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