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All of them came from poor West Indian immigrant families, and none had much musical experience. They took some time to improve their technical proficiency, often on Rasta-slanted material by Bob Marley and Burning Spear. 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, 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 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.
That reputation went out the window on 's Caught You, a more pop-oriented set devoted to dance tracks and lovers rock. By that point, Steel Pulse were 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.
Their studio debut was 's True Democracy, a generally acclaimed set that balanced bright, accessible production with a return to social consciousness. The slicker follow-up, Earth Crisis, was released in and featured producer Jimmy "Senyah" Haynes subbing on guitar and bass for founding members Gabbidon and McQueen, both of whom were gone by the end of the recording sessions.
They were replaced by guitarist Carlton Bryan and bassist Alvin Ewen for 's Babylon the Bandit, another Haynes-produced effort that ranked as the group's most polished, synth-centered record to date.
Although it featured the powerful "Not King James Version" and won a Grammy for Best Reggae Album, it sold poorly and alienated some of the band's older fans; as a result, Elektra soon dropped them. In , they released another heavily commercial album, the Grammy-nominated Victims, which featured the single "Taxi Driver. The 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. In , the group released another collection of live performances, Living Legacy. With 's African Holocaust, Steel Pulse returned to the strong political themes of their early work, and while they devoted themselves to live work for the next 15 years, 's Mass Manipulation was a reminder of Steel Pulse's commitment to roots reggae and bold lyrical statements.
Steel Pulse's debut album set the band decisively apart from its British colleagues. This was not, by any stretch of the imagination, either pop-regga This live album contains some of the bands greatest hits, including "Stepping Out," "Chant a Psalm," and "Roller Skates.
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