Uncovering the origins of Lovers Rock

One day on my routine walk to class, “Lovers Rock” by TV Girl came on through shuffle. Call it overstated or cliché, but for some reason, this song always pulls on my heart strings. The sweet swells of violin strings, the moody dark piano, the jazzy percussion and vocals by Brad Petering are simply hypnotizing. It made me start thinking—when the lyrics mention  “lovers rock,” what exactly are they referring to? At first, “Just Like Heaven” by The Cure and “Kiss a Girl in Black” by Fleeting Joys came to mind, both being songs with similar romantic-sounding instrumentals or themes. Maybe the phrase refers to songs that are perfect listens with a significant other. To my astoundment, upon googling the phrase “lovers rock,” there exists an entire musical genre unknown by many!

Lovers Rock originates from Black musicians of south London in the late seventies. Not only does this genre pull from American R&B and soul influences, it was also formed in reaction to other reggae genres that were becoming increasingly politicized. Reggae music champions a  celebratory sound that emerged from the Jamaican independence movement in 1962, and to this day, many reggae tracks cover social topics. On the contrary, Lovers Rock consists of slow-paced, romantic pieces that resonated more with the young crowd in the UK. Fostered by conflicting influences of British pop culture and abolitionist thought, Lovers Rock was perceived as a radical expression of love and self-discovery for Black youth. In an interview with Bandcamp,  prominent lovers rocker Janet Kay stated: “the songs were all about us—falling in love, having our hearts broken—they appealed so much to us young kids, growing up and finding our ways in the world.” British magazine The List cites the song “Caught You in a Lie” by Louisa Mark as the movement’s catalyst, as it tells the story of a woman who is betrayed by an adulterous partner. Mark’s airy vocals and the smooth-as-molasses bass line pair extremely nicely. At the tender age of 15, Mark kickstarted a cultural renaissance that would soon take the world by storm. 

One of the most well-known tracks in Lovers Rock is “Silly Games” by Kay. At the time of its release, it rose to the number two spot on British pop charts. Kay pairs saccharine vocals with funky instrumentals to create an enticing listening experience. “Eternally Grateful” is a bouncy, fun track filled with trumpet flares and synths. From her wide reach, it is clear that she captured the attention of reggae and soul fans alike with the sheer versatility in her music. 

When talking about Lovers Rock, it is essential to acknowledge the impact of producer Dennis Bovell. Born in Barbados but relocated to London as a teenager, he became fascinated with Jamaican culture and music. He is a cornerstone of the genre—both producing music for influential figures like Kay and writing and performing for the musical group Matumbi. In 1977, Bovell and Dennis Harris founded the Lovers Rock music label, which further cemented the genre into the British music scene and went on to produce countless hits. Bovell is responsible for much of the innovation and genre-blending within Lovers Rock; he masterfully synthesizes classic reggae musical motifs with the funk of disco and Afrobeat. 

The influences of Lovers Rock continue to permeate through pop music in the US—for example, one of Sade’s most popular projects is appropriately titled Lovers Rock (2000). Standout tracks on her record include “King of Sorrows,” “Slave Song,” “Immigrant,” and of course, the title  track. They all pay a beautiful homage to the genre, both with their lyricism and their production, which incorporates classic reggae elements. These songs speak largely to the Black experience: acknowledging the legacy of slavery, the concept of collective pain, and solidarity with one another. 

I’m grateful for the rabbit hole I went down after hearing the hit that had first rocketed TV Girl to fame. In a strange way, I don’t hear the song the same anymore. It certainly isn’t the first time that the groundwork laid by Black artists in counter-culture has been overshadowed by a white artist, and, regrettably, it won’t be the last. This Valentine’s Day, while you spend precious time with your loved one(s), consider throwing on some Dennis Bovell or exploring a genre you’ve never heard of. Whenever you listen to a song, inquire about its creative origins! You may find a hidden history waiting to come into the light. 

Article by Sofia Biagio and Design by Lily Belcher