UK

This is typically the sort of supergroup of the late 70's that, as gifted as they were, did nothing to help the state of affairs of prog among the weekly press. I, for one, did not care that much about UK and other groups of that era as they did not have a very fresh approach to music and it seems that most of those musicians had fewer inspirations and only seemed interested to do more music as to keep busy and keep the bucks coming in.

Of course this incredible line-up was simply too good to make a bad album, but by the time in their career, these guys were not freshmen anymore (most of them were already professional since the start of decade minimum, so they are seasoned veterans) and this debut album lacks the enthusiasm of the debut album of a group starting out with their very first album. UK's debut album has more of a feeling: "OK, guys!! This group is now together, how can we make an album that the music industry will carry on (or promote) while the talk of the town is about three chord rock tunes?" So the best way I can describe this album is that it is a very professional album, with all the negatives this can imply regarding the artistic integrity.

What strikes right away is the start of their best-known track, In The Dead Of Night, the intro borrows heavily from Genesis' Watchers Of The Skies (and this is no coincidence, right Bill?), even though the rest of the track shifted onto something else just after. It's obvious that the level of the musicianship is enormous in this band, but with the lack of fresh ideas (every passage sounds like someone else), it becomes a bit of a show-off. The major instrument passage sounds again like a cross of Supper's Apocalyptic Watcher. If the first track was energetic, despite sounding borrowed, its alter-ego By The Light Of Day borrows on its predecessor and crosses it on a Yes-like short track where Anderson would've let out all of his testosterone to sound Wetton-like accompanying some disputable Jobson synth sound choices no doubt the CS-80 from Yamaha, that sounds like Asia and the early 80's. Holdsworth's guitar sounds are not exactly suiting my eardrums, either. Presto Vivace sounds like a third grade ELP reprising the lead-off track. Thirty Years is another Asia preview and easily the worst of this album.

The flipside doesn't fare better, starting with Alaska4s elongated intro preceding the ELP-like main-body. The instrumental track segues directly into the disastrous Time To Kill, which sounds like Pre-Asia stuff, partly due to Wetton's way over-mixed (and over-rated) vocals. A few acoustic arpeggios, sounding like everyone around at the time, are opening Nevermore, which is butchered instantly by Wetton's uninspired vocals trying to sound like Caravan (Hastings + Sinclair) this time; and quickly the track turns into a piano bar fiasco, with only Holdsworth's guitar to save it from ridicule, Jobson's synth interventions stinking up the place. Just a pure mess, one that would only prove right the punk's laughter. The closing Mental Medication should find a better a third word title in "Needed", because I have no idea why anyone let Wetton sing out soooooo wrong (let's stay polite). This track's vocals are so cringing that you can barely listen to the music itself, first a cross of Yes & ELP, than in its middle section, the two instrumental passages somewhat raises the overall level of the album, but not enough to avoid the album from sinking. When over-professionalism encounters lack of ideas.

But I am probably reading too much into this but I thought this deserved to be at least once said. Don't get me wrong: this is an awesome line-up and the musicianship is great. If you plan to belt me for only three stars given, avoid the head and crotch areas ;-)

I'll round it up to the upper star out of respect for Bruford and Holsworth.