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Gregory Isaacs (born on 15 July 1951 in Fletchers Land, Kingston, Jamaica and died on 25 October 2010 in London) was a Reggae singer and songwriter. Gregory Anthony Isaacs is known as "The Cool Ruler" for his seductive crooning vocal style. Gregory attributed his greatest musical influences to R&B greats Sam Cooke and Percy Sledge, in addition to Delroy Wilson, Alton Ellis and Ken Boothe.
In the late 1960s, Gregory first performed in a vocal trio called The Concords, after being encouraged by Byron Lee. By 1970 the group had split up. He subsequently formed his own label, African Museum.
In the late 1970s he emerged as one of the most prolific and popular recording artists in Jamaica. He released a number of self-produced singles on his own African Museum (JA) label with Errol Dunkley. Much of Isaacs' output reflected the 'conscious' themes of Roots Reggae, but Isaacs was equally adept at interpreting more mainstream Lovers Rock material. Early hits include "My Only Lover", "Sinner Man" and "Mr. Cop", recorded at Lee Perry's Black Ark Studio.
A period in the 1970s with the GG's label and its producer Alvin Ranglin produced hits like "Border" and "Number One".
Personal problems affected him, particularly battles with a cocaine addiction and a possession charge, which prevented him from touring in North America for a significant part of his career, until a pardon could eventually be secured.
Isaacs recorded with a number of producers, including the Riddim Twin's (Sly & Robbie) Taxi Records, who gave them their first hit with 1979's "Soon Forward" , After a series of releases with Sly & Robbie, Gregory built a strong relationship with Gussie Clarke of the Music Works label. In addition to these local Jamaican labels, The Cool Ruler had had releases on Trojan, VP, Virgin's Front Line and English producer Tad A. Dawkin's Tad's Records. Isaacs would would eventually sign with Chris Blackwell's Island Records which resulted in the international release of Night Nurse (1982) and Out Deh! (1983).
Perhaps his most popular recordings in his native Jamaica are "All I Have Is Love", "Mr. Brown" and "Hard Drugs", the latter being an anti-drug anthem that dominated radio in the late 1980s and was released as a hidden track on England's Tad Records All I Have Is Love, Love Love LP.
In the 1990s Gregory's African Museum label continued to release all of Gregory Isaacs' music, and that of artists he produced. He continued to record and perform live in the 2000s, and it has been estimated that Isaacs has released over 500 records in his career, which includes singles and compilations.
Isaacs, who was 59 years old, died of lung cancer on 25 October 2010 at his home in London where he spent part of his time. A sad loss to the world.
Universal Tribulation
Gregory Isaacs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pains that I feel, whoa lord
Grieve to be real
I said the pains that I feel, whoa lord
Grieve to be real
But I know it's a
Universal tribulation
I feel it and I know it
It is a universal
Universal tribulation (oh lord)
I couldn't take any more
Of your baton blows, na no
I said your baton blows, yea
Its got me moving slow (moving slow, slow)
Universal
Universal tribulation
I feel it and I know it
It is a universal
Universal tribulation (oh lord)
We not give up (not give up, no)
Ya hear (or right here?) We not give up (not give up, no)
We not give up
While the children are crying
Their mum is undying yea
And while the grass is is a growin, lord knows
All the horses is a starving, yea
But na ne know, a dis a universal
Universal tribulation
I feel it as I tracked away
Universal, universal tribulation
I don't care what they wanna say
Universal, universal tribulation
You and I, you an I, you an I
The lyrics of Gregory Issacs’ “Universal Tribulation” speak to the emotion and pain one feels during difficult times. Issacs’ use of “pains that I feel” and “grieve to be real” express the raw emotion that arises from a suffering that is felt simultaneously by all individuals. The use of repetition in “it is a universal, universal tribulation” emphasizes this shared experience of suffering. Despite this commonality, Issacs sings about the personal impact of the tribulation, describing the physical pain he suffers with “baton blows” that “got me moving slow”.
Issacs’ mention of others’ suffering, referring to “the children crying” and “the horses starving” suggest that the tribulation is not only felt by individuals but also experienced in broader contexts. This is emphasized when he sings “I feel it and I know it” suggesting that there is no need for explanation or external validation of the tribulation, the shared experience of those who live it is enough.
The repetition of “We not give up” at the end of each verse suggests that despite the hardship, the individual, and perhaps the collective, will not lose hope. This song can be interpreted as a message of hope in times of hardship, and a reminder that even in shared pain, personal experiences are valid and emotional expression is necessary.
Line by Line Meaning
Me nah give up
I won't surrender
Pains that I feel, whoa lord
The suffering that I experience, oh Lord
Grieve to be real
It's distressing but true
I said the pains that I feel, whoa lord
I repeat that the suffering I experience, oh Lord,
Grieve to be real
It's distressing but true
But I know it's a
But I recognize that it's a
Universal
Global
Universal tribulation
Collective suffering
I feel it and I know it
I experience and understand it
It is a universal
It's a worldwide
Universal tribulation (oh lord)
Global sorrow, oh Lord
I couldn't take any more
I could not endure any longer
Of your baton blows, na no
From your beatings, no, no
I said your baton blows, yea
I affirm that it's your beatings,
Its got me moving slow (moving slow, slow)
That has made me slow, very slow
We not give up (not give up, no)
We won't surrender (won't give up, no)
Ya hear (or right here?) We not give up (not give up, no)
You hear us (or, we're right here), we won't give up (won't surrender, no)
While the children are crying
When the kids are weeping
Their mum is undying yea
Their mother is deceased, yes
And while the grass is is a growin, lord knows
And when the grass is thriving, the Lord is aware
All the horses is a starving, yea
All the horses are famished, yes
But na ne know, a dis a universal
But nobody knows, this is a global
Universal tribulation
Collective suffering
I feel it as I tracked away
I experience it as I move on
Universal
Global
Universal tribulation
Collective suffering
I don't care what they wanna say
I don't mind what they want to say
Universal
Global
Universal tribulation
Collective suffering
You and I, you an I, you an I
You and I, you and I, you and I
Contributed by Andrew S. Suggest a correction in the comments below.
@regsis
Love this track , The more I listen to it , the sweeter it sounds. Classic track and definitely ahead of its time ❤🎉
@rasta8boy
RIP Gregory, you left us some killer tunes thank you dread
@crisf5310
Le best
@darreno1450
Yes sir!!
@mattrix2007
Tribute to the late gregory Isaacs. One of the greatest reggae artist's that ever walked this planet. RIP Gregory, your music will live on for ever.
@markblake4425
One of the greatest tunes by one of the greatest artists a masterpiece
@renton7866
1000% agree
@unityfrenzy938
2022 and it’s still a universal tribulation...hold on brothers and sisters jah time is near🙏
@darreno1450
One wicked tune!!!!That base rhythm
@easyselector4511
Beautiful, sad song. One of his best works.