Earth Crisis (Remaster) Steel Pulse

• 1 Steppin' Out 04:05
• 2 Tightrope 04:12
• 3 Throne Of Gold 04:28
• 4 Roller Skates 04:58
• 5 Earth Crisis 04:56
• 6 Bodyguard 04:30
• 7 Grab Education 06:13
• 8 Wild Goose Chase 05:41
• Total Runtime 39:03

Info for Earth Crisis (Remaster)

One of the U.K.'s most legendary reggae bands, Steel Pulse was formed in the tough Handsworth neighborhood of Birmingham in 1975 by a group of friends from struggling West Indian immigrant families. Chief among them was David Hinds, Steel Pulse’s lead singer, guitarist, and principal songwriter. Building on a base of roots reggae, they mixed Latin, jazz, and R&B influences in with the Rasta beats — as well as impassioned messages of social justice and political protest. Steel Pulse’s stellar musicianship and ideological courage shine on the 1984 album „Earth Crisis“, available as reissue-remaster.

„Not quite the landmark that Handsworth Revolution was, Earth Crisis suffers from uneven songwriting and dated, polished production that's sometimes too slick for its own good. What's more, the album is poorly sequenced, placing the weakest cuts, 'Steppin' Out' and 'Tightrope,' at the very beginning. 'Throne of Gold,' the album's love song, has beautiful lyrics but lacks a truly compelling melody to get them across. After that, the album picks up with a string of superior songs, all of which decry social injustice and have powerful music to back them up, though they occasionally drag on longer than they need to and are saddled with horn and synthesizer parts that sound superfluous. Still, the strength of material in the album's second half definitely proves why Steel Pulse earned their reputation as a top-notch act. Had the songs been more focused, the production less slick, and the album sequenced correctly, Earth Crisis would stand as a watershed album of the '80s. As it stands, it's certainly worth hearing, but probably not the place where newcomers should be introduced to Steel Pulse's talents.“ (Victor W. Valdivia, AMG)

Selwyn 'Bumbo' Brown, keyboards, vocals
David Hinds, lead vocals, rhythm, lead guitar
Jimmy Haynes, bass, lead guitar
Carl Atkins, saxophone
Ronald 'Stepper' McQueen, bass
Steve 'Grizzly' Nesbitt, drums, percussion
Alphonso Martin, percussion, vocals

Recorded at Horizon Studios, Coventry, England
Engineered by Dave Lester, Mike Morongell, Dave Lester
Produced by Jimmy Haynes & Steel Pulse

Digitally remastered

Please Note: we do not offer the 96 or 192 kHz version of this album, because there is no audible difference to the 44.1 kHz version!

Steel Pulse
was formed in 1975 in Birmingham, England, specifically the inner city area of Handsworth. The founding members were schoolmates David Hinds (the primary songwriter as well as the lead singer and guitarist), Basil Gabbidon (guitar), and Ronnie "Stepper" McQueen (bass). All of them came from working class West Indian immigrant families, and none had much musical experience. They took some time to improve their technical proficiency, often on Roots inspired material by the Wailers, Burning Spear and several other prominent Jamaican artists. McQueen suggested the group name, after a racehorse, and they soon fleshed out the lineup with drummer Steve "Grizzly" Nisbett, keyboardist/vocalist Selwyn "Bumbo" Brown, percussionist/vocalist Alphonso "Fonso" Martin, and vocalist Michael Riley.

Steel Pulse initially had difficulty finding live gigs, as club owners were reluctant to give them a platform for their "subversive" Rastafarian politics. Luckily, the punk movement was opening up new avenues for music all over Britain, and also finding a spiritual kinship with protest reggae. Thus, the group wound up as an opening act for punk and new wave bands like the Clash, the Stranglers, Generation X, the Police, and XTC, and built a broad-based audience in the process. In keeping with the spirit of the times, Steel Pulse developed a theatrical stage show that leavened their social commentary with satirical humor; many of the members dressed in costumes that mocked traditional British archetypes (Riley was a vicar, McQueen a bowler-wearing aristocrat, Martin a coach footman, etc.). The band issued two singles -- "Kibudu, Mansetta and Abuku" and "Nyah Love" -- on small independent labels, when they then came to the attention of Island Records after opening for Burning Spear.

Steel Pulse's first single for Island was the classic "Ku Klux Klan," which happened to lend itself well to the band's highly visual, costume-heavy concerts. It appeared on their 1978 debut album, Handsworth Revolution, which was soon hailed as a classic of British reggae by many fans and critics, thanks to songs like the title track, "Macka Splaff," "Prodigal Son," and "Soldiers." Riley departed before the follow-up, 1979's Tribute to the Martyrs, which featured other key early singles in "Sound System" and "Babylon Makes the Rules," and solidified the band's reputation for uncompromising political ferocity. That reputation went out the window on 1980's Caught You, a more pop-oriented set devoted to dance tracks and lovers rock. By that point, Steel Pulse was keen on trying to crack the American market, and went on tour over Island's objections. Caught You was issued in the States as Reggae Fever, but failed to break the group, and they soon parted ways with Island.

Steel Pulse moved on to Elektra/Asylum, which released an LP version of their headlining set at the 1981 Reggae Sunsplash Festival. Their studio debut was 1982's True Democracy, a generally acclaimed set that balanced bright, accessible production with a return to social consciousness. It became their first charting LP in America, making both the pop and R&B listings. The slicker follow-up, Earth Crisis, was released in 1984 and featured producer Jimmy "Senyah" Haynes subbing on guitar and bass for founding members Gabbidon and McQueen, both of whom left the group by the end of the recording sessions. They were replaced by guitarist Carlton Bryan and bassist Alvin Ewen for 1986's Babylon the Bandit, another Haynes-produced effort that ranked as the group's most polished, synth-centered record to date. It featured the powerful "Not King James Version" and won a Grammy for Best Reggae Album.

In 1988, Steel Pulse released State of Emergency, their most explicitly crossover-oriented album yet. They also contributed the track "Can't Stand It" to the soundtrack of Spike Lee's classic Do the Right Thing. In 1991, they released another heavily commercial album, the Grammy-nominated Victims, which featured the single "Taxi Driver." Backing up the song's views, Steel Pulse filed a class-action lawsuit against the New York City Taxi and Limousine Commission, charging that drivers discriminated against blacks and particularly Rastafarians. Founding member Fonso Martin left that year, reducing Steel Pulse to a core trio of Hinds, Nisbett, and Brown. Their backing band still featured Ewen and was elsewhere anchored by guitarist Clifford "Moonie" Pusey, keyboardist Sidney Mills, trumpeter Kevin Batchelor, Saxophonist Jerry Johnson and Trombonist Clark Gayton.

The 1992 live album Rastafari Centennial marked the beginning of a return to the group's musical roots, and earned another Grammy nomination. The following year, they performed at Bill Clinton's inaugural celebration, the first reggae band to appear at such an event. 1994's studio album Vex completed Steel Pulse's re-embrace of classic roots reggae, though it also nodded to contemporary dancehall with several guest toasters and a digital-flavored production. 1997's Rage and Fury continued in a similar vein, and was nominated for a Grammy. In 1999, the group released another collection of live performances, Living Legacy.

Fast forward a long seven years since their previous album, Rage and Fury, Steel Pulse would return yet again, this time with African Holocaust, and yet again have their ranks dwindled. Core members David Hinds (vocals, rhythm guitar) and Selwyn Brown (keyboards, backing vocals) are the only ones to remain from the band's original line-up, but they more than hold their own and they're joined by a deep roster of supporting musicians, a list too long to list. As always, the music is what's most important, and on that count, this Steel Pulse lineup indeed makes the mark. Granted, it did take them seven years to get the album out, but still it won a Grammy Awards Nomination for Best Reggae Album of the year. There's really not too much else to say about African Holocaust. Longtime fans will know what to expect. Newcomers should know a few things: above all, Steel Pulse are known for performing well-written, Afrocentric songs that are rebellious without being negative or inflammatory, and though the band membership has changed over the years, the type of songs hasn't, nor has the steady move away from dancehall that was apparent on the band's previous album. the message and music remain true to the band's principles and vision.

Steel Pulse is one of Britain's greatest reggae bands, in terms of creative and commercial success. Steel Pulse started out playing authentic roots reggae with touches of jazz and Latin music, and earned a substantial audience worldwide. Their 1978 debut, Handsworth Revolution, is still regarded by many critics as a landmark and a high point of British reggae. By the late '80s, Steel Pulse had won a Grammy and were working full-fledged crossover territory. They subsequently returned to a tough-minded, rootsy sound and have added touches of dancehall and hip-hop along the way.

This album contains no booklet.