Israel Vibration

Exemplifying remarkable resilience, the vocal group consisting of Cecil "Skeleton" Spence, Albert "Apple Gabriel" Craig, and Lascelle "Wiss" Bulgin surmounted challenges including sickness and economic hardship, rising to prominence as among Jamaica's premier roots ensembles. Each member had contracted polio, leading to their initial, short-lived meeting at the Mona Rehabilitation Clinic located in Kingston.

Among the three, Bulgin seemed the least probable candidate to achieve singing success. Much of his youth unfolded across multiple rehabilitation facilities, after which he entered employment with a tailor during his teenage years. By contrast, Craig showed early signs of a musical future and briefly studied at the renowned Alpha Cottage School. Established in 1880 under the direction of Catholic nuns, this distinguished institution gained fame for its rigorous musical instruction. Numerous leading Jamaican performers, among them Skatalites members and drummer Leroy "Horsemouth" Wallace, received training there. Nevertheless, Craig found the strict regimen and austere environment stifling, departing at age 14 to face homelessness and destitution. Spence likewise encountered a sharp reversal after an auspicious beginning; as a preteen he performed on xylophone with a youth ensemble that appeared on national television. Despite his physical disability, he excelled in athletics and earned selection for the Jamaican Wheelchair Basketball team during his teens. His embrace of Rastafarianism in 1969 terminated these opportunities, resulting in his removal from the squad and return to Kingston. Chance brought him into contact with Craig shortly thereafter, and destiny once more reunited the pair with Bulgin.

Having each independently adopted Rastafarianism earlier, the three found their common beliefs and early hardships forging a deep bond. Abandoning prior circumstances, they began busking together throughout Kingston. Over the subsequent six years they sustained themselves through street performances, emerging by 1975 as Israel Vibration, a vocal unit of considerable stature. Their first recording attempt proved unsuccessful when the Ernest Hookim-produced track "Bad Intention" remained unreleased. The following year, members of the Rastafarian organization the Twelve Tribes of Israel provided financing for a single.

Israel Vibration entered Treasure Isle studio with producer U-Booth to record "Why Worry" together with a fresh rendition of "Bad Intention" as the B-side. The trio's refined dread sound and assertive cultural subject matter created an immediate impact, securing opening slots alongside Bob Marley and Dennis Brown. In 1977 the group commenced work on the follow-up single "The Same Song" under producer Tommy Cowan. Upon completion, they possessed another hit alongside a powerful debut album titled after the single. A standard dub counterpart, Israel Tafari, matched the album's intensity. These releases prompted a contract with the British EMI subsidiary Harvest, which issued Same Song in Britain. 1979 delivered the Unconquering People album and the popular single "Crisis." Although this collection proved somewhat less intense than its predecessor, tracks such as "Mr. Taxman" and "We a de Rasta" endure as cultural roots classics. Israel Vibration consequently made a strong impression at that year's Reggae Sunsplash.

The trio's devotional compositions, cultural motifs, uplifting lyrics, and distinctive approach to roots music resonated with reggae audiences worldwide. It therefore seemed unexpected when Israel Vibration chose legendary dancehall producer Junjo Lawes for their next album, 1981's Why You So Craven. The collaboration largely disappointed the group, prompting them to exit the sessions prematurely. Lawes completed the project with the vocal trio the Tamlins; the finished album, though not a complete failure, lacked the vitality of earlier work. Strong audience response at 1982's Reggae Sunsplash failed to alter their view that dancehall now dominated Jamaica, as documented on the split live album Live at Reggae Sunsplash with the Gladiators. They therefore relocated to New York City, hoping the immigrant population would support them or that American audiences would accept roots music. Neither expectation materialized. Apart from sporadic live appearances, the group quickly faded from view. Each member explored solo work, yet only Bulgin released material, issuing the Mr. Sunshine album with the Freedom Fighters Band.

In 1987 the three concluded they were stronger united, reformed, and contacted the RAS label. Although labelhead Doctor Dread had previously shown little interest in their solo projects, he welcomed the reunion and signed them promptly. Strength of My Life appeared the next year and, supported by the Roots Radics, demonstrated that Israel Vibration retained their full vitality.

The trio then committed to sustained activity; while their style no longer defined the forefront, they continued releasing robust albums. 1990 yielded three releases: Praises, its dub counterpart Dub Vibration, and Israel Dub, drawn from the Strength of My Life material. The following year's Forever found the group in an unexpectedly humorous vein, directing satire toward themselves, dancehall, and current events. 1992 brought Vibes Alive, recorded the previous October in Santa Cruz, offering a sample of their live force while highlighting the Roots Radics at peak intensity. 1993's IV and its dub companion IV Dub reassured those concerned that roots risked becoming merely a global celebration; the album's militancy, especially on "Naw Give Up the Fight," confirmed the trio's enduring cultural commitment and dread roots approach. The equally potent On the Rock arrived two years later, again accompanied by a dub version.

In 1996 the group issued their first single in years, the catchy "Feeling Irie," drawn from the new album Free to Move. Efforts to elevate their mainstream profile proved unsuccessful, yet the trio already possessed a devoted following and continued thriving as a live act, as evidenced by 1997's Live Again. This live collection, unlike its predecessor, emphasized crowd favorites. Nine years after reforming and joining RAS, during which they had recorded and performed consistently, Craig grew dissatisfied with their direction.

He departed in 1997 to resume solo work, releasing the debut album Another Moses with his own band, the Zionists. Spence and Bulgin continued as a duo, returning in 1999 with the studio album Pay the Piper to demonstrate that Israel Vibration would persist despite the departure. Jericho followed closely in the new year, while 2000 also saw the limited-edition Power of the Trinity three-CD box set; Dub Combo appeared in summer 2001. Recognizing Craig's longstanding role, the set divides evenly among the three members, each disc devoted to one individual's key compositions. Israel Vibration's career shows no sign of abating, having secured a lasting place within what once appeared an unyielding landscape. Their popularity remains assured as they continue as a dynamic live act and consistently compelling studio group.