3.
Level 42 – Level 42 (1981)
1. Turn It On (5:38)
2. "43" (7:03)
3. Why Are You Leaving (4:34)
4. Almost There (5:42)
5. Heathrow (4:43)
6. Love Games (7:26)
7. Dune Tune (4:50)
8. Starchild (6:52)
Introduction:
Better known for their 1985 funk-pop album megaseller
World Machine and as a key player in the jazz-funk/New Wave movement that swept through the early part of the decade, most people who at least know Level 42 by name are unaware that they started out as a jazz-fusion band themselves here on this self-titled, proving that instrumental chops could be quite danceable given the right context. Even though they’ve always been a bit too bright and shiny for some tastes, my favorite work of theirs is also the one most unlike what people hear from themm, for it was here and only here on this self-titled debut where the jazzier aspects of their playing overrode their pop-craft inclinations, closer in spirit to mid 70’s Herbie Hanc
ock or Return to Forever than, say, Duran Duran or The Cars.
So without gushing too much, the appeal of this album is manifold for me despite the occasional foray into 80's pop music they’d be infamous for later. At least on this once-upon-a-time release, the instruments and songwriting proves sharp where it needs to be and chill when the occasion calls for it as well, and rarely has that dynamic been played so cleanly and without pretense as here. Key moments show more spunk and bombast than anything the band would do later on in their career, driven by a snappy, improvisational flickering bass (courtesy of Mark King) and sparkly keyboards with propulsive drum rhythms to texture out the angular guitar. Edgier than most art-pop but lacking the complexity of earlier jazz-funk albums, Level 42 occupies a unique position in the timeline of an oft-disliked group who are unfairly relegated to “one hit wonder” status despite being the only group who ever merged jazz-funk and pop in a way that really stuck with people in a time where godawful smooth jazz was quickly displacing the likes of Miles Davis.
The Album:
1. Turn It On: Some quick horns and lazy bass n' keyboard lickings are the first thing that greets your ears here on this album's poppiest track. This is also the first time we hear Mark King and Mike Lindup alternate vocal duties. A fine start to a fine album!
2. "43": An instrumental track, but one of the best cuts on here by far. The bass alone will make you salivate, and the keyboard quirkily skirts around the beat in a clever way. Gels magnificiently and with plenty of memorability in its fading notes.
3. Why Are You Leaving?: Ballads are always hit or miss affairs, but this one hits thanks to the the presence of the awesome Dave Chambers on tenor sax and some particularly tasteful bass lines that sets the rest of the pace from the first minute out. Very 80's, but not in a bad way!
4. Almost There: The energy picks back up here, mixing the harder-edged bass stylings from "43" with some of the dancibility of "Turn It On" with a cool result. The keyboards get pretty spacious round the 3:40 for extra cool points. Basically, one of my favorite tracks overall when all is said and done.
5. Heathrow: Another instrumetal, this time based around a chugging bass and even thicker keyboards that grows more and more layered as the track piles forward, with surprise sax at the 2:34 mark. Thinking of making a ringtone out of this, lol!
6. Love Games: Semi-Eastern vibe in the keyboards elevate this funky little piece into coolness in places, though I have no idea how this became a single. Weakest track on the album by far though, and unfortuately hasn't aged as well as some of the other material here.
7. Dune Tune: The lowest point on the album is now followed by one of the highest! Droning synths with some real spacey sound effects are followed by bluesy guitar and some distant sounding flutesy keyboards. A chill bass and some congas of all things shape this track into something that sounds like an acoustic Ozric Tentacles cut, and its my second favorite track on the album. Pay attention to those grooves on the last minute especially!
8. Starchild: Tribal drums open up some real disco-sounding keyboards and some of the best vocals this side of Saturn, followed by some cool vocal breakdowns of sorts. You'd think this would all be pretty cheesy, but its strangely enough the strongest piece on the album overall, if for nothing else than the fact it manages to be complex, very funky and catchy all simultaneously. A fun closer through and through!
Conclusion:
Love it or hate it, its hard to argue against the fact that Level 42 had a very unique sound crafted back in 1981 before outside pressure would force them into more commercial territory, and its entirelly thanks to this debut that they're one of the few hook-heavy bands I've ever encountered who I've never felt guilty about liking. It's just one of those records I can't help but get wrapped up in!
Recommended to those who want to hear what a perfect synthesis of funk, jazz-fusion and pop-rock would be like in an era that was sorely lacking in all three genres quality wise, and for an outstanding listening experience in general.