Gregory Isaacs

Gregory Isaacs - Pic: Beth Kingston

Gregory lsaacs was born in Denham Town, West Kingston.

He made his first record around the late sixties, 1968/ 69. lt

was a coproduction with Winston Sinclair and was called

’Another Heartache’. It didn’t do too much, so Gregory

joined a vocal group called the Concords made up of two

singers named Bramwell and Penroe. Together they made

a couple of tunes, ’Don’t Let Me Suffer’ and ‘You Are The

One’. He left the group to work with producer Rupie Ed-

wards’s Success label. Here he made a number of records,

including ’Too Late’, ’Each Day’, ’Lonely Man’, ’Closer To-

gether’ and ’Black & White’. They were good works, but

none were successful.

Gregory then checked out Prince Buster, with whom he

made ’Dancing Floor’, which apparently did well. But the

lack of financial reward from the tune convinced him it was

time to set up a label — African Museum, which he did in

1970 with Errol Dunkley.

The first releases on the label included the classics ’Look

Before You Leap’, ’One One Coco Full Basket’ and ’My

Only Lover’. Out of the three, ’My Only Lover’ was the most

successful for Gregory. When Errol left to work with pro-

ducer Jimmy El Rodway, Gregory continued alone with the

African Museum label. But in order to finance the label, and

his own productions, he returned to work for other producers. 

They included works for Roydale Anderson — ’Open

The Door To Your Heart’, Lloyd F. Campbell — ’Your Smil-

ing Face’, and Phil Pratt, who produced Gregory’s first hit

’All l Have Is Love’, a tune that typifies his aching love style.

’Lonely Soldier’ for Randy’s was also very popular. But it

was the G.G. productions in 1974 that really established

Gregory. ’lnnocent People Cry’ gave him his second big hit

in Jamaica. ’Love ls Overdue’ followed it up the charts and

enabled him for the first time to come over to do shows in

England including some with Errol Dunkley, who had now

settled in London.

The success of ’Love ls Overdue’ was enough encourage-

ment for Alvin Ranglin, owner of the G.G. label to record an

album ’In Person’ with Gregory which Trojan released in

the UK in 1975. Gregory then was mainly known for his

love songs. But even on the first album, he took the chance

to make some social comment:

“Lord, my people wanna be free,

just like the blind would like to see,

But the hotter the battle will be,

The Sweeter the victory”.

(Sweeter The Victory)

’Financial Endorsement’ is even better. A very sad song of

poverty, and its effects. The whole album was recorded with

the Soul Syndicate Band, who gave it a raggamuffin sound

as favoured by Niney at the time. Niney also produced Gre-

gory on the great ’Bad Da’ in 1975, which was a marked

change of style for him. It was something in his voice. Carl

Gayle at the time termed it frustration. That frustration can

also be heard on ’Babylon Too Rough’, which is an attack

on the Police whilst asking his brothers to control their ang-

er on seeing such senseless brutality. 

Both the song and the rhythm are based on Dennis Brown’s

’Take lt Easy’ (Coxsone). Also released in early ’76 was the

album ’All I l-Have ls Love’ produced by Phil Pratt, although

the sleeve credits Sydney Crooks. It includes the title track, 

as well as many other great songs. ’Give A Hand’ is the most 

outstanding. Lts ’help a fallen brother’ theme is sung with a lot 

of feeling by Gregory. 

’Way Of Life’ is similar, but with a true message of

peace and love for a better way of life. The Morpheus label

in the UK then began to issue self produced African Mu-

seum productions, including ’Extra Classic’, ’Rasta Busin-

ess’ (a version of ’Thief A Man’) and one of Gregory’s big-

gest hits that year — ’Black A Kill Black’. It remains today

one of Gregory’s most militant tunes, with lyrics like:

”Political violence covers the earth,

Men does not know what life is really worth.”

Lyrics like that made a lot of people take notice of Gregory,

and now that he had their attention, he was determined to

keep it. Hits like ’Set The Captives Free’, ’Slave Master’ and

the powerful ’Mister Cop’ followed in 1977. And so did Gre-

gory’s third album, ’Extra Classic’. Compiled by Micron in

Jamaica and released by Conflict in the UK.

Most of the material on the album originates from Micron

and includes the big hit ’Mister Cop’ that came out of the

Black Ark studios of Lee Perry, who co-produced the tune

with Pete Weston. Three tracks came from African Mu-

seum — ’Rasta Business’, ’Black A Kill Black’ and ’Extra

Classic’. ’Promise’ is a Lloyd F. Campbell production, while

’Something Nice’ is Prince Far I’s first ever production for

Micron.

As a set, ’Extra Classic’ is a good work. But it was mainly a

collection of hit singles, together with songs from earlier in

his career. And in 1977, people were looking for fresh lyrics

and crisp rhythms from the man. He gave it to them with

the release of ’Mr. Isaacs’ on his new label, Cash & Carry

Records. At least that’s what the sleeve said. But the label

on the record reads ’Gregory lsaacs — The Greatest — Pre

Release’, with Prod & Arr credited to Ossie (Hibbert) who 

is credited as the engineer on the sleeve! Whoever produced 

the album (and it’s still uncertain today) they did a very good job.

The three new songs are excellent. The first is ’Sacrifice’

with its meaningful opening lyrics of

”l was given as a sacrifice,

To build a Blackman’s hell,

And a Whiteman’s paradise,

But now that l know,

lt’s time I’ve got to go,

But the proceedings seems so painful,

And slow, slow, slow.”

Then came ’Storm’ with it’s strong bass line and positive lyr-

ics. ’Hand Cuff’ comes as the third new tune and deals with

police harassment

"Hey mister Babylon,

Take the cuff from off my hand,

l’m an upful living Rastaman.”

Also on the album is ’Slavemaster’ a big hit in 1977 pro-

duced by Lloyd F. Campbell and issued on Thing in Jamai-

ca. lncluded. as well is the self produced ’Set The Captives

Free’ that protests the indefinite detention laws brought in

by the Jamaican government in the mid seventies.

’Mr. Isaacs’ was a very successful album for Gregory, even-

tually gaining release in the UK on the DEB label. The same

label issued ’Mr. Know It All’ on 12” in 1978. This was a

Lloyd F. Campbell production that was arranged by Ossie

Hibbert, and had Sly Dunbar playing a bouncers rhythm to

Gregory’s story of being misinformed. In the summer of

1978 G.G. issued his second LP from Gregory called ’The

Best Of Gregory Isaacs’ although it was a new album, with

Gregory nicely recutting two Alton Ellis hits ‘Willow Tree’

and ’Breaking Up’. But the most popular tunes on it were

’My Number One’ and ’Cool You’, two love songs.

A couple of dub albums from Gregory then appeared on

the market. ’Leggo Dub’, only issued in Ja, and ’Slum Dub’

which Burning Sounds released in the UK. It was around

this time that rumours began to the effect that Virgin’s Front

Line label had signed Gregory. The rumours were con-

firmed with the release of ’Cool Ruler’ in late 1978 on the

Front Line label.

The album was well received by the music press, and by his

fans, who were hoping for a solid roots set, and not the mu-

sical nightmare that Island Records seem to specialize in.

They got the former. Gregory had stood firm. He gave

Front Line a typical Gregory Isaacs album, a mixture of rea-

lity and love songs over hard roots rhythms. And Front Line

released it.

However, the real test with large record companies is the

followup album. That’s when they get jumpy, and want a

hit. Thankfully, ’Soon Forward’, Gregory’s follow up album

released in 1979 was in much the same mould as ’Cool Ru-

ler’. It has the big hit, which was the title track produced by

Sly & Robbie, and a good balance of message and love

songs.

’Thief A Man’ from 1975, a magnificent self production is-

sued on Advance, a Micron subsidiary, was never released

in the UK as a single. But in 1979, Plant records released an

early ’two artist’ album in the form of ’Gregory Isaacs Meets

Ronnie Davis’. Gregory’s five tracks included ’Thief A Man’,

’Mr. Know It All’ and ’Sunshine For Me’, three of his best-

ever releases.

Also of interest was the 1980 release of the Sly & Robbie

produced showcase album with Gregory, called ’Showcase’.

It also featured ’Soon Forward’ as well as another big hit

’Motherless Children’, yet it wasn’t a popular album. It

seemed that people expected a lot more from the combina-

tion of Sly & Robbie and Gregory Isaacs. By 1980, Virgin’s

Front Line label was breaking up. And Gregory Isaacs was

among the first to leave. And he went to Charisma Records,

who had just set up a new wave label called Pre. The first al-

bum Gregory gave to them to release was ’Lonely Lover’. It

was an album that maintained his popularity, but it didn’t

really increase it in any way.

’The Early Years’ from Trojan, released in 1981, gathered

the best tracks from ’All I Have Is Love’ together with great

music from Niney and Alvin Ranglin, and it is superb, show-

ing once again just how many great tunes a reggae artist like

Gregory Isaacs has to make before he really reaches any-

where.

Since 1980, Gregory had been slowly but surely moving

back to the love songs that he started with. His music was

still hard roots. But now, his best songs were love songs.

And ’More Gregory’, the second album on Pre Records re-

leased in 1981 had two of the finest, ’Front Door’ and ’If I

Can’t Have You’. The Roots Radics had now become his

backing band and their dense sound dominated the album.

Alvin Ranglin came back into Gregory’s story in 1981 with a

very interesting set of material called ’Best Of Gregory

Isaacs Vol.2’. It has a number of titles like ’No Footstool’,

’Riot’, ’Village Of The Under Privilege’ and ’Payroll’, that

highlighted Gregory’s recent return to being a singer of love

songs, whilst the best tune on the album is the ever popular

’Border’.

Gregory moved to Island Records in 1982. Many people, in-

cluding myself, were not happy about it. Island Records had

screwed up so many great reggae artists with their confused

marketing ideas. It was hoped that Gregory could avoid

them. Having said that, ’Night Nurse’ contained some very

strong songs and productions, Wally Badarou’s synth work

being particularly outstanding.

It was followed in 1982 by an LP called ’The Sensational

Gregory Isaacs’ which was made up of many early record-

ings including his work with Rupie Edwards and remains a

compelling set. Around this time though, Gregory fell foul

of the Police, and spent some time in prison.

A year later, Island released ’Out Deh’. The title track was

Gregory’s story of his time in jail. ’Dieting’ told his story bet-

ter though, and a sad one it was. The rest of the album      

continued Gregory’s interest in personal relationships between

men and women. More old material from Gregory became

available with the issue of ’Two Bad Superstars’ (with Den-

nis Brown) on Burning Sounds and ’Togetherness’ on

Heartbeat in the US. The former is an album of old produc-

tions from Gussie and Randy’s. Gussie’s two tracks include

the great ’Never Be Ungrateful’. The Heartbeat LP is posi-

tively essential, however, including Gregory’s two big hits

’T0p Ten’ and ’Cream Of The Crop’ from 1981 / 82, along

with excellent productions on artists like Ronnie Davis, The

Viceroys and Bobby Melody.

’Judge Not’ released on Greensleeves is another album with

Dennis Brown, but it’s a new set produced by Gussie Clarke.

On it the two artists sing songs written by Carlton Hines

from Tetrack. The album of course took Gregory away

from Island, but more importantly it gave his career a much

needed boost, and did it with good songs and quality pro-

duction, not gimmicks. The same approach was used by

Tad Dawkins for his ’Easy’ album from Gregory in 1985.

The material on the album all came from Gregory. lt’s not a

startling set, more a well produced roots reggae album,

which people will still enjoy in years to come, just like his ’ln

Person’ album, ten years earlier.

Still, by his next album, ’Private Beach Party’, there could be

heard a distinct change in his vocal style. lt was now more

country or rural, and even more expressive. Gussie’s pro-

duction followed the same style as ’Judge Not’. lt was clear

and crisp. Once again Carlton Hines wrote most of the

songs, including the moving ’Let Off Supm’. His most recent

LP is ’All l Have ls Love, Love, Love’ produced by Tad

Dawkins. Although it’s been highly criticised in at least one

review, those who appreciate the deep roots sound will find

it to be one of Gregory’s finest works of recent years.

Your last album, ’Cool Ruler’ l think was your best one.

How do you do that?

“Well, as I tell you, it’s mostly due to communication with Jah,

because I communicate with my god very regularly. The

communicators aim is putting words in I, and I just utter

them out.”

A form of meditation?

“Yeah, true, even sometime when I ’m in Jamaica, I meditate

upon England.”

What do you think of it now?

“So far I see little changes, a little and a lot. Towards the mu-

sic, I see reggae avance a bit more. Advancing, advancing

up, I like that.”

How about the social side?

“It’s to the administration of youth and youth, and people.

You have guys who try to take things rough. Guys who love

that, you know that. I sight up things with my own eyes,

that’s why I deliver the message ’Babylon Too Rough’, beg-

ging them to take it easy, cause I know what really happen

to a guy who thinks him too tough — you check.”

But your not saying ’humble yourself’?

“No, play it cool, humble yourself AND keep an eye, you

know.”

Was ’Uncle Joe’ directed against the system in Jamaica or

the system worldwide?

“Worldwide system, he says raising his voice.”

It was a worldwide system, informationally, it wasn’t an indivi-

dual I sing that about. Yet people see certain songs and

check it as a individual song. It’s not an individual Joe — un-

iversal Joe.”

Like John Public?

“Yeah, like John Public, any wicked person. Laughing as he

says it.”

The logical follow up to that song (Uncle Joe) is ’Word Of

The Farmer’. The man in the song was under pressure and

oppression.

“True, true.”

You did a similar song for Alvin Ranglin — ’The Philistines’.

What gave you the idea for that one?

“Well, The Philistines’ now, that was and is a reality. Like a

man being accused of something that he know nothing

about, seen, like a fugitive. You don’t do a thing, but you’re

being accused. So you have to be on the run.”

What was your first hit?

’All I Have Is Love’ for Phil Pratt. I did a portion of work with

Alvin Ranglin, earliest two albums ’In Person’ and ’Chucky

No Lucky’.”

Those early tunes are still popular now.

“People like them, and still speak of them.

How is Cash & Carry going in Jamaica?

Iry, it move iry. Cash & Carry tries to assist those who are in

need, until they are capable enough of assisting themselves.”

What labels are distributed by Cash & Carry?

“We distribute Bunny Wailer’s Solomonic, Big Youths Pro-

gress label, we distribute for Junior Delgado.”

That’s one artist l thought you might produce?

“Well, I individually now check most producers as exploiters.

That’s why I don’t produce so much. Yet I love to do a thing.

I man love an artist’s own productions.”

So you’ll help him to release it?

“Yeah, yeah, I like an artist’s own product. That means ther-

e’s no exploiting. If I produce myself I ’m gonna exploit no

one, just myself.”

lt’s still going on them, the rip offs?

“Yes man, it go on plenty. They haven’t learned their lesson

still, you know. A lot of them have their lesson to leam.”

Mention of producers and productions reminds me to ask

about where ’Soon Forward’ was produced?

“

Channel One and Harry J. I start to lay the foundation at

Channel One and leave for 16 (track) and Harry J’s studio.

But now Channel One has got a 16, since when I was leav-

ing - same day I was leaving.”

Have you ever used Joe Gibbs’s studio?

“I man pass through his studio to work.”

Someone said that ’Uncle Joe’ was about Joe Gibbs?

“No”, he says firmly.

I don’t have nothing against Joe Gibbs, he’s a man that I

show respect, seen. He never lose no respect for I, and I

never lose no respect for him. But people will only assume,

seen, and feel that way, through the tune’s name is Joe.”

Prince Far I wasn’t too happy with Joe.

“Well, Prince Far I has done a version of ’Uncle Joe’ which

Virgin is going to put on a disco 45 with ’Soon Forward’.”

I hope it does well.

“Nothing ever happens before its time, there’s a time for

everything.”

Are you going to produce anyone for African Museum?

“I see a whole heap of youths who really come check I to pro-

duce them, seen. And as soon as I man set up a way, I will,

cause my duty is to help people. Jamaica have a lot of talent.

A whole heap of talent, but you see in Jamaica, most youth

grow up under privileged. When I say under privileged, they

don't get certain privilege to administrate their intelligence. I

as a youth set up to give them certain privilege to adminis-

trate the musical vibration to the population.”

When you say a lot of youth, how many are you talking

about in actual numbers — ten?

“Lot more that ten, man. Lot of people out there are really

talented, that don't get the opportunity, you believe me?”

I believe you. Norman Grant said the same about the

country artists, but with the added problem that they are in

the country.

“It’s corruption, I beat down corruption — keep away from

that. Right now I just concentrate on Virgin Records alone. I

give them some good products, good sounds, and I expect

the best promotion for them.”

’Storm’ on the ’Mr. Isaacs’ album is a great song. Do you

think we’re going through a storm today?

“You see, there are all forms of storms in life. Not only ones

that blow down houses and things. Mankind live like a

storm, always blazing up and down. It has to come to a

calm. Righteous one just hold on until the storm blow over.”

How about Africa, can you see anything happening in

Africa? '

“I individually see in this time here — might not be today or to-

morrow, cause what don ’t happen in a year, happen in a

day. The last days of wickedness. Wickedness soon come to

an end. Poverty must come to a perpetual end. I and I have

to break down the barriers, change the system. Man is man,

and man must live.”

Would you ever consider doing any recording in England?

“I would mix and voice, but rhythms, laying rhythm, I’ll take

back to Jamaica. I appreciate Jamaican musicians because

of the relation ships with each other. Take, for instance — 

you’re a singer, right, then you’re a writer, work in a office

comfortable, seen. But if you leave England, and come to

Jamaica, or a different country to work the same work, but

with different people — you don’t know their name. You

don ’t communicate with them, you know what l deal with?

There must be some different reactions — when you deal

with strangers you work still, but not so comfortable. You

need those positive vibrations whatever you do.”

There seems to be a lack of cooperation in England.

“Most people in England are money grabber. Especially

against the black youth like myself I’m not saying I colour

prejudice against flesh and blood. Little guys, them pro-

ducers, or whatever they want to call themselves, all down-

pressers, with most of them it must come to an end.”

Eventually the subject turned to Rastatari and Africa.

Where Gregory had this to say:

If a man is so near to God and him don’t know him, he must

suffer. This is why you find so much suffering go in Africa.

Yet everyman face tribulation in life. But I know myself that

Rastafari live it, without no apology, seen, I never lonely

again, I never unhappy, seen. You have to seek Jah to know

of him, seek and you shall find...”

ALBUMS GREGORY ISAACS

In Person

Trojan

(1975) UK

All I Have Is Love

Trojan

(1976) UK

Extra Classic

Conflict

(1977) UK

Mr. Isaacs

Earthquake

(1977) Ja

The Best Ot...\/01.1

GG

(1978) Ja

Slum Dub

Burning Sounds

(1978) UK

Cool Ruler

Front Line

(1978) UK

Soon Forward

Front Line

(1979) UK

Meets Ronnie Davis

Plant

(1979) UK

Showcase

Taxi

(1980) UK

The Lonely Lover

Pre

(1980) UK

The Early Years

Trojan

(1981) UK

More Gregory

Pre

( 1981) UK

The Best Ot...\/01.2

GG

(1981) UK

Night Nurse

Island .

(1982) UK

The Sensational...

Vista Sounds

(1982) UK

Out Deh

Island

(1983) UK

Two Bad Superstars (with Dennis Brown)

Burning Sounds

(1984) UK

Judge Not (with Dennis Brown)

Greensleeves

(1984) UK

Double Explosive (with J ah Mel)

Andy’s

(1984) US

Easy

Tad’s

(1985) UK

Private Beach Party

Greensleeves

(1985) UK

All I Have Is Love Love, Love

Tad’s

(1986) UK

Gregory Isaacs

Productions

Various Artists

Togetherness

Heartbeat

(1984) US