Big Ship (Greensleeves, 1982)

Released relatively early in his career, Big Ship finds Freddie McGregor in a roots phase heavier than much of his later work.  In fact, this is probably the hardest, most raw roots of his career.  Slow, rolling, heavy bass lines (production courtesy of Linval Thompson) seep through this album, epitomized by the title track that was so popular, the singer would later name his label after it.  More fulfilling than "Big Ship," however, are a pair of love songs -- "Sweet Lady" and the outstanding "Let Me Be the One" -- which showcase his ability to switch between cultural and romantic themes with ease.  The best example of his cultural side is the righteous "Peaceful Man."  In typical Thompson-produced fashion, the beats are heavy and the melodies subtle, so these aren't the types of songs a listener generally goes ga-ga over.  Rather, they come together to form an atmospheric gem.

Bobby Bobylon (Heartbeat, 1991 [originally released 1980])

One of Freddie McGregor's earlier albums, Bobby Bobylon is probably his most critically acclaimed work.  While good, though, I can't say that it stands the test of time as much as some of his other material.  Those familiar with his later songs may be a bit surprised by the rootsiness of some of these tracks, like "I Am a Revolutionist" and the stunning classic "Rastaman Camp."  Other hits from this album include "Go Away Pretty Girl" (which he later remade and remade again), the mournful "Tomorrow Is Like Today," and the title track.  But only "Rastaman Camp" captures a truly timeless feel for which the rest of the tunes can only strive.  NOTE: Since I wrote this review, my opinion has changed, and I've updated the rating, but not the review.  For an updated review, see the 2006 re-release below.

Now (VP, 1991)

This is a nice, but fairly non-descript album for Freddie McGregor.  Apparently warming up for his Jamaican Classics series, he includes several cover songs here that are both well chosen and well done.  Little Roy's "Prophecy," "Handle" -- made famous by The Heptones as "I Hold the Handle" -- and Dobby Dobson's standard "Loving Pauper" are hard to mess up, and he adds a fairly unnecessary remake of Soul Syndicate's "We Got Love," which McGregor himself had recorded earlier in his career.  The only truly bad choice here is "Roadblock," an annoying pop tune (not the Sammy Dread hit) that is only made worse by the fact that there are two versions of it.  The two most appealing tracks are probably "Bad Boys" (not Inner Circle's Cops theme) and "Waiting There," both smooth, conscious tunes with supple melodies.  Overall, though, a sub-par effort from McGregor.  

Across the Border (RAS, 1992 [originally released 1984])

Across the Border is a solid Freddie McGregor album despite its attempts to sabotage itself.  Its pop sidebars -- the Kool & The Gang-esque reggae (granted, not quite as bad as it sounds) of "Love Will Solve the Problems" and the poppy '80s R&B clunker "Work to Do Today" -- almost bring the rest of the album down to their level (the '80s synth reggae cover of "Guantanamera" doesn't help), but tracks like the title cut -- with its great piano-riffed rhythm -- the lovers rock jam "Freddie," and the jazzy roots of "War Mongers" make it OK to cross this border.

Big Ship Classic Dub (VP, 1992)

Basically, this is the dub version of Freddie McGregor's Jamaican Classics Volume 2.   I say "basically" because the dub of the hit remake of Dennis Harriott's "The Loser," re-titled "I Was Born a Winner," is not included on Big Ship Classic Dub.  It is replaced by a dub cover of an equally classic track, Alton Ellis' "Breaking Up Is Hard to Do" (the dub being, of course, "Breaking Dub").  McGregor's acclaimed Jamaican Classics series has worked so well because of its selection of songs, its sharp production, and its satiny vocals.  Of course, you don't get much of the vocals on this dub album, but the song choice and production value are typically strong.  I mean, how can you go wrong with songs like "Curly Locks," "Declaration of Rights," "Mr. Fix It," and "Every Day Is Just a Holiday"?  McGregor's remakes bring these '60s and '70s classics into the '90s with a nice digital touch, so the dubs themselves don't always make the songs sound as familiar as you would think.  This new sound is sometimes almost as good as the original -- as with "Holiday Dub," "Breaking Dub," "Declaration Dub," and "The Right Dub" (a dub of Stranger Cole's "Give Me the Right") -- and sometimes not -- as with "Curly Dub" and "Fix Him Dub."

Push On (VP, 1994)

This album begins with great promise, but falters a bit to make Push On a decent, but not great, effort.  Nevertheless, McGregor's sometimes overlooked production skills are on full display here.  Several of the outstanding rhythms that he's used on his other productions -- including his production masterpiece, Luciano's After All -- are displayed here.  "Seek and You Will Find," for example, incorporates the popular rhythm used on Luciano's "Shake It Up Tonight," while one of the best cuts here, "Little Help From Jah," has Luciano's hit "It's a Jungle Out There" beat.  You might know the DJ version of "Little Help From Jah," "Make It Snappy" featuring Capleton (see Best of the Best Volume 5).  The other great tune on Push On is "Satisfy My Soul," a tender tribute to Jah that is not the Bob Marley song.  Also strong are the title track and "I Wanna Know."   A remake of his classic "Jogging" is included, but you can't mess with perfection.  What truly brings down this album, though, are a couple of sappy, straight R&B songs, "Very Special Lady" and "You."  In addition, the old standard "Shame & Scandal" is OK, but do we really need a remake and two DJ versions of it ("Kitchen Knife" is also a version of "Shame & Scandal.")?  

Carry Go Bring Come (Pow Wow, 1994)

Although Freddie McGregor's remake of the old Justin Hinds hit "Carry Go Bring Come" was a hit, it never really struck much of a chord with me.  The album, likewise, though well-packaged, just doesn't have enough good material on it.  Two versions of "Carry Go Bring Come" appear here, including a ska/rock steady version similar to the original that I prefer to the more popular update with Snagga Puss. Another remake here is much more appealing, a cover of Gregory Isaacs' legendary "Night Nurse."  This song is so love that I would think it untouchable, but while McGregor's sultry, acoustic guitar-peppered version is certainly not better than the original, it sheds a delightfully new and unique light on it.  The other two strongest tracks have to be the vivid "Land of the Rising Sun" and the slightly pop yet irresistible "Want You to Be There."  "Dissing the Programme" and "One More Time" are OK lovers rock tunes, but each is a step below, say, a good Maxi Priest cut.

Zion Chant (Heartbeat, 1994)

Zion Chant is a quality collection of material recorded in the late '70s and early '80s that shows why Freddie McGregor has remained so consistently popular for 3 decades: because he has remained so consistently good.  He does little that is spectacular; his songs won't always blow you away, but he always has a tune that will catch your ear.  The most "catchy" tunes here include "We Got Love" -- with its driving bass and poignant lyrics -- his crisp remake of his own "Rastaman Camp" -- the righteous, funky organ sound of "Rasta Have Faith," and the wonderfully old-fashioned, simple melodies of "Zion Chant" and "Oh Me Oh My" (AKA "Oh No Not My Baby").  "Jah Will Bless You," "Do Good," and the standard "Brandy" are also nice.  Zion Chant is in essence a microcosm of McGregor's career: not every song is great, but there are enough to leave you wanting more.

Forever My Love (RAS, 1995)

This is certainly the worst Freddie McGregor album I've heard;  I can't imagine him being capable of doing any worse.  Full of pop music and drippy, sentimental melodies and lyrics, this is a sell-out album if there ever was one.  Whereas other crossover reggae acts (Aswad, Inner Circle, Jimmy Cliff, Maxi Priest, etc.) can strive for the mainstream audience and still maintain (at least, once in a while) a catchy vibe, on Forever My Love, McGregor is so devoid of good material that he remakes one of his own classics, "Rastaman Camp."  This sped-up version isn't great, but it's still probably the best tune here.  It's easier to point out songs that aren't bad than picking out ones that are actively good: "Food Basket," "Love inna Dem Heart," and "The Fight for Freedom" are about the only decent ones; "Love inna Dem Heart," "I Thank You Lord," and "Pain and Misery" are merely inoffensive.  The others, in particular the schmaltz on the title track and the nauseating sentimentality (complete with a chorus of children singing) of "Magic in the Air"...Two words: cheese-y.

Jamaican Classics Volume 3 (VP, 1996)

It certainly make sense that Freddie McGregor would do an album of covers, since he seems to make it a habit of doing a couple on each of his albums -- some covers of his own songs.  Generally, this type of album wouldn't appeal to me too much, but the selection of tunes -- mostly rock steady and early reggae cuts -- the sharp production value, and the wonderful charisma of McGregor make this third volume of the series irresistible.  McGregor manages to pick a near-perfect group of songs, ones that are well-known, but not so much so that remakes are unwelcome.  Plus, these songs are just plain good.  They are sweet, simple, old-fashioned tunes with a timeless appeal.   Albums like this are great in that they truly make these classics new again.   Particularly for the younger generations and those new to reggae, putting a '90s spin on these '60s and '70s songs make them more accessible.  A great aspect of this album is that the integrity of the originals is maintained -- there are no Puff Daddies chiming in with an unnecessary "yeah" or "uh-huh" or "thought I told you that we won't stop."  Modern rock steady is a rarity, but McGregor pulls it off with cuts like Bob Andy's "I've Got to Go Back Home," The Ethiopians' "Everything Crash," and Alton Ellis' "Dance Crasher."   Of course, almost everything here is good, the most enjoyable being Alton Ellis' cool "How Can I Forget," Ken Boothe's "Moving Away," The Melodians' "You've Caught Me" and Slim Smith's "Watch This Sound," which utilizes a clever interpretation of Buffalo Springfield's "For What It's Worth."

Signature (VP, 2000)

I try not to judge different artists by different standards, but I can't help but feel that Freddie McGregor in particular should do better than this.  Though not bad like his Forever My Love album, Signature nonetheless lacks the consistency of, say, Come On Over, Across the Border, or Big Ship.  Signature has been well-received by fans and critics, and for much of the album, I can see why; songs like "Key to the City" -- with its almost steel drum rhythm -- "What You Gonna Do," "If You Wanna Go," and the groovy showstopper "What Goes Around" are vintage Freddie McGregor: a mellow, folksy, likeable blend of roots, lovers, and a touch of dancehall that delivers conscious, cautionary messages that come from the heart.  However, perhaps he delves too far into his heart for some of the songs, as schmaltz begins to rain down by the end of the album.  It would be easy to make Signature into an excellent album: cut it down from 15 to 10 tracks, eliminating namely numbers 8 and 12 through 15 (I've said it before, and I'll say it again; sometimes, less is more.).  Sugary and sentimental, these tunes almost ruin the entire album.  None are absolutely horrible, but taken together (especially the grouping of the last 4), they make this set drag -- from the unnerving attempt at dancehall in "Grooving Ahead" to the cheesy '70s love song sound (complete with orchestral strings) of "I Don't Wanna Lose You" to the no-song-should-ever-center-around-the-overused-metaphor "One Family."

Anything for You (VP, 2002)

A steadying force in reggae, you can always seem to count on Freddie McGregor to provide a couple of great tunes per year, although his albums don't always live up to their potential. That said, Anything for You stands out as one of the better efforts in his extensive body of work.  In fact, much of it is pure lovers rock heaven (save for two versions of "There's a Reward for Me" ([including a "hidden" slow R&B remix and the unnecessary remake of "In the Ghetto")  Anything for You is probably Freddie McGregor's best original album since the 1980s (thus not counting Zion Chant or his Jamaican Classics series).  The lush lovers sound -- even on non-love songs like "Uncle Sam" (featured on Reggae Gold 2002) and "Loving Jah" (also on Reggae Hits Volume 29) -- grabs you from the get-go and rarely lets up.  You can certainly set the mood with romantic numbers like "For You," "Gatepass to Your Heart" (also on Reggae Hits Volume 28), "Hold Me," "I'll Do Anything," and especially the should-be-a-hit "Oh Ah La La," which will leave you humming hours later. (Yup, that's right, it's a hummer.)

Comin' in Tough (VP, 2005)

Freddie McGregor albums can be hit-or-miss affairs, with exhilarating highs and dreadful lows, but on the whole, his material is as strong now as it's ever been -- remarkable, given his 30-plus years in the biz.  While Comin' in Tough isn't his best (or second best) release, it's still an enjoyable romp through McGregor's easygoing, timeless style.  Like the late, great Dennis Brown, he's one of the few reggae veterans from the '70s heyday who can adapt to the modern, dancehall-inclined sound (as "Little Girl" and the guest appearance by Anthony B on "Can You Feel It" indicate) without sounding, well, old and out of touch.   The only times when things seem awkward is when he gets overly schmaltzy on the Morgan Heritage collaboration "Pick Yourself Up" and on the ill-advised cover of "Ooh Child."  As is the norm with McGregor, covers abound, from the Marvin Gaye/Tami Terrell-like duet with Marcia Griffiths "United We Stand" (which she previously covered with Bob Andy in the early '70s) to the Wailers' ska-rific "Love and Affection" to the Gaylads' "Red Rose," but all are given fine treatment ("Ooh Child" withstanding) and none are so ubiquitous that they should be left alone.  Where McGregor truly shines, though,  is, as expected, on lovers rock tunes like "Choices" and "Save a Little Love" and on catchy, easygoing roots like "Set the Program," "A Better Way," "You Don't Know," and the title track, the latter two edgier tunes that McGregor pulls off  while maintaining his likable charisma. 

Bobby Bobylon (Heartbeat, 2006)

It's not often that I reevaluate an album drastically enough to warrant more than a half a head difference in rating, and it's perhaps unprecedented that I revise a rating more than a whole head, but after initially rating Bobby Bobylon a "3" seven or eight years ago, I'm doing just that. Maybe it was the somewhat dated production and faded sound quality, maybe it was the PCP, but the album just didn't move me when I first listened to it. Luckily for me, though, Heartbeat has repackaged and re-released Bobby Bobylon, allowing me the chance to hear it fresh and to sweep my past indiscretions under the rug.  Heartbeat's repackaging of the album almost doubles its size by adding 8 additional tracks -- 3 alternate mixes (although the "I Man a Rasta" mix of "I Am a Revolutionist" doesn't sound terribly different) and 5 tunes recorded around the same time that fit seamlessly into the set. The timelessness of the songs on Bobby Bobylon is what's so striking. McGregor's crooner style has changed little in the past 25 years, as indicated by the fact that he's re-recorded several of these tunes -- including "Go Away Pretty Girl," "Freddie," "Little Girl," and "Rastaman Camp" -- in modern times. His stylish appeal combines '60s soul ("Go Away Pretty Girl," "We Need More Love," ) and homespun folk tales ("Tomorrow Is Like Today," "What Difference Does It Make"), wrapped up in a lush roots and lovers rock package. The sound, of course, isn't as crisp as a modern recording would be, but every single song here scores -- even the bonus tracks on the 2006 set, which boost the already impressive package into the stratosphere. "Rastaman Camp" and "Wine of Violence" in particular stand out as all-time greats, but really, you can take your pick. Bobby Bobylon is a bona fide reggae classic. My bad, Freddie.