Gregory isaacs
If you’re unfamiliar with Gregory Isaacs, you’re likely not a reggae enthusiast, or perhaps from another planet! Gregory Isaacs, affectionately known as “The Cool Ruler,” stands as a towering figure in reggae music, alongside legends like Bob Marley, Dennis Brown and Sugar Minott. His instantly recognizable voice, effortlessly transitioning between roots reggae and seductive lovers rock, captivated audiences worldwide. Following a challenging start in the late 1960s, Isaacs’ career flourished with the establishment of the African Museum label in 1973, a partnership with Errol Dunkley.
Throughout the 1970s and 1980s, he reigned supreme as one of Jamaica’s most prominent artists, despite personal struggles with substance abuse. While these struggles inevitably impacted his vocal prowess, Isaacs continued to produce a body of work that showcased his enduring talent, albeit alongside some less consistent releases. The new millennium witnessed a resurgence in Isaacs’ career, offering renewed hope for his continued musical journey, but sadly, his career was cut short in 2010 with his untimely passing.
Reissue
Reggae enthusiasts will rejoice at the reissue of the dub album Slum In Dub. Originally released in 1978 on the Burning Sounds label and independently by Gregory Isaacs on his Cash & Carry label in Jamaica, Slum In Dub has seen several reissues throughout the years. The latest release, once again from Burning Sounds, is a welcome addition to any reggae collection. This reissue is further enhanced by insightful liner notes penned by renowned reggae expert Michael de Koningh. While no bonus tracks are included, the album is presented on high-quality 180-gram colored vinyl.
Prince Jammy On the case
Slum In Dub primarily features dub versions of tracks from Gregory Isaacs’ 1978 self-produced album Cool Ruler. Mixed by the legendary Prince Jammy (later known as King Jammy), who would go on to achieve immense success in reggae production, the album was recorded at Channel One studio in Kingston with the renowned Revolutionaries backing band. A hallmark of Slum In Dub is its exceptional sound quality.
Jammy’s masterful mixing provides ample space for each instrument and vocal snippets, resulting in exceptionally clear and transparent sound. Jammy limits himself in the use of effects and is restrained in the omission of instruments, leaving the original melody lines virtually intact and making it not difficult for riddim spotters to name the original vocal tunes. The subtle inclusion of fading vocal snippets, scattered throughout the tracks, adds to the captivating listening experience.
Dub vs Original
Strong source material is key to a great dub album, and Slum In Dub exemplifies this perfectly. Tracks like Public Eye showcase the elegance of the original John Public vocal tune, while Slum transforms Party In The Slum into a menacing soundscape with the iconic organ riff returning. Similarly, Tam Tam reworks One More Time into a fresh arrangement. The subdued dub arrangement of Leaving, based on Black A Kill Black, utilizes snippets of the original background vocals to create a haunting and atmospheric effect.
The album also boasts classic riddims reimagined. Embarrassment, a dub of the Frozen Soul riddim, is subtle yet impactful. Leggo Beast takes a more obscure approach, using the bassline from the Swing Easy riddim as its foundation. Finally, Nigger offers a creative take on Studio One’s popular Party Time by The Heptones.