This week, I’ll be talking with guest presenter Connor Phillips as we explore the influence of the “Windrush generation” on British pop music 1940s to today.
We begin with Lord Kitchener’s “London Is The Place For Me” (1948), a track that resonated deeply with the Caribbean community in the UK, especially those who, like Kitchener, arrived on the Empire Windrush in 1948. Steel Pulse’s “Babylon Makes The Rules” (1978) offers a powerful critique of systemic oppression in the UK, delivered through the militant reggae that became the band’s signature sound, making them a voice not just for Black Britain, but for the African diaspora worldwide. The ska revival is represented by The Specials’ “A Message To You Rudy” (1979), originally by Dandy Livingstone (1967). The Specials reimagined this track into a 2 Tone anthem; “Rudy” referred to the “rude boys” of Jamaica, and the “stop your messing around” was perhaps heard as a call for societal unity at a turbulent time in UK history.
Billy Ocean’s “Caribbean Queen (No More Love On The Run)” (1984) is a Grammy-winning track and a global hit, and on the show we’re going to hear short clips from the lesser-known versions “African Queen” and “European Queen” (really!). It’s also going to feature in our soundslike section, as we address the perennial question – did he copy that riff from Billie Jean (answer – no, but you can see why people brought it up).
Ms Dynamite’s “Dy-Na-Mi-Tee” (2002) interpolates Musical Youth’s “Pass The Dutchie” 1982 and samples Lennie Hibbert’s “Rose Len.” (1969). Ms Dynamite (of Jamaican and Scottish heritage), brought a blend of UK garage, R&B, and hip-hop to the forefront of British music. She won the Mercury Prize and two MOBO Awards, and was still releasing great material as recently as 2023 (I love the jungle-dancehall mashup sound of Dance Haffi Nice).
Sean Paul and Dua Lipa’s “No Lie” (2016) reverses the collaboration direction – he’s Jamaican, and she’s British-Albanian. It comes from a time when Dua Lipa was still relatively unknown, or certainly not the global superstar she is today. If time allows (and it rarely does), I hope we can get to “Gimme Hope Jo’anna” by Eddy Grant (1988), a politically charged anthem that protests apartheid in South Africa. It was banned in South Africa, but still became an international hit. And if I’m honest, I didn’t know it was a political track when it came out (hey, I was a self-absorbed teen).
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