UK

So what if you combined the more jazzy and whimsical side of progressive rock with the danceable start of the age of New Wave that'd become highly popular in the 80s? Say you brought members from highly acclaimed groups such as King Crimson, Roxy Music, Yes, and Soft Machine and you take their sounds and abilities and give them a more straight-edged, almost pop twist. Well for one you'd get a supergroup, and for another one, you'd get the U.K.

Formed after the recording of Bill Bruford's first solo album, Feel Good to Me, he, Allan Holdsworth of Soft Machine, John Wetton of King Crimson and Family, and Eddie Jobson of Roxy Music formed the U.K. in 1977 creating one progressive rock's widely known, yet rather small discography supergroups, right next to the likes of Asia, and Emerson Lake and Palmer. They were around until 1980 when they broke up before in 2011 they would reform but only to break up again in 2015. Despite their short run, they have inspired many spin-offs from the group such as U.K.Z. and HoBoLeMa. So in 1978, U.K. would create their eponymous first album, U.K.

How I see this album is that the two sides are two different melodies where each song is practically important to one another due to how they intermingle with one another, creating a sense of movement from each of the songs from each side of the album.

Side A, which is a melody composed of the first four tracks of the album (In The Dead Of Night, By The Light Of Day, Presto Vivace and Reprise, and Thirty Years) showcases the band's unique sound, being a precursor to some of the more progressive pop acts of the 80s (say Kate Bush or even some post-punk stuff like Bauhaus). They go for more uniquely acquired tastes here, with a sense of familiarity between the members and their playing styles. You can hear a lot of influences from King Crimson and Yes, but almost some more fusion elements from Soft Machine, and again, a more pop-focused element from Roxy Music. It feels like a blending of the good stuff all these bands have created, merging them into one mass that can be enjoyably dissected. The highlight here is definitely In The Dead of Night for me, how it starts strongly and keeps up the pace and rhythm laid down by the bass and drums that get washed over by synths and John Wetton's vocals. It paints a solid picture of these guys' sounds that they grew into throughout the 70s. The rest of the tracks on side A are also really solid as well, especially Thirty Years giving an epic finale to this melody that can be highly appreciated. I do think, however, that they have a problem with those keyboards. The sound they create with them is way too high-pitched and clashes with the overall sound the band has going for, almost to the point where I'd say they can create an almost annoying experience for me.

Side B's melody of Alaska, Time To Kill, Nevermore, and Mental Medication is the weaker part of the album, and I'd say carries different problems from side A. While I do say every song on the second side is still pretty good, they do not have that drive side A had. This is their more experimental side where they try new things and new styles. While I do appreciate them for trying new things, it does come at the cost of creating a less enjoyable experience for me since it feels like a forward-minded experience, and more like throwing stuff at the wall and seeing what sticks. You can hear them experimenting with more jazz sounds with Time To Kill, more symphonic progressive rock on Nevermore, a tiny bit of new age on Alaska, and rounding off with a traditional Canterbury Scene sound on Mental Medication. This site is all over the place, and for better or for worse it takes the listener on an interesting journey of new elements the band has a knack for, after all, they are a progressive rock group, and it is a given to hear a band trying new things and seeing what works and what doesn't, and for me, I think they seem to not work as well as they might have hoped for.

While this can create a fun and interesting listen I cannot say it is required. I recommend checking out In The Dead of Night first and if you might like that then go into the album. I'll say for this album expect the unexpected because that is what the album is all about, the unexpected.