaican music collector Primo. George Edwards described Primo, “Horace knows everything about the sound system and the recording, from the beginning. He’s an honest fella and a decent gentleman.” I contacted Primo before his passing, and he told me that he had been hunting for “Mr. Berry” for many decades. Over his years of research, he observed that “Mr. Berry” was very similar to the instrumental accompaniment on a couple of songs by a female singer named Dimples Harris (Marcene “Dimples” Harris). Horace thought that the instrumental work on two other songs by the Dimples Harris Trio – one which was “Call Me Daddy (1952)” on the Regent record label, was the same kind of music as “Mr. Berry,” but with a saxophone added. Primo told me, “I suspect from the mere sound, that it makes sense. It’s the same kind of sound she have. I was suspicious, and I wish you would follow it up” (Horace Bartley, interview by author, 26 August 2018). He thought the song could have been on the Trend record label as a 78-rpm disc. 
Primo (who lived in Brooklyn, New York) identified a print source for his findings, commenting, “The same kinda music she had with a sax. Normally, it’s a trio she have, but she added more instruments to this and it came on a label named Trend. One of these books – like a dictionary, I think was made in Canada, lists all of the stuff far back. Make a note of that.” In working with music collector Phil Etgart – who has a long history of researching these Jamaican scratch-off songs (compiling numerous album releases such as “Jump Blues Jamaica Way” on Future Noise Music), cited quite similar feedback he received from Bob Javors in England, who wrote, “I'm fairly certain that ‘Hey Mr. Berry’ is from Dimples Harris' ‘Hey Mr. Jelly’ released in 1954 on Trend 2500 out of Los Angeles” (Phil Etgart, written correspondence, 03 March 2024). 
 
In my searches, I realized Dimples had a brother, but the brother went by three different names: Kent Harris, Ducky Drake, and Boogaloo. I located a record suspiciously titled “Hey Mr. Jelly.” The A-side had the sister Dimples, and the B-side had the brother Ducky Drake. With such a similar title, I suspected this could be “Hey, Hey, Mr. Berry.” In 1954, Kent Harris, as Ducky Drake, cut the song titled “1992.” This song was released as the flipside to his sister Dimples Harris’s “Hey, Mr. Jelly” song on Trend Records. Perhaps Duke Reid pulled his alternative “Hey, Hey, Mr. Berry” title from the other side of the disc.
 
Even with an artist and song title, no copy of the disc could be located. I searched historical records, the Discogs and 45Cat sites, record collector auctions, and rhythm and blues experts for years. At long last, a collector by the name of Barrows emerged with a recently posted Discogs entry for the song. It was the only copy that I could locate, and he kindly made me a digital recording of both sides of the original 78 rpm single. 
 
Remember, that to verify the authenticity of the song via the ear, only someone who heard the song at a Reid’s Sound System dance would know the song, and those witnesses are few. Coxson supporter and sound system owner Fitzroy Murray heard “Hey, Hey, Mr. Berry” play on many occasions and commented that the song was not a great tune. Murray explained that the song had a terrific beginning, but as the song played, it was disappointing. He made clear that this was the reason why Duke’s selectors would rewind the song every time and not played all the way through. Sadly, Fitzroy passed away during the writing of the King Edwards book, as did Primo Bartley. There were two other dancehall men in our group that were known the have heard the song played in dances: George Edwards and Vin Edwards; now in their nineties. I asked George and Vin, “Would you recognize “Mr. Berry” if you heard it again after all these years?” They responded simultaneously, “Oh yes. Yes, man!” I quickly sent copies of the record to the brothers in Jamaica. Upon receipt, both brothers called me the same morning.
 
            I was disappointed when George reported that he didn’t remember ever hearing the song, even though Primo had told me that he was present when George played the song at a King Edwards dance “in the west” on loan from Duke Reid, “I remember an incident; Duke Reid send the same ‘Mr. Berry’ with one of his guys to let him [George] play it”  (Horace Bartley, interview by author, 26 August 2018). Next was Vin Edwards, and I asked him if he had listened to the two sides of the old 78 rpm I sent. He replied:
 
(Vin) It an American tune. Both of them. You shoulda known that man, from when you heard that tune. The talk and the whole arrangement was more professional than what we produce here.  I can’t get the artist name because we used to scratch the American tune.
Q: Did you ever hear “Mr. Berry” that Duke Reid used to play?
(Vin) Yeah man! Yeah man! It was one of the given name tune like “Sweepstake” and “The Hop.” Is not a local tune. There was the question that “Mr. Berry” was a local tune (recorded in Jamaica), but it is a foreign tune. Because it named “Mr. Berry,” we were unable to popularize it outside of the sound system. 
What is the reason why you have so much interest in ‘Mr. Berry?’
Q: I was thinking that one of the two rhythm and blues songs I sent you was “Mr. Berry.” Did you hear it at a Duke Reid dance?
(Vin) I’m going by the one you send me y’know. Yes. George said that you sent him a copy too. 
I cannot give you the right name of the tune, but I know the tune, and listen to it, and dance to it, and Duke popularize it. That’s the same song. Yes, man. I know the tune y’know. 
Same song Duke Reid used to play. 
Q: This one is from 1954 on Trend Records by Ducky Drake and they called it “1992.”
(Vin) So, tell me somethin’. What label it on?
Q: It’s on Trend Records from California. It has the guitar intro and the saxophone you described. Do you think finding this song from over 69 years ago has significance, or is it just old news?
(Vin) Most of the songs we were playing were made in the forties. When we found them, we found them in the stock room of the record shop. All of our tunes were Louie Jordan and Joe Turner. These tunes didn’t reach Jamaica. We went and looked for them and brought them here. We were playing tunes that were made ten and twelve years before, but they never reach Jamaica.”
“Mr. Berry” wasn’t like “Sweepstakes” and a “Hop,” but it was a popular tune. Anybody could sing it. They don’t know the name. They don’t know the artist, [but] they sing the tune.
Q:  Should I tell people this is the original “Mr. Berry”?
(Vin) Yes! You gonna reprint it? [press the record] 
Q: I’m gonna write about it. What message would you send to people about the song?
(Vin) Tell ‘em it a foreign tune done by Duke Reid. Nobody don’t have it (Vin Edwards, interview by author, 8 February 2024).
 
Although Vin Edwards confirmed the song, it would be valuable to have others who attended a Reid’s Sound System dance to chime in with their memories. Regarding another point I wrote about in the King Edwards book: In our searches, Primo mentioned Dimples Harris, and it was unclear if the a-side of “Hey, Mr. Jelly” was the correct song or her brother Kent’s B-side tune. Primo knew the song well, described hearing it in the dance, and, as a lifetime record collector, had been hunting for it for years. In revisiting my recorded interview with Primo, he clearly stated that it was “the same kinda music” and “the same kind of sound she [Dimples] have.” I feel confident he was referring to the studio sound, and Vin Edwards identified the song as sung by a male vocalist when he listened to a recording in 2024. While writing the book, Vin had previously told me that it was a male voice on the track. 
​
Thanks to:
Fitzroy “Juke” Murry (The High Priest)
Horace “Primo” Bartley
Lloyd “Matador” Daley
George and Vin Edwards (King Edwards Sound System)
Bill Dahl (Rhythm and blues historian)
A. Barrows (Owner of the original copy of the Trend Records 78rpm single)
Kenneth Bilby, PhD (Ethnomusicologist)
Phil Etgart (Music Collector)
 
Want More?
This comprehensive book of 563 pages covers our early searches for “Hey, Hey, Mr. Berry,” 1940s and 1950s sound system history, music production, and Vin Edwards’s horse racing and political careers. Fifty photographs and four maps of Kingston areas answer questions and fill gaps in knowledge. Readers can follow the steps by Vin Edwards and Duke Reid on their searches in America for Coxson Dodd’s exclusive music, “Coxson Hop,” “Sweepstakes,” and “Downbeat Shuffle.”
 
Two Kings-Jamaica’s King Edwards “The Giant” Sound System: The Era of The King, The Duke, & The Sir 
is available worldwide via Amazon.com (US)$34.95. 
By Rich Opre Lowe, ISBN: 978-1-7323825-6-5
 
Media Contact:
E-mail: [email protected]
For more information, visit www.ReggaeJamaicaWay.com

Three well-known exclusive rhythm and blues records that Coxson Dodd used in dances as secret weapons to attract crowds and dominate the competition are “Coxson’s Hop,” “Sweepstakes,” and “Downbeat Shuffle.” These were titles created by Coxson for established American tunes, but the accurate titles were unknown in Jamaica. According to Vin Edwards, “The Hop” was exclusive to Coxson for approximately six years until the original records were located in 1960 by Vin Edwards and Duke Reid. In a US record shop search, the two men unearthed the long-sought-after scratch-off singles Coxson used as weapons. Vin Edwards explained, “We found ‘Downbeat Shuffle’ [original American artist is Harold Land, “San Diego Bounce,” Regent Records, 1949]. At that same shop, after pulling records out of box after box, at last, we just run into ‘Coxson’s Hop’” [original artist is Willis Jackson, “Later For The Gator,” Apollo Records, 1950]. The original song that Coxson retitled as “Sweepstakes,” is American artist is Johnny Perry on the song “Got Good News For Ya, Baby” [Rondo Records, 1949].

*For the complete Interview, please refer to Muzik Tree's Website: muziktree.co.uk/misc-and-memorabilia

Herman Chin Loy Interview
*Numerous Interviews - May 2023 to August 2023, by Rich Lowe 
Transcribed by Ray Hurford of Muzik Tree 
(Coded with “HCL” for Herman Chin Loy’s commentary, “RL” for Rich Lowe questions)
 
 
Beth Kingston and Balford Henry were the first two writers to explore Herman Chin Loy’s contribution to Jamaican music. Herman ran Aquarius Records at Constant Spring Road, Kingston 10, at Half Way Tree, close to JBC Radio Station studios, KGs records, and Skateland. He would place speaker boxes out front of his shop and blast the latest music for people traveling up and down the street. 
     Herman Chin Loy started the record shop and later brought his older brother Lloyd into the business. Lloyd equipped the upstairs space as a recording studio, which became the first 24-track studio in Jamaica. Aquarius Recording Studio became one of the top and most sought-after studios on the Island and Aquarius Records was the place to visit to track down the best music. 

(RL) That is what made Channel One so popular, the thick bottom end.
 
(HCL) Right, so guess what happened. I went to Channel One and then Randy’s, and I did what I did. While the [Aquarius] studio was being built and I realized that the studio didn’t have any bottom end. I was more interested in doing American music than reggae. So, I went to Paul Khouri at Federal and said give me one of those tape like you get from Phili in America at MFSB [Sigma Sounds Studio band in Philadelphia. The “Mother, Father, Sister, Brother” band]. Paul Khouri obtained a two-track mixed down tape for me from Sigma Sounds Studio. Byron Lee would get his two-track tape from America to listen to the sound mixed down. Once I got one of the two-tracks from the Khouri’s, I listened in the Aquarius Studio to measure the studio from that sound and know what is missing. I knew I could easily find out what is missing and what I can boost after I play back those two-track finished mixes. Actually, when I cutting the dub album at Federal, Paul Khouri said this is damn foolishness, but I was payin’ him, so he did it. Later on, he made his own dub album. But the first dub album was mine, and the next album that came from Coxson. Studio One. It came after me, and then you have Scratch [Lee Perry].
 
(RL) “Aquarius Dub” (Blank “Aquarius” label, Herman Chin Loy producer, 1973) was recorded at Dynamic Sounds Recording Studio?
 
(HCL) The tracks were recorded by the players at Dynamic Sounds and the album was mastered and cut at Federal Records [the album was mastered and the stampers cut at Federal]. I got it recorded and mixed simultaneously at Dynamic Sounds. I mixed it in about half an hour – a little bit more. I did one song in London, but I don’t remember the song’s name. I recorded it with that Indian guy - Junior Lincoln of Bamboo Records. Dynamic had the top studio – which was bigger, and the bottom studio. The top studio had engineers Carlton Lee and Karl Pitterson. That day, we recorded interchangeably between studios, and most of the recording was done at the bottom studio. 
     Bunny Lee was in the studio with Slim Smith. He was a great singer, that guy could really sing. Damn! This guy can sing! There was a great argument over The Harder They Come movie, and Bob Andy was fighting with Bunny Lee – beat him up. Bob Andy punch Bunny Lee to the fence outside. I witnessed that. A whole heap ah things happen in a short time.
     With dub, I was in the shop, and people keep asking for this type of music. I say I’m going to put it on an album. I’m going to present it like a dub album. It not gonna have any paper [record label] on it, and it gonna look just like a dub [the record would appear as exclusive dub or dubplate – as was being played and traded by dance hall sound systems]. With the paper on it, I can make more than one. I was told you cannot make more than one without the paper. So, I have a much-limited amount. I carry it to Randy’s, and they say, “Gimme two.” I sell all of those albums at my record shop! That’s when I began to ply my wares. That’s where I did most of my business with my recordings. Other shops were not interested in selling my stuff, and I could sell my stuff at Aquarius cuz I know what the people wanted. When people come in my store, they’re happy. I was makin’ money comin’ outa my ears, but I didn’t buy shit! That’s what I’m telling you, I had access to the money, but I was not a drinker, a womanizer, or one of these people who spend money. So, I didn’t need money. I didn’t buy no house, no cars, I give the money to my brother for our business.   
 
(RL) Were you thinking the money was going into the mutual business, and your brother was going to provide care for the entire family?
 
(HCL) I really thought so. 
 
(RL) When people asked for the music that sounded like that, how did they describe it?
 
(HCL) Bass and Drum.
 
(RL) What would they say when they asked you for the music type?
 
(HCL) You have any dub album? You have any dub?
 
(RL) Did they mean a dub that a sound system would play?
 
(HCL) Exactly. Sounds like an exclusive. Expensive. Because it was exclusive and expensive!
Much later on, I produced an album called “Nostalgia,” which is old American music. It was all the old tunes – that people wanted. I made a couple of dub albums. I would buy a cut from One Foot Jimmy [Ivan Jimmy Radway].
 
(RL) When you recorded “Aquarius Dub,” it was intended to be strictly an instrumental record?
 
(HCL) Yes, yes, yes.
 
(RL) And who did you seek out to play the music?
 
(HCL) You had Val Douglas, Mikey Chung, Mikey Boo, and maybe Wire [Earl Lindo] and “Organ D” [Tyrone Downie] from Wailers, a good musician. I wanted to produce something of more value in terms of music. Not necessarily reggae. I just wanted to do something different musically.
 
(RL) It sounds like you are talking about the Now Generation Band.
 
(HCL) It was Now Generation, like I said: Mikey [Chung], Geoffrey [Chung], Mikey Boo [Richards] the drummer, Earl Wire Lindo, and Val Douglas. You are correct
 
(RL) In talking about “Aquarius One” dub, one of the songs was recorded in England?
And all other tracks were done with Now Gen?
 
(HCL) I think “Aquarius One” was done with Family Man on bass. I would have to go and listen to the album again and be more truthful to you.
 
(RL) It’s a long time, a very long time ago. Who was the engineer at Dynamic when you made the album?
 
(HCL) You had Carlton Lee and Karl Pitterson.
 
(RL) Did they understand what kind of sound you were trying to get?
 
(HCL) I said I want a cut without the voice.
 
(RL) What the impact of that album?
 
(HCL) The impact was real quick, and it gave me the confidence that what I was doing was right.
U Roy would get one, all the big sound system would be playing it. And then Lee Perry would say that Black Art Man was the first dub album. Which is foolishness. I know Perry as a crazy dude. I know he was interested in Obeah. In Jamaica, we are very superstitious. If you get a cold sweat, it must be a duppy.
 
(RL) What made you release “Aquarius Dub 2”?
 
(HCL) Because of “Aquarius Dub.”
 
(RL) It was that popular?
 
(HCL) Yes because it made me some money. And I was following the money.
 
(RL) Having made that money and the popularity was there, were your instructions different at the studio? Did you go back to Dynamics and Federal Studio?
 
(HCL) With everything that was going on at the time, I did not get to finish the things in proper order, I don’t remember the details.
 
(RL) Did you ever release other dub albums – that were blank. Other music that you would circulate?
 
(HCL) There was one that not fully recognized as such because of this transition with my brother. They were not finished.  

*More at:  www.muziktree.co.uk/misc-and-memorabilia

Winston Francis started his career in 1950-1951 as the entertainer “Cobra Boy.” At age seven, he successfully mimicked the Trinidadian contortionist Cobra Man to earn the Cobra nickname by which he is still known. Some years later, he worked as a ballad singer and member of The Sheridans. He first advanced to recorded music with producer Coxson Dodd on the trademark album “Mr. Fix-It” in 1969. This recording is where Francis earned his second pet name, Mr. Fix-It. 

​

New Dimension Recording Studio opened in December 1971 by two men: Arnold Wedderburn and John Templer. Arnold Wedderburn was a Jamaican electronics engineer who worked at JBC Radio Station. He wrote scripts for airplay and, in 1972, worked on equipment to transition JBC from AM to FM stereo. Templer was from England, and his role was that of an investor. Others who assisted are Delroy Butler, a.k.a. Delroy Denton, who was the chief technician. Recording engineer Dennis Thompson was present at the start and worked on a three-record Count Ossie album and with Merritone Sound System on their productions at New Dimension. The Fabulous Five were very active at New Dimension. Wedderburn and Templer documented their work on the New Dimension record label on the 1973 three-disc album entitled “Grounation” by Count Ossie and the Mystic Revelation of Rastafari and on tracks like Yvonne and Lisa’s “Close to You” (1972) and Peter Scarlet and The Fabulous Five’s “Oh Dad” (1972).
 
Audio engineer Dennis Thompson worked with Winston Blake and Count Ossie at New Dimension. His good friend Wilton Currie would join him at the studio as sessions were underway. Thompson immediately recalled his work with the studio, the precise street name and address, and equipment specification when asked. Interview 
 
I was involved with that studio. 5 Eastwood Avenue, off Eastwood Park Road. Electronics engineer Arnold Wedderburn and investor John Templer started that studio. Templer was an English man who lived in Jamaica, and Jamaica adopted him. Wedderburn was in communications. He studied in America and came back home and decided to start a recording studio. One night he went to a Grounation with Count Ossie in Bull Bay. Arnold was an avid music collector, and his equipment was higher-end audio. So, he was a connoisseur. He was fascinated with Count Ossie. John Templer decided he had some money he wanted to invest and build a studio. They rented this house on Eastwood Avenue. They know I was involved in music, cuz I used to play at discos and clubs, so I say we can put it together – it’s a good idea. Count Ossie wanted to do this album, “Grounation.”  In two nights, we do it, and it came to three albums. They have enough material for five albums; we edit it down to three.  
     New Dimension was a two-track studio with quarter-inch tape running at 71/2 and 15 tape speed. The technical specifications: we had two Revox 77 and one Sony 850 – I think it was, with had three Shure mixers, four Advent EQs [equalizers], two Tannoy Lancaster speakers, McIntosh C-28 preamp, and two McIntosh 2105s. That was it, we made it work!
     I say to Winston [Winston Blake of Merritone Sound System] that we are going to build a studio. You always want to get involved in production, so come talk to John [Templer] and see what we can work out. I brought in Winston and say you want to be an associate producer. We started some auditions looking for new talent. Out of that came Beres Hammond, Ruddy Thomas, Cynthia Schloss, another man called Portious [sp?], and Mighty Diamonds. I started doing some production with I-Roy, The Heptones. Wilton [Wilton Currie] used to come down there and hang out with me down there. We were close friends, and when he leaves work, he come hang out.      
     New Dimension close down because of irregularities on behalf of one of the managers (Dennis Thompson, Interview by author, 09 July 2023).

(© Rich Lowe, July 2023)

"The Matador" and "Two Kings" are now available for purchase via Amazon. For more information visit the 'Books' tab above. Many thanks to all those who helped in the production of these books in order to preserve the legacies of Lloyd Daley and George and Vin Edwards.