One record at a time: 265. Róisín Murphy - Hit Parade

After the disco heights of her previous album, it was inevitable that "Hit Parade" would be a return to the esoteric side of Róisín Murphy's music. This record is a collaboration with DJ Koze that lands somewhere between soul and electronic mayhem. Like most of her other albums, I bought a signed copy of the vinyl when it was released.

I might as well say upfront that I don't like this record. The first track "What Not To Do" is a great intro with rumbling synths and rattling percussion underpinning Róisín's impeccable vocals; but everything goes down hill from here. 

There's a big soul influence on these tracks and many of them include samples of old records. This approach produces a unique sound, but unfortunately, it is not a sound I appreciate. 

"Free Will" has some overt disco references that cause some mild excitement and the single "You Knew" has a tinge of dub that elevates it above the mundane, but everything else is a disappointment. "Can't Replicate" sounds like it is about to break out into Lil Louis "French Kiss" but it never hits despite running for seven and a half minutes. I still feel very disappointed with this record and the sleeve freaks my kids out - so I think it will stay hidden on the shelf for quite some time. 1/5

One record at at time: 264. Róisín Murphy - Crooked Machine

"Crooked Machine" is a remix album that was released seven months after parent album "Róisín Machine". Initially these mixes were only available as digital files but were eventually released on vinyl for Record Store Day. Record Store Day 2021 was held in the days of COVID 'lockdown' so it was a much more civilised affair conducted over the internet.

When I first heard these remixes (all made by producer Crooked Man - hence the title) I was in complete awe and I became increasingly desperate to hear them from vinyl. These mixes are probably best described as deep house dub mixes but there is some variety that means this record offers a good listening experience and isn't just a tool for DJs.

"Kingdom of the Machines" is a take on "Kingdom of Ends" that features a bassline so good it bends my mind. The vocals blend seamlessly with the building beats and atmospheric synths as producer Crooked Man whips us up into a frenzy. It's a stunning piece work. Second track "Echo Returns" takes the album track "Narcissus" and turns it into a dreamy meditation that can either be transcendental or irritating depending on your frame of mind. 

In remixing "Incapable" Crooked Man creates the stupendous "Capable Rhythm" which has a bassline that is simply mind blowing. Róisín's vocal remains intact on this one and ensures this track remains six minutes of pure pleasure. "Assimilation" is a slightly slower, brooding mix that exposes a dark underbelly of "Simulation". We soon emerge from the shadows with "Crooked Madame" which throws glitter on original album version of "Shellfish Mademoiselle" and comes up with a brilliant dance floor groove. 

On the second disc, "Something More" is transformed into "Less Is More" which stomps along quite happily and reminds me a little of the sound of Moloko. The first disappointing mix is "Name Changer" which neither has the irresistible basslines or innovation of other mixes here. I like "We Are The Law" as it removes the vocal manipulation applied the original "Murphy's Law" and gives the song a new lease of life. To finish, the disco panache of "Jealousy" is twisted into a sort of breakbeat mayhem that brings back happy hardcore memories. All in all this is one of the best remix albums you are ever likely to hear and you don't necessarily have to be a fan of the original album to appreciate its majesty. 4/5

One record at a time: 263. Róisín Murphy - Róisín Machine

Having released two albums of rather esoteric material, I wasn't sure what to expect from Murphy's "Róisín Machine". However, the one thing I wasn't expecting was a collection of funky house grooves that would outclass everything else I heard in 2020. 

I own the limited edition double blue vinyl which is sealed in a black plastic bag along with a signed photo, sticker and 'zine'. When it came time to write this post I decided not to open the record and keep it as a sealed collector's item. Instead, I purchased a copy of the "splatter" Album Day edition to play. This is not as extravagant as it sounds because it was relatively cheap on eBay and I had been tempted to buy a second copy before.

Opening track "Simulation" is a relentless house groove that I find simply mesmerising. I used to listen to this song whilst running during the COVID 'lockdowns' and its relentless nature would propel me along no matter how tired I was. I would give anything to be able to write a groove this brilliant and hypnotic. With this first song, producer Crooked Man instantly proves his genius is equal to that of Róisín.

"Kingdom of Endz" is an amazing synth driven track on which Murphy sings the most brilliant harmonies as the kick drum pounds out the beat. I love the synth chords on this track and its constant cycle of build and release really satisfies. "Something More" is a slightly more laid back groove which feels it has more of a song structure but is no less marvellous. The next rack "Shellfish Mademoiselle" is a little more derivative, but the quirky bassline rescues it from mediocrity.

Another favourite of mine is "Incapable" which utilises a seemingly incessant loop to create another mesmerising slab of electronic genius. I really don't understand how it is possible to loop the same two bars for three and a half minutes and make the music sound better and better. To top things off Róisín delivers a heartfelt vocal where she reflects on the breakdown of a relationship.

"We Got Together" has a little bit of grit that means its groove really thunders along. "Murphy's Law" is one of few tracks that has a more traditional song structure and references disco directly. There's more of a a swing beat on "Game Changer" which elevates it to something slightly more wistful than the songs we have heard to this point. The disco theme is continued by "Narcissus" with its string arrangement and fluid bassline. To ensure we finish on a high note Róisín rolls out the funk of "Jealousy" which comes replete with chicken scratch guitars and a pseudo-horn section. I really wish Róisín made more records like this. 4/5

One record at a time: 262. Róisín Murphy - Take Her Up To Monto

I ordered this signed copy of "Take Her Up To Monto" from Róisín's website in 2016. As the release date approached I received an email from the web-store to the effect of, "Your record will be late and it won't come signed. How do you like those apples?"

To say I was miffed is an understatement, but as the web-store message was totally unapologetic and didn't offer us any other options, I thought it was something I would just have to suck up. However, I hadn't anticipated an intervention by Róisín herself who sent an email a few days later apologising and telling us that, not only would our record come signed, but it would also include a free art print as an apology. 

It later transpired that the records Róisín had originally signed had become damaged and nobody thought to tell the artist herself until after customers received the dismissive email. Anyway, everything turned out well in the end and I emerged with a new found admiration for Róisín herself (if not Townsend music). 

The fact that this is another collaboration with Eddie Stevens signals it won't be an easy ride, but thankfully this record takes a different approach to its predecessor "Hairless Toys". The opening track "Mastermind" has some fabulous arpeggios and disco style synth toms that instantly suggest there will be more electronics on this album. Whilst "Pretty Gardens" and "Thoughts Wasted" belong in the "weird" category, they are entertaining and even quite moving in places. Róisín indulges in her predilection for basso-nova beats with "Lip Service" which is a fun way to finish the fist side.

There are some fat synths and booming beats on "Ten Miles High" before things slow down for the dreamy synth textures and fabulous vocals of "Whatever". Almost every song on this track is better than the previous album as even the more mundane compositions have an electronic sound. This is evident on the last three tracks which veer into more experimental waters but employ really interesting synth textures and beats rather than using acoustic drums or mundane band recordings. So this isn't a perfect album but it is an improvement on what went before. 3/5

One record at a time: 261. Róisín Murphy - Hairless Toys

I had enjoyed Róisín's "Overpowered" album a great deal so I didn't hesitate when ordering a signed copy of follow up "Hairless Toys" from her website in 2015. 

However, when it arrived, this record was not what I was expecting. Having heard the more commercial and dance orientated side of her music, I wasn't quite prepared for the avant-garde and downtempo Róisín. It's no surprise to find former Moloko collaborator Eddie Stevens is a producer and co-writer here.

Things start in the most inauspicious and low key way possible with the mid-tempo vibes of "Gone Fishing". The nature of this song initially turned me off this album and I didn't give it the attention it deserved as a result. For me the next song "Evil Eyes" would have made a much better prelude as it has an atmospheric introduction that slowly builds before exploding in a shower of synth fireworks.

My favourite track is "Exploitation" which begins in a fairly standard synth-pop way before suddenly switching to something far more intriguing. Róisín weaves a vocal melody through the wobbly synths and funky guitars and, despite a nine and a half minute running time, it never becomes boring.  

"Uninvited Guest" sees us return to a more laid back vibe but there's just enough funk to provide some interest. "Exile" is probably the least interesting song on here as the conventional band instrumentation is as predictable and boring as the composition. "House of Glass" is a track that takes four minutes to break out into the electronic mayhem it had been threatening us with but my interest had waned a little by the time it got going. The title song is six minutes of twaddle that sounds like a cross between Björk and a nursery rhyme. The final song "Unputdownable" kicks off after about three minutes and is interesting when it does finally warm up. I am not adverse to music that is experimental and I don't need every record I buy to pander to my pop sensibilities, but large parts of this album leave me cold and uninterested. I've also seen various complaints about the quality this pressing and that the track "Exile" skips. My copy seems to play perfectly and gives a flawless reproduction - so it seems a bit of a lottery as to how your copy of the vinyl sounds. 2/5

One record at a time: 260. Róisín Murphy - Overpowered

There are two sides to Róisín Murphy: there is an extremely funky side, and there is a slightly bonkers avant-garde side. Whilst her debut album "Ruby Blue" should be be filed under 'experimental', 2007's "Overpowered" was definitely made for the dance floor.

However, whichever side of Róisín an album represents, it is always a sincere endeavour. Róisín often comes across as irreverent and self effacing, but in reality she is heavily invested in creating music that becomes art. Whilst not everything she produces is to my taste, I appreciate her attempts to push the boundaries and never stay still.

For me this is one of Róisín's better albums. There's no doubt that her record company at the time pushed her to create more commercial dance music, but she retained enough control to make this more than anonymous manufactured pop. From the cover, the lyrics and even the people she chose to work with, this album is a unique product moulded by Murphy.

This copy of the record is a reissue from 2019 that duplicates the original pink and orange vinyl but also includes a bonus track that wasn't found on the first pressing. Visually this record is stunning, but more importantly it also sounds great - the quality of coloured vinyl has improved markedly since when I fist began buying records and it can no longer be instantly dismissed as being inferior.

I bought the CD of this album back in 2007 after I heard the title track. Not only does this song feature a great melody, but the minimalistic, electro-tinged production is absolutely fantastic. Andy Cato produces and co-writes the second track "You Know Me Better" which moves in a slightly more commercial direction, but is no less impressive. I'm not a big fan of "Checkin' On Me" as I find the backing vocal that follows the bassline intensely irritating. "Let Me Know" is a polished pop/dance crossover that provides contrast to the more grinding electroclash sound of "Movie Star" that follows. The fist disc finishes with "Primitive" which stumbles along and doesn't really catch fire.

The pink disc opens with "Footprints" which is probably the most disappointing and disjointed track on the whole album. "Dear Miami" and "Cry Baby" are both intriguing songs that are powered by rasping synths and Róisín's brilliant vocals. Unfortunately "Tell Everybody" repeats the annoying trick of using vocals to mimic the bassline, but the song is at least better than "Chekin' On Me". There's a change of pace with the slightly soul influenced "Scarlet Ribbons" and I love the vocal on "Body Language" as Róisín twists and embellishes the melodies. Richard X sprays his undoubted genius over "Parallel Lives" which was a mere 'bonus' track and omitted from the original vinyl. It might just be my twisted sensibilities that considers a seemingly discarded track as the best thing on the whole record, but I do love this one. Whilst there a few songs on this record I am not so fond of, the highs of "Parallel Lives", "Overpowered", "You Know Me Better" and "Let Me Know" mean I am forced to consider this album a success. 4/5

One record at a time: 259. MG - MG

One of the markers of your dedication to a band is your willingness to buy records released by individual members. By this measure I could be regarded as a "less than half hearted" Depeche Mode fan as "MG" by MG is the only solo record by a member of the group that I own. 

I suspect Martin Gore chose to employ the MG moniker for this album to differentiate it from his earlier solo records or his work with Depeche Mode. None of the sixteen instrumentals that make up this record offer any concessions to pop or rock. This is abstract electronic music with only the occasional dance beat or twist of self indulgent noodling to add colour.

It is quite fitting that the opening track "Pinking" is named after an engine fault as the song is a bit of a miss fire. As soon as you think the atmosphere is about to build into something interesting, it ends. "Europa Hymn" is an improvement and reminds me of B12 or Aphex Twin with some unmistakable Martin Gore flourishes thrown in. Another standout is "Stealth" which rumbles along with some nice chords and minimalistic beats. "Crowly" is a bit more aggressive sounding and is reminiscent of Gore's collaboration with Vince Clarke "VCMG" (how do they think of these band names? Amazing). Everything else washes over me like a sea of mediocrity.

As I swap the discs and handle the packaging I can't help but feel the quality of this pressing is a little wasted on the music. Both discs sound as good as you would expect from a heavyweight Optimal media pressing, and both a CD and digital download were included in the package. Yet nothing on here really grabs my attention. This is a soundtrack to a movie that has yet to be made, and I think I might enjoy it more in such a context; but as a piece to listen to, it doesn't really interest me that much. 2/5

Dead people's records

I occasionally like to take a look in charity shops to see if they have anything interesting and maybe find a bargain. As a music fan I tend to gravitate towards the media section of the shop along with the usual assortment of middle aged men who mutter to themselves and have poor hygiene. The people in the media section also tend to be territorial and are not adverse to getting their elbows out in order to fend off any rivals for a bargain.

If you can get to it, most shops will have a small selection of vinyl records, but they always seem to be the usual assortment of Herb Alpert, James Last, Dean Martin or Andy Williams LPs from the sixties and seventies. There are often multiple copies of the same record available. I once took great pleasure in lining up five copies of "The Sound of Bread" to ensure that any passing Bread enthusiasts wouldn't have to look too hard to find the copy in best condition. Occasionally you will see a dusty box of classical music sitting underneath the shelves. Such boxes are often groaning with ten disc box sets or various "Classics for Pleasure" titles that haven't been played in sixty years. I have even seen boxes of cassettes - but searching those is a bit too hardcore even for me.

The one thing that all of these records and tapes have in common is that they are worthless. The audience for easy listening music is quite literally dead. Even the few living people who are interested in the genre aren't likely to need a another copy of "Al Martino: Gold" or Perry Como "And I love you so".

I also see other patterns emerging with newer music. Almost every single charity shop in the UK seems to contain the Robbie Williams back catalogue on CD. Invariably you can walk out of any 'chazza' in England with at least four copies of "Escapology" if you so desire. However, I suspect these CDs are merely the discarded ephemera of Generation X as they move wholesale to streaming services rather than as a result of their untimely deaths.

Therefore anything worth owning in a charity shop tends to stick out like a turd in a swimming pool. I have seen the prices of anything even vaguely worth owning rocket in the last couple of years. It seems the people who kindly volunteer to work in charity shops have become attuned to the difference between a box of dead people's records and something people might actually want. So unless you need another LP by The Tijuana Brass or to overpay for something you do want, you might as well avoid charity shops.

One record at a time: 258. Liza Minnelli - Results

I first bought "Results" on cassette whilst on holiday in the summer of 1990 - I didn't buy it when it was released as I simply couldn't afford it. Obviously I own this album (three times on vinyl, twice on CD and a cassette) because of its link to the Pet Shop Boys - I'm not a Liza fan per se. 

Here I will be playing the 2012 180g repressing, but I also own the hardback book version from the same year and an original copy from 1989. I bought the re-pressings as they were being sold off cheaply by Vinyl 180 who had released them a couple of years earlier. These are far from perfect pressings with crackles throughout, but they are at least packaged very well.

As "I Want You Now" kicks into life I'm immediately reminded of how dance orientated this album is. Producers Julian Mendelsohn and Pet Shop Boys seem keen to draw on the sounds of early house with a pounding beat and funky bassline that could have come straight out of a Chicago warehouse. Yet the antiquated orchestra hits and Fairlight string stabs clearly single this out as eighties pop. I have never been a fan of the ridiculously low register Liza employs during chorus, but this is a great introduction nevertheless.

The single "Losing My Mind" comes next and is full of frothy hi-energy. The drums on this track sound a bit dull when compared to the more contemporary samples used on other tracks, but the relentless bassline drives things along nicely. "If There Was Love" provides a perfect example of this contrast in drum sounds with its TR-808 snare and pounding kick piercing through the mix. The only downside to this track is the DX7 harmonica preset which sounds a bit naff to modern ears. The excellent contributions of Danny Cummings (percussion) and Pete Vitesse (piano) are prominent here but the sax of Courtney Pine is most definitely not to my taste.

One of the best compositions on this record is the plaintive "So Sorry I Said". There's a great Fairlight double bass sample and some nice programmed percussion underpinning Liza's earnest vocals. "Don't Drop Bombs" is another upbeat electronic track which is once again heavy on the programmed percussion but the backing vocals seem completely unnecessary to me. Next is a half finished cover version of "Twist in my sobriety" in which Liza sounds like she isn't too sure of the melody or convinced by the merits of the song in general. 

Angelo Badalamenti's orchestral arrangement for "Rent" adds a new dimension and turns an electro single into a moving show tune. I quite like the song "Love Pains" but the production here is all wrong. Liza is regarded as one of the most distinctive singers of her generation; so why get three backing singers to drown her out? It makes no sense. There's another orchestral version of a Pet Shop Boys song with "Tonight is Forever" but the magic of "Rent" is missing. The perfect finishing track "I Can't Say Goodnight" is in a fine cabaret tradition but with a synth-pop twist. This is an enjoyable album but it lacks consistency and one or two of the song choices are questionable. 3/5

One record at a time: 257. Massive Attack - Heligoland

Having enjoyed Massive Attack's first two albums, I bought the single "Risingson" as soon as it was released in 1997. However, I found this song so disappointing that I didn't even investigate parent album "Mezzanine" when it was released the following year. Like everyone I heard "Angel" incessantly on movie trailers and TV shows, but it wasn't enough to pique my interest and I left Massive Attack behind for a time. 

My interest in the band was rekindled in 2010 and when The Vinyl Factory announced a special edition of new album "Heligoland", it looked so good I decided to order it. As I mentioned in the post for Hot Chip's "One Life Stand", The Vinyl Factory used to make really sumptuous collectors editions by bands you had actually heard of, but sadly this is no longer the case.

This really is a lavish package with glittery artwork and heavy paper stock. There are three 180g vinyl discs and a CD housed in a three panel gatefold sleeve; it's all very impressive - right up until you play it. That's not to say the vinyl is a bad pressing; far from it. It's the music that is lacklustre here. 

Opening track "Pray for Rain" features some distinctive rolling toms and the voice of Babatunde Adebimpe in what is a departure from the traditional Massive Attack sound. There aren't really any samples being employed and there is a greater emphasis on acoustic instruments than on previous efforts. The second track "Babel" features bass and drums that sound like a 'band in a room' recording - which is really disappointing to hear from an artist that had previously pushed the boundaries of electronic music. "Splitting the Atom" and "Girl I love You" see Horace Andy providing his distinctive vocals over flat and disappointing backing tracks that make you wonder if this is the same band that created "Unfinished Sympathy". The panned guitar samples of "Psyche" provide something a little more sonically interesting but it's not enough to rescue the track.

The second slab of vinyl opens with the terrible "Flat of the Blade" which is a perfect demonstration of the tuneless drivel that can be generated when a collection of illustrious musicians begin to mess about in the studio and nobody from the record company dare tell them what they are producing is crap. One of the best songs on here is the sublime "Paradise Circus" which features the vocals of Hope Sandoval. There's a messy guitar based track in the form of "Rush Minute" and as I dislike Damon Albarn's voice, I can't wait for "Sunday Come Slow" to end. The final album track "Atlas Air" has a nice groove but I still can't help but wonder how much better it would have been if it harnessed the traditional sound of the band.

The third disc features the Gui Boratto remix of "Paradise Circus" which adds a nice electronic feel and there is a disappointing remix of a track called "Fatalism" (a track I wasn't aware of prior to owning the record). "United Snakes" is a former b-side that doesn't do a lot but at least features some nice electronic synth sounds. The best part of the whole package is left to last with the fantastic She is Danger remix of "Girl I Love You". This mix provides structure and cohesion to the slightly disjointed original and adds a brilliant rumbling bassline. 2/5

One record at a time: 256. Massive Attack - Protection

When Massive Attack released their second album in 1994 I didn't think twice about buying the CD. I bought this 2016 re-pressing of the LP about three years ago when it was being sold off at a reduced price. Retailers don't seem to have sales where you can pick up vinyl cheaply any more - in fact everything has shifted dramatically in the other direction with £30 and £40 being asked for the most basic re-pressings today.

The opening track "Protection" somehow manages to be laid back and dreamy and yet comfortably accommodate a TB-303 and one of the deepest kick drums you're ever likely to hear. Tracey Thorn's airy vocal floats along as the music builds and releases for nearly eight minutes. Another single "Karmacoma" comes next with its infectious beat and distinctive samples. I can't pretend I understand all of the lyrics Tricky and 3-D are saying and the significance of "Jamaica and Roma" is completely lost on me. I have seem various attempts to read meaning into this song but personally I suspect it is about nothing more cerebral that smoking drugs. But who is to say? 

One of my favourite songs is "Three" which has an amazing vocal by Nicolette - there's also a great remix of this track by Dom T on the second CD single of "Protection" that I used to play a lot. "Weather Storm" is an instrumental where pianist Craig Armstrong plays over a 2 bar loop for five minutes - which is strangely more engaging than this description would suggest. Side one rounds out with "Spy Glass" which sees the return of Horace Andy on vocals whilst the band create an electronic dub sound that is reminiscent of Leftfield. 

Back in the day I would turn the volume up high for "Better Things" so that the sub bass would have the cones on my speakers popping back and forth. I did this purely to impress my friends and few of them even went out and bought the album on the back of hearing this prodigious demonstration. "Eurochild" has 3-D and Tricky delivering their distinctive rap over a collage of samples but it doesn't work as well as similar tracks here. When I bought this album I was familiar with "Sly" as this was the lead single but looking back at the wealth of material on here, I wouldn't have picked this as a lead single. "Heat Miser" is another Craig Armstrong piano improvisation but set against an electronica backdrop this time. Things round out with a fun live version of "Relight My Fire" with Horace Andy and Daddy G providing the vocals. 3/5

One record at a time: 255. Massive Attack - Blue Lines

I have a memory of watching a late night comedy show (the internet tells me it was called Paramount City) sometime in the early nineties (the internet tells me it was 8th June 1991) and seeing Massive Attack playing "Safe From Harm" (the internet is not so certain on this one). This performance convinced me to buy the parent album "Blue Lines" on CD the following week and more lately, this unremarkable reissue of the LP in 2016.

The rumbling bass guitar sample that opens "Safe From Harm" should be annoying as, not only does it loop continuously throughout the song, but it is lifted wholesale from another track. Yet, there's so much layered over the top of this sample that you can't help but admire the ingenuity at play. Shara Nelson's vocal is exquisite and the synth chords provide a perfect accompaniment. There are many clever touches such as sampling 3-D's vocal and repeatedly triggering it to ensure the delivery is anything but mundane.

"One Love" is a change of pace in which Horace Andy delivers an inimitable vocal over sampled loops. The key here is that the melody is allowed to shine through and lift the track to a whole new level. We hear Tricky for the first time on the title track as the whole group get to rap over a breakbeat and some mellow electric piano. There's cover of an old school soul song, "Be Thankful For What You've Got" which I can only assume is a song the band admired as there's not much else to distinguish it. Side one finishes with the dub of "Five Man Army" in which the band rap over an Al Green loop and Horace Andy's ad libs.

The highlight of the album is undoubtedly "Unfinished Sympathy" which is rightly revered as a classic. This is a perfect recording that I'm not sure how anyone could criticise. Even if the rest of the album was made up of fart noises this song would still make it worthy of purchase. "Daydreaming" is built around a sample of a Wally Badarou track (which provides a nice link back to Level 42) and has another fantastic Shara Nelson vocal. Thanks to the samples that form the backbone of "Lately" it has an almost synth-pop vibe and makes for a nice change. The epic final track is "Hymn of the Big Wheel" which sees Horace Andy return to sing a tale of the earth's destruction as a whale impeaches us from the deep. 4/5

One record at a time: 254. Mansun - Six

Having failed to understand their debut album, I wondered if Mansun's follow up might offer me more insight into their unique sound. I bough the CD of "Six" when it was released in 1998 and this twenty first anniversary limited edition clear vinyl is from 2019.

This album was released at a time when Britpop had waned and morphed into a sort of indie-psychedelia that threw up the likes of Space and The Flaming Lips. At the centre of this whirlwind of faecal matter was this largely impenetrable album full of overly long songs that swing wildly between indie and opera (replete with Tom Baker narration). 

There is nothing that resembles electronic music on this record and it just sounds like traditional rock to my ears. Yes, it is experimental, but it remains rock nonetheless. Ideas are exuberantly scattered around but they all seem to fall on fallow ground and their potential is never realised. Almost every song on this album is twice as long as it should be and only "Inverse Midas" feels about right at 1'44''. I question why I ever bought this. 1/5

One record at a time: 253. Mansun - Attack of the Grey Lantern

I bought the CD of this album back in 1998 as a girl I was fond of said she liked it and I somehow thought it might bring me closer to knowing her. As it turned out, the girl and the album were equally enigmatic and I don't think I ever fully understood either. Whilst I can try to decipher the album today, the girl unfortunately is long gone. For this post I will be playing the 2018 purple vinyl which both looks and sounds good (just like girl in question), but before we become too over-sentimental, let's get to the music. 

The opening strings of "The Chad Who Loved Me" are as mesmerising as they are beautiful but the mood is disrupted by the band who come crashing in telling us we've, "got a gob on". All very weird. Entertaining, but definitely weird.

There's more evidence that this isn't a typical rock album with the TR-909 beats at the start of second track "Mansun's Only Love Song". Whilst the band once again begin to dominate the sound of the track, you can hear synths and scratches trying to poke through the cacophony of guitar and acoustic drums.

"Taxlosss" begins with an interesting synth sound but the band soon reduce it to a Beatles-esque weird-out. It's almost as if the band are divided over how the record should sound and we lurch between electronic tinged pop and Britpop as a result. You also feel the drummer was determined no drum machine was going to take his place as each electronic beat last no longer than about 5 seconds.

When I said I bought this record because of a girl I wasn't lying, but equally I was aware of the magnificent "Wide Open Space" already, so I knew my purchase would contain at least one song I liked. The melody and Paul's vocal on this song are amazing and it may be wrong of me to say it, but the album version is better than the much lauded Perfecto Mix that seemed to get quite a lot of airtime back in the day.

The Mansun Weird-o-meter™ gets turned up to eleven for "Stripped Vicar" which illustrates the moral conundrum one faces when contemplating reporting a clergyman for wearing plastic trousers. "Disgusting" is the first song I don't like as the EQ on Paul's vocal in the verse is awful and detracts from the brilliant chorus. There's a flash of Britpoop with the trio "She Makes Me Bleed", "Naked Twister" and "Egg Shaped Fred" which are all pretty disappointing. The final track "Dark Mavis" features a good string arrangement but it probably doesn't do enough to deserve such lavish treatment. 2/5

One record at a time: 252. Little Boots - Working Girl

I only own one vinyl by Little Boots and it is the limited edition white vinyl version of "Working Girl" from 2015. I seem to recall this record was initially funded by a Pledge Music campaign and, as I used that platform a great deal when it was active, I'd assume that's why I bought it. However, unlike a lot of Pledge Music campaigns, this record wasn't exclusive to their platform.

I can see a few users on Discogs who aren't impressed by the sound quality on this record and I have to agree with their assessment; it sounds pretty bad. I think every potential type of extraneous noise is included on this pressing as there is a general rumble of background noise punctuated by regular pops and crackles with sibilance bathing everything in a light distortion. This is one of few occasions where digital files actually provide a better listening experience. This thing sounds almost as bad as the Cocteau Twins and Japan pressings I complained about in previous post.

Despite the noise, I enjoy the first three tracks on this record and they are a great demonstration of how good dance influenced synth pop can be. The only downside to these recordings are the vocals. Victoria isn't the most accomplished vocalist and sometimes she sounds like the archetypal fragile throat singer. By the time you reach "Taste It" you realise some of the background noise has relented and the songs is playing relatively clearly. This is rather ironic as I find "Taste It" rather sour and think of it as a stuttering mess. I was surprised to find this track is produced by James Shaw from Simian Mobile Disco (a band I admire very much). 

My favourite track on here is "Heroine" which has some great TR-808 style kicks and rumbling square wave basses to provide a perfect counterpoint to Victoria's brittle vocal. "The Game" reminds me of early nineties pop as it has a swing beat and some clever ragga licks. "Help Too" is quietly tender and another highlight of the record. "Business Pleasure", like three songs on here, was featured on a disappointing EP released in 2014 and this should probably have stayed there. The penultimate track, "Paradise" has a great bassline but the TR-909 snare with a plate reverb just sounds wrong. I can't decide if the the final track "Better in the Morning" is trying to be retro or just sounds old fashioned - either way I can take it or leave it. Despite recording with multiple producers this record actually sounds pretty homogenous and is worth a listen - just not on vinyl. 3/5

One record at a time: 251. Level 42 - Sirens

Up to press this EP is the last original material Level 42 have generated. There is a small sleeve note that says "We've come full circle" suggesting someone in the band thought this record was something of a return to their roots; but believe me, it is no such thing.

As the first track "Sirens" begins you can't help but notice that there are TR-909 snare and hit hats! Mark's distinctive funk bass is rattling along whilst Mike plays some astonishing Rhodes piano - but those beats sound so out of place on a Level 42 track. Like much of the material on this EP, this isn't a traditional song but more of a groove with various soloists taking turns in the spotlight.

In fairness to the author of the sleeve note, the next track "Too Much Time" does hark back to the sound of albums like "Standing in the Light" but Mark's use of profanity points to the fact that this music is being made with little consideration for its commercial potential. The last track on side one is "Mind on you" which starts with a Samba infused rhythm section before evolving into a kind of soul influenced disco record that is a little too long at eight and a half minutes. 

"My Independence Day" has a rolling bassline that is borrowed from "State of Independence" by Jon & Vangelis but there's enough originality in Mike's vocal to allow this to be considered an original composition. There's some great brass on "Build Myself a Rocket" but in truth this is a largely superficial composition that can't be regarded as one of the bands finest works. I have never known what to make of the final track "Where's Yo Head At?". Musically it is clearly unrelated to the Basement Jaxx track of the same name but it doesn't strike me as the kind of phrase the band would normally employ. Things sound a bit messy on this track as producer John Morales attempts to beef up Ray's acoustic drums by layering the TR-909 on top - I'd prefer one or the other. Like much of the album, this last track is just too repetitive and leaves me feeling a little disappointed. 2/5

One record at a time: 250. Level 42 - Forever Now

I have very fond memories of listening to the CD of this album when it was released. My university studies were on hold during the summer of 1994 and I spent a good deal of time reading books with the sound of this album floating on the breeze. 

When I learned there was to finally be a vinyl release in 2021 I was eager to put my money down. This version is a black and silver marbled 180g pressing released by Music On Vinyl. There have been some revisions to the track listing for this album over the years, but this LP remains consistent with the original CD release.

Much like the previous album, proceedings begin with a big, brash and literally brassy single in the form of the title track. I have always enjoyed this song, and it is great to hear Phil's distinctive drum sound once again. The second song "Model Friend" offers a good contrast to the opening with its rasping harmonica, but there is still room for the subtleties of Miles Bould's percussion to emerge.

Personally I have always liked "Tired of Waiting" as it floats along with a really catchy tune and features some brilliant percussion work. Much to my joy there isn't a trace of Yamaha DX7 E.PIANO 1 on these tracks and I suspect this is, in part, due to the influence of producer Steve Anderson who brought a distinctive and contemporary feel. There's no better example of this more up to date sound than "All Over You" which uses a sequencer and quite a few synth sounds to augment the natural funkiness of the band. 

One of the best songs on this record, hell one of the best songs the band have ever recorded, is "Love in a peaceful World". There's something truly magical about this composition and its execution is perfect - if you listen to nothing else on this album, at lest give this a try. Side one rounds out with "Romance" in which Mike rolls out his Rhodes piano and Phil gives a brilliant laconic performance on the drums. Mike's vocal in the chorus is really catchy and the string arrangement adds that final touch.

Things get a bit funkier on the flip side as Mark's traditional slap bass emerges once again on "Billy's Gone" and is accompanied by a great vocal performance. "One In A Million" is a sentimental ballad with a shuffle rhythm that is another highlight of the record. Things return to a more traditional Level 42 funk sound with "Sunbed Song" but I feel like the band are having more fun playing it than I am having listening to it. And yes, that does sound like DX7 organ but I'm trying to ignore it. Things slow down for "Talking in your Sleep" which plods along a bit disappointingly. The record closes with the country tinged "Don't Bother Me" which sounds a bit like the chorus is bolted on from another song, but I can forgive its slightly incongruous nature. 4/5

One record at a time: 249. Level 42 - Guaranteed

Level 42 emerged from the eighties battered and bruised by line up changes, bereavement and challenges in their personal lives. Despite the issues the band faced, Mark decided to rally the troops and record new material once again in 1990. Yet when the record was finally complete, Polydor declined to release it and seemingly cut ties with the group.  

I guess this decision was partially driven by a change in the music scene at the start of the nineties. Artists like Black Box, Snap!, and Adamski had begun to signal the sound of the future and some record companies began to think bands like Level 42 only pointed to yesterday. Luckily for us, Mark et al decided to shop the album around and found a deal with RCA who released "Guaranteed" in 1991. 

The title track sounds like a lead single should: it's poppy, upbeat and has a good hook. My only gripe with this track is that it is too busy; none of the parts are given room to breathe and the song sounds like a relentless 'wall of sound'. The second single "Overtime" is a funkier affair that I really like, but it is still slightly lacking in the dynamics that were present in earlier albums. 

"Her Big Day" represents the first dip in quality as whilst the music is good, the lyrics are really quite appalling. The next track "Seven Years" sounds like an imitation of Sting and there is some crossover as guitarist Dominic Miller played with both artists. The funk returns with "Set Me Up" which sees a welcome vocal contribution by Mike but there's not really much going on in terms of melody. 

The fabulous "My Father's Shoes" was considered quite a departure for the band when it was released and I remember it being played on some sort of "Jukebox Jury" programme on the radio for the panel to guess who recorded it (they did thanks to Mark's distinctive vocal). The band don't seem to play this song live and it is a real shame that it has become a little forgotten. "A Kinder Eye" is a strange song as the lyrics aren't really the normal subject matter for Level 42 and the sound production is quite old fashioned. The Yamaha DX7 had been around for seven years by the time this album was recorded and some of its presets had become really clichéd. And yet, here are Level 42 belting out countless tracks that are absolutely smothered in E.PIANO 1. This is not to say the DX7 was redundant by the time this record was released, but using it so liberally was hardly likely to make your record sound contemporary. The final track here is a Gary Husband composition "If You Were Mine" which is technically excellent but can't decide if it is a pop song or a soul track and ends up a bit of a mess. 3/5

One record at a time: 248. Level 42 - Level Best

This singles compilation served as an introduction to Level 42 for many people back in the late eighties and, judging by the number of my school friends who bought it, it sold in droves.

Most of the more immediate and pop orientated tracks are included here and the more casual fan will be left satisfied by the likes of "Something About You", "Running in the Family" and "Lessons In Love". There's also one new song "Take Care Of Yourself" that was released as a single in an attempt to draw attention, but it can't be considered amongst the band's best and I doubt it did much to drive sales.

For many years I only owned "Level Best" on CD but in 2018 I added this copy of the original UK LP to my collection. Aside from the medium, the principal difference between this and the CD is that the tracks "Micro Kid", "Take A Look", "To Be With You Again" and "The Chant Has Begun" are all absent. I can forgive the omission of "The Chant Has Begun" and even "Take a Look", but to ignore the wonderful "To Be With You Again" is criminal. Whilst a bit superficial, this is a good collection that is still capable of drawing in the uninitiated. 4/5

One record at a time: 247. Level 42 - Staring at the Sun

After the break up of the original line up, it wasn't really clear to me if that was the end of Level 42 or not. In fact it seemed to take an age for this album to be released and it felt like the momentum built by the success of "Running in the Family" was lost. 

In reality this record came out just one year after its predecessor and featured the brilliant musicians Alan Murphy (guitar) and Gary Husband (drums). Sadly I didn't get to see Alan play live, but I can tell you that Gary Husband is one hell of a talented drummer. The new members could clearly hold their own in a band full of incredibly talented musicians. As well as the new additions, stalwarts Wally Badarou and Julian Mendelsohn joined the band in the studio to ensure there was some degree of continuity in this period of uncertainty. 

The single "Heaven in my Hands" opens proceedings with its heavy guitar and booming drums that sounds as "rock" as anything the band have ever made. Thankfully the layered clavinet sounds and the occasional brass riff stop this descending into the mediocre. The prominence of Alan's guitar continues on "I Don't Know Why" which is a rather straight forward love song bent around a Arabic sounding scale. The ballad "Take a look" is the first track that sounds more faithful to the traditional Level 42 sound and is all the better for it. By 1988 the sound of the Yamaha DX7 was becoming passée, but it remains intertwined with Mark's bass on the lacklustre "Over There". Side one finishes out with my favourite track on the album, Mike's composition "Silence". For a period in my adolescence I thought this song summed up all of my insecurities and I held it quite dear. Today the song sounds rather dated and I hear the lyrics differently, but this will always be a song I love to sing along to. 

The second side opens with "Tracie" which is a look back at a teenage romance through slightly more mature and grizzled eyes. The music is upbeat and infectious but it does leave you feeling slightly dirty. The title track is sombre and rather disappointing ballad that just seems to amble along without doing anything at all. "Two Hearts" sees a bit of Roland D-50 blended in with the omnipresent DX7 and there's a clear but unimpressive melody running through the song. The final piece "Man" sounds like the Level 42 of 1984 and sticks out like a sore thumb as a result. This is a good song but it doesn't fit the pop/rock mould it is being shoved into and ends up a bit of a mess. This record is the sound of a band who were desperate to stay contemporary and get played on the radio, but in truth their heart wasn't really in it. 3/5

One record at a time: 246. Level 42 - Running In The Family

"Running in the Family" finds the band at the height of their popularity, but it also proved to be the final straw for the original line up. It seemed that the pressure of producing commercially appealing material and the musical direction this took the band in was too much for brothers Phil and Boon who left once the record was released. 

My own relationship with this record began in 1987 when I saw the band promoting the title track on the children's TV programme "Saturday Morning Superstore". From this moment I took an interest in Level 42 but didn't get around to buying this album until I had a CD player in 1989. In fact, the first version of the album I bought was the Platinum Edition which featured remixes of the singles alongside the standard album tracks. Whilst I now see this version of the album as a cynical marketing ploy, at the time I thought it as a cool alternative with some good Shep Pettibone remixes. I bought a copy of the original UK LP from eBay in 2017 but, as it has a few starches, I bought another a couple of years ago. 

Things kick off with the big hit single "Lessons In Love" which probably doesn't need any introduction to anyone who was alive in the eighties. I like lots of the details in this song such as the arpeggiated FM synths (Yamaha DX7 and TX816), Mark's chugging bassline and Boon's brilliant guitar solo. The second track is another great (if less successful) single "Children Say". As usual there is some really great synth work contained in this song but it compliments the traditional instruments so well it can be hard to discern. The title track is probably the most 'pop' thing the band have ever recorded and, despite the rather outdated horn sounds, is still a favourite with many today. Personally I like the song and am always happy to hear it, but I wouldn't put it amongst the bands best efforts. Another single "It's Over" finishes the fist side of the disc with its distinctive DX7 type sounds and vocal harmonies. Whenever I listen to the lyrics on this song I always think the guy singing it must be a real bastard.

The singles continue on the b-side with my favourite track on the album "To Be With You". This is a much underappreciated song and has a lot to recommend it. The next two tracks "Two Solitudes" and "Fashion Fever" are very much album filler but there are still some exceptional performances from the band contained within them. I'm not a big fan of the penultimate track "Sleepwalkers" as the bass is too prominent for me (imagine such a thing in  a Level 42 song!) and it is far too long at over six minutes in length. Despite the relatively mediocre ending, there is so much hit material on this record that it can only be considered a resounding success. 4/5

One record at a time: 245. Level 42 - World Machine

From the outset it is obvious this album has very deliberately positioned itself for commercial success. As the title track "World Machine" begins you can hear that a drum machine and sequencer have replaced the more primitive sound of a band playing in a room. It seems nothing was regarded as sacrosanct in this bid to climb the charts as even Mark's bass has been replaced by Wally Badaraou's synthesizers. There's a good melody on offer from this opening track but everything sounds just a little bit forced and unnatural.

Whilst the second track "Physical Presence" sounds more like a traditional Level 42 offering, it still utilises a gated snare sound that was de rigueur in 1985. The band and Wally Badarou are credited as producers but there's something about the slickness of the production that suggests Julian Mendelsohn was more than an engineer and "assistant" in the studio.

As this album progresses the jazz instrumentals and improvised jam sessions of the past have clearly been jettisoned in favour of four minute pop songs crafted for a radio audience. This approach is encapsulated in the hit single "Something About You" which has a soaring chorus and a truly memorable pre-chorus (the lyrics for which I always found indistinguishable in my youth). As with many tracks on this record there is a good deal of Yamaha DX7 underpinning the sonic palette and the E.PIANO preset is almost omnipresent. The melancholic but excellent "Leaving Me Now" rounds out side one with its tale of a lover betrayed and a relationship turned sour.

"I Sleep On My Heart" is in more traditional Level 42 territory and the band seem more at ease on this very funky track. Aside from the inimitable "Something About You", this is the highlight of the album for me. "It's Not The Same For Us" is a little twee and lightweight, but it is far from being terrible. The LP doesn't include "Dream Crazy" as this album was released at a time when record companies were trying to temp customers into buying CD by including exclusive tracks. "Good Man In Storm" is OK, but I am no fan of wailing, reverb drenched soprano sax - so it doesn't appeal to me. Next up is a relatively inconsequential "Coup D'etat" which has a nice groove but little else of substance. There's another DX7 E.PIANO ballad called "Lying Still" tagged on the end but it washes over me without making much impression. 3/5

One record at a time: 244. Level 42 - A Physical Presence

This was the last Level 42 album I added to my collection as I prioritised buying records with new material (new to me at least) ahead of compilations and live albums. As a result, I didn't really get to hear this record until I purchased it a couple of years ago - almost forty years after it was released.

This fees like the first authentic live album I have come across in my collection so far. Admittedly I've only listened to 'live recordings' by Erasure, Jean Michel Jarre and Japan up to this point, but I can't imagine much else in my collection is going to surpass the skill and cohesion on display here.

There is a varied selection of songs on offer from the older jazz influenced instrumentals like "88" to the more recent hit single "Hot Water". Every track is executed with energy and a real sense of fun. 

For once, you actually get more material on the double LP compared to the compact disc edition. The CD lacks the afore mentioned "88" along with "Turn It On" and "Mr Pink". All editions feature a new song called "Follow Me" which is a great pop tune that was used as the lead song on the "Physical Presence EP". There's nothing on the EP that isn't on the album, these were just marketing ploys used by record companies to promote live albums back in the eighties. Such ploys must have worked at some stage, but they seem very anachronistic now. 3/5

One record at a time: 243. Level 42 - True Colours

I first bought this album on CD in 2000 and then acquired this LP from eBay about five years ago. When I won the auction I assumed this record would look every bit of its forty years of age but, to my surprise it is in near perfect condition.

The album opens with the bombastic "The Chant Has Begun" which features prominent tuned tom drums that you either love or loathe. Things rattle along until a strange atonal and squeaky sax solo cuts through in what is a bizarre twist for a single. This isn't my favourite Level 42 song but I guess it must have sounded suitably anthemic to the band when they recorded it.

The next rack, "Kansas City Milkman" is a live favourite and is rightly regarded as one of the band's best. I always found the title intriguing and both the melody and groove are absolutely brilliant. This could have been a single to my ears and is criminally underrated.

The next big track on here is single "Hot Water" which lays hook upon hook and melody upon melody. Irresistible stuff. When I was a youth at school this song was held in quite high regard by kids who didn't even really like the band. Phil's drumming on "True Believers" sounds amazing and has some great interplay with Mark's bass. "My Hero" isn't on the original LP so we move to "Kouyaté" which has a Latin flavour but is probably most notable for its total lack of bass guitar. This may not seem too remarkable an observation, but when you have become accustomed to the constant chug of Mark's slap bass on all the other tracks, its absence becomes quite striking. This is another good album but it still lacks the clinical songwriting and pop sheen of the records that would drive the band to commercial success and my attention. 3/5

One record at a time: 242. Level 42 - Standing in the Light

There's no doubt that "Standing in the Light" was a new dawn for Level 42. This album discards the long-form, jazz infused instrumentals of earlier efforts and concentrates on pop songs with a more immediate appeal. That's not to say that this album is disposable or in anyway lacking in gravitas, merely that it is more focussed on commercial success.

"Micro Kid" ensures the album comes out fighting with its catchy and light melody. Whilst this probably won't go down as one of the band's greatest singles, there's no doubt it contributes positively their overall canon of work. The big hit single "The Sun Goes Down (Living It Up)" was probably the first time I heard of Level 42 and it seemed to be on all of the compilation albums in heard my youth. This is a great song that is surely regarded as one of the band's signature tunes. The two songs that round out side one are "Out of sight, out of mind" and "Dance on heavy weather". You can tell both of these songs are written to a brief of "give us pop, give us hits" but they fall a bit flat and  should be considered ephemeral album filler.

On the flip side "A Pharaoh's Dream (Of Endless Time)" sounds a little hollow but allows the band to showcase their talents. The title track and ballad "I Want Eyes" come and go without making much impression before the mellow "People" sails through leaving a pleasant atmosphere. By far the best track on the album is "The Machine Stops" which combines the bands natural instinct for funky syncopation with the pop sensibility the record company demanded. Whilst this album is bookended by good songs it is just too squishy in the middle. 2/5

One record at a time: 241. Level 42 - The Pursuit of Accidents

I bought this record a couple of years ago from eBay when I realised I didn't own enough Level 42 on vinyl. Despite being over forty years old, this copy is in very good condition and doesn't have a scratch, pop or crackle.

"Weave Your Spell" is a bright and frothy opener that points to pop ambitions that aren't quite fulfilled. Whilst I like this song, it is a bit lightweight when compared to the eight minutes of instrumental jazz and funk of the title track that comes next. "The Pursuit of Accidents" emerged out of a jam session and relies on synth melodies by Wally Badarou to turn it into something more cohesive.

As with many early Level 42 recordings, Mike Lindup tends to centre on electric and acoustic piano and the amazing staccato Rhodes on "Last Chance" really adds a sheen under Mark's syncopated vocals. I'm less impressed with the excruciating scat vocal Mark contributes to "Are You Hearing (What I hear?)" but it doesn't detract from the song too much.

On the B side, things open with the light pop melody of "You Can't Blame Louis" before the more substantial "Eyes Waterfalling (The Prodigy)". Both tracks tackle quite sombre subject matter but from different musical directions. "Shapeshifter" is an instrumental that verges on being considered album filler thanks to its proximity to the big single from the album "The Chinese Way". When I first saw Level 42 live in 1990 I'm pretty sure this tack was the encore and the audience gave it a rapturous reception. This is an immediate and catchy tune that would have played out well on the dance floor in 1982. 3/5

One record at a time: 240. Level 42 - The Early Tapes July/Aug 1980

I was a bit confused by this record when I was younger as I didn't really understand what it was. In more recent years I discovered that the songs on this album were recorded when the band were signed to their first record label Elite Records, but they were never released. 

When Level 42 later signed for major label Polydor in 1981 they decided to record new material for their debut and the Elite recordings were left on the shelf. Once the band achieved respectable album sales with Polydor, their new label decided to buy the master tapes from Elite and release them as "The Early Tapes".

I bought this copy of the record from eBay in 2021 from eBay and, whilst it isn't in the best condition, the music still shines through. "Sandstorm" is a typical Brit-funk instrumental that leans heavily on Wally Badarou's Prophet 5 synth work as it roams along. The band are clearly incredible musicians but the music isn't really very remarkable here. The next track is one of the band's earlies singles "Love Meeting Love". Whilst this is another well executed piece, it is a little nondescript and lacks the killer hooks the band would later deploy to such great success.

Songs like "Theme to Margaret" and "Autumn (Paradise Is Free)" aren't quite as polished as they could be and most of these compositions sounds a little under-developed. You have to remember this album was made well before the polished perfection of Sarm West studios and Julian Mendelsohn; this is Level 42 in the raw.

On the flip side, "(Flying on the) Wings of Love" is probably the most notable single released from the album. Whilst the version here is overly long at almost seven minutes, the Latin infused disco has its merits. For me Mike's vocal has always sounded too strained in the higher registers of the chorus and this spoils my enjoyment of the track. Even worse it to come with the jazz heavy instrumental "Woman" which sounds like the most awful elevator music. I really dislike this one. The final two tracks are reasonable efforts but, like the rest of the album, there's nothing that stands out. This is a highly competent recording, but I am not surprised the band decided to begin again for their debut. 2/5

One record at a time: 239. Level 42 - Level 42

I am more than happy to admit that my interest in Level 42 was sparked in 1987 by their appearance on the children's TV show "Saturday Morning Superstore". During this period the band were producing what was probably their most commercial material and were at the height of their mainstream popularity. 

But Level 42 have their roots in funk and jazz, so going back to their debut album was initially a bit of a shock for someone like me who was more accustomed to their pop material.

Having said that, the opening track "Turn It On" has immediate appeal with its funky percussion and cool melodies. Wally Badarou's synth work is also particularly brilliant here.

"43" is an instrumental brimming jazz tinged cadences, eighties slap bass and once again, the amazing percussion of Phil Gould. In anyone else's hands "Why are you leaving?" would have been a standard eighties ballad, but Mark's bass can't be contained and the song is elevated by the supreme execution of the band. "Almost There" runs at breakneck speed and offers us a close approximation of how good this band are when playing live. I've seen Level 42 play with various line ups over the years and have always been amazed by their musicianship and sheer skill.

The first track on the flip side is a Wally Badarou composition "Heathrow" which is a jazz inspired instrumental that grooves along quite nicely (and I don't like jazz). One of the highlights of this album is the brilliant single "Love Games" which has an amazing bassline that drives it on incessantly.

"Dune Tune" is another instrumental but this one doesn't grab me quite like "43" or even "Heathrow"; I don't know why but I don't warm to it much. The final track on the album is "Starchild" which is presented in its original form rather than the remix used for the single. Whilst this song undoubtedly has a groove and melody, I always find it a bit limp. I prefer Level 42 when they have a slightly harder edge - but this is a small point of preference. Have no doubt this album is very good and shows just how skilful this band are. 4/5

One record at a time: 238. Leftfield - Rhythm and Stealth

The 'difficult second album' was released three years after the seminal "Leftism" to big sales but little enthusiasm. Reading the Wikipedia article for "Rhythm and Stealth" you don't really get an indication of the rocky reception this record received, but there's no doubt it disappointed many (including me).

The group's debut album had landed in a musical wilderness, but by 1999 the Britpop fad had died and electronic music was re-emerging once again. This shift of power seemed to leave Leftfield a little behind and they struggled to keep up with some of their contemporaries.

Before the album was released, the initial signs were good as "Phat Planet" was used as the soundtrack to an advertisement that was on heavy rotation. This new material sounded innovative and I'm sure many people bought this album on the back of hearing just this song. Personally, I bought the album on CD on the day of release and ordered this vinyl copy when it was re-released in May 2023.

For me the best track on this record is opening track "Dusted" but some of its impact is lost as it drowns in a the sea of mediocrity that surrounds it. "The Chant of a poor man" is a confused and directionless mess that points to the struggles the band had in realising this record. "Double Flash" has nothing to distinguish it from the bedroom noodlings of any DAW user who thinks he's the next Calvin Harris and "Dub Dussett" is as vanilla as electronic music of the period gets. 

Things do improve a bit with the downtempo techno of "El Cid" and "6/8" war is worth four minutes of anybody's time - but I'm convinced the unfortunate "Africa Shox" only survived the cutting room floor because it features Afrika Bambaataa. 

As a listening experience, this album does not hang together well. All of the flair and inventiveness of the first record is only found in a few of the tracks and it feels like there is a lot of filler. Yes this record sold very well, but most of the people who took it home were left disappointed. 2/5

P.S. It has just occurred to me that I have been reviewing my vinyl collection for just over two years now. Thanks to those of you who keep popping in to read these. I always envisaged my ramblings might get people to either spin their own copies or seek out some new music on Spotify - so I hope at least a few of you have either discovered something new or been reminded of music you may have forgotten about.

One record at a time: 237. Leftfield - Leftfield

In 1994 the UK music scene was dominated by Oasis, Blur and manufactured "boy bands". In these dark days electronic music fans were sustained on a diet of Björk and trip hop that never really left us satisfied. The occasional release by Aphex Twin or Moby managed to stop us succumbing to the temptation of Scooter or Real McCoy, but it was a close run thing at times.

"Leftism" was delivered to hungry electronic music fans like manna from heaven in January 1995. I can't begin to tell you how wonderful this album sounded when compared to the guitar driven dirges and Barry Manilow covers that filled the airwaves back then. Whilst this album finds its origins in dance music, it draws on dub, reggae, downtempo and progressive house to generate a unique and mesmerising experience.

Here I am listening to the remastered special "22" edition from 2017 which replicates the original triple vinyl. Personally I prefer the CD version, but there is so much good music here I'm sure I won't be disappointed.

"Release the Pressure" is one of the most awesome and atmospheric introductions to an album that I have ever heard. Earl Sixteen's vocal soon gives way to dub flavoured techno that cranks up in a hedonistic frenzy. There are lush pads to underpin the swirling VC3 style effects and churning rhythms that make this as perfect a letfield/progressive/dancehall/techno crossover as you will ever hear.

The second track "Afro-Left"  fuses club beats with, what I always assumed to be a vocal by an African mystic called Djum Djum. Truth is that the vocals are simply improvised gibberish by a London based singer Neil Cole. Still, it's a great groove.

The flip side of the first LP delivers up "Cut For Life" which is an edit of the standout track "Song for Life". Most of the elements contained in the original version are here, but things have been shaken up and made a little firmer to satisfy the dance floor. It's a nice alternative take, but nowhere near as good as the version on the CD.

Next up is "Melt" which is a dreamy downtempo excursion set to a haunting mute trumpet and a sample lifted from The Art of Noise. This track offers irrefutable proof that Messrs Barnes and Daley could create supreme electronic music as well as beat driven dance tunes.

The beats return for the relatively short jaunt of "Black Flute" which ticks along nicely without outstaying its welcome. Toni Halliday of Curve provides the vocal for "Original" which plays a little too safe and panders to the trip hop trend started by Portishead, Tricky, Massive Attack and the rest. I bought the CD single of this back in the day but this was more out of loyalty than a love for the song.

Things get back on track with "Inspection (Check One)" which sees a welcome return of TR-909 hit hats and the dancehall vocals of Danny Red. "Space Shanty" sounds great coming from this vinyl and the bass drum kicks away in a relentless demonstration of the precise and punchy bass available from wax. So many synth effects and samples move in and out of this track you can't help but wonder at the creativity at play. 

In what seems like no time at all we have moved onto the third disc and its opening track "Storm 3000". If I had to pick a low point for this album it would probably be here but the breakbeats and dub basslines aren't to be sniffed at. The dub continues with "Half Past Dub" which is a short piece that patches together various samples and quirky synths with limited success.

The final side of the album sees the magnificent single "Open Up" laid out as a nine minute extravaganza of pulsating synths, driving beats and a vocal by John Lydon. I'm not a fan of the Sex Pistols, punk music or even rock, but I have to admit I am impressed by Lydon's contribution here. I used to think the bassline on this song sounded impressive from CD, but it sounds simply amazing from this record. Having whipped us up into a frenzy, Leftfield bring us back down with "21st Century Poem" and the poetic words of Lemn Sissay.

This album is a classic of the genre and its influence is as broad as it is deep. For me this is so much more than dance music, this is electronic ear candy that saved us from having to chose between Britpop or Culture Beat. 5/5

One record at a time: 236. LCD Soundsystem - Electric Lady Sessions

"Electric Lady Sessions" is a live session album from 2019. I wanted to say that I bought this record because it was cheap, but when I looked for the invoice I realised it wasn't cheap at all. Therefore my motivation for buying this album after the disappointment of their previous outing, "American Dream" is inexplicable.

Proceedings open with the first of three cover versions included on the album. Elsewhere on this blog I said, "Any song that centres on the assassination of President Kennedy has the potential to be pretty disastrous but "Seconds" is both respectful and entertaining." Whist this may be true of the original, I'm not convinced the LCD version is quite as successful. 

The second track is a grittier version of the title track from their previous album and, to me, it improves things. I'm not a fan of the song "You Wanted a Hit" so the protracted version included here is totally wasted on me. However, I am a massive fan of "Get Innocuous!" which drives along relentlessly in a wash of synths, frenetic drumming and vocal chants. This is clearly a band that have played together for a long time as no matter how intricate and syncopated things become, they all seem to remain locked to each other like machines. 

Next is a trio of songs taken from the "American Dream" album which are all pretty dull - with the exception of "I Used To" which is superior to the original album version. "Home" rattles along at a rapid pace and delivers all of your cowbell percussion dreams in the process. This track segues into a version of Chic's "I Want Your Love" in which Nancy delivers a respectable vocal.

The introduction alone is enough to put me off listening to "Emotional Haircut" but I brave it and survive. "Oh Baby" is the standout track from the proceeding album and the version here offers us a slightly different flavour of a great song. The first single from the album was a cover of  Heaven 17's "(We Don't Need This) Fascist Groove Thang" which is presented as a reverential and restrained reproduction of the original.

Whilst some of the versions recorded in these sessions are superior to the originals, there is an over reliance on material from "American Dream" which means this record doesn't hang together as well as it could have. The band are clearly highly talented and were operating as a well oiled machine by the time they went into the studio to record this, but I wanted to hear a greater spread of material. 2/5