Artist: Joe Gibbs: mp3 download
Genre(s):
Reggae
Discography:
State of Emergency
Year: 1996
Tracks: 14
African Dub All-Mighty Vol.3
Year:
Tracks: 10
Producer Joe Gibbs' (born Joel A. Gibson) career spans a good for you ball of Jamaica's melodic history. From the early years of rocksteady to '80s dancehall, Gibbs arrange in concert a swerving of hits by such island stars as Pioneers, Dennis Brown, the Heptones, Culture, Frankie Paul, and Nicky Thomas. Along with his contemporaneous, producer Bunny "Striker" Lee, Gibbs privy lay title to organism one of the almost important of Jamaica's melodic giants, imputable not only to the fact he stayed active for such a extended sum of time, only also because he was able-bodied to bring on a consistent run of hits of the highest rescript.
Innate in Montego Bay in 1945, Gibbs' sojourn as a producer began subsequently he exhausted some prison term in the United States pass to be an electronics engineer. Upon returning to Jamaica, Gibbs lay out up his possess TV compensate tell on at 32 Beeston Street, Kingston and finally began marketing records there as a avocation. Further exploring the local music scene, he also helped producer Ken Lack extinct as an supporter and record showman. Gibbs soon began to hit out on his own, though, setting up a two-track studio in the gage of his shop and recruiting the already established Lee Perry to oversee roger Huntington Sessions -- Perry had already cut his dentition during the ska days as both an locomotive engineer and producer for Clement "Coxsone" Dodd and Prince Buster. Next, with the encouragement of Bunny Lee, Gibbs started his have Amalgamated label in 1967. The first individual he produced, Roy Shirley's "Hold Them," would finally go down as what many feel is the first rocksteady song.
By 1968, Gibbs was in full swing as one of the island's nearly popular producers. And even though Perry would go away the same yr to variety his possess Upsetters label, Gibbs unbroken on rolling by, recruitment the talents of the edward Young Winston "Niney" Holness to carry on as session supervisor (the Perry split was plainly not the most amicable of commercial enterprise traffic, as evidenced by the subsequent release of Perry's pointed volley at Gibbs, "People Funny Boy," and Gibbs' response, "Mass Grudgeful Boy"). Up until 1971, in fact, Gibbs released over a hundred singles, many of them dash hits. His roster at the time boasted some of Jamaica's summit singers and groups, including Errol Dunkley, Ken Parker, Peter Tosh, the Versatiles, the Slickers, and of row Pioneers. Perry likewise cut a few sides spell with Gibbs, including "Kimble," "Give thanks You," and his nom de congratulate sung, "The Upsetter." Gibbs, like many of the new craw of producers to egress during the rocksteady period (Derrick Harriott, Clancy Eccles, Lloyd Daley, Lee, et al.), likewise cut many instrumentals under such leadership as strain saxophonists Carl "Round shot" Bryan and Tommy McCook and fifty-fifty delved into the burgeoning DJ terrain with fine work on by Sir Lord Comic and groundbreaker Count Matchuki. Holding the wide-ranging turnout together was Gibbs' main studio band during this low gear prosperous stretch, Lyn Taitt and the Jets. Along with McCook and Bryan, Taitt's astral ring as well featured such revolving force as bassist Jackie Jackson, drummer Hugh Malcom, organists Aubrey Adams and Ansell Collins, piano player Gladstone Anderson, and guitarists Hux Brown and Lloyd Willis -- the horn division was no less imposing, with the likes of trumpeters Johnny "Silly" Moore and Bobby Ellis and trombone player Vin Gordon sitting in on many a record. Adding to this hefty arsenal, Gibbs likewise enlisted the help of another hot circle of the period, the Hippy Boys, which featured the Barrett Brothers musical rhythm tandem, guitarist Alva Lewis, and organist Lloyd Charmers.
As 197O trilled round and rocksteady evolved into the sounds of early reggae, Gibbs constitute his first gear international success with Nicky Thomas' "Passion of the Common People," which went turn nine-spot in the U.K. that summer. At the same time, Gibbs began expanding his holdings by introducing three new labels, Jogib, Shock, and Pressure Beat. He likewise open his New York Record Mart at 11 South Parade, Kingston and set up his possess two-track studio apartment in the Duhaney Park dominion. During this time, Gibbs released fine sides by the Ethiopians, Parker, Delroy Wilson, and the Heptones (including the two very popular volumes of The Heptones and Friends).
In 1972, Gibbs switched his studio operations to 20 North Parade, Kingston and before long cut one of his best-known hits, Dennis Brown's "Money in My Pocket." At this time, Gibbs likewise teamed up with the engineer Errol Thompson, wHO had already been running at Randy's Studio for various days. The two work force would go on to produce more than hundred number one records over the next several geezerhood and eventually become known as the Mighty Two.
By 1975, Gibbs resettled once again, this time building a 16-track studio apartment and book pressing engraft at 24 Retirement Crescent, Kingston. The hits kept orgasm, sometimes on such additional Gibbs' imprints as Crazy Joe, Town & Country, and Reflections. Along with more smashes from Brown, Gibbs, and Thompson likewise establish gold with, such as the Mighty Diamonds' "Ghetto Living" and Sylford Walker's "Burn Babylon," as well as by way of a change of successful cuts by Gregory Isaacs, Jacob Miller, Prince Alla, Junior Byles, and Dennis Walks. It was also at this time that Gibbs released the influential roots record, Two Sevens Clash by Culture -- the album would non only bring renown to the radical in Jamaica, just it would observe a open audience with English punks a few years later.
Josiah Willard Gibbs too continued cathartic instrumentals, in addition to some very fine dub sides. Along with his '70s set, the Professionals -- which included bassists Lloyd Parks and Robbie Shakespeare, drummer Sly Dunbar, guitarists Earl Chinna Smith and Bingi Bunny, organist Ossie Hibbert, and assorted alumni from the Jets -- Gibbs and Thompson cast out such classics as the State of Emergency album and the four volumes of the African Dub series. Aside from many Studio One and Treasure Isle rhythms, these instrumental and nickname sides as well featured many tracks Gibbs secondhand for his own vocal hits.
From 1977 until the end of the decennium, Gibbs and Thompson continued to score hits. Starting with Marcia Aitken's reworking of the Alton Ellis song, "I'm Still in Love (With You)," as a base, Gibbs spun off such popular versions as Trinity's DJ bankrupt "Three Piece Suit and Thing" and Althea and Donna's amusing "Uptown Top Ranking." The latter song would shortly find its style to the top of the English charts by the beginning of 1978. Of course, Gibbs continued to observe success with the big Dennis Brown. In 1979, Brown and the Mighty Two cast out two of the singers c. LC324% Best albums, Words of Wisdom and Joseph's Coat of Many Colors -- along with a fine version of Marley's "Slave Driver," the record album too featured a very successful reworking of Brown's first Gibbs hit, "Money in My Pocket." And to compliment all the vocal, knight, and instrumental sides, Gibbs revisited his in the beginning DJ work with fine knead by Big Youth, Prince Jazzbo, Ranking Joe, Dillinger, I Roy, Lui Lepke, Clint Eastwood, and Kojak & Lisa. More vocals flowed, to a fault, viz. hits by John Holt, Barrington Levy, Cornell Campbell, and Beresford Hammond.
Unfortunately, Gibbs also fatigued many days during this gilt period in court. The dispute was over the right of first publication for Charley Pride's "Person Loves You," which Gibbs reworked into a J.C. Lodge hit cover. The legal engagement eventually forced Gibbs to drop out of the recording stage business, leaving him financially strapped. For the latter half of the '80s and early '90, Gibbs stayed out of good deal but was still able to keep connected to his bequest through his son Carl's Miami-based Rocky One pronounce, which re-released several of Gibbs' records from the rocksteady, reggae, and early-dancehall years.
By 1993, Gibbs had cured and eventually rebuilt his studio at 24 Retirement Crescent. He also regrouped with longtime partner Errol Thompson and brought in Pioneers singer Sidney "Luddy" Crooks to beef up the Mighty Two production team. Quality recordings soon came to the stem, including tracks by Alton Ellis, Gregory Isaacs, Eric Donaldson, Lloyd Parks, and Tanya Stevens. By 1998, Gibbs would even set up his possess offices in Miami and Brazil.
During the '90s, this about illustrious of Jamaican producers got the kind of reissue program he so extravagantly deserves. On top of several Rocky One compilations and discs below the Joe Gibbs Enterprises umbrella (including 2 CDs coating the African Dub Almighty records), Trojan has released a fistful of discs taking in Gibbs' rocksteady and early-reggae period of time, including The Reggae Train, Joe Gibbs Mood, Get On Up!, and Jackpot of Hits: Explosive Rocksteady. Trojan has too set out the Uptown Top Ranking collecting, which rounds up a generous portion of Gibbs' '70s hits. In 2001, the label prestigious Gibbs with an anthology, Love of the Common People, which covers his meridian 1967-1979 period. Gibbs' rocksteady and reggae singles can buoy likewise be institute on a few compilations on Heartbeat (including Explosive Rock Steady: Joe Gibbs' Amalgamated Label), as comfortably as on several other English compilations -- many of which ar instantly out of print.
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