Gregory Isaacs - 1981 - More Gregory (2010) @320
By the time Gregory Isaacs stepped into the studio to record "More Gregory" in 1981, the Cool Ruler had already established himself as reggae's premier romantic crooner, his silky falsetto becoming as synonymous with lovers rock as Bob Marley's growl was with roots rebellion. Following the international breakthrough of his previous album "Soon Forward" and riding high on the success of singles like "Night Nurse," Isaacs found himself at a creative crossroads – how do you follow perfection? The answer, it turns out, was to simply give the people more of what they craved.
"More Gregory" arrived during reggae's golden age, when the genre was experiencing unprecedented global recognition. Studio One and Treasure Isle had laid the foundations, but by 1981, artists like Isaacs were pushing the boundaries of what reggae could be. While roots reggae dominated the headlines with its Rastafarian spirituality and political messaging, Isaacs carved out his own niche in the lovers rock subgenre, crafting songs that spoke to matters of the heart with the same intensity that his contemporaries brought to social commentary.
The album opens with the hypnotic "Tune In," a masterclass in Isaacs' ability to blend traditional reggae rhythms with sophisticated vocal arrangements. His voice glides effortlessly over the Roots Radics' impeccable backing, setting the tone for what would become one of his most cohesive artistic statements. The production, handled by Isaacs himself alongside the legendary Sly Dunbar and Robbie Shakespeare rhythm section, strikes that perfect balance between intimacy and grandeur that defined the best reggae recordings of the era.
"Love Is Overdue" stands as the album's emotional centerpiece, showcasing Isaacs' remarkable ability to convey vulnerability without sacrificing his cool. The song's sparse arrangement allows every nuance of his vocal performance to shine through, from the subtle vibrato that creeps in during the chorus to the way he caresses certain syllables like a lover's whisper. It's the kind of track that explains why Isaacs earned his "Cool Ruler" moniker – there's an effortless authority in his delivery that few vocalists in any genre have ever matched.
The uptempo "Material Man" finds Isaacs exploring more socially conscious territory without abandoning his romantic persona. Here, he critiques materialism and shallow relationships with the same smooth delivery he brings to his love songs, proving that message music doesn't require militant posturing. The track features some of the album's most inventive guitar work, courtesy of the ever-reliable Earl "Chinna" Smith, whose melodic lines dance around Isaacs' vocals like musical conversation.
Perhaps the album's most enduring moment comes with "My Only Lover," a track that perfectly encapsulates everything that made Isaacs special. The song's deceptively simple structure masks sophisticated harmonic progressions, while Isaacs' vocal performance manages to be both deeply personal and universally relatable. It's the sound of a master craftsman at the peak of his powers, creating music that feels both timeless and utterly of its moment.
The album's production deserves special mention, capturing the warmth and immediacy of Isaacs' voice while maintaining the crisp separation that allows each instrumental element to breathe. The bass lines, likely played by Robbie Shakespeare, anchor each track with melodic precision, while the keyboards add subtle color without overwhelming the mix. This is reggae production at its most sophisticated, light-years removed from the raw energy of early ska but no less powerful for its refinement.
"More Gregory" arrived at a pivotal moment in Isaacs' career, consolidating his reputation as reggae's premier balladeer while hinting at the creative restlessness that would define his later work. The album's commercial success helped establish lovers rock as a legitimate subgenre, paving the way for artists like Maxi Priest and Carroll Thompson to find mainstream success in the following decade.
Today, "More Gregory" stands as essential listening for anyone seeking to understand reggae's evolution beyond its roots origins. While Isaacs would continue recording prolifically until his death in 2010, few of his subsequent releases matched this album's consistent quality and emotional depth. It remains a testament to the Cool Ruler's unique ability to make the personal political and the romantic revolutionary, proving that sometimes the most radical act is simply opening your heart and letting the world listen in. (VinylFanatics)
(A Thankyou is always appreciated)
