UK

"Night After Night" is a live album release by British progressive rock act U.K. The album was released through E.G. Records/Polydor Records in September 1979. It´s the last official release from U.K. before they disbanded in early 1980. A third studio album was in the planning stages in late 1979/earky 1980, but U.K. ultimately decided to split-up as Eddie Jobson and John Wetton, who were the two main composers, couldn´t agree on the future direction of the band´s music. "Night After Night" was recorded during three shows in May and June 1979 at Nakano Sun Plaza Hall, Tokyo, Japan and at Nippon Seinenkan, Tokyo, Japan.

In addition to selections from both the two preceding studio albums (four tracks from "U.K. (1978) and three tracks from "Danger Money" (1979)), the tracklist also features two tracks which are exclusive to this live album in the title track and "As Long As You Want Me Here". "Night After Night" was remastered and included in the November 2016 "Ultimate Collector's Edition" box set featuring quite a few additional tracks. That version of the album also features the correct tracklist order from the concerts, which the original version doesn´t.

"Night After Night" shows a band in top form in terms of musical performances. The trio of Eddie Jobson (keyboards/synths, electric violin, backing vocals), Terry Bozzio (drums, backing vocals), and John Wetton (bass, vocals) deliver a tight, powerful, and skillful performance and it´s hard not to be even more awestrucken by how great U.K. actually were. The lack of a guitarist in the lineup on the tracks from the debut album is fixed by Jobson playing alternate versions of the solos on keyboard/synths, which provide those tracks with a more atmospheric and less jazz-rock/fusion sound than the originals. Featuring a high quality live sound production, "Night After Night" is through and through an excellent live album (both the original versions and the 2016 remaster) A 4 star (80%) rating is deserved.

I have heard some tracks, but never listened from start to finish. I am excited to listen though, as I know that this line-up (Bruford, Wetton, Holdsworth and Jobson) and album are Legend-Dary!

Track 1 - In the Dead of Night

A syncopated rhythm starts out the festivities. The keyboards lead the way. It is very poly-rhythmic between the vocals and instruments. I have to admit that I know Jobson's playing far less than the other 3, but I am impressed with his keyboard skills. Oh, yeah, I know that fluid guitar sound though. Hello, Mr. Holdsworth. Great prog in a relatively compact form.

Track 2 - By the Light of Day

A bit of a free-form rhythm starts us off on track 2. A bit of a slow tempo by comparison to the first song. I can feel the King Crimson background of Bruford & Wetton on this one.

Track 3 - Presto Vivace and Reprise

An up-tempo prog instrumental introduction seems to be in order here, as the title tempo markings indicate. Vocals kick in at around 1:30. The title lyrics from track 2 return, but at a much faster tempo. Following that we return to the instrumental opening.

Track 4 - Thirty Years

This one begins with a slow fade in. We have distant sounding vocals behind the keyboards. Big changes at 3:25, as the band kicks in fully and the tempo changes and gets steady at a moderately fast pace. Jobson seems to be the star of the show here, before Holdsworth takes the spotlight. After the instrumental break, Wetton shines on vocals. Of course, Bruford's drumming skills shine throughout.

Track 5 - Alaska

A bass note on the synth slowly fades in at the start, then some higher notes on top, giving us an ominous intro. The keyboards are giving me an impression of a cold Alaskan landscape. At around 2:45 the tempo picks up and Bruford first, then Holdsworth joins in. If Wetton is on bass, it is not prominent. This is a very enjoyable instrumental. This track leads directly into:

Track 6 - Time to Kill

Wetton jumps right in on vocals as the track begins. This is an up-tempo tune with rhythm and meter changes. Vocal harmonies on the chorus. A drastic timing change leads into the instrumental break. Jobson takes over with a synth solo over the changing rhythms. Then Holdsworth gets his turn. I also think there is some Jobson electric violin involved.

Track 7 - Nevermore

Holdsworth dazzles on acoustic guitar for the intro. Fusion vibes underlie the opening vocal section. I can feel it beginning to build. Very Jazzy harmonies in the vocals. Holdsworth doubles the vocal melody, while Jobson provides intricate jazz piano fills. Bruford and Wetton lock into a rhythm section groove with Jobson accenting the chord changes for Holdsworth then Jobson to trade brilliant solos. The vocals return, then everything slows down into a dreamy synth bed. Wetton's vocals return in a distant way, with Bruford providing drum fills then a rhythmic pattern, while Holdsworth joins with a melodic solo, before the keyboards fade to the end.

Track 8 - Mental Medication

Wetton comes in with Holdsworth backing with jazz chords (through harmonizing effects? Was that a thing in '78?) More jazz-fusion vibes in the instrumental section. Super-complex rhythms come in around 2:40 for a nearly impossible instrumental break. These are 4 master musicians at the top of their respective games. Several meter changes and feel changes happen during the instrumental sections. Yep, definitely a violin solo from Jobson here (think Jean-Luc Ponty, not Robbie Steinhardt). The vocals return in a similar way to the beginning but with different sounds backing (overdubbed harmonies on slightly distorted guitars) And thus the album ends.

OVERALL IMPRESSIONS

Enjoyable album. The player's fusion tendencies shine through, especially Bruford & Holdsworth which they would explore further in their career trajectories. Wetton would of course go from UK to form the more commercially oriented, but with prog skill, Asia. Jobson, however, seems to be the star of the album to me. And, I must be honest here, other than playing with Jethro Tull in the "A" era, then nearly joining Yes during the recording of 90125 (being there in time to shoot the Owner of a Lonely Heart video, before Kaye returned), I don't know too much about what he's done in the decades since. I knew from reputation, how great of a musician he is, but not as familiar with him as I am the other 3. He definitely impressed me here. Great album, indeed. However, because of its fusion leanings, which I do occasionally enjoy, but is not my preference, I am giving it a 4 out of 5 stars. I am reserving 5 out of 5 for albums I like even more than this one. Glad I gave it a thorough listen, though.

By 1979, Allan Holdsworth and Bill Bruford drifted apart due to differences over the direction of the band's music in composition and due to differences typical of the time. Let's not forget that they were a super band, of enormous existing groups, all with careers and musical pedigree and very high egos (as well as their skills).

So with only the drummer Terry Bozzio joining in from Frank Zappa, they recorded "Danger Money", more in the vein of a power trio (did anyone mention Emerson, Lake & Palmer?) than in that of a 4-piece band or more.

Tracks like "Rendezvous 6:02" or "Carrying no cross" are excellent examples of jazz-prog sophistication. Because, we must not forget: by 1979, prog-rock was HISTORY! The "post" was punk and bands that came out of that lineage to use keyboards (Joy Division) and that were sophisticating the raw sound they brought from punk with synths.

In addition, people were on their way to completely despising the "disco era" in 1 year, where, for example, that same problem was "phagocytizing" the Bee Gees, very famous until 1979.

With "Nothing to Lose" we see the band doing a "proto-Asia", marking a song in the style that Asia would use as a basis for their first two albums.

"Danger Money" and many other albums that have been unfairly underrated are testaments to their era, capturing the innovation and spirit of the moment. That some criticize without understanding this, or worse, that they do so from a limited perspective and without respect for musical history, is not only frustrating, but also unfair to the artists and listeners who do value these works.

Review Nº 786

"Live In Boston" is the fourth live album of UK that was released in 2007. It was originally recorded in 1978 from a live show in Boston, Massachusetts in USA under the name of "Concert Classics Vol. 4". It was also re-released in Japan on the CD format in 2007 as "Live In Boston". It was subsequently been re-issued under the name of "Live In America".

The sleeve notes date the concert as 11 September 1978 performed at the Paradise Theatre in Boston. However, that date is wrong because it was on 11 July 1978. The track listing is also incorrect because the real name of the sixth track should be "Presto Vivace/In The Dead Of Night" instead of "In The Dead Of Night". "In The Dead Of Night" was originally a track divided into three parts "In The Dead Of Night", "By The Lord Of Day" and "Presto Vivace And Reprise". So, "Presto Vivace", which originally was the third part, was played as a bridge to the first part of the track "In The Dead Of Night". The problem with these errors is that it was probably a release without the approval of the band.

As many of us know, UK was a progressive rock super group with a very short life that was formed in the end of the classic progressive musical era. It was formed by John Wetton and Bill Bruford after the release of "Red" of King Crimson and Robert Fripp decided to suspend the activity of the band. Initially UK was formed by both musicians with Eddie Jobson and Allan Holdsworth. Jobson was the ex-keyboardist/violinist of Roxy Music. Wetton knew him from his work with Roxy Music in 1976. Bruford recruited the guitarist Holdsworth who had played with him on his solo debut studio album "Feels Good To Me". So, the four musicians released the eponymous debut studio album of UK in 1978.

After only one album the line up of the band changed drastically. Bruford and Holdsworth left and Terry Bozio entered for the group. The concerts by the first line up were bootlegged many times, especially since these gigs featured material that would be released on their second studio album. The show on this live album was broadcast on the radio and recorded in 1978 in Boston. The bootleg character is still preserved, because of the really cheap lay out of the bootleg and the mistakes in the track listing. Besides, the CD has been withdraw from the markets already, because there was a dispute between the Concert Classics and the EG Records over the rights. So, if you get a copy, you have a collector's item on your hands. Still, you can get a copy of the Japanese edition "Live In Boston" but for a highest price. "Live In Boston" has only eighth tracks. "Alaska" was originally released on their eponymous debut studio album. "Time To Kill" was also originally released on their eponymous debut studio album. "The Only Thing She Needs" was originally released on their second studio album "Danger Money". "Carrying No Cross" was also originally released on "Danger Money". "Thirty Years" was originally released on their eponymous debut studio album. "Presto Vivace" was also originally released on their eponymous debut studio album. "In The Dead Of Night" was also originally released on their eponymous debut studio album. "Caesar's Palace Blues" was originally released on "Danger Money".

So, "Live In Boston" offers a live recording of the original UK line up, between their debut album and "Danger Money". The opener "Alaska" and "Time To Kill" come in a routine version because they come from their debut. But then it follows with "The Only Thing She Needs", which should only get its final form on "Danger Money", has truly a furious Holdsworth playing. The difference is even more blatant with "Carrying No Cross". Here the entire instrumental middle section is different, again a breathtaking Holdsworth. One thing becomes clear in these two pieces. Holdsworth was responsible for the jazzy notes on their debut. Without his guitar riffs the music of UK takes on a different character. On "Thirty Years" Holdsworth is all over the place and Bruford rules. The instrumental section is brilliant. "Presto Vivace/In The Dead Of Night" was given to it a new interpretation of the original piece, which is nice. It has some extra key parts here and there, which is very nice. On "Caesar's Palace Blues" the tempo and character were later completely changed on "Danger Money". This live version has nothing to do with the furious virtuosity of the version on "Night After Night".

Conclusion: "Live In Boston" is a great live album, an extraordinary addition to any prog rock collection. Formed with their first and best line up, this is a fine piece that shows the great chemistry of an outstanding prog rock band. Songs like "Time To Kill", "In The Dead Of Night" or even the instrumental "Alaska" are really unforgettable. It completes the live picture of the short-lived, legendary formation of UK and is a real asset for all fans of this kind of music. It was really a pity that Holdsworth and Bruford left the band afterwards the live tour. This recording provides distinct clues as to how close the original line up was to completing their second album before the band split. Whatever, this is a great recording of "Concert Classics Vol. 4", but with a re-mixed and re- mastered work that makes it shine for the diehard fans. This is an expensive version but deserves the money spent on it. Probably, this is the only version you can get.

Prog is my Ferrari. Jem Godfrey (Frost*)

U.K. were a British progressive rock supergroup originally active from 1977 to 1980. Formed by bass guitarist John Wetton, drummer Bill Bruford, violinist/keyboardist Eddie Jobson, and guitarist Allan Holdsworth. What a line-up.

Excellent symphonic rock with jazzy harmonies, great vocals, rhythms and excellent drum performance, electric violin solos and a beautiful variety of synths. One of the best records in prog history.

An album I had never listened consciously, I remember playing this album many years ago, but for some reason, I've never dedicated time to enjoy this wonderful work of art, which is for sure a must listen for prog rock fans.

1. In the Dead of Night tumbles, yes.... directly I feel the sounds of YES, chance or...not; the bass and John's voice reassures, no we are elsewhere; Bill imposes a syncopated rhythm while Allan begins to show the end of his guitar; well it smells like YES all the same, it smells like future SAGA for this snarling rhythm, it smells like the ephemeral U.K. group which at least had fun for a while; Allan starts with a solo in the style of AL DI MEOLA, suave, warm, jazzy, go to ZAPPA too, in short structured, invasive and very progressive; blood flows well 2. By the Light of Day continues, John's soft voice, Bill's crystalline percussion, Eddie's synths and his violin warm up the atmosphere, the sound... dark, captivating, the drums continue on the KING atmosphere CRIMSON; one moment you say to yourself it's really this mega group, it's going to continue; Eddie covers us with a flight of spatial notes 3. Presto Vivace and Reprise continues by changing tone, range; a whirling symphonic escapade which surfs on KING again, YES always for this keyboard; the voice on ASIA which will also be a mega group whatever people say; the tone always cheerful, Bill hammers his barrels and guides his acolytes on this fresh, modern title -

4. Thirty Years arrives, delicate synth arpeggio and guitar; Eddie gives John the opportunity to let his voice wander on a VANGELIS-style composition, astonishing; solemn air which seeks itself, vocal in the distance, a sound which seeks itself and which imprints on many other groups, entertaining to find the different imprints and disheartening not to find their own style; mid-term reminiscence of ZAPPA on an adventurous jazz-prog gradient; Allan shows his multi-functional touch moving from jazz to pop on a singular digression; John takes the reins and leads back towards the Crimson King, cautiously while Eddie delivers one last soaring tune 5. Alaska for this intro which made me think of 'Careful' by SAGA; interesting to know if Gilmour didn't find some agreements there, in short; the dark, icy intro, easy play on words, very good progressive moment with vibrations and musical mystery, bam the delicate jazzy keyboard hits the ear, we're definitely going for ELP here, well, that's what my ear tells me, just before introducing 6. Time to Kill for perhaps the title that suits them best; mixture of sounds and digressions throughout, consensual for those who read me; and then bam break like MANFRED MANN'S EARTH BAND did so well, break coming from nowhere; the synth is overtaken by Eddie's violin looking towards the SOLSTICE finally the opposite you will understand; a superb moment in the lineage of a prog which aims to be very popular 7. Nevermore and its typical Andalusian intro, muffled and its violin slurry bringing the common vocal, ASIA not far away; one might believe but no one undergoes the progressive approach to the limit of improvisation; the musicians give it their all to create a unique sound, a slow progressive drift off the beaten track in the end; the air takes the turn of the second varied break, with the improvisation recalling what KING CRIMSON had been able to do; the musical climate is held by Bill and Eddie above all and Allan sprinkles the title with brilliant notes 8. Mental Medication for the dithyrambic finale or the musical crucible; a title based on prog rock-jazz-fusion, the second third between a KING CRIMSON, a Michel PETRUCCIANI accompanied by his sidekick Didier LOCKWOOD and a PORCUPINE TREE without violin; de facto fusional and avant-garde group. (3.5)

This is a UK live performance recorded 2013, released on video only in Japan in 2015, and now is available worldwide. The new release is remastered. Compared to the original release, it is missing Marco's drum solo and the encore, "Waiting for You". Both "U.K." and "Danger Money" are played in their entire original album sequence. A three disc affair... Blu-ray, DVD, and Blu-ray audio. Included is a seven page booklet and Eddie writes his thoughts/memories about each song. Now I know Bruford's first lyric writing was "Mental Medication". Marco and Alex add a different vibe to the music. Marco is a stronger rock drummer than Bill, and he shows that on "The Only Thing She Needs", my favorite track... the band is on fire, tight, locked into a great groove (during the instrumental part) that is jaw dropping. Killer violin solo from Eddie and Alex adds some extra tasty chops. John's voice is strong through the entire show and his bass playing is solid.

As for the mix. It's muddy and low end heavy. I would like to compare this to the original mix. Is it an improvement? Definitely removing Marco's solo can't be an improvement. The songwriting credits on the back of this release are incorrect, not giving Holdsworth his dues for two songs. That is criminal to me.

Anyway, this is a priceless footage of two classic albums and a must have for fans.

That fateful day 40 years ago is still vivid in my memory, when I held this album in my hands at the record store but decided against buying it. Imagine passing up this classic!

The reality was, in those days as a 12 year old, cash was not flowing. With my earnings from picking fruit in the orchards across the Welland canal opposite from my hometown of St. Catharines Ontario (birthplace of Neil Peart) or with some birthday money, I had to weigh with great care my album purchases (Later on I went through the torturous process of deciding whether I should even buy Yes' Going for the One because several of the songs on it were already on the Yesshows live album we had at home. Imagine missing out on Awaken? or Turn of the Century?).

So when I had a chance recently to buy this on vinyl, I snapped it up. At last, I had my opportunity for redemption as I've been on semi-holiday from prog rock music since the mid 90s more or less.

First, some general impressions: There is a hint of ELP intensity in this album. But no other prog bands come to mind as far as comparableness. It's unique.

I'm amazed with every listen how Bill Bruford's distinct sounding drum kit and playing style brands every song with his unmistakable presence. I love how he moves in and out of juxtaposing parallel rhythms opposite the rest of the band while flawlessly keeping the tempo afloat. He always exercises restraint in his playing- keeping it nimble like a more traditional jazz drummer. Still though, he's no 'rock' drummer. Nevertheless, he fits right into a rock group setting- kind of an enigma!

And then there's Allan Holdsworth. It's hard to trace back and find any guitarists as hopelessly unique. His super quick slurs of notes and brain twisting chords pepper the album.

John Wetton has that familiar and husky sinewy voice. He's a weighty songwriter, a storyteller of substance. I think he's similar to Sting or Geddy Lee, as a bassist and singer combo.

When not playing timeless and exceptionally tasteful keyboard parts Eddie Jobson steps out from the keyboards and plays some mean violin - on full display in songs like Alaska, Time to Kill. He is so adept that at times I thought I was listening to Holdsworth on guitar rather than Eddie furiously bowing the horsetail hair over his plexi transparent violin- the first of it's kind secured in time to use on this album.

Track one, In The Dead of Night, is not a surprise to me: I'd heard it back in the day and loved it, but I didn't realize what I'd heard on the radio was just one part of three sections plus a reprise. It has an iconic 70s feel- almost like the Rocky movie theme done in prog rock style- with plenty of testosterone and fist pumping excitement- a great welcome mat for the rest of the album.

Of all the tracks, Thirty Years reminds me the most of my familiar 'One of A Kind' album by the Bruford band, an album I played to death as a young new prog jazz fan. In fact that would be the album that solidified it for me. Some of the bass tones on this song sounded pleasantly familiar- just like Chris Squire's bass on his classic solo album 'Fish out of Water'.

Nevermore is a treat: listening to Holdsworth on acoustic steel string for the intro- don't think I ever heard that before! Not surprisingly its' one of 2 songs he holds a songwriting credit. It features some of those Holdsworth trade-marked demented brain-twisting chords. Also something I've never heard before: Holdsworth's soloing being mirrored by Jobson on the keyboard. There's also some cool ambient segue's and transitions. I was even reminded of Pat Metheny as Wetton vocalized through some dizzying jazz chord modulations. Good stuff!

The introduction to Alaska reminds me of Saga's intro on a track released in 1980 called 'Careful where you step', and one of my faves off the Silent Knight album. It's obvious they were inspired by UK.

Mental Medication is a cheering piece, a happy number to me. The band's charm shines through. There's some great soloing from everyone, and Bruford feels a bit lighter and more whimsical than usual on this track. There's some nice mild and relaxed moments in the intro, with some subtle violin and wispy Holdsworth chordings, opening the way for some Wetton jazzy vocal calisthenics, and some complex riffing. For the instrumental interludes we hear Wetton break out sweet hot bass lines, thumping and plucking away. We are even treated to Holdsworth going all-out Queen a la Brian May, on some seriously melodic multitracked thickness (also in Nevermore).

But be warned! You may not get this album all at once. I had to return to it a couple times to ingest all the songs as a whole. I couldn't be happier now that I've put in some listening time- it's a rewarding and satisfying album rife with melodic creativity and captured chemistry between a cast of high caliber musicians.

Review Nº 703

'Live In America' is the fifth live album of UK and was released in 2007. It was originally recorded in 1978 from a live show in Boston, Massachusetts in USA under the name of 'Concert Classics Vol. 4'. It was also re-released in Japan on the CD format in 2007 as 'Live In Boston'. It was subsequently been re-issued under the name of 'Live In America'.

The sleeve notes date the concert as 11 September 1978 performed at the Paradise Theatre in Boston. However, that date is wrong because it was on 11 July 1978. The track listing is also incorrect because the real name of the sixth track should be 'Presto Vivace/In The Dead Of Night' instead of 'In The Dead Of Night'. 'In The Dead Of Night' was originally a track divided into three parts 'In The Dead Of Night', 'By The Lord Of Day' and 'Presto Vivace And Reprise'. So, 'Presto Vivace', which originally was the third part, was played as a bridge to the first part of the track 'In The Dead Of Night'. The problem with these errors is this was probably a release without the approval of the band.

As many of us know, UK was a progressive rock super group with a very short life and that was formed in the end of the classic progressive musical era. It was formed by John Wetton and Bill Bruford after the release of 'Red' of King Crimson and Robert Fripp decided to suspend the activity of the band. Initially UK was formed by both musicians with Eddie Jobson and Allan Holdsworth. Jobson was the ex keyboardist/violinist of Roxy Music. Wetton knew him from his work with Roxy Music in 1976. Bruford recruited the guitarist Holdsworth who had played with him on his solo debut studio album 'Feels Good To Me'. So, the four musicians released the eponymous debut studio album of UK in 1978.

After only one album the line up of the band changed drastically. Bruford and Holdsworth left and Terry Bozio entered to the group. The concerts by the first line up were bootlegged many times, especially since these gigs featured material that would be released on their second studio album. The show on this live album was broadcast on the radio and recorded in 1978 in Boston. The bootleg character is still preserved, because of the really cheap lay out of the bootleg and the mistakes in the track listing. Besides, the CD has been withdraw from the markets already, because there's a dispute between Concert Classics and EG Records over the rights. So, if you get a copy, you have a collector's item on your hands. Still, you can get a copy of the Japanese edition 'Live In Boston' but for a highest price.

'Live In America' has seven tracks. 'Alaska' was released on their eponymous debut studio album. 'Time To Kill' was also released on their eponymous debut studio album. 'The Only Thing She Needs' was released on their second studio album 'Danger Money'. 'Carrying No Cross' was also released on 'Danger Money'. 'Thirty Years' was released on their eponymous debut studio album. 'In The Dead Of Night' was also released on their eponymous debut studio album. 'Caesar's Palace Blues' was released on 'Danger Money'.

So, 'Live In America' offers a live recording of the original UK line up, between their debut album and 'Danger Money'. The opener 'Alaska' and 'Time To Kill' come in a routine version because they come from their debut. But then it follows with 'The Only Thing She Needs', which should only get its final form on 'Danger Money', has truly a furious Holdsworth playing. The difference is even more blatant with 'Carrying No Cross'. Here the entire instrumental middle section is different, again a breathtaking Holdsworth. One thing becomes clear in these two pieces. Holdsworth was responsible for the jazzy note on their debut. Without his guitar riffs the music of UK takes on a different character. On 'Thirty Years', Holdsworth is over the place and Bruford rules. The instrumental section is brilliant. 'Presto Vivace/In The Dead Of Night' was given to it a new interpretation of the original piece, which is nice. It has some extra key parts here and there, which is very nice. On 'Caesar's Palace Blues' the tempo and character were later completely changed on 'Danger Money'. This live version has nothing to do with the furious virtuosity of the version on 'Night After Night'.

Conclusion: 'Live In America' is the third version of this live concert. It also includes four Wetton solo recordings taken from his live album 'Akustika ' Live In America' released in 1996, 'Rendez-Vous', 'Thirty Years', 'The Smile Has Left Your Eyes' and 'Christina'. Here we can see a great band with Allan Holdsworth and Bill Bruford on board, and the fantastic chemistry between them. There were some doubts about the reasons they pulled out of the band. It seems they left due to musical divergences between Holdsworth and Eddie Jobson. It seems Jobson wanted Holdsworth made exactly the same guitar solos every night, between some other things. This made Holdsworth unsatisfied and made him to left, soon be joined by Bruford. Thus, the final result for UK was only a studio work and two live albums, this one and 'Shadows From The Sun' released in 1978. And it was really a pity because UK is a band that has a cult status in the prog rock scene. So, if you can't buy 'Live In America', I advise you to buy 'Live In Boston'. Believe me, it worth it.

Prog is my Ferrari. Jem Godfrey (Frost*)

U.K. is one of the greatest Prog supergroups of all time, made up of the quartet of John Wetton (Bass), Eddie Jobson (Violin, Keyboards), Bill Bruford (Drums), and Alan Holdsworth (Guitar). This lineup of some of the greatest progressive rock musicians of all time naturally produced one of the greatest progressive records of all time. It's crazy to think that this record was released in 1978, as it sounds like it could be from the heart of the prog era (70-74).

The album opens with the lead single, "In the Dead of Night." It kicks the album in tremendous fashion with stunning musicianship from all members. Eddie Jobson's work on the Yamaha CS-80 is honestly revolutionary and is coupled with the tenacity of Alan Holdsworth's guitar work which provides an extremely unique solo. The song perfectly transitions into its sister song "By The Light Of Day." It is a softer song featuring some great John Wetton Harmonies reminiscent of "Exiles" by King Crimson, and heartbreaking violin work from Jobson. After the beauty of the song, we are introduced to by far the most musically challenging song on the album, "Presto Vivace And Reprise," which opens with extremely intense rhythm and keyboard playing in an odd time signature. The song also closes the "In the Dead of Night Suite," all based on the same chord progression.

After the overpowering suite, the album takes a more melodic turn with "Thirty Years," the first 3 minutes of which are very ambient. After which though, it turns into one of the best songs on the album with more stunning keyboard work from Jobson. The song is very rhythmically intense, and obviously draws much influence from Wetton and Bruford's time in King Crimson. "Alaska," has a weak beginning with pretty much 2 minutes of random ambient keys, before turning into the highlight of the album. After the 2:30 mark out of nowhere, a crazy CS-80 riff picks up, followed by one of the best Alan Holdsworth licks on the album. The outstanding instrumentalism lasts for only about 2 minutes before transitioning into "Time To Kill." The song is very good as well and is another highlight of the album, containing awesome piano and organ work from Jobson.

"Nevermore," begins with beautiful acoustic guitar work from Alan Holdsworth similar to something by Greg Lake. The song is much more melodic and rhythmic than the rest of the album and has some really unique John Wetton falsetto harmonies and thoughtful lyrics. The song also has the best solo section on the album where Jobson and Holdsworth trade solos. The album closes with "Mental Medication." Which is very similar to the previous song, but has more odd time signatures. Honestly, the song has a great mood and has another amazing Holdsworth solo. It ends the album on a melody-filled drum roll.

This album is a progressive rock cornerstone and for good reason. Holdsworth gets the most props for his inspirational guitar playing on this record, but I must say Jobson is the unsung hero of this album. The rhythm section of Wetton and Bruford is also as strong as ever. Recommended for all prog fans, and an easy 5-star.