NIGHT AFTER NIGHT

If memory serves this album comes with a different artwork too, since I remember the back of this vinyl coming with a satellite picture of the UK (and not Alaska like some might have written), but this is the group's ony official live album, the rest being posthumous exploitation albums. Although one might argue that this live album was a shameless exploitation of a flogged to death group, but this album has the merit of bringing to its fans three new track, not yet present on the two studio ones. But that's about its only merit, really as this album doesn't exploit much the live possibilities?? Don't come to this looking for extended solos or very different or powerful version of studio tracks.

After the extremely dull and boring new track Night After Night, where obviously Wetton can't help telling us how his life is a routine (and if not the case, he should choose his track title better, then), how can a prog fan not feel bored. A soporific rendition of RDV 6:02 follows and then an Asia preview with Nothin To Lose (John's really not hiding his career choices here) are preceding another new track, the AOR-lyrics-filled As Long As You Want Me There (John you talking to the fans or your wife???), this opening side is simply laughable and best forgotten. No wonder the punks balked and keeled over from laughter?? Yyyyuuuuuckkkkkkkk!!!!!!!!!........ Gooey and slimy stuff.

The flipside is not faring much better I'm afraid, though, even if Jobson's Alaska track brings some ELP ambiance that the other trio had forgotten about. A slow starter Moog-like intro, transformed by Emerson's organ, until Lake's vocals (uuuuhhrrr!!?.. I mean Wetton's) in Time To Kill take the exercise into grotesque territory, even if the violin solo is not without its merit (but nowhere close to Ponty's works). The intro of In The Dead Of Night is fairly different-sounding than its studio version, but ultimately it doesn't change much what is the group's better track over the three albums. As you'd guess Presto Vivace sounds very ELP-esque again and the closing CPBlues is nothing but a bore?. Best forgotten, really, this flipside is somewhat better than the catastrophic alter ego.

Just like its two studios disc, this UK album is better left alone sitting on store shelves or, in case you were ill-advised and acquired it, next to the garbage can. Visibly, ridicule didn't kill or maim in the late 70's, but then when listening to Wetton's next adventures, ridicule didn't kill either in the 80's. Don't say I didn't warn you.