The Specials And Why They Mattered

A lot of the time when we talk about political music, we don’t really go past the ’60s or the early ’70s. We get a lot of talk of the hippies and their peaceful anti-war songs, but what we don’t get into is how often these same peace-loving hippies were racist or even misogynist. Its in times like this where we should take a moment and appreciate the bands and artists who brought us these messages without any of the discriminatory baggage. That’s why this week, I am going to be presenting you with The Specials, a band that often gets swept to the sidelines when talking about the connections between music and politics.

The Specials were a UK-based ska band formed in 1979. They were one of the first bands to become popular in the UK made up of both white and black musicians without one race taking a dominant position over the other. They played music that fused together authentic reggae rhythms and primal punk vocals to create musical landscapes that more often than not preached for political justice and anti-racism in the United Kingdom. The band created a movement in the UK called “2 Tone.” It not only spoke for the two-tone suits the bands and their followers wore, but it also spoke for the idea of racial harmony, 2 tones, black and white, together and harmonious. 

“Doesn’t Make It Alright”

One of The Specials’ slower songs, “Doesn’t Make It Alright,” is a smooth reggae groove that preaches acceptance and equality on all fronts. Singer Terry Hall states many things in his 3 verses. The song addresses a lot of inter-racial violence that was going on in the UK, and Hall will not have any of it: “Just because you’re a black boy, just because you’re a white boy, it doesn’t mean you’ve got to hate him, it doesn’t mean you’ve got to fight. It doesn’t make it alright, it’s the worst excuse in the world…” 

“It’s Up To You”

A lot of this inter-racial fighting was a problem The Specials had to face head-on. It wasn’t just happening in the streets of England, it was happening at their shows too. The problem with being a band that fuses reggae with punk is that, sadly, some skinheads and neo-nazis will get into it. This song is aimed directly at those troublemakers. The Specials won’t take their racially charged attacks, they’ll even kick you out of their show if they have to: “Take it or leave it, we’ll carry on regardless if you don’t like it, you don’t have to dance. It’s up to you.” 

“Concrete Jungle”

The Specials get pretty fierce on this one. One of my personal favorite songs by the group, this song is from the perspective of an unsuspecting “rude boy” getting attacked by a gang of fascist bullies while trying to have a good night out. Our rude boy protagonist has to carry a knife, he feels unsafe, he can only walk on well-lit street, everywhere he goes, someone is after him and just might jump him if given the chance. In the concrete jungle, the animals are after him.

“Do Nothing”

We’ve given their first album a lot of love, let’s give their follow up, “More Specials,” a moment in the spotlight as well. While “More Specials” is arguably the better (and superior) album by the band, it is way more abstract in its lyrical content, and a bit less political. However, it can’t be The Specials if they don’t give you at least a little bit of social commentary. The song is not only directed at politics- the song has been paired with images of Ronald Reagan at the group’s shows- but it’s also about the idea of hopelessness the English youth felt and still feel. The most brutal part of the song is the hook in which all three singers in the band (Lynval Golding, Neville Staple and Terry Hall) chant in unison, “Nothing ever change, oh no, nothing ever change. I’m just living in a life without meaning, I walk and walk, do nothing. I’m just living in a life without meaning, I talk and talk, do nothing.”

“Ghost Town”

Ah yes, the band’s signature song. “Ghost Town” is a haunting piece of dub reggae about the Thatcher era of England. It talks about how many once-thriving towns in England have now been deserted: “this town is coming like a ghost town.” The clubs are closed down and the bands won’t play shows anymore, “too much fighting on the dance floor.” The youth are fed up with the racist system, so they’re taking their aggression out on the streets and in the clubs, causing many towns in England to be shadows of what they once were. Singer Neville Staple pleads, “Why must the youth fight against themselves? Government putting youth on the shelf. No job to be found in this country…” Terry Hall chimes in after this to say, “Can’t go on no more.” Neville Staple then says, “the people getting angry.” This song resonated with a lot of people, and it gave the band their first number 1 UK hit. It perfectly summed up how the youth were feeling at the time, and sadly, many of its themes are still relevant today.

“Ghost Town” was not only their first number 1 UK hit, but it was their last one as well. Due to conflicts between the band leader’s (keyboardist Jerry Damners) desire for a new musical direction and the band’s then distaste for his ideas, the band unceremoniously split up. The Specials have continued to perform with many changing lineups since, but the original band has basically been dead since that day.

The Specials’ legacy has never been properly cemented. They were an important band who stood for important things. Even if their impact affected the UK alone, they would still be one of the most important bands that ever played. The Specials stood for the end of fascism and racism of all kinds, and they weren’t afraid of stepping on anyone’s toes in order to get there. I hope you’ll give them a listen.

Jack Seda-Schreiber is the NGP Guest Art Curator. He not only manages an up-and-coming indie record label known as Studio Suzuki but is a musician in his own right. You can find stuff he releases on all streaming platforms under his artist name of Super Jack as well as his post-punk project Sugar Water.