In the late seventies, the popular TV series "Roots," adapted
from Alex Haley’s novel, touched the collective consciousness of African Americans in
terms of calling attention to the legacy of slavery and the African Diaspora. Steel
Pulse, Birmingham, England’s reggae rockers, known for classic protest albums
such as Handsworth Revolution, True Democracy and the Grammy winning Babylon
The Bandit takes a closer look at the horrors of African slavery and its global impact
-- racism, environmental destruction, poverty, disease and war on the continent on their
latest album, African Holocaust.
After
more than 30 years of creating infectious rhythms and conscious lyrics, Steel Pulse’s
founding members David Hinds (lead vocals/rhythm guitar) and Selwyn
"Bumbo" Brown (keyboards/vocals) were thrilled to learn that African
Holocaust (Ras/Sanctuary Records) was nominated for a 2004 Grammy Award
for Best Reggae Recording. The winners will be announced at the 47th Annual Grammy
Awards on February 13, 2005 at Staples Center in Los Angeles.
Leading
up to the success of African Holocaust, the band members faced trials and
tribulations along the way. Sadly, Steel Pulse’s longtime drummer Steve
"Grizzly" Nesbitt was forced to retire a few years due to a heart condition
and is currently recovering from a recent stroke. In 2003, Hinds lost his father/mentor, Charles
Percival Hinds. But the groove goes on, as Steel Pulse continues to record and tour
with a stellar group of versatile musicians including Alvin Ewen (bass), Sidney
Mills (keyboards), Conrad Kelly (drums) and Clifford "Moonie"
Pusey (lead guitar). Guest artists on African Holocaust include DJ Damian
"Junior Gong" Marley ("No More Weapons), fire poet Capleton
("Blazing Fire") and DJ Jukie Ranks ("Born Fe Rebel").
The
year 2004 was an exciting one for Steel Pulse, as they performed hot tracks from African
Holocaust such as "Global Warning," "Tyrant," and "Make Us a
Nation," at major festivals and venues such as Reggae on the River in Redway,
California, Monterey Bay Reggae Festival and The Independent nightclub in
San Francisco. On Christmas day, the Pulse returned to their Jamaican roots, performing at
East Fest 2004 (produced by Morgan Heritage) at Morant Bay in St.
Thomas.
On
Feb. 20, 2005, the Pulse will headline the 24th Annual RaggaMuffins Festival at
Long Beach Arena and Bob Marley Day San Diego at the San Diego Sports Arena on Feb.
21, 2005.
In
the middle of their U.S. tour last fall, David Hinds took time out from his hectic
schedule to discuss the album, African Holocaust:
Reggae
Review: What are some of the most important issues that you address on African
Holocaust?
David
Hinds: One of the things that we address on the CD has been the idea of
tyranny—people who are dictators and tyrants and those who are governing countries
with wrong methods and the wrong reasons just for personal gain for themselves and their
immediate families. That’s what’s been going on across the board. When people
hear the word tyranny, they usually
associate it
with the leaders who govern Africa. But as you realize now, tyranny has always been a
thing that’s been happening in well-established governments. May I say more?
There’s a whole situation that happened four years ago with the votes in Florida.
That’s tyranny itself. A lot of people associate those kinds of words and terminology
with third world countries, not knowing that it’s happening on their doorstep.
Basically, I think the world is being engulfed every day, with not what everybody is
talking about as far as being liberal or democratic. I think that we a slowly headed
towards a fascist state, which will eventually lead to a fascist state of mind. The thing
is that nobody’s realizing it-- it’s been creeping up on us for several years.
Before you know it, we’ll be wearing tags for some reason or the other, and you
won’t be able to get through a certain kind of door if you don’t have that tag
or a blue chip a stamp on the back of your neck. It’s going to lead to that, maybe
not in my time or your lifetime, but it will eventually go so because of how it’s
starting now. That’s how it all started and how it all begins, with those who the
governing bodies and the Free Masons and the Illuminati. That’s why I mention the
Illuminati in the song "There Must Be a Way." The powers that be have already
set the wheels in motion to have the people’s minds completely brainwashed.
RR:
Aren’t artists—poets, writers and musicians always the first to predict
situations like this?
DH:
There are a lot of artists who you can sit down and reason with who are totally aware of
things like this, but some of them are talking the talk. It’s all "baby I love
you" or "Jah Rastafari" all day if you are in the reggae genre, or
"feel the blues" if you’re into blues. It’s "rock all night"
if you’re a rock and roller. If you’re into jazz, it’s scatting. No one is
really saying what needs to be said. That’s the problem, musicians, like you said--we
know the deal, but a lot of musicians are not committed because everybody wants to know at
the end of the day that there’s food on their table.
RR:
Have you gotten any flack for recording "Blazing Fire" with dancehall artist Capleton,
who’s been accused of homophobic lyrics in his music?
DH:
No, not as yet. I think it would be quite silly if anyone attaches us to that kind of
stigma, simply because if anybody looks at the legacy of Steel Pulse, the band’s
never mentioned anything about being homophobic. We’ve got more important issues to
address than someone’s sexual preference. If we were to make any statements on the
matter, our take would be wow, all right, if you put all the little reggae acts coming out
of Jamaica,
together
they’ve sold a million copies between them. Then, you’ve got Eminem, who selling
millions of records across the world. He denounced homosexuality in a very predominant way
and everything got rectified. Before you know it, he’s on stage, (at the
Grammy’s) performing with the most renowned homosexual artist in the industry, Elton
John. My take on it is, all right, there is a double standard happening here, which I
disagree with. As for Capleton, we are proud to associate ourselves with him because he is
a very positive force for us as black people. In terms of "Blazing Fire," we are
Rasta, and if you listen to the lyrical content, it has to do with the cleansing of
negativity. We talk about Shedrak, Mesach and Abendigo going into the furnace and the
angels guiding them through. We’re trying to say that all the woes and setbacks of
the world can’t touch us. That’s our way of expressing ourselves.
RR:
How many African countries have you visited, and what experiences on the continent have
touched you most?
DH:
We’ve been to about four or five of them—Ghana, Senegal, Gambia, Nigeria, the
Ivory Coast. Our experience generally, has been rejuvenation of our culture and ourselves.
It’s a sight to behold. If you’ve never been to Africa, I can’t think of
anything better to spend $1,000 on than a plane ticket to Africa. It was worth it.
I’m hoping before the end of 2005 to finally meet Nelson Mandela. That’s my
goal. A lot of people have met Mandela, and I can’t think of any reggae band that
deserves to meet Nelson him more than Steel Pulse.
RR:
Do you still own the Dub Factory Studios in Birmingham, England?
DH:
Yes, we still do, although we’ll be moving it to a new building when we get back.
RR:
At a press conference at Reggae on the River 2004, someone asked if Steel Pulse would
record an album in dub? Will you?
DH:
Most definitely, maybe in another four months from now. Maybe "African
Dub-ocaust". We will be going into the archives and releasing dub versions of
previous albums. I know "African Holocaust" would be a terrific dub album
‘cause there are some nice tracks on it.
RR:
On a personal level, African Holocaust is dedicated to the memory of your father.
How did he influence your life and career?
DH:
He played an integral part in my life. As far as my career, the whole world probably knows
that it was his basement that we first performed out of. He was strong and he believed
that I was strong in my beliefs. He was willing to continue letting us rehearse in his
basement. The whole situation started our very rocky, because his goals for me were to
finish college and go on to the university, but I opted out after a few years and decided
to (make music). My father never imagined me to be a musician; he wanted me to be a doctor
or a lawyer. It was his old way of thinking that carried into the 21st century.
There was animosity to begin with, but (my father) saw that I was for real. I think he
lived to see that it paid off. He lived to see that I was touching the hearts and minds of
thousands around the world and also that I was in a position to (financially) support
myself. He also saw that I was capable to do whatever I set my mind to do. I have three
brothers and three sisters. I’m the youngest son. Having said that, the attention
that my father paid to me was a different kind of attention that he paid to the rest of
the children. I was very selfish at one point because I thought I was victimized. Later on
I realized something when he died, that my father thought I needed to be carefully
nurtured because of what he saw in me during my early childhood. But it wasn’t until
I was a grown assed man until I realized it.
