Search - Level 42 :: Pursuit of Accidents / Standing in the Light

Double disc by Brit super- group packs a potent punch

cssuperstar2003 | Wilmington, NC USA | 01/22/2004

(5 out of 5 stars)

"By C.S.Before Level 42 achieved North American chart success from 1985 to late 1988 with the release of "World Machine" and "Running In The Family respectively, the four piece band had unleashed a lethal attack of top notch material on their first five LP's.
Two of those are packaged here; "The Pursuit of Accidents" (1982)and "Standing In The Light" (1983).
Both albums re- mastered with a bonus of containing extra tracks are a power packed tandem of bass plucking, synth ladened tour de force records that incorporate a tremendous barometer of their talent and ability to syncopate each others ideas in a fashion many bands in this day and age would envy.
Produced primarily by Mike Vernon with an assisting help from Nick Launay,who helped satrt the sessions for the record, "The Pursuit Of Accidents" is a pressure cooker of smooth, quick, and funky drumming from Phil Gould as evidenced on the title track. He combines his efforts with those of bassist Mark King, who continues to set the pace with his funk- fusion style of playing using high pitched plucking as well as warm and punchy methods of attack as Mike Lindup stretches the sound with long drawn out synth riffs and innovative high- class effects - fueled in part from the use of the Prophet 8 in addition to many other electronic weapons of mass destruction.
The continuation of the jazz fusion element is continued on "Shapeshifter", a gorgeous instrumental that begins with a Lindup intro that starts quietly and builds up a head of steam that sets the rest of the band. Like the aformentioned track Level 42 go on a rampage of interesting tempo changes that exploit each members talent to improvise and do solos- hence guitarist Boon Gould's falmingo style effort in mid- stream that that serves as both a surprise and a major hi-lites within the song.
Their uncanny ability to raise the stakes higher in terms of speed are showcased on "Eyes Waterfalling" where the buildup from quiet to on the rampagingly loud is again employed. King then goes into overdrive with a furiously paced bass riff that leads the tune in harmony with Lindup's keys that mirror King's sound of being bass oriented in tonation
"Weave Your Spell" plays the role of Level 42 going pop wth Lindup scaling down his synth playing and primarily playing the classic piano. Though far from being the most compelling track on this record,it passes the grade as a listenable piece of work.
Their forays into accessibility mixed with Level 42 punch is better showcased with Gould's penetrating guitar work on "Last Chance",a tune where King and Lindup share the vocal duties. The remix version of the song,which is one of the four (4) bonus tracks,is builds on Lindup's exquisite feel for sound and feeds off his hard riffs and is a potent supplement to the original song- list. Then there's "Are You Hearing" (What I Hear?)where King unleashes the fretless bass which encompasses a wider sound and couples itself with an infectious melody and wonderful bits of harmonizing by the group that mesh well with the smooth pace and ambient backdrop created by Lindup.
"The Chinese Way",a track that was released as a single, is in all totality, a filler track versus the strength of the "Pursuits" most interesting creations. Another one of those, which is part of the bonus package,is the funk- filled gem known as "The Return Of The Handsome Rugged Man". Filled with heavy drumming by Phil Gould, hard, fast,and furious bass playing by King and equally abrasive synth work by Lindup and well timed rhythm guitar tactics used by the elder Gould brother, make many wonder why this track failed to make the first cut when the album was intially released. It helps to confirm and bolster the strength of an album that arguably captured Level 42 at the height of their powers creatively. The energy levels (no pun intended ) make "The Pursuit Of Acidents a strong four to five star outing.
'Standing In The Light" marks a shift in tactics for Level 42. Recorded with Earth, Wind, And Fire members Larry Dunn and bassist Verdine White, the group decide to synthesize their approach into more of a pop / radio friendly package of songs.
Though the drumming of Gould is subdued compared to their previous records and borders on sounding programmed until you actual hear Gould crash the cymbals on many of the tracks,the
playing is very precise and methodical.AND where the drum fiLls are somewhat predictable, Mike Lindup's signature synth and keyboard work is written in bold writing for everyone to hear on this collection of songs.
It manifests itself beautifully on "Living It Up" (The Sun Goes Down) where his efforts clash pefectly with King's rolling bass line. There's a bright feel to the track and the remix elaborates further and each are solid works. Then there's the futuristic synth thats swoops in like an eagle in on "Out Of Sight,Out Of Mind" a mid- tempo blend of funk attached to a sentimental story that the band articulate well with a powerful harmony based bridges hard keyboard riffs and an increased role on guitars by Boon, who's flamingo style rhythm playing slots in well and is exemplified further on the demo version of the song where he plays an extended solo that arguably serves the song's ending better than the polished final cut.
Like it's predecessor, the title track also has a remix version attached to it and King's heavy bass is the trigger on each and though it sounds highly programmed, Gould's drum fill serves as a perfect match .
The band once again go back to their bread and butter with another well structured instrumental " A Pharaohs Dream". Lindup is the lead here and he creates a spaceship like atmosphere with an array of signal sounds and wispy effects.
The Marimba and milk bottles come into the grand scheme of things and as odd as it may appear on the surface,it works in a powerful manner as the solo lead on the gut -wretching "I Want Eyes",a tune that crawls in the early stages and peaks at a mid- tempo pace,accentuated by King playing tricks with his Fretless bass, and stopping the listener in his/ her tracks with a social angle lyrically - "it's raining hard but I can't sleep - peace of mind is hard to keep - I saw it on the news today a thousand lives just blown away- I want eyes".
"People" rounds out the cast of songs that play a huge role in "Standing In The Light" being a near masterpiece with Lindup taking the lead vocally and putting in his two cents worth socially -"why cant people just be people? amidst his the army of electronic tricks.
Strategically King is less precussive,and his slap bass oriented technique that was a frequently used weapon on Level 42's earlier efforts,are heavily scaled down to occassional use on this group of songs. Coupled with the fact that " Dance On Heavy Weather" and "The Machine Stops" are excess exercises in funk futility that fall significantly short in capturing the synth funk- fusion vibe that is Level 42's primary weapon that worked much more efficiently on the aformentioned tracks,keep "Standing" from being a perfect five star record by a the narrowest of margins.
Individually "The Pursuit of Accidents" and "Standing In The Light" are fantastic records that showcase Level 42's talents in in a devastating manner. By marrying both albums together as a package creates an overall effect that help give this double disc a five star rating.C.S.
1-22-04"

Get These While You Can!

jjjingleheimer | Rochester, NY USA | 03/20/2001

(5 out of 5 stars)

"Two of L42's best albums on one disc with excellent bonus tracks. Don't hesitate if you're considering obtaining these. Unfortunately, L42 was underappreciated for their musical diversity during the height of their popularity. Even more sadly, virtually forgotten by those only familiar with their 80s hits. But these guys were so much more. These are outstanding recordings. These albums lean toward the band's early jazz/funk tendencies. Must have for any L42 fan!"

So uncool, it's cool again!

Fingerbar Fiddleston | Underground | 09/24/2001

(5 out of 5 stars)

"The merest mention of their name in any conversation is enough to brand you a musical leper. Mind you - that's why I like them. These 2 albums were recorded in the period before the band decided that they would become an all-out pop band and forfeit all traces of musical credibility in a semi-successful bid to crack the charts. This means that there's more slap bass / supa-tite drumming / multi-lyered synth and slightly camp high-pitch backing vocals than you can shake a semi-active Westone Thunder 2 at without breaking all of the strings.
The lyrics were probably written on the back of a matchstick but are all the better for it. References to ancient Egypt and HG Wells fail to convince the listener that there was much scholarship at work here and the song 'I Want Eyes' is plain baffling.
Still, with certain friends, in dark corners of late night smoke filled rooms, where the music is loud enough to cover up any loose utterances of words such as 'paradiddle' or 'franticthumbsmanship' - this band, and these albums - are revered.
Buy, listen, and then keep the CD in an old Velvet Underground case - you never know who might see."