The legacy of punk has been widely recognised, we can see a direct link between the late seventies anarchic punk music and the more politically based new wave groups and indie guitar groups that followed in the 80's all the way through to today's nu punk bands. Another rather more unusual spin off of the punk era was a popularisation and eventual emergence into the charts of Ska/Reggae. In the early days when live punk bands were playing small venues DJ were filling in the time in between acts not with punk records as none of these new acts had been recorded yet but with reggae and Ska records. This led to an awareness of reggae to a young white audience and it wasn't long before home-grown reggae group were springing up alongside the punk influenced new wave bands.

UB40 were distinct from most of the rest in that they were a multiracial outfit consisting of 8 band members led by the two Campbell brothers Ali and Robin. Their sound was also a distinctive blend of the heavy reggae drum and baseline with Ska influenced brass section and melodic ballads. They are probably the best example of what some in the music press labelled misleadingly as 'White Reggae'.

At the time of forming the band members were unemployed along with millions of other people in the country at the time. The distinctive cover of the album is a blown up reproduction of the then unemployment form the UB40, hence the band's name. UB40 were making a clear political stand in expressing the frustrations of youngsters who came out of school and ended up on the dole with seemingly no one in government caring. The music also reflected a deep racial unease in the UK, which led to race riots most notably in Brixton and Toxteth.

On the original vinyl the last three tracks Madam Medusa, Strange Fruit and Reefer Madness were included as an additional 12 inch single bonus record, on the CD all the tracks are obviously on the same disc and to some extent this distorts the balance of the music and album.

"Tyler is guilty the white judge has said so
What right do we have to say it's not so"

The second track is half the double-sided single that first broke UB40 in the UK charts and what a brilliant combinations it is. King is a hymn in praise of Martin Luther King the black civil rights leader that was assassinated in 1968.

Despite the rather melancholy lyrics this is a tune you can't fail to dance to with its catchy chorus and repetitive roots reggae baseline and the odd bit if Dub mixed in. In fact this is true of all of the tracks on the record even the songs that they deal with fairly depressing themes of injustice, racism, poverty they are always upbeat in the music and great to dance to.

To those that know UB40 of a later period they might find this record surprising in it's attitude and commitment. In later years probably flushed with their critical and commercial success the band moved away from this kind of politically engaged music and became a much poppier mainstream act increasingly adapting covers of some of their favourite reggae artist as can be seen on the 'Labour Of Love' albums. I suppose it would seem incongruous for a collection of by then very rich musicians to be still talking about unemployment and inner city squalor however in the early days their sentiment were sincere and they did provide a focus for widespread dissatisfaction with British society.

The third single is 'I Think It's Going To Rain Today' is also included on the album, again the formula remains the same harsh political message brought to us in sublime musical rhythm evocative of a gentle breeze on long hot summer days.

Madam Medusa does also deserve a separate mention. As I said it was originally a separate 12 inch single included with the main album. It is an extended play and includes some great toasting on the chorus by 'Astro' the Rastafarian vocalist of the band. 'Madam Medusa' is an all out high tempo roots dance track and it makes no apologies for it's lyrical content.

"…She gone off her head
We've got to shoot her dead
Run for your life before she eat you alive"

The success of UB40 is primarily that they managed to be serious musically and lyrically without coming across as preachy. The music was steeped enough in traditional roots reggae to appeal to black audience whilst at the same time the tunes were catchy enough to have a much broader appeal. It still sound fresh and the band's distinctive hasn't still makes it an unique listening experience, if you don't like reggae you should still give this album a go, its musical appeal is much broader and the songs are so well crafted that they transcend the musical genre.