UK

In the summer of 1976, after most recent stints with Uriah Heep and Genesis, respectively, former King Crimson mates John Wetton and Bill Bruford met and began exploring ideas/scenarios to work together again. After several failed attempts (a Wetton solo album, a trio with Rick Wakeman, a reformation of King Crimson) the duo decided to form a quartet with each person bringing in a respected "ringer." Sometime late 1977, Wetton brought in former Roxy Music bandmate Eddie Jobson and Bruford brought in guitar phenom Allan Holdsworth with whom he was working on the first Bruford album--which would be released in January of 1978 as Feels Good to Me). The quartet convened in London at Trident Studios for recording dates in December of 1977 and January 1978. The E.G. record label would release the eponymously-titled album in May.

Line-up / Musicians: - John Wetton / lead & backing vocals, bass - Allan Holdsworth / acoustic & electric guitars - Eddie Jobson / electric violin, keyboards, electronics (Yamaha CS-80) - Bill Bruford / drums & percussion

- In the Dead of Night (Suite): 1. "In the Dead of Night" (5:35) such a memorable riff and melody. (9.75/10)

2. "By the Light of Day" (4:28) I am not, in general, a fan of the voice or singing style of John Wetton, but this is a great performance. Here we get to see, as well, how astute and talented the young pup, Eddie Jobson was--for the first two minutes with his keyboard work, then with some awesome electric violin soloing. The background vocals here are also notable for how well they work--and at such a subtle level. The final 90-seconds with its wonderful bridge from the vocal section into the multi-layered synth-dominated sections is astonishing. (10/10)

3. "Presto Vivace and Reprise" (3:06) full band returns with Bill and John holding down the fort while Eddie's keys go off--and then, of course, there is the return/reprise of the suite's original theme--with John's insistent voice and Allan's signatory guitar. Definitely an epic suite for the ages! (9.5/10) - 4. "Thirty Years" (8:03) an opening of synth wash chords and Allan's acoustic guitar play prefaces John's tender, almost introspective vocal (which sounds so much like Greg Lake). At 3:22 Allan, Eddie, and Bill leap out from behind the curtain with power and confidence unparalleled in the world of instrumental music at the time. Eddie's imitation of Allan's phrasing style on the keyboard is simply amazing. Then the axe-master himself is given a turn--and he just kills it. The motif at the end of the sixth minute is interesting for how short it lasts before the band shifts into something entirely different for John's final vocal delivery. Allan takes us out over a slowed down but ever-so-powerful support theme from the rest of the crew--until Eddie is left to clean things up with his synth (or violin) for the last few bars. (14/15)

5. "Alaska" (4:48) another impressive atmospheric opening by Jobson with his amazingly creative an mature synth skills--2:42 of it before anyone else joins in! But then, join in they do! With force and abandon--especially Bruford--while Jobson continues to dominate with multiple keys going at once. Wetton is rudimentary support and Holdsworth making only one brief appearance until YES-Fragile-like final 15 seconds (which is in reality only a bridge to the next song). (9.25/10)

6. "Time to Kill" (4:53) Bursting out of the primordial soup that was "Alaska" this song presents great force from all musicians, not the least of which is John Wetton's forceful voice, all the way to the 1:45 mark when everybody (except Bruford) drops back into a holding pattern for a JEAN-LUC PONTY-like electric violin solo from Jobson. I love Holdsworth's odd chord play and Bruford's autocratic time keeping beneath all of Jobson's pyrotechnics. The song's only weak spot is in its chorus--the choral background vocals. (9.75/10)

7. "Nevermore" (8:10) opening with some stellar acoustic guitar play from Holdsworth--both the support strums as well as the hyper-speed soloing, but then in the second minute we segue with Jobson's synths and violin into another power vocal section (with some pretty hokey lyrics). The song's best part are Holdsworth and Jobson's piano backing up Wetton's vocals with some pretty hot peppering in the third minute--though Jobson's synth play in the call-and-response instrumental section with Holdsworth in the fourth and fifth minutes is pretty iconic. Critically speaking, this is probably the best song--and perhaps my favorite--on the album. For years I had never been able to give Eddie Jobson his due, but now I am ready: he is the star (and Bruford the glue) of this landmark album! (15/15)

8. "Mental Medication" (7:25) Another solid song on all fronts, it seems to serve John Wetton's vocal prowess most, though everyone's contributions are stellar. The middle section of jazz-rock fusion sounds so much like so much of JEAN-LUC PONTY's during this period: Aurora through Individual Choice but especially Cosmic Messenger and beyond. (13.75/15)

Total Time 46:28

One of the high points of music in the second half of the 1970s. Jobson, Holdsworth, Bruford and Wetton gelled to create some incredibly haunting music--as well as some very fresh sounds. All of the soft parts are masterful and emotion-filled but are best because they forebode the imminent attack of BILL BRUFORD, Lord of the Drums. IMO, Holdsworth's best work. Ever. "Alaska," "Time to Kill," "Mental Medication," and the highlight of all, the "In the Dead of Night" Suite, are songs forever seared into my neural pathways. And another thing: How can young Eddie Jobson be so good! He was only 22 at the time of these recordings!

Listening to this album again as I write its detailed review makes me better comprehend some listeners'/reveiewers' proclamation of it as prog's last homage to the decade of amazing innovation and creativity that was just coming to its final (if reluctant) close.

A/five stars; a certifiable masterpiece of jazz-rock fusion expressive progressive rock music. An album of impressive music and unique, innovative sound. One of Top 10 Favorite Jazz-Rock Fusion Albums of prog's "Classic Era."