EDDIE JOBSON

Frank Zappa wasn't the only progressive musician who produced synclavier-based albums in the 1980s - Eddie Jobson also turned his hand to it on this solo album, which sounds less what you might expect a Jobson solo album to sound based on his classic 1970s violin playing and more like a rejected Tangerine Dream soundtrack, which might explain why Peter Baumann contributes liner notes. To be honest, the album offers nothing that any of the many similarly uptempo New Agey electronic albums from the era don't also offer, and has little to nothing in the way of individual personality, so I genuinely struggle to see what Eddie was attempting to accomplish here. One for uncritical fans only.

A long time went by for Eddie Jobson, since his first Tour with UK in the late seventies! So, by passing through a lot of experiences as a session man and producer as well (here including also three solo albums and a new work regarding a sort of "Reunion" concerning the UK ensemble- entitled UKZ "Radiation"...), such a versatile musician shows his ability to gather some different session men (such as Tony Levin at the stick and Gregg Howe as a guest guitarist), with the collaboration of John Wetton!! Naturally He doesn't make us complain about this live project...in fact, first of all you have to forget the original ensemble, as the sound has been updated in comparison to the original feature characterizing the first two albums (a couple of vynils enriched by means of the analogic keyboards, like the famous polyphonic CS-80); then a lot of nostalgia is able to characterize our first approach to the present live, above all when you can listen to all the classics by UK, even though We miss the sound of A. Holdsworth and especially the versatility/skill by Terry Bozzio (here replaced by Simon Phillips on drums, being very good as a session drummer anyway...). This way, all the tracks by UK are still quite fascinating after 30 years; instead in the experimental tracks by King Crimson (like for instance "Starless" and partially also "One More Red Nightmare") I miss Robert Fripp on guitars and the intelligent drumming by Bill Bruford, despite the good new arrangements...so probably four stars in the evaluation is too much, but your collection regarding the prog live gigs all over the world, can be enriched by means of a modern "Carryng No Cross" within DISC Z (if you love the 70' s analogic synths and appreciate the best style by John Wetton on vocals) plus the best tracks by Eddie as a keyboardplayer, those are "Alaska" and "Presto Vivace", which alone probably are worth the price regarding DISC U!! Then, talking about DISC Z, probably "RED" is the second tune, after the mentioned above "Carrying no Cross", being well worth to be checked out in their particular arrangements!! Besides the tracks taken by Eddie's solo albums are interesting, even though not properly unforgettable, but nevermind...actually I'm so sorry about the fact that the reunion of the original ensemble by UK has never been realized so far, but the session men involved in this strange live project have performed a good job in the recent times anyway and for me that's enough!

The only progressive credential on "Theme of Secrets" would be Eddie Jobson himself, but this bears little resemblance to his prior work, instead being rightfully categorized as new age music. Those familiar with my tastes know that I am a new age sympathizer who feels that the genre was a refuge for some erstwhile progressive artists who could not stomach joining the throngs of electronic popsters in the 1980s. But even so, there is a point at which they may has well have sold out, and that barrier is broached on "Theme of Secrets".

Look to TANGERINE DREAM or even PETE BARDENS if you want an example of similar music that retains its essential character, plus a slew of artists not on these pages such as NIGHTNOISE, but look here only for a rare glimpse of Jobson solo. The presence of a decent theme on track one that repeats on the title cut and the album closer only serves to highlight the banality and utterly aimles electronic doodling of the rest of the material, in which neither composition nor arrangement rise to any occasion except la siesta. Well, maybe "Lakemist" is able to establish a worthwhile mood in spite of itself.

pssst - this is a dud, pass it on and pass on it.

Like many other reviewers, I find that this release never really "grabs" me. Jobson is, without a doubt, a great musician, as evidenced by his work with Roxy Music, UK, and Jethro Tull, but on this record he falls flat, in my opinion at least, as a composer. There is nothing bad here. However, there is nothing that great either. His voice is only average, and maybe a different, more powerful singer could have added to make this a better release? After many listens, I still can't say I remember a single melody or song on this album. It is good, but bland. In Eddie's defense, I am not a big fan of progressive-electric music, so maybe I am missing the boat, here. But, I can only recommend it to those who want to explore some of the "others" behind a few great prog groups. 2 stars. (Really 2 1/2)

What a disappointment!

This is the same Eddie Jobson who played amazingly with Curved Air, with Frank Zappa, with UK, with Roxy Music, with Jethro Tull... The key word apparently is "with".

On this, his first solo album, his main problem is composing. Nearly every song has a great intro. Some have great solos. But as soon as the verse sections begin, the music lapses into 1980's synth-pop. Think Gary Numan trying to be upbeat. And those vocals. Jobson almost has a good singing voice. But not quite. Everything come out just a bit on the shrill side.

It is good to hear Gary Green from Gentle Giant, and the two tracks he appears on are the best of the lot. But that's not saying much.

U.K. has reunited. Sort of.

Well okay not really, but the material here does have recognizable traces from what was going to be a new version of that esteemed prog/fusion outfit [to be called Legacy] as well as remnants of Eddie Jobson's solo project Zinc which released an LP in 1983. The name 'UKZ' is a reference to both bands. Here, however, we're treated to the tremendous chops of jazzrock guitarist Alex Machacek as well as Trey Gunn's contributions on the 10-string Touch guitar, Marco Minnemann's drums, and the voice of Aaron Lippert. And of course the world class presentation and performance of Mr. Jobson.

Radiation is a typical grower and after a somewhat cold first impression, began attracting me more each time I audited the short-but-sweet four cut EP. The production is, unsurprisingly, pristine thanks to Jobson's skills and seasoned touch as an arranger/mixer. One wishes for more than twenty minutes of material, though a whole album may have proven unnecessary and perhaps the EP was a good choice. After a full minute of slow-churning rumbles from Jobson's pedals the screech of a mistuned radio signal breaks open our title track, a high power rocker with the angry vocal of Lippert, Crim-ean guitar chords and an engaging keyboard break. Alex Machacek takes full advantage of his lead passage here dropping-in one of the best guitar solos in recent memory, infused with the best of McLaughlin and Holdsworth. Quiet 'Houston' echoes Major Tom and drones along uneventfully, but the insistent angles of 'Tu-95' restore the progressive direction with a thoroughly satisfying instrumental piece, at times inspired and undoubtedly the axis on this record, Machacek's gentle jazz trailing at the end.

A project that should be well appreciated outside of its 'Electronic' manor, and a nice reemergence from the vast wasteland of soundtracks and guest appearances for this veteran great. Good show, and deserving of more than the meager 3 stars awarded by this writer's stingy ass.

One of my top ten for sure. With this one eddie not only cemented his rep as a performer, but also introduced a new facet as a bona fide composer (Yes, Yes he contributed here and there, but this is his own solo product from A to Z). Just about everything in the album is perfect. As mentioned the compositions stand on their own. The musicianship is top notch, and what's more the sounds wrung out of his keyboards (notably the CS-80 and the minimoog) are often baffling, as well as their integration into the song framework. I can't say I have the same fondness for Eddie's vocal talents unfortunately, which constitute the only weak point AFAIC. Whatever, as mentioned he shines on all instruments, with particular insistence in this work on the violin. Highlights are too many to mention but Prelude, Turn It Over, Who My Friends..., and Listen to Reason are all more than worthy of your progressive attention (this last one is remarkable for the violin solos). No desert island isolation would be complete without this one.

The themes are so secret that I cannot find them!

Eddie Jobson is a very diverse artist with an interesting career. He has played in many prominent Prog bands including Curved Air, Roxy Music, Jethro Tull and his greatest musical achievement, UK.

While Jobson's first solo album was somewhat in line with his brilliant work in UK, Theme Of Secrets, which is Jobson's second solo album, is a totally different beast. This is a pure New Age/Electronic affair and as such is not my cup of tea. For me this is elevator music; very discrete and there is not much going on in it. Everything is performed on piano and electronic keyboards with some electronic drums; no vocals, no guitars, no real drums, no bass. There is also no violin which is an instrument I associate with Eddie Jobson.

This is not a poor album in the sense that it was badly recorded or produced. But I find this poor in the compositional department. The pieces all lack direction and to my mind this is boring. There is nothing here to catch my interest.

Only for completionists this one.

Jobson's own UK

In many ways Eddie Jobson's first solo album can be seen as a continuation of the band UK. For their first album, UK had four members, before their second album they lost half of the original band. Now 'UK' is again cut in half with only Jobson left. Musically there are some similarities with UK but this is perhaps a bit more electronic and adapted for the 80's. But there are also acoustic and electric guitars, piano and real drums so this is far from an all electronic affair. Pieces like Prelude and Nostalgia are rather classical and not at all electronic. There are other numbers that sound slightly like the Synth Pop of the early 80's. Almost like Depeche Mode but with violin solos and much more elaborated in structure. The eclectic mix of that electronic style with many other styles not normally considered compatible makes this interesting and enjoyable.

Jobson's vocals might not be very distinctive but he does a decent job. There are some parts reminding me of the sound of Yes' Drama. Jobson's vocals are somewhat similar to those of Trevor Horn and also the keyboard sounds are sometimes similar to those of Drama.

The quality of the compositions is far behind those of UK and some other groups Jobson had worked with. Jobson is clearly not the songwriter that John Wetton is. However, over several listens some nice melodies reveal themselves. Zinc is a very eclectic work and there are many interesting styles and sounds to be found here.

While I find this album very listenable it doesn't leave any lasting impression. It is a good but non-essential album that might appeal to fans of UK.

From the beginning, I admit I knew almost nothing about Eddie Jobson, until I put my hands on this disc. Then, after some auditions, the music caught me very well. And I was very glad adding this album to my personal musical collection. The reasons are many, but in a few words I'd like to say that Theme of secrets is another atmospheric journey to the unknown. I was asking myself if Eddie Jobson did in fact play to various electronic instruments, or it was only one. If he had played to only one instrument (i.e. synclavier), he must have been a true master of this one. Generally speaking, the songs are very peaceful and enigmatic in the same time. From strange electronic sounds (Spheres of Influence) to splendid keyboards themes and harmonies(Inner Secrets, Memories of Vienna, Lakemist) and a brilliant intro (The Sojourn), the album reveals the word of SECRET. There's an inner, a theme and an outer secret and the music seems to be, indeed, full of secrets. However, the music from this album is not at all something very high and special in the field of progressive electronic music. It's simply enjoyable...That's why I won't rate this album on 10.I must say, I use to listen to this album on evenings before going to bed, and it's very relaxing to meditate on it.