Posts tagged John Wetton

(Review from progarchives.com)

Recorded live in Boston in 1978, this recording is finally available as a proper release after long been only found as a bootleg. The sound quality is good. It sounds as though no studio overdubs were punched in later. Each musician has his share of clams (mistakes) that are very apparent.

The tracks, a mix of those from the selftitled U.K. release and the follow up, Danger Money. Hearing Bruford and Holdsworth’s playing “Carrying No Cross”, “The Only Thing She Needs” and “Caesar’s Palace Blues” offers a slight variation from the studio project. There is some improvisation, obviously these takes offer a bit more air and spontaneity than on the future Bozzio propelled album. Wetton’s voice is good, cracking and a bit off here and there, but nothing to ruin the moment. Holdsworth’s jazzy underpinning in the softer lyrical opening to “Carrying No Cross” is enjoyable. He plays fills and lightning runs throughout. Wetton’s live bass action harkens back to King Crimsons glory days, even taking a solo 6 minutes in. Jobson sounds compelled to give Holdsworth a run at center stage as the piece moves forward, swelling and evolving with full band interplay. Holdsworth pulls off a stunning solo before breaking back into the vocal theme.

The “Thirty Years” intro is a beautiful clean picked guitar over synthesized sweet violin washes. Wetton attempts to be soft but struggles a bit with a few notes. The audio is very clear, narry any crowd noise, with Bruford’s cymbals filling space before the band leaps into a tight instrumental sections. Wetton fuzzes up his bass lines and Holdsy chords along before Jobson’s keys take control. Another smoking guitar solo before coming back down to another verse. Holdsworth solo out to Jobson’s “Presto Vivace” synth intro to “In the Dead of Night”. Holdsworth rips it up again, getting outside into a improvisation showcase. No shortage of fireworks here. Even little stumbles get you into the moment, rather than detracting.

The final track, “Caesar’s Palace Blues” is interestingly contrasted from the studio take with some fun trade-offs from Jobson and Holdsworth, sounding like they are totally digging the play. Jobson saws the hell out of his violin. This one appears to be fun and spontaneous.

Line-up:
- Allan Holdsworth / guitars
- Bill Bruford / drums
- Jon Wetton /bass guitar, vocals
- Eddie Jobson / keyboards, electric violin

Track List:
01. Alaska – 1:33
02. Time To Kill – 7:16
03. The Only Thing She Needs – 7:21
04. Carrying No Cross – 9:58
05. Thirty Years – 10:03
06. Presto Vivace / In the Dead of Night – 7:49
07. Caesar’s Palace Blues – 4:30

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Allan Holdsworth, Bill Bruford, Eddie Jobson, John Wetton, Live, U.K.

Family – BBC Radio Volume 2 (1971-73) (@256)

22 Sep 2009

9 comments

(Info from cduniverse.com)

This is the second of two volumes including Family’s previously unreleased BBC Radio 1 sessions. Covering the period from early 1971 up to mid 1973, these recorded sessions are mastered from the original BBC transcription tapes and feature one of Britain’s finest bands playing in the studio, but with an extra edge that is normally only captured at live performances.

Included here is a rare session by Family as a 4 piece, previewing songs such as ‘Save Some For Thee’, using a synthesizer in place of bass guitar.

Line-up:
- Roger Chapman / vocals, harmonica, percussion
- John ‘Poli’ Palmer / flute, piano, vibes (1-11)
- Rob Townsend / drums, percussion
- John ‘Charlie’ Whitney / guitars, keyboards
- John Weider / bass, violin, guitars (1-5)
- John Wetton / bass, guitars, vocals (10-11)
- Tony Ashton / piano, Hammond organ (12-14)
- Jim Cregan / bass, guitars, vocals (12-14)

Track List:
01. Strange Band – 2:45
02. Hometown – 3:49
03. Procession – 4:56
04. Part Of The Load – 9:52
05. Lives And Ladies – 8:13
06. Buming Bridges – 3:49
07. Save Some For Thee – 3:08
08. In My Own Town – 3:01
09. Seasons – 2:12
10. Children – 2:12
11. Between Blue & Me – 5:04
12. Boom Band – 3:03
13. Buffet Tea For Two – 5:20
14. Check Out – 5:14

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Charlie Whitney, Family, John Wetton, Roger Chapman, Tony Ashton

Family – Bandstand (1972) (@256)

09 Sep 2009

(Review from progarchives.com)

Released in 1972, “Bandstand” is the second album recorded by the line up which made “Fearless” a year earlier. While the ever present Roger Chapman’s voice is of course the band’s signature, it is perhaps surprising that the continuing presence of journeyman John Wetton is largely low key; apart from one co-credit he does not even contribute to the song writing. Wetton would in fact leave the band after this album, heading for King Crimson.

The single “Burlesque” opens the album, a dirty, funky piece of magic with slightly risque lyrics, and a wonderful vocal performance by Chapman. The album as a whole though is not as aggressive as previous offerings, the reflectively harmonic “Bolero Babe” being more representative of the mood. Del Newman’s string arrangements are unobtrusive, but nonetheless uncharacteristic for a Family album. The downbeat mood continues on “Coronation” where Chapman’s higher range vocals sound a little odd. The track benefits from the addition of some synth and violin and a more spirited chorus. “Dark Eyes” is a brief Poli Palmer (who was also to leave the band) contribution, in very much the same vein as its predecessors on the album. The track rather strangely fades in mid verse.

“Broken Nose” finally returns us to the heavier and noisier sounds we expect from the band. This story of unrequited love across the classes has a rather messy melody and some of the most obvious synthesiser the band have added to a song.

“My Friend the Sun” was perhaps too different to their previous releases to succeed as a single. The song is a soft acoustic ballad with Crosby, Stills, Nash like harmonies, and accordion backing. “Glove” sets out as a quiet blues featuring just vocal and piano. As the song develops, it becomes a more orthodox Family song, with some nice lead guitar and ever more dominant strings. The final choruses have a sing-a-long anthem feel.

“Ready to go” is a sort of back to basics affair, with acidic lyrics. Whitney and Chapman are clearly getting something off their chests here, but rather at the expense of a decent tune. The closing “Top of the hill” is a mid paced traditional Family song, with a simple melody. The arrangement is reasonably lavish, accentuated by the ubiquitous strings.

Unlike “Fearless”, “Bandstand” is very much a single mood album.

Line-up:
- Roger Chapman / Vocals, Guitars, Percussion
- John ‘Charlie’ Whitney / Guitars, Mandolin, Percussion
- John Wetton / Guitars, Vocals, Keyboards
- John ‘Poli’ Palmer / Vibes, Piano, Flute, Percussion
- Robert Townsend / Drums, Percussion
with:
- Del Newman / String Arrangements

Track List:
01. Burlesque – 4:07
02. Bolero Babe – 4:39
03. Coronation – 3:49
04. Dark Eyes – 1:47
05. Broken Nose – 4:10
06. My Friend The Sun – 4:22
07. Glove – 4:52
08. Ready To Go – 4:36
09. Top Of The Hill – 5:40

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Charlie Whitney, Family, John Wetton, Roger Chapman

Family – Live (1971) (@256)

08 Sep 2009

5 comments

(Info from sleeve)

“Family Live” catches one of the band’s strongest line-ups in the middle of their 1971 winter tour, with an anchor date at London’s pretigious Rainbow.

Unlike the under rehearsed 4 live tracks that occupied side one of “Anyway”, these live cuts find the band giving full reign to their muse. Roger Chapman as ever is in fine form, and the band sound like a coherent unit. The 10 tracks here suggest Family had played enough tour dates to confidently stretch out on both older favorites such as “Drowned in Wine”, “In My Own Time” and “Weaver’s Answer” as well as four relatively speaking new cuts from the new “Fearless” album.

In short, Family were enjoying one of the most rewarding periods of their career. The line-up was growing creatively and as this live album suggests, the band’s European and UK dates, either side of the new album, had put them in good stead for the future.

Playing live was really what Family were about. Long time fans have all got a story about a particularly favorite gig or incident. This live album culled from a batch of old tapes in Chappo’s loft, includes what is thought to be a large chunk of the band’s November show at the Rainbow, and is full of all the band elements that colour such memories.

The album demonstrates both the power and quirkiness of one of Britain’s original rock bands. Chappo’s own performances of course have been well documented and his moments of wild abandon and sheer involvement in some of the songs comes across on the live set. “Good News Bad News” for example, is full of exclamatory woops and shouts, while the ending of “Part Of The Load” includes a typical Chapman scat on the lyrics.

On the extended work out on “Weaver’s Answer”, both Charlie and Poli work up on a head of steam on both guitar and synth/keys, Chappo scats away on vocals, to great effect. On the hook of the single “In My Own Time”, Chapman holds back until the very last minute to deliver the word “time”. Wetton joins him in the chorus for a great reading of one of the band’s greatest efforts.

While the Rainbow performance is only a snapshot of what became known as the “Fearless” line-up, this belated live Family album is a reminder both of some hugely original material, some incredible live performances and above all a band that was forever forging new iddeas whatever the line-up.

Line-up:
- Roger Chapman / vocals, percussion
- John “Charlie” Whitney / guitar
- John “Poli” Palmer / keyboards, vibes, flute
- John Wetton / bass, vocals
- Robert Townsend / drums

Track List:
01. Good News – 8:23
02. Spanish Tide – 4:13
03. Part Of The Load – 9:28
04. Drowned In Wine – 4:12
05. Holding The Compass – 4:05
06. Between Blue And Me – 5:28
07. Children – 2:40
08. In My Own Time – 3:26
09. Take Your Partners – 6:21
10. Weaver’s Answer – 8:25

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Charlie Whitney, Family, John Wetton, Roger Chapman

Rare Bird – Somebody's Watching (1973) (@256)

26 Aug 2009

(Review from progarchives.com)

Following the American-funk-progressive rock of their previous album, “Somebody’s Watching” works well with some good musicianship and song writing.

Much of the music on side one is quite funky, with similarities at times to Steely Dan. Side two is more relaxed, with an America (the band) sound to “High in the morning”, a pleasant country rock ballad. The closing track “Dollars”, which includes an extract from “A few dollars more” is a lengthy guitar led freeform jam.

The music is rich and full of good musicianship with John Wetton, Nic Potter and Paul Holland making guest appearances throughout the album.

Line-up:
- Steve Gould / bass, guitar, saxophone, vocals
- Dave Kaffinetti / organ, synthesizer, piano, keyboards, clavinet
- Fred Kelly / percussion, drums, vocals
- Kevin Lamb / vocals
- John Wetton / bass
- Paul Korda / vocals
- Nicky James / vocals
- Nic Potter / bass
- Sammy Abu / percussion, conga
- Andy Curtis / guitar
- Paul Holland / percussion, conga
- Al Matthews / conga

Track List:
01. Somebody’s Watching – 5:21
02. Third Time Around – 4:56
03. Turn Your Head – 4:36
04. More And More – 4:02
05. Hard Time – 3:05
06. Who Is The Hero – 3:37
07. High In The Morning – 3:29
08. Dollars – 8:39

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John Wetton, Nic Potter, Rare Bird

Wishbone Ash – Number The Brave (1981) (@256)

09 Jan 2009

(Review from wishboneash.co.uk)

Following the departure of founder member Martin Turner, the remaining members of Wishbone Ash invited respected British bassist/vocalist John Wetton (ex-UK, King Crimson, Roxy Music, Family, Uriah Heep, Mogul Thrash) to join them for the recording of their next album, “Number the Brave”.

“Loaded” opens the album and sets the blueprint for much of the album, which has a funkier feel than previous Wishbone Ash offerings. “Where is the Love” comes next – a workmanlike boogie number. There then follows one of the albums true highlights, the anti-nuclear message “Underground”, which features some fine guitar picking from Andy Powell, whose lead vocal blends effectively with Claire Hamill’s voice. “Kicks on the Street” is pretty standard hard rock, while “Open Road” is perhaps the band’s most successful venture into funk-rock territory.

“Get Ready” is an adequate cover of the Smokey Robinson hit. “That’s That” is John Wetton’s sole songwriting and lead vocal contribution to the album, while the next two tracks both features Laurie Wisefield on lead vocal. Album closer “Number the Brave” is another of this album’s triumphs, perfectly mixing the Ash sound of old with a (then) modern sound and direction for the eighties.

During the sessions, it soon became clear that John Wetton was not going to be a direct replacement for Martin Turner. Wetton believed he was joining the band to take over Turner’s duties of bassist and lead vocalist, yet this would not prove to be the reality. Although John Wetton offered several songs to the band, most of these would be rejected as unsuitable for the band’s style. Wetton was frustrated by Andy Powell and Laurie Wisefield’s decision to take the majority of the lead vocals.

Before the album’s release John Wetton and Wishbone Ash had parted company, Wetton going on to achieve enormous success with Asia.

Line-up:
- Andy Powell / Vocals, guitar
- Laurie Wisefield / Vocals, guitar
- Steve Upton / Drums
- John Wetton / Vocals, bass, keyboards
with
- Claire Hammill / Back vocals

Track List:
01. Loaded – 4:11
02. Where is the Love – 3:20
03. Underground – 4:15
04. Kicks on the Street – 4:16
05. Open Road – 5:20
06. Get Ready – 3:15
07. Rainstorm – 4:55
08. That’s That – 3:04
09. Roller Coaster – 3:18
10. Number the Brave – 4:56

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John Wetton, Laurie Wisefield, Wishbone Ash

Peter Sinfield – Still (1973) (@256)

28 Aug 2008

Thanks to Bilek for the contribution.

(Review from progarchives.com)

It’s interesting to listen what kind of result comes from the musical vision of King Crimson’s court lyricist without the guidance of Robert Fripp. The album features the typical Peter Sinfield elements like poetical lyrics and often a cynical undertone.

Almost everybody who played with King Crimson is on this album. However, only on one track- ‘The Night People’- does the album sound all that much like King Crimson, and even then, it’s the jazzier 1971 period that produced albums like ‘Lizard’ and ‘Islands’. It fits in with tracks like ‘Formentera Lady’ and ‘Indoor Games’ well enough, with Sinfield’s stream of consciousness words fitting the jazziness fairly well.

The rest of the album arguably, and somewhat surprisingly, owes more to the pastoral splendour of a band like Barclay James Harvest. These are dreamy with a wonderful harmony of acoustic guitar, flute, strings and the warm voice from Sinfield. His high, thin, reedy voice may put off some listeners but others will probably find it fitting and original. ‘Envelopes Of Yesterday’, with its treated guitar work and spaced-out atmosphere, edges towards Pink Floyd’s ‘Echoes’!

This edition also has two bonus tracks as well: the opener “Can You Forgive A Fool” which is very much pastoral and features some pleasant keys. The second one “Hanging Fire” is a candid and folk acoustic song.

Line-up:
- Peter Sinfield / vocals, guitar, synthesizer
with
- Chris Pyne / trombone
- Stanley Roderick / trumpet
- W.G. Snuffy Walden / guitar
- Ian Wallace / drums
- Tim Hinckley / piano
- Brian Flowers / synthesizer
- Don Honeywill / saxophone
- Keith Christmas / guitar
- Greg Lake / guitar, vocals
- Robin Miller / wind, cor Anglais
- Greg Bowen / trumpet
- Richard Brunton / guitar
- Boz Burrell / bass
- Brian Cole / guitar
- Mel Collins / celeste, flute, saxophone, wind, brass
- Steve Dolan / bass
- Don Honeywell / saxophone
- Phil Jump / Glockenspiel, keyboards, organ, piano, synthesizer
- John Wetton / drums, bass, percussion
- Keith Tippett / bass, piano

Track List:
01. The Song of the Sea Goat (6:08)
02. Under the Sky (4:24)
03. Will It Be You (2:42)
04. Wholefood Boogie (3:40)
05. Still (4:45)
06. Envelopes of Yesterday (6:19)
07. The Piper (2:51)
08. A House of Hopes and Dreams (3:57)
09. The Night People (7:56)
10. Can You Forgive A Fool? (Bonus) (4:21)
11. Hanging Fire (Bonus) (3:04)

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Boz Burrell, Greg Lake, Ian Wallace, John Wetton, Mel Collins, Peter Sinfield

David Cross – Exiles (1997) (@256)

26 Aug 2008

(Review from progarchives.com)

“Exiles” is a mix of the new and old. It kicks off with an updated and modern sounding re- recording of the King Crimson title piece, Exiles. Complete with John Wetton on vocals! Funny that David Cross didn’t use Robert Fripp on the track, since the guitarist appears on three other tracks. This version of Exiles is less frantic, more polished. John Wetton appears on one other track, This is Your Life. The tune sounds more like a Wetton solo tune, with very little violin to point to the band leader.

Peter Hammill guests on two tracks, Tonk and Troppo. Tonk sounds like a missing track from Larks Tongue. Hammill’s voice is shrill and angry, while Fripp and Cross trades scorching leads. Troppo may be the most interesting track on the disc. Over eight minutes of shifting textures, keyboard driven passages and perky percussives.

Slippy Slide is a rambunctious instrumental, with guest saxaphonist, Pete McPhail, who also makes an appearance on Here. The tune ends with a round of Wetton’s vocals from This is You Life. Duo is a Frippertronic/Cross ambient piece. Soundscapes and violins. Fast is just that, a tune played with a fair amount of speed and power.

This is more of a real solo album than David Cross’ previous recordings with a lot of guest musicians.

Line-up:
- David Cross / violins
- Mick Paul / bass; also 4 guitar chords on track 5
- Dan Maurer / drums; also programming on track 5
- Peter Claridge / guitar (1,2,7)
- Paul Clark / guitar (1,3,5,6,7,8)
- Robert Fripp / guitar (2,4,7)
- Peter Hammill / vocals (2,7)
- Dave Kendal / keyboards (1,2,7)
- Pete McPhail / Sopranino sax, flute (3,8)
- John Wetton / vocals (1,5)

Track List:
01. Exiles – 8:59
02. Tonk – 3:44
03. Slippy Slide – 4:03
04. Duo – 6:51
05. This Is You Life – 4:42
06. Fast – 5:39
07. Troppo – 8:44
08. Hero – 10:53
09. Cakes – 7:47

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David Cross, John Wetton, Peter Hammill, Robert Fripp

King Crimson – KCCC29 Live in Heidelberg (1974) (@256)

11 Aug 2008

(Review from progarchives.com)

This show was recorded in Heidelberg at 29th of March in 1974. The sound quality is excellent, just as the concert itself.

The recording starts with an improv, which is more or less an intro to Dr Diamond. This track was never released on a studio album but Crimson played this song a lot during the first months of 1974. It is a dark track about a driver of an underground train. Next is a long version of Exiles with excellent mellotron and violin interplay. This is followed by the second improv of this show. It starts heavy but ends in the vain of Trio, which is a nice bridge to the wonderful Starless. This is one of the classic Crimson tunes. It starts as a ballad and then developes through some heavy bass lines to an excellent epic. Next are two melodic tracks: Night Watch, about Rembrandt’s painting and Lament. Then comes the heavy Easy Money and the album ends with the opening bars of Fracture.

The only flaw on this album is that the tape runs out during Fracture, so only the first three minutes appear on this album.

Line-up:
* David Cross – violin, mellotron, electric piano
* Robert Fripp – guitar, mellotron, electric piano
* John Wetton – bass guitar, vocals
* Bill Bruford – drums, percussion

Track List:
01. Improv: Heidelberg I – 2:43
02. Dr. Diamond – 7:03
03. Exiles – 10:04
04. Improv: Heidelberg II – 6:48
05. Starless – 12:46
06. The Night Watch – 4:39
07. Lament – 4:19
08. Easy Money – 6:35
09. Fracture – 3:08

Links in comments.

Bill Bruford, David Cross, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – KCCC24 Live in Guildford (1972) (@256)

05 Aug 2008

(Review from progarchives.com)

“Live in Guildford, 1972″ presents us the concerts which established the Wetton / Cross / Muir line-up of King Crimson and also show up the birth process of their classic “Larks’ Tongues in Aspic” album. Its sound quality is better than the previous KCCC releases with Muir.

The show opens with a very aggressive version of “Larks’ Tongues in Aspic – part one”, and that distorted tone of Fripp’s guitar is just a pure killer. The two second movements after the violent main theme are here quite similar, later the bass and drum patterns evolved separating these moments as more different from each other. The number is also here longer than in the Beat Club performance, having the violin “Larks’ Ascension” solo part, missing only the nightmarish coda, which ends the studio version and later performances of this brilliant avant-garde number. The violin tunes are followed with “Book of Saturday”, creating a nice contrast and a calm moment to the more violent and chaotic moments here. Here the song has some tambourine backing it up, usually it doesn’t have much percussions played over it. The name of the song is also yet “Daily Games” according to Fripp’s following polite and disciplined speech. The speech also reveals that the set should end up with “Larks’ Tongues in Aspic – part two”, which sadly didn’t got on this recording, as the tape ran out too quickly.

The next “attack towards culture” is a freeform collective improvisation which is built up by the same principles as the long improvisation of the era-concerts. It opens up with really loud and violent communal crashing of the instruments, and then stage is free, players presenting themes and demanding reactions from others. If you like interactive jamming and old rock sounds with Mellotrons, here’s a gourmet dish of this for you!

The record ends to the beginning of the harmonic “Exiles” rising up from the “Mantra” theme, which was used also in the 1969 concerts as an opener for other musical ideas. The version here is incomplete, and the tape runs out after three minutes, which is a really sad thing but from the documentary point of view it’s good to have it here, as it’s nice to hear how Muir coloured the beginning with his bird whistles.

Line-up:
- David Cross / violin, flute, mellotron
- Robert Fripp / guitar, mellotron
- John Wetton / bass guitar, vocals
- Bill Bruford / drums
- Jamie Muir / percussion & allsorts

Track List:
01. Larks’ Tongues In Aspic (Part I) – 8:58
02. Book Of Saturday (Daily Games) – 4:23
03. Improv- All That Glitters Is Not Nail Polish – 25:38
04. Exiles – 3:40

Link in comments.

Bill Bruford, David Cross, Jamie Muir, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – KCCC20 Live at Zoom Club (1972) (@256)

01 Aug 2008

(Review from progreviews.com)

This double album spanning nearly two hours of music with two sprawling, occasionally awe-inspiring improvisations taking up more than half of the running time. It also offers historical significance; the show documented was the first live appearance by the Larks’-era band, and it’s one of the few recordings available showcasing the talents of madcap percussionist Jamie Muir. Given the short time that the band had had to gel at the time of this show, it’s remarkable how tight they already are and how mature some of the compositions are.

“Larks’ Tongues” is a killer way to open the set, though it stops after Cross’ violin solo and segues into a somewhat embryonic “Book of Saturday”. The latter is a little different from the final album version, but is still very nice, marred only by some surprisingly awful flute playing from Cross. “Easy Money” is a really great surprise; it lacks the aggression of both the studio cut and subsequent live versions, instead offering Cross space for a soothing violin solo — even Wetton steps back and plays a soft, relaxed supporting role. The end result is unexpected but undeniably pretty.

Of course, the real attraction point of this set are the improvs. The two shorter ones on disc 2 are easily approached: “Easy Money” goes straight into what would end up being the central guitar riff for “Fallen Angel” on Red, and of course it’s fascinating to hear how the riff originated and what the other bandmembers do around it. Between improvs on disc 1, comprise nearly 70 minutes of spontaneous music. It’s beyond power to satisfactorily describe such a beast, but suffice it to say that — to surprise — the band keeps up the intensity throughout. The interplay between Fripp and Wetton is particularly fun, as is the first half of “Zoom” which features Wetton scat-singing along to his bass playing, with Fripp interjecting accents here and there and the rest of the band mostly just taking a back seat and letting Wetton do his thing. Cross gets more of a chance to shine the latter half of “Zoom”, after a long and seriously intense Fripp solo. “Zoom Zoom” is impossibly long, and the band hits on countless themes; while admittedly it begins to sound samey after a while (46 minutes is a long time!), these guys have a good feel for pacing and there’s always something interesting happening.

Line-up:
- David Cross / violin, flute, mellotron
- Robert Fripp / guitar, mellotron
- John Wetton / bass guitar, vocals
- Bill Bruford / drums
- Jamie Muir / percussion and allsorts

Track List:
CD1
01. Larks’ Tongues In Aspic (Part I) – 8:22
02. Book Of Saturday – 3:16
03. Zoom – 22:03
04. Improv: Zoom Zoom – 44:48
CD2
01. Easy Money – 4:08
02. Improv: Fallen Angel – 4:12
03. Improv: Z’Zoom – 4:48
04. Exiles – 8:36
05. The Talking Drum – 6:13
06. Lark’s Tongues In Aspic (Part II) – 8:37

Links in comments.

Bill Bruford, David Cross, Jamie Muir, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – KCCC15 Live at Mainz (1974) (@256)

27 Jul 2008

1 comment

(Review from wikipedia, progarchives.com)

This show took place at Elzer Hof, Mainz, Germany, March 30, 1974. Like other concerts from the European tour of early 1974, it was recorded directly from the soundboard. “Live at Mainz” is actually a very good supplement for any serious collection of King Crimson’s 1972-1974 era albums. There is a heavy does of instrumental improvised material here, and also many special versions of their basic tracks.

The first three of the songs are pleasantly extended with impressionistic free form sound wall openings, from where the composed songs then emerge. The starter “Improv: The Savage” / “Dr Diamond” is an excellent performance, clearly the best version of this song so far I have heard. This composition didn’t do it on any of the band’s studio albums, but it’s present on many of their live recordings of years 1973- 1974. “Improv: Arabica” opens “Exiles” with nice layers of percussions, and the performance is a a very good, lasting 10 minutes. “Improv: Atria” has some good parts, but there seems to be some problems to find a common direction in some moments too.

Upcoming “Night Watch” is perfect with no edits or switches from one performance to other. “Starless” is a good song, and this is a decent version, featuring those a bit clumsy early lyrics which may be interesting to spot if they not yet familiar. “Lament” is a good track too, and the next song “Improv: Trio” is an interesting track, as it isn’t technically a complete improvisation anymore, it’s more like a reprise of an earlier improvisation from the Amsterdam concert 1973. It has maybe evolved as a jam pattern, and a small embryo of composition growing up from it. Some themes of the songs “Lament”, “Dr. Diamond” and “Fallen Angel” can be witnessed in the live recordings of the Muir-era line-up at 1972 in similar manner. And it’s a pretty tune, a relieving contrast for the aggressive material done by this band. The final tune “Easy Money” is a good version too, and it also has a bit different lyrics on stage as it had on the studio album.

Line-up:
- Robert Fripp / guitar, mellotron, electric piano
- David Cross / violin, mellotron, electric piano
- John Wetton / bass guitar, vocals
- Bill Bruford / drums, percussion

Track List:
01. Improv: The Savage – 2:12
02. Dr Diamond – 5:48
03. Improv: Arabica – 2:29
04. Exiles – 7:01
05. Improv: Atria – 6:14
06. The Night Watch – 5:07
07. Starless – 12:27
08. Lament – 4:20
09. Improv: Trio – 4:36
10. Easy Money – 7:51

Links in comments.

Bill Bruford, David Cross, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – KCCC10 Live at NYC (1974) (@256)

22 Jul 2008

(Review from progreviews.com progarchives.com)

This concert was recorded at Central Park, New York, USA, July 1, 1974.

The show begins with a tape playing then recent Fripp & Eno collaboration “No Pussyfooting”, and then the band kicks in with a fine version of “21st Century Schizoid Man” featuring a Fripp on fire. The following “Lament” is also a good version of the song, there’s a furious interplay going on between Bruford and Wetton especially! The tuning before “Exiles” morphs into a very oppressive and chaotic improvisation, which then transmutes to the mantra and then as the main song. The contrasts are exceptionally fine here, the beautiful minor ballad rises from the maelstorm of a violent nightmare. Then comes the full-improvised number, named as “Cerberus”, which is an OK number. The quarrels within the band had escalated, and it can be heard in these “blows”, the rhythm section dominates the playing, and Fripp and Cross try to punch in their melodic passages desperately.

On “Fracture”, Wetton’s bass performance is stunningly virtuosic (or maybe just really, really loud), and gives the piece an almost funky flavor here that I’ve never heard on any other recording. Definitely one of my favorite renditions of this piece. The performance of “Starless” is blazing, and pretty close to the version that ended up on Red, although unfortunately the volume level seems to peter out a bit just as the climax hits. David Cross’ performance on “The Talking Drum” is definitely notable, and this piece in general is quite brutal here. “Larks’ Tongues Part 2″ is almost anticlimactic as a closer, but still has sections that burn.

Robert Fripp claimed that this concert, the last concert King Crimson played in the 1970s, was the only one that matched the fury and intensity of the 1969 live band. Unfortunately the sound quality of this release is average, but still pleasurable.

Line-up:
- Robert Fripp / guitar, mellotron, electric piano
- David Cross / violin, mellotron, electric piano
- John Wetton / bass guitar, vocals
- Bill Bruford / drums, percussion

Track List:
01. Walk On ,,, No Pussyfooting – 2:11
02. 21st Century Schizoid Man – 7:58
03. Lament – 4:49
04. Exiles – 7:53
05. Improve: Cerberus – 8:27
06. Easy Money – 6:26
07. Fracture – 11:20
08. Starless – 12:31
09. The Talking Drum – 5:30
10. Larks’ Tongues In Aspic: Part 2 – 6:57

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Bill Bruford, David Cross, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – KCCC03 Live at Bremen (1972) (@256)

16 Jul 2008

9 comments

(Review from progarchives.com)

This concert was recorded on the German programme Beat Club, in Bremen, Germany, on October 17, 1972.

The first track is named as “The Rich Tapestry Of Life”, which I recall is Fripp’s quotation from a letter he got from Jamie Muir. So this one begins with few minutes of anxious waiting, there’s some muffled speaking, tuning and such going on, and strangely it works as a nice contrast to the chaotic improvisation, which suddenly begins after two and a half minutes. The chaotic one minute blast clams down to beautiful tones of the mellotron, violin and bass guitar. Wetton begins to form a funky rhythm which the others join, and the famous King Crimson musical improvisation begins to blow, creating long layers of both calm and aggressive musical sequences. There also a funny anecdote here, as Cross plays some real flute in some parts of this track. If you are in to free jazz and old heavy rock of the 70′s, this is a must material for you, as it combines both of these elements. The players are very bold, and they are not afraid of small “mistakes” or “misjudgments” which shall most surely occur in this kind of collective musical adventuring. Considering this, one can also find a nice metaphoric idea in Fripp’s name selection for this piece! The half hour long jam most surely contains the full scale of life’s all emotions!

After the final waves of the massive improvisation begins to fade, the beautiful forms of sounds emerge from the sea of chaotic turbulence, and the music changes straight as the song “Exiles”. The version of “Exiles” it self is a bit clumsy, but if you are interested how these numbers evolved during time, this is an essential document of that process. Cross also does some singing on this one. The final number on this concert is “Larks’ Tongues in Aspic – part one”, which is a decent version but not essential. It’s a bit shorter version, as it ends in the part where the violin solo begins.

The sound quality is not remarkable, but good. There’s also some tuning problems with mellotrons, singers and the violin… More matured versions of “Exiles” and “Larks’” are also available in other releases, but they have historical values, and the big improvisation (taking up two-thirds of the album) is great.

Line-up:
* Robert Fripp – guitar, mellotron
* John Wetton – bass guitar, vocals
* David Cross – violin, mellotron
* Bill Bruford – drums
* Jamie Muir – percussion

Track List:
01. Improv: The Rich Tapestry Of Life – 29:49
02. Exiles – 7:53
03. Larks’ Tongues In Aspic (Part I) – 6:53

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Bill Bruford, David Cross, Jamie Muir, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – Great Deceiver (Live 1973-74) (@256)

28 Jun 2008

(Review from progarchives.com)

This box set features live recordings of the band from 1973 and 1974. All recordings feature the lineup of Robert Fripp, John Wetton, David Cross and Bill Bruford. Jamie Muir, who left the band in early 1973, is not featured on the set.

Throughout the four discs, the listener goes through many different concerts and ultimately is presented with many different songs (although there are a few repeats) as well as a plethora of improvs that really show the experimental nature of the group.

The first disc of this album is taken from a concert from Providence, Rhode Island, and stretches onto the second disc (for the first two songs). The set list is varied and has a stellar version of Starless with David Cross giving a superb violin part. Of the two improvs, which are Providence (which would eventually find its way onto Red with the crowd track cut out) and A Voyage To The Center of the Cosmos, the latter one really shows how the band could play completely improvised music and make it sound like it was well rehearsed and planned out… utterly stunning to put it shortly. Fracture also has a particular kick this time around, with the raw sound quality really coming and making it just a bit better than the other versions. The two songs on the second disc from this show, being 21st Century Schizoid Man (which is good, but the Night Watch version is better) and Walk Off Providence No Pussyfooting (which would act as the introduction and the closer of the show).

The second disc has a couple of rarities in Cat Food and Peace- A Theme as well as some wicked improvs (although they aren’t as spectacular as the Cosmos one on the first disc). The version of Larks’ Tongue in Aspic Part I is especially biting here with more violin presence. There’s also an abridged version of Easy Money as well as another full version on the same disc. Anyway, there’s more crowd presence on this disc, which gets a bit bothersome in the quieter pieces like Book of Saturday and Peace- A Theme. Despite that, though, it just doesn’t live up to the overall energy and feel (as well as the set list) of the first disc. It’s good, just not to that extent.

The third disc has four improvs as well as the only official release of Doctor Diamond (a song that was almost featured on Red but was cut out at the last minute) as well as another stellar version of Starless. Of the four improvs, the final one really is the best of them because of the great interplay between Bruford and Wetton (with Fripp playing excellently as well). This is also the first disc to feature a Talking Drum/Larks Tongues in Aspic Part II segue (with LTiA II being abridged) and for the most part it also comes off rather nicely. This disc also sounds wonderful with a nice overall ambience and a great balance in the instruments.

The final disc is from Toronto’s Massey Hall and a show from Switzerland. The opening four pieces range from constructed pieces (Fracture and the Night Watch) to all out improvs. The two improvs here, titled Clueless & Slightly Slack and The Golden Walnut, are a bit longer than the standard improvs on this set, but they are very captivating and really show the overall cohesiveness and intensity that the group was able to convey through their seemlessly complicated and intricate improvisational pieces that sound more like a rehearsed piece than something done completely on the fly. The rest of the disc comprises of 3 more improvs (one actually based on the No Pussyfooting theme) and a two part one titled The Law of Maximum Distress, which is probably my least favorite improv in the collection. Another strong version of Larks Tongue in Aspic part I and a rousing and sudden finale in The Talking Drum are also here, and for the most part they are pretty good.

Line-up:
* Robert Fripp – guitar, mellotron, electric piano
* John Wetton – bass guitar, vocals
* David Cross – violin, mellotron, electric piano
* Bill Bruford – drums, percussion

Track List:
CD1
01. Walk On … No Pussyfooting – 0:48
02. Larks’ Tongues In Aspic, Part Two – 6:24
03. Lament – 4:38
04. Exiles – 8:57
05. Improv – A Voyage To The Centre of the Cosmos – 15:03
06. Easy Money – 7:12
07. Improv – Providence – 10:18
08. Fracture – 11:14
09. Starless – 12:03
CD2
01. 21st Century Schizoid Main – 8:26
02. Walk Off from Providence/No Pussyfooting – 2:11
03. Sharks’ Lungs in Lemsip – 2:31
04. Larks’ Tongues In Aspic – 7:49
05. Book Of Saturday – 3:02
06. Easy Money – 6:41
07. We’ll Let You Know – 4:54
08. The Night Watch – 5:17
09. Improv – Tight Scrummy – 8:58
10. Peace – A Theme – 1:01
11. Cat Food – 4:36
12. Easy Money (2) – 2:20
13. …It Is For You, But Not For Us – 9:10
CD3
01. Walk On … No Pussyfooting – 0:58
02. The Great Deceiver – 4:26
03. Improv – Bartley Butsford – 3:12
04. Exiles – 7:19
05. Improv – Daniel Dust – 4:09
06. The Night Watch – 4:39
07. Doctor Diamond – 5:11
08. Starless12:25
09. Improv – Wilton Carpet – 5:52
10. The Talking Drum – 5:29
11. Larks’ Tongues In Aspic: Part Two – 4:07
12. Applause & Announcement – 2:12
13. Improv – Is There Life Out There? – 14:49
CD4
01. Improv – The Golden Walnut – 11:46
02. The Night Watch – 4:37
03. Fracture11:51
04. Improv – Clueless and Slightly Slack – 8:12
05. Walk On … No Pussyfooting – 0:53
06. Improv – Some Pussyfooting – 2:26
07. Larks’ Tongues In Aspic: Part One – 8:16
08. Improv – The Law of Maximum Distress: Part One – 6:31
09. Improv – The Law of Maximum Distress: Part Two – 2:33
10. Easy Money – 7:32
11. Improv – Some More Pussyfooting – 5:53
12. The Talking Drum – 6:02

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Bill Bruford, David Cross, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – Night Watch (Live 1973) (@256)

27 Jun 2008

(Review from progarchives.com)

Never mind the studio stuff: Crimson was and always will be at their best on stage, and this 2-disc live set from the Amsterdam Concertgebouw vividly captures what many fans consider to be the band’s best line up at their creative peak, in late 1973.

Hearing the show in its (more or less) uninterrupted entirety, and with a reconstructed sound that shames most contemporary live recordings, is nothing less than a revelation. this one performance belatedly sums up all the awesome power and ingenuity of the Bruford-Wetton-Cross-Fripp configuration.

Every song is dramatically superior to its studio counterpart, from the first sudden downbeat of “Easy Money” to the final crescendo of “Larks Tongues in Aspic Part II”. Listen to the band working its way through the spiral groove of “The Talking Drum”, gradually shifting gears upward into overdrive with near telepathic precision. Or breaking into a funky mock-rock ‘n’ roll stomp during the acerbic “Lament”, with Fripp soloing all over the auditorium (unlike his tame sustained fuzz on the later album version). Or sidestepping an unexpected technical glitch with textbook grace under pressure, after David Cross’ mellotron audibly short circuits mid-way into the second verse of the title track. A quick thinking shift to electric piano alters the entire chemistry of the song, for the better in my opinion: adding a touch of delicacy sometimes lacking in the faux-string arrangements.

However, it’s the group improvisations that have always defined the various Crimson Kings, and on this night the band was certainly firing on all cylinders, despite the claims of chronic tour burnout. You can perhaps hear their fatigue in the way each of the three improvs begins from a point of zero energy and absolute silence. But the act of spontaneous music making must have had a galvanizing effect, judging by how each one develops.

“Trio” is an oasis of calm in the often discordant sea of classic Crimson noise and fury. “Starless and Bible Black” gradually builds into a mind-frying jam of epic proportions, propelled by the Wetton-Bruford rhythm section at full steam. And in “The Fright Watch”, meant as little more than a prelude to “The Talking Drum”, John Wetton coaxes sounds from his bass guitar that need to be heard to be believed, reminding me of a slumbering subterranean dinosaur slowly emerging from some ancient primordial swamp.

The first two improvisations were both featured on the “Starless and Bible Black” album, but hearing each of them in the context of a complete show puts the music in an entirely fresh perspective.

It is, pure and simple, beyond criticism, and the next best thing to having been there in Amsterdam on that late November night.

Line-up:
- Robert Fripp / guitar, mellotron
- Bill Bruford / drums
- David Cross / violin, mellotron
- John Wetton / bass, vocals

Track List:
CD1
01. Easy Money 6:15
02. Lament 4:14
03. Book Of Saturday 4:08
04. Fracture 11:28
05. The Night Watch 5:27
06. Improv- Starless And Bible Black 9:13
CD2
01. Improv- Trio 6:09
02. Exiles 6:37
03. Improv- The Fright Watch 6:03
04. The Talking Drum 6:34
05. Larks’ Tongues in Aspic (Part II) 7:51
06. 21st Century Schizoid Man 10:38

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Bill Bruford, David Cross, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – USA (Live 1974) (@256)

16 Jun 2008

(Review from progreviews.com, progarchives.com)

The posthumous live effort of the Larks’-era King Crimson is quite simply one of those great live album documents to emerge from the 70s. This remastered edition of the album brings the great sound quality lacking in ‘Earthbound’ with the addition of three more tracks.

With some notable exceptions, in this album melody and delicacy of touch are largely replaced by sheer strength, aggression and stunning technical proficiency. The sound is at times harsh and metallic, with John Wetton’s powerful yet intricate bass lines providing a solid background for Fripp’s angular guitar excursions. Bruford’s drumming, stellar as always, is unfortunately somewhat swamped by the bass in a mix which, while miles better than its predecessor “Earthbound”, does not enhance all the instruments in the same way. Even David Cross’s violin sounds harsher and less lyrical than on the studio albums.

To further the level of necessity for this particular live recording, “Asbury Park” is one of the best -nowhere else available- improvisational cuts ever released. Its signature and key might seem trite at first, but the energy reaches several peaks, giving it distinction above a great many of their improvised operations.

Line-up:
- Bill Bruford / drums, percussion
- David Cross / violin, keyboards
- Robert Fripp / guitar, mellotron
- John Wetton / bass, vocals
with
- Eddie Jobson / violin (2), piano (3)

Track List:
01. Walk On … No Pussyfooting – 0:34
02. Larks’ Tongues In Aspic Part II 6:24
03. Lament 4:21
04. Exiles 7:23
05. Asbury Park 6:53
06. Easy Money 7:11
07. 21st Century Schizoid Man 8:10
08. Fracture 11:19
09. Starless 14:53

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Bill Bruford, David Cross, Eddie Jobson, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – Red (1974) (@256)

15 Jun 2008

(Review from progreviews.com, vintageprog.com, wikipedia)

With David Cross’ exit from the band, King Crimson forged ahead as a trio, and produced this, the last album Crimson would make in the 70s. Red is often cited as the strongest of the three Larks’-era albums, and sometimes of King Crimson’s entire discography. Generally, here the band is consistently heavier in force and tighter in focus than ever before, with the departure of any remaining possibility for the violin line of abandon from Cross.

The first side is a juggernaut of solid musicianship and probably represents the most accessible and distilled album side for this era of the band. The title-track opens the album, and is as typical for this version of Crimson as it can get, consisting of a simple but yet powerful and heavy riff that carries the track all the way through. “Fallen Angel” is a strong vocal-track with the mellotron mixed very far back in the sound on the verse, while the chorus is a far heavier and more electric thing. “One More Red Nightmare” is another prime example of how Fripp could use a very simple riff to create a really powerful and enjoyable progressive rock track.

The masterpiece of Red, however, is doubtlessly the album’s closer “Starless”. It’s hard to find a more emotional, down-to-earth moment in Crimson’s repertoire than Wetton’s weary voice clutching for a ray of hope as it enters past the melancholic, mellotron-drenched opening: “Sundown, dazzling day…” The thunderous climax (in 13/8) and sweepingly powerful ending of the song closes the chapter on 70s Crimson like an unstoppable (and unforgettable) deluge.

Robert Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the “world was coming to an end”. The Red line-up never toured, and two months before the album’s release Fripp announced that King Crimson had “ceased to exist” and was “completely over for ever and ever” and the group officially disbanded on late September 1974.

Line-up:
- Robert Fripp / guitars
- Bill Bruford / drums
- John Wetton / bass, vocals
with
- Mark Charig / cornet
- Mel Collins / soprano saxophone
- David Cross / violin
- Ian McDonald / alto saxophone
- Robin Miller / oboe

Track List:
01. Red – 6:17
02. Fallen Angel – 6:04
03. One More Red Nightmare – 7:07
04. Providence – 8:11
05. Starless – 12:18

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Bill Bruford, David Cross, Ian McDonald, John Wetton, King Crimson, Mel Collins, Robert Fripp, Sakalli's Pick

King Crimson – Starless and Bible Black (1974) (@256)

14 Jun 2008

2 comments

(Review from progreviews.com)

With a bang, this album starts and doesn’t let up for air until about mid-way through. Of all the King Crimson mid-period, this one perhaps is there most consistently breathless — let’s see: we’ve got hyped-up blues-prog in “Great Deceiver”, the schizophrenic narrative “Lament”, marvelously cohesive improv in “We’ll Let You Know”, “Trio” and the title track, the symphonic ballad “The Night Watch”, the spooky, atmospheric “The Mincer”, and arguably Fripp’s finest masterpiece, “Fracture.” If ever a progressive band was lean, mean, and ready to fight, it was this one.

Fripp has stated that he always thought his drummer and bassist of this period were great players, but never sure if they were a great rhythm section. In any case, Bruford and Wetton set the tone for many of the pieces on this album. Tightly wound, precise punches and jabs; bladed, metallic bass figures rip through thin layers of mellotron and violin, while high-tuned toms and snare keep ahead of the beat and make no room for error, or even diversion. This is not to say the two men weren’t sympathetic performers, but driven.

While the whole-tone adventures of “Fracture” and later pieces such as “Red” and “One More Red Nightmare” have captured the attention of many progressive fans, the most distictive aspect of this band may have been its willingness to step out of its structured pieces into improvisation. The mid-period King Crimson were doubtlessly the *most* popular proponents of free-improv in the history of prog. “Trio” is simply that: Fripp, Cross, and Wetton delicately composing in the moment; “We’ll Let You Know” is avant-funk without the burden of a dancefloor; “Starless And Bible Black” is exotic, dark, and well-timed – leading into the explosive “Fracture” in much the same way as “The Talking Drum” led into “Larks Toungue part II” on the previous album.

This album saw the band at the height of its powers, and should be a reference to all those defending progressive as something other than bombastic flower-music.

Line-up:
- Robert Fripp / guitars
- Bill Bruford / drums
- David Cross / violin, viola, kbds
- John Wetton / bass, vocals

Track List:
01. The Great Deceiver – 4:02
02. Lament – 4:06
03. We’ll Let You Know – 3:41
04. The Night Watch – 4:41
05. Trio – 5:40
06. The Mincer – 4:11
07. Starless And Bible Black – 9:12
08. Fracture – 11:14

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Bill Bruford, David Cross, John Wetton, King Crimson, Robert Fripp

King Crimson – Larks Tongues In Aspic (1973) (@256)

13 Jun 2008

(Review from wikipedia, vintageprog.com, progarchives.com)

Shortly after the Earthbound tour, that Crimson line-up completely disintegrated. Once again, Fripp began the task of looking for new members. These included improvising percussionist Jamie Muir; vocalist and bassist John Wetton, formerly of the band Family and a college acquaintance of Fripp; violin, viola and keyboard player David Cross; and drummer Bill Bruford, who had chosen to leave the commercially successful Yes for the comparatively unstable and unpredictable King Crimson. With Sinfield gone, the band recruited a new lyricist, Wetton’s friend Richard Palmer-James.

Ushering in a new era for the band, “Larks’ Tongues in Aspic” showcases the new King Crimson playing progressive rock of a kind and in a way no other band had done before them. Their new style was often based in very heavy and loud riffs built around raw and freaked-out improvisations.

The title-track bookends the album, with the first part being subtle and understated and the second almost heavy-metal in its intensity. The above-mentioned “Book of Saturdays” and “Exiles” are both wistful, moving ballads, the second punctuated by Cross’s romantic violin strains; while “Easy Money” has an interesting structure, with an almost funky feel and rather weird lyrics. The quirky “The Talking Drum” leads then the way for the monstrous riffing and complex rythmic patterns of “Larks’ Tongues in Aspic pt. 2″.

Line-up:
- Bill Bruford / drums
- David Cross / violin, viola, mellotron
- Robert Fripp / guitar, mellotron, devices
- Jamie Muir / percussion
- John Wetton / bass, vocals

Track List:
01. Larks’ Tongues in Aspic, Part One – 13:37
02. Book of Saturday – 2:56
03. Exiles – 7:41
04. Easy Money – 7:53
05. The Talking Drum – 7:27
06. Larks’ Tongues in Aspic, Part Two – 7:08

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Bill Bruford, David Cross, Jamie Muir, John Wetton, King Crimson, Robert Fripp

Steve Hackett – Genesis Revisited (1996) (@256)

28 Mar 2008

1 comment

(Review from progarchives.com)

If you’re going to revisit some of the songs you created with one of the world’s greatest rock bands, you might as well do it properly. Hackett does exactly that with this album. He gathered together some of the finest musicians available, with the noticeable exclusion of any of his former band mates but including the Royal Philharmonic Orchestra.

The opening “Watcher of the skies” is slightly slower, more majestic, than the “Foxtrot” original. The wonderful introduction sounds even better as the mellotron is accompanied by full orchestra. John Wetton’s vocals can make any track sound good, but where he guests on tracks on this album, as he does on “Watcher of the Skies” (and “Firth of Fifth”) he adds an atmosphere to them which changes their feel completely. Hackett takes on vocal duties himself for “Dance on a volcano”, which is a pity really, as it’s otherwise superb. He does the same on “Fountain of Salmacis”. With so many talented vocalists to hand, such self indulgence is at best unnecessary.

“Firth of fifth” is transformed completely. The intro is a delicate piece of orchestration, while out goes the flute solo and intricate Tony Banks keyboard solo. In comes a completely different precursor to Hackett’s famous guitar solo. Just as you’re starting to despair and think that Hackett has done the unthinkable and disposed of his finest contribution to the Genesis archive, the sound of his guitar breezes in ever so gently before soaring even more beautifully and to even greater heights.

A couple of the tracks are not really re-visits as such, “Valley of the kings” and “Déjŕ vu” not being original Genesis tracks. That said, Peter Gabriel apparently started the latter in the 1970’s while still with the band, and Paul Carrack’s vocals are excellent on the finally finished product. “The waiting room” is nominally the track from “The lamb..”, but in reality, it’s a completely different piece in the form of a jam with heavy jazz overtones. For me, it doesn’t work, and would have been better left off the album altogether. The other tracks are interesting, and at times inspired re-workings, closing with the always excellent “Los endos”.

It’s easy to question some of the songs Hackett has chosen to “revisit”, and there are many others which it would have been good to have seen included, but remember these are his personal choices.

“Watcher of the skies” and “Firth of fifth” are the clear beneficiaries of Hackett’s re-interpretations, and it has to be said that some of the others would have been better left alone, but overall it is a commendable album indeed.

Line-up:
- Steve Hackett / vocals, guitars, percussion, harmonica, orchestration
with
- John Wetton / vocals, bass
- Bill Bruford / drums
- Tony Levin / bass
- Chester Thompson / drums
- Ian McDonald / saxophone, flute
- Paul Carrack / vocals
- Colin Blunstone / vocals
- Alphonso Johnson / bass
- John Hackett / flute
- Pino Palladino / bass
- Julian Colbeck / keyboards
- Aron Friedman / keyboards, orchestration, programming
- Hugo Degenhardt / drums
- Nick Magnus / keyboards, programming
- Will Bates / saxophone
- Royal Philharmonic Orchestra Sanchez / Montoya Chorale
- Roger King / keyboards, vibraphone, orchestration, programming
- Jerry Peal / keyboards, programming
- Ben Fenner / keyboards, orchestration, programming

Track List:
01. Watcher of the Skies (8:40)
02. Dance On A Volcano (7:28)
03. Valley Of The Kings (6:29)
04. Déja Vu (5:53)
05. Firth of Fifth (9:39)
06. For Absent Friends (3:02)
07. Your Own Special Way (4:18)
08. Fountain of Salmacis (9:53)
09. Waiting Room Only (6:53)
10. I Know What I Like (5:37)
11. Los Endos (8:51)

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Bill Bruford, Ian McDonald, John Wetton, Steve Hackett, Tony Levin

U.K. – Night After Night (Live) (1979) (@320)

08 Mar 2008

Thanks to Zen Archer for his contribution.

(Review from wikipedia, progarchives.com)

After the release of “Danger Money” in March 1979, the band spent much of that year touring North America as opening act for Jethro Tull. A live album, “Night After Night”, was recorded in Japan that spring.

“Night After Night” offers a selection of songs taken from UK’s two studio albums, plus two unreleased tracks which show rather clearly the different ideas that Jobson and Wetton had for U.K. The new songs: “Night After Night” and “As Long as You Want Me Here”, sound more in Wetton’s pop rock style which he developed more in the band Asia.

As it is to be expected, the musicianship is outstanding throughout, with Jobson being the main star of the show, and Bozzio and Wetton providing a textbook-perfect rhythmic background.

Following a final European tour in December 1979, and in spite of plans to record a new studio album in America in March 1980, U.K. disbanded. As quickly as it started, it was over, and another supergroup was superseded by individual interests.

Line-up:
- Terry Bozzio / drums, percussion
- Eddie Jobson / keyboards, electric violin
- John Wetton / vocals, bass

Track List:
01. Night After Night (5:21)
02. Rendez-vous 6:02 (5:17)
03. Nothing to Lose (5:25)
04. As Long As You Want Me Here (5:00)
05. Alaska (4:21)
06. Time to Kill (4:17)
07. Presto Vivace (1:12)
08. In the Dead of Night (6:22)
09. Caesar’s Palace Blues (4:58)

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Eddie Jobson, John Wetton, Live, Terry Bozzio, U.K.

U.K. – Danger Money (1979) (@320)

07 Mar 2008

5 comments

Thanks to Zen Archer for his contribution.

(Review from wikipedia, progarchives.com)

Following the tour for their debut, Bruford and Holdsworth both left U.K. over musical differences. After their departure, U.K. didn’t bring in another guitarist. Drummer Terry Bozzio (another one-time Frank Zappa band member) joined Wetton and Jobson, and as a result U.K. became a trio with a classic progressive rock lineup of keyboards/bass/drums (albeit supplemented by Jobson’s violin). The trio recorded the album Danger Money, released in March 1979.

Their second album is still very progressive, and less fusion that the previous one. Jobson’s keyboards still have futuristic elements and they are sometimes intense, dramatic & floating; Jobson also uses here an omnipresent vintage organ a la ELP or Triumvirat, so that the overall sound is less modern than on the previous album.

The catchy “Rendez vous 6:02″ has excellent piano & moog parts. “The only thing she needs” has organ parts sounding a bit like on the Steve Hackett’s “Highly Strung” album. The refrain on “Nothing to lose” surprisingly has a bit the Asia’s style. The epic “Carrying no cross” starts with an impressive electronic effect applied on a piano; the first part of the track has a mellow & futuristic ambience, while the second one contain fast, complex and flamboyant organ & piano parts a la ELP.

The album’s dynamics, stunning interplay and amazing work from Jobson on his keyboards and violin make it a worthy record.

Line-up:
- Terry Bozzio / drums, percussion
- Eddie Jobson / keyboards, electric violin
- John Wetton / lead vocals, bass

Track List:
01. Danger money (8:12)
02. Rendez-vous (5:00)
03. The only thing she needs (7:53)
04. Caesar’s Palace blues (4:42)
05. Nothing to lose (3:57)
06. Carrying no cross (12:20)

Link in comments.

Eddie Jobson, John Wetton, Terry Bozzio, U.K.

U.K. – Shadows from the Sun (Live 1978) (@256)

06 Mar 2008

U.K. went on two lengthy American tours to support their debut album during June-October 1978.

This is a good soundboard recording of their concert at the Agora Ballroom in Cleveland, on the 1st of September.

It’s a fair representation of the live performance of the first line-up of U.K.

Line-up:
* Eddie Jobson / Electric Violin, Keyboards
* John Wetton / Vocals, Bass
* Allan Holdsworth / Guitars
* Bill Bruford / Drums, Percussion

Track List:
01. Alaska
02. Time To Kill
03. The Only Things She Needs
04. Carrying No Cross
05. Forever Till Sunday
06. Thirty Years
07. By The Light Of Day (ending)
08. Presto Vivace
09. In The Dead Of Night

Link in comments.

Allan Holdsworth, Bill Bruford, Eddie Jobson, John Wetton, Live, U.K.

John Wetton – Arkangel (1998) (@256)

14 Dec 2007

Request of unusual music.

(Review from progarchives.com)

For this solo release, Wetton brought in several progressive heavyweights, including Steve Hackett and Robert Fripp. Strange then that he should record one of his most vocal and pop orientated albums.

There’s much more Asia to this album and much less King Crimson/Uriah Heep, indeed many of the songs could have been recorded by Asia had Wetton stayed on. “Nothing Happens For Nothing” for example is an Asia song, pure and simple, with a strong upbeat melody and a catchy hook. There are plenty of ballads and slow acoustic songs too. Of these, the title track and “All Grown Up” are among the most emotional and enjoyable.

The album opens rather deceptively, with a fine if brief instrumental “The Circle of St Giles”. The mood of the album though is quickly encapsulated in the pop/rock of “The Last Thing On My Mind” (no relation to the Tom Paxton song), a fine song but far from challenging. The other instrumental, “The Celtic Cross” has more than hint of Mark Knopfler’s inspirational theme music for the film “Local Hero”.

For those who enjoy the voice of John Wetton, this is a good listen. The songs may be relatively simple, but they are flawlessly performed, and superbly produced.

Line-up:
- John Wetton / vocals, bass
with
- Billy Liesgang / guitar
- Steve Hackett / guitar, harmonica
- Robert Fripp / guitar
- Tom Lang / drums
- Misha Calvin / acoustic guitar
- Ramon Vega / acoustic guitar, vocals
- Thomas Radl / bass, vocals
- Richard Plamer-James / guitar, keyboards, programming

Track List:
01. The Circle of St. Giles
02. The Last Thing on My Mind
03. Desperate Times
04. I Can’t Lie Anymore
05. Arkangel
06. You Against the World
07. Be Careful What You Wish For
08. Emma
09. Nothing Happens for Nothing
10. All Grown Up
11. After All
12. The Celtic Cross
13. Take These Tears (Bonus)

Links in comments.

John Wetton, Robert Fripp, Steve Hackett

Peter Banks – Two Sides of Peter Banks (1973) (@256)

09 Nov 2007

(Review from progreviews.com)

The original Yes guitarist’s solo debut features quite a line-up of guest artists. Predominantly, these are Jan Akkerman of Focus — who is Banks’ main collaborator, Phil Collins, Flash bandmates Ray Bennett and Mike Hough. Briefer cameos are provided from Steve Hackett and a John Wetton who was just dipping his toes into King Crimson at the time.

The album opens with a beautiful electric guitar duet, Banks’ classic volume pedal tones and Akkerman ringing out with sad, gothic fifths characteristic of his work in Focus. The other duet, Akkerman’s “Beyond the Loneliest Sea”, is even more impressive, with more weeping willow support from Banks and Akkerman laying down some luscious classical guitar.

Banks takes the ball and runs alone with “White House Vale”, a melodic guitar poem which showcases some of his own classical moves, with a brief interlude that presages the next piece, “Knights”. The main riff of the two-parter “Knights,” incidentally, is almost exactly like one of main themes from Wendy Carlos’ Tron composed a decade later, though the similarity is almost certainly coincidental. On Banks’ post-Yes albums, he inevitably lets fly some terrific electric guitar solos, in the John McLaughlin “let them eat cake ’cause I’m gonna wing this mutha” spirit of sloppy exploration, even if it sounds nothing like Mahavishnu Orchestra. Here you can find that on “Knights” and “Stop That!”. The album closes with a fun, and one can only assume tongue-in-cheek, electric hoedown between Banks and Akkerman entitled “Get Out of My Fridge”.

Line-up:
- Peter Banks / electric and acoustic guitar, ARP, mini moog, Fender piano
- Jan Akkerman / electric and acoustic guitar
with
- Ray Bennett / bass guitar
- Phil Collins / drums
- Steve Hackett / electric guitar
- Mike Hough / drums
- John Wetton / bass

Track List:
01. Vision of the King – 1:25
02. The White House Vale – 7:13
03. Knights – 6:53
04. Battles – 2:23
05. Knights Reprise – 2:13
06. Last Eclipse – 2:28
07. Beyond the Loneliest Sea – 3:04
08. Stop That! – 13:41
09. Get Out of My Fridge – 3:21

Link in comments.

Jan Akkerman, John Wetton, Peter Banks, Phil Collins, Steve Hackett

Asia – Asia (1982) (@256)

04 Nov 2007

2 comments

(Review from progarchives.com, progreviews.com)

Asia began with the apparent demise of Yes and Emerson, Lake & Palmer, two of the flagship bands of British progressive rock.

Though comprised of members of Yes, King Crimson and ELP, Asia sound nothing like any of those bands, nor were they trying to. Asia were rooted firmly in the AOR-influenced pop-rock school of the early 80′s, groups distinguished as much by the amount of mousse they put in their hair and the guitar-shaped keyboards they wielded as by any specific sound they all possessed.

Every song has a strong hook, and an infectious melody. The band members are all masters of their crafts, so it goes without saying that the musicianship is of the highest quality. From the opening “Heat of the moment”, the soaring guitars, and big sounding keyboards provide the perfect complement to John Wetton’s criminally underrated singing ability.

Progressive fans expecting a King Crimson/Yes/ELP hybrid, or even another UK, will be bitterly disappointed. Getting past these trappings, though, the music can be pretty enjoyable.

Line-up:
- Geoffrey Downes / keyboards and vocals
- Steve Howe / guitars and vocals
- Carl Palmer / drums and percussion
- John Wetton / lead vocal and bass guitar

Track List:
01. Heat Of The Moment (3:54)
02. Only Time Will Tell (4:48)
03. Sole Survivor (4:51)
04. One Step Closer (4:18)
05. Time Again (4:48)
06. Wildest Dreams (5:11)
07. Without You (5:07)
08. Cutting It Fine (5:40)
09. Here Comes The Feeling (5:40)

Link in comments.

Carl Palmer, Geoff Downes, John Wetton, Steve Howe

Streetwalkers – Streetwalkers (1974) (@256)

06 Aug 2007

Request of Panka & John. Thanks to Plastic Geordie for the contribution. Sorry I forgot to post.

(Review from Patrick Little)

In the winter of 1973/1974, only months after the dissolution of Family, Chapman/Whitney completed a duo album called Streetwalkers. Basically this was an informal exercise by the pair to stretch their musical wings. They had done some diverse stuff on the last Family album, but this was sort of a jam project with a loose collection of famous musical friends.

The album starts off with an intense tune — succinct, biting and ever-changing. “Roxianna” has an Americana feel that is reminiscent of Family album “It’s Only a Movie”, even features clarinet. “Systematic Stealth” is a mature ballad with electric piano and Whitney’s 12-string and slide. “Call Ya” features a sax solo from Mel Collins and a Rod Stewart like Roger Chapman. “Creature Feature” is atmospheric and creepy, it has a slunky feel with a mean edge, excellent funk that would permeate later Streetwalkers. “Sue And Betty Jean” is yet another ballad that builds and floats along; featuring a baritone saxophone that coats, soothes and relieves… A nice and orchestrated blues piece “Showbiz Joe” follows. “Tokyo Rose” is a mean mix of bass, horns and low guitar. Fifties style sax screaming over chord changes and multi-tracked Chappo gets the rock back on track. The last track is an epic in the least — the string section score is right there from the beginning, creating counter melodies and embellishments.

A touring outfit of the studio album followed the formation of a solid backing band In February 1975 and the duo dubbed themselves the Streetwalkers.

Line-up:
* Charlie Whitney – guitar, steel guitar
* Roger Chapman – lead vocals, percussion
* John Wetton – bass, back vocals
* Ric Grech – bass
* Tim Hinkley – keyboards, back vocals
* Max Middleton – keyboards
* Neil Hubbard – guitar
* Ian Wallace – drums
* Mike Giles – drums
* Godfrey McLean – congas
* Poli Palmer – electric vibes
* Mel Collins – brass, woodwind, arrangements
* Boz Burrell – back vocals
* Linda Lewis – back vocals
* Jim Cregan – back vocals

Track List:
01. Parisienne High Heels
02. Roxianna
03. Systematic Stealth
04. Call Ya
05. Creature Feature
06. Sue And Betty Jean
07. Showbiz Joe
08. Just Four Men
09. Tokyo Rose
10. Hangman

Link in comments.

Charlie Whitney, Ian Wallace, John Wetton, Ric Grech, Roger Chapman

U.K. – U.K. (1978) (@256)

21 Apr 2007

(Review from progarchives.com, wikipedia)

UK was a short-lived British progressive rock supergroup founded by singer/bassist John Wetton and drummer Bill Bruford (both King Crimson alumni) with keyboardist/electric violinist Eddie Jobson (late of Roxy Music and Frank Zappa’s band) and guitarist Allan Holdsworth.

This record did not impress me too much when I first bought it, but then it grew on me. It is still something I have to listen to carefully in order to fully appreciate it, which means I can’t put it in the background when I’m doing something else around the house – but the experience gets better and better with each listen. Here, Jobson takes the lion’s share, playing both keyboards and electric violin. The latter gives the album a distinctive quality it shares with Crimson’s 73-74 records – though Jobson’s playing is more atmospheric, evocative and somewhat romantic as well. Surprisingly, though, one of my favourite elements of “U.K.” is Wetton’s singing: his performance in the record’s highlight, the opening, three-part suite “In the Dead of Night/By the Light of Day/Presto Vivace- Reprise”, is nothing short of amazing. As many people on this website already know, I’ve never been a fan of Wetton’s singing with King Crimson (with the notable exception of “Red”), but here he’s at his most emotional. His bass playing is also quite superb and complements Bruford magnificent drumming perfectly – just listen to the closing track, “Mental Medication”, in order to fully appreciate his thick, powerful yet skillful bass lines. Then, Allan Holdsworth needs no introduction: he’s a musician’s musician rather than a shredder.

Line-up:
- Bill Bruford / drums, percussion
- Allan Holdsworth / guitars
- Eddie Jobson / keyboards, electric violin
- John Wetton / lead vocals, bass

Track List:
01. In the dead of night (5:38)
02. By the light of day (4:32)
03. Presto Vivace and reprise (2:58)
04. Thirty years (8:05)
05. Alaska (4:45)
06. Time to kill (4:55)
07. Nevermore (8:09)
08. Mental medication (6:12)

Link in comments.

Allan Holdsworth, Bill Bruford, Eddie Jobson, John Wetton, U.K.

Uriah Heep – High and Mighty (1976) (@256)

02 Apr 2007

2 comments

(Review from progarchives.com)

David Byron’s final album with Uriah Heep came all too soon. The recording of “High and Mighty” was apparently a somewhat piecemeal affair, with only Hensley (who yet again dominates the song writing) and Wetton committed in full to the project. The absence of Gerry Bron as producer for the first time is less apparent than might have been expected, but he was reportedly unimpressed with the results.

The two sides of the LP make an appropriate division between what turned out to be an impressive side one, and a poor side two. Mick Box is largely absent throughout, with Hensley by and large providing both keyboards and guitar.

The opening track, “One way or another” doesn’t even feature Byron’s vocals, with Wetton taking on those duties. Ironically Byron, who was reportedly comfortable with the finished track, played Hammond organ on it instead. It is though an intriguingly successful diversion for the band in a slightly less organised direction. Hensley’s middle 8 restores the more melodic sound, providing a harmonic counterpoint. The track has similarities to “Dreamer” which opened “Sweet Freedom”.

Byron first appears on the beautiful “Weep in silence”, a softer track but highly melodic almost emotional, with Hensley’s keyboards swirling around the pained voice of Byron.

“Midnight”, which closes side one, is a miniature epic in about 6 minutes. In that time it moves from an attention grabbing opening riff, through a number of time changes and brief instrumental breaks, to fade with a reprise of the opening riff. “Midnight” stand proud alongside Hensley’s finest compositions, and would have made a fitting end to the Byron era Uriah Heep. Unfortunately, they continued onto side two of the album, which brings together some of the weakest material recorded by the band while Byron was a member.

Had the entire album been up to the standard of the four tracks on side one, “High and mighty” would have been worthy of it’s name. Unfortunately side two of the album only served to indicate that radical change was needed, and such change was indeed, just around the corner.

Line-up:
- David Byron / vocals
- John Wetton / bass, guitar, Mellotron, electric piano, vocals
- Lee Kerslake / drums, percussion, vocals
- Mick Box / lead guitar, acoustic guitar, 12 string acoustic guitar
- Ken Hensley / organ, piano, Moog synthesizer, tubular bells, electric piano, guitar, slide guitar, acoustic guitar, electric 12 string guitar, pedal steel guitar, vocals

Track List:
01. One Way Or Another (4:37)
02. Weep In Silence (5:09)
03. Misty Eyes (4:15)
04. Midnight (5:40)
05. Can’t Keep A Good Band Down (3:40)
06. Woman Of The World (3:10)
07. Footprints In The Snow (3:56)
08. Can’t Stop Singing (3:15)
09. Make A Little Love (3:24)
10. Confession (2:16)

Link in comments.

David Byron, John Wetton, Ken Hensley, Lee Kerslake, Uriah Heep

Uriah Heep – Return to Fantasy (1975) (@256)

31 Mar 2007