The 1981 Listening Post - UB40 - Present Arms

 UB40 - Present Arms

#219

By Chris Kouzes

May 1981

UB40

Present Arms

Genre: Reggae

Allen’s Rating: 3.5 out of 5

Chris’ Rating: 3 out of 5

Highlights:

One in Ten

Present Arms

Don't Walk on the Grass

Remember that bit on Sesame Street? Marley. Tosh. Cliff. UB40. Which of these things is not like the other? You really can’t lump UB40 into a genre other than reggae, but are they? 

This, their second album, is less political than their debut, but not by tons. The original album itself had eight tracks, with two more included as bonus 7” (all the CD and streaming services include all ten). Four of the ten are instrumental, so at best 60% of the songs have an agenda of some sort. But that’s herenorathere. 

Things get out of the gate pretty strong with the title track. I do generally like what the band does with the horn section and they on full display here. “Sardonicus” and “Don't Let It Pass You By” follow. They fine enough. Nothing to get excited about…the definition of album track. “Wild Cat,” the first instrumental is terrible. It’s repetitive to the point I literally had to check to make sure the music wasn’t stuck in a loop. On your deathbed and want to cling for life, put this one on. It’ll make your last 3:04 on Earth seem like an eternity. Next is the strongest track, and single, “One in Ten.” This (and the title track) really sound like a UB40 song, in a good way. Wish they were this consistent in their songwriting. Skip the next two. Song eight “Lamb’s Bread” is interesting. I don’t know what Lamb’s Bread means and don’t care enough to look it up. But I like what’s going on here. The last two tracks from the 7” are both instrumentals with “Don’t Walk on the Grass” being pretty good and definitely the better of the two. 

For an album released in mid-1981, I’m surprised just how `80’s sounding it is. Tons of synths and the odd electronic drum and synth bass. Had I not known better and you told me Thomas Dolby got his start in UB40, it totally would have made sense to me.

I actually saw the band live in 1986. They were touring their Rat in the Kitchen album (which I liked and will see you a few years to review that one). But I primarily went to see the openers, Fine Young Cannibals, who had just released their debut, an album I loved (again, see you in a few). FYC didn’t disappoint and UB40 were pretty solid. 

It’s too bad these guys are best known for dreadful (but enormously popular covers). I don’t hate UB40, but kinda hate what they came.

https://open.spotify.com/album/6yAiouQIjAhtqo5WbznIoL?si=k6T2e_-3REq-qPISvS8BUg

The 1983 Listening Post - UB40 - Labour of Love

UB40 - Labour of Love

September 12 1983
UB40
Labour of Love
3.5 out of 5

Highlights:
Red Red Wine

I think, because of the ubiquity in 1983, I might’ve been too harsh on UB40 back in the day. The truth is there is much to love here. And, to be fair, all the English punks were listening to reggae in the 70s and 80s. Due to Don Letts’s club DJing. On the heels of 3rd Wave ska this should not have been a surprise but, again, the ubiquity of this red head led group earned my initial enmity.
Admittedly, there is a K-Earth 101 smooth jazz feeling to this record but, that is keeping in line with the AOR sounds of, say, Spandau Ballet. The edges of the 70s were definitely sanded off in the 80s.
Instead of summarizing the history of the band here I’m just going to link the debut episode of Hit Parade which is about how Red Red Wine came to be, why it was a hit, how it came into the orbit of UB40 and what it was modeled after (Tony Tribe) at the bottom of this post.