After the excellence of their debut album Signing Off UB40 faced the test of the tricky second album with the confidence to do it all again. Recorded in early 1981 the album featured only UB40 compositions and only utilising the production skills of Ray Falconer whose brother Earl played bass in the band. The overall quality of the songs improved over Signing Off but Present Arms saw UB40 move away from the simplicity of pure ska or bluebeat reggae to something which was altogether slicker. As a reggae purist I prefer my reggae warts and all in the style of the Jamaican bands which recorded their brilliance in one-take 3-minute masterpieces. They would find it difficult to recognise true roots reggae in this album.
That this is an excellent reggae album cannot be denied. UB40 exude a true love affair with the music style. The problem was starting that they were just too good at it. Where Signing Off had the target of Thatcherite Britain in its sights, Present Arms seemed altogether less focussed and worldly. There were injustices still to be identified, they just were not all in Birmingham anymore. The
music too was beginning to sound as if they could play it in their collective sleep. The musicianship is excellent without ever sounding inspired.
The album begins with a military drumming intro to the title track. This is unmistakably UB40 with a rolling beat interspersed with brass section chiming in. A pleasant opener about the submergence of individual will by military exposure it is pleasing and effective. It skips along before a long instrumental break. Sardonicus is next and this is a slower number featuring the chorus :- ‘Sardonicus is everybodys friend, Sardonicus keeps smiling to the end’. The song features Ali Campbells typically laid back voice and his brother Robins steady rhythmic guitar. It chugs neatly along with an odd broken beat. It stills reggae I suppose Jim, but not as we know it. Next up is Don’t Let It Pass You By which was a single success for the band. A catchy chorus repeating the title comes after some nice vocals from Campbell again. Brian Travers super sax is prominent in holding the piece together and this is a nice tune well played. That is until, for the first time, UB40 use the dub vocals of Astro. I have to admit I am not a great fan of dub reggae. The backing continues to strum along nicely behind but the dub vocals just don’t work. It all starts to sound very flat. Last track on Side 1 is Wild Cat a passable instrumental that has a faster beat. It does a bit like the background music for a cheesy TV show. They have certainly done better.
Side 2 though starts with One In Ten. This is a favourite UB40 track for me as it displays what they can do with the reggae medium when they try. A wonderfully constructed song with lyrics which compare with The Police’s Every Breath You Take for their thoughtfulness and relevance. The track is about the staistical measuring of those less fortunate than ourselves. To combine this with an upbeat guitar led backing is wonderful. The organ of Michael Virtue and the brass line of Travers, Astro and Norman Hassan all hold in nicely for a classic track. After this comes Don’t Slow Down which is another favourite. This has Ali Campbells vocals at its best over a soft saxophone and organ backing. This is a mellow track as comfortable as well worn slippers.
Silent Witness has the Campbell brothers in close harmony over typical smooth UB40 backing. Now if you are not a reggae fan this album can begin to sound a bit samey. What for me stops it being so is the complete excellence of what they are doing here. They are taking the basic reggae sound and polishing it until it shines. The effect at times is quite moving and sometimes quite beautiful. The final track of the album though is Lambs Bread which is a dull bit of nonsense which is easily the worst track of the album.
The main album is supplemented by a 45rpm second album with a track on each side. The first side has Don’t Walk On The Grass an instrumental its like a good cigar. Opening with a sharp drum beat it soon settles into a trundling mellow track. Ultimately it does not seem to go anywhere but nice background music all the same. The other side is Dr X an altogether different instrumental which prowls along on a saxophone and trombone brass line.
There are times on this album when UB40 reach perfection. Tracks like Don’t Slow Down and One In Ten are the best of their own compositions that they recorded. Their next album though was to comprise entirely of covers and there are times when you can feel that the musical medium they use – reggae – can be a little constricting. Being the best at it is one thing but sustained commercial success in reggae has not been achieved by anyone except the great Bob Marley. How could UB400 sustain such success? A near impossible task.
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