Level 42
World Machine

These Nearly White Hot Stamper pressings have top-quality sound that's often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers ("relative" meaning relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don't agree, please feel free to return the record for a full refund, no questions asked.

This British Polydor pressing of Level 42’s best album makes a mockery of most of what’s out there -- who knew the sound could be this good? Punchy bass, breathy vocals, snappy drums; it’s all here and it really comes jumpin' out of the speakers on this pressing.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.

What was striking this time around was just how smooth, rich and tubey the sound was on the better copies. It’s been years since we last did this shootout and it’s amazing to us how much better this title has gotten in that short span of time.

Of course, the recording very likely got no better at all, but our system, set-up, room, electricity and who-know-what-else sure did.

What The Best Sides Of World Machine Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1985
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

A Favorite Since 1985

World Machine has been a personal favorite of mine since I first played it way back in 1985. Of course in 1985 I had only a domestic pressing, and if you want to hear what happens when you use a dub of the British master tape and then brighten the hell out of it in the mastering process, I heartily recommend you find yourself a copy, there’s one sitting in every record store in town. The grain and the grunge on the domestic LPs is hard to believe -- yet somehow I actually used to put up with that sound!

I could listen to it then but I sure couldn’t listen to it now. No doubt you have your share of records like that.

What We're Listening For On World Machine

• Energy for starters. What could be more important than the life of the music?
• Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
• The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

A Must Own Record

We consider this album tha band's masterpiece. It's a recording that belongs in any serious Popular Music Collection.

Others that belong in that category can be found here.

Side One

• Something About You
• World Machine
• Physical Presence
• Leaving Me Now

Side Two

• Hot Water
• It’s Not the Same for Us
• Good Man in a Storm
• The Chant Has Begun
• Lying Still

AMG 4 Star Review

World Machine pushes their newfound radio-friendly sound into the forefront, and the result is one of the finest pop albums of the mid-80s. “Something About You” exemplifies Level 42’s sound at the peak of its success. Bassist Mark King’s vocals, while limited in range, are soulful and yearning, while keyboardist Mike Lindup’s complimentary falsetto backing vocals add just the right ingredient to the mix.

Given the group’s original guise as an all-instrumental jazz combo, the musicianship is brilliant, and “Something About You” proves how good a song can sound coming from the radio. Unlike most albums that contain one strong single surrounded by duds, World Machine has more than its share of fine tunes.

About the Band

Level 42 is an English pop rock and jazz-funk band who had a number of worldwide and UK hits during the 1980s and 1990s.

The band gained fame for their high-calibre musicianship—in particular that of Mark King, whose percussive slap-bass guitar technique provided the driving groove of many of the band’s hits. The band are also known for the combination of King’s lead vocals and keyboard player Mike Lindup’s falsetto backing vocals.

Having been a very successful live and studio band in the 1980s, Level 42’s commercial profile diminished during the early 1990s following a series of personnel changes and musical shifts. After disbanding in 1994, the band reformed in 2001.

Their most successful single was “Lessons in Love,” which reached number three on the UK Singles Chart, and number 12 on the US Billboard Hot 100 chart, upon its release in 1985.

-Wikipedia