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.