UK

I have heard some tracks, but never listened from start to finish. I am excited to listen though, as I know that this line-up (Bruford, Wetton, Holdsworth and Jobson) and album are Legend-Dary!

Track 1 - In the Dead of Night

A syncopated rhythm starts out the festivities. The keyboards lead the way. It is very poly-rhythmic between the vocals and instruments. I have to admit that I know Jobson's playing far less than the other 3, but I am impressed with his keyboard skills. Oh, yeah, I know that fluid guitar sound though. Hello, Mr. Holdsworth. Great prog in a relatively compact form.

Track 2 - By the Light of Day

A bit of a free-form rhythm starts us off on track 2. A bit of a slow tempo by comparison to the first song. I can feel the King Crimson background of Bruford & Wetton on this one.

Track 3 - Presto Vivace and Reprise

An up-tempo prog instrumental introduction seems to be in order here, as the title tempo markings indicate. Vocals kick in at around 1:30. The title lyrics from track 2 return, but at a much faster tempo. Following that we return to the instrumental opening.

Track 4 - Thirty Years

This one begins with a slow fade in. We have distant sounding vocals behind the keyboards. Big changes at 3:25, as the band kicks in fully and the tempo changes and gets steady at a moderately fast pace. Jobson seems to be the star of the show here, before Holdsworth takes the spotlight. After the instrumental break, Wetton shines on vocals. Of course, Bruford's drumming skills shine throughout.

Track 5 - Alaska

A bass note on the synth slowly fades in at the start, then some higher notes on top, giving us an ominous intro. The keyboards are giving me an impression of a cold Alaskan landscape. At around 2:45 the tempo picks up and Bruford first, then Holdsworth joins in. If Wetton is on bass, it is not prominent. This is a very enjoyable instrumental. This track leads directly into:

Track 6 - Time to Kill

Wetton jumps right in on vocals as the track begins. This is an up-tempo tune with rhythm and meter changes. Vocal harmonies on the chorus. A drastic timing change leads into the instrumental break. Jobson takes over with a synth solo over the changing rhythms. Then Holdsworth gets his turn. I also think there is some Jobson electric violin involved.

Track 7 - Nevermore

Holdsworth dazzles on acoustic guitar for the intro. Fusion vibes underlie the opening vocal section. I can feel it beginning to build. Very Jazzy harmonies in the vocals. Holdsworth doubles the vocal melody, while Jobson provides intricate jazz piano fills. Bruford and Wetton lock into a rhythm section groove with Jobson accenting the chord changes for Holdsworth then Jobson to trade brilliant solos. The vocals return, then everything slows down into a dreamy synth bed. Wetton's vocals return in a distant way, with Bruford providing drum fills then a rhythmic pattern, while Holdsworth joins with a melodic solo, before the keyboards fade to the end.

Track 8 - Mental Medication

Wetton comes in with Holdsworth backing with jazz chords (through harmonizing effects? Was that a thing in '78?) More jazz-fusion vibes in the instrumental section. Super-complex rhythms come in around 2:40 for a nearly impossible instrumental break. These are 4 master musicians at the top of their respective games. Several meter changes and feel changes happen during the instrumental sections. Yep, definitely a violin solo from Jobson here (think Jean-Luc Ponty, not Robbie Steinhardt). The vocals return in a similar way to the beginning but with different sounds backing (overdubbed harmonies on slightly distorted guitars) And thus the album ends.

OVERALL IMPRESSIONS

Enjoyable album. The player's fusion tendencies shine through, especially Bruford & Holdsworth which they would explore further in their career trajectories. Wetton would of course go from UK to form the more commercially oriented, but with prog skill, Asia. Jobson, however, seems to be the star of the album to me. And, I must be honest here, other than playing with Jethro Tull in the "A" era, then nearly joining Yes during the recording of 90125 (being there in time to shoot the Owner of a Lonely Heart video, before Kaye returned), I don't know too much about what he's done in the decades since. I knew from reputation, how great of a musician he is, but not as familiar with him as I am the other 3. He definitely impressed me here. Great album, indeed. However, because of its fusion leanings, which I do occasionally enjoy, but is not my preference, I am giving it a 4 out of 5 stars. I am reserving 5 out of 5 for albums I like even more than this one. Glad I gave it a thorough listen, though.