Level 42 – Forever Now

Love In A Peaceful World is also an edit on this release (full version is half a minute longer)

Warning - All Over You ( K-Klass Vocal Mix) was pitched down....but why? When playing K-klass Radio Mix and Instrumental Mix you can hear the difference, they play faster...what a way to ruin a song.....thumbs down....

Having owned this on CD since it came out in the 90s, I was delighted to get this re-issue on LP as vinyl makes me play MUSIC!! I think this is a GREAT album. Always liked it. Melodies, harmonies and choruses are as good as any other L42 album. AND how refreshing to listen something cheerful, ffs!!
😎

So how does it sound? Yeah, it's compressed. But it doesn't PUMP like Retroglide did (due to Mark's delectations for that release). I'd been listening to a 1972 copy of Motown Chartbusters 2 prior to it and sure enough as soon as the opening track of Forever Now started I had to crank it an inch to measure up to the Motown output level. So it's quieter, big deal! I like it, it's crisp but it's smooth. The bass is full and warm too. My copy is clean as a whistle too.
You won't be disappointed, L42 fans!!

Level 42's swan song album "Forever Now" ended up a muted effort, and one of its most confusing for fans due to its muddled release that never saw the album hit the USA. First released in 1994 with 12 tracks on RCA, Forever Now would resurface a year later on the Resurgence label with different cover art (Is that Mark and Mike at Epcot?), a completely different track listing, remixed tracks, and some original tracks cut in favor of B-Sides. Forever Now saw original band member Phil Gould also return to the fold for one last try with the band. Commercial success was not found with Forever Now's two separate attempts, and the band would subsequently call it quits until reforming in 2001. But underneath the dueling tracklists and different mixes lies some of Level 42's best tracks amidst an overall uneven album.

Forever Now sees Level 42 ditch some of the harder rocking elements and 80s syncopated beats behind for acid jazz and house elements that had taken over the UK music scene. On first listen, it is apparent that the band was heavily influenced by the likes of Swing Out Sister, The Brand New Heavies, and Jamiroquai. But that doesn't mean Forever Now is a total shift in pace, as there is still a significant Level 42 flair to the production and songwriting. And the inclusion of Phil Gould shows that his songwriting work was much missed from the albums where he was not present. But the album as a whole is a bit looser and a bit less rock-influenced than the last few releases. There are few tracks here that would rile up a full audience at Wembley Arena. Don't expect really anything that sounds identical to Heaven In My Hands, Something About You, Love Games, Hot Water, or Lessons in Love.

However, this shift in tone brings out some of the best in session playing that Level 42 has ever had to offer. You'll note the excellent drum fills, synth work, string hits, and vocals that are less screamed and more sung by both Mike and Mark that make this album go a long way.

For the casual Level 42 fan who hasn't seen them back up a variety of bands at the Prince's Trust concerts in 1988 and 1989 (check that out on YouTube!), Forever Now really makes Level 42 feel more like an actual respected band with musical chops instead of another generic 80s synthpop group with a couple of hits, like Wang Chung, Go West, Johnny Hates Jazz, or Spandau Ballet. But let's go over the highlights tracks that arguably make Forever Now a memorable listen:

As far as stand out tracks go, you can't ignore the title track. It is one of the punchiest Level 42 tracks ever. A brass section that blows you away, combined with Mark King's signature bass playing and singing about the end of the world in a major key hooks me in every time. I honestly think it's the pinnacle of Level 42 tracks, and perhaps this is why this album holds a dear place for me.

Another standout track is All Over You, which was oddly left off of the 1996 re-release. This is probably the song most similar to previous Level 42 hits, with the familiar synth-stabs, plucky bass, trumpet lines and aggressive vocal delivery from Mark singing "Get on board the gravy train" that call back to Lessons in Love and Something About You.

On the track Learn To Say No, Level 42 delves into house territory with a great synth hook and vocals from Mike Lindup. The song initially only saw a release as a Japanese bonus track, but was included in the 1996 rerelease. Learn to Say No plays back to the Starchild disco roots of the band, and it is also a must-listen.

Slowing things down, the deep cut Romance sees Level 42 take a stab at the same kind of songwriting that Brand New Heavies saw success in with tracks like Forever. String overdubs and R&B guitar licks with vocals from both Mark and Mike combining into a smooth love song that leaves a lasting impression.

Then you get to the half of the album (which half is ultimately dependent on which version you're listening to) that sees Level 42 go into an unforeseen, mellowed-out R&B territory. One of the best from the album in this area is Love In A Peaceful World, which was remixed and shortened for the 1996 album. The original album saw the track run for 7:14, and have vocals pleading for a better world backed by string overdubs, sitar, and some killer drum fills. The last three minutes see Mark go into a call and response outro that is just great to sing along with. It sounds like a souped up version of a song you would hear close out a coming of age movie from the 90s. One In A Million is also right in that pocket of upbeat but mellow R&B, replete with Rhodes keyboard and Mike on vocals. It sounds like the quintessential 90s, a very enjoyable tune. Finally, the 1994-only track Tired of Waiting is another more upbeat, if a bit cheesy pop track with a lot of production sheen and a great dancey rhythm that has vocals weaving in between major and minor keys.

ittedly, the 1995 release makes Forever Now sound worse, putting the worst tracks of the bunch at the front of the pack, while burying the best. Such an approach does not take well to endearing Forever Now to listeners. Honestly, the first seven tracks of the 1995 release are so bland and forgettable that I really wonder if the record label and the band had their head on straight when they compiled this tracklist, or if they were looking for an album primarily to smoke a t to. Replacing the title track witha forgettable song like Billy's Gone and following it up with six more mellowed-out tracks like it is just too out there for Level 42 fans to hang their hat on. Where is the dance? Where are the synths? While fans of other genres will simply find these songs bland and forgettable. And the album is only made worse by taking off two excellent tracks in All Over You and Tired of Waiting.

Overall, while Forever Now isn't a perfect album by any stretch, the 1994 Japanese release of the album at a minimum is worth a listen to anyone interested in Level 42's take on acid jazz. It is well worth the listen. The 1996 release buries the lede, and as such should be ignored.

I finally got my hands on a copy and I have to say it sounds excellent. Side 1 is over 30 mins!!!! Even if they had put 5 on side one Side 2 would have been 29 mins!
Still it proves what a good cutting engineer can do. The album does have compression but I can still hear lots of details and background synth figures. Bass is deep and rich. Mids clear and treble clear and silky.
I always found the CD a bit harsh to be honest and the vinyl has this too but it’s softened significantly. Well worth getting as it’s a great album.

Pretty much agree with the last comment. It's pretty digital sounding, but I guess that's exactly what it is. However, it's a nice sounding lp and beats my Columbian pressing that I sold fairly recently (though that wouldn't be hard).
In of the song content, I have to say that most of the lp leaves me cold, with a couple of exceptions. Those being Love In A Peaceful World and One In A Million, the latter of which proves that Mark King could still write half decent tunes and this one was a perfect vehicle for Mike Lindup's voice - and also would have made a good single.
Too much if the album is very very average and sometimes tries to be too clever (the ridiculous "mouthings" by Mark King on Billy's Gone for e.g).
Hardly essential L42, imo.

My record is pressed well - flat and centred and quiet. The album tracklist reflects the original UK CD release (which I understand may not be what the band originally wanted, but it is authentic to the way people heard it first...) The sound of the album is what it is - a 1990s digital recording pressed to vinyl. I haven't compared it to the original CD as that's stuck away in a box but so far it's not making my jaw drop in amazement!

The track sequencing on this release makes no sense at all. It destroys the album the way it was in 1994. The bonus material is welcome but not spattered haphazardly like this. I'm bewildered as to why any record company would do this? Very poor and very amateur!