Warning: The following article contains links to some material that may contain strong language. Reader’s discretion is advised.

I love Watch Dogs: Legion, I love London (what a dump!), and I love the dystopian nightmare future essence the game brings. However, I am not going to praise it without also slapping it down for having one of the meekest soundtracks possible. Especially when the developers could be doing something more with it. There is just no character to the official soundtrack, just a simple idea of somethings from London. Though, much like the people of the game, there is no flavor or spice that is the entire mix of cultures in London. Some of it I could understand as licensing issues, but I’ve taken it upon myself to correct this.

Over the last month or so, I’ve been trawling the depths of artists from across the UK and the world, all with the aim of making a better soundtrack. With the low bar set, it wouldn’t be hard, but I also wanted to do something else. I wanted to blend the more politically-charged moments of the game and music, some more fun radio choices, and the sound of London into one soundtrack. A soundtrack that makes sense to the themes but feels good on its own as well. Now, after a month or so, I’ve come out of the other end with over 10-hours of music and over 150 songs (17-hours and 270 with the official soundtrack). I may also have a desire never to listen to some of it ever again.

Here is the full playlist in no particular order (other than when I added them):

I did so on Spotify, not because I think they are good, but simply because it was easier and more readily available. I’d have preferred to have done it somewhere that would pay artists a better and fairer shake, but YouTube is in the toilet with revenues. I’m not a fan of Apple Music in the first place, and Amazon Music can also bite me. If you do enjoy anything from anyone on the playlist, support them directly by purchasing a T-shirt or something from their stores. You may have discovered something new, you’ve supported that artist, and they aren’t outdone by it, win-win. The best I could really hope for with the state of royalties in the music industry.

With that said, I also needed to break this up into parts. I’m not going to cover everything from Feel Good Inc. to the William Tell Overture, but I do intend to give reasons or backstories to why David Bowie’s “Rebel Rebel” might be featured or “Ill Manors” by Plan B. Some might be confused at the inclusion of non-London-based artists or not really understand the connection someone like Bob Marley or MF DOOM might have to England/London. Other times, I’ve included things like The Wurzels or Britney Spears to lighten up the otherwise dark elements; Something to make the radio a touch more realistic than on-the-nose.

So, let’s start with something quite dark and on-the-nose, shall we?

Eddy Grant – “Electric Avenue”

Electric Avenue (the street) is not only featured in Legion, but it is the sight of the 1981 Brixton riots. “Now in the streets[,] there is violence / and, and a lots of work to be done,” as the opening line goes. The riots sparked by racial tensions between police and the Afro-Caribean population of Lambeth, only truly kicked off when Michael Bailey was reportedly running towards a patrolling constable, as he had a stab wound. This is where it becomes uncomfortable; it is reported (at sometime after) that the constable tried to help, by putting Bailey in the back of a car. The mostly Black residents saw another of their own being put in the back of the car.

Rumors spread, riots grew, and so did the police under Maggy Thatcher. Nothing was solved, only creating more violence. This Afro-Caribbean-infused song by Eddy Grant, himself born in Guyana, is the perfect example of a missing protest song from the game’s (at times) confusing identity. It is not particularly anti-anything, but still attempts to bring a strong message; “and a lots of work to be done” as Grant once said.

M.I.A. – “Paper Planes”

Legion has a strong segment about immigrants, often many of whom in the UK are shown violence if they are of Southeast Asian descent and/or Afro-Caribbean descent. M.I.A.’s 2007 “Paper Planes,” as she put it in 2008, is: “It’s about [the] people driving cabs all day and living in a sh—ty apartment and appearing really threatening to society.” The people who work hard, do their bit, get on with life. Yet because of their skin or accent, they are both looked down upon and treated as the threat.

Most of it is about New York and M.I.A.’s frustration with US Immigration, but given her overbearing lack of a US accent in place of a very English one, it’s easy to transplant it. The downtempo hip-hop blends chanting, gunshots, and cash registers to create the stereotypical soundtrack to the life of a ‘third-world’ immigrant. “Paper Planes” is just one of those that blends that line of the ‘political’ and the fun pop-ish song to sit on a game’s radio soundtrack.

Cornershop – “Brimful of Asha – Normal Cook Remix”

If you’ve seen any British film from the late 90s to early 00s, you’ve probably heard the Norman Cook (Fatboy Slim) version: It is up a half-step and has a higher tempo. It was only recently I realized it’s a song about Indian film culture (10/10 for paying attention). Much like other songs in this enhancement of the soundtrack, it is here to reflect the culture mixing of London. The “Asha” that “everyone needs a brimful of” is Asha Bhosle, singer for over 1000 films, with her own estimate as high as 12,000 songs as of 2006.

Bhosle is referred to as “Sāḍī rāṇī,” or “ਸਾਡੀ ਰਾਣੀ” in Punjabi, which means “our queen.” Though it is not noted in this version, the original by Cornershop makes mention to others both in Indian and non-Indian film. Again, it is another staple of the UK, the cultures that have mixed, and there is a blending of sounds. To not include this would be stupid. It not only references Indian culture, but also the band’s name plays on the UK stereotype of Asian-owned corner shops. Very little of this culture seems to be referenced in-game, so why not here?

Pigbag – “Papa’s Got a Brand New Pigbag”

Here is a bit of novelty and a bit of British fun, as Pigbag’s most famous song has become a bit of a sporty South-American-infused dance theme. Let me quickly explain: The UK will happily sit and watch nationally televised darts tournaments. I think it is dry as dirt that has baked in the sun, but two-time PDC champion Adrian Lewis uses a cover of it when walking out; like it was wrestling or something. It also became a bit of a theme for Shunsuke Nakamura when he played for Scottish team Celtic, with it showing up elsewhere too. You’d be hard-pressed to find someone in the UK who has not heard this one, either in the original version or Perfecto Allstarz’s cover.

Tom Robinson – “Glad To Be Gay”

Until the year 1994 (dropping to 18), if you were gay in the UK, you had to be 21 to give consent. If you were straight, you’d only have to wait until you were 16. It wouldn’t be until 2000 before it was entirely equal. I’ll give America one tally for the win, they never made being gay illegal to the point where you could be arrested and put in prison for it. Most recently (and widely) people would have this brought to their attention with something like Benedict Cumberbatch’s portrayal of Alan Turing in The Imitation Game. Of course, other recent examples show similar harm by the law, but that’s the most damning and widespread to reference.

Tom Robinson’s 1978 song about being gay notes the hypocrisy and general terribleness that was being gay during the time. “Lie to your workmates, lie to your folks / Put down the queens and tell anti-queer jokes / Gay lib’s ridiculous, join their laughter” as the last verse tells. It not only discusses this expectation of conforming, but also notes that gay magazines wouldn’t feature sexualized images, yet The Sun’s Page 3 and Playboy were perfectly fine and not “obscene.” To pull this back to the game: One of my favorite characters I’ve picked up is Derry, a 73-year-old gay widow who’s quite angry all the time. I would be too if that’s the world I’d grown up in and was told to adjust to.

Dire Straits – “Sultans of Swing”

It is said by Knopfler that the Sultans of Swing were a real jazz band, and that the bar we duck into to avoid the rain is meant to be real. However there is no real evidence of either. Yet, it goes without saying, the Dire Straits’ “Sultans of Swing” is one of the most noticeable opening riffs ever. Knopfler’s guitar and vocals bring the story to life, and the beat provided by the drums and rhythm by guitar and bass get you to move. It might give you a vision of other cities such as New York, Chicago, Boston, Glasgow, or anywhere else it might rain and there are parks.

However, the time that is given for its writing and the lyrics, “But the horns, they blowing that sound / Way on down south, way on down south / London town” tell us it is London. In my opinion, that’s what a song should be able to do. It should be something that can bring life to your mind when you close your eyes, something you may never have lived yourself. Yet at the same time it becomes a memory so vivid in your head that you almost become it. It is, to be hyperbolic, beautiful.

Dave – “Black”

Dave’s album “PSYCHODRAMA” is something I’ve wanted to write about since it was released, it is fantastic. However, here I wanted to talk about “Black” because it not only talks of racial issues such as policing (as I’ve already covered), but also how “confusing” it is for Black people to grow-up. “Black is people naming your countries on what they trade most / Coast of Ivory, Gold Coast, and the Grain Coast” The entire album is set against the backdrop of this being therapy. I could have used anything from “PSYCHODRAMA” since it is such a beautiful album, but while other things might speak of the Black experience, this possibly does it better.

The Wurzels – “I Am A Cider Drinker”

Oh, I love a novelty song that no one outside of the UK will understand. I love The Wurzels too. There was one episode of the music panel show Never Mind The Buzzcocks, where Bill Bailey notes “I might have actually died and gone to rock and roll Valhalla” after saluting them. Showing an American or someone young The Wurzels (properly, none of the combine harvester nonsense) is like being a teenage man and seeing breasts for the first time. It is a funny feeling and one you really enjoy.

I’ve, of course, opted not to go for their most famous song, opting for something a bit closer to Somerset than Surrey. Though, admittedly, it would either be this or “Blackbird.” I thought this would make for a more impactful “What?” from those that have not already been pulled in The Wurzels’… tractor beams.

Plan B – “Ill Manors”

Plan B’s “Ill Manors” is exactly what Legion wants to be: In response to the 2011 riots and austerity protests, which lead to looting and sometimes violent clashes. It sticks a middle finger in the face of those that will happily say, “build a better Britain” but award high-paying contracts to their friends to rip down the community center and build expensive condos. It is the antithesis of what Ubisoft seems to be. It has a clear message that it will prove to you with action. “Do what Boris does, rob them blind” I wonder whatever happened to that guy?

UB40 – “Kingston Town”

An example of a blue-eyed take on dancehall music is a cover of Lord Creator’s 70s reggae song that laid the groundwork for UB40’s clear and smoother sounding version. This song screams of the love for Jamaica’s capital, Kingston, with a pretty young woman waiting there at a bar. I’ve chosen this because the UK (particularly London) is home to a Caribbean population often referred to as the “Windrush Generation;” itself in reference to the disused German cruise ship (later HMT Empire Windrush) that brought over 1,000 people from Jamaica to London.

Most recently, a scandal broke that many from the Windrush were never given citizenship and faced deportation, despite nearly several decades passing and taxes being paid. That generation of Caribbeans did a lot to London’s culture, shaking it up and making London one of the most diverse and wonderful places. This is an example of that reggae culture, more or less, being taken in and (for want of a better term) “appropriated” by those in the UK, ultimately becoming part of London.

Jimi Hendrix – “Purple Haze”

It is hard to imagine the drug-fueled 60s without Jimi Hendrix, and those that know Hendrix is from Seattle also know he’s often tied closer to London than he is with Washington. That is partially thanks to his death coming in London, but also a majority of his success is framed around London. Specifically, the bars and studios in London that he would record and perform in. I’ve yet to find a single lead guitarist around that isn’t influenced by his playing or simply the sound of his music, he is one of the sounds of that peace-loving drug-fueled 60s we’re always looking back upon.

If you ask anyone that wants to look into the future, they’d rather (live in) a drug-fueled peace-loving utopia than Cyberpunk 2077‘s buggy, drug-crazed, sex-rampage laden, organ-harvesting dystopia. I, of course, can’t include music that hasn’t been created yet that calls of that time we may have in the future. However, I can look back and pull something from similar ideals. A dream of the psychedelic passed-out state, enough to say, “Excuse me, while I kiss the sky.“

The Streets – “Fit But You Know It”

I don’t like 98% of the “indie rock” nonsense released by The Snuts, The Benign Hemorrhoids, or whatever teenagers call their crap Oasis knock-offs (don’t expect Oasis on this list). However, The Streets’ “Fit But You Know It” is every conversation between a typical White English guy in a chip shop after a night out and he’s hitting on some pin-thin blonde woman called Danielle. Everyone in the UK aside from those that will be raised in Lockdown, understands the story of Davey and Danielle. It’s a shouting match, the cops get called, someone punches or slaps another and there are two Breach of the Peace arrests. They are then in back of the vans (still shouting), chips everywhere as the nearby club keeps thumping with techno.

That’s the ballad of every Saturday night in every town center in the UK: Drunk and shouting abuse. This just happens to be the point of view from one of the yobbos that uses a bit too much hair product to make his hair look wet all-the-time, and wears Lynx Africa (Ax body spray). I’ll never understand that or the appeal of the world of going out clubbing. I am a 23-year-old going on 75, but I know this is just a cartoon of what is (or was) commonplace in cities like London.

Bob Marley and the Wailers – “Redemption Song”

To say that Bob Marley reached across any divide between Black and White with his music would be an understatement. However, one of Marley’s greatest is also very political: Lifting segments from Marcus Garvey’s speech and twisting them into lyrics. “Emancipate yourselves from mental slavery; none but ourselves can free our minds,” along with the chorus line “won’t you help to sing these songs of freedom […] redemption songs” reference Garvey’s work.

However, it also starts with the mental image of “merchant ships” and taking of “I,” with Marley referencing seeing images of those of his same skin color as “I.” It speaks to a pan-Africanism that Garvey would promote. It not only feels entirely personal because of the political nature Marley is touching upon, but also the fact it is just Marley and a single guitar. Stripping any movement you might feel with his typical reggae-style and being quite folksy, allowing every word to hit typical White liberalism where it hurts: History.

The Kinks – “Lola”

In the UK, it is illegal for a person (or persons) of prominence to promote something without first declaring it as promotion, this is why YouTubers use #AD. It is said singer Ray Davies had to fly to the UK, where the master tapes were held, from a US tour and back again to re-record a line to appease the BBC. Simply because they can’t air promotional material because they (tax people) “don’t run ads,” at all. Australia banned it because they hate the idea of a man sleeping with someone who may have the same genitals but present as a woman. However, generally the song is mixed with the idea of Lola being trans and/or a drag queen/crossdresser. That wasn’t what upset the BBC, it was “Coca-Cola” being used as a lyric.

With that backstory that’s been tread over a million times aside, it is also critically acclaimed. Dave Marsh, wrote for Creem, “[it is] the first significantly blatant gay-rock ballad.” The backstory of who Lola is has been batted around by Davies and other members of the band, including Mick Avory. They have melted the story to be either a drunken fumble, a back ally pub fling, and even the rumor that Davies dated Warhol Superstar and trans icon, Candy Darling. Due to the general pointing the other day of the backstory it might feel weird to say that it is easily one of the earliest trans-positive songs. That is something useful in a game where you play as anyone/everyone that can crossdress.

Ok, I may have rambled on long enough to call this part 1, but there are lots more to cover in further sequential parts. This is, of course, only a tiny portion of what is one madman’s idea of making a soundtrack that not only enhances the story of the game, but is fun to listen to by itself. Yes, I have listened to everything (several times over) and I am a little sick of some of it, but I think everything is there for one reason or another. Though my biggest concern is, my additions may be missing more techno/electronic, grime, or screaming “metal;” However, the official soundtrack does feature a large amount of more modern music that fits in there.

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