A reggae band formed 1978 in Birmingham, UK. The music grasps from roots re… Read Full Bio ↴A reggae band formed 1978 in Birmingham, UK. The music grasps from roots reggae and dub to lovers rock and pop. It is the second most commercial successful reggae band with +70 million sold albums. Many of their hits have been stylishly covers of early reggae and rocksteady hits from Jamaica. After success in UK, UB40's won USA with Labour of Love (1983), their first album of covers. UB40 was 1986 the first Western band to play behind the Iron Curtain, live in Moscow, Soviet Union. UB40 is known for hits as 'Food For Thought', (1980) 'Red Red Wine' (1983), 'Please Don't Make Me Cry' (1983), 'I Got You Babe' (1985) with frontman Ali Campbell in duet with Chrissie Hynde just like in 'Breakfast in Bed' (1988). Their most successful worldwide single release is their reggae/pop version of 'I Can't Help) Falling in Love With You' (1993).

The band is one of the most culturally diverse dub Ska bands with musicians of English, Scottish, Irish, Yemeni and Jamaican parentage. The band is named from the paper form issued by the UK government's Department of Health and Social Security at the time of the band's formation for claiming unemployment benefit (UB40 = Unemployment Benefit, Form 40).

UB40 were influenced by the many Blues Parties they attended as teenagers in the multiracial Balsall Heath area of Birmingham, their love of ska and reggae inspired such original tracks as King, Madam Medusa, Food for Thought, Signing Off and One in Ten.

Their early music style was unique, with a heavy influence of analogue synthesizers, psychedelic rock guitar, saxophone and dub producer techniques which were later perfected by the late Pablo Falconer.

Ali and Robin Campbell have a musical heritage, being sons of Ian Campbell, a folk musician.

The band purchased its first instruments with compensation money Ali Campbell received after a bar fight. They have had a number of hits, most commercially and to amusement of the band, "Red Red Wine", a cover version of a Neil Diamond song (in an arrangement similar to that of Tony Tribe's version). Their most successful single release is the cover of the Elvis Presley ballad Can't Help Falling In Love which was intended to be the main title to the 1992 Sharon Stone movie Sliver and was a Number One hit across Europe and in the U.S.

Many of UB40's recordings were inspired by 1960s ska and early lovers rock songs that would have otherwise been forgotten in the public eye. Their new injection of life into so many old Jamaican hits has resulted in many musicians' and producers' renewed popularity and income.

UB40's early music often tackled social issues such as racism and unemployment.

Other artists that UB40 have collaborated with include: Pato Banton, Madness, Bitty McLean, Chrissie Hynde, Robert Palmer, Hunterz, Japanese artist Mikidozan, French artist Nuttea, Lady Saw and Afrika Bambaataa.

Hand That Rocks The Cradle
UB40 Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Holidays are comin'
The kids are getting fat
Put another penny in the corporation hat
There's computer consolation now
For every boy and girl
Coz the hand that rocks the cradle
Is the hand that rules the world

Sony in the nursery, no need to turn the page
The cartoon generation are soon to come of age
Virtual relationships untouched by human hands
Laying their foundation in the ever shifting sand

If politics is just for fools, equality a dream
Then you'd better wear protection so you never hear them scream

Animated babysitters always there to play
Will keep the undesirables a million miles away

Everything is changing but the song remains the same
Asylum has been locked away, the seekers has been framed

Overall Meaning

The song "Hand That Rocks The Cradle" by UB40 explores the idea of how technology shapes our lives and affects our relationships. The opening lines of the song "Holidays are comin', the kids are getting fat. Put another penny in the corporation hat" refer to the commercialization of the holiday season and how it is often driven by consumerism. The next lines "There's computer consolation now, for every boy and girl. Coz the hand that rocks the cradle, is the hand that rules the world" focus on the way technology has become an integral part of children's lives, and that whoever controls technology, or "the hand that rocks the cradle", essentially rules the world.

The song points out the dangers of the current age of technology and the impact it has on social relationships. The lines "Sony in the nursery, no need to turn the page. The cartoon generation are soon to come of age. Virtual relationships untouched by human hands, laying their foundation in the ever-shifting sands" emphasize that kids today are growing up with computers, video games, and other technology instead of physical books, playgrounds, and face-to-face interactions. The song warns that this is causing an erosion in our social values, and technology is becoming a substitute for real human connection.

The chorus "Animated babysitters always there to play, will keep the undesirables a million miles away. Everything is changing but the song remains the same. Asylum has been locked away, the seekers have been framed" describes how technology has created virtual worlds where people can have fun and connect with each other, but at the same time, it keeps them isolated from the real world. The reference to "the song remains the same" suggests that while technology changes, the underlying issues remain the same. The song concludes with a warning that those who don't conform to this new way of living will end up being isolated and marginalized.

Line by Line Meaning

Holidays are comin'
The festive season is approaching

The kids are getting fat
Children are indulging in holiday treats

Put another penny in the corporation hat
The system is prioritizing profits over people

There's computer consolation now
Technology is becoming a substitute for human interaction

For every boy and girl
This trend affects everyone

Coz the hand that rocks the cradle
Mothers, who shape children's lives, have immense power

Is the hand that rules the world
Mothers, through their nurturing role, can influence the future

Sony in the nursery, no need to turn the page
Technology is a constant presence, no need for physical books

The cartoon generation are soon to come of age
Those raised on animated shows will soon be adults

Virtual relationships untouched by human hands
Technology has created relationships devoid of physical contact

Laying their foundation in the ever shifting sand
These relationships are built on unstable ground

If politics is just for fools, equality a dream
The political system and fairness seem unattainable

Then you'd better wear protection so you never hear them scream
One should protect themselves from political injustices

Animated babysitters always there to play
Technology provides constant entertainment for children

Will keep the undesirables a million miles away
Technology offers a safe distance from those deemed undesirable

Everything is changing but the song remains the same
Despite technological advancements, societal issues persist

Asylum has been locked away, the seekers has been framed
The vulnerable are being marginalized and oppressed

Lyrics © Universal Music Publishing Group
Written by: JIM BROWN, ALI CAMPBELL, ROBIN CAMPBELL, EARL FALCONER, NORMAN HASSAN, BRIAN TRAVERS, MICHAEL VIRTUE, TERRENCE OSWALD WILSON

Lyrics Licensed & Provided by LyricFind

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