Never Give In was released in the UK by
Greensleeves Records in 1987.
Option wrote that
Never Give In provides an "impressive showcase" for Banton's distinctive style as "an MC toaster," further praising the music for being full of texture and fusing "a very danceable pop ethic" with Banton's "wide knowledge and understanding of reggae music." In a retrospective review, Jo-Ann Greene of
AllMusic named it an "Album Pick" and wrote that, typical of "the best toasters" and deejays, Banton possesses a "quick wit" and entertains with his imitations of his mother, which are "worthy of a
standup comic". She wrote that Banton established his reputation with
Never Give In and while many of the songs "softened with age" as they became live favourites, "here they are still razor-sharp." Dave Schulps and Ira Robbins of
Trouser Press praised how Banton laced humour into "his advice on how to behave in
Babylon", describing his impersonations of other people as "hilarious". "Don't Sniff Coke" became Banton's
signature song, and he would play it live as his
encore, whilst according to Greene, it became a "
ganja anthem" and "was of surprisingly little use to the
Just Say No brigade." Several of the album's songs, including the title track and "Don't Sniff Coke", appeared on Banton's
best-of compilation album
Collections (1994). Jason Ferguson of the
Miami New Times reflected that
Never Give In was "a watershed moment" in that it "marked the beginning of the contemporary era of reggae." According to Ferguson, the genre had "been in a holding pattern" following
Bob Marley's 1981 death, with
roots reggae becoming more popular following Marley's" worldwide deification" and "[t]oo few black artists [...] modifying the sound, while white (particularly British) artists saw fit to experiment." He wrote that the "black toaster from Birmingham" split the difference between The Beat and UB40's "accessible white-reggae grooves" and the emergent "digital bubbling of dancehall," and that the combination of digital production and shrewd lyrics "essentially laid the groundwork for the hundreds of dancehall and contemporary reggae records that followed." Reviewing the reissue in his piece, Ferguson said that while Banton's combination of grittiness and pop abilities made the album appealing, his positive vibe had grown "tiresome" and the album's "thin production values" had aged despite the remastered sound, but considered the record important for being "ahead of the game". ==Track listing==