Multiculturalism, musical cross-pollination, political activism. All these are more than just idealistic filled missives from the tail end of the past century for a band like The Selecter. Ever since forming during the halcyon days of 1979, they’ve strived to give a voice to the products of miscegenation, railing against those who would oppose these values and in turn inspiring several generations, both on a musical and personal level.
Their new LP Subculture is slated to be released in the states on October 2nd. I got a chance to ask singer Pauline Black some questions on the past/present and future status of The Selecter.
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NOISEY: I take it the title of your new LP refers to all those wonderful youth tribes of yore. Do you think the concept of British youth subcultures is still a viable one?
Pauline Black: The album is about a celebration of subcultures. The 2-tone movement embraced many different youth tribes; skinheads, mods, punks, rude boys and rude girls, who all enjoyed a love of ska music. In 1979 we came together to fight racism, sexism, economic inequality andhomophobia. In 2015, I believe 2-tone is the musical embodiment of multiculturalism.
And after 36 years of making 2-tone music, I still believe that a hybrid mix of ska/reggae/punk/ and rock, with dash of calypso and forthright lyrical content gives a voice to disaffected people everywhere. It’s why The Selecter is at home anywhere it plays, be it a punk show or a reggae show. We embrace the subcultures and they embrace us.
Two-tone is a life affirming force that transcends any notions of being just another musical genre, fashion style or dance craze. What is your personal definition of this phenomenon and how do you account for it’s longevity?
The Selecter is proud to have actively fought against the twin evils of racism and sexism with our music. But we are now in 2015. The world has moved on and it isn’t enough to live on past musical glories. It is necessary to write new material about what is going on in the world today, because the problems of racism and sexism are just as bad as they ever were and not to say anything about this would be a dereliction of duty on our part.
We reformed to write that new music, which has elicited 3 brand new albums, ‘Made In Britain’, ‘String Theory’ and our latest success ‘Subculture’. We have built our own audience that embraces the new material as well as The Selecter is proud to have been part of the 2-tone movement and to have enjoying the old. It was necessary for The Selecter to pass beyond ‘heritage’ status. This conscious strategy has worked very well for us and made The Selecter the dynamic band that it is today.
To my ears, Subculture sounds like it could have come out as your third LP in 1982, it’s that authentic. Tell me a little bit about the recording process for this record and lyrical inspiration?
The songwriting unit in The Selecter is Pauline Black, Arthur ‘Gaps Hendrickson, Neil Pyzer-Skeete, with occasional help from Beverley Pyzer-Skeete too. The songs are given to the rest of the band in demo form and band members are invited to add their definitive sound to the recording process. Neil Pyzer-Skeete has produced all our records since 2011. Our lyrical inspiration comes from many sources, but usually from situations that go on around us, e.g. “Still I Rise” was in direct response to the death of Maya Angelou, “Babble On” was in response to the horror of Israeli/Palestinian conflict in Gaza in 2014. “Breakdown” was in response to the killing of unarmed black people by the police in the UK and America.
How did Prince Fatty come to be involved in the mixing and can we expect a dub remix version by him of Subculture or someone along the lines of Mad Professor/Scientist?
The Selecter is a great admirer of the work of Prince Fatty. Our record company DMF Music sent him the songs and asked him to do some re-mixes. We thoroughly approved of the result, which brought out the best in the Subculture album. The idea of ‘Dubculture’ is definitely uppermost in our minds for a future release.
From the Banlieues to Council Estates and segregated housing conditions all over the world; the theme of unarmed black youth being shot by the police is poignantly addressed in your song “Breakdown”. Is there any light in this darkness or as the refrain goes: “We’ve heard it all before” so what can be done?
Of course there is light in the darkness, even though the media constantly refuses to report the truth. The public, armed with their smart phones can now record that truth and share it on social media. Old forms and norms are breaking down all over the world. Justice always prevails, but often it takes far too long.
According to your memoir Black By Design from 2012, you were brought up as a “White” working class girl in a small town and had to discover your Blackness. Do you think the UK and by extension, America, needs to go into a more in depth search of the root causes of identity before true equality is achieved?
Before identity can be discussed, I think people on this planet have to accept that we are all human beings first and foremost. Many among us cannot even accept that simple truth.
As a presenter for Black on Black on British TV, you interviewed prominent black entertainers/politicians like Nina Simone, Jesse Jackson etc. If you could interview anyone of their stature today, who would it be and why?
I would interview Michelle Obama, because she is the only First Lady, in my living memory, who truly embraces that title, while still remaining her own person.
What are your earliest memories of growing up in the 60’s and encountering the first wave of Rude Boys, did you get to see any of the pioneering British reggae/ska legends?
I was at senior school when I first heard “Long Shot Kick The Bucket” by the Pioneers. There was a small fraternity of skinheads, boys and girls, who liked that kind of music. I was the only black in my school, so it is kind of ironic that white kids introduced me to ska music in the late 60’s. I saw the a few of the pioneers of British reggae music, Eddie Grant and The Foundations and much later Misty In Roots and Steel Pulse.
I love the nuanced cover of “Because The Night”, who’s idea was it to record it? Do you know if either Bruce Springsteen or Patti Smith have heard it and their reaction?
It was our producer, Neil Pyzer-Skeete’s idea to record this track. As a great fan of Patti Smith, I was at first reluctant to give it try, but I eventually found a way that I could make the song my own and I’m very pleased with the result. I have no idea whether Bruce or Patti have heard it, but if they have I hope they liked it.
Rico Rodriguez (Madness Saxophonist) sadly passed away not too long ago. Any good memories of times spent together back in the old days or recently?
It’s with profound sadness that I heard of Rico’s passing on Sept 4th. He was the sweetest and gentlest of souls and an amazing trombonist with a distinct melancholic sound. I will always be indebted to him for the solo he played on one of my tracks, ‘Black and Blue’, which features on The Selecter’s ‘debut album “Too Much Pressure”. In the last part of the song he captures the deep sadness underpinning the track. He was indeed a legend.
I know you’re in the midst of a European tour at the moment, any plans on coming back to the states in the near future?
Hopefully in 2016 we will arrive in the USA and get to play our new album Subculture for American ska fans.
Thank you so much for answering these questions. It was both an honor and a pleasure, any last comments?
Thank you so much for your interesting questions. We can’t wait to get back Stateside next year. In the meantime we hope our fans will buy the album and familiarize themselves with the new material ahead of our arrival.
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