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UK

Eclectic Prog • United Kingdom


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UK biography
Active between 1977-1980 - Reformed in 2012 with new line-up - Disbanded in 2015

In some ways UK represented both the last hurrah of progressive music's golden age, and the standard by which all other supergroups that followed would be judged. The impeccable technical precision, complex yet modern arrangements, and dynamic live performances made them an overnight legend whose reputation has far outlasted their brief existence. No other supergroup, progressive or otherwise, has had such an immediate and lasting impact.

The band was formed in 1978 by bassist John WETTON and drummer Bill BRUFORD , both fresh from the USA tour (and accompanying live album) of KING CRIMSON. Keyboardist & violinist Eddie Jobson had also played on the KC tour and album, but was better known for his brilliant work on a string of ROXY MUSIC albums, as well as their seventies live album, "Viva!". Wetton briefly secured guitar wiz-kid Eric Johnson for the band as well, but Johnson's own project (the "Seven Wonders" solo album) and the legal wranglings that were accompanying it would cause Johnson to quickly withdraw and be replaced by another guitar virtuoso, Allan HOLDSWORTH , who had worked with SOFT MACHINE and GONG, in addition to his solo work before joining UK. This was the first in what would become a series of lineup changes before the band would disband for good less than two years later.

The star-studded lineup had no trouble securing a record deal, and Polydor released their self-titled debut on the E.G. label that same year, which is often credited as the first successful rock supergroup studio release ever. The music is characterized by layered synthesizers, jazz-inspired guitars and bass, and in general by exceptionally high-quality musicianship. The band followed the release with a lengthy promotional tour.

Bruford would release a couple of albums under the BRUFORD BAND name following this tour, and would eventually return to the KING CRIMSON lineup for their "Discipline" release in 1981. Holdsworth also appeared on the BRUFORD BAND releases, and would later issue a series of solo albums in addition to a wide range of session appearances. Terry Bozzio (FRANK ZAPPA, GROUP 87) would replace Bruford, and the trio would release the band's second and final studio album a year later ("Danger Money")...
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UK discography


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

4.11 | 625 ratings
UK
1978
3.80 | 368 ratings
Danger Money
1979

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

4.03 | 14 ratings
Shadows From The Sun
1978
3.43 | 133 ratings
Night After Night
1979
3.82 | 41 ratings
Concert Classics Vol. 4
1999
3.99 | 20 ratings
Live In Boston
2007
3.06 | 17 ratings
Live in America
2007
4.05 | 19 ratings
Reunion - Live In Tokyo
2013
4.33 | 8 ratings
Night After Night Extended
2019

UK Videos (DVD, Blu-ray, VHS etc)

4.93 | 15 ratings
Reunion - Live In Tokyo
2013

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

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

4.00 | 4 ratings
In The Dead Of Night
1978
3.09 | 4 ratings
Nothing To Lose
1979
3.17 | 5 ratings
Rendezvous 6:02
1979
2.38 | 7 ratings
Night After Night
1979

UK Reviews


Showing last 10 reviews only
 Concert Classics Vol. 4  by UK album cover Live, 1999
3.82 | 41 ratings

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Concert Classics Vol. 4
UK Eclectic Prog

Review by Squire Jaco

4 stars Similar to other "Concert Classics" recordings near the end of the 1970's, this one starts out with some mix problems on the first track, that are soon fixed for the rest of the cd. This should in no way deter you from purchasing this cd; it's VERY enjoyable.

This is the only place where you'll find a legal recording of all four original members of U.K. live in concert, and they sound just superb. The best thing about it is being able to hear three songs (with slightly different arrangements) from the yet-to-be-recorded "Danger Money" album being performed live with Bruford's drumming, and Holdsworth's guitar touches - neither performer was still with the band when that studio album was recorded, so this is special stuff.

You know how a lot of prog acts tend to sound derivative of other prog acts? Well, U.K. ain't one of 'em! With Wetton's strong, rich voice (and melodic bass guitar), Jobson's frenetic keys and violin, the one-of-a-kind sound of Holdsworth's guitar, and Bruford's unique jazz-rock drumming style, this band was an authentic original, forging new and beautiful music in the progressive/jazz fusion genre.

A true supergoup from the 70's that lived up to its expectations, U.K. unfortunately had only a very small catalogue of recorded material (non-bootleg, that is). So a gem like this is hard to pass up. If you can find it, be sure to snatch it up! ESSENTIAL album from one of the greatest progressive rock bands of all time.

4-1/2 stars

 Danger Money by UK album cover Studio Album, 1979
3.80 | 368 ratings

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Danger Money
UK Eclectic Prog

Review by Zoltanxvamos

5 stars 𝗟𝗶𝗸𝗲 𝗘𝗟𝗣 𝗯𝘂𝘁 𝗕𝗲𝘁𝘁𝗲𝗿 | 𝗝𝘂𝘀𝘁 𝗔𝘀 𝗚𝗼𝗼𝗱 𝗔𝘀 𝗧𝗵𝗲 𝗗𝗲𝗯𝘂𝘁

So first off, this album has the format of ELP, A Bassist, Keyboardist, and Drummer. Second, people say this isn't as good as the debut, but I beg to differ. With no Holdsworth, the jazzy elements have left the group's texture, however they are left with the virtuosity of Eddie, and his extreme classical training. This has a bit more hard rock, but it's way more classical than the debut, it's has more atmosphere on places like "Rendezvous 6:02", and "Danger Money", more complex songs like "The Only Thing She Needs", and "Carrying No Cross", while "Ceasar's Palace Blues", and "Nothing To Lose" are a mix of both atmosphere, and complex, but it also adds more of a hard rock feel to make the album more enjoyable for a more commercial crowd... yeah right. Let's be honest, this album would never be accessible to any crowd except the prog audience. John Wetton's voice on both UK albums is just way to weird for any audience other than the prog audience. His bass playing is also really complex and well done, he is a really good bassist after all, he isn't just a fantastic singer. Terry Bozzio is a scary good drummer, his technique, drum sounds for the time, backing vocals with Eddie backing Wetton just works.

So this is Prog, I don't agree with some people who say that this beautiful album isn't prog. If it's not prog, than what is "The Only Thing She Needs" or "Carrying No Cross"? Yeah... this isn't prog... yeah ok. Anyway, fantastic record, well produced, and the playing is top tier, this is the ultimate supergroup.

 Danger Money by UK album cover Studio Album, 1979
3.80 | 368 ratings

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Danger Money
UK Eclectic Prog

Review by Corcoranw687

5 stars A lot of people would say UK's second album is nowhere near the quality of the first, for any number of reasons including the lineup change, a couple of digestible singles and a lack of any guitar player whatsoever. I happen to think the idea to replace Allan Holdsworth with "nobody at all" is pretty much the correct choice, as perhaps until Guthrie Govan and Alex Machacek appear there isn't anybody quite like him. This album therefore becomes the Eddie Jobson show and I suggest you sit down before listening if you've never heard the second UK album, Danger Money. This is simply a different flavour from the first album, there is a lot to love here especially if you are a fan of prog keyboard players. This is not proto-Asia as some would have you believe... okay Nothing to Lose is proto-Asia but the other six tracks are not, I assure. Jobson is an absolute master, usually playing multiple parts on multiple instruments at any given time during the album. Not that John Wetton and Terry Bozzio are taking it easy, but holy cow Eddie. If you skipped on this because somebody told you it isn't worth it, give this a shot! 5 stars easy, for fans of John Wetton or any 80s prog

Danger Money starts off with a horrifying set of chords, it kind of reminds me of Heir Apparent from Opeth just giving you a feeling of dread. The production screams at you straight away as well, it's so clear and it lets the keyboards come through in such a way that you feel everything you are meant to. The lyrics here are cheesy and not perfect (I have a luger strapped to my thigh/I have a magnum as well) but the riff and melody are awesome, I often find Danger Money stuck in my head. The middle section gives way to Wetton's huge bass, this is one of his best albums instrumentally, Rendezvous 6:02 is a favourite of mine, introduced in concert by John as a "ghost story", this is a really atmospheric song. Go figure there is a beautiful middle section from Jobson before a final verse. The Only Thing She Needs just keeps going and going in the best way possible. After a great intro and another piano number, Wetton absolutely attacks you with a crazy bass lead before settling into a groove and letting Jobson guide us for the remainder. No review can do this song justice, but Caesar's Palace Blues is easy to talk about, being a fantastic straight rock song with a lot of prog style touches and some absolutely wild violin playing from Jobson that needs to be seen to be appreciated. Nothing to Lose is good but certainly a single, definitely the weakest UK track but it's okay! It is short and is a bit of a headspace cleanser before Jobson opens yet another clinic, this time in track six. This is just 12 minutes of ELP style craziness, a fantastic ending to an underrated album. If you haven't heard this before, you must!

 Danger Money by UK album cover Studio Album, 1979
3.80 | 368 ratings

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Danger Money
UK Eclectic Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

5 stars The story of UK is unfortunately a short one as the band came to a demise way too quickly. It is the band that released only 2 full length studio albums, even though several live recordings have been released over the years as both of UK's albums became classic progressive rock staples. Between the first and second albums, half of the band (Alan Holdsworth and Bill Bruford) went their own ways to create another group with Bruford eventually rejoining King Crimson, while the other half (John Wetton and Eddie Jobson) returned along with Terry Bozzio to create a second album, "Danger Money". At the times of release, both albums were not huge sellers, but have since become treasures re-discovered by progressive aficionados and the albums were recognized for their innovative and heavy prog. The main thing UK had going against it was the fact that their 2nd album was largely ignored because of the public's disdain for progressive music, and the move of many progressive bands toward more accessible music.

In "Danger Money", we see the band get nudged a bit toward that same accessible trap, but they only moved that direction very slightly. They prepared a somewhat radio ready song called "Nothing to Lose", and hid it on the album amongst other, more complex, and non-radio-ready tracks. But, for the proggers and fans, that was okay because the other tracks packed a lot of the dazzling punch that the debut album had. Bozzio, who was a fellow band member with Frank Zappa's group with Eddie Jobson, quickly proved his ability to meld with the complex compositions of the band.

A compromise that stemmed from a disagreement between Jobson and Wetton about the length of the tracks was reached by having 3 tracks at 5 minutes or less and 3 tracks over 5 minutes. After the release of this album, that compromise couldn't be found, so Jobson and Wetton would go their own ways, of course with Wetton later forming "Asia" and it's more radio friendly sound. However, for this album, there was still something to prove, and, even though the tracks are more melodic than they were in the debut album, there is still plenty of space for complexities in the instrumental sections.

The album starts off with a death-march kind of introduction that has a plethora of crazy synth riffs, somewhat similar to "Alaska" on the debut album. This sound bookends the track with the longer middle section being more upbeat, and even though it is a tricky rhythm and there are changing meters in the vocal sections, the structure of the lyrical piece of this track is a bit more catchy than before. The track grabs your attention however as it works as a showcase for all three musicians. "Rendezvous 6:02" is a bit more laid back and airy and also seems to move a little bit further into an accessible verse and chorus structure, but the instrumental section is filled with flourishes from Jobson and has a more jazzy feel. When it's finished, it comes across as a beautiful almost ballad-like track that still has a lot of substance. "The Only Thing She Needs" brings Bozzio out in the spotlight with some amazing and tricky drum riffs that start the whole thing off and then still has plenty of gaps that he fills perfectly. The ending of this track brings in Jobson's crazy electric violin playing that was also huge on the debut album and creates a jam that rings in your head long after the track ends.

More virtuoso violin playing happens in the shorter "Caeser's Palace Blues" that shows Jobson shredding the violin almost like a Steve Vai would on his guitar. "Nothing to Lose" is the one notably weak track here as it was made for the radio, but it still sounded better (and still does) than most of the fodder heard on the radio. The real kicker on this side of the album is the 12+ minute "Carrying No Cross" which features an almost "Starless"-style, emotional vocal from Wetton after which Jobson pulls out all of the stops with a wild and extended instrumental section, where he plays his synths, organ, piano and other secret weapons in a state of frenzy. This track still stands as one of the best progressive epics out there, and if you are looking for a track that gives you the same pleasure and amazment that you get when you hear King Crimson's "Starless", then this is the track. And the other plus, of course, is that John Wetton participates in both of these epic tracks.

After this 2nd amazing attempt from UK, the band disbanded with Wetton forming radio-friendly prog-pop band "Asia", Bozzio teaming with his wife Dale for the synth-pop band "Missing Persons" , and Jobson doing solo albums and playing as a temporary keyboardist for Jethro Tull. Later, the band would reunite for short one-off concerts and such, but this amazing lineup will never see the light of day since both Wetton, and his usual stand in, Greg Lake, have both passed on. But those who saw them live or listened full of amazement to the two UK studio albums and their live albums know that it would be difficult to match the virtuosity and talent of UK. Even though many don't consider the 2nd album to be as awesome as the first, I have always thought both albums were some of the most essential prog albums of the era. The debut did set a high bar, no doubt about that, and to me, it is one of my rare six star albums, but I still consider "Danger Money" to be essential, and any other band would have been proud to release this album, so, five stars it gets.

 UK by UK album cover Studio Album, 1978
4.11 | 625 ratings

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UK
UK Eclectic Prog

Review by patrickq
Prog Reviewer

3 stars 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 clichés, 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.

 Night After Night Extended by UK album cover Live, 2019
4.33 | 8 ratings

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Night After Night Extended
UK Eclectic Prog

Review by TenYearsAfter

5 stars "Finally justice done to the exciting UK 1979 live sound"

As a symphomaniac I had a tough time in the late Seventies, after a serie of very disappointing releases by the symphonic rock dinosaurs: Genesis and its progpop since ATTWT, the very unbalanced Tormato by Yes and the lacklustre Love Beach by ELP. The world of symphonic rock seemed to be hit by a devastating meteor, gradually it became more dark and lifeless.

And then there was UK, first an one shot legendary four-piece symphonic jazzrock ensemble, and after the departure of Allan Holdsworth an exciting trio, scouting the borders between 24-carat symphonic rock and chart flirting melodic rock. How lucky I was to witness this UK trio in 1979 in my hometown The Hague, especially watching Eddie Jobson with his mighty Yamaha CS-80 synthesizer, and the magical electric violin, unsurpassed symphonic rock history on stage! But how disappointed I was after buying the CD live registration entitled Night After Night. Because this release was an abridged version of the concert, without the mindblowing compositions The Only Thing She Needs and Carrying No Cross, UK at its artistic pinnacle. On this CD I notice too much focus on the chart flirting songs like Night After Night, Nothing To Lose and Time To Kill, in comparison with the longer and more compelling and exciting tracks. And without the complete solo pieces from the three members. Later you could buy bootlegs with most of the concert, like Parisian Rendezvous, as I did, but the sound quality is mediocre.

In 2016 Eddie Jobson released on its Globe Music label the lavish 14-CD and 4-Blue Ray box set The Ultimate Collectors Edition, with cascades of additional live recordingss from that 1979 UK trio era. Very interesting, but also pretty wallet plundering, I didn't buy it. And in 2019 Globe Music released an abridged 2-CD and 1 audio Blue Ray version of that box set, entitled Night After Night Extended. In comparison to the previous Night After Night release this one does justice to UK as an exciting live band, what a jawdropping skills, interplay and soli! And now we can enjoy the mindblowing compositions The Only Thing She Needs and Carrying No Cross, and more soli by the band members (and with a very good sound quality). I remember John Wetton playing that powerful bass solo on his Fender, R.I.P, I consider this release as a tribute to him.

Also highly recommended: the UK Reunion DVD!

 Night After Night Extended by UK album cover Live, 2019
4.33 | 8 ratings

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Night After Night Extended
UK Eclectic Prog

Review by rdtprog
Special Collaborator Heavy / RPI / Symphonic Prog Team

4 stars UK is one of the most important supergroups in prog rock history. When they released their first album in the late seventies, they took the community by storm. Sadly, the band was short-lived. They made only one more album and this live release with some line-up change. Terry Bozzio is on drums instead of Bill Bruford and Allan Holdsworth is not there anymore. It brings good memories on me on how much I loved the production, the sound and of course the imaginative music. I bought this release to have the complete show in surround mixed by Bob Clearmountain who did a nice job using all channels placing violin and keys on the left rear and drums on the right rear. The violin and drums solo is a real treat to listen in that mode. The vocals of Wetton seems to be forced at the beginning like he was trying to catch his breath with fast tempo music. But it didn't really bother me after because I was putting my focus on the music. The package has 2 CD, a simple booklet, the menu presentation could have been better because we only have a static photo of the album cover when you watch the Blu-Ray, and there's no track selection. But the music of this is brilliant most of the times and very average on that couple more straight forward songs, like "Nothing To Lose". This is an excellent addition to your prog collection because of the surround treatment and the complete show.
 UK by UK album cover Studio Album, 1978
4.11 | 625 ratings

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UK
UK Eclectic Prog

Review by sgtpepper

4 stars The last highly rated progressive rock album of the 70's. There are other good ones too, but mainly present deterioration from the previous output. This debut album puts musicians with very interesting backgrounds together, some of them more classical, some jazzier, some rockier. Bill Bruford makes the drums lively and fluid but not too complicated - the rhythms are damn complex, though. Allan Holdsworth is a large enrichment towards a fusion sound. Wetton's vocal is OK but not necessary needed even for some nice melodies here. Jobson does a good job on the violin, on the keys he isn't as shining as Holdsworth on the guitar - but keyboards are going to win on the next album. "Presto Vivace and Reprise" is a fantastic fusion number and a duel between drums and keyboards in the first half. "Alaska" became a progressive trademark of the band also at concerts. "Time to kill" features wild electric violin soloing by Jobson.

Overall, a very decent effort albeit too poppy at times.

 UK by UK album cover Studio Album, 1978
4.11 | 625 ratings

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UK
UK Eclectic Prog

Review by Cylli Kat (0fficial)

5 stars Reaching for the light at the slightest noise from the floor Now your hands perspire, heart goes leaping at a knock from the door

In the Dead of Night...

U.K. 1978 Eponymous

This just may be my all-time favorite, & perhaps the most influential to my musicianship album ever.

My words are never going to do this album justice...

After being raised on a steady diet of The Beatles, Yes, Zep, King Crimson, Rush, KISS (etc.) and oddly enough, Amplitude Modulation radio (pop music), along comes this extremely streamlined, balanced progressive record that ever continues to amaze me.

From the first note, you get the impression that this is serious business: Holdsworth & Wetton opening with staccato, Jobson playing descending & ascending diads over that, Bruford mumbling in with kick, cymbals, and then THE SNARE and the Roto-Toms!!!

Oh wow, an adventure has begun... From the opening of the streamlined In the Dead of Night (Suite) to the closer Mental Medication with Mr. Holdsworth's overwhelming, landscape altering guitar solos and clever chord constructions and modulations, Bruford's absolute command of the kit drums (and accoutrements), the violin and keyboard virtuosity of Jobson (including his newly acquired Yamaha CS80 polyphonic synthesizer), and the underrated bass playing and impassioned vocals of Wetton, this was indeed a super-group. That this record even happened is amazing to me.

I thoroughly stink at giving song by song reviews. I'm forced to try to use words to describe sounds and their combinations in pitch, volume, structure, timbre, timing, etc.(although oddly, I apparently did it when teaching guitar. Hmmmm...), and that is very difficult for me. I can farble on about the music theory, the execution of the performances, production, etc., but that somehow only tells you how it's made, not what the ingredients added up to. The reference points that are relevant to me might not be the things you hear and/or are meaningful to you. For example; I adore the interplay of Jobson and Holdsworth in the song Nevermore, you might not get the same charge from it that I do...

Besides, so many other reviewers with incredible erudition have done some exceptionally well-detailed song by song reviews. I can only point you in the direction if you want a thumbnail sketch and/or if you're at all interested in why this record means something to me... And in that respect, this album was truly a life altering experience!

Without doubt, wholeheartedly, most highly recommended, an absolute masterpiece and a 5+ Star rating.

As always, your actual mileage may vary...

Grace and peace to you all, Cylli Kat (Jim Calistro)

Postscript: If you're at all interested in some of the reasons why this record means something to me read on. If not, there's another review directly below this one (which I guarantee will be far more edifying and interesting than this one) that you can move on to!

After countless hours (adding up to years) of hammering out Rush (Alex Lifeson), Al DiMeola, Edward Van Halen, Be Bop Deluxe (Bill Nelson), Jimi Hendrix, Yes (Steve Howe), Roxy Music/801 (Phil Manzanera) Led Zeppelin (Jimmy Page) and countless other influential album guitar parts, along comes this monster from another world that re-defined (to me) the role of a guitarist in a quality band. And as a guitarist, period.

Years of learning to alternate and economy pick impossibly speedy licks ("If it ain't picked, it ain't been played properly") began immediately to give way to incorporating this lovely legato phrasing. And more than this, trying to imitate Allan Holdsworth's perfect use of the vibrato bar. (Yes folks, that wacky wiggle-stick on your guitar is a vibrato, NOT a tremelo. - Vibrato controls pitch, tremelo controls volume).

The Maestro schooled this snot-nosed punk, and then some... I will miss the genius of Allan Holdsworth, and truly count myself blessed to have even heard of him much less heard him. Without doubt, my greatest guitar influence. ...So says the has-been guitar hero...

 Danger Money by UK album cover Studio Album, 1979
3.80 | 368 ratings

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Danger Money
UK Eclectic Prog

Review by VianaProghead
Prog Reviewer

4 stars REview Nº 185

"Danger Money" is the second studio album of U.K. and was released in 1979. U.K. was one of the most prominent prog rock groups of the late 70's and one of the first of a concept that would be called "a super-group". The album was released in the following year of the release of their debut album. It features John Wetton, Eddie Jobson and Terry Bozzio. Of the original line up only Wetton and Jobson remained, having Allan Holdsworth and Bill Bruford, departed.

Following two lengthy American live tours, Wetton and Jobson decided to fire Holdsworth due to over musical differences. Bruford chose to depart as well. Bruford soon formed the jazz rock fusion group, Bruford, and invited Holdsworth to join him. After the departure of Bruford and Holdsworth, the remaining band's members decided don't bring another guitarist for the group. Instead, they became a trio with the presence of the new drummer Terry Bozzio. Bozzio was another one time band's member of Frank Zappa. So, U.K. became a trio with an ELP's classic line up.

So, the line on the album is Eddie Jobson (keyboards and electric violin), John Wetton (lead vocals and bass guitar) and Terry Bozzio (drums and percussion).

"Danger Money" has six tracks. All songs were written by Eddie Jobson and John Wetton. The first track is the title track "Danger Money". It's a song that begins with a very apocalyptic, massive and bombastic sound. Jobson's keyboards are the main musical instruments on this bombastic piece of music that construct the main body of the song. This song shows tthat this new album from the band has more straightforward melodies, many instrumental passages and quirky structure changes. This is a great opener for the album with pure powerful progressive rock. The second track "Rendezvous 6:02", points further more into a pop direction, resting gently on Jobson's acoustic sounding electric piano, playing in a jazzy musical vein during the instrumental section and competing against increasingly and beautiful musical cascades of the synthesizers. This is a lovely and sweet song very well performed that reminds to my mind the good old days of King Crimson's ballads. It was released as a single to promote the album. The third track "The Only Thing She Needs" represents Bozzio's showcase with a solo near the beginning of the song. Despite he is a great drummer he wasn't yet, in my humble opinion, in the Bruford's league. However, he was good enough to handle the chores. The song is also dominated by Jobson, and he is really a truly versatile and virtuoso musician. The piano sounds simply great and the song culminates into a great violin solo with a great bass line and a dynamic drumming. The fourth track "Caesar's Palace Blues" is a song that opens with a Jobson's demoniac electric violin alternately sounding like a heavy metal guitarist. This is another strong rock song, this time dominated by a Jobson's violin work. It's probably the jazziest song on the album with a Wetton's great vocal work too. It's also a great progressive track where, once more, Jobson shines. The fifth track "Nothing To Lose" was the track that I heard first on the radio. This was also a track released as a single to promote the album. In retrospect, now we can say this song pointed the way to a more digestible form of progressive rock that Wetton preferred, and provided probably the formula for his next progressive band, Asia. This is without any doubt the weakest, and the only weak track on the album. The sixth and last track "Carrying No Cross" is that obligatory epic track that you must find on any good progressive rock album. This is the kind of the tracks that a truly hard core progressive fan, prefers. With a temperament that flows meticulously like a truly symphonic piece of music, great vocals and frenzy of almost everything on Jobson's musical instruments. It was clearly constructed as a stage crowd pleaser with over twelve minutes length. This is a song that reminds me strongly Keith Emerson and the good old times of Emerson, Lake & Palmer. If you want to know why Eddie Jobson is considered a wizard keyboardist, this is the song you must hear. The guy is really an amazing keyboardist.

Conclusion: "Danger Money" represents a landmark in the progressive rock music. It marked definitely the end of the classic prog rock era. After that point, it seemed that the major participants in the decade of progressive rock golden era, or disbanded or moved on to a more commercial realms. Yes reformed with Trevor Rabin with simpler, shorter and radio friendly songs, Genesis continued their transformation to a pop rock band and Asia was formed with John Wetton and Yes' guitarist Steve Howe around the same time and with the same musical style. So, "Danger Money" is a great album and became a very special album in the progressive rock music of the 70's. This is almost a perfect album where "Only Thing To Lose" disappoints, and is the only obstacle that prevents me from giving 5 stars to this album. Unfortunately, this was the last studio album from this great prog rock band. But fortunately this virtuoso handful of musicians, left beyond two scintillating and genuine prog studio releases. It was a shame that U.K. has over, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

Thanks to Ivan_Melgar_M for the artist addition. and to Quinino for the last updates

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