Bob Marley in Leeds, UK (1974) by Dennis MorrisBob Marley: Legend
In Britain, the counterculture movement of the late 1960s, characterized by rejecting mainstream values and pursuing
The movement's position on peace, love, and unity resonated with the themes of social justice present in roots reggae and Rastafari – laid the foundations for the next generation of creators and buyers of British music.
Bob Marley & the Wailers poster for the Rainbow Theater concert in London (1977-06-01)Bob Marley: Legend
Reggae music’s themes of social justice, anti-colonialism and spiritual redemption resonated with many Brits, particularly amongst lower-income groups. This helped raise awareness and sympathy for social issues, contributing to the discourse on race, class, and colonial history.
Reggae's socio-political messages and focus on African, Caribbean and colonial history played a significant role in shaping anti-racist movements in Britain during this period. The extent of Bob Marley’s impact on the British music scene cannot be underestimated.
Organisations such as Rock Against Racism (RAR) were partly motivated by an incident in 1976 at a concert by Eric Clapton in Birmingham.
The superstar, who had recently covered 'I Shot the Sheriff' by Bob Marley, made inflammatory, racist remarks supporting controversial politician Enoch Powell, which included advocating for a racially homogeneous Britain.
Bob Marley London portraits (1974) by Dennis MorrisBob Marley: Legend
This triggered outrage amongst music fans and activists who opposed racism. RAR used Reggae to challenge prejudice and foster unity across racial and cultural divides.
Though resistance may have been the theme in the 70s, Jamaican reggae musicians found commercial success in Britain, and so did a few British-born individuals.
In many ways, Black British-born musicians heralded Britain's second wave of reggae artists. Where once all reggae musicians were born in the Caribbean, by the mid-70s, reggae groups could contain both Caribbean and British-born individuals.
This trend became most visible during the Two-tone era. This international and intragenerational mix of Caribbean and British experiences underpinned not just Soundsystem culture but British culture and a British audience that now saw reggae music as their own.
By the end of the 70s and early 80s, the British response to Reggae embodied the genre's past, present, and new expressions.
Examples of influential British reggae groups/producers: such as Black Slate, the Cimarron, Matumbi, Musical Youth, Maxi Priest, Steel Pulse, Aswad, Linton Kwesi Johnson, Dennis Bovell, Mad Professor and UB40.
Lovers Rock
Lovers Rock emerged in the late 1970s as the first black British music genre. A distinct subgenre of Jamaican reggae, it was a response to the male-dominated Roots scene present since the 60s.
Lovers Rock Steve McQueen by Lovers Rock Steve McQueenBounce Cinema
Lovers Rock was less about messages of social and political consciousness and more about relationships and a moment to express otherwise complex emotions in the act of dance.
Lovers Rock offered a unique perspective on romantic love and personal relationships that resonated with a diverse audience, particularly women.
Artists such as Janet Kay, Carroll Thompson, and Louisa Mark, Sandra Cross achieved chart success, with hits like "Silly Games" and "I'm So Sorry" reaching high positions on the UK Singles Chart.
Although predominately produced by men, women were the face and sound of this genre. Musician, producer, and arranger Dennis Bovell played a pivotal role in developing and producing Lover's Rock. Bovell's use of dub, experimental approach to new technology, and willingness to include resulted in a sound with a distinct identity. Lovers Rock was known for its soulful vocals, melodic basslines, and romantic lyrics, creating a sensual and intimate musical experience.
Lovers Rock artists such as Janet, Kay, Carroll Thompson. Sandra Cross, Louisa Mark would represented the sub-genre – Play Champion on radio by, the loan, DJ Ranking Miss P Carroll Thompson.