UK

A very good album by the first supergroup in the history of progressive rock. Bruford's drumming is very impressive and Jobson's parts on keyboards and electric violin are delightful. Although Bruford and Wetton were both members of King Crimson, the music here is lighter and closer to symphonic prog than to hard prog. If you like this album, you will probably like Bruford's best effort : One of a kind, one track of which was written by Jobson.

If I had to give up every album I have, this may just be the one I'd fight for. The UK album was not only a work of genius, but the audio was impeccable, even by today's standards. Holdsworth is probably the most underrated guitar player in history, and the others are most notable as well. The musicianship here is enough to humble anyone on the planet.

Wetton and Bruford carried on where King Crimson's "Red" ended. A bit more user friendly then KC, with a heavy dose of synths. A good album, when the major prog bands were starting to fall apart, or fall into pop. Holdsworth doesn't get much playing time, so it was no surprise that he left. Overall, a very enjoyable album, that I still listen to 25 years later.

A killer album! It grows on you instantly, but will never ever bore you. Like all U.K. albums I had them on vynil first, then rebought them on CD. They're in my personal hall of fame...

As U.K. didn't last long and released only a handful albums it prompted me to seek out other work by the musicians (each one of them in a league of their own), such was the desire for more of this. None of it reached the perfection of this album, but Eddie Jobson's "Zinc" does come pretty close...

This album brought Allan Holdsworth to a wider audience, while Bill Bruford (Yess, King Crimson) , John Wetton (Family, King Crimson) and Eddie Jobson (Roxy Music, Curved Air), made their fame prior to this line up. A Supergroup of epic proportions, and one to actually live up to the billing.

In The Dead of Night, broken into three sections, is a tour-de-force of battered roto-toms, tortured keyboards, slashing violin and jaw-dropping guitar solos. I've always enjoyed Wetton's "edge of his range" vocals, straining and powerful. Part II, In the Light of Day, offers some respite, softly bringing forth the eye of the storm before the finale.

Thirty Years features some of the most powerful Bruford drumming on the record. Alaska/Time to Kill has great punishing keyboard work from Eddie Jobson. The intro to "Nevermore" is one of the best moments in music. The keyboard, guitar trade offs are incendiary. Mental Medication offers up even more tasteful solos, but leaves you hanging and wanting more at the end.

This is a classic, a "Must Have" for any progger.

An almost prophetic grouping of prog-rock veterans, U.K.'s first album is simply a must-have for any prog-rock fan. Bruford's drumming has rarely been crisper, or more playful and concise, Jobson does some of his best-ever work on both synth and violin, Holdsworth is nothing short of breath-taking, and Wetton's bass and voice are at their peak. From the opening polyrhythms of In The Dead of Night to the quasi-classical coda of Mental Medication, not a single note is misplaced, not a single sound is inappropriate, not a single rhythm is anything but flawless. Truly a wonder, in every way.

An amazing last hurrah for prog rock in the 70's, it would never get this good again for some time. Great playing by everyone, great tunes (though "Mental Medication" seems a bit disjointed and patched together for my taste). Holdsworth does stuff on guitar that just sounds absolutely impossible! The tradeoffs between Allan and Eddie are priceless!

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.

great musicians rather average stuff, in some points maybe very well done but lack of specific style and specific mood. It's just a solid work and nothing more. I rather prefer Jobson's work on Jethro's 'A' and Wetteon in Asia. UK was nothing special ,their short career is a fine proof they had really nothing to show.

At thre time of this release I liked this album , but i find it very dated today. I had the pleasue of seeing Uk periform trackss from this album in Lancaster Uk in the 70s. Jobson was superb , as was Bruford , Jon Wetton less so . However Mr Holdsworth was really disappointing. He had a majo bad night or to put it another way ,was so out of ithe was unable to play correctly. The support band that night was National Health they were absolutely awesome John Greaves on bass was magnificient.I was afan before and ever since. Nevertheless the Uk Cd contains some great moments as befitting their billing at the time asa UK supergroup. Their debut CD was widely played by Alan Freeman on BBC radio 1 before its release and so my expectations were very high. My favourite track has to be Alaska.

In 1978, progressive rock declined very much. UK was a rare band to keep alive this musical genre. With Eddie Jobson on keyboards and electric violins, Allan Holdsworth on guitars, Bill bruford on drums and John Wetton on bass, the supergroup UK is a sure value and the listeners must have great expectations. Indeed, most of those musicians have a natural predisposition to create and play fusion music, so that many excellent fusion parts are present on this record. Jobson's modern keyboards for the year are often futuristic and very dramatic & expressive; his electric violin is often floating, creating spacy and floating atmospheres like on "By the light of the day" or "Thirty years": his electric violin reminds the Jean Luc Ponty's one. Wetton's lead vocals are very good; Allan Holdsworth's electric guitars are often discreet, although he has wonderful & complex electric guitar solos like on "Thirty years" and "Mental medication", on which the Jobson's keyboards sound like a floating Vangelis of the early 80's. Holdsworth's electroacoustic guitars on "Nevermore" are particularly elaborated and impressive. Wetton's bass is much more elaborated than his work with Asia, especially on "Mental medication". "Presto vivace" has a fast, complex & synchronized bit a la Frank Zappa's "Echidna's Arf". Bruford's drums are as usual: complex and professionally played. Jobson's keyboards are sometimes vintage, like the rhythmic organ on "Alaska", sounding a bit like Triumvirat. The "fusion" term takes all its sense on tracks live "Nevermore" and "Mental medication". "Mental medication" has amazing & complex rhythm changing parts with excellent electric violin parts. Eddie Jobson is a rare musician who MASTERS 2 disparate instruments: violin and keyboards: he clearly shows it here!

EXTREMELY RECOMMENDED!

Overhyped prog rock album. This is a prog supergroup consisting of Eddie Jobson, Bill Bruford, John Wetton, and Allan Holdsworth. To me, I find the album too modern for my liking. It sounds more like a 1982 recording than a 1978 recording. Eddie Jobson's ugly- sounding Yamaha CS-80 synth don't help matters (that's the same problem I level at JETHRO TULL's A, which he also played on). UK was definately ahead of time. The album sold quite well, but to me, it sounds like it was hype. It would work better had Eddie Jobson used some better synths, like the Mini Moog. At least I can say this is nowhere as unbearable as ASIA (Wetton's next band, which totally reeks of sellout, in my book). The music itself is listenable, but it simply failed to excite me. Just be wary of the hype.

This debut by the very short-lived initial U.K. line-up astounded me upon the first listen.I simply cannot top what most of the previous reviewrs have stated but I will say that the emotional sensitivity mixed with purely spectacular technical ability and writing moves me as much today as when this brilliant self titled release first hit the stores.So beautiful,such interaction and such touching poetic vocal work by MR. WETTON,I am still left speechless.Every track is essential listening.

I don't know the enthousiasm I've seen in this and other web pages about this album. I am a fan of the voice and bass of Wetton, even more of Bruford. Holdsworth is an excellent guitar and Eddie Jobson a fantastic keyboarder... but this music don't work, have no soul, no charm. The sound is very, very cold, the musicians make an exhibition of capabilities and there is no more. The first cut -In the dead of night- is not a bad song, but nothing more. A deeply deception. I like more the second album, that is not a wonderful, too.

Once again, we have prog moving into the dark years. YES, ELP, TULL, GENESIS were all starting to put out excrement, or the precusor of. Out of the darkness comes 2 giants and 2 more-than-able accomplices. Bruford had, of course, been instrumental in 2 of the greatest bands. Wetton, with CRIMSON, ENO, ROXY, et al, had been forging an undeniable presence. Jobson, also with ROXY, was quietly making his mark. Last but not least, Holdsworth, who would herald a brave new world of guitaristry. But to take such parts and to exceed the sum. In the dearth that was 78, I began to believe that there was a future for prog when this album came out. Prog had grown up, and things weren't pretty. "Gates of Delirium" had pointed to this. Things were harsher now. "All Good People" was supplanted with the desperation and lasciviousness of the "Soho neon". "30 years" was rushing in on our dreams, and "Childlike Faith..." no longer won the day. All we could do was "...sleep with one eye open wide", with "Time to kill, giong nowhere". "It's only knock and know all, but I like it" a wise man once said, and cynicism had won the day. But so gloriously and intricately dressed, like a siren on diamond rocks. The beautiful battery of Bruford's drums/drumming. Jobson's ethereal work on the Yamaha CS-80 (I am a mellotron junkie and never missed it). Holdworth's incessant, fluid guitar. Wetton's intimately aggressive bass/voice. Songs, solos, drama, technique, orchestration, power, dynamics,[insert favorite musical device here]. No scent of ulterior monetary motives. Utterly uncomprosing creativity and execution. Absolutely essential. 5 stars.

People say the YES album "Tales from the topographic oceans" is pretentious... well, that's not true. This album is more pretentious. Trying to be prog, but musical ideas are as clever as beating one single chord with a changing rhythm. These musicians could have done better stuff. Regressive rock, just pure necrophilia. The first sign of neo-prog movement.

An album that has inspired Progressive Metal! (IMHO)

This is truly a prog rock album performed in the musical structure of heavy metal / hard rock outfit. The days when I knew this album released in 1978 I was not aware what prog was all about and I just considered that this album was a unique hard rock music - until lately in the 90s when the internet buffs started to mention about progressive rock. Yeah yeah yeah . whatever you call it, this album is remarkable! One thing that I can assure you, like it or not, this album has inspired the birth of progressive metal vein. You want some proof? OK, just grab your Dream Theater "Scenes from A Memory - II" and go straight to track 9 "The Dance of Eternity" and enjoy it. It's a wonderfully crafted tune right? And now, grab the CD of UK first album and go straight to track 3 "Presto Vivace and Reprise" (a very short yet complex passage at the beginning of the track). Now, just let your mind compares between these two tracks. You would not find any similarity of melody, of course. But that's not the point, you may agree with me that there is a common style the two tracks share especially in fast speed tempo passage. You got it man ..!!! So, correct me if I'm wrong . this UK album has in someway inspired the progmet vein. If you disagree, it's fine with me ..it's progressive world.

On the neo classical metal vein, Yngwie Malmsteen has covered the first track of this album "In the Dead of Night" in his album "Inspiration". It suffices to say the masterpiece-ness of this album. On musicians, you got the best in the market: Bill Bruford looks after drum stools and percussion, Allan Holdsworth on guitar, Eddie Jobson - who can play two instruments briliantly: violin and keyboard, and John Wetton on bass and vocal. So, what can you expect more about this album?

In The Dead of Night

It's a high energy driving track that opens this track with an adrenalin-exploding style. Hey, by the time I had rarely seen any prog tune performed in this powerful, uplifting and fast tempo fashion. It's probably King Crimson did. The Wetton's bass and vocal line are really perfect to open this track. Bill's lightning drum strike the music in a very happy mood combined with soaring keyboard work and long sustain guitar. It's been a classic track that does not need further detail review. It's a great "WOW!" experience for me man .!!!

By The Light of Day

It's a mellow nice track performed in ambient mood reminiscent of King Crimson. The only thing non-Crimsonisque is the keyboard work at background and violin. It's a different style. It sets a very nice ground to move the music forward to track 3.

Presto Vivace and Reprise

It starts off with unique time signatures drumming followed with a very dynamic, very dense in mood and music, fast paced style that demonstrate a perfect harmony of various instruments: keyboard, bass, drum and guitar. It's an unbelievable opening part! The music then returns back to "In The Dead of Night" nicely. Again you can hear the amazing sound of Bill's drumming.

Oh man . the first three tracks have given me enough satisfaction, really!!

Thirty Years

This track opens with an ambient / atmospheric music, excellent guitar and keyboard, that features powerful voice of Wetton. It reminds me to King Crimson style. Wetton's voice flows smoothly with the quiet music (only keyboard and some guitar fills). The music then turns into a full swing featuring lead guitar work by Holdsworth, keyboard work by Jobson, accentuated by dynamic drumming.

Alaska - Time To Kill

I like this track - which has an interesting intro with keyboard solo - more in its live version under "Night After Night" live album. But this studio track is excellent too. The drumming is wonderful - performed in high energy style. Powerful track. The violin solo in "Time To Kill" is really stunning.

Never More

It kicks off with an excellent acoustic guitar outfit by Holdsworth. The music continues with the inclusion of keyboard and cymbals followed with vocal line. It continues with full swing music when all instruments start to roll. It has a stunning guitar solo and keyboard solo during interlude. Great!

Mental Medication

A concluding track that opens with a vocal line with quiet passage. When the full music enters, all members contribute really well in each passage - great bass line, wonderful drumming, stunning keyboard solo in jazzy-classical vein and excellent guitar.

In Summary: Highly Recommended! of course ..

With the kind of words I put on track by track review, you will by now know what my final recommendation about this album. It's hard to believe that any prog lover does not have this CD in their collection. Keep on Progging!!!

Progressively yours,

GW - Indonesia.

This is a truly great album, one of the most underrated, blending genres together into a rich and complex amalgam of sound. There is a fusion element, brought in by the two members from the Canterbury school, and the Symphonic elements from John Wetton. The guitar work from Allan Holdsworth work is simply ablaze, sometimes you won't believe it's guitar - sounds like a synth! Great symphonic keyboard sound from Eddie Jobson. Bill Bruford is on drums meaning that you are in for some wild metric combinations! The songs are memorable and sophisticated, particularly the suite made up of the first and second tracks; also the fiery "Presto" and whimsical "Mental Medication". There is not a bad moment on this album, it's excellent from beginning to end.

Good solid album by these prog rock stalwarts.The songs are very good and consistent in quality throughout.Can't help but feel though that prog was stuck in a rut at the time and UK don't really drag it out as such.BUT if you like prog rock generally I can't imagine you not liking it.All the ingredients are here.It's just not especially inspired.3.5 stars.

In 1980, I read an "old" Rock magazine (from 1978) which had a review about this album. At that time, I knew that Bill Bruford have played with YES and King Crimson. I realized later that in fact Bruford, John Wetton and Eddie Jobson appear in King Crimson`s live album called "USA" (Jobson added overdubs for that album), so I thought that this U.K. band was like "a King Crimson line-up without Robert Fripp". It was until mid 1980 that I found the second U.K. album called "Danger Money". I bought it. In late 1980, I bought their live album called "Night After Night". It wasn`t until late 1981 that I listened for the first time to this "U.K." album, their first. A cousin had it in L.P., a very used copy with a lot of scratches. I recorded it on a cassette. It wasn`t until 1997 when I bought the CD that I really appreciated this album very much. The original L.P. cover lists the 3 first songs as part of the "In the Dead of Night Suite" as I call it (not titled as that in the cover):"In the Dead of Night:1. In the Dead of Night 2. By the Light of Day. 3. Presto Vivace and Reprise". The CD cover doesn`t list these songs as part of a three part musical piece. The song "In the Dead of Night" has a very good guitar solo by Allan Holdsworth. "By the Light of Day" has not guitars, but it has a violin solo and "dark" keyboards atmospheres by Jobson. "Presto Vivace and Reprise" has interesting drums and keyboards. "Thirty Years" is a song with a lot of keyboard atmospheres, very good drums and percussion by Bruford, and a lead guitar by Holdsworth. "Alaska" is an instrumental piece by Jobson, with a melody played by Holdsworht on guitar."Time to Kill" has very good drums and a violin solo. My favourite song in this album is "Nevermore", which starts with Holdsworth`s acoustic guitars. It also has very good solos by Holdsworth and Jobson. The last song, "Mental Medication", is mostly a jazz-rock song. This band started in late 1976 when Wetton called Bruford to play in a band with Rick Wakeman. They rehearsed for 6 weeks before Wakeman left the projected band and re-joined YES for the "Going for the One" album.Bruford and Wetton wanted to carry on playing together, so Wetton invited Jobson, who was playing with Frank Zappa.He didn`t join them very soon because he had some work to do with Zappa`s band. Bruford recorded his first solo album "Feels Good to Me" in mid 1977, with Holdsworth on guitar. When Wetton, Jobson and Bruford finally were rehearsing together, Bruford invited Holdsworth to the new band called "U.K.". They recorded this first album between December 1977 and January 1978. They toured during 1978, until they started to have problems due to different ideas about the musical style for the band: Bruford and Holdsworth wanted a more jazz- rock style for the band, while Wetton and Jobson wanted a more Pop-Rock (in the case of Wetton) and Prog Rock (in the case of Jobson) style for the band. So, in late 1978, Bruford and Holdsworth left the band (Bruford says in his official website that he and Holdsworth were "fired" by Wetton, as he considers Wetton as the "real founder" of the band). I think that the most interesting thing in this album, apart of the music played by these four very good musicians, is Bruford`s drums and percussion playing, with a lot of changes in time signatures and very good technique.Holdsworth has his most interesting playing in the songs "In the Dead of Night", "Thirty Years", "Nevermore" and "Mental Medication". For the most part, Jobson is the main musician with his keyboards. Wetton plays his bass as good as usual, singing very good too. I consider this album as their best. "U.K.", like other Rock "supergroups" (like Blind Faith and Asia) couldn`t be playing together for a long time.

The first UK's album is a "real prog album", I think. There was always one disappointment for me - the material here is great, but too often overproduced or "overcomposed" - speaking of vocal harmonies, various time changes... Eddie Jobson seems to be very ambitious here. But: There are many great moments here - the songs are fine and the musicians do their best. If you choose this album due to names of bandmembers, you could be satisfied - if you'll keep on mind, that Asia was somewhere in the future, Eddie Jobson has just left Frank Zappa and Bruford started his jazzrock carreer together with Holdsworth. If you're expecting some "heat of the moment", you can be a little disappointed.

Excellent musicians, excellent arregaments, excellent performance, everthing on this record is excellent. Just check out the line-up, what else can be said? the last two songs of the record are masterpieces, every musician do their best in this songs, every instrument fits perfect, the voice, the guitar, the keyboards, bass, drums, there are no words to describe such a great musical perfection. The rest of the record is interesting, something good to listen to, something different and also fantast. I think eddie jobson is in his best in this record, and also in the other two, danger money and night after night. Great adquisition, you should include this one in a prog collection.

1978 I got hold of that album. I was shocked. This was the music I have always been waiting for. Later on I bought every LP of UK. UK. to avoid losing by mere chance this masterpiece of contemporary music. Even today I always have two CDs in stock. Just in case to have one scratched or so. - The sound, the compositions, the atmsopheres on this release is so marvelous that musicians like Tschaikowsky or Khatchaturian or Debussy would have been amused knowing it. This album is not more than excellent. Heaven knows. - And Alan Holdsworth is the most impressive and dry playing guitarist in the rock circus. His solos are composed to perfection. You can't add a note to it. - Highly dramatic music of the planet earth.

This must be the most underrated progressive masterpiece. It's a perfect album in every sense - the compostions, the arrangements, the improvizations are all balanced and honed to perfection. This album belongs in the Pantheon of prog along with Close To The Edge, Selling England By The Pound and In The Court Of The Crimson King. The musicians come from the most diverse prog sub-genres, so perhaps it's this cross-polination of musical ideas that contributed to this masterpiece. The fact that the elusive Allan Holdsworth is on this album adds to it's value tremendously. If you don't have it, your collection had a huge hole in it!

Well, here it is, yet another review for UK's eponymous debut album, an album that has remained a crucial bone of contention in prog circles for years - some label it as the last masterpiece of 70s prog, others point out that it doesn't quite live up to its full potential, while the rest stand in the middle leaning closer to any of these two general outlines. I am one of the former, though I admit that there may be some lack of cohesion in some specific passages. But, generally speaking, I consider "UK" a monster album, where majesty and distinction rule the masterful delivery of excellent musical ideas, one after the other. The symphonic prog and jazz trends (Jobson-Wetton and Holdsworth-Bruford, respectively) converge in a solid sonic source that captures the pompous magic of the best early 70s prog, giving it a somewhat modern approach, which is in no small degree due to the featured use of state-of-the-art Yamaha synthesizers by Jobson. Eddie Jobson proves to be UK's core: since his artistic sensibility is not foreign to the influence of jazz-rock, it allows him to become the bridge between the two pairs that conform the band's ensemble. My absolute favourite moment of this album has to be 'Alaska'/'Time to Kill', since it comprises the most essential stuff that this band is made of: effective melodies, energetic interplaying, amazing performing skills... Of course, a special mention has to go for Jobson's excellent violin solo that robustly expands itself throughout the interlude right until the final chorus. The closing track 'Mental Medication' is another gem that, IMHO, should be mentioned and praised more often: taking off from a basic Holdsworth idea, the foursome bring a jazzy mini-suite, pretty much close to the Canterbury territory - Bruford's exquisite crafty drumming is precisely complements by Wetton's bass lines, while Holdsworth delivers his arguably best leads and Jobson does a wonderful job on his keyboard orchestrations and a violin solo. 'Thirty Years' serves as a sort of compromise between these two lines of work: the interaction between Holdsworth and Jobson is notable, not as notable as in the aforementioned 'Mental Medication', but, all in all, truly impressive. There is also much interplaying Holdsworth-Jobson, wonderfully conducted during the interlude jamming of the jazz-fusion oriented 'Nevermore', but in this particular case, the amalgam of the various motifs does not feel as fulfilled as in the other tracks: it's a pity that such a beautiful theme, full of genuine romantic spirit, doesn't comprise a more articulate internal cohesion. Anyway, the initial acoustic guitar flourishes and Bruford's enthusiastic drumming are simply superb - the former introduces the song's overall spirit while the latter sustains the jam and keeps it flowing naturally. And I won't conclude this review without mentioning the monster suite that opens it: 'In the Dead of Night' is pure prototypical UK. I feel that there is a slight lack of completeness in some moments of the sequence of the three sections (in fact, I feel that the suite's multiple construction works better in the live renditions I've heard from the quartet line-up's bootlegs), but apart from that, I can only qualify 'In the Dead of Night' as prog genius. Holdsworth's guitar solo is a classic (his rockiest performance in the entire album); Jobson's sensibility for textures, harmonic bases and spacey adornments on synth and organ, as well as his melancholy violin solo for the 'Light of Day' section; Bruford's spectacular swing and distinctive touch that he adapts to each varying mood; Wetton's solid bass foundation and vocal style - all these elements meet in a combined fruition that produces spectacular results. Although it doesn't achieve a "perfect perfection" (and more than once has Bill Bruford himself admitted that this album's recording process felt like four novelists trying to write one book together), the brilliance of "UK" is evidently there, and so, a 5-star rating is the most appropriate one (4.75 stars, to be more accurate).

Okay - forget the disappointing debacles that were the "supergroups" Asia and GTR: UK were the genuine article. In 1978, during the twilight of progressive rock's glory days, the newly-formed band released a self-titled album that was "super" in terms of lineup, musicianship and content. With the incomparable Bill Bruford on drums, the stalwart John Wetton (ex Crimson) handling the bass and vocals, Eddie Jobson (formerly of Roxy Music) ably manning the keys and violin, and fusion master/hired gun extraordinaire Allan Holdsworth (Jean Luc Ponty) on guitars, UK certainly had an impeccable pedigree. Yet, in music, good breeding accounts for little, without the requisite strong material to meet the expectations raised whenever such heavyweights come together. In UK, the expectations of excited prog fans were convincingly met with a fine recording that still stands up today.

The album opens in attention-grabbing fashion with "In the Dead of Night," as Wetton's bass throbs with floor-shaking power, and Jobson's keys establish the main theme, before my favourite prog drummer (that's Mr. Bruford, to you!) makes his presence known with his trademark precision and unmistakable, rapid-fire snare sound. Soon after the second catchy chorus, Holdsworth steps to the fore with a soaring, singing solo, and the listener is transported, if not to prog Valhalla, then to somewhere mighty close to that heroic, heavenly hall. Turn it up, progholes!

The session then segues into the thematically-linked "By the Light of day" -- which, though slower, nonetheless retains the power of the opener. Jobson's violin is especially lovely here, and his synth work conveys an air of majesty.

"Presto Vivace and Reprise," as its title would suggest, showcases some frantic keyboard work from Jobson, then revisits the main theme to bring this three-track sequence to a unified and satisfying close.

"Thirty Years" finds Wetton singing of regrets, "missed opportunity," and half a lifetime wasted "chasing rainbows," and also serves as a superb vehicle for Jobson's electric violin, and Holdsworth's graceful lead.

Number five, "Alaska," is an instrumental "soundscape" that evocatively conveys the immense grandeur and lonely expanse of that largest of states, while "Time to Kill" ups the pace of the proceedings, and continues the motif of arctic isolation with lyrics portraying "sheets of ice," a "wolf at the door," and a prisoner who dreams of "silver sand and azure Caribbean sea." Jobson and his violin particularly shine on this fine piece of prog.

Holdsworth picks up the acoustic for the intro to "Nevermore," which, at over eight minutes, is the disc's longest selection, and gives the band ample space to "stretch out," show off their respective chops, and visit some varied musical terrain.

Finally, "Mental Medication" deals with the psyche-soothing potential of music, and fittingly provides six-plus minutes of exciting, tight and diverse prog fusion -- the bass and violin are notably good here.

Thus, if you've never had the good fortune to hear UK, I urge you to check out this excellent offering from what was arguably the most successful of prog supergroups. (Fans of Bruford and Holdsworth, in particular, should be quite pleased.) The genre may have been past its prime by the time of UK's release, but the blazing "sunset" of an era captured here is well worth experiencing!

Got a CD of this recently having lost the vinyl copy some years back - was a cracking album at the time, but somehow now, playing it back to back with say Crimson's Red (the last album with both Wetton and Bruford), it doesn't stand the test of time as well. OK unfair comparison that maybe, for one thing there's no Fripp driving the proceedings here. But there are some very fine moments; best tracks are "30 Years" a eulogy on the passing of time and missed opportunities, and "Nevermore", a jazz influenced number. "In the Dead of Night" kicks off the album but it's a little pedestrian until Holdsworth's searing guitar break; it then fades beautifully into "By the Light of Day". "Alaska" is a Jobson based instrumental, which sounds a little staid now, "Presto Vivace" has some harmless keybaord and guitar noodling; "Time to Kill" is saved by Jobson's great violin solo. The final track though, must have been that bad day in the office, or that 5.00 Friday lemon that rolled off the production line - "Mental Medication" - musical masturbation more like. Possibly the worst prog rock track of all time? Dumb lyrics badly sung, no tune, silly, pointless twiddling on instruments; what a waste of talent and ability. But for that this album would have got 4 stars!!

The album U.K. is one of my favorite prog albums of all time but that doesn't prevent it from being a flawed masterpiece. The musicianship, the compositions, the recording quality, the hooks, the choice of instruments,...everything I can think of is perfect except: John Wetton's vocals. He does not have the range for some of the notes he attempts to hit. In particular, there are parts of "Thirty Years" that I have to fast foward through because it's unlistenable. Nonetheless, U.K.s first album is one of the best progressive efforts I have ever heard and noteable because it holds up over time, unlike most other early 70s efforts that sound dated to the modern ear.

I love this album. It is exciting, energetic with crisp exact musicianship. Why anyone would give this album 1 or even 2 stars is beyond me. As a fan of symphonic prog and each of these four musicians I having been loving this record for Decades. Holdsworth playing on Nevermore, Wetton's voice, and Bruford and Jobson's playing throughout.. I dig it!! Danger money is not for me, but U.K.? Yeah put it on!!

Some nice moments, but basicaly it's an attempt at commercial mainstream succes, nothing wrong with that, but after reading some very excited reviews I expected something better. The vocals from John Wetton are alright, but it seems so flat and uninspired, he did better on Asia's debut, or with his participation on Uriah Heep. Holdsworth obviously is a great guitar player, but only on occasion does he let it rip, and adds more than just basic background noodling, combined with the synthesiser sound it is nice but not really exciting. Bill Bruford adds his five percent for nothing lay low drum rhythms to the mix, and wettons bass is hardly present.

Harsh statement I can hear you all think, well maybe it is, but aside some good moments I am quite bored by this album. Let's see if I can find some light on this album, to counterpoint the negative vibes I've been giving this in nature fine band. For the most part U.K. plays a very accesable pop/jazz/fusion type of rock music, larded with pointy keyboard rhythmics, with some very fine guitar play on occasion.

The Good songs 1. In The Dead Of Night, a poppish keyboard intro, with some nice bass and good singing from wetton, this song already reminds me of Wetton's later band Asia, but more focused on Jazz than the plain rock of that. 3. Presto Vivace and reprise, as the name indicates this song is actually a continuation from In The Dead of Night, so logically I find it equally good, well slightly better actually since the rock aspect of Holdsworth guitar are a bit more upfront. 8. Mental Medication starts very soft, but the instrumental section in the middle features some great guitar parts, very nice really.

The rest of the songs each have some nice moments scattered through the songs, but bassicaly the most parts are quite boring. since the average rating is quite high, I might be missing something, but you can't like everything. try it if you like soft melodic pop/fusion, or Holdsworth guitar play, maybe you'll hear what I am missing.

PEACE OUT

I hesitate to give this album 5 stars, so I'll go for 4 - though my rating is at least a 4.5, given the sterling quality of the playing here. UK were the (unfortunately) short-lived supergroup which tried to revive symphonic prog in the late '70s, producing two excellent studio albums (although with different line-ups) and an equally valid live recording before splitting up at the very end of the decade. It is a pity that Wetton - who plays and sings brilliantly on this album - went on to form the awful Asia, an utter waste of talent and electricity (as the late John Peel said of ELP).

This record did not impress me too much when I first bought it, but then it grew on me. It is still something I have to listen to carefully in order to fully appreciate it, which means I can't put it in the background when I'm doing something else around the house - but the experience gets better and better with each listen. Here, Jobson takes the lion's share, playing both keyboards and electric violin. The latter gives the album a distinctive quality it shares with Crimson's 73-74 records - though Jobson's playing is more atmospheric, evocative and somewhat romantic as well. Surprisingly, though, one of my favourite elements of "U.K." is Wetton's singing: his performance in the record's highlight, the opening, three-part suite "In the Dead of Night/By the Light of Day/Presto Vivace- Reprise", is nothing short of amazing. As many people on this website already know, I've never been a fan of Wetton's singing with Crimso (with the notable exception of "Red"), but here he's at his most emotional. His bass playing is also quite superb and complements Bruford magnificent drumming perfectly - just listen to the closing track, "Mental Medication", in order to fully appreciate his thick, powerful yet skillful bass lines. Then, Allan Holdsworth needs no introduction: he's a musician's musician rather than a shredder, and this is enough to gain my approval.

By way of a conclusion, I cannot help wondering why some people describe this album as "poppy" or even "easy". To me there's nothing even remotely easy about this record, which, as I already said, needs more than one cursory listen to be appreciated as the near- masterpiece it is.

Nothing to compare to Prog old style in 70's way!There are some reminiscences like organ passages but something to be markable here it is Allan Holdsworth new conception of guitar!I recomend this album for those that are in a middle earth, i explain better ,there are some people that don't appreciate well prog rock but they love too much prog metal.So this album it's a union point for a world to another!very good album.

Definitively one of the most "overlooked" albums ever, for me this is an impressive manifest of the fussion-prog-rock, the line-up is "scary", especially because of Bruford and Holdsworth, the album in general is quite dense and not very easy to "eat" and probably that�s the reason because it has been so left out... I have heard people making comparisons between this album and YES, ELP or GENESIS works, I think you cannot even name this album in a "classical prog-rock band" conversation, because it is simply way over all of those bands, this album is more than a prog-rock CD, is a unvaluable lesson of music by this four excellent musicians, John Wetton is probably the less interested of them but his work here is A+. If you are looking for a real "knock-out" this is it!... then get some ZAPPA to go with it... and if you feel like having a "easy listening time" then play some YES Cd or something like it....

A Monday-morning-album if ever I heard one: I defy anyone not to be energised and inspired by this blistering Prog tour de force. The first track 'In The Dead Of Night' is as good an opener as they come: all syncopated driving, urgent riffs and Wetton's characteristic knowing, slightly poignant yet nonetheless aggressive vocals.

It's the energy of this record that stays with the listener long after the music has finished. From the unashamed riffage of 'In The Dead Of Night' to the blistering electroviolin solo of 'Thirty Years', this is a record that starts as it means to go on, somehow managing to gather even more momentum and build up increasingly complex melodic and rhythmic layers even through more reflective and atmospheric interludes such as 'Alaska'.

The best parts are for me though when the musicians all come together with unadulterated enthusiasm, drive and skill to match: Bill Bruford in particular adds that extra rhythmical force and pressure that makes this album a rejuvenating, energising experience.

This album has in fact inspired me to add a new word to the English language: 'Bruf' (v.) Brufing, Brufed : The act of being 'Brufed' constitutes being taken away by the creativity and musical virtuosity of a Prog artist, e.g. "Wow, get ready for a good Brufing when you listen to 'In The Dead Of Night'" or "Gosh, I was well and truly Brufed by 'Thirty Years'".

So take my advice - listen to this album, and prepare for the Brufing of a lifetime!

One of the most interesting and unique albums in progrock history. And a rare case, when the meeting of such great individuals realy works. It really ahead of it's time - I mean it sounds as it was recorded in eighties... (Even if that sounds a little scary to any prog-fan. All instrumentalists (and Wetton as a vocalist) are great. I'd just like to point out that Brufford plays here in a different way than before and later. The only problem I can find here is the sound of Jobson's synthesisers - it really annoyed me at first. But one can get used to it. Apart from that - everything here is perfect. A pity that it didn't last long. The balance between Brufford-Holdsworth on the one (jazz) side and Jobson- Wetton on the other (pop) side was hard to keep. Highly recomended.

Possibly the most overlooked album of the 70's. Each member of the band brought their own style to the compositions. By doing this they created a cohesive feel to the entire album. Rarely this amount of diverse talent can prouduce an album which sounds like they have been together for many years. This is a must album for any prog-rock fan. Please listen and enjoy !!!!!!!

If you were alive in 1978, you saw the slow decay of British progressive rock into oblivion. If you needed something to hold on to you had this exquisite album buy UK. I enjoy the work that Bruford did with Holdsworth more so then the 70s stuff with Fripp.

This album showed the way that prog groups could maintain a commercial appeal but still cater to the hard line. In the Dead of Night is a mainstream pop tune in seven with poppy prog sections a la Boston. Most of the tracks have an ambient pop sound with subtle jazz tinged solos. Alaska is worth the price of admission. A local band in NY, Rat Race Choir, played this, so I often got the chance to hear how wild and exciting it could be performed live; RRC later toured as John Entwhistle's band.

Holdsworth left the band. I heard rumors that it was because he could not work within the rigid pop structure of the tunes. I used to have a tape of the band recorded live from radio at the Bottom Line in NY. Holdsworth would just be wailing as the band shifted into the next section of the song. He would suddenly stop in mid-wail and join in.

Bruford left; Bozzio brought a new excitement to the band when they recorded and toured in 79 but the times they were a changin,' other offers loomed and this band was also destined for oblivion. Any fan or Crimson, Gong or ELP would probably enjoy this album.

It took quite a bit of time for me to warm up to this record by the supergroup that comprised Allan Holdsworth, Eddie Jobson, John Wetton and Bill Bruford. This here is no obtuse experimentation a la Henry Cow ... indeed I do believe it to be a relatively accessible prog-rock album (no, it's not Asia, either!). The problem probably has its roots in my distaste for the uber-shiny guitar sound of Holdsworth and the sharp synths favoured by Jobson. As such, while I do readily affirm that is quite a crucial purchase for any progger to make, it's not a record I pull out too often. When I do, I'm always rewarded.

The opening trio of segued songs In The Dead Of Night/By The Light Of Day/Presto Vivace And Reprise contains some superb playing and shifts in mood from all participants concerned. Holdsworth lays down a patented solo during the initial attacking segments, while the moody mid section is distinctly Crimsonesque, as Jobson builds a beautiful synth solo around Wetton's fading voice. The third part of this piece commences with an excellent Keith Emerson impression from Jobson, before Wetton brings the song cycle full circle. Throughout it all, Bruford is ... Bruford.

Thirty Years is another intriguing proggy fusion track with stellar turns from Holdsworth and Jobson ... it's a lot of fun to hear them cook over the already smokin' basic grooves laid down by the monster Bruford/Wetton rhythm machine, but once again, the temptation to modify the sounds into something a tad more "organic" is strong. This trend continues through the rest of the album ... Alaska is one that takes a while to get going, but by its conclusion Holdsworth and Jobson are engaging in some sort of titanic struggle (imagine John McLaughlin competing for space with Keith Emerson on the same solo spot!), the vocal segment of Time To Kill is none too impressive ... sounding almost like a Steely Dan throwaway, but there's more solo delight from Jobson, this time on violin (surely this album contains some of his best ever moments).

It comes as a real thrill when Holdsworth commences Nevermore with some dazzling acoustic guitar runs, but it turns out to be just a tease, as another Steely Dan meets symphonic prog tune unfolds. Don't get me wrong, the playing can be quite magnificent ... it's the choice of sounds that I need to get my head around. The occasionally funky Mental Medication is full of more glorious efforts from the two soloists bringing the album to a strong conclusion, that eaves us wanting more ... unfortunately it wasn't quite to be.

I do rate UK's debut higher than the even more fusion-orientated Bruford project (the first two albums Feels Good To Me & One Of A Kind, also feature Holdsworth) that was to follow very soon after UK splintered leaving behind this unique gem. I've yet to hear the follow-up that Wetton and Jobson recorded with ex-Zappa drummer Terry Bozzio. Chew on this if you get the chance. ... 76% on the MPV scale

The debut album from the shortlived UK flows effortlessly from start to finish, Excellent musicianship from all who take part, Great sound (Though maybe a bit too electronic) and strong songs all shaped with a commercial edge. Immediately hailed as a 'supergroup' It's easy to see why most of these musicians were so acclaimed in the years beforehand. The album is bursting with great musical ideas and packed with energy. For a debut album, The band sound extremely tight, There is no scrambling or fumbling around, The songs are impeccably delivered.

The opening suite of the three linking songs 'In the Dead of Night', 'By the Light of Day' and 'Presto, Vivace and Reprise' are the perfect testament to this perfection. The first section is very energetic with excellent keyboard hooks from Jobson, and some excellent rhythmic drumming from Bruford. Wetton sounds slightly edgey, He almost shouts throughout the track. Things cool down with the short and sweet 'By the Light of Day' with very haunting Crimson-esque vocals before returning to the might of the opening section in 'Presto, Vivace and Reprise'. 'Thirty Years' closes the first side, A well crafted track with great vocal melodies again from Wetton.

'Alaska' is one of the best on the album, Jobson really delivers on this track and it is really just a showcase for his talents, A very eerie mood is created from his keyboards, It almost sounds a little isolated at the beginning, So the title 'Alaska' is very suitable, Holdsworth also adds great guitar lines near the end before things suddenly burst through with the sound of Wetton's soaring vocals and we have 'Time to Kill'. By this time you can't help but feel energy from the group. Excellent vocal harmonies in the chorus and an extraordinary, Dizzyingly fast electronic viola solo from Eddie Jobson before a recap on the first minute or so. 'Nevermore' contains a beautiful acoustic guitar intro from Holdsworth, And sounds like the work of an extremely gifted guitarist, And also, Who can't help but love when Wetton sings 'Oh to go, Down to Soho', Jobson adds fantastic piano too and just like a lot of the tracks on the album, Seems to go through a variety of moods that at the sametime showcase the skills of the musicians. 'Mental Medication' closes the album in good fashion, Some great funky rhythms breakthrough, All created by Wettons superb bass playing.

There is very few faults with UK's debut but one would have to be the electronic feel to the instruments that sometimes make it difficult to tell whether a guitar or keyboard is playing! But as an object of the late 70s, This can be forgiven without much deliberation, But you may feel quite glad to hear Jobson switching to piano at times. Sadly, UK would go on to record just one other album.

Interesting to read some of the previous reviews, especially how some feel that Holdsworth must have the makings of a good guitarist. Hello!! I'm not even a guitarist. I'm a drummer, and even I know that at one-time Holdsworth was voted the "guitarists' guitarist." Meaning to say, that top guitarists of that era [Townsend, Howe, Van Halen, (Jeff) Beck, Clapton, Hackett, Page (etc., etc.)] voted Allan Holdsworth as the guitarist they idolized. So, not just MO, but the opinions of some of the greatest guitarists rock has ever known calls Holdsworth the quintessential guitarist of the era. On other points, I agree as well on Jobson: definitely some of the best keyboard work - let alone how inspiring he is on electric violin - he has ever done. Bruford and Wetton are in great form, as others make reference to their teamwork from KC. It is possible that Wetton's voice is even better here than it is on some of his 'Asia' songs (of course, he was five years younger in 1977 when this album was recorded). It is certainly an excellent addition to any prog collection, and no doubt rates as one of the best - and earliest - prog "superband" collaborations.

UK was formed at a point in time when it was decidedly "uncool" to be seen listening to progressive rock music. At that time, the band was touted (somewhat derogatorily) as a "Supergroup", comprising, as it did, of two ex members of King Crimson, one ex member of Soft Machine and one ex member of Curved Air/Zappa.

In hindsight the formation of UK can be seen as the first sign that in order to survive the looming musical wasteland called "The 80s", progressive rock musicians were going to have to rethink and ultimately compromise their own personal musical visions. UK was a compromise of sorts - Bruford was never entirely committed, and Holdsworth hated the whole keyboard-dominated set-up from the word go.

When the 80s finally did kick- in, the thoughts of every prog musician turned to survival, (and who can blame them),and we wound up with bands such as Asia and GTR. The 80s brought us the spectacle of law suite and counter law suite being lobed back and forwards by three separate factions, all desperate to own the brand name of 'YES'. In typical 80s fashion the brand name became more valuable than the actual product, and the product became more valuable than genuine creativity.

UK can be seen as a pre echo of what was to come for the creative musician working in a music industry that had become increasingly hostile towards creativity - the first tentative sign that in order to survive, prog musicians would need to pull their resources and, ultimately, compromise.

Fortunately for us, the coming together of Wetton, Bruford, Holdswoth and Jobson for whatever reasons, brought forth an inspired and unique album. The opening three-part track In The Dead Of Night a song in 7/4 about a hired assassin, has one of the most arresting openings of any song I can think of. Indeed, the attention-grabbing staccato riff, and Alan Holdsworth's awesome, sinuous guitar solo, heard later in the song, have become some of the most iconic of all prog rock moments, inspiring many a band, such as, Planet X, The Flower Kings, It Bites, David Sancious, and Steve Vai.

The second part By The Light Of Day is a welcome moment of repose after the intense and at times bombastic opening section. Highlight is the beautiful violin solo by Eddie Jobson, which sings sweetly over a backdrop of rippling synths.

Presto, Vivace and Reprise is a stunning piece of virtuoso writing and playing by Jobson. It's well seen he had just finished his stint with Zappa, as this piece is not unlike some of Zappa's compositions - 'The Black Page' or 'St Alphonso' for instance. Curiously enough, the timbre of the piece, especially when Holdsworth doubles the synth lead line on guitar, sounds uncannily like that of Zappa's '82 band. The rest of the songs on the album are of an equally high standard. Nevermore in particular, is a stunning, atmospheric song with very evocative lyrics. The interplay between Holdsworth and Jobson during the solos is breath-taking.

It is definitely a unique album with a very identifiable sound. If you're a keyboard buff and like the sound of the old Yamaha CS 80 then you must get hold of this album. Jobson really knew how to get the most out of this mighty beast.

You have been reading the ramblings of ThE mEnTaLiSt.

If you lived in a cave during the late 60s and early 70s and were not aware of the jazz fusion movement stemming from the US, and your first "prog" record was this UK release, then surely you would've been mesmerized by this recording. On the other hand, if you had, or have, any clue to the history of jazz fusion you would dismiss this UK record as one of the many clones of that era.

First and foremost: to say that this album is an essential piece of prog history is a far stretch and does injustice to the MUCH better recordings that were available by other groups during that era.

To classify this recording as prog ROCK is an even larger stretch. This recording sounds to me like an English quartet's effort to clone Chick Corea's Return to Forever projects(all of the ones that came out before this UK release).

Wenton shamelessly tries to sing in a jazz idiom, but fails miserably. His tries to stretch phrases to encompass several octaves and embarrasses himself in a large way. His voice crackles throughout the recording. How he ever allowed his voice to appear on this record after such a lousy performance is beyond me.

Please listen to any of Corea's recordings with Flora Purim on vocals then listen to this UK release. There is NO WAY that anyone with any sense of honesty can tell me Wenton is not trying to sing like Purim. I am not saying that he is imitating Purim, but he is imitating that style; and frankly, he is WAY OUT of his league. He is NOT a jazz singer.

As for all of the non-vocal music on this record, not much new ground was covered. To be fair, none at all. That's why I have a very difficult time considering this an essential piece of prog anything. There's noting progressive about it; it was ALL done before. By Corea, Miles, Weather Report(Zawinul), DiMeola, Ponty, Hancock and McLaughlin.

"But those are all jazz names you threw out", you say. Exactly my point! This UK record is nothing but jazz fusion, with a rock vocalist trying to sing jazz. Again, I'll emphasize that no matter how many times I listen to this CD it sounds like a bad imitation of Return to Forever.

Then, to say that this was the FIRST super group of prog rock is absolutely inaccurate. First, because they are NOT playing rock, and second because they are not the first to play this type of music. If you want to talk about the FIRST super fusion group, then go back to Miles Davis's Bitches Brew; after that group came Return to Forever and Weather Report(both preceeded UK).

With all due respect to you die-hard," English-is-the-only-true-prog" types, this is the most blatant example of English musicians ripping off what had already been done in America at least half, if not a full decade earlier.

I had to force myself to rate this CD at three stars and only out of respect for Bruford, who is an excellent drummer. If it weren't for his contribution the CD would serve as a coaster.

A VERY, VERY overrated and plagiarizing effort.

Something seems to be missing.

This is a very solid release from UK (especially as a debut) but it seems to be lacking something, some pizazz maybe. Maybe as a fan of the Bill Bruford/John Wetton era of King Crimson I was expecting too much or something similar at least. But this is a pleasant surprise if you were expecting something along the lines of King Crimson's Red and Starless and Bible Black. Two great musicians are added to this dynamic rhythm section, Allan Holdsworth on guitar and Eddie Jobson on keyboards and violin.

The music is a lot lighter than expected from a (super) group containing Bill Bruford and John Wetton. It is different to such albums that feature this great rhythm section such Red and Starless and Bible Black. It is mainly Eddie Jobson that does this with his synthesizer (Yamaha CS-80) and its bright tone that makes this album sound like it came from 1980's instead of 1978. This, musically, is a mix between Asia and King Crimson (lighter songs from Bruford/Wetton era). Bruford and Holdsworth both bring a jazzy feel to the album while Wetton and Jobson bring a pop/rock (Wetton) and prog (Jobson) feel. The first three songs are a three track suite that has great keyboards on the final track of the suite (Presto Vivace and Reprise) before going into a reprise of the first track. Thirty Years supplies listeners with Jobson's superb keyboards and Nevermore supplies listeners with Jobson's superb keyboards and has some great guitar work from Holdsworth. Wetton's vocals (like the music) seem to be a mix of King Crimson albums he is featured on as well as Asia albums he is featured on. This album does have some great drum playing from Bruford and bass playing from Wetton as they show us why they are such a superb duo. It is too bad that they both had different ideas of where to go musically and so Bruford is not on the next album.

Some highlights (for me) include Presto Vivace and Reprise, Thirty Years, and Nevermore. Unfortunately this album suffers from sounding a bit too similar at times and thus detracts from what would be a higher rating. This has an overall sound of ranging from poppish rock at times to a light taste of King Crimson heavy. A wonderful listen but not too enthralling as one would expect from a band with Bruford and Wetton in the line up. 3� /5 from me.

A very enjoyable album featuring an all-star cast of prog-rock legends. Does it reach its full potential? Sadly, no. Is it worth a listen? Yes. Not an essential prog work HOWEVER if you are a disciple of Holdsworth's guitar playing - then this becomes a must-have. It is a critical entry in the Holdsworth catalog for any fan. Frankly speaking, it is Holdsworth's guitar work that keeps this album from being simply average. It is not Bruford's or Wetton's best work by any means, but Holdsworth makes it worth the price of admission.

I won't go as far as to call this record 'overrated' as some othe reviewers have. I do think the group was trying to do something different here, but I also think they didn't quite reach what they were grasping for.

1977 had a special meaning for me. That year had new releases from Genesis, ELP, Kansas, Jethro Tull, Gentle Giant and Yes. Some very mixed results among those efforts. I also saw all of them in concert that year. In fact on successive Thursdays in May of that year I saw Genesis, Jethro Tull and Gentle Giant! 1977 was a great year!

Then I heard about this one. I knew who Bill Bruford and John Wetton were and I had heard of Eddie Jobson and Alan Holdsworth was just starting to enter my ears. To think they were putting out an album sparked my curiosity. The first play of this CD I really felt like they had hit something solid. The music seemed a cross of Genesis, ELP and King Crimson. The keyboard work was spectacular and the bass drums combo was one of the best tandem ever. Holdsworth guitar added something new. Take the song Alaska. I find the intro to this to be the same as the beginning of The Three Fates off of ELP's debut but faster and with drums. Then in comes Alan's guitar and it really made me think what ELP could have sounded like with Alan playing. This alone takes from the influence and moves it to different level. Very, very cool. I had the good fortune to see them in concert the same year and they were just as stellar.

Putting this album on just recently I found a few flaws that bothered me somewhat. The vocals are really nothing special and I have heard John Wetton do better. The lack of the Hammond leaves me a bit cold as well. (The same thing with Pirates by ELP that same year. I do believe that the Hammond was extremely important to all of the major groups listed above and when they stopped using it is when they had their biggest falloff) The production and sound of this CD is wanting too. I am hoping for a great remaster of this someday it should improve the sound quality greatly.

But those criticisms do not take away from this great record. Coming at the time of the final glory of the 1970's prog and taken into context of what I already mentioned came out that year this is 5 stars for me. I would have really liked to have known what this lineup could have done with one more stab at it. This band came out huge were playing major arenas from the start then just as quickly died.

A monolithic classic of late 70s jazz-prog. Fresh off the success of the first two Bruford albums, Bill Bruford and fusion guitar master Allen Holdsworth hooked up with John Wetton, who at this time was still playing like he was trying to murder you with his bass, and Zappa/Roxy Music alumn Eddie Jobson. Each of these players had a track record and a legacy within the movement, but this is no self satisfied jam session. Rather it is a lean and mean synthesis of fusion influences via Holdsworth's sustain drenched fretboard gymnastics and Jobson's slick cutting edge synthesizer work. Under this is the Wetton/Bruford rhythm section moving as one and acting like the three years since King Crimson's collapse had not happened. Bruford especially has improved as a player in this hiatus, blurring the line between timeclock precision and jazzy looseness, cultivated in his brief stays with Gong and National Health. The compositions are as tight as they come, with Holdsworth making the most of his short solos and shining in his supporting role. The opening suite of "In the Dead of Night/By the Light of Day/Presto Vivace/Reprise" shows the range and versitility of the lineup's sound, from aerodynamic jazzy prog to more oceanic, spacey sounds, to manic complexity. "Presto Vivace" especially is a dizzying display of Jobson's compositional skill matched with the bands jaw dropping chops. "Thirty Years" is a strong track with an incredible instrumental midsection in which Holdsworth's smooth guitar sounds and Jobson's metallic synths blend together and blur the line between keyboard and guitar playing. The group's sound comes together best on the album's final two tracks "Nevermore" and "Mental Medication." Here, rich jazz chords and prog rock song structures meet to great melodic success. Less than 6 months later, the band would collapse over arguments on direction precipitated by Holdsworth's unwillingness to regurgitate the solos he played for the album sessions the same way every night. He and Bruford would leave for jazzier pastures while the rest of the band soldiered on towards a more mainstream rock direction. But the 45 minutes this lineup left us are some of the most potent mixes of jazz and rock from anyone outside of Canterbury.

You would think that putting together a group of super talented prog artists would make an album of pure oneupsmanship. Wrong! This is a total group effort and one of, if not the best prog album to come out in the waning moments of the 70's. Right from the start, "In The Dead Of The Night" blasts with Jobson's excellent keys and Bruford's amazing drumwork. This album is as well drummed by Mr Bruford as any he has done before and since, just flat out phenomenal, (check out "Presto Vivace and Reprise" and you'll know what I mean). I'm not too familiar with Alan Holdsworth's work, but on this album he shreads the heck out of his guitar, yet at the beginning of "Nevermore" he picks acoustically so fast I can't even imagine how quickly his fingers must have moved, UNREAL! The only member for me who doesn't stick out is Wetton. I'm not a big fan of his vocals. He tends to strain quite a bit at times, about to either crack or croak. He needs the multiple layering he received on the ASIA albums. But the star of this album is Jobson. He's not mentioned much in the pantheon of keyboardists, yet here he's the king with his great use of his multiple keyboards and his mastering of the electric violin. Listen to his keys on "Alaska", it brings chills literally. One of the great things about this album is how catchy the choruses are mixed with the incredible instrumentation. There's not many bands that can pull off that type of mixture well; YES, GENESIS and KANSAS just to name a few could, yet with all the ego's in this band it's amazing they were able to pull it off so well. Is this the last classic symphonic prog album of the 70's? For arguments sake I'll open up the floor to you all....is it?.. or is there another? Just a tad under 5 stars...make it 4.75!

We have here the alumni of Yes, King Crimson, Frank Zappa, Roxy Music, Gong, and Soft Machine. How could this possibly go wrong? Sure, Jobson's keyboards sound way too cheesy on here (as they would two years later on Jethro Tull's album that must not be named), but there are some really tight compositions with a good dose of showmanship, which always compliments the music perfectly. "In the Dead of Night" is one of those unspoken classics of prog rock. The solo may be the greatest solo in prog rock ever (Holdsworth went on to play much better solos, but can they be called prog rock?). Wetton was never a great a singer, but once you get used to him you'll love those crude vocals of his! I can't really sense any weak moments here, so it makes no sense to analyze every single track. If you like the intricate side of progressive rock then this is a must! It is a good mix of symphonic rock sensibilities with strong fusion influences!

The last of the prog �supergroups� (at least during the 70�s) had everything to work. Could anyone imagine John Wetton (King Crimson, Family, Uriah Heep), Eddie Jobson (Curved Air), Bill Bruford (Yes, King Crimson) and guitar virtuoso Allan Holdswoth (Soft Machine) together? Four terrific, outstanding and seasoned musicians. UK however does not really gel. It was clear their differences: Wetton and Jobson wanted a more laid back, melodic prog direction, while Bruford and Holdsworth wanted to jazz. It couldn�t really last long. Nobody was surprised when both of the latter left the group.

While the band was not the dream team we may had imagined, the music itself was not bad. Actually, if you like symphonic prog with some strong jazzy parts you�ll probably like it very much, as long as you don�t expect anything special. After all, the playing is superb and Allan Holsdworth fans may find it a must have. For prog lovers this is a good CD, but hardly essential.

I remember that I was extremely thrilled when I read about the founding of this 'new progrock supergroup' (first named Alaska) and when I had bought it, I rushed to my room to listen to UK their eponymous debuut LP. After my first listening session I had a bit mixed feelings: I was delighted about songs like In The Dead Of Night, Preso Vivace And Reprise, Alaska and Time To Kill but tracks like By The Light Of Day, Nevermore and especially the final track Mental Medication were not really my cup of tea and I had a bit disappointed feeling about the final two songs of this album. Perhaps I am not up to the jazzy undertones and Alland Holdsworth his distinctive guitar sound, it's such a contrast to the mindlbowing symphonic prog songs, fueled by Eddie Jobson his Yamaha CS80 synthesizer wizardy (Presto Vivace and Alaska) and his spectacular work on the electric violin (Time To Kill). Looking at the ratings of fellow collabarators, I notice that there are almost as much 5 star ratings (a masterpiece) as 3 star ratings (just good), this illustrates my mixed feelings I still have when I listen to this album. I prefer their second effort because they sounded better as a trio and I still feel very lucky that I attented a concert during their Danger Money tour, what an unique band and what a pity that Jobson and Wetton clashed about the musical direction!

Believe me or not UK was my first Prog band. Leave alone PINK FLOYD and their “Dark Side of the Moon” which I heard a few months before, they are almost mainstream! I read about UK in rock encyclopedia issued in USSR in 1990; they were said to be as good as classy bands like GENESIS, ELP and KING CRIMSON. I never listened to any of them in that time, but I was caught by it at once. By some wonderful coincidence (caused by faith’ circumstances probably) I chanced to pick UK 2-CD set (two studio albums and a live one) from my father’s friend. I fell in love with it immediately. It was the most challenging, unique, strange, captivating yet melodic and enjoyable music I ever heard!!! Some songs became my earworms; I tried to learn more about the band members; I even made a cover on “In the Dead of Night”! Now I see some obvious flaws in it: lack of strong songwriting talents, show-up in musicianship, complexity for its own sake…fortunately, they are not so frequent and far from being annoying. Unique fusion of Symphonic Prog with Jazz-Rock provided with strong vocals, stunning guitar solos, excellent keyboards layers and violin shots and based on the best rhythm-section Prog ever known. After all, with persons like John Wetton, Bill Bruford, Eddie Jobson and Alan Holdsworth it simply couldn’t went wrong! Probably, the best example of Prog supergroup for me and many others. Highly recommended!

The best of British

UK were a short lived �??supergroup�?� with connections to and similarities with bands such as Asia, GTR, and Quango. The principal difference between those bands and UK is that UK did not see chart position as the barometer for success, instead making the sort of music which their collective backgrounds might suggest. It should be recognised that the decision to do so was particularly brave, given the perilous nature of prog's relationship with the music scene as a whole at the time of the band's formation in 1978. Incidentally, the band name is an abbreviation of United Kingdom, the real name of the country many mistakenly call England.

The principal common denominator for the band members is King Crimson, with Bill Bruford and John Wetton constituting half of UK. Journeyman violinist Eddie Jobson had also crossed paths with KC along with Curved Air and a number of other bands listed on this site. Guitarist Allan Holdsworth, who had cut his teeth with Jon Heisman in Tempest (UK) completes the quartet.

The album starts with a 13 minute track in three sections "In the dead of night". The piece is a curious amalgam of Yes, King Crimson, Uriah Heep and ELP. The ELP style is especially apparent in Wetton's delivery of the lyrics which sound similar to those on "Karn Evil 9, part 1". Wetton also brings with him some of the harder rock influences he had picked up during his more recent time with Uriah Heep. Jobson's keyboards backed by Bruford's drumming are very Yes orientated, the overall flavour of the track being uplifting and positive. The second part, subtitled "By the light of day" slows things down with Jobson adding some fine swirling synthesisers to Wetton's softer vocals.

The only other track on the first side is "Thirty years". This starts out with some soft reflective lyrics: "Sometimes we need time to spare, Feeling of missed opportunity, Spare a tear and douse your bridge... burning 30 years and on the ledge.... learning". This gives way to an improvised solo section featuring mainly Eddie Jobson on keyboards and violin.

While the majority of the songs are composed by Wetton and Jobson with occasional contributions by Bruford and Holdsworth, the instrumental "Alaska" is written by Jobson alone. The track starts with a "Fanfare for the common man" like synth fanfare leading into an organ driven workout. "Time to kill", which segues from "Alaska" appears to continue the Alaskan theme, although the location is not actually revealed. Lyrics such as "Sick of solitary holidays, 'cause I never get away from here" and "Holding up this cold caboose, captivity even takes my lucid thoughts away from me" tell a tale of depressive isolation.

The final two tracks see the under-employed Holdsworth finally contributing to the songwriting. "Nevermore" continues the theme of "Time to kill", a trip to Soho ("Oh to go Down to Soho, black tie night out or hobo outright") now even seeming attractive to the lyricist! Holdsworth's guitar finally makes a notable appearance towards the end of the track, but it is Jobson who continues to dominate the solo opportunities. The album closes with "Mental medication", probably the least inspired track on the album. While it has all the right ingredients, the instrumentation is muddled and ininspired.

In all, a fine one off album by a respected group of prog heavyweights. It is good to see that they decided to stick to the knitting, and do what they had done best in their various former bands. Unfortunately, 50% of the line up would be gone before the band's second and final album, with only Jobson and Wetton hanging around to record it.

What is considered to be the last hurrah of prog in the 70's.

In the late 70's, Bill Bruford, John Wetton, Eddie Jobson and Allen Holdsworth formed UK, a seasoned group of prog veterans that each brought a unique perspective to the band.

UK's first album, UK, is a very good debut, but unfortunatly, the interest in prog was diminishing, and this album didnt get the recognition it deserved. Each song is a great prog peice, but there are several that stand out from the rest. In The Dead of Night/By The Light of Day/Presto Vivace and Reprise are all seperate tracks but together form a longer and quite good peice of music. It starts of with a guitar chord repeating on a rythmn and slowly adds keyboards, bass and drums into the mix, followed by Wetton's voice. All of the musicians hold their own on this album and their solos are quite good. I especially like Bruford's drumming on this album.

Overall, this is a very good prog album, but unfortunatly didnt do so well as the music world was changing. But it now seems to get rated as a high quality peice of prog. You could almost say its a precursor of what Rush would sound like in the 80's. So I say: Get it.

I�ve been told time and again that this album is a prog rock classic. I lent it one time and listened to the album for a couple of times before I decided it wasn�t for me. I found it too eighties sounding and not classic material at all. I bought the album this time and I am far more intrigued this time around. The keyboard sounds that Eddie Jobson use on the album is very eighties sounding, but I�m not bothered anymore. Instead I really enjoy those sounds, so I guess it was a question of maturity for my part. My references are simply more developed these days.

Jobson, Holdsworth, Bruford and Wetton. Four outstanding musicians in a project together. This could have been all noodling but it�s the exact opposite. Beautiful melody lines and exciting arrangements is what I think about when listening to this album. For 1978 this must have been pretty futuristic sounding. I haven�t heard any other album from that time with keyboard sounds like this. The drum sound is also very eighties like. In fact the whole production reeks with eighties vibes. But it�s in a good way. What I can tell you is that albums like Jethro Tull�s A and Broadsword and the Beast and most of Rush eighties albums owe a lot to this one. UK is no stranger to Dream Theater either.

The music is very keyboard driven and it�s not very often you notice Allan Holdsworth. When we do though his work is brilliant. Listen to his solo in In the dead of night and his soloes in the song Nevermore, just brilliant stuff. He is not the most visible though, that price should go to Eddie Jobson who does everything perfect on this album. What a master he is on the keyboard and occasionally on the electric violin. His harmony vocals are also astonishing and helps me to swallow the weaker lead vocals from Wetton. If you have heard his contributions on keyboard on the Frank Zappa song Lemme Take You to the Beach from the album Studio Tan, you wouldn�t be so surprised about the futuristic sounds he creates on his keyboards but I only noticed his presence on that song recently. Bill Bruford delievers one of his best performances and a very different one from what we are used to from him. Wetton plays flawlessly of course and I must say that his vocal performance here is the best I have heard from him ( I�m not a big Wetton fan. In fact I dislike many of his past perfomances). He isn�t a big singer, but I think it works ok here.

So this should be a 5 star album right ? Well not exactly. I hate to come down on an album that I really like, but as perfect as the music might be, I don�t care much for Wetton�s vocals. He does an ok job but nothing more. I can�t give the fifth star when I think the vocal performance could have been better. This is a big 4 star album and highly recommendable allthough not completely flawless.

Talking about the end of the 70's,things were going really wrong for art rock bands,as progressive rock was completely out of fashion.However,two members of (disbanded by that time) KING CRIMSON, vocalist/bassist John Wetton and drummer Bill Bruford decided to form an all-star prog rock band.Failing to recruit Rick Wakeman,they approached keyboardist/violinist Eddie Jobson (ex-''Roxy Music''),while Allan Holdsworth,noteably known for his work with Canterbury bands ''Gong'' and ''Soft Machine'',was the guitarist of the group.1978 sees UK releasing their simply eponymous debut on EG Records/Polydor.

...and with such a line-up you can not expect more than a thrilling work.Split between radio-friendly vocal-parts and keyboard-dominated complex instrumental pieces,''UK'' was definitely a great product of its time.Eddie Jobson,mayby the less famous member of UK,meant to be their driving force.The album is totally based on his awesome electric violin and the use of Yamaha CS 80,an analog synthesizer of pure power.Especially his keyboard work is absolutely fantastic,ranging from creating superb electronic landscapes to constantly battling with his violin and the rhythm section.Holdsworth guitars are carefully used focusing on nice solos and distinctive melodies,while Bruford is simply the familiar power behind the drum kit.Wetton bass can be dynamic and ethereal at the same time and exactly the same characteristics we meet in his voice.Propably you'll find some parts of the album close to easy-going rock with all those multi-vocal harmonies,but then is when you'll be blown away by the great interplays between violin/keys/synths/bass/guitars and your familiar time signatures....

I find this work to be so extremely well-crafted and carefully arranged,that I almost consider it a crime not to owing it.Exactly the same thing I consider for every progressive rock follower out there.A masterpiece of art rock,despite being created in prog rock's worst period!

'Mental medication... need your inspiration...'

U.K.'s debut album was one of the strangest surprises of 1978. It was too good to be 'corporate rock', although it threatened, sometimes, to topple over the edge. It sounded less poetic, and less gripping, than King Crimson's best ballads with John Wetton on vocals, although Wetton (and Bill Bruford) were probably trying to recreate some of traditional King Crimson's more lyrical moments. Finally, it was far less jazzy than Bill Bruford's solo album FEELS GOOD TO ME, which had appeared in 1977, even though it featured that album's main soloist (Allan Holdsworth) in a starring role. A mixed bag, that's what it was.

U.K. may have its moments of tedium, but the astonishing thing is that, on the whole, it works extremely well. It is no great masterpiece, it's not going to change anyone's life, but it's full of catchy tunes, energetic playing and inspired solos, be it on electric guitar, electric violin or on Eddie Jobson's wonderfully old-fashioned keyboards, with their very 'fat' sound. It even contains moments of unexpected, near-melancholic beauty.

I'm not surprised this incarnation of the band didn't last. Record companies must have longed for U.K. to develop ever more commercial material (Wetton took the hint when he helped found the hair-raising Asia), but there was no way a restless explorer like Holdsworth was going to travel the seven seas churning out the same old tunes each night. Holdsworth and Bruford soon left the fold, with the latter trying desperately to turn his highly adventurous band 'Bruford' (also featuring Dave Stewart and Jeff Berlin) into a viable proposition. When Bruford and Holdsworth finally parted ways, the latter reverted to playing colleges and medium-sized clubs, allowing other old-timers to turn themselves into shameless stadium-rockers.

Anyhow, this album should definitely be in the record collection of everyone who's interested in the careers of the four musicians involved. Recommended; three and a half stars.

I wasn't listening to Prog back in the late seventies but those who were must crapped their pants when they heard Bruford, Wetton, Holdsworth and Jobson were making an album together. This sort of reminds me of the let down I had with ASIA's debut when you consider the lineup. Certainly this is a lot better than that, but still this just doesn't click with me. I'm not a fan of the synth sounds and this music just doesn't grab me. I guess i'm expecting too much from this lineup, although put these guys together in 1973 and I bet they'd kick ass !

The highlight for me is the opening track "In The Dead Of The Night". This song is a favourite of Alex Lifeson as well. I'll quote what Alex had to say recently in the "Guitar Legends" magazine I have. "Alan Holdsworth has an amazing, not-of-this-world liquidity. What a genius ! His fingers are constantly moving. Pulls make up the bulk of his playing. I don't think he does much picking. I was listening to Holdsworth around the time of "Moving Pictures" (1981), and you can indirectly hear his influence on my playing on "YYZ"". Nice. Bruford is outstanding in the intro, what a drummer this guy is ! Some nice bass from Wetton as well. Pulsating synths throughout. Vocals before a minute. I like the chorus. Holdsworth after 3 minutes takes the lead with some mournful melodies. "By The Light Of Day" opens with vocals and spacey synths.The synths are beautiful after 3 1/2 minutes as they seem to create waves of sound.

"Presto Vivace And Reprise" opens with Bruford doing his thing as keys come in. This is all so incredibly intricate. Very impressive. They then reprise the first song as those pulsating synths are back. Nice. "Thirty Years" is so atmospheric and spacey early on. Jobson plays violin on this one. Drums are so crisp and Holdsworth offers up some excellent guitar work especially 5 1/2 minutes in. Wetton vocals are great a minute later. "Alaska" has lots of synths for almost 3 minutes then it kicks in with an uptempo melody. Love the outbursts of guitar. This song blends into "Time To Kill" with vocals right away in an uptempo melody. Not a fan of this one. "Nevermore" opens with complex and intricate guitar. Vocals after a minute. Some prominant bass for a change is nice. I like the spacey section late. "Mental Medication" is mellow for 1 1/2 minutes when it kicks into gear. Prominant drums and synths. Piano comes and goes. The violin 5 1/2 minutes in is really good.

A good debut from an all star cast but I prefer the followup "Danger Money" .

An absolutely stunning debut.

UK represents the last gasp of the Golden Age of Prog, and does so in a most competent and professional manner. One could be deceived into thinking that this is a concept album, as the quality and the sound (esp. Jobson's keyboard work) is maintained throughout the album. Also, this album features some of Holdsworth's best guitar work. I swear that his solos here match Fripps when Fripp was at the very top of his game. Add in Wetton's comfort zone in the grey area between prog and pop, and Bruford's talents on the drum kit and you have a truly exceptional prog album at a time when prog was rapidly devolving.

The first three tracks are really a suite. The first contains one of the best guitar solos ever. Bruford's work on the second track shines. The third gives Jobson a chance to show off on his violin.

Thirty Years sums up this album. Atmospheric keyboards and guitar work followed by a fast section worthy of the most talented prog bands. Switching tempos and atmospheric settings is a motif that defines UK and they pull it off well here.

Alaska/Time to Kill: I'm reviewing these two together because Alaska is really a really great intro to the next song. Alaska is the better part of this. It's another track where Jobson gets a chance to stretch his legs. Time to Kill benefits from such a beautiful introduction.

Nevermore/Mental Medication: These get combined because they are both Holdsworth tracks, but both enjoy the benefits of Jobson's atmospheric keyboards and the trademark tempo changes of UK. On my first listen I would have tagged them as weaker tracks (along the lines of Time to Kill) but repeated listenings have forced me to re-evaluate Holdsworth's compositional and playing skills. These are gems, even if they are gems in the rough.

Anyhow, this is a masterpiece. It's not quite Going for the One, but it is one of the best examples of the late Golden Age ever recorded on vinyl. Highly recommended. If you haven't heard it yet, get it.

The debut album from this prog rock supergroup.

It contains well known members like John Wetton and Bill Bruford. Compared to that other supergroup from that era, ASIA, U.K did symphonic prog rock.

This album is a blend of very technical Canterbury Scene, fusion and symphonic prog. The music is pretty playful and fluent, with some good melody lines. The instruments is the classic guitar/moog/bass/drums setup. The first track is a more prog rock track than the more jazzy style the album evolves into on the rest of the tracks. At times, this album feels like a Canterbury scene album. OK, it is more serious than the normally flimsy and tongue-in-cheek Canterbury albums, but it is still in that ballpark. The musicianship is also really superb.

U.K is covering the most important bases with this album and it is the last great prog rock album from the 1970s. I can only agree with the other reviewers here and recommend it warmly.

4 stars.

Nevermore

Despite long careers in other bands, this album is one of the finest hours of John Wetton, Eddie Jobson, Bill Bruford, and Allan Holdsworth, respectively. The music is completely loaded with these people's musical identities; the very distinctive voice and bass guitar of Wetton, the equally distinctive and totally unique guitar sound Holdsworth, the amazing keyboard and violin skills of Jobson, and the intense and complex drumming of Bruford. All is here, often competing for attention, but never allowed to overpower the very good compositions. Sadly, this as the only album thee four men did together, as for the next UK album only Wetton and Jobson would remain.

A masterpiece of progressive Rock!

This, UK's first and most significant recording, was somewhat of a beacon in the progressive music wasteland that was 1978. Born from the scraps of King Crimson's RED with the fluid Charlie Parkeresque guitar of Alan Holdsworth filling in for Fripp's more angular voice, and coupled with the youth and imagination of keyboard player/violinist Eddie Jobson. There appeared to be a new opportunity for these creative musicians to elevate their art beyond the pompous artifice of many of their contemporaries. Unfortunately this would only hold up for this one record. In the Dead of Night, and Nevermore are certainly classics, and the album remains essential, but with the departure of Bruford and Holdsworth before follow up Danger Money, the band's promise was never fully realized. If only...

Thatcher's Children Spit the Dummy

Like the Real Madrid that David Beckham signed for, UK was a collection of hand picked galacticos that their respective employers hoped would trample the opposition underfoot and lift all the silverware on offer. Sadly for Becks, he won precisely squat in Spain but UK confounded the theory that a team is more than the sum of its parts on this stunning eponymous release. Whereas Los Merengues resembled a Frankenstein in shorts, their musical equivalents played with a verve, restraint and panache that flies in the face of both holistic wisdom and the prevailing Zeitgeist of 1978.

Progressive music is littered with supergroup pileups along its arterial highways, to wit Blind Faith, Paice Ashton Lord, The Firm, 801, Beck Bogert Appice, Badger, Tin Machine, and perhaps most pertinent to this review: Asia. The latter always struck me as a family saloon production model UK, with the addition of some nice comfy upholstery, a drinks holder (Wetton), a GPS that couldn't be overridden by its drivers, furry dice, depersonalised plates and some dangerously balding tyre fitters prone to pumping in too much air. I mean come on, actually stooping to the name Asia just to ingratiate themselves to a target audience - Is there a supermarket chain called Treats For Fatboy R'US?

That said, this album is miraculous on at least two fronts: at the time of its release prog was treated with all the restraint extended to a bouquet at a greenfly convention while the music contained herein is perhaps the finest realised by any proggers at the 'spiky' end of the 70's. While Yes were being pelted for Tormato, ELP were having sand kicked in their faces on Love Beach, Genesis were shrinking in inverse proportion to the Collins ego and Floyd's inflated boars were negotiating a very low wall, UK appear to have sneaked out this magnificent offering to very little fanfare. Messrs Wetton, Jobson, Holdsworth and Bruford require little endorsement from this reviewer given that their talents have been illuminated from within King Crimson, Frank Zappa, Yes, Roxy Music, Family, Curved Air and Soft Machine. I do have to confess alas that Holdsworth's playing has always left me completely unmoved on anything he contributed to prior or since, as I find his tone, articulation and phrasing utterly predictable and one dimensional.(I guess it's my loss but his legato guitar style is indistinguishable from a synthesizer with a single patch memory to my ears)

The technique of splicing radio-friendly choruses between longer sections of challenging and chromatic instrumental writing is used to great effect throughout this album. For those of a cynical inclination (and let's face it, I am) this could come across as crassly calculating but such are the effortlessly seamless thrills on offer here, I am delighted to throw these charges out of court. Case dismissed m'lud.The listener's short term memory is filled with nagging pop hooks that are very hard to dislodge, while at a deeper level, the subconscious idles patiently in assimilating the instrumental wizardry until such time as it re-emerges on your way home from work on the train as erm... musical Tourettes (much to the consternation of your fellow commuters)

Dng nat gump da goolie bizzy kup

Are you feeling all-right son?

Oh yes, sorry. I have a rare medical condition....and I think I've missed my stop.

I have often bemoaned the borderline gauche aspect of many prog lyrics but here, the lads do at least display some genuine and mature secular concerns. There is a particularly British melancholy at work, which shares with that of Porcupine Tree and Floyd's Dark Side of the Moon, the articulation of a quiet despair at the futility of a shrinking youthful idealism in the face of both impervious reality and the ageing process. These are transparently not rugger drinking songs as they deal with a confrontation that prog just kept putting off until it was too late: The Yes men were yesterday's men exiled forever to a penal institution perched on the forbidden rock of the island of BOF. Kudos to UK for recognising this was real and it was happening now.

Claustrophobic British paranoia, self loathing, caustic bile, alienation, the insidiousness of the class system? Step right up and climb aboard the sceptic isle:

Are you one of mine who can sleep with one eye open wide? Agonizing psychotic solitary hours to decide Reaching for the light at the slightest noise from the floor Palms of hands perspire heart goes leaping at a knock from the door

Rich and powerful ascend complicated bends to be free To indulge in what they will and jaded thrill or fantasy Shuttered windows that belie all stifled cries from within and prying eyes are blind to proceedings of the kind that begin in the dead of night

This is Selling England by the Pound 5 years hence written by people who actually have credible material concerns (unlike Genesis, but at least Peter G bailed much earlier than most as he guessed correctly Prog was dead in the water) James Callaghan's tenure as British Prime Minister had been marked by crippling industrial action instigated by a trade union movement he dared not alienate for fear of losing their buttressing support. Considering 'Sunny Jim' was followed by the post-modern witch of Thatcher and her 'greed for all' manifesto, the hopelessness imbued in Wetton's delivery is remarkably prescient.

The instrumental writing cleverly imitates the neurosis that the lyrics describe with punning use of compound meters, unresolved or tense harmonic denouements plus shed-loads of fiery spleen from Wetton, who has rarely sounded this grumpy. Therein lies the paradox of much great art: it often exists in spite of, or is the reaction to controls designed to stifle such sedition and dissent. What would rock music sound like from a utopian paradise whose citizens are free from every conceivable material want? Like a neutered Dream Theater probably (You mean they covered material from this album? Whoops... but how haplessly and laughably ironic, being tantamount to a housebreaking of intellectual property)

Robert Fripp was correct. Progressive Rock at the outset fulfilled a need of its audience. Thereafter the music industry's vampiric nature had to create a need amongst that same demographic to sustain the emergent monster's cash and blood flows. By 1978 the tanned balding prog beast was but one more Dirty White Mother from the bloated corpse in the swimming pool. It seems a great shame that UK are portrayed by Thatcher's children as typical of the reviled genre as this album represents one of the very few avenues that the proggers could have steered into to escape the bloodthirsty mob of punks on their trail. Instead, they cut their hair, trimmed their track lengths, shrank their ambition and targeted an audience credulous enough to believe that the Kalahari Kaisers are an ice hockey team (The Far East - Selling England by the Yen)

Excellent debut album. Great musicians - half of fresh ( for the moment) King Crimson team (Bruford-Wetton) plus great gutarist from Gong Allan Holdsworth and Eddie Jobson ( Roxy Music).

From very first sounds you feel how great this music is. Highest level of musicianship, melted experience from explosively nervous King Crimson and Canterbury/fusion of Gong. All the best in one place and very tastefully prepared.

It's even difficult to speak about this album as about debut, all musicians were wellknown professionals yet. So, let say - fantastic beginning of great project.

Music by itself IMO is no way symphonic prog. Main space is filled by Crimsonian heavy prog and heavy fusion of middle period Gong. All other styles are more additives,spices, but all the dish is deliciously spiced!

Almost unpossible to find weak moment on all the record! Yes,it was a bad time for that kind of music, but this album is absolut swansong of progressive seventies.

Must have for any person,interested in progressive rock!

Bruford, Holdsowrth, Jobson & Wetton: UK's One Album Prog Supergroup

The debut album by this incredibly talented and unique band is indeed a very impressive debut from the musicianship point of view with John's agressive bass lines and particular voice, Eddie's raving violin and future-esque keyboards, Allan's unique guitar tone and Bill's complicated rhythms, a Prog fan really can't ask for more, can he?

No, not really. The album has it all from odd time signatures, which are not that odd really for the Prog fan, to plenty of delightful and inventive solos, plus loads of variation within one song. Clear example of this is the 13 minute suite called In The Dead of Night which compromises the first three tracks; you got the very modern keyboards by Eddie shining in rapid paced passages and some very soft and futuristic ones, then there's Allan's always singular jazzy guitar expressed with extreme delicacy and finally the unmatchable King Crimson rhythm section of Wetton and Bruford.

The other highlight would be Thirty Years which is pretty much more of the same, and the last track, Mental Medication which evolves from John's calm and emotional vocals to a talent fest featuring a very Ponty-esque violin solo, a splendid guitar solo, a extremely catchy but at the same time complicated rhythm and a wonderful sparkling keyboard solo, all in all showing what U.K. could offer.

While I wouldn't consider it a classic Prog, UK's debut stands as a very strong and unique Prog album released in a time where most Prog bands were loosing their steam, for that UK deserves no less than 4 stars and it being listened by all Prog fans at least once.

If ever there was prog, this is it. This was extremely innovative. I purchased the disc when it first came out in '78. We had never heard anything like it before. Listening to this today, it is less innovative to be sure, but it has aged extremely well. Strange how their second disc, Danger Money, never really did anything for me. Sure, I bought that one as well when it first came out, but it never came close to their first one.......though I still play it now and again. Anyway, if you don't have this disc or have never heard it before, go get it.....you're in for a treat. We'll not see the likes of these musicians again for quite some time.

MILESTONE ALBUM!PURE MASTERPIECE!MONUMENT IN MUSIC!I don't know,honestly what else could be sayed about this monumental piece of true artistical genius?!?!!In fact,my humble review is a modest tribute of respect and endless admiration to something FABULOUS!This album had a major impact in music at the time of it's release ,it was before time,it was a true atomic bomb in music,something that even today is giving subjects ,themes of discusion how it was possible for such a sensational album to be released in 1978 - already 32 years ago,and it is still so modern and actual!OK,it was supergroup-not necessary to mention the monsters which composed it,but how was possibly to create such an intelligent amalgam of brilliant songs,complicated but in the same accessible,ucomercial but in the same time with a huge impact on so many people at that time?!?!?!It was a magic formula that wasn;'t found even on the second UK studio album!This first album is one of the most essential release in the history of music under all aspects!The musicianship is scarry,the technical aspect is mindblowing,the conception is outstanding!There aren't enough adjectives to appreciate this sensational album!Each musician was on top of it's inspiration and the cohesion of them was PERFECT!Holdsworth became world famous with this album,Bruford made a sensational appearance here,offering a spectacular prove that he is the best progressive drummer and Wetton found te best vocal tones after the KING CRIMSON era and just before starting a brilliant new chapter with Asia.From the first note and the superbe central musical theme which comes and comes from time to time during the album,to the last accord,every audition of this mythical album is offering moments of pure enchantment and pleasure,because is that kind of album that every time when we are listening it,we find new things and new ideas well and intelligent hidden,and it never loose it's endless charm and fascination!!!FABULOUS! 500 STARS for a monumental masterpiece!

Symphonic prog fusion with slight hints of disco(?)

What do four veterans of the prog rock and jazz fusion circuits do at the end of the 70's, a time when both genres were looking ''un-cool'' in the eyes of the popular domain? Logically, they make an album that merges prog rock and jazz fusion. For the average prog or fusion lackey, this crossover is splendid. But, there are quite a bit of cheesy vocal spots.

I feel that the lounge singer feel of Wetton's vocals is making me picture disco in the musical fabric. Yes, I'm saying that there's a possibility that one of prog's carcinogens is integrated into the sound, yet the overall fusion sound covers up any obvious traces of disco.

This album is Eddie Jobson's baby as he has a hand in writing every last possible track, and the sound that makes UK slightly disctinct (other than Holdsworth's guitar work) is that CS80 Polyphonic that purges to the forefront of the sound here. It's the main keyboard being used, and I like it's sound because it's ''futuristic'' and it's a break from the Hammonds and mellotrons and Moogs (oh my!). Wetton's bass occasionally is of notice, but it doesn't serve much more than the role of rhythm which is fine by me since it's done well. And I need not comment on Bruford's drumming.

The opening suite takes most of the credit for me liking this album as it's got a poppy, jumpy feel in the beginning and ending with a serene middle. ''Alaska/Time to Kill'' is also of notice for the ELP-esque explosion halfway through the first part and the fusion breakdown on ''Time to Kill''. There's also an amusing fusion dance-fest in the middle of ''Mental Medication''. The two 8-minute numbers are slightly weaker due to length issues, but both feature impressive guitar mechanics with a brilliant acoustic guitar performance at the beginning of ''Nevermore''.

Recommended if you enjoy sleazy jazz fusion, ''futuristic'' sounding keyboards, and/or fans of any of the bands that Jobson/Bruford/Holdsworth/Wetton were a part of before this (possibly excluding mid 70's Crimson).

When I ordered this 8-track from Columbia House, I had no idea what it was. I have always loved taking risks because I have found that I discover a lot of great bands that way. The description of this album in the Columbia House catelog said it was "jazz-rock" and that of course is what sold me on it. When the 8-track came in the mail, I had just got home from a hard days work and was very tired. I stuck the 8-track into the stereo and laid down on my bed and went on a trip I never forgot. With my eyes close, I could see the music. I fell in love with this band and it was later that I discovered the real pedigree that made up the line- up for this amazing band. Yes, I was listening to U.K. before I even listened to King Crimson, and it opened the door to so much for me in the way of music.

The first three tracks are a suite. In the Dead of Night is the first movement and a great introduction to the music that follows, somewhat moderate in tempo, but attention-grabbing all the same. By the Light of Day follows immediately after and slows down the tempo and Eddie Jobson gets to show off here with some extremely beautiful swirling music which works in counterpoint with John Wettons vocals. The third movement is Presto Vivace and Reprise which is exactly what it is: Presto (very fast) Vivace (Lively) and Reprise of the original theme. Talk about technical beauty, this is where you really get to hear for the first time just how technically amazing John, Bill, Eddie and Allan really are and believe me, you will hear it many more times throughout the album.

The next track is Thirty Years. This one starts out very symphonic sounding. Expansive and beautiful, the instruments take you to a distant land and the vocals seem to plead of long, lost freedom that may never be obtained. The music takes a sharp turn which will catch you off guard, and the foursome gets to show off their technical prowress once again.

Alaska/Time to Kill make up the next two tracks and these songs are interconnected. Alaska is instrumental and starts out with a cool ambience that makes you think of being in the middle of a wind blown frozen expanse even if you don't know the title of the track. I love this one for the way it carries the listener away. Again the music takes a sudden turn and It almost seems like you have been picked up and thrown flying across the landscape and you are watching it speed past underneath you. The following track starts in immediately with probably the most commercial track on the album that is if you can consider any of this commercial at all. The nice thing about this track is during the instrumental break and how it builds up to screeching and screaming as the final chorus brings all the chaos back down to ground level again.

Nevermore. What a beauty of a track. This is the best one of the bunch. Probably the closest thing to jazz freeform on the album, but simply amazing. Technically wonderful. Almost beyond words. And so full of surprises throughout the entire track. You just have to listen to it and be amazed. Enough said, this one speaks for itself.

The last track is Mental Medication. I never really liked the vocals in this one, but the instrumentals in this one are similar to the instrumentals in Nevermore, but less freeform and broken up into three major rhythm changes. This redeems the song quite nicely. Unfortunately the last verse of the vocals ends the album quite quickly and for me it gives the album a weak ending. However, even that can not take away from the masterpiece that this album is. This is essential for a prog rock library. If you don't have this album (and the follow up album "Danger Money") or have never heard it, you are missing a major part of the essential prog library. Get your hands on this, you will not be sorry.

From the Chicapah "how the hell did I manage to miss out on this one?" school of feeble and diminishing thought I humbly and with vigor slap my forehead whilst uttering a loud Homer Simpson "Doh!" prior to the commencement of writing this essay. Like many things in my sordid history I've approached this heralded but short-lived supergroup's work bass- ackwards by digesting their second LP a full year ahead of procuring this, their initial foray into the competitive world of prog rock. While I liked a lot of what I heard on "Danger Money," I still gave it a rating only a few notches above fairly average and moved on, thinking that I'd come across their debut disc in no time. However, the rule that says whatever album you're looking for will be readily available until you want to find it kicked in and it suddenly became as scarce in the used record bins as "Live Yardbirds." Lucky for me I discovered a copy sitting pretty in the stacks recently with relatively low scratch mileage on the odometer and I grabbed it up greedily. I'm pleased to report that I'm blown away by it.

Of course, when I consider the royal pedigree of this prog animal I shouldn't be too surprised. Quality DNA strands inherited from the ancestry of Yes, King Crimson, Roxy Music, Uriah Heep, Frank Zappa, Gong and Soft Machine all can be detected in the rich genetic makeup of this band yet they avoid sounding all that much like any of them in particular. Runaway egos and stubborn stances usually keep these mixed marriages from ever producing anything memorable but this album is special. Indeed, in a rare instance of the prog planets aligning perfectly, it achieves a utopian symmetry of immense talents that dreams are made of. In '78, as disco and punk were preparing to puncture the prog dirigible full of holes, these four hardy survivors of the golden years of the progressive decade came together to mold a classy, creative tribute to all that makes our revered genre so appealing and aurally addictive. UK touches all the bases during its lead-off grand slam home run trot while retaining a unique personality all its own.

What better way to introduce yourselves to the prog planet than with a stupendous, side- long epic titled "In the Dead of Night"? I can't think of a more impressive ballroom entrance. The opening tune that bears the same moniker features a dynamic intro in 7/8 time that sweeps you off your feet like a prairie tornado. Bassist John Wetton's passionately strained vocal is very persuasive in getting you to buy into their desirable product, keyboard wiz Eddie Jobson's deeply layered synths paint a stunning backdrop, icon Bill Bruford's drumming is nothing short of incredible in its supernatural precision and Alan Holdsworth's liquid guitar runs place a stamp of inimitable originality on the track, making it irresistible to mortals. In a word (two, really), it's a thrill ride. The second act, "By the Light of Day," appears just as the previous song dissolves into an ethereal mist courtesy of Eddie's mastery of the electronic realm. John's voice becomes silky in texture to match the mood as the group slides effortlessly into a soothingly smooth 5/4 movement that ends in drenching tidal waves streaming inland from a synthetic sea.

Part 3 is "Presto Vivace and Reprise" and it's here that the fruits of Jobson's apprenticeship in Mr. Zappa's magic shop surface and the band pulls off the energized, complex staccato flourishes with nary a hiccup before they revisit the riveting, powerful original theme. (Man, do Bill's toms sound great or what?) The last and longest number is "Thirty Years" and it begins with several minutes of serene glory akin to witnessing a desert sunrise and the piece displays the composers' wise respect for contrast. It then abruptly explodes into a driving, colorful rock section that allows all four to fully express their individuality without losing their unified direction. They then retard the pace slightly to dramatize the effect of the towering finale and the peaceful fadeout. Magnificent!

An ominous drone slowly pulls back the curtain on Eddie's "Alaska" as a trumpet-like synthesizer line streaks across the frozen sky, leading you to a soundscape that artfully captures the essence of being alone in an untamed expanse of nature. The second half is as electrifying as a dancing aurora borealis display in the stratosphere overhead and, to these ears, an endearingly sincere homage to Emerson, Lake & Palmer. The tune segues without a crease into "Time to Kill," an intriguing, highly involved song in which Jobson shows off his prowess on the violin as the rest of the band hums steadily like a well-oiled machine behind him.

"Nevermore" is both exquisite and utterly transcendent. Beautiful guitar work from the hands of Alan is followed by jazzy, unorthodox chord patterns that hold the listener in rapt attention. The solo sparring that takes place between him and Eddie is breathtaking and must be heard to truly appreciate. The mystical interlude that evolves out of that ferocious exchange is also unexpected and the cut's majestic ending is awe-inspiring. "Mental Medication" is the closer and its eclectic modern jazz beginning keeps you from getting too comfortable on the sofa. The group then slips into a squeaky-tight groove that they take playful liberties with before leaping into a fiery jazz rock/fusion segment that makes your head swim as you try to keep up with their enthusiastic attack. Hot stuff.

Alas, this masterpiece would be the only studio offering we'd get from this lineup as Bruford and Holdsworth developed cold feet when they came face to face with a long-term commitment and bolted from the altar as soon as the band's profitable tour came to a close. Just as well. Lightning doesn't usually strike twice and they may've come to the conclusion that they'd never manufacture anything this fantastic and cohesive again as a foursome and it was best to get out of UK town while the getting was good. Mission accomplished. Adios, muchachos, vaya con Dios. No matter what happened post partum, the album they collectively gave birth to is a darn near immaculate example of prog rock at its most excellent and it has stood the test of time in exemplary fashion. I may have arrived at the UK coming out debutante party way over three decades in arrears but it still sounds as fresh and vital as it did in '78 and that's a cause for a belated celebration and many more spins on my turntable. If you don't have it already, add it to your wish list. Now, if not sooner.

A supergroup that needs no introduction so let's get straight to the strange mish-mash of songs here.

In The Dead of Night - Light of Day - Presto. A trio of songs that opens the album with a blast. It reminds me a lot of Yes's Drama album. The sound is similar and the style is similar, with muscular bass & drums that compete with the dazzling guitar work from Holdsworth and the rather dreadful 80s sounding keyboards. The three parts form a unity but it's obvious that short and tight compositions have replaced the epics of old. The music remains dynamic and musically interesting and Wetton is great on the vocals here.

Thirty Years is a weird song, starting in a jazzy lounge mood with new-age synth effects. Halfway in we get treated to a fantastic snappy riff dancing in sync with the reckless time signatures that Bruford lays down. Unfortunately, around minute 6, Wetton deemed it necessary to spoil the fun by switching to an awkwardly fitting and ugly anthemic vocal part that is totally disconnected from the rest. Could have been a classic this one.

Alaska. Hear those synths! Neo-prog is arriving in a big way. As on the first track UK reminds me of Saga. The synth intro takes a while but when they get into the groove, it's fantastic, citing ELP in a very adequate way. One of my favorite tracks here. Unfortunately it's also the end of the album as far as I'm concerned

Wetton stretches the limits of his vocal chords and the extremities of far-fetched and strained vocal delivery on Time To Kill:. The verses are dreadfully contrived and the chorus must be one of the worst AOR has to offer. Oh yes, Asia is not far away anymore when hearing this. Another attempt at jazzy singing follows on Nevermore. It's quickly given up in favor of some cheap jazz-pop. Simply unlistenable. Fast-forward to minute 3 where the band indulges in a synth heavy jam. Not bad, not necessary.

Mental Medication could have saved the album but this hybrid of jazz-pop, AOR and keyboard pyroclastics is simply too much to take. I sure can see where Dream Theater got some of the cheese and the senseless soloing from.

This albums contains the type of mindless prog solos and AOR-leanings that made me stop loving prog a few ages ago. I can see now there is still some good stuff as well, and Holdsworth is a marvel. But I'm not sure if it's enough for 3 stars. There's too much that drags it down.

While writing my reviews of the '70s King Crimson albums I recalled that I had a copy of this album lying around, so let's give it another spin and see if my opinion of it will change this time.

The self-titled debut album from the supergroup called U.K. was released during a very turbulent time in prog rock history which makes it all the more unique, but is this uniqueness enough to uphold this record as one of the masterpieces of progressive music? The album opening suit consisting of In The Dead Of Night/By The Light Of Day/Presto Vivace And Reprise definitely starts the album on a high note of virtuosity from all the four members, but this is unfortunately as good as this release will ever get.

What follows the three first opening tracks can only be described as a fusion, or the lack of there-of, between Holdsworth's jazz-guitar soloing, Jobson's very '80s sounding keyboard sound while mixed with John Wetton, who sounds almost the same as he did during his years in King Crimson. Bruford rounds up the lineup, but I don't see his contribution as stand-alone such since he functions mainly as the glue that holds this collective together. Just listen to Thirty Years and you'll see what I mean!

Alaska is where the sound becomes atmospheric but without any real significant meaning to it, making me think that the first half of this track is deliberately wasting my time. The second part is a real blast and brings out all the best qualities of this collaboration, which in the end becomes a very awkward experience since I tend to skip the first 2 minutes out of this 5 minute song just to get to the good stuff. Time To Kill continues the groove that was achieved towards the end of Alaska and everything works nicely up until the very cheesy chorus section which ruins some of the momentum for me.

The final two tracks are dominated by Allan Holdsworth's jazz guitar style that has been absent from the music up to this point, but once it kicks in I get reminded exactly why I consider him to be one of the most overrated guitarists I know. He basically wails around in his soundscapes without ever trying to deviate from his tedious style which gives me shivers as soon as I think of it. Don't even get me started on the actual songs, since they aren't really even worth discussing here!

This is one of those popular albums that I guess is just beyond my comprehension. There are a few nice moments in the beginning of the release but there's really very little connection between how this album begins and ends, making me believe that the band weren't certain on which direction they wanted to take their music. In the end it's just a mixed bag that I only listen to whenever I want to show to my friends where Dream Theater got their soloing ambitions from.

***** star songs: In The Dead Of Night (5:39) Presto Vivace And Reprise (3:01)

**** star songs: By The Light Of Day (4:30) Thirty Years (8:08) Time To Kill (4:52)

*** star songs: Alaska (4:45) Nevermore (8:13) Mental Medication (7:22)

3,5 stars

Considered as one (if not the) last classic prog rock albums of the '70s, UK's debut in 1978 includes all the ingredients of prog in that time with an '80s sound. John Wetton's distinctive voice and bass lines, Bill Bruford's drumming and Eddie Jobson's keyboard playing are in really good display here. I have to admit though, that my favourite thing in "U.K." is the pesence of Allan Holdsworth, who was brought in the band by Brufford, after playing on Bruford's 1977 debut solo album, "Feels Good to Me". Holdswoth is one of the most adventurous guitarists and his style of playing gave a special approach on UK's music.

One very good thing about this album is that classic prog rock (mainly due to Wetton and Jobson) meets jazz-rock fusion (Holdsworth/Bruford). The result is quite original and doesn't really sound like most of the legendary bands these guys had played for. The only thing that comes to my mind is King Crimson, especially due to Wetton's singing.

I have to admit that I always liked side A more, even though I am a fan of Holdsworth from Igginbottom till today and he only collaborated on the compoosistion of "Nevermore" and "Mental Medication", the two last songs of the album. "In the Dead of Night" and "By the Light of Day" are my favourite songs, that raelly sound classic to my ears. "Presto Vivace and Reprise" is a highly technical piece, a major influence of the Dream Theater sound even in 2010. The two longest songs ("Thirty Years", "Nevermore") and "Time To Kill" are probably the weakest moments of "U.K.". This is what keeps this album from being a masterpiece: inspiration is evident in half of the songs (which are magnificent).

Recommended to all late '70s prog rock (fusion) fans.

A revered prog-rock supergroup whose sound is closer in spirit to the likes of 'Duke'-era Genesis, 1980's pop-proggers Asia and soft-rock leviathans Foreigner than it is to the classic, early-1970's albums such as 'Close To The Edge', 'Nursery Cryme' or 'In The Court Of The Crimson King', UK may feature a genuine treasure-trove of first rate talent but, in truth, they probably arrived too late in the day to make any real, lasting impact on the progressive music genre. Released in 1978, this self-titled debut album featured a line-up consisting of former Family and King Crimson bassist-and-vocalist John Wetton, ex-Yes and King Crimson drummer Bill Bruford, Roxy Music's synth-and-violin wizard Eddie Jobson, and former Soft Machine guitarist Allen Holdsworth. Wetton provided the vocals, in his usual excellent style, but it would be the youngest member, Jobson, who would dictate the group's musical machinations. Indeed, 'UK' is a very technologically-enhanced and effects-filled release, with Jobson utilising a plethora of hi-tech tricks to gain a slick, jazzy sound that truly belies it's 1978 release date. However, despite Jobson's box of tricks and the excellent line-up, 'UK' remains a rather flashy but rather empty spectacle that starts strongly - the polished, anthemic 'In The Dead Of Night' is the album's stand-out track - but quickly fades. It's reputation as the last prog hurrah before the vanguard of punk is well-intentioned but fails to, as some have claimed, give respectful closure to the 1970's progressive rock phenomenon. 'UK' has more in common with Asia than it does Yes, and, despite the quality musicianship, must be put down as an elegant failure. STEFAN TURNER, LONDON, 2010

The late seventies are often seen as the end of days for the great prog bands. Genesis, and soon after Yes, were releasing pop albums, King Crimson was on the shelf, Pink Floyd had been consumed by Roger Waters' ego... It seems as if the genre could not continue. However, nobody told John Wetton. When he decided to recruit Bill Bruford, fresh from his fusion group, to form a new group, it signaled the creation of one of the greatest prog albums. Bruford recruited guitarist Allan Holdsworth, Wetton signed on violinist Eddie Jobson. While the band had some internal strife, they managed to play together well enough to provide a great debut album.

A three-song suite opens the album. The first track, "In the Dead of Night", which loans its name to the entire movement, introduces most of the themes of the next two tracks. Right away, you can tell this group has a very unique sound. Wetton's voice, for one, hasn't changed from King Crimson, so you know the vocals on the album are top-notch. Jobson's synths provide most of the melody of the track. He mainly uses one that sounds like some electric string instrument. Bruford's drums are also very unique, because, at this time, he was using rototoms, giving the drumming this awesome clanging sound. Holdsworth, however, really contributes to the feel of this track. Halfway through the track, he performs a guitar solo that ranks at the top of my list. Whenever a jazz musician plays in a rock group, it's bound to be good, as proven by anything Bruford touches. Holdsworth's solo is magnificent, it fits the track perfectly, and without it you might as well skip the album. After his solo, the main vocal theme is reintroduced, before a synth fade to the next song. 5/5

The next part of the suite, "By the Light of Day", follows a lighter, more atmospheric approach to the themes and motifs of the last song, to great effect. It's sophisticated, atmospheric, and futuristic. It sounds much like music people in the future would listen to. In place of an awesome guitar solo, on this track we have a great violin solo provided by Jobson. Bruford's clanging rototoms are still present, but they don't ruin the track, neither does Wetton's voice or bass. 5/5

The concluding part of the suite is broken into two parts. "Presto Vivace and Reprise" is named after the musical terms used in the track. The first part is a fast (Presto) and lively (Vivace) instrumental number, with futuristic synths. It gallops along at blazing speeds. Jobson's synths dominate the piece. After this instrumental, a reprise of the vocal theme from "In the Dead of Night" plays out to the end of the track. Perfect way to end the suite. 5/5

The last song on the first side, "Thirty Years", begins with slow synth chords playing along with acoustic guitar by Holdsworth. This soft intro lasts for a bit before launching into a soft vocal piece. It lasts for the first half of the track. A more upbeat piece of music follows. It is in odd time signature, and contains another Holdsworth solo, still great. Following the solo, another vocal, this time harder, by Wetton, and a sluggish outro. Could have been a bit better, but it's still a very good song. 4/5

"Alaska", the next song on the album, is an instrumental piece written by Jobson. As such, it starts off with a long keyboard introduction. Listening with your eyes closed, you can imagine flying in a plane over an Arctic wasteland to this music. The intro is long, but definitely not boring. Halfway to the end of the track, the song picks up, and a futuristic, guitar and organ dominated piece follows. It seems to follow one theme, for the majority of the track. At the end of the track, a chorus brings you into the next track. 5/5

That chorus brings you to "Time to Kill". The song starts right away. It is a really up-tempo song. Jobson contributes some beautiful piano work, though it's probably a piano synth. Bruford dances in and out of the beat like a ballet dancer. Jobson plays a great violin solo in the track, and during the vocal pieces Wetton can't be replaced. 5/5

"Nevermore" starts out with some great acoustic guitar playing by Holdsworth. Wetton enters, and provides some very spacey vocalizations, until the song takes a more focused approach. Jobson and Holdsworth duel for the lead spot in the next piece. Holdworth will play a bit on the guitar, and Jobson will try to counter with some synths. Who wins? Both of them do, and that's the key reason to listen to this track. It takes a bit to close, but that's negligible compared to the beef of the track. 5/5

The band apparently decided it was best to chill out during the closing of the album. "Mental Medication" is filled with electric piano and cool synths in the intro. Wetton charms you with his vocals. However, following a formula you can trace back to "Nevermore" and "Thirty Years", this quiet section gets a bit louder, and Wetton still retains the dreamy sound in his voice despite the change in dynamics. Holdsworth shines in this song, too. Again, with the formula, a jam-like section breaks out, with a synth solo by Jobson, who trades in the keys for a violin two-thirds of the way in. After the solo, the dreamy section reenters, closing the track and the album. 5/5

This was one of my first forays into progressive rock, and this album therefore holds a special place in my heart. I own this album on vinyl, and sometimes I fear I'll wear the player out listening to it. All of the players are virtuosos, and they make a great quartet. Pity that the group didn't last. I guess that's what you get when you try to get jazz musicians to play in a rock group.

In the summer of 1976, after most recent stints with Uriah Heep and Genesis, respectively, former King Crimson mates John Wetton and Bill Bruford met and began exploring ideas/scenarios to work together again. After several failed attempts (a Wetton solo album, a trio with Rick Wakeman, a reformation of King Crimson) the duo decided to form a quartet with each person bringing in a respected "ringer." Sometime late 1977, Wetton brought in former Roxy Music bandmate Eddie Jobson and Bruford brought in guitar phenom Allan Holdsworth with whom he was working on the first Bruford album--which would be released in January of 1978 as Feels Good to Me). The quartet convened in London at Trident Studios for recording dates in December of 1977 and January 1978. The E.G. record label would release the eponymously-titled album in May.

Line-up / Musicians: - John Wetton / lead & backing vocals, bass - Allan Holdsworth / acoustic & electric guitars - Eddie Jobson / electric violin, keyboards, electronics (Yamaha CS-80) - Bill Bruford / drums & percussion

- In the Dead of Night (Suite): 1. "In the Dead of Night" (5:35) such a memorable riff and melody. (9.75/10)

2. "By the Light of Day" (4:28) I am not, in general, a fan of the voice or singing style of John Wetton, but this is a great performance. Here we get to see, as well, how astute and talented the young pup, Eddie Jobson was--for the first two minutes with his keyboard work, then with some awesome electric violin soloing. The background vocals here are also notable for how well they work--and at such a subtle level. The final 90-seconds with its wonderful bridge from the vocal section into the multi-layered synth-dominated sections is astonishing. (10/10)

3. "Presto Vivace and Reprise" (3:06) full band returns with Bill and John holding down the fort while Eddie's keys go off--and then, of course, there is the return/reprise of the suite's original theme--with John's insistent voice and Allan's signatory guitar. Definitely an epic suite for the ages! (9.5/10) - 4. "Thirty Years" (8:03) an opening of synth wash chords and Allan's acoustic guitar play prefaces John's tender, almost introspective vocal (which sounds so much like Greg Lake). At 3:22 Allan, Eddie, and Bill leap out from behind the curtain with power and confidence unparalleled in the world of instrumental music at the time. Eddie's imitation of Allan's phrasing style on the keyboard is simply amazing. Then the axe-master himself is given a turn--and he just kills it. The motif at the end of the sixth minute is interesting for how short it lasts before the band shifts into something entirely different for John's final vocal delivery. Allan takes us out over a slowed down but ever-so-powerful support theme from the rest of the crew--until Eddie is left to clean things up with his synth (or violin) for the last few bars. (14/15)

5. "Alaska" (4:48) another impressive atmospheric opening by Jobson with his amazingly creative an mature synth skills--2:42 of it before anyone else joins in! But then, join in they do! With force and abandon--especially Bruford--while Jobson continues to dominate with multiple keys going at once. Wetton is rudimentary support and Holdsworth making only one brief appearance until YES-Fragile-like final 15 seconds (which is in reality only a bridge to the next song). (9.25/10)

6. "Time to Kill" (4:53) Bursting out of the primordial soup that was "Alaska" this song presents great force from all musicians, not the least of which is John Wetton's forceful voice, all the way to the 1:45 mark when everybody (except Bruford) drops back into a holding pattern for a JEAN-LUC PONTY-like electric violin solo from Jobson. I love Holdsworth's odd chord play and Bruford's autocratic time keeping beneath all of Jobson's pyrotechnics. The song's only weak spot is in its chorus--the choral background vocals. (9.75/10)

7. "Nevermore" (8:10) opening with some stellar acoustic guitar play from Holdsworth--both the support strums as well as the hyper-speed soloing, but then in the second minute we segue with Jobson's synths and violin into another power vocal section (with some pretty hokey lyrics). The song's best part are Holdsworth and Jobson's piano backing up Wetton's vocals with some pretty hot peppering in the third minute--though Jobson's synth play in the call-and-response instrumental section with Holdsworth in the fourth and fifth minutes is pretty iconic. Critically speaking, this is probably the best song--and perhaps my favorite--on the album. For years I had never been able to give Eddie Jobson his due, but now I am ready: he is the star (and Bruford the glue) of this landmark album! (15/15)

8. "Mental Medication" (7:25) Another solid song on all fronts, it seems to serve John Wetton's vocal prowess most, though everyone's contributions are stellar. The middle section of jazz-rock fusion sounds so much like so much of JEAN-LUC PONTY's during this period: Aurora through Individual Choice but especially Cosmic Messenger and beyond. (13.75/15)

Total Time 46:28

One of the high points of music in the second half of the 1970s. Jobson, Holdsworth, Bruford and Wetton gelled to create some incredibly haunting music--as well as some very fresh sounds. All of the soft parts are masterful and emotion-filled but are best because they forebode the imminent attack of BILL BRUFORD, Lord of the Drums. IMO, Holdsworth's best work. Ever. "Alaska," "Time to Kill," "Mental Medication," and the highlight of all, the "In the Dead of Night" Suite, are songs forever seared into my neural pathways. And another thing: How can young Eddie Jobson be so good! He was only 22 at the time of these recordings!

Listening to this album again as I write its detailed review makes me better comprehend some listeners'/reveiewers' proclamation of it as prog's last homage to the decade of amazing innovation and creativity that was just coming to its final (if reluctant) close.

A/five stars; a certifiable masterpiece of jazz-rock fusion expressive progressive rock music. An album of impressive music and unique, innovative sound. One of Top 10 Favorite Jazz-Rock Fusion Albums of prog's "Classic Era."

UK's masterful album is a powerhouse of superb musicianship, not to be missed

"UK" is the debut album of super group UK who only released 2 studio albums but both are solid examples of the last great golden era of prog that ended in 1979. King Crimson stalwarts, drummer, Bruford and Bassist, vocalist, Wetton took up the frontline. They were joined by keyboardist extraordinaire, Roxy Music's Jobson, and the talented versatile genius of Gong guitarist Holdsworth.

It begins with the big single for the group, In the Dead of Night; "Are you one of mine who can sleep with one eye open wide? Agonizing psychotic solitary hours to decide, Reaching for the light at the slightest noise from the floor, Palms of hands perspire heart goes leaping at a knock from the door, In The Dead of Night." There is a great time sig on this track and an inspired keyboard motif. The lead solo is terrific too. A memorable track and quintessential UK.

By the Light of Day has the same feel as the previous track except that Jobson shines on sparkling keyboards. Spacey sounds are generated and this is quite a tranquil song overall. Jobson is a keyboard wizard on the bombastic delightful Presto Vivace and it reprises both opening tracks wonderfully, creating a type of suite of songs. There is no denying the innovation behind this approach.

Thirty Years moves in a different direction with lighter textures in the sound, Wetton sings with reflective lyrics. It moves along on a current of gentler waters, and builds slowly to a faster pace with Bruford's unusual percussion rhythms and soaring keyboard solos.

Alaska has icy cold atmospherics, almost like the cry of a blue whale, as the keyboard dominates. The low drones are ethereal and create a foreboding environment in the soundscape. It develops into a staccato powerful organ stab riff, reminiscent of Emerson or Wakeman.

Time to Kill is a rather strange track dominated by Wetton's vocals and a peculiar complex instrumental. The violin solo is virtuoso musicianship, very powerful and unlike anything I have heard on violin.

Nevermore features folky acoustic flourishes and a very peaceful keyboard passage. Wetton sings well and the harmonies are great. The instrumental is master class from all concerned. The swirls of Jobson's keyboards are mesmirising.

Final track is Mental Medication featuring a pulsating bassline and massive keyboard solos. Holdsworth's guitar is a force to be reckoned with. Once the band go into full flight they are unbeatable.

So the album is therefore a masterpiece of prog at its best in 1978. There is not a bad track on the album, and the band try a variety of styles and pull it off with accomplished musical expertise. Believe everything you have read: UK's debut is quintessential prog that deserves full recognition from a super group who's members defined the genre.

Looking at the front cover, I was expecting something sounding like 'Ultravox' or some punk band - particularly as they had the name U.K. It wasn't until I found out Bruford and Wetton were present that I bought this.

Listening to 'UK' makes me realise that those two guys here were under an incredibly tight rein under Fripp during the recording of 'Red'.

This self titled album sounds much more free and alive than the much darker and foreboding 'Red'. In a way it's similar to 'Yes' from the mid 70's but with a far better vocalist who has not been inhaling Helium as a recreational past-time.

As previous reviewers have stated, this really is the last great Prog album for many years to follow. It's a lively encounter which surprisingly sounds nothing like King Crimson. It's far more upbeat with plenty of adventurous drumming from Bill Bruford and lots of vocals by John Wetton who's voice is highly suited to this type of music

Such a pity Wetton moved on to the cheese-fest that was 'Asia'.

Here you find some classics from this "ephemeral" superband (e.g. think of "Presto Vivace" or "Alaska), which represent the peek both in Wetton's career and the top level for Jobson as well (even though I prefer his keyboards in "Danger Money" and of course in their live "Night After Night")..."In the Dead of Night" represents the best tune in this album, an ever-green, thanks to the guitars effects and solos by A. Holdworth, who is able to enrich the music (in spite of being able to disturb just a little bit the keyboards performance by Jobson, if I think of their already mentioned live above, without Allan): well I prefer the keyboard oriented Trio of the second album (where Bozzio replaces Bruford-this latter being more fitted into a sophisticated jazz style and where moreover the keyboards by Jobson perform the job by Holdworth); but here this jazz/progressive rock style, in a strange mix, is so original and unique!! Think of "Nevermore", with the remarkable execution by A.Holdsworth in the intro and the following swing-jazz mood, suddenly interrupted by means of their most inspiring breaks-through of progressive rock...well actually the analogic keyboards by Jobson are important here, even though a bit cold here, and I don't like the sound of the keyboards (unlike in "Night After Night", where "Presto Vivace"/Alaska" are perfect); while regarding the melodic lines, also the good vocal interpretation by John, in spite of being not always at his top, is important: otherwise this tune seems to be perfect to be fitted into the particular style by Bruford on drums, thanks also to the unforgettable parts of electric guitar!! "Thirty years" is elegant, but it doesn't add anything new, in comparison to the other sophisticated tunes; instead "Time to Kill" is better in the live version! The problem was the the coexistence between Allan (who liked to change often his execution) and Eddie (whose solos at the keyboards were always the same): perhaps this is the reason of a certain discontinuity (think of the tepid "By the Light of Day") and besides the sophisticated last track ("Mental Medication", well sung by John) is not the most powerful way to conclude a quite memorable album (probably "Carrying no Cross" from the second album "Danger Money" should have been the perfect conclusion, but nevermind, that's another story and a different line-up too...).

In 1978, most of the big names in progressive rock were either gone from the scene, or had diluted their sound into sometrhing barely palatable to their fans. And the recording industry and the journalists who fed off them loved this.

Then something strange happened. A quartet of prog veterans, Bill Bruford, Allan Holdsworth, Eddie Jobson and John Wetton came together in this band, UK, and suddenly, for a short time, it was cool to play interesting music again. The music press, still wallowing in the depths of punk and disco, actually praised this band, and for the last time for the next few decades, gave accolades to a prog band.

And it was well deserved. The album is spectacular, and still one of the finest prog albums ever released. The music is a combination of symphonic prog and the energized fusion that Bruford and Holdsworth would continue in the drummer's band that followed. Every track on this album is exciting and complex, and wonderful.

And for a brief moment all was well in the world.

It took me a while to really come to appreciate this album, but I'm glad I made the effort. The analogy I'd make is that UK are a really tight fusion group with art rock sensibilities and a synthesiser player (in the form of Eddie Jobson) who has a tendency to go all Rick Wakeman from time to time. With the rhythm section of Larks-to-Red era King Crimson onboard, you expect a loud, raucous and experimental trip and that's exactly what the band offer. The emphasis on newer synthesisers over classic keyboards gives the album a unique sound that further sets it apart from the group members' previous work.

Self titled album by this excellent band from late '70s issued in 1978 is a fairly solid jazz fusion album with plenty of memorable parts and stunning musicianship, but I do prefere their second one Danger money little more being more colorfull and more unique then UK. The line up of this let's say supergroup was consisted by 4 of the best musicians jazz fusion/progressive rock ever had and still has, on guitar the master behind six strings Allan Holdsworth coming from Soft Machine and Gong later on on Bruford and aswell a has prolific solo career, Bill Bruford on drums from already giants Yes and King Crimson, John Wetton on bass and vocals from Family, King Crimson, Uriah Heep, etc and last but not least the crafty Eddie Jobson on keyboards and electric violin from Curved Air, Roxy Music and after the broke of UK in 1979 he will join Jethro Tull on A album. So, top of the iceberg here, each musician were masters on their instruments creating some spectacular moments. But, what about the music, well, is great, with blistering keyboards and awesome guitar parts, not to mention some very fine drum chops and bass lines. The opening track In The Dead Of Night is killer, I love it , is punchy and has solid musicianship and inventiv progressive/jazz fusion passages, Presto Vivace And Reprise is another highlight that must be heared by anyone involved in this kind of music and Alaska, the rest are also pretty good. So, a great debute but somehow fail to atract me so much as their next one Danger money, still worthy for sure and 4 stars.

In retrospect the first album by the short-lived Progressive supergroup resembled an attempt by John Wetton and Bill Bruford to resuscitate the recently deceased KING CRIMSON, with another violinist in lieu of David Cross and a more sympathetic guitarist replacing the often intractable Robert Fripp. On paper it looked good, and the debut album sounded thrilling when first heard in 1978. But the passage of time has been less than kind to it, revealing not only the fatal stresses within the quartet but the larger cracks in the ideology of Progressive Rock at the end of the 1970s.

Blame the lopsided pool of all-star talent: an attempt to balance a pair of dedicated Jazz-Rockers (Bruford and guitarist Allan Holdsworth) against two aspiring pop stars (Wetton and Eddie Jobson), without any blueprint for a workable fusion. It all came together brilliantly in the opening "In the Dead of Night" suite: one of the more exciting highlights of late-Golden Age Prog. If only the rest of the album had as many memorable hooks (incredibly catchy, despite the odd time signatures), or the same lush symphonic climax, in years to come providing a sonic blueprint for embryonic Neo- Proggers.

But I don't know many fans who ventured far beyond it, into the often empty virtuosity of Side Two. The balance of the album leaned more toward the polite Bruford/Holdsworth style of English Jazz Rock, implausibly grafted onto Jobson's clinical synth patches and Wetton's typically beefy bass guitar lines. And the singer's smoky baritone sounds distinctly uneasy when forced into the jazzier cadences of "Time to Kill", "Nevermore", and "Mental Medication".

At the start of the 1970s bands were encouraged to cross-pollinate opposing forms of music, just to hear what might happen. But as the decade advanced and the adolescent music business matured into an industry, the final goal became more commercial than creative, spelling an end to Prog Rock's original idealism. Seven years earlier the same friction that split UK in two might have produced something really special. You can still hear the occasional spark, but the expected detonation never happens.

Give the effort three stars at best, in recognition of the talent, not the results.

UK has two albums. One is a masterpiece and one is garbage. This one is the masterpiece. I find this as an amazing and influential album for it's influence on eclectic and jazz/fusion. We of course have Wetton leading it on vocals, and who can forget Bruford on drums? UK was a great album for 1978.

The album starts with a 13 minute epic separated into three different songs. "In the Dead of Night." The first part is the same name, it starts with a progressing beat and starts adding on. This has some wonderful synths throughout and doesn't have too bad lyrics either. The melodies flow well together. There is also a jazzing gutair solo which is very nice.

The first part fades down and you hear the second one, which is probably my favorite of the first suite. The title is opposite of the first, being "By the Light Of Day" The most relaxed part. After Wetton songs for a little, we get some "Awws" with violin and drums. Then the drums and synths take over more. Around three minutes and 20 seconds really touches me.

After By the Light of Day, you get a short drum build up and a crazy synth solo. This is "Presto Vivance and Reprise" After a minute of insane keyboards, the beginning of the suite is reprised, but also having the lyrics bring us back to the second part. The reprise is quite simple and short, bringing the In the Dead of Night suite to a close.

The next song is called "Thirty Years." This starts with an ambient feel, however, I never really liked the intro of this song. It sort of drags on. The main problem is that John Wetton does a terrible job singing on the beginning and you can't really understand what he is saying. I guess the first part isn't too bad, but it's not the best. After a little bit past three minutes, the song kicks in. This has some nice synths and guitar. The lyrics from the beginning part are reprised but song with different melodies. Once again, you can't really understand much of what Wetton is saying, but I still like this one.

The B-Side opens slowly with a more ambient sound, but better than in thirty years. This instermental is called "Alaska." It has a sort of frightening melody that you might hear in a horror movie. Around the 2 and a half minute mark, it kicks in with synths. It remains dark and scary but more intense now. Towards the end, they have piano and sound a bit like ELP.

Alaska segues into the next song, "Time to Kill". It opens with an "Aww" and singing. Piano is played through this song. It has a good chorus which I always quite liked. However, I was never a fan of the jazzier part of this with the violin solo. It's long and sort of boring and takes away from the rest of the song.

The next song is a masterpiece. "Nevermore." You know it's good because it starts with an accoustic gutair solo. Drums than build up and you get some lyrics. Like Time to Kill, piano is played a lot in this song. But it's more noticeable in a good way. The jazzy section that starts around three minutes is amazing. It has both synths and guitar kind of switching off. Then the melodies come in and you hear the title of the song sung. The end of the song is also very interesting. It sounds a little ambient and sort of like By the Light of Day. Wetton then songs the final vocals of the song and it ends with guitar.

The last song is called "Mental Medication." The lyrics are interesting and the guitar sounds different. It gets good when the drums come in and I love the melodies. Some of the meldies change the whole mode of the song for a few seconds and then go right back to how they were before. We then get a synth solo along with some piano and guitar. This lasts a little while, but then, we get one more violin solo to end the album. It's a really good one. The conclusion of the song reprises some lyrics and sort fades out on the same meldies.

This album is essential. It deserves 5 stars. There isn't much more to be said about that.

SONG RANKING

1. In the Dead of Night/By the Light of Day/Presto Vivance and Reprise 2. Nevermore 3. Mental Medication 4. Thirty Years 5. Alaska/Time to Kill

Favorite quote from album: "Can I stand, a dark life here, for one day more?" -From "Time to Kill"

Context and perspective changes with the passing of time, and indeed the passing of lives. John Wetton was an artist who I had admittedly taken for granted over the years. Despite being a key element of one of the most important phases of one of the most important progressive rock discographies in King Crimson, the focus always seemed to be on them being "Fripp's Band". The same could be said, perhaps even more so for UK. With the virtuoso playing of Holdsworth, Jobson, and Bruford, it was not until his death in early 2017 that I really focused on his part on UK's self- titled debut. And as I also discovered with the 1973-1975 era of KC, so too was it obvious with UK what in integral part of the music I was giving little or no appreciation too.

The project itself could easily be described as being far more groove oriented than a large portion of King Crimson's work. That is not to say the compositions consist of uniformly pedestrian beats, the verses are largely in non- standard time, even a purported 21/16 (I have not counted it myself). There is also a smattering of bizarro syncopated, staccato "what?!?!" breaks that season the grooves with a nice spice. The overall groove is decidedly jazz- fusion, though containing a spatially wide phonic. The instrumentation and recording is considerably modernized (when considering the context of the time period) in respect to the artist's previous projects, particularly in regard to keyboard sounds. Unfortunately, at times the chosen keyboard sounds appear poppy in a manner that does not completely fit. Attention to clarity seems to be the rule in the recording. This was a requirement for the quiet, mellow parts that provided a contrast that was begining to be phased out of the rock sub-genre scene in the late 70's.

For Wetton's part, his bass playing held the aforementioned groove with incredible precision. Of particular note are the underlying bass on Jobson's violin solo of Time to Kill and the alternating solos of the closing number, Mental Medication. Vocally he is a mixed bag that is an acquired taste for most, but a recognized, if underappreciated staple for seasoned prog fans. There always seems to be what can be best described as a character of purposeful uncertainty. Not uncertain of notes or timing, but a texturally haunting overtone that occasionally manifested directly into lyric on King Crimson songs like Fallen Angel. But the lines of Thirty Years, "Feelings of missed opportunity....sand castles washed away", with the seemingly dysphoric melody underscore that purposeful uncertainty sensation in a literal sense, imparting a new poignancy to that character. Not to overuse the word, but the passages are haunting. This sensation is imparted again in the quiet opening sequences of Nevermore, with wide low-to-high note intervals detailing his accuracy; and Mental Medication with its more legato, resolute melody. The verses are filled with his unique alternating gravelly tenor with falsetto swells. A contrasting style that would become a more familiar to the rest of the rock world with his Asia work, but added an unexpected dynamic to the diffuse styles of his UK bandmates.

UK was at the precipice of being a masterpiece. Unfortunately, there were moments of Jobson's keyboard sound, although musically amazing, just stuck out way too much as "Pop". Otherwise this is one of the finest examples of cohesive complexity and technicality in progressive rock. And having listened to this with particular focus on Mr. John Wetton, it is obvious that he was the mortar that held the brickwork together. It is a prime example of being able to find something new in something very familiar. For John Wetton, a masterful example of his quality. For the album, and excellent addition to any collection and one that I listen to with a renewed appreciation. 4 stars

For the Money or Music?

One of the first supergroups, and a precursor to Asia, UK should have been spectacular. One of the best drummers (Bruford), guitarists (Holdsworth), ex-Crim on bass (Wetton), and still-uncommon virtuoso electric violinist (Jobson). However, it seems the band was held back by the egos and ambitions of some of the members. While Brufod and Holdsworth wanted to expand their talents through improvisation, Wetton and Jobson were more interested in becoming famous rock stars. You can hear it in these songs too. This is not to say there is no good music here - in fact there is some great music, particularly on side 1. The suite "In the Dead of Night" is actually quite good, even if a bit long, while "Thirty Years" (closing side 1) is excellent. However, even here you can tell that these were written explicitly so as to be both appealing to fans of Crimson and other progressive rock as well as to the more commercial fan-base of arena-rock tours. But I would give the first side low four stars, although this material is even better played live. Side 2 of the album, however, is weaker. "Alaska/Time to Kill" is OK, although clearly meant to open their arena-rock shows, and Wetton's vocals are not up the singing. The last two tunes, "Nevermore" and "Mental Medication" are fairly poor. This second side is not that much better than the weak follow-up album Danger Money. I give this second side low 3 stars. Taken together, this album can't get to 4 stars. While containing some good music, the writing (and singing) seems forced, even on the better tracks, and some of the music comes across as both pretentious and at the same not indulgent enough, as there are few opportunities for either Bruford or Holdsworth to shine. The style in places makes one think this band was trying to fill the space vacated by ELP, who were no longer touring or releasing decent records, and I can't help think when I listen to this that the band's motivations for making it were not primarily musical (a suspicion verified once I heard Bruford's account!). But still, side 1 is worth multiple listenings. I give this 7.4 out of 10 on my 10-point scale, which translates to 3 PA stars.

Review N� 184

"U.K." is the eponymous debut studio album of U.K. and was released in 1978. The group was formed by four well known prog rock musicians who had already played into other bands. It features John Wetton who formerly have performed with Family, King Crimson, Uriah Heep and Roxy Music, Eddie Jobson who formerly have performed with Curved Air, Roxy Music and Frank Zappa, Bill Bruford who formerly have performed with Yes, Genesis and King Crimson and Allan Holdsworth who formerly have performed with Tempest, Soft Machine and Gong. There had been an attempt to form a band in 1977 with Wetton, Bruford and Rick Wakeman. Still, that never happened because Wakeman didn't want it to happen. The premise was Wetton bring a musician of his choice, and Bruford would do the same.

So, the line on the album is Allan Holdsworth (guitar), Eddie Jobson (electric violin, keyboards and electronics), John Wetton (vocals and bass) and Bill Bruford (drums and percussion).

"U.K." has six tracks. All lyrics on the album were written by John Wetton, except "Mental Medication" which was written by Bill Bruford. The first track "In The Dead Of Night" with music written by Eddie Jobson and John Wetton is a suite which is divided into three parts: "In The Dead Of Night", "By The Light Of Day" and "Presto Vivace And Reprise". "In The Dead Of Night" opens the album with keyboards and bass. The bass has an unusual rhythm on top with Jobson on keyboards and Bruford on drums seem to play in counter rhythm. Wetton sings very nice and powerful as usual and Holdsworth plays a great guitar solo. This is a song that was also released as a single to promote the album. "By The Light Of Day" is a soft and slower part of the suite full of synthesizer sounds. This is a very beautiful ballad with the same melody line but with a completely different rhythm. Jobson adds something very beautiful with his electric violin very well supported by Holdsworth's guitar. Nice and beautiful synthesizer waves end this second part. "Presto Vivace And Reprise" is announced by several drum riffs and a psychedelic keyboard part. Since this part has finished, returns the reprise of the main theme. This is a suite absolutely amazing. The second track "Thirty Years" with music written by Eddie Jobson, John Wetton and Bill Bruford begins with keyboards and an acoustic guitar with Wetton singing at the top of his voice. After over three minutes the musical atmosphere changes radically, with guitar and keyboard solos followed by an inventive drumming by Bruford. Towards the end, the initial melody returns, totally supported by the entire band with special mention by a great guitar solo by Holdsworth. The third track "Alaska" with music written by Eddie Jobson is a very dark and mystical track. It's an instrumental piece of music dominated by the keyboards of Jobson. However, it has room enough for the rest of the band shine on the track especially Holdsworth. The fourth track "Time To Kill" with music written by Eddie Jobson, John Wetton and Bill Bruford is directly lead to the previous track. This is a very interesting track with several musical changes all over the song. In the middle of the song there's a break with another great violin performance by Jobson. The fifth track "Nevermore" with music written by Eddie Jobson, John Wetton and Allan Holdsworth opens with an acoustic guitar and keyboard performances. A nice and beautiful duet between Jobson and Holdsworth forms the highlight of the song. The last part of the song consists of an atmospheric of several soundscapes. The sixth and last track "Mental Medication" with music written by Eddie Jobson, Bill Bruford and Allan Holdsworth begins with an unusual vocal line accompanied by a jazzy guitar's sound. In the middle of the song there's a beautiful part with bass and drums on top of which a guitar solo is performed. After a small break is the violin that turns again. This is the other song of the album which was chosen to be released as a single.

Conclusion: U.K. is one of the few big progressive super groups formed in the 70's. It's with Emerson, Lake & Palmer one of the two best progressive super groups formed in those times. It became the last great progressive rock band formed in the classic rock years. The musical skill of these four gentlemen is a joy and a blessing for our ears and is rare and truly amazing to see a band producing such a special crossover between so diverse musical styles with such a unique and quality sound. U.K.'s debut stands as a very strong and unique progressive album released in a time where most progressive rock bands were losing their steam. It's really a pity that U.K. had such a short existence and these four musicians only have released this studio album and a couple of live albums. This is a truly great album, one of the most underrated, blending genres together into a rich and complex amalgam of sounds. There's not a bad moment on this album. It's excellent from beginning to end. Since "U.K." was made in the end of the golden era of the prog rock music, it's hard to believe and a shame, that a music lover doesn't have this album in their collection. This is really an awesome line up and the musicianship is absolutely great. So, do yourself a favour, buy or simply check it, as you wish.

Prog is my Ferrari. Jem Godfrey (Frost*)

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...

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.

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 clich�s, 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.

There are many ways to grow interest in a band. Like describing it as a branch of King Crimson (but describing it as a spin off sounded bad?). But when I read who this band was formed by... Other than a spin off of King Crimson... These were King Crimson without Robert Fripp, as I saw it. John Wetton and Bill Bruford plus Allan Holdworth and Eddie Jobson (as a replacement for Rick Wakeman !!!)... What more could you want? But, I wondered, what could they possibly play? Don't think you will find anything new in "U.K.". Especially on this first album. Because it is an excellent mix between King Crimson and Yes but in a symphonic Jazz version. Well... Here I would say that Bill Brufrd was tired of the absurd complexity of King Crimson and wanted to go back to the origins but following the latest innovations, in terms of musical genre to propose (at the time if you wanted to be credible by playing complicated the Jazz Rock and Fusion, obviously, was the only way to go). Easy to be able to create a masterpiece with John Wetton, a brilliant musician, able to go from the Progressive of the Family to the Proto Prog metal of Uriah Heep to the absurd / brilliant music of King Crimson to the AOR of Asia (after the UK). And always proving perfect. Allan Holdsworth is a guitar genius who does an extraordinary job here even if it seems too much to take the role of Robert Fripp (as I judge it) But he still manages to remain himself. Eddie Jobson, as mentioned, came to replace Rick Wakeman (blocked by A&M after a few sessions in the rehearsal room) but manages not to be just a last-minute graft. In fact, his contribution in sound and writing is fundamental.

"U.K." is an excellent Fusion masterpiece and a great fusion of Canterbury Scene, King Crimson and Yes. What more could you ask for? Just put the CD (or vinyl) in the player, turn the volume up to maximum and enjoy the absolute pleasure of perfection.

So what if you combined the more jazzy and whimsical side of progressive rock with the danceable start of the age of New Wave that'd become highly popular in the 80s? Say you brought members from highly acclaimed groups such as King Crimson, Roxy Music, Yes, and Soft Machine and you take their sounds and abilities and give them a more straight-edged, almost pop twist. Well for one you'd get a supergroup, and for another one, you'd get the U.K.

Formed after the recording of Bill Bruford's first solo album, Feel Good to Me, he, Allan Holdsworth of Soft Machine, John Wetton of King Crimson and Family, and Eddie Jobson of Roxy Music formed the U.K. in 1977 creating one progressive rock's widely known, yet rather small discography supergroups, right next to the likes of Asia, and Emerson Lake and Palmer. They were around until 1980 when they broke up before in 2011 they would reform but only to break up again in 2015. Despite their short run, they have inspired many spin-offs from the group such as U.K.Z. and HoBoLeMa. So in 1978, U.K. would create their eponymous first album, U.K.

How I see this album is that the two sides are two different melodies where each song is practically important to one another due to how they intermingle with one another, creating a sense of movement from each of the songs from each side of the album.

Side A, which is a melody composed of the first four tracks of the album (In The Dead Of Night, By The Light Of Day, Presto Vivace and Reprise, and Thirty Years) showcases the band's unique sound, being a precursor to some of the more progressive pop acts of the 80s (say Kate Bush or even some post-punk stuff like Bauhaus). They go for more uniquely acquired tastes here, with a sense of familiarity between the members and their playing styles. You can hear a lot of influences from King Crimson and Yes, but almost some more fusion elements from Soft Machine, and again, a more pop-focused element from Roxy Music. It feels like a blending of the good stuff all these bands have created, merging them into one mass that can be enjoyably dissected. The highlight here is definitely In The Dead of Night for me, how it starts strongly and keeps up the pace and rhythm laid down by the bass and drums that get washed over by synths and John Wetton's vocals. It paints a solid picture of these guys' sounds that they grew into throughout the 70s. The rest of the tracks on side A are also really solid as well, especially Thirty Years giving an epic finale to this melody that can be highly appreciated. I do think, however, that they have a problem with those keyboards. The sound they create with them is way too high-pitched and clashes with the overall sound the band has going for, almost to the point where I'd say they can create an almost annoying experience for me.

Side B's melody of Alaska, Time To Kill, Nevermore, and Mental Medication is the weaker part of the album, and I'd say carries different problems from side A. While I do say every song on the second side is still pretty good, they do not have that drive side A had. This is their more experimental side where they try new things and new styles. While I do appreciate them for trying new things, it does come at the cost of creating a less enjoyable experience for me since it feels like a forward-minded experience, and more like throwing stuff at the wall and seeing what sticks. You can hear them experimenting with more jazz sounds with Time To Kill, more symphonic progressive rock on Nevermore, a tiny bit of new age on Alaska, and rounding off with a traditional Canterbury Scene sound on Mental Medication. This site is all over the place, and for better or for worse it takes the listener on an interesting journey of new elements the band has a knack for, after all, they are a progressive rock group, and it is a given to hear a band trying new things and seeing what works and what doesn't, and for me, I think they seem to not work as well as they might have hoped for.

While this can create a fun and interesting listen I cannot say it is required. I recommend checking out In The Dead of Night first and if you might like that then go into the album. I'll say for this album expect the unexpected because that is what the album is all about, the unexpected.

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.

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.

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)

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.