UK

A very good album by the first supergroup in the history of progressive rock. Bruford's drumming is very impressive and Jobson's parts on keyboards and electric violin are delightful. Although Bruford and Wetton were both members of King Crimson, the music here is lighter and closer to symphonic prog than to hard prog. If you like this album, you will probably like Bruford's best effort : One of a kind, one track of which was written by Jobson.

This album brought Allan Holdsworth to a wider audience, while Bill Bruford (Yess, King Crimson) , John Wetton (Family, King Crimson) and Eddie Jobson (Roxy Music, Curved Air), made their fame prior to this line up. A Supergroup of epic proportions, and one to actually live up to the billing.

In The Dead of Night, broken into three sections, is a tour-de-force of battered roto-toms, tortured keyboards, slashing violin and jaw-dropping guitar solos. I've always enjoyed Wetton's "edge of his range" vocals, straining and powerful. Part II, In the Light of Day, offers some respite, softly bringing forth the eye of the storm before the finale.

Thirty Years features some of the most powerful Bruford drumming on the record. Alaska/Time to Kill has great punishing keyboard work from Eddie Jobson. The intro to "Nevermore" is one of the best moments in music. The keyboard, guitar trade offs are incendiary. Mental Medication offers up even more tasteful solos, but leaves you hanging and wanting more at the end.

This is a classic, a "Must Have" for any progger.

An almost prophetic grouping of prog-rock veterans, U.K.'s first album is simply a must-have for any prog-rock fan. Bruford's drumming has rarely been crisper, or more playful and concise, Jobson does some of his best-ever work on both synth and violin, Holdsworth is nothing short of breath-taking, and Wetton's bass and voice are at their peak. From the opening polyrhythms of In The Dead of Night to the quasi-classical coda of Mental Medication, not a single note is misplaced, not a single sound is inappropriate, not a single rhythm is anything but flawless. Truly a wonder, in every way.

An amazing last hurrah for prog rock in the 70's, it would never get this good again for some time. Great playing by everyone, great tunes (though "Mental Medication" seems a bit disjointed and patched together for my taste). Holdsworth does stuff on guitar that just sounds absolutely impossible! The tradeoffs between Allan and Eddie are priceless!

This is typically the sort of supergroup of the late 70's that, as gifted as they were, did nothing to help the state of affairs of prog among the weekly press. I, for one, did not care that much about UK and other groups of that era as they did not have a very fresh approach to music and it seems that most of those musicians had fewer inspirations and only seemed interested to do more music as to keep busy and keep the bucks coming in.

Of course this incredible line-up was simply too good to make a bad album, but by the time in their career, these guys were not freshmen anymore (most of them were already professional since the start of decade minimum, so they are seasoned veterans) and this debut album lacks the enthusiasm of the debut album of a group starting out with their very first album. UK's debut album has more of a feeling: "OK, guys!! This group is now together, how can we make an album that the music industry will carry on (or promote) while the talk of the town is about three chord rock tunes?" So the best way I can describe this album is that it is a very professional album, with all the negatives this can imply regarding the artistic integrity.

What strikes right away is the start of their best-known track, In The Dead Of Night, the intro borrows heavily from Genesis' Watchers Of The Skies (and this is no coincidence, right Bill?), even though the rest of the track shifted onto something else just after. It's obvious that the level of the musicianship is enormous in this band, but with the lack of fresh ideas (every passage sounds like someone else), it becomes a bit of a show-off. The major instrument passage sounds again like a cross of Supper's Apocalyptic Watcher. If the first track was energetic, despite sounding borrowed, its alter-ego By The Light Of Day borrows on its predecessor and crosses it on a Yes-like short track where Anderson would've let out all of his testosterone to sound Wetton-like accompanying some disputable Jobson synth sound choices no doubt the CS-80 from Yamaha, that sounds like Asia and the early 80's. Holdsworth's guitar sounds are not exactly suiting my eardrums, either. Presto Vivace sounds like a third grade ELP reprising the lead-off track. Thirty Years is another Asia preview and easily the worst of this album.

The flipside doesn't fare better, starting with Alaska4s elongated intro preceding the ELP-like main-body. The instrumental track segues directly into the disastrous Time To Kill, which sounds like Pre-Asia stuff, partly due to Wetton's way over-mixed (and over-rated) vocals. A few acoustic arpeggios, sounding like everyone around at the time, are opening Nevermore, which is butchered instantly by Wetton's uninspired vocals trying to sound like Caravan (Hastings + Sinclair) this time; and quickly the track turns into a piano bar fiasco, with only Holdsworth's guitar to save it from ridicule, Jobson's synth interventions stinking up the place. Just a pure mess, one that would only prove right the punk's laughter. The closing Mental Medication should find a better a third word title in "Needed", because I have no idea why anyone let Wetton sing out soooooo wrong (let's stay polite). This track's vocals are so cringing that you can barely listen to the music itself, first a cross of Yes & ELP, than in its middle section, the two instrumental passages somewhat raises the overall level of the album, but not enough to avoid the album from sinking. When over-professionalism encounters lack of ideas.

But I am probably reading too much into this but I thought this deserved to be at least once said. Don't get me wrong: this is an awesome line-up and the musicianship is great. If you plan to belt me for only three stars given, avoid the head and crotch areas ;-)

I'll round it up to the upper star out of respect for Bruford and Holsworth.

In 1978, progressive rock declined very much. UK was a rare band to keep alive this musical genre. With Eddie Jobson on keyboards and electric violins, Allan Holdsworth on guitars, Bill bruford on drums and John Wetton on bass, the supergroup UK is a sure value and the listeners must have great expectations. Indeed, most of those musicians have a natural predisposition to create and play fusion music, so that many excellent fusion parts are present on this record. Jobson's modern keyboards for the year are often futuristic and very dramatic & expressive; his electric violin is often floating, creating spacy and floating atmospheres like on "By the light of the day" or "Thirty years": his electric violin reminds the Jean Luc Ponty's one. Wetton's lead vocals are very good; Allan Holdsworth's electric guitars are often discreet, although he has wonderful & complex electric guitar solos like on "Thirty years" and "Mental medication", on which the Jobson's keyboards sound like a floating Vangelis of the early 80's. Holdsworth's electroacoustic guitars on "Nevermore" are particularly elaborated and impressive. Wetton's bass is much more elaborated than his work with Asia, especially on "Mental medication". "Presto vivace" has a fast, complex & synchronized bit a la Frank Zappa's "Echidna's Arf". Bruford's drums are as usual: complex and professionally played. Jobson's keyboards are sometimes vintage, like the rhythmic organ on "Alaska", sounding a bit like Triumvirat. The "fusion" term takes all its sense on tracks live "Nevermore" and "Mental medication". "Mental medication" has amazing & complex rhythm changing parts with excellent electric violin parts. Eddie Jobson is a rare musician who MASTERS 2 disparate instruments: violin and keyboards: he clearly shows it here!

EXTREMELY RECOMMENDED!

Overhyped prog rock album. This is a prog supergroup consisting of Eddie Jobson, Bill Bruford, John Wetton, and Allan Holdsworth. To me, I find the album too modern for my liking. It sounds more like a 1982 recording than a 1978 recording. Eddie Jobson's ugly- sounding Yamaha CS-80 synth don't help matters (that's the same problem I level at JETHRO TULL's A, which he also played on). UK was definately ahead of time. The album sold quite well, but to me, it sounds like it was hype. It would work better had Eddie Jobson used some better synths, like the Mini Moog. At least I can say this is nowhere as unbearable as ASIA (Wetton's next band, which totally reeks of sellout, in my book). The music itself is listenable, but it simply failed to excite me. Just be wary of the hype.

An album that has inspired Progressive Metal! (IMHO)

This is truly a prog rock album performed in the musical structure of heavy metal / hard rock outfit. The days when I knew this album released in 1978 I was not aware what prog was all about and I just considered that this album was a unique hard rock music - until lately in the 90s when the internet buffs started to mention about progressive rock. Yeah yeah yeah . whatever you call it, this album is remarkable! One thing that I can assure you, like it or not, this album has inspired the birth of progressive metal vein. You want some proof? OK, just grab your Dream Theater "Scenes from A Memory - II" and go straight to track 9 "The Dance of Eternity" and enjoy it. It's a wonderfully crafted tune right? And now, grab the CD of UK first album and go straight to track 3 "Presto Vivace and Reprise" (a very short yet complex passage at the beginning of the track). Now, just let your mind compares between these two tracks. You would not find any similarity of melody, of course. But that's not the point, you may agree with me that there is a common style the two tracks share especially in fast speed tempo passage. You got it man ..!!! So, correct me if I'm wrong . this UK album has in someway inspired the progmet vein. If you disagree, it's fine with me ..it's progressive world.

On the neo classical metal vein, Yngwie Malmsteen has covered the first track of this album "In the Dead of Night" in his album "Inspiration". It suffices to say the masterpiece-ness of this album. On musicians, you got the best in the market: Bill Bruford looks after drum stools and percussion, Allan Holdsworth on guitar, Eddie Jobson - who can play two instruments briliantly: violin and keyboard, and John Wetton on bass and vocal. So, what can you expect more about this album?

In The Dead of Night

It's a high energy driving track that opens this track with an adrenalin-exploding style. Hey, by the time I had rarely seen any prog tune performed in this powerful, uplifting and fast tempo fashion. It's probably King Crimson did. The Wetton's bass and vocal line are really perfect to open this track. Bill's lightning drum strike the music in a very happy mood combined with soaring keyboard work and long sustain guitar. It's been a classic track that does not need further detail review. It's a great "WOW!" experience for me man .!!!

By The Light of Day

It's a mellow nice track performed in ambient mood reminiscent of King Crimson. The only thing non-Crimsonisque is the keyboard work at background and violin. It's a different style. It sets a very nice ground to move the music forward to track 3.

Presto Vivace and Reprise

It starts off with unique time signatures drumming followed with a very dynamic, very dense in mood and music, fast paced style that demonstrate a perfect harmony of various instruments: keyboard, bass, drum and guitar. It's an unbelievable opening part! The music then returns back to "In The Dead of Night" nicely. Again you can hear the amazing sound of Bill's drumming.

Oh man . the first three tracks have given me enough satisfaction, really!!

Thirty Years

This track opens with an ambient / atmospheric music, excellent guitar and keyboard, that features powerful voice of Wetton. It reminds me to King Crimson style. Wetton's voice flows smoothly with the quiet music (only keyboard and some guitar fills). The music then turns into a full swing featuring lead guitar work by Holdsworth, keyboard work by Jobson, accentuated by dynamic drumming.

Alaska - Time To Kill

I like this track - which has an interesting intro with keyboard solo - more in its live version under "Night After Night" live album. But this studio track is excellent too. The drumming is wonderful - performed in high energy style. Powerful track. The violin solo in "Time To Kill" is really stunning.

Never More

It kicks off with an excellent acoustic guitar outfit by Holdsworth. The music continues with the inclusion of keyboard and cymbals followed with vocal line. It continues with full swing music when all instruments start to roll. It has a stunning guitar solo and keyboard solo during interlude. Great!

Mental Medication

A concluding track that opens with a vocal line with quiet passage. When the full music enters, all members contribute really well in each passage - great bass line, wonderful drumming, stunning keyboard solo in jazzy-classical vein and excellent guitar.

In Summary: Highly Recommended! of course ..

With the kind of words I put on track by track review, you will by now know what my final recommendation about this album. It's hard to believe that any prog lover does not have this CD in their collection. Keep on Progging!!!

Progressively yours,

GW - Indonesia.

Good solid album by these prog rock stalwarts.The songs are very good and consistent in quality throughout.Can't help but feel though that prog was stuck in a rut at the time and UK don't really drag it out as such.BUT if you like prog rock generally I can't imagine you not liking it.All the ingredients are here.It's just not especially inspired.3.5 stars.

In 1980, I read an "old" Rock magazine (from 1978) which had a review about this album. At that time, I knew that Bill Bruford have played with YES and King Crimson. I realized later that in fact Bruford, John Wetton and Eddie Jobson appear in King Crimson`s live album called "USA" (Jobson added overdubs for that album), so I thought that this U.K. band was like "a King Crimson line-up without Robert Fripp". It was until mid 1980 that I found the second U.K. album called "Danger Money". I bought it. In late 1980, I bought their live album called "Night After Night". It wasn`t until late 1981 that I listened for the first time to this "U.K." album, their first. A cousin had it in L.P., a very used copy with a lot of scratches. I recorded it on a cassette. It wasn`t until 1997 when I bought the CD that I really appreciated this album very much. The original L.P. cover lists the 3 first songs as part of the "In the Dead of Night Suite" as I call it (not titled as that in the cover):"In the Dead of Night:1. In the Dead of Night 2. By the Light of Day. 3. Presto Vivace and Reprise". The CD cover doesn`t list these songs as part of a three part musical piece. The song "In the Dead of Night" has a very good guitar solo by Allan Holdsworth. "By the Light of Day" has not guitars, but it has a violin solo and "dark" keyboards atmospheres by Jobson. "Presto Vivace and Reprise" has interesting drums and keyboards. "Thirty Years" is a song with a lot of keyboard atmospheres, very good drums and percussion by Bruford, and a lead guitar by Holdsworth. "Alaska" is an instrumental piece by Jobson, with a melody played by Holdsworht on guitar."Time to Kill" has very good drums and a violin solo. My favourite song in this album is "Nevermore", which starts with Holdsworth`s acoustic guitars. It also has very good solos by Holdsworth and Jobson. The last song, "Mental Medication", is mostly a jazz-rock song. This band started in late 1976 when Wetton called Bruford to play in a band with Rick Wakeman. They rehearsed for 6 weeks before Wakeman left the projected band and re-joined YES for the "Going for the One" album.Bruford and Wetton wanted to carry on playing together, so Wetton invited Jobson, who was playing with Frank Zappa.He didn`t join them very soon because he had some work to do with Zappa`s band. Bruford recorded his first solo album "Feels Good to Me" in mid 1977, with Holdsworth on guitar. When Wetton, Jobson and Bruford finally were rehearsing together, Bruford invited Holdsworth to the new band called "U.K.". They recorded this first album between December 1977 and January 1978. They toured during 1978, until they started to have problems due to different ideas about the musical style for the band: Bruford and Holdsworth wanted a more jazz- rock style for the band, while Wetton and Jobson wanted a more Pop-Rock (in the case of Wetton) and Prog Rock (in the case of Jobson) style for the band. So, in late 1978, Bruford and Holdsworth left the band (Bruford says in his official website that he and Holdsworth were "fired" by Wetton, as he considers Wetton as the "real founder" of the band). I think that the most interesting thing in this album, apart of the music played by these four very good musicians, is Bruford`s drums and percussion playing, with a lot of changes in time signatures and very good technique.Holdsworth has his most interesting playing in the songs "In the Dead of Night", "Thirty Years", "Nevermore" and "Mental Medication". For the most part, Jobson is the main musician with his keyboards. Wetton plays his bass as good as usual, singing very good too. I consider this album as their best. "U.K.", like other Rock "supergroups" (like Blind Faith and Asia) couldn`t be playing together for a long time.

Well, here it is, yet another review for UK's eponymous debut album, an album that has remained a crucial bone of contention in prog circles for years - some label it as the last masterpiece of 70s prog, others point out that it doesn't quite live up to its full potential, while the rest stand in the middle leaning closer to any of these two general outlines. I am one of the former, though I admit that there may be some lack of cohesion in some specific passages. But, generally speaking, I consider "UK" a monster album, where majesty and distinction rule the masterful delivery of excellent musical ideas, one after the other. The symphonic prog and jazz trends (Jobson-Wetton and Holdsworth-Bruford, respectively) converge in a solid sonic source that captures the pompous magic of the best early 70s prog, giving it a somewhat modern approach, which is in no small degree due to the featured use of state-of-the-art Yamaha synthesizers by Jobson. Eddie Jobson proves to be UK's core: since his artistic sensibility is not foreign to the influence of jazz-rock, it allows him to become the bridge between the two pairs that conform the band's ensemble. My absolute favourite moment of this album has to be 'Alaska'/'Time to Kill', since it comprises the most essential stuff that this band is made of: effective melodies, energetic interplaying, amazing performing skills... Of course, a special mention has to go for Jobson's excellent violin solo that robustly expands itself throughout the interlude right until the final chorus. The closing track 'Mental Medication' is another gem that, IMHO, should be mentioned and praised more often: taking off from a basic Holdsworth idea, the foursome bring a jazzy mini-suite, pretty much close to the Canterbury territory - Bruford's exquisite crafty drumming is precisely complements by Wetton's bass lines, while Holdsworth delivers his arguably best leads and Jobson does a wonderful job on his keyboard orchestrations and a violin solo. 'Thirty Years' serves as a sort of compromise between these two lines of work: the interaction between Holdsworth and Jobson is notable, not as notable as in the aforementioned 'Mental Medication', but, all in all, truly impressive. There is also much interplaying Holdsworth-Jobson, wonderfully conducted during the interlude jamming of the jazz-fusion oriented 'Nevermore', but in this particular case, the amalgam of the various motifs does not feel as fulfilled as in the other tracks: it's a pity that such a beautiful theme, full of genuine romantic spirit, doesn't comprise a more articulate internal cohesion. Anyway, the initial acoustic guitar flourishes and Bruford's enthusiastic drumming are simply superb - the former introduces the song's overall spirit while the latter sustains the jam and keeps it flowing naturally. And I won't conclude this review without mentioning the monster suite that opens it: 'In the Dead of Night' is pure prototypical UK. I feel that there is a slight lack of completeness in some moments of the sequence of the three sections (in fact, I feel that the suite's multiple construction works better in the live renditions I've heard from the quartet line-up's bootlegs), but apart from that, I can only qualify 'In the Dead of Night' as prog genius. Holdsworth's guitar solo is a classic (his rockiest performance in the entire album); Jobson's sensibility for textures, harmonic bases and spacey adornments on synth and organ, as well as his melancholy violin solo for the 'Light of Day' section; Bruford's spectacular swing and distinctive touch that he adapts to each varying mood; Wetton's solid bass foundation and vocal style - all these elements meet in a combined fruition that produces spectacular results. Although it doesn't achieve a "perfect perfection" (and more than once has Bill Bruford himself admitted that this album's recording process felt like four novelists trying to write one book together), the brilliance of "UK" is evidently there, and so, a 5-star rating is the most appropriate one (4.75 stars, to be more accurate).

Okay - forget the disappointing debacles that were the "supergroups" Asia and GTR: UK were the genuine article. In 1978, during the twilight of progressive rock's glory days, the newly-formed band released a self-titled album that was "super" in terms of lineup, musicianship and content. With the incomparable Bill Bruford on drums, the stalwart John Wetton (ex Crimson) handling the bass and vocals, Eddie Jobson (formerly of Roxy Music) ably manning the keys and violin, and fusion master/hired gun extraordinaire Allan Holdsworth (Jean Luc Ponty) on guitars, UK certainly had an impeccable pedigree. Yet, in music, good breeding accounts for little, without the requisite strong material to meet the expectations raised whenever such heavyweights come together. In UK, the expectations of excited prog fans were convincingly met with a fine recording that still stands up today.

The album opens in attention-grabbing fashion with "In the Dead of Night," as Wetton's bass throbs with floor-shaking power, and Jobson's keys establish the main theme, before my favourite prog drummer (that's Mr. Bruford, to you!) makes his presence known with his trademark precision and unmistakable, rapid-fire snare sound. Soon after the second catchy chorus, Holdsworth steps to the fore with a soaring, singing solo, and the listener is transported, if not to prog Valhalla, then to somewhere mighty close to that heroic, heavenly hall. Turn it up, progholes!

The session then segues into the thematically-linked "By the Light of day" -- which, though slower, nonetheless retains the power of the opener. Jobson's violin is especially lovely here, and his synth work conveys an air of majesty.

"Presto Vivace and Reprise," as its title would suggest, showcases some frantic keyboard work from Jobson, then revisits the main theme to bring this three-track sequence to a unified and satisfying close.

"Thirty Years" finds Wetton singing of regrets, "missed opportunity," and half a lifetime wasted "chasing rainbows," and also serves as a superb vehicle for Jobson's electric violin, and Holdsworth's graceful lead.

Number five, "Alaska," is an instrumental "soundscape" that evocatively conveys the immense grandeur and lonely expanse of that largest of states, while "Time to Kill" ups the pace of the proceedings, and continues the motif of arctic isolation with lyrics portraying "sheets of ice," a "wolf at the door," and a prisoner who dreams of "silver sand and azure Caribbean sea." Jobson and his violin particularly shine on this fine piece of prog.

Holdsworth picks up the acoustic for the intro to "Nevermore," which, at over eight minutes, is the disc's longest selection, and gives the band ample space to "stretch out," show off their respective chops, and visit some varied musical terrain.

Finally, "Mental Medication" deals with the psyche-soothing potential of music, and fittingly provides six-plus minutes of exciting, tight and diverse prog fusion -- the bass and violin are notably good here.

Thus, if you've never had the good fortune to hear UK, I urge you to check out this excellent offering from what was arguably the most successful of prog supergroups. (Fans of Bruford and Holdsworth, in particular, should be quite pleased.) The genre may have been past its prime by the time of UK's release, but the blazing "sunset" of an era captured here is well worth experiencing!

I hesitate to give this album 5 stars, so I'll go for 4 - though my rating is at least a 4.5, given the sterling quality of the playing here. UK were the (unfortunately) short-lived supergroup which tried to revive symphonic prog in the late '70s, producing two excellent studio albums (although with different line-ups) and an equally valid live recording before splitting up at the very end of the decade. It is a pity that Wetton - who plays and sings brilliantly on this album - went on to form the awful Asia, an utter waste of talent and electricity (as the late John Peel said of ELP).

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 Crimso (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, and this is enough to gain my approval.

By way of a conclusion, I cannot help wondering why some people describe this album as "poppy" or even "easy". To me there's nothing even remotely easy about this record, which, as I already said, needs more than one cursory listen to be appreciated as the near- masterpiece it is.

It took quite a bit of time for me to warm up to this record by the supergroup that comprised Allan Holdsworth, Eddie Jobson, John Wetton and Bill Bruford. This here is no obtuse experimentation a la Henry Cow ... indeed I do believe it to be a relatively accessible prog-rock album (no, it's not Asia, either!). The problem probably has its roots in my distaste for the uber-shiny guitar sound of Holdsworth and the sharp synths favoured by Jobson. As such, while I do readily affirm that is quite a crucial purchase for any progger to make, it's not a record I pull out too often. When I do, I'm always rewarded.

The opening trio of segued songs In The Dead Of Night/By The Light Of Day/Presto Vivace And Reprise contains some superb playing and shifts in mood from all participants concerned. Holdsworth lays down a patented solo during the initial attacking segments, while the moody mid section is distinctly Crimsonesque, as Jobson builds a beautiful synth solo around Wetton's fading voice. The third part of this piece commences with an excellent Keith Emerson impression from Jobson, before Wetton brings the song cycle full circle. Throughout it all, Bruford is ... Bruford.

Thirty Years is another intriguing proggy fusion track with stellar turns from Holdsworth and Jobson ... it's a lot of fun to hear them cook over the already smokin' basic grooves laid down by the monster Bruford/Wetton rhythm machine, but once again, the temptation to modify the sounds into something a tad more "organic" is strong. This trend continues through the rest of the album ... Alaska is one that takes a while to get going, but by its conclusion Holdsworth and Jobson are engaging in some sort of titanic struggle (imagine John McLaughlin competing for space with Keith Emerson on the same solo spot!), the vocal segment of Time To Kill is none too impressive ... sounding almost like a Steely Dan throwaway, but there's more solo delight from Jobson, this time on violin (surely this album contains some of his best ever moments).

It comes as a real thrill when Holdsworth commences Nevermore with some dazzling acoustic guitar runs, but it turns out to be just a tease, as another Steely Dan meets symphonic prog tune unfolds. Don't get me wrong, the playing can be quite magnificent ... it's the choice of sounds that I need to get my head around. The occasionally funky Mental Medication is full of more glorious efforts from the two soloists bringing the album to a strong conclusion, that eaves us wanting more ... unfortunately it wasn't quite to be.

I do rate UK's debut higher than the even more fusion-orientated Bruford project (the first two albums Feels Good To Me & One Of A Kind, also feature Holdsworth) that was to follow very soon after UK splintered leaving behind this unique gem. I've yet to hear the follow-up that Wetton and Jobson recorded with ex-Zappa drummer Terry Bozzio. Chew on this if you get the chance. ... 76% on the MPV scale

1977 had a special meaning for me. That year had new releases from Genesis, ELP, Kansas, Jethro Tull, Gentle Giant and Yes. Some very mixed results among those efforts. I also saw all of them in concert that year. In fact on successive Thursdays in May of that year I saw Genesis, Jethro Tull and Gentle Giant! 1977 was a great year!

Then I heard about this one. I knew who Bill Bruford and John Wetton were and I had heard of Eddie Jobson and Alan Holdsworth was just starting to enter my ears. To think they were putting out an album sparked my curiosity. The first play of this CD I really felt like they had hit something solid. The music seemed a cross of Genesis, ELP and King Crimson. The keyboard work was spectacular and the bass drums combo was one of the best tandem ever. Holdsworth guitar added something new. Take the song Alaska. I find the intro to this to be the same as the beginning of The Three Fates off of ELP's debut but faster and with drums. Then in comes Alan's guitar and it really made me think what ELP could have sounded like with Alan playing. This alone takes from the influence and moves it to different level. Very, very cool. I had the good fortune to see them in concert the same year and they were just as stellar.

Putting this album on just recently I found a few flaws that bothered me somewhat. The vocals are really nothing special and I have heard John Wetton do better. The lack of the Hammond leaves me a bit cold as well. (The same thing with Pirates by ELP that same year. I do believe that the Hammond was extremely important to all of the major groups listed above and when they stopped using it is when they had their biggest falloff) The production and sound of this CD is wanting too. I am hoping for a great remaster of this someday it should improve the sound quality greatly.

But those criticisms do not take away from this great record. Coming at the time of the final glory of the 1970's prog and taken into context of what I already mentioned came out that year this is 5 stars for me. I would have really liked to have known what this lineup could have done with one more stab at it. This band came out huge were playing major arenas from the start then just as quickly died.

You would think that putting together a group of super talented prog artists would make an album of pure oneupsmanship. Wrong! This is a total group effort and one of, if not the best prog album to come out in the waning moments of the 70's. Right from the start, "In The Dead Of The Night" blasts with Jobson's excellent keys and Bruford's amazing drumwork. This album is as well drummed by Mr Bruford as any he has done before and since, just flat out phenomenal, (check out "Presto Vivace and Reprise" and you'll know what I mean). I'm not too familiar with Alan Holdsworth's work, but on this album he shreads the heck out of his guitar, yet at the beginning of "Nevermore" he picks acoustically so fast I can't even imagine how quickly his fingers must have moved, UNREAL! The only member for me who doesn't stick out is Wetton. I'm not a big fan of his vocals. He tends to strain quite a bit at times, about to either crack or croak. He needs the multiple layering he received on the ASIA albums. But the star of this album is Jobson. He's not mentioned much in the pantheon of keyboardists, yet here he's the king with his great use of his multiple keyboards and his mastering of the electric violin. Listen to his keys on "Alaska", it brings chills literally. One of the great things about this album is how catchy the choruses are mixed with the incredible instrumentation. There's not many bands that can pull off that type of mixture well; YES, GENESIS and KANSAS just to name a few could, yet with all the ego's in this band it's amazing they were able to pull it off so well. Is this the last classic symphonic prog album of the 70's? For arguments sake I'll open up the floor to you all....is it?.. or is there another? Just a tad under 5 stars...make it 4.75!

The last of the prog �supergroups� (at least during the 70�s) had everything to work. Could anyone imagine John Wetton (King Crimson, Family, Uriah Heep), Eddie Jobson (Curved Air), Bill Bruford (Yes, King Crimson) and guitar virtuoso Allan Holdswoth (Soft Machine) together? Four terrific, outstanding and seasoned musicians. UK however does not really gel. It was clear their differences: Wetton and Jobson wanted a more laid back, melodic prog direction, while Bruford and Holdsworth wanted to jazz. It couldn�t really last long. Nobody was surprised when both of the latter left the group.

While the band was not the dream team we may had imagined, the music itself was not bad. Actually, if you like symphonic prog with some strong jazzy parts you�ll probably like it very much, as long as you don�t expect anything special. After all, the playing is superb and Allan Holsdworth fans may find it a must have. For prog lovers this is a good CD, but hardly essential.

I remember that I was extremely thrilled when I read about the founding of this 'new progrock supergroup' (first named Alaska) and when I had bought it, I rushed to my room to listen to UK their eponymous debuut LP. After my first listening session I had a bit mixed feelings: I was delighted about songs like In The Dead Of Night, Preso Vivace And Reprise, Alaska and Time To Kill but tracks like By The Light Of Day, Nevermore and especially the final track Mental Medication were not really my cup of tea and I had a bit disappointed feeling about the final two songs of this album. Perhaps I am not up to the jazzy undertones and Alland Holdsworth his distinctive guitar sound, it's such a contrast to the mindlbowing symphonic prog songs, fueled by Eddie Jobson his Yamaha CS80 synthesizer wizardy (Presto Vivace and Alaska) and his spectacular work on the electric violin (Time To Kill). Looking at the ratings of fellow collabarators, I notice that there are almost as much 5 star ratings (a masterpiece) as 3 star ratings (just good), this illustrates my mixed feelings I still have when I listen to this album. I prefer their second effort because they sounded better as a trio and I still feel very lucky that I attented a concert during their Danger Money tour, what an unique band and what a pity that Jobson and Wetton clashed about the musical direction!

Believe me or not UK was my first Prog band. Leave alone PINK FLOYD and their “Dark Side of the Moon” which I heard a few months before, they are almost mainstream! I read about UK in rock encyclopedia issued in USSR in 1990; they were said to be as good as classy bands like GENESIS, ELP and KING CRIMSON. I never listened to any of them in that time, but I was caught by it at once. By some wonderful coincidence (caused by faith’ circumstances probably) I chanced to pick UK 2-CD set (two studio albums and a live one) from my father’s friend. I fell in love with it immediately. It was the most challenging, unique, strange, captivating yet melodic and enjoyable music I ever heard!!! Some songs became my earworms; I tried to learn more about the band members; I even made a cover on “In the Dead of Night”! Now I see some obvious flaws in it: lack of strong songwriting talents, show-up in musicianship, complexity for its own sake…fortunately, they are not so frequent and far from being annoying. Unique fusion of Symphonic Prog with Jazz-Rock provided with strong vocals, stunning guitar solos, excellent keyboards layers and violin shots and based on the best rhythm-section Prog ever known. After all, with persons like John Wetton, Bill Bruford, Eddie Jobson and Alan Holdsworth it simply couldn’t went wrong! Probably, the best example of Prog supergroup for me and many others. Highly recommended!

The best of British

UK were a short lived �??supergroup�?� with connections to and similarities with bands such as Asia, GTR, and Quango. The principal difference between those bands and UK is that UK did not see chart position as the barometer for success, instead making the sort of music which their collective backgrounds might suggest. It should be recognised that the decision to do so was particularly brave, given the perilous nature of prog's relationship with the music scene as a whole at the time of the band's formation in 1978. Incidentally, the band name is an abbreviation of United Kingdom, the real name of the country many mistakenly call England.

The principal common denominator for the band members is King Crimson, with Bill Bruford and John Wetton constituting half of UK. Journeyman violinist Eddie Jobson had also crossed paths with KC along with Curved Air and a number of other bands listed on this site. Guitarist Allan Holdsworth, who had cut his teeth with Jon Heisman in Tempest (UK) completes the quartet.

The album starts with a 13 minute track in three sections "In the dead of night". The piece is a curious amalgam of Yes, King Crimson, Uriah Heep and ELP. The ELP style is especially apparent in Wetton's delivery of the lyrics which sound similar to those on "Karn Evil 9, part 1". Wetton also brings with him some of the harder rock influences he had picked up during his more recent time with Uriah Heep. Jobson's keyboards backed by Bruford's drumming are very Yes orientated, the overall flavour of the track being uplifting and positive. The second part, subtitled "By the light of day" slows things down with Jobson adding some fine swirling synthesisers to Wetton's softer vocals.

The only other track on the first side is "Thirty years". This starts out with some soft reflective lyrics: "Sometimes we need time to spare, Feeling of missed opportunity, Spare a tear and douse your bridge... burning 30 years and on the ledge.... learning". This gives way to an improvised solo section featuring mainly Eddie Jobson on keyboards and violin.

While the majority of the songs are composed by Wetton and Jobson with occasional contributions by Bruford and Holdsworth, the instrumental "Alaska" is written by Jobson alone. The track starts with a "Fanfare for the common man" like synth fanfare leading into an organ driven workout. "Time to kill", which segues from "Alaska" appears to continue the Alaskan theme, although the location is not actually revealed. Lyrics such as "Sick of solitary holidays, 'cause I never get away from here" and "Holding up this cold caboose, captivity even takes my lucid thoughts away from me" tell a tale of depressive isolation.

The final two tracks see the under-employed Holdsworth finally contributing to the songwriting. "Nevermore" continues the theme of "Time to kill", a trip to Soho ("Oh to go Down to Soho, black tie night out or hobo outright") now even seeming attractive to the lyricist! Holdsworth's guitar finally makes a notable appearance towards the end of the track, but it is Jobson who continues to dominate the solo opportunities. The album closes with "Mental medication", probably the least inspired track on the album. While it has all the right ingredients, the instrumentation is muddled and ininspired.

In all, a fine one off album by a respected group of prog heavyweights. It is good to see that they decided to stick to the knitting, and do what they had done best in their various former bands. Unfortunately, 50% of the line up would be gone before the band's second and final album, with only Jobson and Wetton hanging around to record it.

"U.K." is the eponymously titled debut full-length studio album by British progressive rock act U.K. The album was released through E.G. Records in April 1978. U.K. was one of the first supergroups formed on the progressive rock scene and features four quite prominent gentlemen in the lineup. The band was formed in 1977 by the two former King Crimson members Bill Bruford (drums) and John Wetton (bass, lead vocals). Each brought with them one musician, and Wetton chose keyboardist/violinist Eddie Jobson, who he had shortly worked with in Roxy Music and Bruford picked guitarist Allan Holdsworth who had performed on the sessions for Bruford's (at the time yet to be released) debut full-length solo album, "Feels Good to Me" (1978). All four members had a long and successful history playing with various progressive rock and jazz-rock/fusion groups like Frank Zappa, Yes, King Crimson, Roxy Music, Curved Air, Gong, Soft Machine...among others.

So the quality of the musicianship is of course not up for discussion, as all four members of the band are highly skilled performers, who all bring something different to the band�s sound. Holdsworth brings a jazz-rock/fusion element (as well as the rare nod towards his spiritual musical past), Jobson brings the late-70s futuristic synth/keyboards (in particular the Yamaha CS-80) to the table (as well as his electric violin playing) and the occasional pop/rock edge, and Bruford and Wetton bring the heavier and darker progressive touch as well as rhythmic complexity. It�s certainly an interesting and unique combination of elements, which not many contemporary artists did quite like this (although the next couple of years spawned quite a few artists/albums influenced by this style).

Wetton always had an unremarkable voice and a limited range, but he gets the job done, like he has done throughout his career, but the vocals are arguably the weak spot of the album. Fortunately there are many intriguing, challenging, and interesting instrumental parts on the album, and that�s where U.K. really shine. U.K. hit a great balance here between the complex and the accessible though and it�s one of the great strengths of the album.

"U.K." features a slightly thin sounding production, but it wasn�t unusual for the time, that many artists wanted to remove themselves from the often bass heavy and organic sound productions of the early-to mid 70s. Something new was happening on the musical landscape and a new sound production style was needed. Overall it�s still a well produced release and the sound production suits the material. Upon conclusion "U.K." was both an artistic and commercial success for U.K. and a 4 star (80%) rating is deserved.

Talking about the end of the 70's,things were going really wrong for art rock bands,as progressive rock was completely out of fashion.However,two members of (disbanded by that time) KING CRIMSON, vocalist/bassist John Wetton and drummer Bill Bruford decided to form an all-star prog rock band.Failing to recruit Rick Wakeman,they approached keyboardist/violinist Eddie Jobson (ex-''Roxy Music''),while Allan Holdsworth,noteably known for his work with Canterbury bands ''Gong'' and ''Soft Machine'',was the guitarist of the group.1978 sees UK releasing their simply eponymous debut on EG Records/Polydor.

...and with such a line-up you can not expect more than a thrilling work.Split between radio-friendly vocal-parts and keyboard-dominated complex instrumental pieces,''UK'' was definitely a great product of its time.Eddie Jobson,mayby the less famous member of UK,meant to be their driving force.The album is totally based on his awesome electric violin and the use of Yamaha CS 80,an analog synthesizer of pure power.Especially his keyboard work is absolutely fantastic,ranging from creating superb electronic landscapes to constantly battling with his violin and the rhythm section.Holdsworth guitars are carefully used focusing on nice solos and distinctive melodies,while Bruford is simply the familiar power behind the drum kit.Wetton bass can be dynamic and ethereal at the same time and exactly the same characteristics we meet in his voice.Propably you'll find some parts of the album close to easy-going rock with all those multi-vocal harmonies,but then is when you'll be blown away by the great interplays between violin/keys/synths/bass/guitars and your familiar time signatures....

I find this work to be so extremely well-crafted and carefully arranged,that I almost consider it a crime not to owing it.Exactly the same thing I consider for every progressive rock follower out there.A masterpiece of art rock,despite being created in prog rock's worst period!

'Mental medication... need your inspiration...'

U.K.'s debut album was one of the strangest surprises of 1978. It was too good to be 'corporate rock', although it threatened, sometimes, to topple over the edge. It sounded less poetic, and less gripping, than King Crimson's best ballads with John Wetton on vocals, although Wetton and Bill Bruford were trying to recreate some of King Crimson's more lyrical moments. Finally, it was far less jazzy than Bill Bruford's solo album FEELS GOOD TO ME, which had appeared in 1977, even though it featured that album's main soloist (Allan Holdsworth) in a starring role. A mixed bag, that's what it was.

U.K. may have its moments of tedium, but the astonishing thing is that, on the whole, it works extremely well. It is no great masterpiece, it's not going to change anyone's life, but it's full of catchy tunes, energetic playing and inspired solos, be it on electric guitar, electric violin or on Eddie Jobson's wonderfully old-fashioned keyboards, with their very 'fat' sound. It even contains moments of unexpected, near-melancholic beauty.

I'm not surprised this incarnation of the band didn't last. Record companies must have longed for U.K. to develop ever more commercial material (Wetton took the hint when he helped found the hair-raising Asia), and there was no way a restless explorer like Holdsworth was going to travel the seven seas churning out the same tunes night after night. Holdsworth and Bruford soon left the fold, the latter desperately trying to turn his own adventurous band 'Bruford' (featuring Holdsworth, Dave Stewart and Jeff Berlin) into a viable proposition. When Bruford and Holdsworth finally parted ways, the latter reverted to playing colleges and medium-sized clubs, allowing other old-timers to turn themselves into shameless stadium-rockers.

Anyhow, this album should definitely be in the record collection of everyone who's interested in the careers of the four musicians involved. Recommended; three and a half stars.

I wasn't listening to Prog back in the late seventies but those who were must crapped their pants when they heard Bruford, Wetton, Holdsworth and Jobson were making an album together. This sort of reminds me of the let down I had with ASIA's debut when you consider the lineup. Certainly this is a lot better than that, but still this just doesn't click with me. I'm not a fan of the synth sounds and this music just doesn't grab me. I guess i'm expecting too much from this lineup, although put these guys together in 1973 and I bet they'd kick ass !

The highlight for me is the opening track "In The Dead Of The Night". This song is a favourite of Alex Lifeson as well. I'll quote what Alex had to say recently in the "Guitar Legends" magazine I have. "Alan Holdsworth has an amazing, not-of-this-world liquidity. What a genius ! His fingers are constantly moving. Pulls make up the bulk of his playing. I don't think he does much picking. I was listening to Holdsworth around the time of "Moving Pictures" (1981), and you can indirectly hear his influence on my playing on "YYZ"". Nice. Bruford is outstanding in the intro, what a drummer this guy is ! Some nice bass from Wetton as well. Pulsating synths throughout. Vocals before a minute. I like the chorus. Holdsworth after 3 minutes takes the lead with some mournful melodies. "By The Light Of Day" opens with vocals and spacey synths.The synths are beautiful after 3 1/2 minutes as they seem to create waves of sound.

"Presto Vivace And Reprise" opens with Bruford doing his thing as keys come in. This is all so incredibly intricate. Very impressive. They then reprise the first song as those pulsating synths are back. Nice. "Thirty Years" is so atmospheric and spacey early on. Jobson plays violin on this one. Drums are so crisp and Holdsworth offers up some excellent guitar work especially 5 1/2 minutes in. Wetton vocals are great a minute later. "Alaska" has lots of synths for almost 3 minutes then it kicks in with an uptempo melody. Love the outbursts of guitar. This song blends into "Time To Kill" with vocals right away in an uptempo melody. Not a fan of this one. "Nevermore" opens with complex and intricate guitar. Vocals after a minute. Some prominant bass for a change is nice. I like the spacey section late. "Mental Medication" is mellow for 1 1/2 minutes when it kicks into gear. Prominant drums and synths. Piano comes and goes. The violin 5 1/2 minutes in is really good.

A good debut from an all star cast but I prefer the followup "Danger Money" .

An absolutely stunning debut.

UK represents the last gasp of the Golden Age of Prog, and does so in a most competent and professional manner. One could be deceived into thinking that this is a concept album, as the quality and the sound (esp. Jobson's keyboard work) is maintained throughout the album. Also, this album features some of Holdsworth's best guitar work. I swear that his solos here match Fripps when Fripp was at the very top of his game. Add in Wetton's comfort zone in the grey area between prog and pop, and Bruford's talents on the drum kit and you have a truly exceptional prog album at a time when prog was rapidly devolving.

The first three tracks are really a suite. The first contains one of the best guitar solos ever. Bruford's work on the second track shines. The third gives Jobson a chance to show off on his violin.

Thirty Years sums up this album. Atmospheric keyboards and guitar work followed by a fast section worthy of the most talented prog bands. Switching tempos and atmospheric settings is a motif that defines UK and they pull it off well here.

Alaska/Time to Kill: I'm reviewing these two together because Alaska is really a really great intro to the next song. Alaska is the better part of this. It's another track where Jobson gets a chance to stretch his legs. Time to Kill benefits from such a beautiful introduction.

Nevermore/Mental Medication: These get combined because they are both Holdsworth tracks, but both enjoy the benefits of Jobson's atmospheric keyboards and the trademark tempo changes of UK. On my first listen I would have tagged them as weaker tracks (along the lines of Time to Kill) but repeated listenings have forced me to re-evaluate Holdsworth's compositional and playing skills. These are gems, even if they are gems in the rough.

Anyhow, this is a masterpiece. It's not quite Going for the One, but it is one of the best examples of the late Golden Age ever recorded on vinyl. Highly recommended. If you haven't heard it yet, get it.

Nevermore

Despite long careers in other bands, this album is one of the finest hours of John Wetton, Eddie Jobson, Bill Bruford, and Allan Holdsworth, respectively. The music is completely loaded with these people's musical identities; the very distinctive voice and bass guitar of Wetton, the equally distinctive and totally unique guitar sound Holdsworth, the amazing keyboard and violin skills of Jobson, and the intense and complex drumming of Bruford. All is here, often competing for attention, but never allowed to overpower the very good compositions. Sadly, this as the only album thee four men did together, as for the next UK album only Wetton and Jobson would remain.

A masterpiece of progressive Rock!

Excellent debut album. Great musicians - half of fresh ( for the moment) King Crimson team (Bruford-Wetton) plus great gutarist from Gong Allan Holdsworth and Eddie Jobson ( Roxy Music).

From very first sounds you feel how great this music is. Highest level of musicianship, melted experience from explosively nervous King Crimson and Canterbury/fusion of Gong. All the best in one place and very tastefully prepared.

It's even difficult to speak about this album as about debut, all musicians were wellknown professionals yet. So, let say - fantastic beginning of great project.

Music by itself IMO is no way symphonic prog. Main space is filled by Crimsonian heavy prog and heavy fusion of middle period Gong. All other styles are more additives,spices, but all the dish is deliciously spiced!

Almost unpossible to find weak moment on all the record! Yes,it was a bad time for that kind of music, but this album is absolut swansong of progressive seventies.

Must have for any person,interested in progressive rock!

Bruford, Holdsowrth, Jobson & Wetton: UK's One Album Prog Supergroup

The debut album by this incredibly talented and unique band is indeed a very impressive debut from the musicianship point of view with John's agressive bass lines and particular voice, Eddie's raving violin and future-esque keyboards, Allan's unique guitar tone and Bill's complicated rhythms, a Prog fan really can't ask for more, can he?

No, not really. The album has it all from odd time signatures, which are not that odd really for the Prog fan, to plenty of delightful and inventive solos, plus loads of variation within one song. Clear example of this is the 13 minute suite called In The Dead of Night which compromises the first three tracks; you got the very modern keyboards by Eddie shining in rapid paced passages and some very soft and futuristic ones, then there's Allan's always singular jazzy guitar expressed with extreme delicacy and finally the unmatchable King Crimson rhythm section of Wetton and Bruford.

The other highlight would be Thirty Years which is pretty much more of the same, and the last track, Mental Medication which evolves from John's calm and emotional vocals to a talent fest featuring a very Ponty-esque violin solo, a splendid guitar solo, a extremely catchy but at the same time complicated rhythm and a wonderful sparkling keyboard solo, all in all showing what U.K. could offer.

While I wouldn't consider it a classic Prog, UK's debut stands as a very strong and unique Prog album released in a time where most Prog bands were loosing their steam, for that UK deserves no less than 4 stars and it being listened by all Prog fans at least once.

Symphonic prog fusion with slight hints of disco(?)

What do four veterans of the prog rock and jazz fusion circuits do at the end of the 70's, a time when both genres were looking ''un-cool'' in the eyes of the popular domain? Logically, they make an album that merges prog rock and jazz fusion. For the average prog or fusion lackey, this crossover is splendid. But, there are quite a bit of cheesy vocal spots.

I feel that the lounge singer feel of Wetton's vocals is making me picture disco in the musical fabric. Yes, I'm saying that there's a possibility that one of prog's carcinogens is integrated into the sound, yet the overall fusion sound covers up any obvious traces of disco.

This album is Eddie Jobson's baby as he has a hand in writing every last possible track, and the sound that makes UK slightly disctinct (other than Holdsworth's guitar work) is that CS80 Polyphonic that purges to the forefront of the sound here. It's the main keyboard being used, and I like it's sound because it's ''futuristic'' and it's a break from the Hammonds and mellotrons and Moogs (oh my!). Wetton's bass occasionally is of notice, but it doesn't serve much more than the role of rhythm which is fine by me since it's done well. And I need not comment on Bruford's drumming.

The opening suite takes most of the credit for me liking this album as it's got a poppy, jumpy feel in the beginning and ending with a serene middle. ''Alaska/Time to Kill'' is also of notice for the ELP-esque explosion halfway through the first part and the fusion breakdown on ''Time to Kill''. There's also an amusing fusion dance-fest in the middle of ''Mental Medication''. The two 8-minute numbers are slightly weaker due to length issues, but both feature impressive guitar mechanics with a brilliant acoustic guitar performance at the beginning of ''Nevermore''.

Recommended if you enjoy sleazy jazz fusion, ''futuristic'' sounding keyboards, and/or fans of any of the bands that Jobson/Bruford/Holdsworth/Wetton were a part of before this (possibly excluding mid 70's Crimson).

When I ordered this 8-track from Columbia House, I had no idea what it was. I have always loved taking risks because I have found that I discover a lot of great bands that way. The description of this album in the Columbia House catelog said it was "jazz-rock" and that of course is what sold me on it. When the 8-track came in the mail, I had just got home from a hard days work and was very tired. I stuck the 8-track into the stereo and laid down on my bed and went on a trip I never forgot. With my eyes close, I could see the music. I fell in love with this band and it was later that I discovered the real pedigree that made up the line- up for this amazing band. Yes, I was listening to U.K. before I even listened to King Crimson, and it opened the door to so much for me in the way of music.

The first three tracks are a suite. In the Dead of Night is the first movement and a great introduction to the music that follows, somewhat moderate in tempo, but attention-grabbing all the same. By the Light of Day follows immediately after and slows down the tempo and Eddie Jobson gets to show off here with some extremely beautiful swirling music which works in counterpoint with John Wettons vocals. The third movement is Presto Vivace and Reprise which is exactly what it is: Presto (very fast) Vivace (Lively) and Reprise of the original theme. Talk about technical beauty, this is where you really get to hear for the first time just how technically amazing John, Bill, Eddie and Allan really are and believe me, you will hear it many more times throughout the album.

The next track is Thirty Years. This one starts out very symphonic sounding. Expansive and beautiful, the instruments take you to a distant land and the vocals seem to plead of long, lost freedom that may never be obtained. The music takes a sharp turn which will catch you off guard, and the foursome gets to show off their technical prowress once again.

Alaska/Time to Kill make up the next two tracks and these songs are interconnected. Alaska is instrumental and starts out with a cool ambience that makes you think of being in the middle of a wind blown frozen expanse even if you don't know the title of the track. I love this one for the way it carries the listener away. Again the music takes a sudden turn and It almost seems like you have been picked up and thrown flying across the landscape and you are watching it speed past underneath you. The following track starts in immediately with probably the most commercial track on the album that is if you can consider any of this commercial at all. The nice thing about this track is during the instrumental break and how it builds up to screeching and screaming as the final chorus brings all the chaos back down to ground level again.

Nevermore. What a beauty of a track. This is the best one of the bunch. Probably the closest thing to jazz freeform on the album, but simply amazing. Technically wonderful. Almost beyond words. And so full of surprises throughout the entire track. You just have to listen to it and be amazed. Enough said, this one speaks for itself.

The last track is Mental Medication. I never really liked the vocals in this one, but the instrumentals in this one are similar to the instrumentals in Nevermore, but less freeform and broken up into three major rhythm changes. This redeems the song quite nicely. Unfortunately the last verse of the vocals ends the album quite quickly and for me it gives the album a weak ending. However, even that can not take away from the masterpiece that this album is. This is essential for a prog rock library. If you don't have this album (and the follow up album "Danger Money") or have never heard it, you are missing a major part of the essential prog library. Get your hands on this, you will not be sorry.

From the Chicapah "how the hell did I manage to miss out on this one?" school of feeble and diminishing thought I humbly and with vigor slap my forehead whilst uttering a loud Homer Simpson "Doh!" prior to the commencement of writing this essay. Like many things in my sordid history I've approached this heralded but short-lived supergroup's work bass- ackwards by digesting their second LP a full year ahead of procuring this, their initial foray into the competitive world of prog rock. While I liked a lot of what I heard on "Danger Money," I still gave it a rating only a few notches above fairly average and moved on, thinking that I'd come across their debut disc in no time. However, the rule that says whatever album you're looking for will be readily available until you want to find it kicked in and it suddenly became as scarce in the used record bins as "Live Yardbirds." Lucky for me I discovered a copy sitting pretty in the stacks recently with relatively low scratch mileage on the odometer and I grabbed it up greedily. I'm pleased to report that I'm blown away by it.

Of course, when I consider the royal pedigree of this prog animal I shouldn't be too surprised. Quality DNA strands inherited from the ancestry of Yes, King Crimson, Roxy Music, Uriah Heep, Frank Zappa, Gong and Soft Machine all can be detected in the rich genetic makeup of this band yet they avoid sounding all that much like any of them in particular. Runaway egos and stubborn stances usually keep these mixed marriages from ever producing anything memorable but this album is special. Indeed, in a rare instance of the prog planets aligning perfectly, it achieves a utopian symmetry of immense talents that dreams are made of. In '78, as disco and punk were preparing to puncture the prog dirigible full of holes, these four hardy survivors of the golden years of the progressive decade came together to mold a classy, creative tribute to all that makes our revered genre so appealing and aurally addictive. UK touches all the bases during its lead-off grand slam home run trot while retaining a unique personality all its own.

What better way to introduce yourselves to the prog planet than with a stupendous, side- long epic titled "In the Dead of Night"? I can't think of a more impressive ballroom entrance. The opening tune that bears the same moniker features a dynamic intro in 7/8 time that sweeps you off your feet like a prairie tornado. Bassist John Wetton's passionately strained vocal is very persuasive in getting you to buy into their desirable product, keyboard wiz Eddie Jobson's deeply layered synths paint a stunning backdrop, icon Bill Bruford's drumming is nothing short of incredible in its supernatural precision and Alan Holdsworth's liquid guitar runs place a stamp of inimitable originality on the track, making it irresistible to mortals. In a word (two, really), it's a thrill ride. The second act, "By the Light of Day," appears just as the previous song dissolves into an ethereal mist courtesy of Eddie's mastery of the electronic realm. John's voice becomes silky in texture to match the mood as the group slides effortlessly into a soothingly smooth 5/4 movement that ends in drenching tidal waves streaming inland from a synthetic sea.

Part 3 is "Presto Vivace and Reprise" and it's here that the fruits of Jobson's apprenticeship in Mr. Zappa's magic shop surface and the band pulls off the energized, complex staccato flourishes with nary a hiccup before they revisit the riveting, powerful original theme. (Man, do Bill's toms sound great or what?) The last and longest number is "Thirty Years" and it begins with several minutes of serene glory akin to witnessing a desert sunrise and the piece displays the composers' wise respect for contrast. It then abruptly explodes into a driving, colorful rock section that allows all four to fully express their individuality without losing their unified direction. They then retard the pace slightly to dramatize the effect of the towering finale and the peaceful fadeout. Magnificent!

An ominous drone slowly pulls back the curtain on Eddie's "Alaska" as a trumpet-like synthesizer line streaks across the frozen sky, leading you to a soundscape that artfully captures the essence of being alone in an untamed expanse of nature. The second half is as electrifying as a dancing aurora borealis display in the stratosphere overhead and, to these ears, an endearingly sincere homage to Emerson, Lake & Palmer. The tune segues without a crease into "Time to Kill," an intriguing, highly involved song in which Jobson shows off his prowess on the violin as the rest of the band hums steadily like a well-oiled machine behind him.

"Nevermore" is both exquisite and utterly transcendent. Beautiful guitar work from the hands of Alan is followed by jazzy, unorthodox chord patterns that hold the listener in rapt attention. The solo sparring that takes place between him and Eddie is breathtaking and must be heard to truly appreciate. The mystical interlude that evolves out of that ferocious exchange is also unexpected and the cut's majestic ending is awe-inspiring. "Mental Medication" is the closer and its eclectic modern jazz beginning keeps you from getting too comfortable on the sofa. The group then slips into a squeaky-tight groove that they take playful liberties with before leaping into a fiery jazz rock/fusion segment that makes your head swim as you try to keep up with their enthusiastic attack. Hot stuff.

Alas, this masterpiece would be the only studio offering we'd get from this lineup as Bruford and Holdsworth developed cold feet when they came face to face with a long-term commitment and bolted from the altar as soon as the band's profitable tour came to a close. Just as well. Lightning doesn't usually strike twice and they may've come to the conclusion that they'd never manufacture anything this fantastic and cohesive again as a foursome and it was best to get out of UK town while the getting was good. Mission accomplished. Adios, muchachos, vaya con Dios. No matter what happened post partum, the album they collectively gave birth to is a darn near immaculate example of prog rock at its most excellent and it has stood the test of time in exemplary fashion. I may have arrived at the UK coming out debutante party way over three decades in arrears but it still sounds as fresh and vital as it did in '78 and that's a cause for a belated celebration and many more spins on my turntable. If you don't have it already, add it to your wish list. Now, if not sooner.

A supergroup that needs no introduction so let's get straight to the strange mish-mash of songs here.

In The Dead of Night - Light of Day - Presto. A trio of songs that opens the album with a blast. It reminds me a lot of Yes's Drama album. The sound is similar and the style is similar, with muscular bass & drums that compete with the dazzling guitar work from Holdsworth and the rather dreadful 80s sounding keyboards. The three parts form a unity but it's obvious that short and tight compositions have replaced the epics of old. The music remains dynamic and musically interesting and Wetton is great on the vocals here.

Thirty Years is a weird song, starting in a jazzy lounge mood with new-age synth effects. Halfway in we get treated to a fantastic snappy riff dancing in sync with the reckless time signatures that Bruford lays down. Unfortunately, around minute 6, Wetton deemed it necessary to spoil the fun by switching to an awkwardly fitting and ugly anthemic vocal part that is totally disconnected from the rest. Could have been a classic this one.

Alaska. Hear those synths! Neo-prog is arriving in a big way. As on the first track UK reminds me of Saga. The synth intro takes a while but when they get into the groove, it's fantastic, citing ELP in a very adequate way. One of my favorite tracks here. Unfortunately it's also the end of the album as far as I'm concerned

Wetton stretches the limits of his vocal chords and the extremities of far-fetched and strained vocal delivery on Time To Kill:. The verses are dreadfully contrived and the chorus must be one of the worst AOR has to offer. Oh yes, Asia is not far away anymore when hearing this. Another attempt at jazzy singing follows on Nevermore. It's quickly given up in favor of some cheap jazz-pop. Simply unlistenable. Fast-forward to minute 3 where the band indulges in a synth heavy jam. Not bad, not necessary.

Mental Medication could have saved the album but this hybrid of jazz-pop, AOR and keyboard pyroclastics is simply too much to take. I sure can see where Dream Theater got some of the cheese and the senseless soloing from.

This albums contains the type of mindless prog solos and AOR-leanings that made me stop loving prog a few ages ago. I can see now there is still some good stuff as well, and Holdsworth is a marvel. But I'm not sure if it's enough for 3 stars. There's too much that drags it down.

While writing my reviews of the '70s King Crimson albums I recalled that I had a copy of this album lying around, so let's give it another spin and see if my opinion of it will change this time.

The self-titled debut album from the supergroup called U.K. was released during a very turbulent time in prog rock history which makes it all the more unique, but is this uniqueness enough to uphold this record as one of the masterpieces of progressive music? The album opening suit consisting of In The Dead Of Night/By The Light Of Day/Presto Vivace And Reprise definitely starts the album on a high note of virtuosity from all the four members, but this is unfortunately as good as this release will ever get.

What follows the three first opening tracks can only be described as a fusion, or the lack of there-of, between Holdsworth's jazz-guitar soloing, Jobson's very '80s sounding keyboard sound while mixed with John Wetton, who sounds almost the same as he did during his years in King Crimson. Bruford rounds up the lineup, but I don't see his contribution as stand-alone such since he functions mainly as the glue that holds this collective together. Just listen to Thirty Years and you'll see what I mean!

Alaska is where the sound becomes atmospheric but without any real significant meaning to it, making me think that the first half of this track is deliberately wasting my time. The second part is a real blast and brings out all the best qualities of this collaboration, which in the end becomes a very awkward experience since I tend to skip the first 2 minutes out of this 5 minute song just to get to the good stuff. Time To Kill continues the groove that was achieved towards the end of Alaska and everything works nicely up until the very cheesy chorus section which ruins some of the momentum for me.

The final two tracks are dominated by Allan Holdsworth's jazz guitar style that has been absent from the music up to this point, but once it kicks in I get reminded exactly why I consider him to be one of the most overrated guitarists I know. He basically wails around in his soundscapes without ever trying to deviate from his tedious style which gives me shivers as soon as I think of it. Don't even get me started on the actual songs, since they aren't really even worth discussing here!

This is one of those popular albums that I guess is just beyond my comprehension. There are a few nice moments in the beginning of the release but there's really very little connection between how this album begins and ends, making me believe that the band weren't certain on which direction they wanted to take their music. In the end it's just a mixed bag that I only listen to whenever I want to show to my friends where Dream Theater got their soloing ambitions from.

***** star songs: In The Dead Of Night (5:39) Presto Vivace And Reprise (3:01)

**** star songs: By The Light Of Day (4:30) Thirty Years (8:08) Time To Kill (4:52)

*** star songs: Alaska (4:45) Nevermore (8:13) Mental Medication (7:22)

A revered prog-rock supergroup whose sound is closer in spirit to the likes of 'Duke'-era Genesis, 1980's pop-proggers Asia and soft-rock leviathans Foreigner than it is to the classic, early-1970's albums such as 'Close To The Edge', 'Nursery Cryme' or 'In The Court Of The Crimson King', UK may feature a genuine treasure-trove of first rate talent but, in truth, they probably arrived too late in the day to make any real, lasting impact on the progressive music genre. Released in 1978, this self-titled debut album featured a line-up consisting of former Family and King Crimson bassist-and-vocalist John Wetton, ex-Yes and King Crimson drummer Bill Bruford, Roxy Music's synth-and-violin wizard Eddie Jobson, and former Soft Machine guitarist Allen Holdsworth. Wetton provided the vocals, in his usual excellent style, but it would be the youngest member, Jobson, who would dictate the group's musical machinations. Indeed, 'UK' is a very technologically-enhanced and effects-filled release, with Jobson utilising a plethora of hi-tech tricks to gain a slick, jazzy sound that truly belies it's 1978 release date. However, despite Jobson's box of tricks and the excellent line-up, 'UK' remains a rather flashy but rather empty spectacle that starts strongly - the polished, anthemic 'In The Dead Of Night' is the album's stand-out track - but quickly fades. It's reputation as the last prog hurrah before the vanguard of punk is well-intentioned but fails to, as some have claimed, give respectful closure to the 1970's progressive rock phenomenon. 'UK' has more in common with Asia than it does Yes, and, despite the quality musicianship, must be put down as an elegant failure. STEFAN TURNER, LONDON, 2010

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."

UK's masterful album is a powerhouse of superb musicianship, not to be missed

"UK" is the debut album of super group UK who only released 2 studio albums but both are solid examples of the last great golden era of prog that ended in 1979. King Crimson stalwarts, drummer, Bruford and Bassist, vocalist, Wetton took up the frontline. They were joined by keyboardist extraordinaire, Roxy Music's Jobson, and the talented versatile genius of Gong guitarist Holdsworth.

It begins with the big single for the group, In the Dead of Night; "Are you one of mine who can sleep with one eye open wide? Agonizing psychotic solitary hours to decide, Reaching for the light at the slightest noise from the floor, Palms of hands perspire heart goes leaping at a knock from the door, In The Dead of Night." There is a great time sig on this track and an inspired keyboard motif. The lead solo is terrific too. A memorable track and quintessential UK.

By the Light of Day has the same feel as the previous track except that Jobson shines on sparkling keyboards. Spacey sounds are generated and this is quite a tranquil song overall. Jobson is a keyboard wizard on the bombastic delightful Presto Vivace and it reprises both opening tracks wonderfully, creating a type of suite of songs. There is no denying the innovation behind this approach.

Thirty Years moves in a different direction with lighter textures in the sound, Wetton sings with reflective lyrics. It moves along on a current of gentler waters, and builds slowly to a faster pace with Bruford's unusual percussion rhythms and soaring keyboard solos.

Alaska has icy cold atmospherics, almost like the cry of a blue whale, as the keyboard dominates. The low drones are ethereal and create a foreboding environment in the soundscape. It develops into a staccato powerful organ stab riff, reminiscent of Emerson or Wakeman.

Time to Kill is a rather strange track dominated by Wetton's vocals and a peculiar complex instrumental. The violin solo is virtuoso musicianship, very powerful and unlike anything I have heard on violin.

Nevermore features folky acoustic flourishes and a very peaceful keyboard passage. Wetton sings well and the harmonies are great. The instrumental is master class from all concerned. The swirls of Jobson's keyboards are mesmirising.

Final track is Mental Medication featuring a pulsating bassline and massive keyboard solos. Holdsworth's guitar is a force to be reckoned with. Once the band go into full flight they are unbeatable.

So the album is therefore a masterpiece of prog at its best in 1978. There is not a bad track on the album, and the band try a variety of styles and pull it off with accomplished musical expertise. Believe everything you have read: UK's debut is quintessential prog that deserves full recognition from a super group who's members defined the genre.

Looking at the front cover, I was expecting something sounding like 'Ultravox' or some punk band - particularly as they had the name U.K. It wasn't until I found out Bruford and Wetton were present that I bought this.

Listening to 'UK' makes me realise that those two guys here were under an incredibly tight rein under Fripp during the recording of 'Red'.

This self titled album sounds much more free and alive than the much darker and foreboding 'Red'. In a way it's similar to 'Yes' from the mid 70's but with a far better vocalist who has not been inhaling Helium as a recreational past-time.

As previous reviewers have stated, this really is the last great Prog album for many years to follow. It's a lively encounter which surprisingly sounds nothing like King Crimson. It's far more upbeat with plenty of adventurous drumming from Bill Bruford and lots of vocals by John Wetton who's voice is highly suited to this type of music

Such a pity Wetton moved on to the cheese-fest that was 'Asia'.

Here you find some classics from this "ephemeral" superband (e.g. think of "Presto Vivace" or "Alaska), which represent the peek both in Wetton's career and the top level for Jobson as well (even though I prefer his keyboards in "Danger Money" and of course in their live "Night After Night")..."In the Dead of Night" represents the best tune in this album, an ever-green, thanks to the guitars effects and solos by A. Holdworth, who is able to enrich the music (in spite of being able to disturb just a little bit the keyboards performance by Jobson, if I think of their already mentioned live above, without Allan): well I prefer the keyboard oriented Trio of the second album (where Bozzio replaces Bruford-this latter being more fitted into a sophisticated jazz style and where moreover the keyboards by Jobson perform the job by Holdworth); but here this jazz/progressive rock style, in a strange mix, is so original and unique!! Think of "Nevermore", with the remarkable execution by A.Holdsworth in the intro and the following swing-jazz mood, suddenly interrupted by means of their most inspiring breaks-through of progressive rock...well actually the analogic keyboards by Jobson are important here, even though a bit cold here, and I don't like the sound of the keyboards (unlike in "Night After Night", where "Presto Vivace"/Alaska" are perfect); while regarding the melodic lines, also the good vocal interpretation by John, in spite of being not always at his top, is important: otherwise this tune seems to be perfect to be fitted into the particular style by Bruford on drums, thanks also to the unforgettable parts of electric guitar!! "Thirty years" is elegant, but it doesn't add anything new, in comparison to the other sophisticated tunes; instead "Time to Kill" is better in the live version! The problem was the the coexistence between Allan (who liked to change often his execution) and Eddie (whose solos at the keyboards were always the same): perhaps this is the reason of a certain discontinuity (think of the tepid "By the Light of Day") and besides the sophisticated last track ("Mental Medication", well sung by John) is not the most powerful way to conclude a quite memorable album (probably "Carrying no Cross" from the second album "Danger Money" should have been the perfect conclusion, but nevermind, that's another story and a different line-up too...).

In 1978, most of the big names in progressive rock were either gone from the scene, or had diluted their sound into sometrhing barely palatable to their fans. And the recording industry and the journalists who fed off them loved this.

Then something strange happened. A quartet of prog veterans, Bill Bruford, Allan Holdsworth, Eddie Jobson and John Wetton came together in this band, UK, and suddenly, for a short time, it was cool to play interesting music again. The music press, still wallowing in the depths of punk and disco, actually praised this band, and for the last time for the next few decades, gave accolades to a prog band.

And it was well deserved. The album is spectacular, and still one of the finest prog albums ever released. The music is a combination of symphonic prog and the energized fusion that Bruford and Holdsworth would continue in the drummer's band that followed. Every track on this album is exciting and complex, and wonderful.

And for a brief moment all was well in the world.

It took me a while to really come to appreciate this album, but I'm glad I made the effort. The analogy I'd make is that UK are a really tight fusion group with art rock sensibilities and a synthesiser player (in the form of Eddie Jobson) who has a tendency to go all Rick Wakeman from time to time. With the rhythm section of Larks-to-Red era King Crimson onboard, you expect a loud, raucous and experimental trip and that's exactly what the band offer. The emphasis on newer synthesisers over classic keyboards gives the album a unique sound that further sets it apart from the group members' previous work.

Self titled album by this excellent band from late '70s issued in 1978 is a fairly solid jazz fusion album with plenty of memorable parts and stunning musicianship, but I do prefere their second one Danger money little more being more colorfull and more unique then UK. The line up of this let's say supergroup was consisted by 4 of the best musicians jazz fusion/progressive rock ever had and still has, on guitar the master behind six strings Allan Holdsworth coming from Soft Machine and Gong later on on Bruford and aswell a has prolific solo career, Bill Bruford on drums from already giants Yes and King Crimson, John Wetton on bass and vocals from Family, King Crimson, Uriah Heep, etc and last but not least the crafty Eddie Jobson on keyboards and electric violin from Curved Air, Roxy Music and after the broke of UK in 1979 he will join Jethro Tull on A album. So, top of the iceberg here, each musician were masters on their instruments creating some spectacular moments. But, what about the music, well, is great, with blistering keyboards and awesome guitar parts, not to mention some very fine drum chops and bass lines. The opening track In The Dead Of Night is killer, I love it , is punchy and has solid musicianship and inventiv progressive/jazz fusion passages, Presto Vivace And Reprise is another highlight that must be heared by anyone involved in this kind of music and Alaska, the rest are also pretty good. So, a great debute but somehow fail to atract me so much as their next one Danger money, still worthy for sure and 4 stars.

In retrospect the first album by the short-lived Progressive supergroup resembled an attempt by John Wetton and Bill Bruford to resuscitate the recently deceased KING CRIMSON, with another violinist in lieu of David Cross and a more sympathetic guitarist replacing the often intractable Robert Fripp. On paper it looked good, and the debut album sounded thrilling when first heard in 1978. But the passage of time has been less than kind to it, revealing not only the fatal stresses within the quartet but the larger cracks in the ideology of Progressive Rock at the end of the 1970s.

Blame the lopsided pool of all-star talent: an attempt to balance a pair of dedicated Jazz-Rockers (Bruford and guitarist Allan Holdsworth) against two aspiring pop stars (Wetton and Eddie Jobson), without any blueprint for a workable fusion. It all came together brilliantly in the opening "In the Dead of Night" suite: one of the more exciting highlights of late-Golden Age Prog. If only the rest of the album had as many memorable hooks (incredibly catchy, despite the odd time signatures), or the same lush symphonic climax, in years to come providing a sonic blueprint for embryonic Neo- Proggers.

But I don't know many fans who ventured far beyond it, into the often empty virtuosity of Side Two. The balance of the album leaned more toward the polite Bruford/Holdsworth style of English Jazz Rock, implausibly grafted onto Jobson's clinical synth patches and Wetton's typically beefy bass guitar lines. And the singer's smoky baritone sounds distinctly uneasy when forced into the jazzier cadences of "Time to Kill", "Nevermore", and "Mental Medication".

At the start of the 1970s bands were encouraged to cross-pollinate opposing forms of music, just to hear what might happen. But as the decade advanced and the adolescent music business matured into an industry, the final goal became more commercial than creative, spelling an end to Prog Rock's original idealism. Seven years earlier the same friction that split UK in two might have produced something really special. You can still hear the occasional spark, but the expected detonation never happens.

Give the effort three stars at best, in recognition of the talent, not the results.

Context and perspective changes with the passing of time, and indeed the passing of lives. John Wetton was an artist who I had admittedly taken for granted over the years. Despite being a key element of one of the most important phases of one of the most important progressive rock discographies in King Crimson, the focus always seemed to be on them being "Fripp's Band". The same could be said, perhaps even more so for UK. With the virtuoso playing of Holdsworth, Jobson, and Bruford, it was not until his death in early 2017 that I really focused on his part on UK's self- titled debut. And as I also discovered with the 1973-1975 era of KC, so too was it obvious with UK what in integral part of the music I was giving little or no appreciation too.

The project itself could easily be described as being far more groove oriented than a large portion of King Crimson's work. That is not to say the compositions consist of uniformly pedestrian beats, the verses are largely in non- standard time, even a purported 21/16 (I have not counted it myself). There is also a smattering of bizarro syncopated, staccato "what?!?!" breaks that season the grooves with a nice spice. The overall groove is decidedly jazz- fusion, though containing a spatially wide phonic. The instrumentation and recording is considerably modernized (when considering the context of the time period) in respect to the artist's previous projects, particularly in regard to keyboard sounds. Unfortunately, at times the chosen keyboard sounds appear poppy in a manner that does not completely fit. Attention to clarity seems to be the rule in the recording. This was a requirement for the quiet, mellow parts that provided a contrast that was begining to be phased out of the rock sub-genre scene in the late 70's.

For Wetton's part, his bass playing held the aforementioned groove with incredible precision. Of particular note are the underlying bass on Jobson's violin solo of Time to Kill and the alternating solos of the closing number, Mental Medication. Vocally he is a mixed bag that is an acquired taste for most, but a recognized, if underappreciated staple for seasoned prog fans. There always seems to be what can be best described as a character of purposeful uncertainty. Not uncertain of notes or timing, but a texturally haunting overtone that occasionally manifested directly into lyric on King Crimson songs like Fallen Angel. But the lines of Thirty Years, "Feelings of missed opportunity....sand castles washed away", with the seemingly dysphoric melody underscore that purposeful uncertainty sensation in a literal sense, imparting a new poignancy to that character. Not to overuse the word, but the passages are haunting. This sensation is imparted again in the quiet opening sequences of Nevermore, with wide low-to-high note intervals detailing his accuracy; and Mental Medication with its more legato, resolute melody. The verses are filled with his unique alternating gravelly tenor with falsetto swells. A contrasting style that would become a more familiar to the rest of the rock world with his Asia work, but added an unexpected dynamic to the diffuse styles of his UK bandmates.

UK was at the precipice of being a masterpiece. Unfortunately, there were moments of Jobson's keyboard sound, although musically amazing, just stuck out way too much as "Pop". Otherwise this is one of the finest examples of cohesive complexity and technicality in progressive rock. And having listened to this with particular focus on Mr. John Wetton, it is obvious that he was the mortar that held the brickwork together. It is a prime example of being able to find something new in something very familiar. For John Wetton, a masterful example of his quality. For the album, and excellent addition to any collection and one that I listen to with a renewed appreciation. 4 stars

Review N� 184

"U.K." is the eponymous debut studio album of U.K. and was released in 1978. The group was formed by four well known prog rock musicians who had already played into other bands. It features John Wetton who formerly have performed with Family, King Crimson, Uriah Heep and Roxy Music, Eddie Jobson who formerly have performed with Curved Air, Roxy Music and Frank Zappa, Bill Bruford who formerly have performed with Yes, Genesis and King Crimson and Allan Holdsworth who formerly have performed with Tempest, Soft Machine and Gong. There had been an attempt to form a band in 1977 with Wetton, Bruford and Rick Wakeman. Still, that never happened because Wakeman didn't want it to happen. The premise was Wetton bring a musician of his choice, and Bruford would do the same.

So, the line on the album is Allan Holdsworth (guitar), Eddie Jobson (electric violin, keyboards and electronics), John Wetton (vocals and bass) and Bill Bruford (drums and percussion).

"U.K." has six tracks. All lyrics on the album were written by John Wetton, except "Mental Medication" which was written by Bill Bruford. The first track "In The Dead Of Night" with music written by Eddie Jobson and John Wetton is a suite which is divided into three parts: "In The Dead Of Night", "By The Light Of Day" and "Presto Vivace And Reprise". "In The Dead Of Night" opens the album with keyboards and bass. The bass has an unusual rhythm on top with Jobson on keyboards and Bruford on drums seem to play in counter rhythm. Wetton sings very nice and powerful as usual and Holdsworth plays a great guitar solo. This is a song that was also released as a single to promote the album. "By The Light Of Day" is a soft and slower part of the suite full of synthesizer sounds. This is a very beautiful ballad with the same melody line but with a completely different rhythm. Jobson adds something very beautiful with his electric violin very well supported by Holdsworth's guitar. Nice and beautiful synthesizer waves end this second part. "Presto Vivace And Reprise" is announced by several drum riffs and a psychedelic keyboard part. Since this part has finished, returns the reprise of the main theme. This is a suite absolutely amazing. The second track "Thirty Years" with music written by Eddie Jobson, John Wetton and Bill Bruford begins with keyboards and an acoustic guitar with Wetton singing at the top of his voice. After over three minutes the musical atmosphere changes radically, with guitar and keyboard solos followed by an inventive drumming by Bruford. Towards the end, the initial melody returns, totally supported by the entire band with special mention by a great guitar solo by Holdsworth. The third track "Alaska" with music written by Eddie Jobson is a very dark and mystical track. It's an instrumental piece of music dominated by the keyboards of Jobson. However, it has room enough for the rest of the band shine on the track especially Holdsworth. The fourth track "Time To Kill" with music written by Eddie Jobson, John Wetton and Bill Bruford is directly lead to the previous track. This is a very interesting track with several musical changes all over the song. In the middle of the song there's a break with another great violin performance by Jobson. The fifth track "Nevermore" with music written by Eddie Jobson, John Wetton and Allan Holdsworth opens with an acoustic guitar and keyboard performances. A nice and beautiful duet between Jobson and Holdsworth forms the highlight of the song. The last part of the song consists of an atmospheric of several soundscapes. The sixth and last track "Mental Medication" with music written by Eddie Jobson, Bill Bruford and Allan Holdsworth begins with an unusual vocal line accompanied by a jazzy guitar's sound. In the middle of the song there's a beautiful part with bass and drums on top of which a guitar solo is performed. After a small break is the violin that turns again. This is the other song of the album which was chosen to be released as a single.

Conclusion: U.K. is one of the few big progressive super groups formed in the 70's. It's with Emerson, Lake & Palmer one of the two best progressive super groups formed in those times. It became the last great progressive rock band formed in the classic rock years. The musical skill of these four gentlemen is a joy and a blessing for our ears and is rare and truly amazing to see a band producing such a special crossover between so diverse musical styles with such a unique and quality sound. U.K.'s debut stands as a very strong and unique progressive album released in a time where most progressive rock bands were losing their steam. It's really a pity that U.K. had such a short existence and these four musicians only have released this studio album and a couple of live albums. This is a truly great album, one of the most underrated, blending genres together into a rich and complex amalgam of sounds. There's not a bad moment on this album. It's excellent from beginning to end. Since "U.K." was made in the end of the golden era of the prog rock music, it's hard to believe and a shame, that a music lover doesn't have this album in their collection. This is really an awesome line up and the musicianship is absolutely great. So, do yourself a favour, buy or simply check it, as you wish.

Prog is my Ferrari. Jem Godfrey (Frost*)

Prior to the band's founding, the members of U.K. mark 1 had already played with some pretty big names in prog rock. Keyboardist/violinist Eddie Jobson had been in Curved Air and Frank Zappa's band, and in Roxy Music with bassist/vocalist John Wetton. Wetton and drummer Bill Bruford had been in King Crimson together; Bruford had toured with Genesis and was a founding member of Yes. Guitarist Allan Holdsworth was featured in Bruford's late-1970s band. But as much as U.K. reflects those bands on occasion, it's fair to say they have their own sound. In fact, in places on their debut I'm reminded of Emerson, Lake, and Palmer more than of any group of which Jobson, Wetton, Bruford, or Holdsworth had actually been a member.

Given the lineup, it would be a true shock if the musicianship weren't top-notch. These guys don't disappoint. Wetton, a serviceable bassist, is solid, and the other three players are excellent, demonstrating their proficiency via their arrangements as much by shredding. Check out "Nevermore" for examples of Holdsworth on both electric and acoustic guitars and Jobson on piano and synthesizer. Jobson also turns in some excellent violin performances, such as on "Time to Kill," which also includes excellent guitar and synthesizer improvisation. Bill Bruford fancies himself a jazz drummer, but he is in full rock mode here, avoiding some rock-drumming clich�s, but playing a 4/4 beat (even a straight 4/4 beat) when appropriate.

The vocals are OK. Wetton over-emotes, as is his wont, and has to strain to hit some notes - - another of his tendencies. By the way, did Wetton originate this singing style, was he imitating Greg Lake, consciously or not? It really seems as if the songs were arranged for Wetton's vocal range, and then tuned up several steps to ensure that he'd have to overtax his voice. Wetton is listed as only vocalist on the album, so I guess that must be him singing the harmonies, although in places it sounds like there's another singer as well. As far as I know, U.K. predated the wall-of-sound vocal harmonies featured on Wetton's 1980 solo debut Caught in the Crossfire (e.g., on "Turn on the Radio") and perfected two years later on Asia's self-titled debut. Interestingly, in addition to traditional methods, on U.K. Wetton experiments with a harmonizer effect, for example, starting at around 1:36 on "Nevermore."

What separates this album from a four-star LP like Bruford's relatively similar Gradually Going Tornado (1980) is the compositions. The songs on U.K. are merely good. In particular, the melodies are pedestrian, especially given that the group was evidently aiming for a radio-friendly sound. Wetton would finally find that sound on the first two Asia albums. While U.K. is more musically ambitious than Asia (1982) or Alpha (1983), I prefer those two - - maybe because the finished products were more consistent with the objectives of the group.

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.