Level 42 – Forever Now

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.