By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
McGregor enjoys a high local profile -- literally. His face adorns billboards all over Broward County, a pitch for County Line Chiropractic in Plantation. A few years ago, while undergoing treatment for a shoulder problem, he brought in a few of his CDs for the staff to hear. In time, McGregor had referred almost twenty of his friends to the clinic. That led to a radio spot for County Line. "Then they asked me if I'd be interested in doing a photo shoot," McGregor says.
Spending most of the year in Jamaica, McGregor also keeps a place down the road in Hollywood. With a son in school here and his label (VP Records) setting up a branch in Miramar, McGregor has put down South Florida roots. He remains at the helm of Big Ship, both a boutique label and a thriving studio in Kingston.
"I will be 47 years old in June," he says, "and in June, I will celebrate 40 years of singing." Dressed in a dapper shirt, classy leather loafers, and jeans pressed with a straight-edge crease, McGregor looks bigger than he really is, playful and bearlike. His braided hair merges into one giant dread down the middle of his back. Streaks of white invading his sideburns and beard betray his age, but nothing else does. "It's like I'm just starting!" he continues while seated in the hotel lobby. "I'm writing much better now, singing much better -- and I'm much more businesslike."
As if to underscore this, when his cell phone rings with The Nutcracker theme, his voice drops into a lower register and his smiling mouth flatlines. From the sound of it, a Grammy nomination doesn't translate into millions of units moved, and McGregor repeats to an associate what he told New Times just minutes before: "It's just myself, Barrington Levy, Luciano ... and that's it! If I had taken a back seat after the departure of Dennis Brown, we wouldn't have anything called reggae anymore. It would be dancehall and dancehall only! We need them to stay on the battlefield, not take a back seat. You can't retire just yet. You have to fight like a soldier. We are fighting that reggae battle!"
He puts the phone down and leans forward in his seat, still agitated.
"When the record companies say they can't market the music, I find that such crap. The kids have bigger record collections than they think. Our videos don't get played on BET. They leave out the entertainers who cannot have a video like Sean Paul's or Beenie Man's. What about the brothers and sisters who don't have the money to match that standard?" Acknowledging that more than 70 percent of reggae consumers are white, McGregor can't understand why the genre remains ghettoized, especially in light of the Grammy nod.
"We had to fight -- fight -- to get reggae included as a category," he declares with disgust. "And even when it did become a category, they still hand us our award backstage, while everyone else receives their award on national television."
McGregor's fire burns much cooler on the Anything for You album, a commercialized collection of simple rhymes and riddims about confession, reconciliation, and understanding. But his romantic voice -- perfectly suited to his big-softy presence -- is as hot, sweet, and invigorating as a mug of creamy coffee.
Freddie McGregor was a seven-year-old in James Hill, in the midst of Clarendon Parish farmland, when a local singing group, the Clarendonians, let him stand on a wooden crate to sing into the microphone. Soon enough, he'd become a feature of the group's records. "I made up a song called "Row, Dumpling Row," he says, softly singing, "If you want to know how make dumpling sweet, take the coconut ..."
Competition was everything to poor Jamaican children, each youth looking for something to best the others at. "We did things average Jamaican kids would do," McGregor says happily. "Like make gigs [a primitive whirligig, or top]-- I don't see gigs here. If I had a good piece of wood right now, I could still chop myself a good gig. And we'd play 'kite war.' We'd tie razor blades to the tails of our kites and dozens of us would send our kites up there high in the air with lots of thread, and we would fight, try to cut each others' kite down. So it was fun to see who could make their kite go the highest. You need to stay up above everybody else in order not to be cut. Those childhood things will never leave my memories."