Signing Off (Virgin, 1980)

While most people outside of the UK remember UB40 for its somewhat cheesy, pop-inclined flurry of mainstream hits in the '80s and '90s, not many recall their earlier, riskier work, whose impact was largely confined to their homeland.  Among many reggae fans, UB40 has since gained a reputation (not unjustly so) as a pop group producing watered-down reggae pandering to the masses.  However, as exemplified by their debut album Signing Off, their early releases were primarily slices of crisp, refined roots tackling issues like judicial injustice, racism, and on perhaps my favorite song here, "Burden of Shame," they address the guilty complexities of being on the side of the colonizers: "I'm a British subject, and I'm proud of it, while I carry the burden of shame."  Another standout, "Tyler," recounts the story of African-American Gary Tyler, serving a dubious life sentence in jail for a murder committed in 1975, when he was only 16.  Although the material is more edgy than UB40's later output, the sound is still quite polished and accessible to those who don't listen to reggae a whole lot.  There's less focus on love songs, but there's still a smooth lovers edge to their rootsy songs -- aided by a recurring, sometimes obtrusive saxophone.  Maybe it's me, but saxophones just aren't edgy; they soften even the hardest sound.  And UB40 offers plenty of them, on basically every track, so much so that it can't help but be a bit irksome at some point. Nevertheless, musicianship is showcased on Signing Off, as the songs are mixed with a dubby feel, with extended moments of instrumentation and echoed effects.  Furthermore, there are several outright dubs included -- "12 Bar," "Adella," "25%," "Reefer Madness," and the title track – all of which feature the sax (shock) but only one of which ("25%") is particularly striking, unfortunately.  Ali Campbell's nasal vocals are of course uniquely engaging and a pivotal part of UB40's signature sound. Plus, they sound a lot better when not crooning cheesy pop covers for lovers. Despite its flaws, Signing Off is a lovely, seductive trip featuring at least four of the best tunes UB40 has ever recorded: "Tyler," "King," "Burden of Shame," and "Food for Thought."  "Strange Fruit," "25%," and their cover of Randy Newman's "I Think It's Going to Rain Today" are honorable mentions.

The Very Best of UB40: 1980-2000 (Virgin, 2000)

UB40 is easily one of the most successful reggae acts in history at crossing over into the mainstream, non-reggae listening audience -- a particularly arduous task in the traditionally fickle American market.  I've always wondered exactly why they've achieved hit after hit on this side of the Atlantic when so many other quality reggae artists toil in relative obscurity -- is it because they're white?  Because their popular tunes have been radio-friendly syrupy lovers rock covers of old pop hits?  Or maybe they signed a deal with the devil?  Well, base on the recent crossover success of the likes of Sean Paul, Wayne Wonder, and Beenie Man, the first two reasons are null and void, so it must be the later...Just kidding. (Big Mountain, on the other hand...)  Fans who've followed UB40 from their beginning, however, will likely view this set as a "greatest hits" rather than a true "best of," as it focuses more on their slick pop hits rather than their more militant, more rootsy early material.  It contains all of their American hits, pretty much all covers -- from Elvis' "Can't Help Falling in Love" to the Temptations' "The Way You Do the Things You Do" to Al Green's "Here I Am (Come and Take Me)" to Sonny & Cher's "I Got You Babe" to Neil Diamond's "Red Red Wine."  All in all, 8 of the 18 tracks are remakes -- which should satisfy the palate of the casual non-reggae fan more than someone searching for the group's harder-edged original material.  Granted, UB40 performs some nice covers -- "Red Red Wine" (although this is the abbreviated version without the DJ bridge), "Here I Am," and "Kingston Town" are all strong -- but once they found their apparent key to success (i.e. covers for lovers), they seemed to go overboard to the point of gimmick-dom (?).  I simply cannot listen to "I Got You Babe," "Can't Help Falling in Love," and the painful cover of the Doors' "Light My Fire."  Fans of the group's earlier works, though, know that they had some excellent, more traditional reggae releases before their descent into saccharine sentimentality --- as evidenced on "Rat in Mi Kitchen," "If It Happens Again," and a pair of stellar roots tunes, "Food for Thought" and the classic unemployment protest song "One in Ten" (The name UB40 is taken from a British unemployment form, by the way.).  Almost as good is the modern track "Bring Me Your Cup," a vintage lovers rock tune that sounds so good, I initially thought it was a remake (it is UB40, after all).  All in all, if you're unfamiliar with UB40's strong early work, Very Best of provides a nice taste, but otherwise it's an up-and-down affair.

Who You Fighting For? (Rhino, 2006)

Longtime UB40 fans who fondly remember their more politically charged pre-"Red Red Wine" days will be glad to find a return to form on Who You Fighting For?, which mines the endless potential for dissident material born of 21st century wars in Iraq, Afghanistan, and "on terror" (somewhere near Pittsburgh, I think). While UB40 have never been fatigue-wearing, machete-twirling militants, songs like "War Poem," "Sins of the Fathers," and "Who You Fighting For?" provide scathing attacks on the current political climate. Check the chorus of the title track:

You do the shooting, they do the looting.
You do the killing, they do the drilling.
You do the dying, they do the lying.

Or the searing "Plenty More":

There's plenty more where that came from;
Five megatons of oblivion,
Sent with love from the Pentagon
On a laser-guided neutron bomb.

Of course, UB40 can't completely abandon the lovers rock sound that made them global stars, and they return to this easygoing style in the latter half of Who You Fighting For?. Even if you prefer the weighty tunes, though, you'd be hard-pressed to resist sultry covers -- as only UB40 can do -- like "Good Situation" (remade inna reggae stylee previously by Derrick Harriott as "Groovy Situation" and by Sanchez as "That Girl") and Matumbi's "After Tonight," as well as the old-fashioned original "Gotta Tell Someone." UB40 fans should "fight for" this album, the group's best in years.