The 10 greatest protest songs

We are constantly told that the protest song is dead. Certainly, in recent years there has been a dearth of openly political content in popular music but student demonstrators recently found solace in Lethal Bizzle, only two years ago Rage Against the Machine were the Christmas number one while Arcade Fire’s tunes are full of implied criticism of Government so I don't think it’s the death knell of protest just yet.

Having said that, the heyday of protest was undoubtedly in the 1960s and 1970s as various minority groups asserted themselves and this was reflected in the music. Just a quick word on scope - I've included only songs that protest rather than those that reflect a particularly miserable time - hence no Ghost Town and no Shipbuilding. Also, I've eliminated numbers which simply express pride in a particular identity rather than protest e.g. Spasticus Autisticus by Ian Dury or Respect by Aretha Franklin. Anyway, here are 10 of the very best songs of anger- if you disagree leave your choices below the article...For more excellent commentary on protest songs check out the recently published 33 Revolutions per minute by Dorian Lynskey.


10. Harrowdown Hill - Thom Yorke (2006)


"We Think The Same Thing At The Same Time, We Just Can't Do Anything About It, We Think The Same Thing At The Same Time, There Are So Many Of Us That You Can't Count"


One of the few musical commentaries on the New Labour years. While Noel Gallagher was off to meet Blair at Downing Street, Thom Yorke was writing this tune about the pressure put on Government Scientist Dr David Kelly during the run up to the Gulf War and his subsequent suicide. A commentary on the force of power over evidence…chilling


9. Killing in the name of - Rage Against The Machine (1992)


'Some of those that work forces, are the same that burn crosses'


An anti-establishment diatribe, but perhaps even more importantly the defeater of Simon Cowell inspired pop when it went head to head with X-Factor winner Joe McCedderly for Christmas number one. It unashamedly wears its heart on its sleeve in its anger, suggesting that members of the US police force are members of the Ku Klux Klan and featuring 17 fucks - a call to arms for teenagers everywhere.


8. Fight The Power - Public Enemy (1989)


Public Enemy's whole career was essentially a collection of protest songs but this is probably the one that best articulates their anti-establishment credentials. Famously used in Spike Lee's Do the Right Thing, it begins with a vocal sample of civil rights activist Thomas "TNT" Todd 'Yet our best trained, best educated, best equipped, best prepared troops refuse to fight. Matter of fact, it's safe to say that they would rather switch than fight.' The whole track is a proud reflection of Afro-American culture and was voted the greatest hip hop song of all time on VH1.


7. Masters Of War - Bob Dylan (1963)


Supposedly a protest singer, Dylan has repeatedly denounced the label, but this is one of a few of his tracks that undoubtedly carry a protest message (The Lonesome Death Of Hattie Carroll is undoubtedly another).Taken from the traditional Nottamun Town and as relevant today as it was then - rich men build arms and send younger, poorer men to their deaths. Dylan's anger is clear as he wishes death on the protagonists and promises to watch their funeral caskets when they die. Ouch…how did he go from this to advertising Victoria's Secret?!


6. War - Edwin Starr (1970)

'War…what is it good for…absolutely nothin'


Has any line got across so important a message so simply? Probably not. Written by Norman Whitfield and Barrett Strong it was originally recorded by the Temptations before Starr made it a hit reaching the US number one for three weeks.


5. Zombie - Fela Kuti (1977)

If there is anyone in the world of music who was really a revolutionary, it might well be Fela Kuti. He verbally attacked his own Government on numerous occasions, Zombie being just one example (a commentary on what he saw as a mindless military). In return they killed his mother and destroyed his compound. He responded in return by delivering his mother's coffin to the army barracks and writing Coffin for Head of State. Brilliantly angry and dancy and how many songs can you say that about?

4. Ohio - Crosby, Stills, Nash and Young (1970)


Written by Neil Young and a proper 60's counterculture classic. This tells the story of the killing of 4 students at Kent State University by the police following an anti war march. Its long drawn out story - the misery and sadness reflected in the music. 'Tin soldiers and Nixon coming' left the listener in no doubt who's side the band were on and who was ultimately responsible….


3. Burnin and Lootin - Bob Marley (1973)/Police and Thieves - Junior Murvin (1976)

Impossible to separate these two as they are very similar in feel and delivery. Both reflect the difficulties of the Caribbean communities in the 1970s in Jamaica and London but feel strangely fitting at the current time. Burnin and Lootin was used in the opening credits of French cult Classic La Haine while Police and Thieves sound tracked the Notting Hill Carnival Riots and was covered by the Clash.


2. A change is gonna come - Sam Cooke (1964)


Famously adopted by Barack Obama during his election campaign, this Cooke number saw his move from writing love songs to explore a much deeper seam in relation to the civil rights movement and he used gospel, soul and blues to tell his tale. Other tracks (notably Don't Call Me Niger Whitey by Sly Stone) also touched upon racial injustice but this one did it with real class. Cooke claimed he wrote it off the back of hearing Dylan's Blowing In The Wind….

1. Strange Fruit - Billie Holliday (1939)


"Southern trees bear strange fruit / Blood on the leaves and blood at the root / Black bodies swinging in the southern breeze."

Subtlety is something sadly lacking from most protest songs but this example shows that you don't need to be sloganeering or shouting to get your point across. Written by communist Abel Meeropol, it tells in vivid terms the lynching of black men in America's deep south and was perhaps the first real attempt to tell the story of injustice in contemporary song.Holiday was regularly prevented from playing it in her live shows. Some have argued that the song was instrumental in America's black population's articulation of the struggles they faced which would culminate in the civil rights movement years later. Deeply powerful.

Album review: The King of Limbs - Radiohead

There are a handful of bands that define their generation – bridging the gap between underground credibility and mainstream acceptance. The Beatles managed it in the 1960’s, Floyd in the 70’s, U2 in the 80’s and Nirvana briefly in the 90’s. So who are today’s standard bearers? In my opinion there is only one real contender – Radiohead.



The Oxford quintet are undoubtedly the most important band in the world right now – selling out stadiums wherever they play, loved by critics and yet able to experiment with jazz rhythms and electronic instrumentation without fear of how their huge fan-base will react. They’ve been phenomenally consistent throughout a twenty year career. Firstly they redefined guitar rock at the tail end of britpop with The Bends and then went on to make what is regarded as one of the greatest albums of all time in OK Computer. They then completely re-invented themselves with the lush electronica of Kid A and Amnesiac before metamorphosing again to produce the (admittedly a bit patchy) Hail to the Thief and the triumphant record-industry breaking In Rainbows. Along the way they’ve played some of the finest ever festival sets (greatest ever Glastonbury performance?) and been one of the few musical acts to take a political stance on the key issues of our time.


Its fair to say then that there was some excitement last week when the band announced that they would release an album the following Saturday. The first point of interest about King of Limbs was the formats it has been released in. Fans had the option of MP3, WAVV or a deluxe vinyl edition. It is increasingly clear to the band that the CD format is obsolete (although there will be a CD release of the album further down the line). Those who simply want the music go digital while those who want to collect a format increasingly prefer the more tactile vinyl.


There had been rumours of recording sessions taking place for some time but no-one was quite sure when Radiohead’s eighth album would drop. In this age of leaks left, right and centre they’ve once again managed to release material on their own terms at a time of their own asking.

So, what’s the music like? Well, the influences, according to the band themselves include the work of Jamie XX and beats master Ramadanman although an album comprising of bass-driven electronica was always fairly unlikely. To be honest, at first listen, its a little underwhelming but this is often the case with their releases. The band’s sound is increasingly subtle and the hooks and melodies take a while to get under the skin.


Opening track Bloom starts with classical piano and juddering drums before giving way to what could only be described as a jazz bass line and Thom’s vocal. The time signature, in keeping with their last album is also reminiscent of jazz or even african music. As with In Rainbows things really kick off on the second track. 'You’ve got some nerve coming here...you stole it all, give it back’ sneers Thom on Morning Mr Magpie over an upbeat, Neu-esque guitar sound. The song breaks nicely about halfway through and as with many tracks on the album the bass comes to the fore. It goes without saying that the playing is excellent throughout with each member (with the possible exception of Johnny Greenwood) being given ample opportunity to showcase their talents but the rhythm section in particular are able to show what they can do and don’t disappoint.


The album gathers pace from hereon in. Little by little is perhaps the only track here that wouldn’t be out of place on OK Computer. It starts with some John Barry style flourishes and culminates with some backward masking. Feral meanwhile is more electronic sounding. Again heavy drums and a rolling bass feature heavily. This is probably the track that best reflects the influence of Flying Lotus and other electronic pioneers. By now the album is flying by as the sheer number of ideas is quite dizzying and only when listened to on repeat do they fully sink in.


It’s no surprise that Lotus Flower was chosen as the first track to promote the album via an online video (Radiohead don’t seem to do anything as conventional as actually release singles anymore). It’s the catchiest track on offer and features a great vocal performance from Thom. The subject matter vaguely sexual but somehow slightly creepy.


The album then switches a gear for its conclusion. Codex is essentially a piano ballad but is off-set with an ecstasy tinged vocal and jazz piano arpeggios to prevent it becoming too syrupy. Give up the ghost continues the mood. It’s very melancholy, perhaps reminiscent of Pyramid Song from Amnesiac and you can almost picture hugging cupples in woolly jumpers hugging up to each other on the hill of the pyramid stage as Thom wails into the night. The song ends with him singing rounds with sampled versions of his own voice – it’s spooky and quite lovely.


Final track Separator again uses bass rather than guitar to build its melody, just as you think you’ve got to grips with it what sounds like a steel guitar comes into the mix followed by a synthesized choir which lifts us towards the light. It’s a fitting end to an intriguing record, subtle but joyful. The whole album clocks in at under 40 minutes which feels a bit short but certainly leaves the listener wanting more.


The fundamental problem with Radiohead is that we’ve come to take them for granted. This is a band that makes truly beautiful music entirely on their own terms, the complete antithesis of the majority of today’s acts. This isn’t their best work but it bears comparison with it and those who are prepared to persevere with repeated listens will be rewarded. Radiohead continue to intrigue and inspire. We should all be grateful.