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Track List
01) Tyler
02) King
03) 12 Bar
04) Burden of Shame
05) Adella
06) I Think Its Going to Rain Today
07) 25%
08) Food for Thought
09) Little by Little
10) Signing Off
01) Tyler
02) King
03) 12 Bar
04) Burden of Shame
05) Adella
06) I Think Its Going to Rain Today
07) 25%
08) Food for Thought
09) Little by Little
10) Signing Off
5:53
4:32
4:25
7:00
3:27
3:46
3:34
4:12
3:44
4:28
Data Complete
70%
Total Rating
70%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1980
Reggae
Carefree
Reggae
---
Medium
Album
0 copies
Album Description
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Signing Off is the debut album by British reggae band UB40, released in the UK on 29 August 1980 by Dudley-based independent label Graduate Records. It was an immediate success in their home country, reaching number 2 on the UK albums chart, and made UB40 the most popular reggae band in Britain, several years before the band found international fame. The politically-concerned lyrics struck a chord in a country with widespread public concerns about high unemployment, the policies of the recently elected Conservative party under Margaret Thatcher, and the rise of the racist National Front party, while the record's dub-influenced rhythms reflected the late 1970s influence in British pop music of West Indian music introduced by immigrants from the Caribbean after the Second World War, particularly reggae and ska – this was typified by the 2 Tone movement, at that point at the height of its success and led by fellow West Midlands act The Specials, with whom UB40 drew comparisons due to their multiracial band line-up and socialist views.
Still considered by many fans and music critics to be UB40's best album, Signing Off was reissued for its 30th anniversary in 2010 as a "collector's edition" containing bonus tracks and a DVD of the videos for the singles plus television footage of the band from the time of the album's release.
So ubiquitous was UB40's grip on the pop-reggae market that it may have been difficult for younger fans to comprehend just how their arrival shook up the British musical scene. They appeared just as 2 Tone had peaked and was beginning its slide towards oblivion. Not that it mattered, as few would try to shoehorn the band into that suit. However, the group was no more comfortable within the U.K. reggae axis of Steel Pulse, Aswad, and Matumbi. Their rhythms may have been reggae-based, their music Jamaican-inspired, but UB40 had such an original take on the genre that all comparisons were moot. Even their attack on the singles chart was unusual, as they smacked three double-A-sided singles into the Top Ten in swift succession. By rights, the second 45 should have acted as a taster for their album (it didn't, coming several months too soon), while the third should have been a spinoff (it wasn't, boasting two new songs entirely). Regardless, both sides of their debut single -- the roots-rocking indictment of politicians' refusal to relieve famine on "Food for Thought" and the dreamy tribute to Martin Luther "King" -- were included, as well as their phenomenal cover of Randy Newman's "I Think It's Going to Rain Today" off their second single. The new material was equally strong. The moody roots-fired "Tyler," which kicks off the set, is a potent condemnation of the U.S. judicial system, while its stellar dub, "25%," appears later in the set. The smoky Far Eastern-flavored "Burden" explores the dual tugs of national pride and shame over Britain's oppressive past (and present). If that was a thoughtful number, "Little by Little" was a blatant call for class warfare. Of course, Ali Campbell never raised his voice -- he didn't need to. His words were his sword, and the creamier and sweeter his delivery, the deeper they cut. Their music was just as revolutionary, their sound unlike anything else on either island, from deep dubs shot through with jazzy sax to the bright and breezy instrumental "12 Bar," with its splendid loose groove transmuted later in the set to the jazzier and smokier "Adella." Meanwhile, "Food" slams into the dance clubs, and "King" floats to the heavens. It's hard to believe this is the same UB40 that later topped the U.K. charts with the likes of "Red Red Wine" and "I've Got You Babe." Their fire was dampened quickly, but on Signing Off it blazed high, still accessible to the pop market, but so edgy that even those who are sure there's nothing about the group to admire will change their tune instantly.
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Signing Off is the debut album by British reggae band UB40, released in the UK on 29 August 1980 by Dudley-based independent label Graduate Records. It was an immediate success in their home country, reaching number 2 on the UK albums chart, and made UB40 the most popular reggae band in Britain, several years before the band found international fame. The politically-concerned lyrics struck a chord in a country with widespread public concerns about high unemployment, the policies of the recently elected Conservative party under Margaret Thatcher, and the rise of the racist National Front party, while the record's dub-influenced rhythms reflected the late 1970s influence in British pop music of West Indian music introduced by immigrants from the Caribbean after the Second World War, particularly reggae and ska – this was typified by the 2 Tone movement, at that point at the height of its success and led by fellow West Midlands act The Specials, with whom UB40 drew comparisons due to their multiracial band line-up and socialist views.
Still considered by many fans and music critics to be UB40's best album, Signing Off was reissued for its 30th anniversary in 2010 as a "collector's edition" containing bonus tracks and a DVD of the videos for the singles plus television footage of the band from the time of the album's release.
So ubiquitous was UB40's grip on the pop-reggae market that it may have been difficult for younger fans to comprehend just how their arrival shook up the British musical scene. They appeared just as 2 Tone had peaked and was beginning its slide towards oblivion. Not that it mattered, as few would try to shoehorn the band into that suit. However, the group was no more comfortable within the U.K. reggae axis of Steel Pulse, Aswad, and Matumbi. Their rhythms may have been reggae-based, their music Jamaican-inspired, but UB40 had such an original take on the genre that all comparisons were moot. Even their attack on the singles chart was unusual, as they smacked three double-A-sided singles into the Top Ten in swift succession. By rights, the second 45 should have acted as a taster for their album (it didn't, coming several months too soon), while the third should have been a spinoff (it wasn't, boasting two new songs entirely). Regardless, both sides of their debut single -- the roots-rocking indictment of politicians' refusal to relieve famine on "Food for Thought" and the dreamy tribute to Martin Luther "King" -- were included, as well as their phenomenal cover of Randy Newman's "I Think It's Going to Rain Today" off their second single. The new material was equally strong. The moody roots-fired "Tyler," which kicks off the set, is a potent condemnation of the U.S. judicial system, while its stellar dub, "25%," appears later in the set. The smoky Far Eastern-flavored "Burden" explores the dual tugs of national pride and shame over Britain's oppressive past (and present). If that was a thoughtful number, "Little by Little" was a blatant call for class warfare. Of course, Ali Campbell never raised his voice -- he didn't need to. His words were his sword, and the creamier and sweeter his delivery, the deeper they cut. Their music was just as revolutionary, their sound unlike anything else on either island, from deep dubs shot through with jazzy sax to the bright and breezy instrumental "12 Bar," with its splendid loose groove transmuted later in the set to the jazzier and smokier "Adella." Meanwhile, "Food" slams into the dance clubs, and "King" floats to the heavens. It's hard to believe this is the same UB40 that later topped the U.K. charts with the likes of "Red Red Wine" and "I've Got You Babe." Their fire was dampened quickly, but on Signing Off it blazed high, still accessible to the pop market, but so edgy that even those who are sure there's nothing about the group to admire will change their tune instantly.
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