Steel Pulse started in Birmingham in 1975 when the members were still in school. A couple of singles were released on small, independent record labels before they got signed by Island Records. They released their impressive debut album 'Handsworth Revolution' in 1978, which was swiftly followed the following year by 'Tribute To The Martyrs'. They were at the forefront of the Brit reggae boom of the late '70s. Lead singer and rhythm guitarist David Hinds' pointed white hood, which underscored 'Klu Klux Klan', gave the group a recognised image, they were reggae darlings of the rock press, and could be found on those punk-cum-reggae bills of the time. However, by the early  '80s, they were mostly looking to international markets, as interest had waned in Blighty.

It is a testament to their determination and frequent touring that nearly thirty years on, they're still around, recording and performing. They are currently on a European 2004 tour, which includes a one UK date: Monday June 28 at London's Ocean in Hackney, east London. This tour ends July 10 in Belgium. By July 14 they'll be on an extensive US tour. In between what is a hectic lifestyle David made time for our Q&A session (also click for State Of British Black Music and  Stories Behind 10 Steel Pulse Songs.)

2004 and still going strong. When Steel Pulse started in 1975, did you imagine that nearly 30  years on, you'd be in the same band and still going strong?
No. We didn't even see this initially becoming a career for us. It was just something that we felt had to be done..

What do you think have been some of the factors for your longevity?
One of the main factors has been total dedication to what we believe in, and knowing our fans around the world feel the same way.

When Steel Pulse broke through in the late 70s, there was a bit of Brit reggae scene with acts such as Aswad, Brimstone, Merger and Delroy Washington. Why do you think it’s all fizzled out, and out of your contemporaries, you are almost the last ones standing?
I can't say for them, but generally in reggae music, when bands fizzle out, egos got in the way. Often, there are outside influences that dictate the direction, and usually not for the better.

What role would you say punk played in helping to break or expose reggae to a wider audience?
Punk played a major role. Simply because their music and lyrical contents paralleled what reggae was saying about the system.  It was good that punk became the voice of the youths at that time, and the bands had the power to select whomever they wanted as opening acts.

What’s your view of the British market? I ask this because it seems to me by your second album, your main market was overseas.
The view is roots reggae, which we indulge in, has never been truly recognised in Britain.  Even among the blacks, or ethnic minorities, its influence has never been totally embraced. Lover's rock has always been, and still is, the major preference.  However, when roots does get any acknowledgement, it's always via bands coming out of Jamaica. It was back then, and still is today.

You have a new, upcoming album ‘African Halocaust’ – can you tell me a bit about it, and the key things you’d like listeners to come away with after listening to it?
’African Holocaust’ is a summary of the state of the world today from our perspective - which is a perspective of the black diaspora. Subject matters range from exposing the negative impact, politically and environmentally of super powers, to the nostalgia for our African heritage.

When is it likely to be commercially released?
It will be a staggered release throughout the world.  It's already out in France, and will be in other parts of Europe in the next few weeks. In the US, it comes out in mid-July.

One of your strengths, and no doubt a factor in your longevity, has been your live work. For those that have not seen you live, what can they expect at a steel pulse concert?
Because of a long hiatus between albums, and the upcoming tour, which encompasses countries we have not visited for a long time, the show will include many hits, as well as a sampling of the new songs.

© 2004 Kwaku. First published June 2004