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Standing the Light
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Standing the Light
Current price: $32.99
Barnes and Noble
Standing the Light
Current price: $32.99
Size: CD
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Standing in the Light
was
Level 42
's first major success in the U.K., hitting the top ten in 1983 and beginning a string of successful recordings that would continue throughout the band's career. The band's previous releases were pleasant but somewhat tepid exercises in jazz-lite;
not only marked a significant change of direction, but proved
could truly be an ace pop band.
's first three releases
(1981),
The Pursuit of Accidents
(1982), and
The Early Tapes
(a compilation of material recorded in 1980, prior to the band's signing to
Polydor
) revealed a promising young band with undeniable talent and melodic instincts. Despite modest success with strong singles such as
"Turn it On"
and
"The Chinese Way,"
pointless instrumentals and slick production added unnecessary weight to these albums.
was different for two main reasons : the songs were shorter and more accessible, and for the first time, all the songs included vocals. The group began as an all-instrumental jazz outfit; in order for
to become more commercially viable, bassist
Mark King
and keyboardist
Mike Lindup
eventually began to open their mouths and sing. Never a strong vocalist,
King
nevertheless was an engaging frontman, becoming more relaxed and self assured as the band's career progressed, while
Lindup
's falsetto backing vocals added a distinctive touch.
"Micro Kid,"
the opening cut here, is a good example of their approach; the synth-heavy track also prominently features
's brilliant keyboard work.
Produced by
Larry Dunn
Verdine White
of
Earth, Wind and Fire
(one of
's obvious influences),
contains a number of strong tracks; the funky British top-ten hit
"The Sun Goes Down"
and the midtempo ballad
"People"
are highlights, and the band's amazing musicianship is always a pleasure to hear. Only the goofy
"A Pharaoh's Dream (of Endless Time)"
bogs down the album, and
's trademark thumb-slapping bass playing technique makes even that tune worth hearing. Like most early-to-mid 80's albums,
also suffers from a somewhat dated sound, but it is one of the most impressive offerings in
's strong body of work. ~ William Cooper
was
Level 42
's first major success in the U.K., hitting the top ten in 1983 and beginning a string of successful recordings that would continue throughout the band's career. The band's previous releases were pleasant but somewhat tepid exercises in jazz-lite;
not only marked a significant change of direction, but proved
could truly be an ace pop band.
's first three releases
(1981),
The Pursuit of Accidents
(1982), and
The Early Tapes
(a compilation of material recorded in 1980, prior to the band's signing to
Polydor
) revealed a promising young band with undeniable talent and melodic instincts. Despite modest success with strong singles such as
"Turn it On"
and
"The Chinese Way,"
pointless instrumentals and slick production added unnecessary weight to these albums.
was different for two main reasons : the songs were shorter and more accessible, and for the first time, all the songs included vocals. The group began as an all-instrumental jazz outfit; in order for
to become more commercially viable, bassist
Mark King
and keyboardist
Mike Lindup
eventually began to open their mouths and sing. Never a strong vocalist,
King
nevertheless was an engaging frontman, becoming more relaxed and self assured as the band's career progressed, while
Lindup
's falsetto backing vocals added a distinctive touch.
"Micro Kid,"
the opening cut here, is a good example of their approach; the synth-heavy track also prominently features
's brilliant keyboard work.
Produced by
Larry Dunn
Verdine White
of
Earth, Wind and Fire
(one of
's obvious influences),
contains a number of strong tracks; the funky British top-ten hit
"The Sun Goes Down"
and the midtempo ballad
"People"
are highlights, and the band's amazing musicianship is always a pleasure to hear. Only the goofy
"A Pharaoh's Dream (of Endless Time)"
bogs down the album, and
's trademark thumb-slapping bass playing technique makes even that tune worth hearing. Like most early-to-mid 80's albums,
also suffers from a somewhat dated sound, but it is one of the most impressive offerings in
's strong body of work. ~ William Cooper
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