Israel Vibration - Power Of The Trinity

Round One:



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Israel Vibration is a reggae harmony trio, originating from Kingston, Jamaica. Lascelle "Wiss" Bulgin, Albert "Apple Gabriel" Craig, and Cecil "Skeleton" Spence all overcame childhood polio and went on to be one of the most successful roots groups to form in Jamaica in the late 1970s. The trio initially met as children at a rehabilitation center.

After going their separate ways, and each converting to the Rastafari movement, they reunited in Kingston and formed a vocal group. Funding for their first album came in the form of a grant from the Twelve Tribes of Israel branch of Rastafari after Hugh Booth, a member of the Twelve Tribes, had overheard the three men singing in a wooded area outside Kingston. Apple and Wiss were living in the area, which they had converted into a home.

After releasing a single called Why Worry in 1977 Israel Vibration recorded three albums; The Same Song, Unconquered People, and Why You So Craven before temporarily disbanding in 1981 after recording sessions for the latter were left incomplete. The three men moved to the United States to seek professional health care and escape the growing Dancehall movement in Jamaica. In 1988, Gary "Dr. Dread" Himmelfarb, founder of RAS Records, urged the trio to reunite and record an album. Skelly, Apple, and Wiss were flown to Washington, D.C. to record a new album at Lion and Fox Recording Studios in College Park Maryland. "Strength of my Life", the group's fourth album and first of 18 CD releases on the RAS label, was met with great praise and is considered one of the few post-golden era touchstones of the roots reggae genre.

In 1997, as Dr. Dread tells it, Apple Gabriel left the group to pursue a solo career. Skelly and Wiss continue to record albums and tour the world as Israel Vibration, backed by longtime associates Roots Radics.



Discography

1. The Same Song (1978)
2. Unconquered People (1979)
3. Why You So Craven (1981)
4. Strength of My Life (1988)
5. Praises (1990)
6. Dub Vibration: Israel Vibration in Dub (1990)
7. Forever (1991)
8. Vibes Alive (1992)
9. IV (1993)
10. I.V.D.U.B. (1994)
11. On the Rock (1995)
12. Dub the Rock (1995)
13. Israel Dub (1996)
14. Free to Move (1996)
15. Live Again! (1997)
16. Pay the Piper (1999)
17. Jericho (2000)
18. Dub Combo (2001)
19. Fighting Soldiers (2003)
20. Live & Jammin (2003)
21. Stamina (2007)

Killer Dub Mix 3

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Beloved Ethiopia Tafari DUB Strings DUB + versions
Bush Chemists Feat. Tena Stelin - Death Row
Kanka - Rome feat ranking joe + versions
Man A LioN - Disciples+version
VERDAD-BUNGALO DUB feat MACKA B
Victory Dance - Wayne McArthur

Stop That Train mix

Keith & Tex - Stop That Train
U-Roy - Stop That Train
Big Youth - Cool Breeze
Instrumental

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Time Traveller Dub Mix

Spacedub!

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T-Rex Riders - Vezuvians maxi

T-Rex Riders was set up by Lipi Brown (PASO). The band wants to show, what is rocksteady, lover’s rock and early reggae style, because nobody plays that wonderful kind of music in our country. They play classic evergreens, like Hopeton Lewis – Take it easy or Harry J Allstars - Liquidator, in these you can hear the pulse of rocksteady and love and find the typical dirty reggae sound. The members next to Lipi Brown(drums,vocal) play in a great Hungarian reggae band, Another Day(No sick’- singer, Táltos – guitar, vocal, Tom – keyboard, vocal) and Darth Wada(bass guitar). Who likes Pioneers, Ethiopians, Upsetters and the jamaican music of the late ’60-s and early ’70-s, before roots reggae, s/he have to knows this band!

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Dub Garden rec. 2009

Killer Dub Mix

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Killer Dub Mix
(new dub)


Killer Dub 1:
Kelvin Judah - Jah See And Know DUB
Makiko & Bush Chemists - Seven Winds From The East 7'
Solomans Suppa - Matic Horns Section
Sound Iration - Seventh Seal
Doctor Blue - Who Make We
The Time Travellers - who dub

Killer Dub 2:
Alpha & Omega - Sheba's Journey
Improvisators Dub Meets Iration Steppas - Cornal Mind
Iration Steppas - Hard TIme
Iration Steppas - Mistikal Warrior
Iration Steppas - What's Wrong Dub
itaL Horns Meets Bush Chemists - Mas Oue Nada
Prince Alla - Stone
King Tubby & The Soul Syndicate - Great Stone
Prince Allah - Great stone Accoustic


+ egy korrekt cikk magyarul

Wikipedia

Original Jamaican Sound System (round one)

This mix contains the favourite songs of early '50s Jamaican Soundsystems.

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tracklist:
1 - Safronia B - Calvin Boze
2 - Monkey Speaks His Mind - Dave Bartholomew
3 - Live It Up - Ernie Freeman
4 - Let's Make a Whole Lot of Love - Dodgers
5 - I'm Gone - Shirley & Lee
6 - I'm in the Mood for Love - Fats Domino
7 - Little Bitty Pretty One - Thurston Harris
8 - Tears on My Pillow - Little Anthony
9 - Strator-Cruiser
10 - Secretly - Jimmie F. Rodgers
11 - Someone Like You - Faye Adams
12 - It's Over - James "Sugarboy" Crawford, James "Sugarboy" Crawford
13 - Vow - Gene & Eunice
14 - If You Don't Want Me Baby
15 - Blue Moon - Lynn Hope
16 - One Scotch, One Bourbon, One Beer - Amos Milburn
17 - Waiting & Drinking - Calvin Boze
18 - One Night - Smiley Lewis
19 - Be My Quest - Fats Domino
20 - 3 x 7 = 21 - Jewel King
21 - Return to Me - Ernie Freeman



Jamaican Soundsystem history:

The sound system concept first became popular in the 1950s, in the ghettos of Kingston. DJs would load up a truck with a generator, turntables, and huge speakers and set up street parties. In the beginning, the DJs played American rhythm and blues music, but as time progressed and more local music was created, the sound migrated to a local flavor. The sound systems were big business, and represented one of the few sure ways to make money in the unstable economy of the area. The promoter (the DJ) would make his profit by charging a minimal admission, and selling food and alcohol. It was not uncommon for thousands of people to be in attendance. By the mid 1950s, sound systems had eclipsed live musicians in any combination for the purpose of staging parties. By the second half of the decade, custom-built systems began to appear from the workshops of specialists such as Headley Jones, who constructed wardrobe-sized speaker cabinets known as "House[s] of Joy". It was also around this time that Jamaica's first superstar DJ and MC, Count Machuki (b. Winston Cooper) rose to prominence. As time progressed, sound systems became louder--capable of playing bass frequencies at 30,000 watts or more, with similar wattage attainable at the mid-range and high frequencies--and far more complex than their predecessors, record players with a single extension speaker. Competition between these sound systems was fierce, and eventually two DJs emerged as the stars of the scene: Clement 'Coxsone' Dodd, and Duke Reid.

The popularity of a sound system was mainly contingent on one thing: having new music. In order to circumvent the release cycle of the American record labels, the two sound system superstars turned to record production. Initially, they produced only singles for their own sound systems, known as "Exclusives" or Dubplates - a limited run of one copy per song. What began as an attempt to copy the American R&B sound using local musicians evolved into a uniquely Jamaican musical genre: ska. This shift was due partly to the fact that as American-style R&B was embraced by a largely white, teenage audience and evolved into rock and roll, sound system owners could no longer depend on a steady stream of the singles they preferred: fast-shuffle boogies and ballads. In response to this shift in supply, Jamaican producers introduced to their work some of the original elements of the Jamaican sound: rhythm guitars strumming the offbeat and snare-drum emphasis on the third beat, for example. As this new musical form became more popular, both Dodd and Reid began to move more seriously into music production. Coxsone Dodd's production studio became the famous Studio One, while Duke Reid founded Treasure Isle.

As sound systems continued to gain in popularity through the 1960s and 1970s, they became politicized in many instances. Many sound systems, and their owners, were labeled as supporters of a particular political party (such as the PNP or the JLP), but most of the sound systems tried to maintain political neutrality. Nevertheless, as a cultural and economic phenomenon, the sound system was affected by the vast socio-political changes taking place in Jamaica at this time.