Progarchives, the progressive rock ultimate discography

UK

Eclectic Prog • United Kingdom


From Progarchives.com, the ultimate progressive rock music website

UK picture
UK biography
Active between 1977-1980 - Reformed in 2012 with new line-up - Disbanded in 2015

In some ways UK represented both the last hurrah of progressive music's golden age, and the standard by which all other supergroups that followed would be judged. The impeccable technical precision, complex yet modern arrangements, and dynamic live performances made them an overnight legend whose reputation has far outlasted their brief existence. No other supergroup, progressive or otherwise, has had such an immediate and lasting impact.

The band was formed in 1978 by bassist John WETTON and drummer Bill BRUFORD , both fresh from the USA tour (and accompanying live album) of KING CRIMSON. Keyboardist & violinist Eddie JOBSON had also played on the KC tour and album, but was better known for his brilliant work on a string of ROXY MUSIC albums, as well as their seventies live album, "Viva!". Wetton briefly secured guitar wiz-kid Eric Johnson for the band as well, but Johnson's own project (the "Seven Wonders" solo album) and the legal wranglings that were accompanying it would cause Johnson to quickly withdraw and be replaced by another guitar virtuoso, Allan HOLDSWORTH , who had worked with SOFT MACHINE and GONG, in addition to his solo work before joining UK. This was the first in what would become a series of lineup changes before the band would disband for good less than two years later.

The star-studded lineup had no trouble securing a record deal, and Polydor released their self-titled debut on the E.G. label that same year, which is often credited as the first successful rock supergroup studio release ever. The music is characterized by layered synthesizers, jazz-inspired guitars and bass, and in general by exceptionally high-quality musicianship. The band followed the release with a lengthy promotional tour.

Bruford would release a couple of albums under the BRUFORD BAND name following this tour, and would eventually return to the KING CRIMSON lineup for their "Discipline" release in 1981. Holdsworth also appeared on the BRUFORD BAND releases, and would later issue a series of solo albums in addition to a wide range of session appearances. Terry Bozzio (FRANK ZAPPA, GROUP 87) would replace Bruford, and the trio would release the band's second and...
read more

UK Videos (YouTube and more)


Showing only random 3 | Show all UK videos (2) | Search and add more videos to UK

Buy UK Music


UK discography


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

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

4.11 | 713 ratings
UK
1978
3.83 | 426 ratings
Danger Money
1979

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

4.09 | 16 ratings
Shadows from the Sun
1978
3.45 | 149 ratings
Night After Night
1979
3.81 | 47 ratings
Concert Classics Vol. 4
1999
4.06 | 21 ratings
Live in Boston
2007
3.41 | 20 ratings
Live in America
2007
4.05 | 24 ratings
Reunion - Live in Tokyo
2013
4.42 | 17 ratings
Night After Night Extended
2019

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

4.86 | 21 ratings
Reunion - Live in Tokyo
2013
3.93 | 5 ratings
Curtain Call
2015

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

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

4.22 | 9 ratings
In the Dead of Night
1978
3.12 | 7 ratings
Nothing to Lose
1979
3.24 | 10 ratings
Rendezvous 6:02
1979
2.40 | 11 ratings
Night After Night
1979

UK Reviews


Showing last 10 reviews only
 UK by UK album cover Studio Album, 1978
4.11 | 713 ratings

BUY
UK
UK Eclectic Prog

Review by progrockeveryday

5 stars 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.

 UK by UK album cover Studio Album, 1978
4.11 | 713 ratings

BUY
UK
UK Eclectic Prog

Review by alainPP

4 stars 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)

 Curtain Call by UK album cover DVD/Video, 2015
3.93 | 5 ratings

BUY
Curtain Call
UK Eclectic Prog

Review by Grumpyprogfan

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

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

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

 UK by UK album cover Studio Album, 1978
4.11 | 713 ratings

BUY
UK
UK Eclectic Prog

Review by Prog Dog

4 stars 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.

 Live in America by UK album cover Live, 2007
3.41 | 20 ratings

BUY
Live in America
UK Eclectic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nš 703

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

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

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

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

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

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

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

Prog is my Ferrari. Jem Godfrey (Frost*)

 UK by UK album cover Studio Album, 1978
4.11 | 713 ratings

BUY
UK
UK Eclectic Prog

Review by AJ Junior

5 stars 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.

 Live in Boston by UK album cover Live, 2007
4.06 | 21 ratings

BUY
Live in Boston
UK Eclectic Prog

Review by Greta007

5 stars Absolutely A1 and, as one of a precious few albums from arguably the finest prog band that ever existed, it is a "must have".

As you'd expect, all musicians are on fire. Jobson is a terribly underrated musician. His prowess on keyboard and violin is extraordinary. Wetton and Bruford are as brilliant as expected. Holdsworth, of course, brings his usual stylishness and skill.

All tracks are incredible, though I prefer Terry Bozzio's drumwork to Caesar's Palace Blues on Danger Money's to Bill's effort on here, but that is a small criticism.

Thirty Years is perhaps the highlight for me, but all tracks are quality. The band is missed.

 Danger Money by UK album cover Studio Album, 1979
3.83 | 426 ratings

BUY
Danger Money
UK Eclectic Prog

Review by Greta007

5 stars This album has grown on me over the years. It suffered from impossibly high expectations. I remember that I also judged the album as "too commercial" based on the single, Nothing to Lose. In truth, it's not a commercial album at all. There are a few hooky choruses but, then again, Time To Kill from the debut album had a hooky chorus and no one complained because it had great instrumental passages. The same is the case here.

With Eddie Jobson's keys dominating without a guitar, the band sound at times echoes ELP, at other times, Crimson. Jobson's fine violin playing adds plenty of intensity and spice at times, eg. Caesar's Palace Blues. Terry Bozzio was, as you would expect, outstanding, a worth replacement for BB. John Wetton took advantage of the extra space with some excellent basswork, and he was in fine voice on this session, less pitchy than before.

UK's debut album was one of the great albums of prog. This album is not as good, but still a great prog album.

 UK by UK album cover Studio Album, 1978
4.11 | 713 ratings

BUY
UK
UK Eclectic Prog

Review by Dapper~Blueberries
Prog Reviewer

3 stars 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.

 UK by UK album cover Studio Album, 1978
4.11 | 713 ratings

BUY
UK
UK Eclectic Prog

Review by Prog123

5 stars 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.

Thanks to Ivan_Melgar_M for the artist addition. and to NotAProghead for the last updates

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.