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

Level 42 live. Never to be missed.

The last time I saw the Level 42 perform was during their ‘Greatest Hits’ tour of 2002. The only disappointment of this tour was that founding member and keyboard virtuoso Mike Lindup was absent. His return in 2006 meant that I simply had to see them during their 2008 UK tour.

On the 15th of October the band were playing the newly refurbished Sheffield City Hall. My only visit to this venue had been in 2000 and it was a distinctly underwhelming experience. However, the new oval hall is much improved. It was a pity that the stewards would not allow either dancing or photographs. Luckily, the majority of the audience broke with these conventions with encouragement from the band.

The concert itself was brilliant. Seeing Level 42 perform live is an essential part of following the band, as their musicianship is simply stunning. I will never tire of seeing Mark King’s inimitable bass playing. You watch his right thumb for an hour and a half solid. Seriously.

However this would be something of a waste as the energetic Gary Husband (drums) and genius of Mike Lindup (keyboards) are equally mesmerising. Rather than rattle through their ‘Greatest Hits’ the band chose to acknowledge that they represent more than their 80’s chart success and presented some of their best album tracks, extended instrumentals and tracks chosen by fans via their website. Some of those less familiar with these ‘obscure’ selections could be seen sitting down and ruminating over the extended instrumentals ‘Man’ and ‘The Pursuit of Accidents’ only to be brought to their feet to sing ‘Running In The Family’. Yet everyone seemed to enjoy and appreciate what they heard whether it be chart hit or not. When experts like Level 42 perform music, an audience will respond to the pure skill and dedication on show regardless of their familiarity with the material.

At the end of the show the band did not simply walk off but spent some time at the front of the stage shaking hands and chatting with their dedicated fans. A nice touch sincerely meant. I know it was sincere because I was lucky enough to meet Mark King and his brother Nathan (guitars) outside the venue afterwards.

One of the greatest live bands in the world. Even if you are not overly familiar with their work you should never pass up the opportunity of seeing them in the flesh. It’s a wonderful, life affirming experience.

Sell me it again Sam

Having recently purchased the ‘remastered’ versions of Blancmange’s three albums and with New Order’s ‘collectors’ editions in the post, I have begun to consider why I’m buying music I already own. 

In recent years, I have purchased numerous ‘remastered’ CD’s including the entire back catalogue of Depeche Mode, Eurythmics, Pet Shop Boys and Yello, along with various reissued versions of albums by Front 242, Level 42, Orchestral Manoeuvres in the Dark and Gary Numan. These are the CD’s that immediately come to mind, I am sure if I thought further there would be many more. The amount of money I have spent is quite staggering and yet I already own much of the music I am buying; I am being sold the same thing twice. So why am I a sucker for reissued albums and singles? 

Well firstly, there is the lure of previously unreleased material or remixes that are otherwise difficult to acquire. Secondly, these CD’s boast that they offer considerably enhanced audio quality. We are also enticed by new or improved artwork, which provides a feeling of luxury or elitism. 

Yet the reality is not always the experience we are promised. On purchasing a new ‘remastered’ CD, I often find myself immediately jumping to the bonus tracks. Often it becomes apparent why this ‘unreleased’ material was not made available originally: its crap. I have even come across CD’s where the master tape is obviously missing and thus a recording has been made from a vinyl source. Hardly the high fidelity experience you are enticed with. 

Similarly, 99% of reissued CD’s seem to have been created by people unfamiliar with the artists work or just plain incompetent. Often you will find that tracks have substituted for their ‘single mix’ or an uncredited alternate version with absolutely no explanation. Remixes are often labelled incorrectly, glaring omissions are made or the running order has been altered. Not one of the reissued CD’s I have purchased have been immune from one, or more of these mistakes. So record companies take note: if you want people to buy even more of the music they already own, get someone competent to compile it.