Stewart Copeland, Mark King & Adrian Belew Hook Up

copeland bandKing Crimson, The Police, Level 42: three of the greatest bands of the 1980s, loved by musicians and non-musicians alike. But, on the face of it, you might be hard-pressed to come up with too many common musical traits between them (barring the fact that both Sting and Level 42’s Mark King are bass/vocal double threats).

king and belew

That’s what makes the news of an Adrian Belew (Crimson vocalist/guitarist), Stewart Copeland (Police drummer) and King collaboration so exciting.

What’s also exciting is that in these days of ‘distance’ recording, where musicians regularly email each other sound files for embellishment, never needing to be in the same room, the guys are actually in a studio together.

Copeland of course has had a long, fruitful relationship with bassist Stanley Clarke, who happens to be Mark King’s musical hero, so that makes some sense. But Belew is the real curveball (as he usually is – in the best possible way, of course!).

Adrian has kept followers up to date with the project’s conception and recording progress over on his Facebook page:

‘A bit of information about what we’re doing here in Milan. Gizmo is a recording project created by Stewart Copeland and Vittorio Cosma, keyboard player of Elio e le Storie Tese. (You may remember Elio is the band I played a Bowie tribute with on Italian television back in February).

It is their songs and music. They asked me a while back to contribute guitar and maybe some vocals. recently they asked Mark King to join in on bass and vocals as well. It is not a “supergroup” and there are no plans beyond making this record.

I’m enjoying it very much. Great music and great people making music in beautiful Italy. What’s not to like? We have done three of Stewart’s songs so far and they sound awesome. I must admit Stewart’s songs are custom-made for my guitar playing in the same way as Talking Heads songs were. Full of nooks and crannies ready to be filled with tasty sonic treats, and always a reserved parking spot for a blistering guitar solo from outer space. And it certainly is gratifying when you finish said solos to have everyone in the control room stand up in a rush of applause!’

We look forward to hearing a lot more from this project.

How Not To Follow Up A Hit Album #3: Level 42’s Staring At The Sun

level Polydor Records, released September 1988

Bought: Our Price, Leadenhall Street? 1988

4/10

‘Breaking America’ was the goal of many a 1980s Brit pop band. For some, like Culture Club, Tears For Fears or Scritti Politti, it was somewhat of a doddle, the result of a breakout hit single, great video, great image or combination of all three. But for others, it was a pretty nebulous, elusive concept.

Level 42 had made a great start (albeit five years into their career) when their 1985 single ‘Something About You’ breezed into the US top 20 and they found themselves touring with Madonna and Tina Turner as well as playing umpteen one-nighters. But their hard work seemed to be producing diminishing returns in terms of US chart action, even while they continued to take Europe by storm.

The departure of drummer Phil Gould from the band at the beginning of 1988 was not exactly a surprise to Mark King, Mike Lindup and manager Paul Crockford; Gary Husband, his eventual replacement, had been waiting in the wings at the first sign of discord during late 1986, but wasn’t officially announced as a new member until early 1988. The departure of Phil’s guitarist brother Boon was more unexpected.

But this clearing of ‘old wood’ was the chance to really make a concerted effort to court the US market and deliver a Stateside album hit. ‘87’s Running In The Family had been a massive success and proved they could mix it with Europe’s best. Staring At The Sun was the opportunity for Level 42 to do a Sting, Chris Rea or Bryan Adams. But it didn’t quite go to plan…

The album was recorded during spring 1988 in the beautiful Provencal environs of Miraval in France. ‘Fifth member’ Wally Badarou co-produced with King alongside Julian Mendelsohn, the engineer on World Machine. In the absence of Boon Gould (though he did write lyrics to almost all the tracks), Mark King played most of the guitars with occasional contributions from sessionmen Dominic Miller (briefly a member of Level 42 in 1980) and Alan Murphy, who was subsequently offered the official guitar spot in the band.

But, even as a Level-mad 15-year-old, I picked up something iffy about Staring At The Sun from the word go. Mark King’s bass playing was ultra-tasteful – almost to the point of anonymity – and almost always doubled with synth bass. Boon Gould’s catchy guitar hooks were much missed. And it was always going to take a while to get used to Husband’s drumming. A brilliant, rock-solid player though he is, compared to Gould his grooves feel rather leaden.

And then there’s the songwriting. ‘Heaven In My Hands’ was a decent single and album starter – memorable, bombastic and musically rich with a cracking Murphy guitar part, but it feels like it’s trying a bit too hard to ‘rock’ and subsequently underperformed in the UK (number 12) and US (didn’t chart).

Steve Barron directed a fine video. ‘I Don’t Know Why’ is possibly the nadir of the band’s career, a puny piece of pop/reggae from the bottom of The Police’s demo cassette box. ‘Over There’ is a departure for the band (being in 6/8) but is based on the flimsiest of King strummed-bass chord progressions.

‘Take A Look’ is a fine single though, a deceptively jaunty piece, full of clever melodic modulations and enigmatic major/minor chord changes, hinting at great depths lyrically with its tale of a happy-go-lucky, naïve protagonist derailed by a doomed love affair (given a weird twist for the song’s video).

Lindup’s ‘Silence’ is passable, though again far too musically pat. The title track and ‘Two Hearts Collide’ barely register. ‘Man’ is by far the best track on Staring At The Sun, featuring a good melody, some brilliant ‘talking’ bass from King, a few witty musical homages to his heroes The Mahavishnu Orchestra and even a soupcon of prog-rock attitude.

The album was a hit in the UK, reaching number 2, but didn’t make the top 100 in the States. A botched Polydor marketing campaign may have contributed to that. The cover art is beautiful though (anyone know the designer?). A friend of my brother’s had a theory that Staring At The Sun was a concept album about a Buddhist ‘journey of the soul’ – maybe the cover lends some credence to that…

Mark King himself was possibly underwhelmed by Staring At The Sun – a Sun article quoted him as saying that it was a ‘waste of vinyl’ (though he later claimed a ‘misquote’…). He was also less than chuffed with some audience reactions to the new material when the band toured the album – this writer heard him tell the Wembley Arena crowd to ‘f**k off home’ after a few encores of old hits!

But the whole Staring At The Sun debacle did produce a classic documentary, ‘Fait Accompli’, a fascinating snapshot of the late ‘80s record biz (check it out below, it’s brilliant). One can only feel pity for the pretty clueless Polydor bean counters and marketing men (they do all seem to be men).

As Love And Money’s James Grant told movingtheriver.com, in the late ‘80s, when PR and marketing were taking hold in the music business, people would have nervous breakdowns over bad business decisions. It seems a few were taken over Staring At The Sun.

Maybe Mark King and Mike Lindup should have taken stock and had a break at the beginning of 1988. It was certainly a challenging, life-changing split when the brothers Gould jumped ship. But it’s hard to stop a commercial juggernaut once it starts rolling.

Level 42 eventually got back on track for Staring At The Sun’s follow-up, 1991’s Guaranteed, though sadly at the expense of guitarist Alan Murphy – who tragically died in 1989 – and also their Polydor recording contract. It was time for another new start.

The 1980s Summer Playlist (Part Two)

Neil Young: ‘Eldorado’

Castanets, Spanish guitars and dodgy dealings down Mexico way in this Peckinpahesque corker from the Freedom album.

Linda Ronstadt: ‘Los Laureles’

More Warner Bros. Americana, this time from Ronstadt’s excellent Mexican-themed Canciones de Mi Padre album.

Wayne Shorter: ‘Condition Red’

A blast of classic sci-fi-fusion from Wayne’s Phantom Navigator album, featuring some ‘sideways’ harmony, incendiary soprano sax, a Big Snare Sound and even a bit of vocal scatting.

Thomas Dolby: ‘Screen Kiss’

A shimmering summer classic from The Flat Earth.

Joni Mitchell: ‘My Secret Place’

This duet with Peter Gabriel kicked off Joni’s underrated Chalk Mark In A Rainstorm album. Takes me straight back to summer ’88.

Mark King: ‘There Is A Dog’

The Level 42 mainman’s breezy tribute to Return To Forever. Musos behold: he played drums, percussion, bass and all the guitars on this. Taken from the classic Influences album.

The Clash: ‘Hitsville UK’

Mick Jones’ breezy, ironic rumination on the rise of indie labels featuring the Blockheads’ Norman Watt-Roy on bass. Taken from the Sandinista! album.

Miles Davis: ‘Catembe’

Takes me straight back to the summer of ’89. The breezy lead-off track from Miles’s last studio album Amandla.

Danny Wilson: ‘Davy’

A classic ‘advice’ song which kicked off the Dundee band’s excellent 1987 debut album.

Check out Part One of the Summer Playlist here.

No Mullet Required: Nik Kershaw’s The Riddle

the-riddle-54d854ab5fe83MCA Records, released November 1984

Bought: Our Price Richmond, 1985

8/10

One wonders how many readers outside the UK will even have heard of Nik. After several years playing guitar in cover bands and fronting East Anglia blue-eyed-soulsters Fusion, Kershaw wrote a few poppy-sounding tracks and suddenly found himself thrust into the solo spotlight.

But he didn’t fool anyone with the snood, fingerless gloves and mullet – it was obvious from the get-go that Nik was a superb musician and songwriter. He had a voice a bit like Stevie Wonder (though my dad rightly identified something Numanoid too), played guitar a bit like Allan Holdsworth and wrote clever, catchy pop songs with prog, metal and funk undercurrents.

He also had some very famous fans in the US including Miles Davis and Herbie Hancock. But his image, dreamed up by some wags in MCA’s marketing department, probably didn’t do him any favours – Smash Hits summed it up perfectly, calling him ‘the thinking man’s Limahl’!

The Riddle is probably his best album. It was recorded pretty quickly to cash in on the unexpected success of his debut Human Racing, though featured a fair amount of post-production courtesy of the excellent Peter Collins who later produced Rush’s Power Windows.

The Riddle features a very solid but expressive rhythm section (Elton John sticksman Charlie Morgan and ex-Secret Affair bassist Dennis Smith plus a great guest appearance from Level 42’s Mark King on ‘Easy’). Kershaw’s use of synths was kind of revolutionary, with intriguing sequencer patterns and lots of subtle, almost subliminal pads (dare one posit a Gil Evans influence?).

Yes, The Riddle screams the mid-1980s, but, most importantly, every song on it is memorable and has a very distinct flavour. On a songwriting level, Kershaw always knows how to keep things interesting for the listener. ‘Know How’’s taut, white-funk groove always used to remind me a bit of Talking Heads.

Miles apparently recorded a cover of the very pretty ‘Wild Horses’ which has never seen the light of day. Hollywood-baiting ‘City Of Angels’ and eco-themed ‘Roses’ have more than a hint of Steely Dan about them, partly due to the use of the famous Purdie Shuffle, nicely reformatted by Morgan.

‘Wide Boy’ and ‘Don Quixote’ have lots of interesting melodic modulations under their pop sheen. ‘Easy’ is a brilliant band performance and crafty composition with a nutty middle eight, while the closing ballad ‘Save The Whale’ is also musically rich and lyrically well-intentioned if naive. And though the title track divides opinion, to say the least, check out its two-chords-per-bar middle-eight for a great example of Kershaw’s craft.

The cover photo was taken at Chesil Beach in Dorset. The Riddle peaked at #8 on the UK Album Chart and went multi-platinum. The lead single was the title track which reached #3 in the UK. ‘Wide Boy’ peaked at #9, whilst the third and final single release ‘Don Quixote’ got to #10. Three top 10 hits from a sophomore album – pretty damn good.

Nik was massive for approximately 18 months. He played Live Aid in July 1985 but then waited until autumn 1986 to follow up The Riddle – probably a mistake. The screaming girls were growing up fast or moving on to a-ha. He was developing as a musician and songwriter but gaining a much more ‘selective’ appeal, in the words of Spinal Tap’s manager Ian Faith.

Gig Review: Phil Gould/Mike Lindup/Wally Badarou @ 606 Club, 11th January 2016

Level42-phil_gould

Phil Gould in 1987

‘Pocket’ is hard to define but you know it when you hear it. Drummers often say that you’re either in the pocket or you ain’t, and as such the expression is mostly used in association with great US groovemasters like Richie Hayward, James Gadson, Bernard Purdie and Andy Newmark.

But ex-Level 42 drummer Phil Gould has been busy over the last 35 years (and a personal musical hero for about 30 of those) laying claim to be the UK’s premier proponent of ‘pocket’, but he has a lot of other weapons in his arsenal too. Though relatively quiet since leaving Level 42 in 1987 (making a brief return in 1994), Gould pops up on the London live music scene now and again. He also released his first solo album Watertight in 2009.

This 606 gig was very much a Level 42 reunion of sorts featuring keyboards and vocals from Mike Lindup and honorary ‘fifth member’ Wally Badarou, though, in an unexpected but typically generous move from the modest drummer/leader, the focus was very much on excellent vocalists Diana Winter and Sumudu with added support from the superb Yolanda Charles on bass, guitarist Fabio Balestrieri and Alex (son of Phil) Gould on piano and occasional drums.

The opening ‘Madness’ was a reliable portent of things to come, with Gould’s tasty, behind-the-beat groove underpinning some gentle Latin percussion and Mike Lindup’s strong vocals and electric piano. Winter and Sumudu took centrestage for most of the rest of the first set, their voices combining exceptionally well especially on the catchy ‘Supergirl’.

Badarou dusted off a funky, rough-and-ready version of the mid-’80s dancefloor classic ‘Chief Inspector’, adding some piquant synth flavours, while Lindup aired an excellent songwriting collaboration with Billy Cobham and Dominic Miller. Perhaps predictably though, the highlight of the evening was a nifty run-through of the classic Level 42 instrumental ‘Heathrow’, with Charles powering the band superbly and even supplying a note-for-note rendition of Mark King’s original bass part.

On a difficult day for music, with the earlier announcement of David Bowie’s death, Gould provided an uplifting – if very light – evening with lots of healing sounds, fine vocals, lean grooves and good vibes. It’s always a pleasure to hear him at the kit, and it’s also always a pleasure to get down to the 606, one of the great hidden gems of the London music scene.

Level 42’s World Machine: 30 Years Old Today

level-42-world-machinePolydor Records, released 26th October 1985

As a young band starting out in the ’80s, your ideal career trajectory would probably go something like this: get together with a few mates, start rehearsing, get the gear in a van, tour the nation’s toilets, slowly build your audience, get a manager, get the (dodgy?) record deal, release your debut, get on ‘Top Of The Pops’ and then hope you’ve got a career.

level

But it’s one of the rules of pop that some folks can’t handle fame when it hits. To paraphrase Bill Bruford: first you cope with failure, then you cope with success.

From Syd Barrett through Ian Curtis to Billy Mackenzie (is it mainly a British thing?), there are always artists who have bailed out when the constant routine of promotion and miming to the hit single becomes too much like a regular job.

The syndrome even affected pop/jazz/funk heroes Level 42, who in 1985 produced arguably their finest album in World Machine, though lost half their original line-up in the process including one of the finest-ever British drummers.

The band’s popularity had been steadily building throughout the ’80s. Though their live following had always been strong and they always had hits, the singles usually seemed like happy accidents – ‘Sun Goes Down (Living It Up)’, ‘Chinese Way’ and ‘Hot Water’ were all last-minute album additions based on studio jams.

Now their record label Polydor wanted a more concerted assault on the singles charts and a more current sound, and to that end outstanding bassist/vocalist Mark King took much more of a lead than before.

Alongside co-producer/keys man Wally Badarou, the band laid down the most cohesive, streamlined collection of songs in their career thus far with two or three obvious singles at demo stage (though not a view apparently shared by then manager John Gould whose negative reaction to the new songs contributed to him being given the push in a heated band meeting).

Not everyone in the band was happy with this brave new musical direction either. Main lyricist and drummer Phil Gould (brother of ex-manager John and guitarist Boon) had always peppered Level 42’s songs with allusions to psychology, science fiction and esoteric spirituality, drawing on writers like Arthur Koestler, Hermann Hesse and EM Forster, but by early 1985 the pressure was on to deliver boy/girl songs with universal themes.

In an excellent recent interview, Phil has talked about Polydor wanting the band to do party anthems like ‘Let’s Groove’ and suggesting they do a cover version of ‘Nature Boy’. He struggled against this direction, rightly surmising that they would quickly become typecast as a clichéd Brit-funk band.

Though he did eventually tone down the lyrical imagery a bit on World Machine, he still smuggled in some depth and despair to songs such as the title track, ‘Physical Presence’, ‘Leaving Me Now’ and ‘Coup D’Etat’.

Oh yes – the music. One of the great pleasures of World Machine is its consistency of tone; you can drop the needle anywhere and hear the quality. The band had mastered the kind of half-time funk groove which had frequently littered their earlier work, and the style reached its apogee here with bassists and drummers rushing off to play along to ‘Good Man In A Storm’ (why has it never been played live?), ‘A Physical Presence’, ‘Leaving Me Now’, ‘Dream Crazy’ and ‘It’s Not The Same For Us’ (which was initially going to be a Mark King lead vocal as revealed on this amusing demo).

But the sequence-heavy nature of some other tracks (particularly the title track, ‘Something About You’ and ‘I Sleep On My Heart’) also aroused some musical differences in the band. It’s intriguing to imagine what these songs would have sounded like shorn of their ‘hi-tech’ elements.

Level 42 had secured several hits before, but for many people ‘Something About You’ was the real breakthrough. Incredibly, it reached number 7 in the US singles chart, perhaps inspired by a really good accompanying video.

World Machine delivered, both commercially and artistically. It reached number 3 in the UK album chart, staying in the top 100 for 72 weeks. I saw the band at the Hammersmith Odeon on the – as usual – completely sold-out UK tour. They later went off to the US to tour with Madonna and Steve Winwood. The brothers Phil and Boon Gould left the band soon after recording the follow-up Running In The Family and the classic line-up was no more.

Great memories, great sounds, great band.