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