Don Carlos, Israel Vibration, and Pato Banton

Born and raised in Waterhouse, Kingston, where fellow reggae artists King Tubby, The Jays, and Junior Reid also grew up, Carlos began singing from a young age. In 1973, alongside Garth Dennis and Derrick Simpson, Carlos formed the reggae group Black Uhuru and contributed to the recording of the 1977 album “Love Crisis”. Despite this, Carlos only appeared on one single for the group, after which he went solo, releasing his debut album “Suffering” in 1981 on Negrus Roots Records.

The same year he began collaborating with vocalist and co-writer Gold, whom Carlos released six albums with including “Them Never Known Natty Dread Have Him Credential” in 1981, “Ghetto Living” in 1983, and “Ease Up” in 1994. The singer however continued to release a string of solo albums, significantly raising his profile, beginning with the acclaimed “Day to Day Living in 1982. Subsequent solo albums included “Harvest Time” in 1982, “Pass the Lazer Beam” in 1983, “Just a Passing Glance” in 1984, and “Deeply Concerned” in 1987. With a growing reputation as a revered reggae star, Carlos was able to collaborate on albums with the likes of Earl Cunningham and Charlie Chaplin, Culture, Anthony Johnson & Little John, and Junior Reid.

Reluctant to rest on his laurels with the beginning of the ’90s, the singer continued to release new material including 1998’s “7 Days A Week” and the Don Carlos and Gold album “Ease Up” in 1994. After almost two decades, in 1990 Carlos returned to Black Uhuru and released the album “Now” earning the group a resurgence in popularity.

Originally formed of members Lascelle “Wiss” Bulgin, Cecil “Skeleton” Spence, and Albert “Apple Gabriel” Craig, the trio met whilst recovering from polio at the Mona Rehabilitation Clinic in Kingston. Prior to Israel Vibration’s formation, Spence made his television debut alongside the band Hot Lickers at the age of 12. Spence subsequently began making music with Craig, later seeking the musical talents of tailor, Bulgin. The trio funded their excursions by performing on the streets for change, strongly developing Israel Vibration’s confidence and live performance skills.

In 1975 the trio recorded the track “Bad Intention” at Channel One Studios, however failed to find an official release. Despite this, a year later Israel Vibration earned their big break when they received a grant from the Twelve Tribes of Israel branch of Rastafarai and subsequently issued their debut single “Why Worry”. The record earned significant radio play and led the group to open for the likes of Denis Brown, Inner Circle, and Bob Marley. Alongside producer Tommy Cowan, the band followed the release with the single “The Same Song” released on Top Ranking Records in 1977. The full-length of the same name followed the year after, as did the dub counterpart CD “Israel Tafari”, the success of which led Israel Vibration to sign with the EMI imprint Harvest.

The full-length “Unconquered People” arrived in 1980, followed a year later by the recording of “Why You So Craven” with iconic dancehall producer Junjo Lawes, however due to disagreements the band walked out on Lawes. Following an enthusiastically reviewed performance at 1982’s Reggae Sunsplash, with the domination of dancehall in Jamaica and greater medical provision, the trio moved to New York City, U.S.

The move, initially a disappointment, was made fruitful in 1987 when the band approached RAS Records’ man Doctor Dread, who signed the group to his roster. Israel Vibration’s first album since moving to the U.S. “Strength of My Life” features contributions from the Roots Radics and is largely regarded as a return to form for the trio. The group continued to craft their brand of roots reggae well into the 1990s, most notably on 1990’s “Praises”, “Dub Vibration” and “Israel Dub”, the 1992 live album “Vibes Alive”, 1993’s “IV”, and 1995’s “On the Rock”. A pair of albums followed before Israel Vibration’s Craig left the group to go solo and later released the full-length “Another Moses” in 1999. Undeterred by Craig’s departure, Spence and Bulgin continued to please their loyal fan base by issuing a prodigious eight albums over the next 15 years, cementing their position as icons of the roots reggae genre.