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John Wetton biography
John Wetton, a man who has been in more bands than most of us have had hot dinners, was born in Derby, England on 12th June 1949. He is the youngest of two boys, both of whom have persued their own very different musical careers - John in rock and his brother in the world of classical church music. When John was 12, the family moved to Bournemouth. During his school years, he played in several Shadows and Beatles-style groups, eventually getting onto the local R&B circuit with the Palmer-James Group. It was about this time that he met with Robert Fripp, who would play such a vital role in his career later. After college, John toured Rumania backing Helen Shapiro! This earned him enough money to buy a decent Fender Precision Bass for 35 pounds. His next band was Tetrad, another group local to Bournemouth, but he soon decided to leave them and move to London. He stayed a short while in a band named Splinter, and then quit to join James Litherland's Brotherhood, by September 1969. The band soon changed their name to Mogul Thrash, and John made his first album with them. They were a rough-edged R&B outfit, with brass section, but were much more popular on the continent than in Britain. They get involved with a legal problem with their management, and the only way to extricate themselves was for the band to split up.
John then spent some time doing session work, earning enough to buy a ticket to Los Angeles. He only stayed a couple of months, and immediately on his return to London, he was called and asked to join Family. He stayed for two albums, but felt restricted. He was never going to be lead vocalist with Roger Chapman around; likewise, the writing core of the group did not extend to him. When Robert Fripp offered him a job in King Crimson, it was too good to refuse. During his two years with the band, King Crimson enjoyed critical acclaim and success. They recorded four albums, but by September '74, Fripp decided to put the band on ice. John had been socialising a lot with Roxy Music, and joined when an opening for bass player turned up. The band promoted Country Life and toured the UK, Europe and America. John was a casual member of the band, and did not feel financially settled. In March '75, he decided to join the band Uriah Heep after they had just fired bassist Gary Thain. He played on two albums, but his presence did nothing to stem internal unrest in the band. Everyone hated each other, and so by August '76, he left before it all got unpleasa...
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Official Bootleg Archive Vol 1: Deluxe EditionOfficial Bootleg Archive Vol 1: Deluxe Edition
Cherry Red 2016
Audio CD$14.19
$14.18 (used)
Never In A Million Years, Icon LiveNever In A Million Years, Icon Live
Audio CD$1.00
$2.50 (used)
Studio Recordings AnthologyStudio Recordings Anthology
Imports 2015
Audio CD$11.75
$16.83 (used)
Raised In CaptivityRaised In Captivity
Frontiers Records 2011
Audio CD$6.64
$14.66 (used)
Live Via SatelliteLive Via Satellite
Imports 2015
Audio CD$10.72
$10.71 (used)
Renaissance Records 1999
Audio CD$11.09
$122.44 (used)
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JOHN WETTON discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

JOHN WETTON top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.00 | 24 ratings
Caught In The Crossfire
2.19 | 20 ratings
Wetton Manzanera [Aka: One World]
3.56 | 46 ratings
Battle Lines [Aka: Voice Mail]
2.90 | 33 ratings
2.67 | 25 ratings
Welcome To Heaven [Aka: Sinister]
3.00 | 24 ratings
Rock Of Faith
2.97 | 31 ratings
John Wetton & Geoffrey Downes: Icon
3.41 | 24 ratings
John Wetton & Geoffrey Downes: Icon II - Rubicon
3.94 | 22 ratings
John Wetton & Geoffrey Downes: Icon 3
2.33 | 29 ratings
Raised In Captivity

JOHN WETTON Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.53 | 15 ratings
Chasing The Dragon
3.33 | 6 ratings
Akustika - Live in Amerika
3.91 | 3 ratings
Sub Rosa: Live In Milan 1998
3.52 | 10 ratings
Nomansland - Live In Poland
3.83 | 6 ratings
John Wetton & Ken Hensley. One Way Or Another
2.67 | 8 ratings
4.00 | 1 ratings
Live In Argentina
3.08 | 6 ratings
3.93 | 5 ratings
Never In A Million Years (Icon)
2.09 | 2 ratings
New York Minute (with The Les Paul Trio)
3.00 | 2 ratings
Live Via Satellite

JOHN WETTON Videos (DVD, Blu-ray, VHS etc)

4.00 | 4 ratings
Live In The Underworld
4.12 | 6 ratings

JOHN WETTON Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.48 | 13 ratings
King's Road 1972-1980
2.21 | 5 ratings
John Wetton + Richard Palmer-James : Monkey Business 1972 - 1997
3.91 | 2 ratings
2.05 | 3 ratings
Jack-knife / Monkey Business 1972-1997 (with Richard Palmer-Jones)
4.50 | 2 ratings
The Studio Recordings Anthology

JOHN WETTON Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 1 ratings
Chasing the Deer (OST)
0.00 | 0 ratings
Rendez-vous 6:02 (Live)
2.59 | 4 ratings
John Wetton Geoffrey Downes Icon: Heat Of The Moment- 05


Showing last 10 reviews only
 Battle Lines [Aka: Voice Mail] by WETTON, JOHN album cover Studio Album, 1994
3.56 | 46 ratings

Battle Lines [Aka: Voice Mail]
John Wetton Prog Related

Review by tvtennis

4 stars The passing of John W. has affected me deeply, so I went back and gave a spin to some of his work, that may have not been on the top of my list over the years. "Battle Lines" turned out to be an unexpected pleasant surprise. Initially released under the name of "Voice Mail" in 1994 in Japan only, it was re-released internationally as Battle Lines with the same musical content but different artwork, and again in 1996 with the additional bonus track: "Battle Lines" (acoustic version). I read an interview w/Ron Nevison in 2015, a famous producer, he was the producer and engineer on this release. Here's a short quote from that interview, on how he felt about the record:

"There were two albums I did in the early '90s that got swallowed up because of Kurt Cobain. One of them was an album with John Wetton that didn't do well. John has a sound. We did a wonderful record, I still believe it is a great album. Those albums never saw the light of day because everybody ran to Seattle. So, there are things that don't work out. I was very disappointed in how those were received. That's what happens in the music business."

Initially I just about dismissed it as a too mainstream effort, especially if you are fan of the famous KC trilogy of albums he was a part of. After a more concentrated effort to actually "listen" to each track, I came to a conclusion that it is not such a bad effort after all. I happen to agree w/the producer on the statement that; John has a sound. Now whether you like it or not, it IS his sound, and as much as we all want him to replicate some of the KC or U.K. that we like soooooo much, we need to accept the fact that it was a certain period coupled w/the input from the rest of the musicians at THAT time.

The musicianship is top notch, given John's standard throughout his career it is hardly a surprise. The personnel on the recordings is quite impressive; Steve Lukather / guitar; Robert Fripp / guitar & devices; Simon Phillips / drums ... just a mention a few.

If you have access to it, give it another chance, you might like it a little more than the first time around.

 Live In Argentina by WETTON, JOHN album cover Live, 2003
4.00 | 1 ratings

Live In Argentina
John Wetton Prog Related

Review by tvtennis

— First review of this album —
4 stars Saddened by the passing of this musical icon, for the past few days I was listening his music, and the bands he was involved with during his tenure. I came across this live release from 2003, recorded in Argentina. On two CD's you get a nice mix from KC to his solo material. The set draws heavily on John's Asia days, but also features pieces originally recorded by King Crimson ('Easy Money', 'Starless' & 'Book of Saturday'). As well as 'Caught in the Crossfire', the title track of john's first solo album.

In addition to John, the line-up included Thomas Lang on drums, Martin Orford of IQ & Jadis on keyboards & Billy Liesegang on guitar. The sound mix is clean and not over produced, which is refreshing in this day and age. As a drummer, a special treat is Thomas Lang's solo, opening Disc 2.

R.I.P. John

 Wetton Manzanera [Aka: One World] by WETTON, JOHN album cover Studio Album, 1987
2.19 | 20 ratings

Wetton Manzanera [Aka: One World]
John Wetton Prog Related

Review by Guillermo
Prog Reviewer

2 stars I never saw this album in the record shops of my city. I only knew about it after reading a review of the album in one Rock magazine in late 1987. At that time I had ASIA's "Astra" album, which I bought in late 1986, an album which I did't like very much. So, I think that I really didn't have enough interest then to go to the record shops to find this album there to buy it, thinking that it could be similar to "Astra".

This album was recorded because John Wetton one day went to record some demos to Phil Manzanera's studio (as Wetton said in one interview). Manzanera showed to Wetton some of the music of one unfinished song that he composed and which Wetton then completed. That song became "It's Just Love", the first song which appears in this album. So good were the results for them that Wetton and Manzanera agreed to record a full album together. Wetton, who at the time still had a record deal with the Geffen label (after the split of ASIA after their unsuccessful album titled "Astra" from 1985) was allowed by that record label to record this duet album with Manzanera. This album was released by Geffen.

Having Alan White from YES on drums, Wetton and Manzanera recorded an album which is "very eighties" in musical style and production, full of Rock Pop songs and ballads, more influenced by the musical style of ASIA than from ROXY MUSIC's musical style. Manzanera's "atmospheric" guitars are very present in this album, with a few solos played by him, and with his guitars almost always sounding in the same way. There are a few keyboard parts, but their role is more as support in all the songs in this album. So, the main role in this album is for Wetton's very good lead and backing vocals (with some help from Manzanera on backing vocals). The songs are "very ASIA" in musical style, and I wasn't wrong: some of them are very similar in style to some of the songs from the "Astra" album, but with less keyboards and more guitars. Alan White's drums playing is good, but the songs are very Pop Rock in rhythms and his style of playing the drums really becomes not very recognizable in some parts. As other albums from the eighties, there are some use of reverberation in the drums and in the general sound of the album.

Best songs in this album: "Every Trick in the Book", "Keep on Loving Yourself", "Suzanne", "Do It Again", "Have You See Her Tonight ? "

After this album, which was unsuccessful in the popularity charts, Wetton returned to ASIA (asked by Geffen) for a reunion between 1987 and 1991, first recording some songs in the recording studios and later on tour.

 Caught In The Crossfire by WETTON, JOHN album cover Studio Album, 1980
2.00 | 24 ratings

Caught In The Crossfire
John Wetton Prog Related

Review by Guillermo
Prog Reviewer

2 stars Songs to "Turn On the Radio", for the then "new decade" of the eighties. This, John Wetton's first solo album, was released in October 1980. I don't remember seeing this album in the record shops of my city in the eighties.

First, a bit of history: in March 1979 the band "U.K.", on which Wetton was the bassist and lead singer, released their second studio album, titled "Danger Money", as a trio, with Wetton, Eddie Jobson (keyboards and electric violin), and new drummer Terry Bozzio. They then went on tour, sometimes supporting JETHRO TULL, until the end of 1979, when they split due to some conflicts about the music direction of the band, between Wetton (who wanted a more Pop Rock music style for the band) and Jobson (who still wanted to play Progressive Rock music "more in the seventies terms", as Wetton said in one interview). Before they split, they still released a live album called "Night After Night", recorded in June 1979 in Japan, and released in September 1979, along with a single on which its Side "A" had an edited version of the "Night After Night" song from their live album, plus in its "B" side had a song called "When Will You Realize", composed by Wetton alone and recorded in a studio. As Jobson said in other interviews, "When Will You Realize" "was the song that split up U.K.". After they split, first as a six months period to give each member time to see what were they going to do in the future, their split was finally announced in mid 1980. Jobson then joined JETHRO TULL as a "special guest" to record their album titled "A" (released in August 1980, which initially was going to be a solo album by Ian Anderson, which finally became a JETHRO TULL album due to record company pressures, and which coincidentally has a different song also titled as "Crossfire") and toured with that band until the early months of 1981. So, Wetton recorded this first solo album, "Caught in the Crossfire", in 1980, and curiously, also including the apperance of JETHRO TULL'S guitarist Martin Barre.

This album is mostly a Pop Rock album, without influences from Progressive Rock music, and also including some New Wave influences, with also some ballads. It seems that by 1980 at last Wetton was making the kind of music that he wanted to make full time since 1979 with the band "U.K." It is not a bad album, but it gives clear indications of the musical direction that Wetton wanted to have in the future, and also gives some indications about the band ASIA which he founded in 1981. But even if ASIA still had some Prog Rock influences in their first album from 1982, this first solo album from Wetton is even more commercial in eighties terms. Maybe he was tired of the "old" Prog Rock from the seventies. So, this album is full of distorted guitar riffs, some appearances of sax here and there, a bit of keyboards, Pop Rock drums, and good lead and backing vocals, with Wetton as always being a very good singer. For this album, Wetton re-recorded "When Will You Realize" with a bit different arrangement which includes good distorted guitars plus a very good guitar solo played by Barre ("U.K."'s version included a bit of electric violin and organ played by Jobson, and it really sounded like being recorded in a hurry with less arrangements and production). If ASIA was going to be increasingly influenced by keyboards sounds than by guitars, this solo album from Wetton has the guitars as the central point. I'm not going to give a description for each song in this album as almost all sound very similar to me. But some of them are similar in style to the kind of songs that ASIA was going to record without guitarist Steve Howe and with other guitarists in the late eighties for their "Then and Now" album (which it really was a compilation album which also included other previously unreleased songs).

For Collectors / fans only.

 New York Minute (with The Les Paul Trio) by WETTON, JOHN album cover Live, 2015
2.09 | 2 ratings

New York Minute (with The Les Paul Trio)
John Wetton Prog Related

Review by The Ploot

2 stars I can only surmise from this odd little set (only 37 minutes long) Wetton was not the singular act on the bill that night in 2013 but, rather, one among an assemblage of artists willing to make perfunctory remarks about colon-rectal cancer awareness before a lukewarm "charity gala" audience. On the other hand, it may just be a boring, uninspired, stand-alone performance and nothing more.

Here we have a disjointed collection of cover songs rendered by Wetton, accompanied by the Les Paul Trio (huh?) as well as two passing references to cancer. I doubt the fourteen people in attendance (judging by the ripple of unenthusiastic applause) even noticed the plugs/PSAs.

As for the set list, I personally like every song on it BUT the majority would probably have been better presented - and likely received - by the original composers (Fagen, Henley et al) Obviously, Marvin Gaye was unavailable and, mercifully, Bob Dylan did not appear. I'm baffled by John's half-hearted renderings of his own "Heat of the Moment" and "Battle Lines". Both would have been better covered by Hank Azaria in any number of character voices. For me, the only song containing even an ounce of passion is Brian Wilson's "God Only Knows", although I personally prefer the original (Olivia Newton- John's cover is quite lovely, too). Wetton has long had a justified respect for Wilson's compositions, as evidenced by his charming tribute to the Beach Boy, "Voice of America". For this gig, however, a medley of surf and hot rod tunes might have gone over better.

For me "New York Minute" (the album - not the song) is an unnecessary record. It could have been cut by thirty-three minutes and offered as a Beach Boys tribute single. I can only award it two stars.

 John Wetton & Geoffrey Downes: Icon by WETTON, JOHN album cover Studio Album, 2005
2.97 | 31 ratings

John Wetton & Geoffrey Downes: Icon
John Wetton Prog Related

Review by brainsuccasurgery

3 stars Having dropped out of the Asia wagon since the station stop from John Wetton there's a couple of decades , I do not expect much from the record production of Geoff Downes. But without me nostalgic for that period of prog, reactivation of the collaboration between the two men could not leave me indifferent.

Their record is called Icon, which is a nice title, and starting with "Let Me Go", a song that Asia might have forgotten to put on his first album back in the majestic inspiration, if not original. With "God Walks With Us", still nothing new under the sun Asian or on the bottom or on the form but an exceptional emotional power enhanced by a guitar solo that works, performed by the impeccable John Mitchell (Arena) . Intro to major organs on the following title, "I Stand Alone", which unfortunately does not avoid the trap of melodic ease unpleasant reinforced by the apparent sentimentality of "Meet Me At Midnight" impression, but swept by the air costs unstoppable "Far Away," the kind of candy would have been able to write the Justin Hayward of the Moody Blues the best years.

Is it useful to review all these melodies slightly outdated or obsolete, but that the moving song Wetton, in his soft, husky voice that has gained flesh it has lost clarity, manages to make pride and depth? Why not, especially since Icon is the most worthy our two prog legends have done something long ago. These ten tracks, alternating catchy soft-rock (the radio calibration worthy verse / chorus of "Hey Josephine"), neo-symphonic prog news ("Please Change Your Mind") and feverish ballad ("Sleep Away" with John Mitchell still comfortable), surely not have the relief of a UK which led him to cry masterpiece, nor for the potential commercial launch of the first Asia (even cry, but from the labels), but you will wait until the next showpiece of one or the improbable resurrection of the other - and if the sentence is too long, repeat slowly from the beginning.

But if you do the math, it lacks two titles in our passage reviewed and these are the two best: "Spread Your Wings" (well of course!), Small pearl breath athlete and careful arrangements (intro piano / violin magic of the rise, and Mitchell, always him, a solo Clive Nolan must regret pass) where Downes put all his knowledge of simple and original melody. And finally the aptly named "In The End", ladies and gentlemen, "In The End", which to my surprise crying with joy, is illuminated by THE great voice of prog in person, I have appointed the former Renaissance Annie Haslam. If I dared, I am happy to finish this review with the name of Annie Haslam.

 Jack-knife / Monkey Business 1972-1997 (with Richard Palmer-Jones) by WETTON, JOHN album cover Boxset/Compilation, 2014
2.05 | 3 ratings

Jack-knife / Monkey Business 1972-1997 (with Richard Palmer-Jones)
John Wetton Prog Related

Review by Matti
Prog Reviewer

2 stars This is obviously a "for collectors only" kind of release. All the more ridiculous one, as it puts together an obscure, poor rock'n'roll album recorded in 1978 and a compilation of demos and other seedy stuff from a long timeline. First about the studio album Jack-knife.

It contains nine tracks, five of them seemingly covers written by others, two by guitarist Richard Palmer-Jones (best known as KING CRIMSON's lyricist after Pete Sinfield), and two by Wetton and Palmer-Jones together. Let's be honest: I didn't listen to this disc more than perhaps half a minute each song. The music is straight-forward mainstream rock and has nothing to interest me. Don't expect anything even distantly reminiscent of U.K. or ASIA!

"Monkey Business 1972-1997", originally released in the late 90's, is described as a scrapbook in the introduction text. The collaboration between the two musicians started already in 1962 when they met at school. In 1972 they rejoined forces in King Crimson, in which Palmer-Jones only wrote the lyrics. Some of the material that would have been on the follow-up of Red is found here in the demo form. The classic CRIMSON songs 'Book of Saturday' and 'Starless' are featured as lyricless raw demos that were hometaped as a basis for lyric-writing. To be more precise, the latter is only as a half minute beginning - twice! But the disc ends pleasantly with the pair's recording of 'Starless' from 1997. From the same year are 'Doctor Diamond' and 'Cologne 1997', both among the most worthy contents of this release. The latter song, concerning "the mixed feelings of many Americans born after 1945 of German origin on first visiting their emigré parents' home country", is featured also in its original form recorded in 1977. Not a bad song at all.

'Magazines' is a demo from 1974, originally written for King Crimson. 24 years later it appeared on Wetton's album Arkangel. Just before Christmas 1976 Wetton & Palmer-Jones spent a week in a French farmhouse, trying to write some songs for Wetton's solo debut, but the outing emerged only 'The Laughing Lake'. There are several brief tapings of it here. How wise such scrapbook representation is, is very debatable, but in its complete form it is a pretty nice, calm winter song.

So if you're a completionist, you will have interesting things in here (compared to high-prized multiple-disc things like Road To Red this is harmless!). If you're not such person, you will more likely be frustrated of all the mess of short and bad home tapings.

 Nomansland - Live In Poland by WETTON, JOHN album cover Live, 1999
3.52 | 10 ratings

Nomansland - Live In Poland
John Wetton Prog Related

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars King Crimson invaded Poland

John Wetton seems to have found many fans in Poland as more than one live album of his have been recorded in that country. The present one was recorded in 1998 and features, in addition to Wetton himself on vocals and bass, a line-up of Martin Orford (of IQ fame) on keyboards and flute, Steve Christy (Jadis) on drums, and David Kilminster on guitar. They form a very tight band.

The set list features many songs that Wetton originally performed with other bands in the 70's and 80's, including King Crimson's Book Of Saturday and Easy Money from Larks' Tongues In Aspic, The Night Watch from Starless And Bible Black, and Starless from Red; UK's In The Dead Of Night from their self- titled debut and Rendez-Vous 6:02 from Danger Money, and Sole Survivor from Asia's self-titled debut. All of these classic songs are very good and they represent Wetton's musical career perfectly. Thankfully, he spares us the tedious Heat Of The Moment this time! Everything is performed very well.

Orford and Kilminster are both allowed their little solo spots which create very nice instrumental interludes between the vocal numbers. Tatras is Orford's piano solo and Bygosh!! is an acoustic guitar number performed by Kilmister. The two men then collaborate on The Birth of Igor. Both are excellent instrumentalists.

The Last Thing on My Mind, Emma, and After All are taken from Arkangel, the John Wetton solo album they were touring in support of at the time. While Arkangel is not a strong album on the whole, these songs are not bad.

This live album is in many ways similar to the excellent Amorata live concert video that I have reviewed previously and given the same high rating. The Amorata DVD (and, as far as I understand, the same concert also on CD called Agenda) features John Mitchell from Arena instead of Kilminster, but many of the same songs are present of both releases. You need at least one of these!

 King's Road 1972-1980 by WETTON, JOHN album cover Boxset/Compilation, 1987
2.48 | 13 ratings

King's Road 1972-1980
John Wetton Prog Related

Review by Per Kohler

3 stars There are two good reasons to purchase this Cd, 'Night after Night' and 'As Long as You want Me here'. No doubt about it; they are both worth the price of the record. Particularly as none of them are to be found elsewhere on Cd. Jobson/Wetton worked well together and this is their last legacy from initial period. Jobson's solo on 'Night' is raw like Japanese Sushi. Served by the most delicious Geisha. 'As Long as' is something that could've been delivered from the reformed King Crimson if they had opted for a return of Wetton. Possibly in a slightly reworked and stripped down version. Asia never even touched any of these great compositions, the smile in their eyes is a result of collected bundles of banknotes. The other songs of interest here are already in your collection. The least relevant, one must admit, are taken from quickly forgotten solo album Caught in the Crossfire. The one and only song by Jack Knife says little to the prog fan.

King's Road serves as an introduction for the multitudinous group of record buyers who got high on 'Heat of the Moment' and 'Sole Survivor'. They have a long way to avant-garde Starless. What unites the album is the record company E.G. and the artist himself. Otherwise very little. Wetton deserves more than a single Cd for his contribution to the various bands he has taken part in. The music listeners as well. Wetton's comprehensive recording history isn't easy to survey. Not only how many bands/artists he has visited or been in, but also what exactly he contributed. Sang, played, wrote and/or produced.

If you're not in possession of all material related to the rock icon you're most likely not knowledgeable about what happened where. Not even with the informative invention called internet by your side. If all contractual issues could be solved there should at least be a double-Cd including 'One Way or Another', 'That's That' and 'Same Time Next Week'. Just to mention a few. Any surviving rehearsal tapes from the time spent with Wakeman/Bruford? Wetton's Phenomena colleague Glenn Hughes is luckier with his collected work(they have both played/sung with everybody except each other). Perhaps next step in their career?

 Rock Of Faith by WETTON, JOHN album cover Studio Album, 2003
3.00 | 24 ratings

Rock Of Faith
John Wetton Prog Related

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars It was back in #62 that I raved about John's latest album, 'Sinister', and said that it was his finest work since he had left Asia and here I am now saying the same thing again, because although 'Sinister' was good it wasn't as strong as this which has to be one of the best albums John has ever been associated with throughout his long career. The core of the band was John himself, Steve Christey (Jadis) and John Mitchell (Arena) who are both in his touring band and one Clive Nolan (Arena, Shadowland, Pendragon etc). John Wetton had gone to Thin Ice to record the drums and liked it so much he stayed! Clive's partner in crime, Karl Groom, engineered the album and the Thin Ice guys co-produced it with John. There are also a few guests, including one Geoffrey Downes who he hadn't worked with in years, but for this album they also co-wrote two songs together. Something that will most definitely be of interest to all Asia fans.

But what makes this such a strong album? The songs are much more in the melodic/hard rock field, but slower, with an emphasis on orchestral overtones with the main listening point being the vocals. Each song is aimed at maximising the power of the voice, with the music as a vehicle, and this has really allowed John to shine. The album starts with an atmospheric instrumental, where Clive and John Mitchell combine to good effect to build on the emotion, which in turn leads to the title cut which segues in gently, gradually building on John's vocals.

It is an album that hearkens back to old times while also showing the future, and on the basis of this album that is very bright indeed. It is immediately accessible and enjoyable and one that I have enjoyed playing a great deal.

Originally appeared in Feedback #73, Jun 03

Thanks to erik neuteboom for the artist addition. and to NotAProghead for the last updates

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