Tag Archives: level42
Conspiracy Theories Of 1980s Music
‘Conspiracy theories’: you can’t move for ’em these days, and things aren’t much different here at movingtheriver.com.
The 1980s: a decade when uncredited ‘guest’ performances were many, producers demanded rip-offs of other musicians (a popular drummer joke* of the 1980s, with many variations: how many drummers does it take to change a lightbulb? Ten. One to change the bulb, nine to talk about how Steve Gadd would have done it…), hits came with writs and things were never quite what they seemed.
So it’s not surprising that conspiracy theories flourished during the 1980s. Here are some good ones (swearing alert). Bullsh*t or not? YOU decide. (Maybe none are as famous as the ‘Paul Is Dead’ saga, but wtf…):
8. Kirsty MacColl sings backup vocals on Dire Straits’ ‘Walk Of Life’
Uncredited of course, but these pre-chorus stacks, first heard at 1:19, sound very much like the much-missed vocalist.
7. Donna Summer performed all of Irene Cara’s vocals
Come on, they are interchangeable. Apologies to anyone in Cara’s family or Cara herself but she sounds freakily like Summer on ‘Fame’ and ‘Flashdance (What A Feeling)’.
6. George Michael wrote ‘Round And Round’ for Jaki Graham
In exchange for what? The classic single is just so in George’s ballpark, of course helped by Derek Bramble’s sparkly state-of-1985 production (he gets the songwriting credit too).
5. Adrian Edmondson of ‘The Young Ones’/The Comic Strip/’Bottom’ fame made the spoof 1984 jazz/funk classic ‘F*cking C*unt/Awkward Bastard’
Rumours abound that it’s Ade, or a few members of The Damned. No one is quite sure and no one has ever owned up, but it’s still brilliant.
4. The Dukes Of Stratosphear’s ‘Brainiac’s Daughter’ is actually a Paul McCartney joint
No one has done ‘Happy Macca’ circa 1968 as well as the Dukes, AKA XTC. But was this ACTUALLY a lost Beatles track?
3. John Bonham stuck around long enough to drum on Survivor’s 1982 hit ‘Eye Of The Tiger’
It’s just sounds so much like the Led Zep sticksman, who died in 1980. It’s the feel, and the sound of his kick and snare drums.
2. Level 42’s Mark King played bass on David Bowie’s ‘Tumble And Twirl’
Actually this one is probably ‘true’. He doesn’t get a credit on the album liners but King himself mentioned (in this podcast) doing a few sessions at the Townhouse Studios in Shepherds Bush around spring 1984 with producer/engineer Hugh Padgham so it’s quite probable. In any case it’s certainly right in his ‘Lopsy Lu’/’Heathrow’ comfort zone, and brilliant slap playing.
1. Bob Carolgees played the famous sax melody on George Michael’s ‘Careless Whisper’(That’s enough ‘conspiracy theories’, Ed…)
*Here’s a bonus drummer joke, because I’ve just read and loved it: What does a drummer use for contraception? His/her personality.
‘Level 42: Every Album, Every Song’ US Release & The Reviews Are In
‘Level 42: Every Album, Every Song’ has been available in the UK since April and just been published in the USA, Europe, Australia and Japan.
The book has just been reprinted and is onto its second edition, so if you can’t find it in your favourite local bookstore, demand it! (Or check out the links below.)
Praise for ‘Level 42: Every Album, Every Song’:
“Phillips’ concise, forensic analyses opened my eyes and ears to new facets of the band’s music.”
George Cole, Jazzwise magazine
Jem Godfrey, *Frost/Joe Satriani keyboardist, songwriter and podcaster
“It’s excellent, it really is.”
Paul Waller, Level 42 expert and author of ‘Level 42: The Worldwide Visual Discography’
John Hannam, Isle Of Wight County Press
“To me, Level 42 are not the answer to the ultimate questions of life, yet Phillips’ engaging narrative certainly makes a strong case for it. It’s filled with knowledgeable wisdom, and he speaks his affection for the band brilliantly.”
Jan Buddenburg, DPRP
“This book is enhanced by contributions from both Mark King and Lindup whilst Phillips also provides a musician’s insight to the track by track breakdown. A worthy and welcome re-assessment. ****
David Randall, getreadytorock.uk
Thanks to Bass Player Magazine who ran an excerpt in their June 2021 edition:
Thanks to Level 42 mega-fan and friend of the band Julian Hall for his endorsement.
And I was interviewed by Giles Brown on Talk Radio Europe – listen here.
Get ‘Level 42: Every Album, Every Song’ here:
Matt Phillips will return in 2022 with the complete guide to the music of John McLaughlin.
Level 42 (Every Album, Every Song): the book
‘Level 42 – Every Album, Every Song (on track)’ is my first book and the first in-depth study of the band’s illustrious catalogue.
It features recording information, musical analysis, studio gossip, full credits, stories from the road and contributions from head honcho Mark King and previous members Gary Husband and Phil Gould. The book also places their output within the wider musical landscape of the 1980s and 1990s.
‘Level 42 – Every Album, Every Song’ is available via the links below:
(and soon to be available elsewhere – watch this space…)
Boon Gould (1955-2019)
Every group needs a Boon Gould.
The George Harrison of Level 42, intelligent, erudite but naturally shy, he came up with consistently memorable guitar parts and the occasional exciting solo, whilst never overshadowing his more naturally exuberant bandmates.
His guitar playing probably peaked in the original band’s middle years, and he also wrote the words to many of their biggest hits including ‘Lessons In Love’, ‘It’s Over’, ‘To Be With You Again’ and ‘Heaven In My Hands’.
So Boon contributed much to one of the great bands of the ’80s. When I heard of his sad death this week, I first thought of his raunchy Jeff Beck-meets-Bill Connors solos on their jazz/funk opuses ‘Foundation And Empire’ and ‘Return Of The Handsome Rugged Man’, but then remembered how much his rhythm guitar parts added to the band’s key mid-’80s tracks such as ‘Micro Kid’, ‘Out Of Sight, Out Of Mind’ and ‘The Chinese Way’.
Guitar-wise, his peak was probably the 1984 Level 42 album True Colours, playing some fantastic stuff on ‘A Floating Life’, ‘True Believers’, ‘Hot Water’ and ‘Chant Has Begun’. The former features his heaviest riffs in a Level shirt. He also contributed lyrics to Mark King’s solo album Influences around this time.
Boon was the most reluctant live performer in the band, often afflicted with stage fright and frequently laid low by the bad food and bad sleep that are part and parcel of regular touring.
He jumped ship in 1987, his drummer brother Phil following soon after, and also who knows what kinds of pressures were involved with their elder sibling John managing the band too.
After officially leaving Level 42, Boon kept in touch and provided lyrics for 1988’s Staring At The Sun. He recorded a solo album, 1995’s Tin Man, which showed off his decent singing voice, and also came out of live retirement to guest with the reformed band during a Bristol gig in 2012.
By all accounts, Boon was a great guy, a gentle, self-effacing soul who just happened to be an excellent guitarist and intelligent lyricist.
RIP to one of 1980s pop’s unsung heroes. There’s part of my childhood gone.
Rowland Charles ‘Boon’ Gould (4 March 1955 – 30th April 2019)
1980s Pop: The Worst Bits
We’ve looked at some of the great bits before, but what about the worst bits of ’80s pop, those moments that have you screaming at the radio?
Those randomly-generated solos, irritating choruses, ill-advised technological experiments or disastrous vocal sojourns?
Sometimes crap bits can ruin a perfectly decent song. But whose fault are they? You can often feel the band ‘spokesperson’ putting his oar in, going against the journeyman producer who probably wanted to get some session players in anyway.
And are there recurring themes? The dodgy sax solo is an ’80s staple. There are definitely repeat offenders (hello Midge). And maybe there are types of music that lend themselves to crap bits too (soft rock, mid-’80s techno-pop).
So roll up, roll up! Join us for the worst bits of 1980s pop…
15. Herb Alpert’s trumpet solo on Janet Jackson’s ‘Someday Is Tonight’
Searching for some Miles-style, brooding sexiness, label boss Herb luxuriates in Jam and Lewis’s delicious soundworld for a few seconds, picks up his trumpet and…
14. The chorus of Level 42’s ‘Running In The Family’
The most anodyne single of their glittering career, not helped by some creepy lyrics and a yukky, somewhat out-of-tune chorus.
13. The sax solo on Aztec Camera’s ‘Somewhere In My Heart’
12. The ‘false ending’ to T’Pau’s ‘China In Your Hand’
11. Lisa Stansfield’s spoken-word intro to ‘All Around The World’
Pass the sick bag. Yes, the song is an unashamed ‘tribute’ to Bazza White’s eroto-soul, but Lisa probably should have parked the sexy-as-a-dentist-chair, American-accented spoken-word opening of this UK number one (she should have done it in her Rochdale accent… – Ed.).
10. The guitar solo on Philip Bailey/Phil Collins’ ‘Easy Lover’
It’s crying out for some widdly Van Halen-inspired techno flash, but unfortunately Daryl Steurmer can only manage a tepid, weirdly unmemorable pass…
9. The sax solo on Spandau Ballet’s ‘True’
A classic ’80s single, almost ruined by Steve Norman’s dire feature. He sounds like a kid who’s just been given an alto sax for Christmas.
8. Steve Hogarth’s piano solo on The The’s ‘Heartland’
Much beloved in some circles but always sounds a bit tentative and formless to these ears.
7. The chorus of Duran Duran’s ‘Wild Boys’
6. The sampled vocal bits in Kylie Minogue’s ‘I Should Be So Lucky’
A horrible song from top to tail, but the keyboard ‘solo’ puts the tin lid on it. See also Rick Astley’s ‘Never Gonna Give You Up’ and Mel & Kim’s ‘Respectable’.
5. Gazza’s rapping on ‘Fog On The Tyne (Revisited)’
4. Billy Joel’s ‘We Didn’t Start The Fire’
Just the whole song. Period.
3. The chorus of Ultravox’s ‘Dancing With Tears In My Eyes’
If you look up ‘bombastic’ in the dictionary, you’ll see a little thumbnail of Midge.
2. The chorus of Midge Ure’s ‘If I Was’
1. The spoken bits on Michael Jackson’s ‘The Girl Is Mine’
This one divides opinion. Macca and Jacko’s little tete-a-tete has been the cause of much merriment, but it somehow fits the song. Still rubbish though…
Gig Review: Level 42 @ Love Supreme Festival, 30th June 2018
What’s it like seeing ‘your’ band play at a big festival, when only a small proportion of the crowd are fans and most would rather have a chin-wag and quaff cider than listen to the music?
Will your band win them over, or at least give a good account of themselves?
It was an interesting experience watching Level 42 under those circumstances last weekend. The Love Supreme Festival was celebrating its fifth birthday, no mean feat for an outdoor ‘jazz’ festival, thriving in a niche marketplace by focusing on the improvising musicians of tomorrow, established genre names and crossover artists whose presence no doubt raises some eyebrows (the other main-stage headliners this year were Earth Wind & Fire, George Clinton and Elvis Costello).
A big festival gig should, on the face of it, be a doddle for a band with as many hits and as much musical credibility as Mark King and his muckers – you knock off a lean, mean hour and get the crowd saying: ‘I’d forgotten about this one!’.
But they did it the hard way this time, kicking off with nobody’s favourite Level 42 song ‘Heaven In My Hands’ then segueing speedily into ‘Dream Crazy’, ‘To Be With You Again’ and ‘It’s Over’.
A superb ‘Children Say’, complete with a reference to Coltrane’s ‘A Love Supreme’, got things back on track musically but also seemed lost on the crowd.
King was unsettled. Had he blown it? No. He soldiered on, making some cracks about the World Cup and the Alan Shearer lookalike on trumpet, before ‘Running In The Family’ prompted an outbreak of interpretative dancing from the Brighton teenagers.
Secret weapon Mike Lindup sounded in superb voice during ‘Lessons In Love’, ‘Something About You’ and ‘Hot Water’, but, predictably, it was the classic jazz/funk/fusion-era material that gained most traction: ‘Starchild’, ‘Love Games’ and a never-groovier ‘Sun Goes Down (Living It Up)’.
Suddenly the crowd and gig came to life. There could have been much more in that vein. Where was ‘Almost There’, ‘Micro Kid’, ‘Turn It On’, ‘The Chinese Way’, even ’43’, ‘Mr Pink’ or ‘Heathrow’?
But when the material was right, the band sounded superb. King’s voice may be past its best but his bass skills have reached new heights. The slapping sometimes lacked precision but his fingerstyle playing goes from strength to strength. He embellished ‘Children Say’, ‘Starchild’ and ‘Sun Goes Down’ with some outstanding modal moves. There’s life in the Isle Of Wight lad yet.