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Please Don't Make Me Cry. Winston Tucker. Sweet Sensation. Renford Cogle. The album's cover art was created by Ken Ansell of the Design Clinic and featured two collages of images that illustrated each of the songs on the album the five songs on side one were illustrated on the front cover, and the five songs on side two on the back cover.
It was the first time that UB40 had not had any input on the artwork on one of their albums, but they were on tour in the US at the time and Virgin Records , the parent company of UB40's DEP International label, could not afford to wait until they returned for the sleeve to be designed.
As Ansell recounted to Classic Pop magazine in , "We pitched the idea to Virgin of creating an illustration for each song so that as and when they were released as singles we would have ready-made images. Fortunately, on their return the band liked the concept and we went ahead. Reviews of the album in the UK were generally positive. In Melody Maker Colin Irwin expressed his irritation at his fellow journalists' insistence on bringing up the band's left-wing political views in articles about them, saying, "UB40's mode of escape from these glib cliches is to make their own highly specialised version of Bowie 's Pin-Ups or Ferry 's These Foolish Things.
Labour of Love is an album of songs that touched and inspired UB40 in their formative years and you know something? It's beautiful. What may appear to be a simple form of escapism has in fact galvanised this band, snatching them out of their increasingly confined introversion and seemingly opened their eyes to bold new horizons To make comparisons with the originals is to miss the point.
Sometimes you just have to step back to leap forward. The music of the era they recall was always far ruder and tougher and far more percussive than their honey-smooth treatments imply. Everything blurs perfectly there, the rippling draft of the rhythm, the stewed warmth of the saxophone, all melting around the dry edge of the vocal. Sometimes UB hit the spot of rock-reggae with absolute accuracy, and its power to turn ears is far superior to the weight of their customary glam pamphleteering.
In the US, J. Considine of Rolling Stone also gave the album a positive review: while criticising the vocals, he also noted that "UB40's ingenuity and unmistakable affection for the material keeps the comparisons from being too lopsided" and felt that each song "retains the spirit of the original while also capturing a modern feel".
This album's title is an accurate assessment of its approach. A thoroughly enjoyable record. Reviews of the deluxe edition remained positive, but lamented that Labour of Love didn't have the intensity of the band's earlier, more political, records.
Ian Harrison of Q said of the album, "It's still quality, but it's hard not to mourn the earlier militancy". On the back of Labour of Love ' s huge international success, UB40 became reggae's world ambassadors and their focus shifted; they'd make political records again but never anything as potent as Signing Off or Present Arms , instead relying on the surefire hit potential of further cover albums".
In , it was ranked number 98 on Rolling Stone magazine's list of the " Greatest Albums of the Eighties". From Wikipedia, the free encyclopedia. This article is about the UB40 album. For the Hue and Cry song, see Labour of Love song. For the stage play, see Labour of Love play.
For other uses, see Labor of Love. UB40 Ray "Pablo" Falconer. Melody Maker. Retrieved 12 September Random House. ISBN Birmingham Mail. Retrieved 12 October Classic Pop. Rolling Stone. Archived from the original on 27 December Library and Archives Canada.
Phononet GmbH. Hung Medien. UK Albums Chart. Recorded Music NZ. BPI Year Book British Phonographic Industry. Music Week. BPI Year Book 7th ed. Music Canada. Bundesverband Musikindustrie. Retrieved 11 March Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers.
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