Level 42 - World Machine - Good, But Probably Not Great (World Machine - Level 42)

Member Name: Hishyeness

Product:	World Machine - Level 42
Date:	06/06/09 (107 review reads)
Rating:

Advantages: Some outstanding songs and excellent musicianship

Disadvantages: Let down by one or two weaker tracks

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INTRODUCTION
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Last night, I finally fulfilled the lifelong and much delayed ambition of seeing Level 42 perform live - at the Hampton Court Music Festival. Sort of like "The Sun" newspaper, which many people seem to read, but no one will admit to buying, Level 42 are one of those bands that people secretly like, but will deny allegiance to with the same haste and insistence with which St Peter denied Christ.

I have never really understood this behaviour, as in my mind, Level 42 are one of the most "complete" bands I have ever had the pleasure of following. By "complete" I mean that they are excellent, innovative musicians and accomplished lyricists capable of putting together some fantastic songs.

There are several of their albums I could have reviewed, but I have chosen "World Machine" because it's the first one I bought, way back in 1985, when I was still in High School in New York. As such, many of the songs are associated, in my mind, with important people, places and occasions at the time, and come heavily dosed with a dollop of nostalgia.

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A BIT ABOUT THE BAND
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Mark King and the Gould brothers grew up together on the Isle of Wight. When Phil Gould went to London to study music in 1979, he met keyboard player Mike Lindup. King later moved to London as well, and the four lads started jamming together, eventually settling on the jazz-funk style that would define their early years together as band.

The line-up of the band has changed a number of times over the years, but for this album it was: (a) Mark King, who, as lead vocalist and bass guitar was (and is still) known as "thunder thumbs" for his thumb slap bass technique, which is the driving force behind many of the band's best-known songs; (b) Mike Lindup, on keyboards and backing vocals, whose falsetto harmonies nicely offset King's distinctive slightly grainy, slightly nasal delivery; (c) drummer Phil Gould; and (d) guitarist Rowland "Boon" Gould.

The band were ably assisted by a fifth "member", Wally Badarou - a keyboard player who never officially joined the band, but is considered by many fans as an integral part of Level 42, as he co-wrote lyrics, played keyboard in the studio and helped produce many of their albums.

The unusual name of the band derives from Douglas Adams' novel, "Hitchhikers Guide to the Galaxy", where the number 42 is revealed as the answer to "Life, the Universe and Everything".

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THE ALBUM - BASIC INFO
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World Machine, released on the Polydor label in the UK in September 1985, was Level 42's sixth studio album, and marked a significant shift from their original jazz-funk roots to more accessible, mainstream pop sound.

The two singles released from the album, the upbeat, sing along "Something About You" and the slow, meandering ballad "Leaving Me Now", both charted quite well (No. 6 and No. 15 on the UK Top 40 respectively) and, along with "Lessons with Love" and "Running in the Family" from the 1987 album of the same name, represented the zenith of the band's popular success.

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PACKAGING, PRICE & AVAILABILITY
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The CD comes with a simple four page booklet containing a detailed track listing, band and production credits. Except for a small picture of Wally Badarou, that's it - there are no lyrics, extensive thank you's or any other information, which is a bit of a disappointment.

The back cover of the jewel case repeats the track listing beneath a very eighties looking picture of the four main band members, dressed in what can only be described as a rather "bohemian" style. There are many things I love about the eighties, but fashion and hair are not amongst them.

The original release of album is getting a little hard to find from the usual major internet retailers, but used copies can be picked up on eBay for around a fiver. Polydor recently re-released a "Deluxe" edition of this album which is available from Amazon for around £10.

However, before the release of the Deluxe edition in 2007, the album had already been re-mastered and re-released in 2000 as part of a double pack with its predecessor - "True Colours" - which retails for around £12 - and is much better value. Not only do you get both albums, but there are a number extra tracks on both CD's.

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THE ALBUM - TRACKS
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1. Something About You (4:24)

This is the single that started my love affair with Level 42 and coincided with my first 'serious' teenage relationship with a girl called Kate - it was "our" song. Mark King leads on vocals, asking "Is it so wrong to be human after all?" Mike Lindup weighs in with the chorus, and there is a pretty cool guitar solo in the middle of the track. It's a good, catchy pop tune that has a tendency to stay in your head long after its finished. (7/10)

2. World Machine (5:14)

This eponymous track is a really funky little number, driven by Phil Gould's drums and with Mark King's bass playing technique very much in evidence. One of my favourites on the album. The vocals are understated - almost dominated by the music - but the whole thing works quite well. I love some of the lyrics "Some folks like to multiply from sunrise to sunset, to leave behind more of their kind so no one will forget..." (8/10)

3. Physical Presence (5:27)

This is a languid, somewhat meandering - almost lazy - track which stands out for its musicianship and rewards multiple listens. The lyrics are almost superfluous and not particularly memorable, but it's a brilliant chill-out song - full of complex musical arrangements and surprises - that kind of washes over you and doesn't demand your active involvement. (7/10)

4. Leaving Me Now (5:00)

Another of my all-time favourite songs by Level 42, this is given special meaning because it's the one I associate with my break-up with Kate - who two-timed me. It's a lyrical masterpiece, complemented perfectly by the plaintive, if slightly downbeat backing track. It tells of love, betrayal, heart break and regret: "It seems true love is so rare, seems all I've known is deceit. Your laughter fills the air, once more I'm sensing defeat... Gone with the hope your words have erased, gone with the smile you wiped from my face." There is a really evocative piano bit at the end which repeats until fadeout - heart achingly good. (9/10)

5. Hot Water (3:38)

Not a favourite on the album, but this was awesome live. Mike Lindup takes the lead vocals on this one. It's quite a funky track, full of pounding drum beats and lots of cool sound effects, but it has never really grown on me. The superb musicianship is let down by mediocre lyrics, and it never really comes together. One of the weakest tracks on the album. (6/10)

6. Its Not the Same For Us (4:36)

Mike Lindup takes the lead again, with the Gould brothers pitching in on backing vocals for a change. Mark King takes the chorus, so a pretty collaborative effort on vocals all round. It's a pleasant, lightweight track with a catchy little melody, but as with so much of the album, it meanders rather aimlessly for a while and then its over. The best parts are the musical interludes. (6/10)

7. Good Man in a Storm (4:36)

This is, without doubt, for me, the standout track. It tells the story of a man who finds himself under pressure to be the good man in a storm - someone dependable and reliable who is taken for granted by those who lean on him. A really funky beat, but rather than drums, its King's superlative bass playing that really powers this song.

It's a real pleasure to listen to. "When those around me fall in despair, I call upon my common sense 'cos someone has to care... I've played the part so many times it fits me like a glove... you always need me to be the good man in a storm..." There is an excellent sax solo chucked in there at the end for good measure. If anything, it's over far too quickly. (10/10)

8. The Chant Has Begun (5:19)

This is another track that leaves me cold. It has a repetitive almost tribal beat that promises much, but doesn't really deliver. in my view, it underlines the vocal limitations of Mark King's voice. He doesn't have much of a range, and as a result, his voice sounds strained on this track. It's another that is dominated by the musical arrangement, almost drowning out the vocals. Mike Lindup takes the chorus, and his much better voice - on this track at least - saves the song. (4/10)

9. Lying Still (5:39)

After the pounding beats of "The Chant" comes this slinky little number. I suppose it's a bit like coming in from the beach, having got sunburn, and putting on some soothing, cooling, after sun or aloe. It's a mature, thoughtful song that doesn't quite qualify as a ballad - more a quiet reflection really. It's a grower with an excellent melody, which perks up toward the end as the instruments and backing vocals kick in. I really like this one, and it's a nice way to finish the album. "The days go on, the nights are long, I remember her...still in my arms." (8/10)

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RELEASE NOTES
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The track listing and sequence above is for the US release of the album on Polydor's sister label - PolyGram. The main differences between the US and UK releases are: (a) the tracks are set out in a different order; (b) the US release has only nine tracks, as opposed to 10 on the UK version; and (c) the US version includes "Hot Water" which was originally released on Level 42's previous album - "True Colours", and omits the songs "Dream Crazy" and "Coup D'Etat",

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VERDICT
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As mentioned, for me, this album brings back lots of memories, so it's a little difficult to be completely objective. At the time, as a relatively unsophisticated teenager, I loved it to bits - but how does it stand up once the cobwebs of nostalgia are cleared away? On a scale of one to ten, I would give it a seven.

There are three or four standout tracks - particularly "World Machine", "Leaving Me Now", "Lying Still" and "Good Man in a Storm" (which is my favourite), a couple of crowd pleasers ("Something About You" and "Hot Water" spring to mind) but the rest of the album is a little let down some by the weaker tracks. It's a little bit like a finger buffet - with lots of little bits that are individually quite nice and interesting, but without a standout main dish to leave you fully sated. It meanders along without seemingly knowing where it is headed.

There seems no overall sense or purpose to it - no coherent overlying message. At the time, I didn't have the benefit of hearing their earlier work, which is markedly different and less commercial. Looking at this album in context today, it marks a sharp turn away from their back catalogue, taking a new and different (but not necessarily better) direction.

I'm not sure casual Level 42 fans at the time would have been pleased - it smelled of a sell out in an attempt to garner more widespread recognition. That said, I think "World Machine" has survived the test of time and has dated fairly well. Fortunately, the band members themselves seem to have aged just as gracefully judging by their smashing performance at Hampton Court last night.

© Hishyeness 2009 - previously published on ciao.co.uk under the same user name.

Summary: A very good, underrated album from the 80's that flirts with greatness...