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 Two-Tone had peaked and was beginning its slide toward obscurity. Not that it mattered, as few would try to shoehorn the band into that suit. Howeve...

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 Two-Tone had peaked and was beginning its slide toward obscurity. Not that it mattered, as few would try to shoehorn the band into that suit. However, the group were 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 spin-off -- it wasn't, boasting two entirely new songs. 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, "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, but he didn't need to, his words were his sword, and the creamier and sweeter his delivery, the deeper they cut. The music was just as revolutionary, their sound unlike anything else on either island. The album has everything, from deep dubs shot through with jazzy sax, and the bright and breezy instrumental "12 Bar" with its splendid loose groove, which is transmuted later in the set to the jazzier and smokier "Adella," to "Food," which slams into the dance clubs, and "King," which floats to the heavens. It's hard to believe this is the same UB40 who later topped the U.K. charts with the likes of "Red Red Wine." 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. [The 2010 reissue of the album adds a second disc made up of radio sessions, 12" mixes, and rare tracks, as well as a DVD that features videos, a Top of the Pops performance, and a live set from 1981.] ~ Jo-Ann Greene, Rovi