Steel Pulse is a British roots reggae band from Birmingham, England. They were the first non-Jamaican act to win the Grammy Award for Best Reggae Album for their 1986 album Babylon The Bandit.
Steel Pulse originally formed at Handsworth Wood Boys School, Birmingham, and comprised David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ronnie McQueen (bass).
However, it is Hinds who, as songwriter, has always been the engine behind Steel Pulse Read Full BioSteel Pulse is a British roots reggae band from Birmingham, England. They were the first non-Jamaican act to win the Grammy Award for Best Reggae Album for their 1986 album Babylon The Bandit.
Steel Pulse originally formed at Handsworth Wood Boys School, Birmingham, and comprised David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ronnie McQueen (bass).
However, it is Hinds who, as songwriter, has always been the engine behind Steel Pulse, from their early days establishing themselves in the Birmingham club scene onwards. Formed in 1975, their debut release, 'Kibudu, Mansetta And Abuku" arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. They followed it with 'Nyah Love' for Anchor.
Surprisingly, they were initially refused live dates in Caribbean venues in the Midlands because of their Rastafarian beliefs. Aligning themselves closely with the Rock Against Racism 1 organisation, they chose to tour instead with sympathetic elements of the punk movement, including the Stranglers, XTC etc.: "Punks had a way of enjoying themselves - throw hordes at you, beer, spit at you, that kind of thing".
Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Their first release for Island was the 'Ku Klux Klan' 45 rpm, a considered tilt at the evils of racism, and one often accompanied by a visual parody of the sect on stage.
By this time their ranks had swelled to include Selwyn 'Bumbo' Brown (keyboards), Steve 'Grizzly' Nesbitt (drums), Fonso Martin (vocals, percussion) and Michael Riley (vocals). Handsworth Revolution was an accomplished long playing debut and one of the major landmarks in the evolution of British reggae.
However, despite critical and moderate commercial success over three albums, the relationship with Island had soured by the advent of Caught You (released in the US as Reggae Fever). They switched to Elektra, and unveiled their most consistent collection of songs since their debut with True Democracy, distinguished by the Garveyeulogising 'Rally Around' cut.
A further definitive set arrived in Earth Crisis. Unfortunately, Elektra chose to take a leaf out of Island's book in trying to coerce Steel Pulse into a more mainstream vein, asking them to emulate the pop-reggae stance of Eddy Grant. Babylon Bandit was consequently weakened, but did contain the anthemic 'Not King james Version', which was a powerful indictment on the omission of black people and history from certain versions of the Bible.
Their next move was id Hinds of Steel Pulse to MCA for State Of Emergency, which retained some of the synthesized dance elements of its predecessor. Though it was a significantly happier compromise, it still paled before any of their earlier albums.
Rastafari Centennial was recorded live at the Elysee Montmarte in Paris, and dedicated to the hundred year anniversary of the birth of Haile Selassie. It was the first recording since the defection of Fonso Martin, leaving the trio of David Hinds, Steve Nisbett and Selwyn Brown.
While they still faced inverted snobbery at the hands of British reggae fans, in America their reputation was growing, becoming the first ever reggae band to appear on the Tonight television show. Their profile was raised further when, in 1992, Hinds challenged the New York Taxi and Limousine Commission in the Supreme High Court, asserting that their cab drivers discriminated against black people in general and Rastas in particular.
Drummer Steve "Grizzly" Nisbett (15 March 1948 – 18 January 2018) died in 2018.
The band are still recording and touring.
Steel Pulse originally formed at Handsworth Wood Boys School, Birmingham, and comprised David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ronnie McQueen (bass).
However, it is Hinds who, as songwriter, has always been the engine behind Steel Pulse Read Full BioSteel Pulse is a British roots reggae band from Birmingham, England. They were the first non-Jamaican act to win the Grammy Award for Best Reggae Album for their 1986 album Babylon The Bandit.
Steel Pulse originally formed at Handsworth Wood Boys School, Birmingham, and comprised David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ronnie McQueen (bass).
However, it is Hinds who, as songwriter, has always been the engine behind Steel Pulse, from their early days establishing themselves in the Birmingham club scene onwards. Formed in 1975, their debut release, 'Kibudu, Mansetta And Abuku" arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. They followed it with 'Nyah Love' for Anchor.
Surprisingly, they were initially refused live dates in Caribbean venues in the Midlands because of their Rastafarian beliefs. Aligning themselves closely with the Rock Against Racism 1 organisation, they chose to tour instead with sympathetic elements of the punk movement, including the Stranglers, XTC etc.: "Punks had a way of enjoying themselves - throw hordes at you, beer, spit at you, that kind of thing".
Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Their first release for Island was the 'Ku Klux Klan' 45 rpm, a considered tilt at the evils of racism, and one often accompanied by a visual parody of the sect on stage.
By this time their ranks had swelled to include Selwyn 'Bumbo' Brown (keyboards), Steve 'Grizzly' Nesbitt (drums), Fonso Martin (vocals, percussion) and Michael Riley (vocals). Handsworth Revolution was an accomplished long playing debut and one of the major landmarks in the evolution of British reggae.
However, despite critical and moderate commercial success over three albums, the relationship with Island had soured by the advent of Caught You (released in the US as Reggae Fever). They switched to Elektra, and unveiled their most consistent collection of songs since their debut with True Democracy, distinguished by the Garveyeulogising 'Rally Around' cut.
A further definitive set arrived in Earth Crisis. Unfortunately, Elektra chose to take a leaf out of Island's book in trying to coerce Steel Pulse into a more mainstream vein, asking them to emulate the pop-reggae stance of Eddy Grant. Babylon Bandit was consequently weakened, but did contain the anthemic 'Not King james Version', which was a powerful indictment on the omission of black people and history from certain versions of the Bible.
Their next move was id Hinds of Steel Pulse to MCA for State Of Emergency, which retained some of the synthesized dance elements of its predecessor. Though it was a significantly happier compromise, it still paled before any of their earlier albums.
Rastafari Centennial was recorded live at the Elysee Montmarte in Paris, and dedicated to the hundred year anniversary of the birth of Haile Selassie. It was the first recording since the defection of Fonso Martin, leaving the trio of David Hinds, Steve Nisbett and Selwyn Brown.
While they still faced inverted snobbery at the hands of British reggae fans, in America their reputation was growing, becoming the first ever reggae band to appear on the Tonight television show. Their profile was raised further when, in 1992, Hinds challenged the New York Taxi and Limousine Commission in the Supreme High Court, asserting that their cab drivers discriminated against black people in general and Rastas in particular.
Drummer Steve "Grizzly" Nisbett (15 March 1948 – 18 January 2018) died in 2018.
The band are still recording and touring.
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Save Black Music
Steel Pulse Lyrics
David Hinds
They tricked us with trinkets and beads
And tricked us right into slavery
Traditional customs
Crafts and arts
They put in their museums
Oh people don't you see the plot...yeh
To take all we've got
CHORUS
Got to save Black music
Fight to save sweet music now
Got to save Black music now
Le the music flow, oh Lord
We've paid that price so many times
Comes to claimin' dues we're the first in line
Freedom songs echoed these plantations
I and I survive
To this present time
Oh people don't you see the plot
To take all we've got
CHORUS
Got to save Black music
Fight to save sweet music now
Got to save Black music now
Music sweet music ha ha ha
It no funny
Through our sprits came
Reggae Jazz Funk and Blues
Music the food of life
So don't just stand there
And let them take your share
They claim that fame
And give you not a care
We walk those streets
Without a dime
Play hid and seek
The pie in the sky
CHORUS
Got to save Black music
Fight to save sweet music now
Got to save Black music now
Here me when I say
Gather round come get strong
Help I sing this freedom song
Save Black music now
Keep it in control now
Never let it go now
Keep it in control now
Lyrics © Peermusic Publishing
Written by: DAVID ROBERT HINDS
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Babacar DIOP
A who can hear what it is talking about. Hinds is a high level intellect. Rare are the singers who claim this topic. Still real !!
Grand3 Lyfecuhh
Beautiful introduced this to my kids and they ask why music isn't made like this anymore
bpdonttouch
This is way before my time,however the words are so true today. Nothing hasn't change much. Save black music ya
VATOOUT
Hookers at the Point ‘Goin Out Again’ brought me here LoL
Ruben Moreno
chikita evans
Proud black educated people
chikita evans
My children and I are blessed
Blessed with amazing friends and prayer warriors
TREY Y'ISRAEL TRIBE of YEHUDA
This song is for the children of Israel
swamislocal1
There's a glaring contradiction when singing a song about the negative effects of racism, and calling it "save BLACK music". As if only blacks could produce a certain type of music. Music genre's should never be identified by the color of one's skin, we are all one!!!!
Lawrence Njawe
All one yes, but fact remains all black diaspora rhythms are nurtured by the afro experience: jazz, blues, rhythm and blues, gospel, rock n' roll,reggae, salsa, bossa nova, calypso, Mento,.........