Sly, Slick, and Wicked Sound System, Steve Gregg, Owner. Headquarters: Falmouth, Trelawny. Party Sound, Rub-a-dub Sound, Competition Sound System, Participant in the 1989 “All Island Clash”. By Rich Lowe

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. SSW Clash. Photo courtesy of Steve Gregg.

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).

Steve Gregg of Sly, Slick, & Wicked Sound System. "“This is me at Margaret’s wedding reception. I remember playing “Ring My Bell” by Anita Ward” (Photo courtesy of Steve Gregg).

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 clash 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. 

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 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.

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.