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JUMP is a band from England that started out in 1990, at that point in time consisting of Andy Barker (drums), Mo (keyboards), Hugh Gascoyne (bass), Steve hayes (guitars), Pete Davies (guitars) and John Dexter Jones (vocals).

The band started doing the live circuit, and released three studio albums in quick succession on independent label Salad Records- "The Winds of Change" (1991), "World of Wonder" (1993), "...and All the King's Men" (1994).

At this point in time the band had established themselves as a decent live and studio act, and gained lots of attention by playing with many different acts. This led to the band being offered a record deal by progressive rock specialist label Cyclops Records, and that Mark Kelly of MARILLION offered to produce their fourth studio album, "The Myth of Independence", released in 1995.

1998 saw the release of "Living in a Promised Land", and one year later the live album "The Freedom Train" was issued. At this point in time a rare occurence in this band's history took place, as Hugh Gascoyne left the band, replaced by Andy Faulkner (bass).

With this line-up change in order JUMP continued were they left off, releasing three more studio efforts in quick succession. "Matthew" (2000), "On Impulse" (2001) and "Home Songs" (2003) were created in between live gigs and tours; and then it was time for some further changes to happen.

Pete Davies left, replaced by Steve 'Ronnie' Rundle (guitar), and at the same time the band left Cyclops Records, all future productions by this outfit now being issued by Den-Tel Records.

With these alterations over and done with, JUMP has continued pretty much as they did in previous years, albeit toning down the touring and recording activity somewhat. The studio productions "A Man Was Made" saw the light in 2004, "Faithful Faithless" saw the lgiht in 2005, and in 2006 it was time for the band's second live album; "Something of the Night".

2008 saw the release of an EP with 3 new compositions, named "The New EP", and several live shows as a full band or acoustic trio were scheduled throughout the year.

In the 18 years this outfit have existed, they have done more than 1000 live shows, have opened for a plethora of acts in the British prog and rock scene, and have also introduced their own audience to up and coming acts which later have achieved critical or commercial succcess; such as Karnataka, Mostly Autumn, Dead Like Harry, White Buffalo, L...
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JUMP discography

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

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

2.52 | 4 ratings
The Winds Of Change
2.07 | 6 ratings
World Of Wonder
3.23 | 11 ratings
...And All The Kings Men
2.75 | 8 ratings
The Myth Of Independence
3.29 | 12 ratings
Living In A Promised Land
3.06 | 9 ratings
3.08 | 13 ratings
On Impulse
3.55 | 11 ratings
Home Songs
4.00 | 4 ratings
A Man Was Made
3.67 | 6 ratings
Faithful Faithless
3.94 | 22 ratings
The Beachcomber
4.32 | 18 ratings
The Black Pilgrim
3.75 | 12 ratings
Over The Top

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

4.00 | 3 ratings
The Freedom Train
4.00 | 1 ratings
Something of the Night

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

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

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

2.05 | 2 ratings
The New (EP)

JUMP Reviews

Showing last 10 reviews only
 The Black Pilgrim by JUMP album cover Studio Album, 2013
4.32 | 18 ratings

The Black Pilgrim
Jump Neo-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

5 stars July 2013 saw the 12th studio album from Jump, one in many ways that they have been working towards throughout their career. Steve 'Ronnie' Rundle has taken on the bass role in addition to his normal duties, and the only guest this time is Alice Atkinson with violin on a couple of the songs (she also played on the last album). But this time Mo is also contributing accordion as well as keyboards and the two Steves have gone acoustic while Andy isn't as prominent as is usual. Yes, Jump have moved far more into the realms of acoustic folk, although to be honest the overall sound isn't as far removed from their normal sound as one might expect. As I have said before, I have always viewed Jump as an 'English' band as opposed to progressive, and with this album they have shown that they have much in common with the mighty Show of Hands, another band who have always stuck to their own agenda, playing hundreds of gigs and producing one wonderful album after another.

There is purity to this album that is hard to define, with one great song after another, full of emotion and wonderful music, while JDJ shows yet again why he is so highly regarded as a singer. Whatever song I am playing is my favourite, and I have found myself returning to this album time and again as it is such a delight from the start to the very end. Beautiful songs, extremely well constructed with great arrangements, careful thought being given to the amount of space required between the instruments and between the notes, with room for John to add to the magic. Back in 1991 Jump released their wonderful debut, 'The Winds of Change', and some 22 years later and countless gigs four of the six people who performed on that album are still there. Over the years their music has changed, and they have changed with it, but unlike many they have continued to grow and with this, in many ways their simplest and most roots-based album, they have created the finest of their career. Indispensible.

 The Beachcomber by JUMP album cover Studio Album, 2010
3.94 | 22 ratings

The Beachcomber
Jump Neo-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars One of the very few downsides of living on the other side of the world is that I am unable to see Jump in concert. Easily one of the hardest working bands around, they must have played thousands of gigs by now and always used to be prolific in their releases. However, it took five years from the release of 'Faithful Faithless' in 2005 for them to return with this at the beginning of 2010. The core line-up is basically the same, with the one and only John Dexter Jones on vocals, Steve 'Ronnie Rundle' on guitars/vocals, Steve Hayes guitars/vocals, Andy Barker drums and Mo on keyboards. But, bassist Andy Faulkner has been replaced by Phil Mayhew, and there are a few guests on strings and sax.

Jump have always had a very hard sound to define, progressive but not really, neo but not really, crossover but not really. In fact, the only way to think of them in my mind is as a band that plays English rock (a statement guaranteed to upset the very passionate Welshman who is the frontman). They really are one of the undiscovered joys of British music, a band that always out their all into their gigs and who consistently produce wonderful albums. I have been lucky enough to hear all of these, and to my ears they generally deserve at least a 4* rating, and with this their eleventh studio album in nineteen years they have yet again delivered the goods. "On Bended Knee" is a wonderful song, and is a fine example of the album, with guitars restrained yet full, with everyone working hard to ensure that the vocals are accompanied perfectly, complex yet with simplicity. Jump concentrate on producing well crafted songs, small stories with the perfect backing, and here are another 11 that are going to gain them new fans and please the old. For more details visit their website at

 The Beachcomber by JUMP album cover Studio Album, 2010
3.94 | 22 ratings

The Beachcomber
Jump Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Being new to JUMP and their relatively obscure discography, I have arranged and rearranged periods of their past like so many jigsaw puzzle pieces, but for the interval between 1998 and 2010 lies a canyon of ignorance. In spite of this, "The Beachcomber" is instantly discernible as a product of this hard working and thinking band thanks to John Dexter Jones, the man with a voice so authoritative he needs 3 names! The twin guitars of the two Steves also have their say, and, while none of these facets have every sounded better, they are not the primary reason why "The Beachcomber" is the band's most compelling yet, absent company excluded.

The "big" sound always in evidence is here harnessed radiantly, and the tendency to split track personalities along uncomfortable divides is dispensed with. As a result, good songs become great ones, folkie numbers hit harder, and sparkling melodies are permitted more than a furlough. The opening track "Down three Times" reminds me of an early JULUKA song, but I suppose I'll never know if this is coincidence or not; either way it's a cracker. "Kingston Corner Blues" is an exquisite ballad, and "Rosetta Stoned" a tragic and poignant tale, limp pun aside. "No one Spoke" is the best example of the old JUMP merging with the new and the resulting improvement, as JONES talks on tune, and what a tune, and strummed electric guitar nirvana is realized; the muscular "Eyes on the Prize" is similarly illustrative. "The Sniper" sounds like a top shelf WISHBONE ASH ballad. "Suffering in Silence" drills home its message on a concise captivating chorus, while the album closer "Forgive me my Sins" returns to the balladic tradition with the added shades of a rare brass instrument. Needless to say, in the midst of all this emotive quality, the rare missteps of the superficial "Lennard's Blues" and the monotonous "On Bended Knee" are easily forgiven.

It's a pleasure to hear a very recent album by a long running band that reveals an entity fully intact and growing, seemingly by leaps and bounds, not just shriveling up on some beach with a few remaining fans doing the same. Highly recommended if you are into song oriented and folk influenced British prog.

 Living In A Promised Land by JUMP album cover Studio Album, 1998
3.29 | 12 ratings

Living In A Promised Land
Jump Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars "Living in a Promised Land" demonstrates marked maturity over the prior pair of JUMP releases. As per normal, the concepts and lyrics are almost as outstanding as the vocalist JOHN DEXTER JONES, but here we can actually tell what Jones is saying. This raises the caliber of basic rockers like the opener "The Man Who Worked". The messages affirm the band's identification with the commoner, consistent with the prevailing attitudes of folk music. However, as before, this JUMP album only flicks folk tints into the palette and remains primarily a crossover prog work rich in rockers and ballads, often on the same track.

Unfortunately, there are still times when the lyrics cannot save the musical concept from executing a mini Titanic. The ABACAB like "December's Moon", the hackneyed "Promised Land Blues", and the dreadful closer "Used to the Taste" all suffer from self inflicted wounds. But otherwise this is a pretty strong effort, even if only "Dreaming of Angels" and "The Pressed Man" might qualify as excellent. For instance, "April Day" begins as a sumptuous semi acoustic ballad before transforming into a rocker that succeeds in spite of a rather cliché chorus. The choice to eliminate pauses between tracks enhances their connectivity. Another favorite is "My Magic Touch" in which Jones dons a particularly pronounced Scottish inflection, but again a few of the similes verge on embarrassing, and not just, or even primarily because of their sexual references.

JUMP is a band that developed its own intriguing sound on the periphery of prog. In "Living in a Promised Land" they continue to sputter in efforts to balance their attack and refine their musical and lyrical message. Still, they know how to rock with conviction far better than most of the neo prog brethren with whom they are often compared, and remain a worthwhile listen as we wait for them to deliver on promises made or perceived.

 ...And All The Kings Men by JUMP album cover Studio Album, 1994
3.23 | 11 ratings

...And All The Kings Men
Jump Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars My only prior exposure to JUMP as via a chance encounter with "The Myth of Independence". I enjoyed their brand of neo meets crossover meets olde English folk. This album was its immediate antecedent and proposes more of a hard rock mix at the expense of the neo prog and folk. Its dependence on unimaginative riffs makes it less casually listenable, and while the group has a lot to say, particularly about the monarchy and the government, and perhaps how the emperor has simply changed outfits, I'm less interested in the message than its oppressive medium.

Beginning with the quasi title cut, the album introduces clever well thought out concepts and executes them poorly around a hurried chorus devoid of melodic sensibility. This is seen again in "Seize the Day", "Judgement Day" and "Dangerous Devotions", while "George's Revolution" doesn't even provide that hook, which wouldn't be so bad if the track was more musically coherent, which it isn't.

So when this is bad, altogether too often, it's almost beyond redemption, and they could have employed any vocalist from JADIS or whomever, so why waste JOHN DEXTER JONES' glorious pipes? Luckily "Camera City", after starting like all the rest, morphs into a clever and catchy rocker, while "Share the Shame" and "Someone Else's Prayer Part 1" both showcase Jones and company in a better light. Even though "Two up Two Down" is somewhat cliche wit its a cappella start and riff ready figures, it does conjure a dreamy atmosphere that offsets the clunkier aspects agreeably.

I admit to being perhaps mired in unrealistic and unfair expectations re JUMP, but even as a compact song oriented take on neo prog it lacks dynamism at the expense of muscularity. If this had been playing while Humpty Dumpty sat on the proverbial wall, I think our egg friend would have enthusiastically jumped to his untimely demise.

 Home Songs by JUMP album cover Studio Album, 2003
3.55 | 11 ratings

Home Songs
Jump Neo-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars There surely can't be much left to say about these guys ? for years they have been one of the hardest gigging bands in the UK and they have released the odd album or two, all of the same high quality. In fact, apart from the extremely amicable parting from their original bassist a few years ago they still have the same line-up as when they started (although for this album they have now added a backing singer). This is British rock; I would hesitate at using the word 'English' as that may just upset the rather tall and very vocal front man John Dexter Jones. Jump never fail to produce the goods, and 'Home Songs' is another case in point, although I did find that this album took a bit more perseverance than its predecessor 'On Impulse'.

It is songs such as "The Better Part Of Valour" that show this band at their best (is that a mandolin I hear?). It is strong and powerful yet at the same time with plenty of room for John to take centre stage. These guys may never be fashionable but they know what they want to produce, and don't worry if the record buying masses don't get to see things their way. This is quality and they know it. They do sometimes step almost into the prog field, with "Never Too far" having some Marillionesque tendencies, but then they also put on some slide guitar just to ensure that no-one thinks that they are clones of anyone. Jump often get lumped in with prog bands, as they seem to share a similar audience, but they have more in common with class acts of old than they do with neo-prog pretenders of today.

It is another album by Jump, therefore it is good. A mathematical certainty.

Originally appeared in Feedback #73, Jun 03

 On Impulse by JUMP album cover Studio Album, 2001
3.08 | 13 ratings

On Impulse
Jump Neo-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

3 stars What can be said about Jump that hasn't been already? Surely there can be few discerning rock lovers out there who haven't seen this band on one of their many treks around the country, and hopefully I will again have the chance to catch up with them when they headline the Friday night at Whitchurch on the 2nd August. This is their eighth album, in which time they have had only one change of line-up, and even new boy Andy Faulkner has been with them for over three years. While they often find themselves placed in with the prog crowd, in reality the band have musically little in common with the many bands basing their whole career on the collected works of Genesis or Pink Floyd. This is a rock band, first and foremost, and while the foundations are a strong rhythm section with some added keyboards, the band are driven by the twin guitars of Steve Hayes and Pete Davies. They have complimentary styles and can play harmonies, riffs, or add gentle touches and musical lines to give songs depth and presence. Talking of presence, at the front of all of this is the towering figure of one John Dexter Jones who not only provides a fair set of pipes but strides the stage and the music like a Welshman on a mission.

'On Impulse' takes a little while to get going, and while I enjoyed the first few songs I felt that the edge wasn't quite there, but "Bethesda" marked a turning point. The delicacy of the music belies the power and emotion of the words and the band have come alive. "Right Winger" is strong on slide guitar, while "Thom's New Clothes" is a lesson in building to a crescendo and sounds like classic Horslips. Having started to crank it up, the highlight of the album is next in "Like A Drum". The guitars are powerful, and the emotion and passion are physical beasts, just waiting to be unleashed as they are on the bridge. This must be awesome live.

To follow that up is a delicate number, just basically John and an acoustic guitar, while "Doctor Spin" again shows the band rocking along. Overall it may not be a truly great album, but it does contain some truly great songs and I am sure that with more plays I will appreciate the whole even more. Available from Cyclops or contact the band at

Originally appeared in Feedback #69, Aug 02

 ...And All The Kings Men by JUMP album cover Studio Album, 1994
3.23 | 11 ratings

...And All The Kings Men
Jump Neo-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars This is a reissue of Jump's 1994 album, with a couple of extra tracks. Jump have always been a hard band to categorise, as they play very much a form of English Rock that often finds them appealing to progressive rock fans but in reality they have little in common with other bands of the genre.

In the strength of the lyrics, they probably have much in common with The Levellers, and it is the passion of John Dexter Jones that gives the songs their honesty. With the battling guitars of Pete Davies and Steve Hayes, drummer Andy Barker, bassist Hugh Gascoyne and keyboard player Mo, this is a band that has played/play all over the country and the songs are honed from stagecraft. By the time they hit the studio the chaff has been removed and each of the albums is a joy.

This contains the powerful "Judgement Day" when Chrissie Hammond (Rick Wakeman) adds her to John's to provide a classic. Along with "Shed No Tears", "Share The Shame" and "All The King's Horses" this was their strongest album to date and it was due to this that Mark Kelly of Marillion got involved and produced the next album. Now again freely available, and with come bonus songs to boot, it is well worth getting.

Originally appeared in Feedback #62, May 01

 The New (EP) by JUMP album cover Singles/EPs/Fan Club/Promo, 2008
2.05 | 2 ratings

The New (EP)
Jump Neo-Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

2 stars Something new, something borrowed, something blue

The New is an EP featuring three tracks and a total running time of just under 18 minutes. It was released in the interim period between the band's two latest full-length releases, 2005's Faithful Faithless and 2010's The Beachcomber. The lead off track here, Kingston Corner Blues, later re-appeared on the latter album. This charming song about unrequited love is, despite the its title, not a Blues rocker, but rather a Pop rocker. This song could easily have earned Jump commercial success had it only reached the right ears.

The primary interest in this EP lies however in the other two songs, especially in strong When You Fall on which John Dexter Jones sings in an uncharacteristically deep voice reminiscent of David Bowie. The track is not unlike a Bowie number in other ways as well (reminding me particularly of the style of the latter's Heathen album). Insofar as there is any Prog to be found on this EP, it is to be found in this track. This song is up to par with the band's album material and would have fitted nicely on the superb The Beachcomber.

Staring At The Rain is again a tasteful Pop Rock number. It is a pleasant listen, but fails to impress. This number too would not be out of place on some of the band's full-length albums (Home Songs would, for example, have been a good home for the track), but it is of average quality in Jump terms.

Given that one of the three tracks here has now also been included on a full-length album and that only one of the other two tracks really matches the high quality of the band's better album material, this EP is recommended primarily for fans of this very good and sadly overlooked band.

 The Freedom Train by JUMP album cover Live, 1999
4.00 | 3 ratings

The Freedom Train
Jump Neo-Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars "This is no recreation people, this is absolute live sensation. This is no means of passing time, we are living on the front line."

In 1998, when this live album was recorded, Jump was at the uppermost height of their career. They had just released what is, in my opinion, their best album, Living In A Promised Land, and before that four other good albums, including the excellent ...And All The King's Men. There simply wasn't a more perfect time for Jump to record their first live album. In the light of this, I must say that the resulting record falls far short of the massive potential. It could have been, and should have been, a lot better than it actually is. Before I elaborate further on why I think this is so, I wish to point out that this is by no means a bad live album. The band is full of talent and the performances are both energetic and passionate.

Some live albums run like "best of" collections, pulling together all, or at least many, of a band's best songs on a single release. Freedom Train is not such an album. With the exception of the brilliant The Pressed Man from Living In A Promised Land and Shed No Tears from ...And All The King's Men, the songs selected for inclusion on this live album are not obviously the best choices. Rather few of my favourite songs from the band's five or six first studio albums are actually present here. As such, the songs on this live album do not always well represent the respective studio albums from which they are taken and nor do they represent the best side(s) of the band as I know them from the studio albums. This live album does not particularly showcase the Prog-side of the band.

Two songs from the band's 1991 debut The Winds Of Change are included here. The Lightbox is a good choice and the sing-a-long-friendly The Freedom Train of course gave its name to this album. The latter is not a bad song, but I wish they would abstain from the embarrassing political agitation! From World Of Wonder comes only one song in the Reggae-influenced Poison In The Sea. While I do like this song, I think that there were at least a handful better songs on that album that I would rather have heard in a live setting. This is especially so as there was room for improving those early recordings. Two songs from ...And All The King's Men made it onto here one of which I've already mentioned, the excellent Shed No Tears. The other one is Judgement Day which, though it is not a bad song, is not among the best songs from that great album. There are many others that I would rather have heard played live.

The Myth Of Independence is allowed three selections in On My Side, Valediction, and Keep The Blues. The first of these is indeed excellent, at least in the verses, and one of the better songs overall on this live album, and Valediction is rather good too even if not particularly memorable, but Keep The Blues is not a favourite of mine. Here too, there are other songs from this album that I would rather have heard. Finally, Living In A Promised Land is represented by two tracks in the aforementioned The Pressed Man as well as Used To The Taste. The latter is a good song too, but possibly the least good song from that excellent album! I guess I will have to "get used to the taste" of the band members regarding which of their own songs are better, which obviously differs from my taste. Besides, I generally prefer the studio versions of these songs. Of the remaining four songs, two would end up on the forthcoming Matthew album (which was presumably under production at the time of this recording, and subsequently released in the year 2000). The other two, A Nation Of Friends and Personal Revolution, are of unknown (to me) origin. These are not remarkable and not up to par with the better songs from the band's studio albums (perhaps they were written for Matthew, but then excluded from that album?).

Though these are excellent performances, I wouldn't say that any of these live versions are improvements over their studio counterparts. My advice is to get the studio albums first, before moving on to this live album. The Freedom Train is indeed enjoyable and a good live album in its own right, but the set list is nonetheless slightly disappointing relative to its potential. I have no complaints about the performances themselves or the quality of the recording, but personally, I would have wanted different songs and a stronger focus on material from especially ...And All The King's Men and Living In A Promised Land.

Thanks to windhawk for the artist addition.

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