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Gregory Isaacs (b.15 July 1951, Kingston, Jamaica) the Cool Ruler as he became known, grew up in the ghetto district of Kingston Jamaica. His influences lay not only in the American singers he heard on the radio such as Sam Cooke, Otis Redding, but also local singers such as Alton Ellis, Delroy Wilson, and John Holt. His debut release ‘Another Heartache’ was recorded for producer Winston Sinclair and was released under Winstons’ name in the U.K. This saw Gregory move on to work with producer Rupie Edwards forming a vocal group called The Concords alongside two local singers Bramwell and Penros Releasing ‘Buttoo’, I Need Your Loving’ and ‘Don’t Let Me Suffer’ as a trio on Rupies’ Success label. Then as a solo artist with ‘Far Beyond The Valley’, ‘Too Late’ and ‘Black and White’. The latter track becoming a big hit in the U.K. for the group Greyhound. Gregory Isaacs always had his sights on forming his own label which he did in 1972 alongside Errol Dunkley, called African Museum. Working out of his record shop of the same name on Chancery Lane in Kingston town itself. Gregory carried on working with various other producers throughout his career,work that helped fund his own label. One of these producers was Tappa Zukie.

Tappa Zukie (b.1956 , David Sinclair, Kingston, Jamaica.) was also raised in the rough and tough areas of Kingston Jamaica, and very much like Gregory Isaacs found music as a way out of the tough environment in which he was surrounded. Music seemed like the only way out of a life of crime and gang culture. A path that Tappa Zukie found and by the mid 1970’s was establishing himself as a named star on the DJ Roots circuit. Back home in Jamaica he was also getting a name for his production work for other local singers such as Prince Allah and the group Knowledge. To release his own productions, like Gregory Isaacs, he formed his own label called `Tappa Records’. These two artists working

together was a match made in heaven and resulted in this set of songs.

Nine of these songs originally saw the light of day in 1988 released on Tappa Zukie’s `Tappa Records’ initially called ‘Red’. We had added some additional material also produced by Mr Zukie around the same time to expand that release and make their work together more of a complete story. The CD edition of this release carries the version sides to ‘Tickle Me’ and ‘One Man Against The World’. The title track of this release seems to suit Mr Isaacs stance perfectly. A great set of songs worked by two of the great names in reggae. Songs that we think deserve to be put out again to enjoy.

Legendary Jamaican songsmith Gregory Isaacs' 1995 album 'Private Lesson' on Radiation Roots. The set includes laidback cuts 'Preacher Boy', 'Feeling Sad Tonight', Diplomatic Fool', 'She Doesn't Want Me', 'Slave Master' and many more.

Another stone cold classic from the vaults of Taxi Records. The Cool Ruler, aka singer songwriter Gregory Isaacs. Perfectly crafted songs and precise rhythm construction by the Taxi Gang at Channel One Studio. Each song drifts seamlessly into percussive dubs with subtle sonic landscapes sculpted by the engineers Maxie & Ernest Hookim at the mixing board

Another stone cold classic from the vaults of Taxi Records. The Cool Ruler, aka singer songwriter Gregory Isaacs. Perfectly crafted songs and precise rhythm construction by the Taxi Gang at Channel One Studio. Each song drifts seamlessly into percussive dubs with subtle sonic landscapes sculpted by the engineers Maxie & Ernest Hookim at the mixing board

"Killer roots" tune of one of the most prolific Jamaican singer. Heavyweight dub on the B side.Recorded in the 70's at Randy's Studio 17 North Parade.

Among the most important full-length album works from one of reggae’s greatest singers, "Mr. Isaacs" shows the great Gregory Isaacs in the prime of his career in 1976. Better known for his love songs, Isaacs was equally adept at cultural themes. The tracks "Set The Captives Free" and "Slave Master" are among the most popular in his catalogue, the latter immortalized on film in the movie 'Rockers'. The track "Storm" became an early favourite in the dancehall, its rhythm track (aka the Storm riddim) is re-imagined no fewer than 75 times over the last 40 years. Gregory Isaacs love of Rocksteady shines in his cover of the Silvertones’ "Smile", and his soulful side comes through on a cover of The Temptations’ "Get Ready". The breadth of material on "Mr. Isaacs" is the hallmark of a reggae classic!

Masterful Gregory from 1997, sounding spooked and hunted over a juddering, propulsive Music Works rhythm, fulgent and full-on, with deep, pounding bass, clattering percussion, parping horns, classy backing vocals and harp starbursts... top-notch Gussies.
Two extended vocal versions, and two dubs, all quite different.

US original.
Sleeve has heavy wear.

Record is close to VG+.

Small light scuff on both sides.

Two killer Gregory vocal tracks back to back produced by the hitmaker from Jamaica Bunny’Striker’Lee

CD comes in a soft case, instead of the original crystal case.
All booklets included.

One of the most popular and high profile of Jamaican reggae vocalists, Gregory Isaacs was a rough diamond who clawed his way out of the harsh western Kingston ghetto with an instantly recognisable voice that was wonderfully emotive, expressing both his toughness and determination for betterment, as well as the bleeding heart of a vulnerable lover. New Dance is one of the excellent mid-1990s dancehall albums expertly produced by Anthony Dehaney, alias Bunny Gemini, working as usual with the Firehouse Crew, this time with Fatman Thompson of King Tubby’s studio at the mixing desk and guitarist Lascelles Beckford of the Gifted Roots band as special guest. As usual, Gregory rides the rhythms with considerable aplomb, feeling completely natural atop the hard-edged rhythms and tackling a range of topics along the way. Much of the album deals with love lost, love gained, and love deferred; ‘Say A Special Prayer’ revamps the evergreen ‘Send Me The Pillow That You Dream On’ and ‘New Dance’ salutes the allure of dancehall music in the open air. This is one of Mr Isaacs’ better offerings from the mid-1990s, worth getting to know if you’re not already familiar with it, and a must-have if you’ve worn out your original copy.