Level 42 - On The Level

Driven by commercial interests, ie. their label, the mid 80s saw Level 42 make the conscious decision to shift to a more accessible pop-soul style of music, with King providing vocals on nearly all tracks, putting them in league with the likes of Deacon Blue, China Crisis, Hipsway, Style Council, and Swing Out Sister (see previous posts).  The movement became a dominant presence on British charts throughout the mid to late 80s.  However, Level 42 retained the added dimension of mild fusion funk, and jazz-rock to the mix, giving them a stylistic depth that critics (and fans alike) approved of.

In late ‘85, Level 42 released their fifth studio album, ‘World Machine’, upon the world.  The lead out single was the radio friendly, ‘Something About You’ (UK#6/US#7), which finally broke Level 42 in a major way Stateside.  The track was indicative of the style and sound across the album’s nine tracks.  Mark King was in fine vocal form, whilst Mike Lindup comes more to the fore with his falsetto vocal harmonies.  The follow up single, the soulful, slow tempo ‘Leaving Me Now’ (UK#15/OZ#98), further revved up the appeal of ‘World Machine’, pushing it to #3 in Britain (US#18), where it stayed for 72 weeks, eventually notching up double platinum status.  And it wasn’t just the public that fell hook, line, and sinker for the stylish new model Level 42.  Mark Sinker wrote in the N.M.E. in November of ‘85 - Level 42’s sound is like a “Brit-trot-punk band with glossy panther sheen, rippling hammer blow psycho motion, and pellucid colourwax drawl”.  I couldn’t have said it better myself, in fact I didn’t say it at all.

In early ‘86, Level 42 released the new single, ‘Lessons In Love’ (UK#3/ US#12/ OZ#65), almost a year ahead of it’s source album - my guess is they were trying to maintain the momentum established by ‘World Machine’.  Co-written by King, Badarou, and Phil Gould, ‘Lessons In Love’, was a pristinely polished piece of soul-pop, with exquisite instrumental craft, and smooth vocal harmonies.  Eventually the source album arrived in early ‘87, in the form of ‘Running In The Family’ (UK#2/ US#23/OZ#35), another double platinum disc to add to its predecessor.  The title track, ‘Running In The Family’ (UK#6/ OZ#43/US#83), consolidated Level 42’s position in the upper reaches of the charts.  It was the first Level 42 single I purchased on vinyl 45.  The soulful ‘To Be With You Again’ (UK#10) followed mid year, as did a stint as opening act on Madonna’s summer tour, before the band headlined their own arena tour, confirming their arrival as a major league pop-rock act.

The slow tempo ballad ‘It’s Over’ (UK#10) delivered Level 42 their fourth consecutive UK Top 10 single.  The soul tinged ‘Children Say’ (UK#22) was the fifth and final of nine album tracks to chart from the ‘Running In The Family’ album.  It was a prosperous period for Level 42, with the group being voted best British group three years running by Blues & Soul magazine.  Mark King was also in high demand during this period, working in studio with the likes of Nik Kershaw, Midge Ure (see previous posts), and Robert Palmer (see future post).  But the band was struck a double blow late in 1987, when both Gould brothers did a ‘running in the family’ and left the band.  It upset the balance of the band and in time would prove the undoing of the magical commercial formula they had attained over the ‘World Music’/‘Running In The Family’ phase of their career.  Guitarist Alan Murphy, and drummer Gary Husband were recruited to fill the vacancies.

The Gould-less Level 42 re-emerged in September of ‘88 with the album ‘Staring At The Sun’ (UK#2/ OZ#86/US#128), complimented by the lead out single ‘Heaven In My Hands’ (UK#12).  The rock infused soul of the track opened the album’s proceedings, but was a highlight among few from the ten tracks on offer.  The follow up single, ‘Take A Look’ (UK#32) was singularly uninspiring, though the funk laced ‘Tracie’ (UK#25) pepped up proceedings nicely.  I purchased both ‘Heaven In My Hands’ and ‘Tracie’ on vinyl 45 (the latter featuring photography by Linda McCartney on the cover art).  Overall, ‘Staring At The Sun’ had a few too many blind spots to be considered in the same league as its predecessors.

The band suffered a further set back in 1989 with the death of guitarist Alan Murphy, and didn’t release any new material save a greatest hits album ‘Level Best’ (UK#5), which contained one new track in the form of ‘Take Care Of Yourself’ (UK#39).  The best of package was the last on Polydor before the label dropped Level 42 from its playing roster.

Level 42 took some time out over 1990 and into ‘91, before recruiting new guitarist Alan Holdsworth, a renowned fusion guitarist, to the fold.  The new quartet signed with RCA and committed to recording a new album over the summer of ‘91, not to be confused with the summer of ‘69, which is a Bryan Adams song and belongs in an entirely different post.  ‘Guaranteed’ (UK#3) kept up the band’s streak of UK top 5 albums (now at 5), but the best single related stat it could manage was with the title track (UK#17).  Flashes of the verve and vibrancy of earlier efforts surfaced in patches throughout the album, including the up-beat single ‘Overtime’ (UK#62), and the horn driven funkification of ‘Her Big Day’.  The third single, ‘My Father’s Shoes’ (UK#55), didn’t have as much soul as other tracks, even venturing into a country-esque feel.  Whilst the album recaptured splinters of soulfulness, it was an inconsistent offering overall.

A three year wait elapsed before the release of Level 42’s 1994 album, ‘Forever Now’ (UK#8).  The album marked the return of drummer Phil Gould to the fold, and also marked a resurgence in creative form for the band.  The lead out single was the title track, ‘Forever Now’ (UK#19), evoking the likes of Kool & the Gang, and Earth, Wind & Fire with it’s bold and brassy sound.  Two more of the album’s fifteen tracks found a reception inside the U.K. top 40 - ‘All Over You’ (UK#26), and the sleek ‘Love In A Peaceful World’ (UK#31).

Despite a return to creative form on ‘Forever Now’, Level 42 all but disappeared from view over the next ten years, save for some occasional tour dates, of which Mark King was the only constant member.  In 2006, the band resurfaced, featuring Mark King, Mike Lindup, with contributions from the Gould brothers on the album ‘Retroglide’.  There were one or two highlights harking back to the band’s glory days, but overall it lacked the funk-based edge of the band’s original sound, and offered more forgettable than memorable moments.

In 2010, Level 42 celebrated its 30th anniversary with a tour, and a four disc box set titled ‘Living It Up’, which featured a disc of newly recorded acoustic versions of Level 42 hits, by King and Lindup.

Level 42 - Levelling Up

 During 1987 and 1988, my vinyl 45s purchasing reached its peak.  It’s hard to estimate just how many singles I bought, but it would have been between 200-300.  One of those singles was ‘Running In The Family’ by Manchester quartet Level 42 (it wasn’t the last Level 42 45 I picked up).  I fell in love with the song, and not long after I bought my first CD player, I purchased a copy of the source album, ‘Running In The Family’.  To be more specific, I purchased the ‘Platinum Edition’ of the album, which featured several Shep Pettibone remixes.  It remains to this day one of my favourite albums to throw on and listen to from start to finish (maybe with a few repeat tracks thrown in).

During the 70s, Mark King (bass) became friends with the Gould brothers, Boon (guitar), and Phil (drums), when they were living on the Isle of Wight.  King had played the drums in other bands, but when the trio decided to start a band of their own, it was Phil Gould who won out in the battle of the drummers stakes.  With opportunities limited at home, the trio opted to move to the big smoke, Manchester, during 1978.  They soon after hooked up with keyboardist Mike Lindup to complete their line-up.

The quartet soon became regulars on the London funk and jazz-rock fusion scene (influenced heavily by the likes of Stanley Clarke, Average White Band, and Herbie Hancock), aligning themselves with the likes of Atmosfear and Incognito.  Level 42 played mostly instrumentals during their early days, with Mark King handling any vocal requirements.  King also developed his distinctive thumb slapping bass style during these formative years (in time he would be voted the best bassist in the world by Blues & Soul magazine), which would provide a signature dynamic to the Level 42 sound.

Level 42 were signed to Andy Sojka’s independent Elite label in early 1980.  Over the summer they laid down 8 tracks in all that would comprise their debut album, ‘Strategy’ (later released in 1982 by Polydor as ‘The Early Tapes July-August 1980’ - UK#46).  It’s important to note that a fifth musician, keyboardist Wally Badarou (the unofficial fifth member), contributed significantly to the debut album as well as subsequent albums (he would co-write a number of the band’s hits).  The two singles lifted from the album were well received on the London dance club scene, and made a mild splash in the mainstream charts; ‘Love Meeting Love’ (UK#61) and ‘Wings Of Love’.  Five of the eight tracks were instrumentals, allowing the quartet to show off their considerable instrument craft.

Having shown considerable commercial potential, Level 42 were snapped up by the Polydor label in early ‘81.  The band hit the studios to lay down another eight tracks, this time to be released as their self-titled sophomore effort (UK#20).  The album was a mix of slick soul and R&B, produced once more by Andy Sojka, and realised three minor hit singles; ‘Love Games’ (UK#38), ‘Turn It On’ (UK#57), and ‘Starchild’ (UK#47).

In early ‘82, Level 42 began an extended run playing at London’s famous Barracuda Club, further solidifying their reputation with a legion of fans.  By mid ‘82, the band had recorded their third album, ‘The Pursuit Of Accidents’ (UK#17), which by no accident yielded three more top fifty hits; ‘Are You Hearing (What I Hear)?’ (UK#49), ‘Weave Your Spell’ (UK#43), and ‘The Chinese Way’ (UK#24), keeping the Level 42 brand in the British charts into 1983.  The writing stakes for Level 42 were evenly shared between members, though King was a stronger contributor overall.  It’s also worth noting that all but one of the ten tracks clocked in at over five minutes, so at this stage Level 42 were not geared toward being a ‘singles’ band.

For 1983’s album, ‘Standing In The Light’ (UK#9), Level 42 signalled a shift in style and substance that would lay down the early plans for future chart domination.  Of the nine tracks, all but one stopped the clock at under five minutes, much more palatable for commercial radio to air, and all of the tracks featured vocals.  They were clearly positioning themselves for greater commercial accessibility.  Produced by Larry Dunn and Verdine White (of Earth, Wind and Fire - see future post), it spawned three more British hits, including their first foray into the top ten; ‘Out Of Sight Out Of Mind’ (UK#41), ‘The Sun Goes Down (Living It Up)’ (UK#10 - very Earth, Wind and Fire come Kool & the Gang, and worth noting King and Lindup shared lead vocals), and ‘Micro-Kid’ (UK#37).

In the summer of ‘84, Mark King released a solo album titled ‘Influences’ (UK#77), but immediately following that returned to the Level 42 fold to work on the band’s fifth studio set.  The lead out single, ‘Hot Water’ (UK#18) received a warm round of applause from record buyers, whilst the follow up ‘The Chant Has Begun’ let itself be heard at UK#41.  The source album, ‘True Colours’ (UK#14), didn’t quite come up to the level of its predecessor, but Level 42 were displaying a consistent standard of quality and commercial appeal on their product.

They band were also one of the top live drawcards on the London club scene, captured in the summer ‘85 album release ‘A Physical Presence’ (UK#28), an album of live recordings from UK club dates.

Level 42 had steadily built a momentum toward mainstream appeal, but as yet hadn’t broken through in a major way.  Their next album release would change all that.