UK

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!