UB40 Albums (21)
What The Critics Say
Remarkably holding together without a single lineup change ever since their debut in 1980, at the time of the release of this album in 2008, UB40 had suddenly lost two of their eight founding members. Singer Ali Campbell announced he was leaving in January and keyboardist Michael Virtue followed soon after. What exactly caused the split remained in dispute between the band and its ex-members, but there remains the fact that UB40 would now have to master this new situation. Coincidence or not, this album actually already gives various examples of what UB40 could sound like without their strikingly unique lead vocalist. Being the longest UB40 album ever (at 72 minutes length), it is nonetheless once again carried by Campbell's familiar style and sound. However, normal proceedings (as ever in a reggae style) are interrupted several times by a string of interspersed cover versions sung by guests (such as Maxi Preist and members of Arrested Development). Just as was the case with Ali Campbell's solo album Running Free (which was released in 2007 and was one reason that the band's album release was put back until half a year later), the choice of covers is rather run of the mill and even substandard, compared to the quality of the new originals on both of those albums. The covers might be good for listeners just wanting to "party on," but they can compete with the originals in neither elegance nor earnestness. The jarring thing is that this album finds UB40 returning to political themes much more decidedly than they had for quite some time, but the potential coherence of this album gets chopped up by the smattering of cover versions, as if coming from some entirely different compilation album of some sort. Still, on the plus side, there are new songs with strong hit potential, immediate appeal, and some sweet melodies. As for politics, even the cause of Gary "Tyler" (first sung about on the 1980 debut album) is revisited in "Rainbow Nation." Though not often so specific, topical conflicts such as those in Darfur and Gaza also get mentions in closing song "The Road." Now, however, UB40 have their own conflict to resolve, and 2009 brought with it the decision to install Duncan Campbell, a brother of Ali and Robin, as new lead singer, already featured on this album on a version of the evergreen "It's All in the Game." To possibly boost their commercial fortunes again (after having been a bit sadly overlooked by radio in recent years), the next step planned was to continue their very successful string of pure cover albums by making Labour of Love IV. ~ Alan Severa, All Music Guide
What The Critics Say
The positive steps taken by 2003's Homegrown pay off on Who You Fighting For?, the solidest album from UB40 in well over a decade. Once again, relaxed love songs, covers, and plaintive observations on the everyday struggle are the ingredients, but this time it's the latter that makes the album worth noting for the casual fan and treasuring for the faithful. The title track's disgust and despair over a welcoming, bouncy beat recalls how UB40 and the English Beat used to be neck and neck in the lively revolution race while "War Poem" and "Plenty More" are pleasingly more Signing Off than expected. Just like that pivotal album, Who You Fighting For? features an Eastern-influenced highlight, the hypnotic "Reasons" with Hunterz and the Dholl Blasters. With a fine, miniature cover of Lennon and McCartney's "I'll Be on My Way" and a perfect take on Dennis Bovell's slinky "After Tonight," it becomes obvious that Who You Fighting For? isn't so much a "return to form" but a blend that ties their pop period to the revolutionary early years while looking toward the future. They've attempted this plenty of times and came up with spotty full-lengths, crippled by bad choices and tracks that sounded forced. Inspired and sincere the whole way, Who You Fighting For? is top-shelf UB40. ~ David Jeffries, All Music Guide
What The Critics Say
After a series of disappointingly bland albums, Homegrown marks a slight return to form for UB40. While not as edgy and organic as longtime fans may have hoped, Homegrown has some great songs while avoiding the band's limp adult contemporary tendencies. Vocalist Ali Campbell sleepwalks through a couple love songs but the numerous political numbers find him coming alive and inspiring the band to push the groove a little harder. With dubby horns echoing and a lyrical and ominous warning to gun-carrying rappers, "Young Guns" is the kind of husky, slow groove that brings back the good old days. Ragamuffin vocalizing on "Freestyler" and a dub version of "Nothing Without You" are solid reggae moments, and the traditional "Sweet Chariot" (a track recorded for the Rugby World Cup featuring United Colours of Sound) makes for an excellent, uplifting closer. A little more energy and a little less filler and this could have been volume two of Rat in the Kitchen, but Homegrown at least points UB40 in the right direction while adding some worthwhile material to the band's repertoire. ~ David Jeffries, All Music Guide
What The Critics Say
With Labour of Love III, the reggae-pop outfit tries to regain some of the glimmer of their former popularity with this third installment of their most successful album. They cover Neil Diamond's "Holly Holy" ("Hey, "'Red Red Wine'" was a mega-smash. Let's do Neil again!"). The rest of the disc is peppered with covers of skanking standards like Peter Tosh's "Legalize It" and Marley's "Soul Rebel." ~ Tim Sheridan, All Music Guide
'Presents the Dancehall Album'
Release Date 1/1/1998
Tracks 13
Label Virgin
See Album Tracklist and Review
What The Critics Say
Shaking up their self-consciously mature pop-reggae formula, UB40 hired several of Jamaica's top vocalists to toast on UB40 Presents the Dancehall Album. It's as legit as any other dancehall albums, and in many ways, it's even more enjoyable, since this showcases a number of fine vocalists on one record. UB40 fades into the background, offering sympathetic, supple support for the toasters. The result is their most authentic reggae album in years, and possibly their best album of the '90s. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Guns in the Ghetto finds UB40 moving even further into adult contemporary territory than they did on Promises and Lies. There's an occasional hint of the politically charged, vibrant reggae that earned the band a dedicated following in the '80s, replaced for the most part by inoffensive pop with an occasionally skanking backbeat. Although Guns in the Ghetto might disappoint long-term fans, it still makes for some pleasant listening. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Carried by the hit "Can't Help Falling in Love," Promises and Lies finishes UB40's transition from a reggae band to an adult-contemporary band that plays reggae-pop. Fans of the single will be satisfied by Promises and Lies, but older fans will find the whole affair rather dismaying. ~ All Music Guide, All Music Guide
What The Critics Say
UB40 was the first indication that the band was abandoning the political inclinations of their earlier work and concentrating solely on pop-reggae. Of course, pop informed all of their albums since Labour of Love, but on UB40, the group concentrates solely on the grooves, from the instrumental "Dance with the Devil" to a sultry cover of "Breakfast in Bed," featuring Chrissie Hynde on vocals. Even though the album and all of its mellow grooves are thoroughly enjoyable, it's hard not to long for something a little deeper, whether it's the tributes of Labour of Love or the edgy Rat in the Kitchen. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
UB40 repeats their formula for even more success, with reggae versions of "Here I Am (Come and Take Me)" and "The Way You Do the Things You Do." ~ William Ruhlmann, All Music Guide
