ALLAN HOLDSWORTH – Flat Tire : Music for a Non-Existent Movie (2001-2013) FLAC (tracks+.cue), lossless

Flat Tire is a departure in that it is Allan Holdsworth's first unaccompanied record, executed with the Synthaxe guitar synthesizer. Holdsworth uses the instrument not only to play basslines, string- and choir-like chord swells, and quicksilver single-note lines, but also to trigger drum patches. The result is more of a one-man band effect than a solo guitar performance. Some of the synth sounds are quite reminiscent of his 1987 album Sand. The music is a bit static and repetitive overall, particularly on tracks like "Please Hold On," "So Long," and "Don't You Know," during which single lines flutter over subtly shifting rubato harmonies. The brassy chords that surface during "The Duplicate Man" are perhaps the best example of Holdsworth's sonic creativity. More varied and rewarding are the tempo-based tracks, particularly "Eeny Meeny" and "Bo Peep," both of which feature bassist Dave Carpenter, who played on 2000's excellent The Sixteen Men of Tain. Other highlights include the quasi-African percussion collage of "Snow Moon" and the steady groove and syncopations of "Curves." Certainly not the best introduction to Holdsworth's music, but his die-hard fans will want to pay it close attention. David R. Adler  
Tracklist :
1.        The Duplicate Man [Intro]    1:52
2.        The Duplicate Man    4:42
3.        Eeny Meeny    4:48
4.        Please Hold On    4:00
5.        Snow Moon    8:04
6.        Curves    5:36
7.        So Long    5:31
8.        Bo Peep    3:47
9.        Don't You Know    9:12
Credits :  
Acoustic Bass – Dave Carpenter (tracks: 3, 8)
Guitar, SynthAxe, Producer – Allan Holdsworth

ALLAN HOLDSWORTH — Hard Hat Area (1994) FLAC (tracks+.cue), lossless

Allan Holdsworth is arguably one of the most important post-Hendrix electric guitarists to grace either the fusion or rock scenes, while Hard Hat Area, signifies one of the artist's better solo excursions. With this 1994 effort, the guitarist receives excellent support from Icelandic electric bass phenom Skuli Sverrissson, whereas keyboardist Steve Hunt renders melodically tinged synth lines and ethereal backwashes throughout. Essentially, the group produces a series of climactic overtures, accelerated by a distinct sense of uninhibited force. On pieces such as "Ruhkukah" and "Low Levels, High Stakes," the musicians surge forward with a deterministic flair via a few tricky time signatures and lyrically charged themes atop Holdsworth's climactically driven solos. Consequently, the group conveys an underlying sense of tension and release, as Holdsworth's scathing legato-based lines might spur notions of a hawk zooming in on its prey. Thus, a must-have for the ardent Holdsworth aficionado. Glenn Astarita  
Tracklist :
1.    Prelude 1:35
Guitar – Allan Holdsworth
Keyboards – Steve Hunt
Written-By – A. Holdsworth, S. Hunt
2.    Ruhkukah 5:34
Soloist [Solos Guitar] – Allan Holdsworth
Soloist [Solos Keyboards] – Steve Hunt
Written-By – A. Holdsworth
3.    Low Levels, High Stakes 9:05
Soloist [Solos Bass] – Skúli Sverrisson
Soloist [Solos Guitar] – Allan Holdsworth
Soloist [Solos Piano] – Steve Hunt
Written-By – A. Holdsworth
4.    Hard Hat Area 6:06
Bass – Skúli Sverrisson
Guitar, SynthAxe – Allan Holdsworth
Written-By – A. Holdsworth
5.    Tullio 6:06
Soloist [Solos Guitar] – Allan Holdsworth
Soloist [Solos Keyboards] – Steve Hunt
Written-By – A. Holdsworth
6.    House Of Mirrors 7:47
Soloist [Solos Guitar] – Allan Holdsworth
Soloist [Solos Keyboards] – Steve Hunt
Written-By – A. Holdsworth
7.    Postlude 5:29
Keyboards [Chords] – Steve Hunt
Soloist [Solos Bass] – Skúli Sverrisson
Soloist [Solos Keyboards] – Steve Hunt
Soloist [Solos SynthAxe] – Allan Holdsworth
SynthAxe [Melody] – Allan Holdsworth
Written-By – A. Holdsworth, G. Husband, S. Sverrisson, S. Hunt 

ALLAN HOLDSWORTH – All Night Wrong (2002) Two Version | APE + FLAC (image+.tracks+.cue), lossless

Guitar hero Allan Holdsworth often performs with his peers. Such is the case with this live setting recorded at a venue in Japan during a 2002 tour. On this release, the guitarist leads a trio featuring longtime musical associates, drummer Chad Wackerman, and bassist Jimmy Johnson. To that end, the respective musicians' talents are well-known entities. Wackerman and Johnson can handle the trickiest time signatures imaginable. Along with the nimble flexibilities and odd-metered excursions witnessed here, they exude a force of power that serves as a meaty foundation for Holdsworth's mighty licks.
A wonderfully recorded album, Holdsworth's climactically driven legato-based riffs are intact, as he also implements jazzy chord voicings and delicately stated fabrics of sound. But the trio raises the ante throughout many of these pieces, awash with moments of nuance and controlled firepower. In sum, Holdsworth's legion of followers should be pleased with a recording that should rank among his finest efforts to date. Glenn Astarita  
Tracklist :
1    Lanyard Loop    5:46
 Allan Holdsworth
2    The Things You See    6:53
 Allan Holdsworth
3    Alphrazallan    7:04
 Allan Holdsworth
4    Funnels    5:01
 Allan Holdsworth
5    Zone    9:19
 Allan Holdsworth
6    Water On The Brain Pt. II    5:30
 Allan Holdsworth
7    Above & Below    8:21
 Allan Holdsworth
8    Gas Lamp Blues    7:59
 Allan Holdsworth
Credits :    
Bass – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth

HOLDSWORTH · PASQUA · HASLIP · WACKERMAN – Blues For Tony (2009) 2CD | FLAC (tracks+.cue), lossless

When drummer Tony Williams died of a heart attack on February 23, 1997, at the relatively young age of 51, it was a tremendous loss for straight-ahead post-bop and hard bop as well as for fusion. Williams had numerous acoustic jazz credentials (including his contributions to Miles Davis' legendary mid-‘60s quintet), and his band Lifetime was one of the most important fusion outfits of the ‘70s. The late drummer's fusion side is what electric guitarist Allan Holdsworth, electric bassist Jimmy Haslip (of Yellowjackets fame), keyboardist Alan Pasqua, and drummer Chad Wackerman pay tribute to on Blues for Tony, an excellent two-CD set that was recorded live in 2007. Forming a quartet, the improvisers remember Williams not by trying to sound like a carbon copy of Lifetime, but rather by celebrating the overall spirit of Williams' fusion output. Holdsworth, in fact, worked with Williams when he replaced John McLaughlin as Lifetime's guitarist in 1975; it was a brief association (Holdsworth left Lifetime the following year), although certainly a noteworthy one. And like Lifetime, this quartet (which performs mostly material by Holdsworth and Pasqua) demonstrates that being influenced by rock and funk and making extensive use of electric instruments doesn't mean that a group cannot maintain a jazz mentality. In fact, Blues for Tony thrives on a jazz mentality. Improvisation and spontaneity prevail, and even though Blues for Tony is by no means straight-ahead acoustic jazz, the quartet's amplified performances can easily be described as "the sound of surprise" (to borrow a term coined by the late jazz critic Whitney Balliett). These performances underscore the fact that -- contrary to what myopic jazz purists and bop snobs would have us believe -- fusion is not pseudo-jazz. Fusion is authentic jazz, but it's authentic jazz for people who also appreciate rock and funk. Blues for Tony is an album that fusion lovers shouldn't miss. Alex Henderson  
Tracklist :
1-1    Blues For Tony 11:12
Composed By – Alan Pasqua
1-2    The Fifth 8:58
Composed By – Wackerman
1-3    It Must Be Jazz 8:38
Composed By – Pasqua, Holdsworth, Wackerman, Haslip
1-4    Fred 9:56
Composed By – Holdsworth
1-5    Guitar Intro 3:35
Composed By – Allan Holdsworth
1-6    Pud Wud 9:59
Composed By – Holdsworth
2-1    Looking Glass 10:07
Composed By – Allan Holdsworth
2-2    To Jaki, George And Thad 4:51
Composed By – Alan Pasqua
2-3    San Michele 11:31
Composed By – Alan Pasqua
2-4    Protocosmos 5:46
Composed By – Alan Pasqua
2-5    Red Alert 5:50
Composed By – Tony Newton
Credits :
Bass, Producer, Edited By – Jimmy Haslip
Drums, Producer – Chad Wackerman
Guitar, Producer – Allan Holdsworth
Keyboards, Producer – Alan Pasqua

'IGGINBOTTOM — 'Igginbottom's Wrench (1969) RM | Two Version | WV + FLAC (image+.tracks+.cue), lossless

This is one weird-ass album, and one that will probably become better known as time goes on and more people discover that it's a very early musical document of Allan Holdsworth -- he was part of 'Igginbottom's Wrench along with David Freeman on drums, Steve Robinson on the other guitar, and Mick Skelly on bass. 'Igginbottom's Wrench, their one and only album, bears about the same relationship to Holdsworth's later work that The Cheerful Insanity of Giles, Giles & Fripp does to Robert Fripp's work, and it's curious that both albums are on the same label. 'Igginbottom's Wrench also sounds a lot like GG&F, kind of arty, theatrical psychedelia with some prominent jazz influences weaving in and out, but none of it taken seriously enough to be played or sung especially well, and it's easy to see how this recording got overlooked in 1969. It's mostly notable for the presence of "Golden Lakes," which evolved into "Velvet Darkness" and loomed ever larger in the decades to come. This shows Holdsworth at his least precise and pretentious, not in great form instrumentally or vocally (but not bad, either), noodling around in a less-than-formal setting and calling it an album. It's great fun and it will probably delight Holdsworth's fans, and anyone into late-'60s progressive rock or jazz/rock fusion. Bruce Eder
Tracklist :
1. The Castle (Holdsworth) - 2:55
2. Out Of Confusion (Freeman, Robinson, Holdsworth, Skelly) - 2:09
3. The Witch (Holdsworth) - 3:03
4. Sweet Dry Biscuits (Holdsworth) - 2:54
5. California Dreamin' (Phillips) - 4:00
6. Golden Lakes (Holdsworth) - 5:12
7. Not So Sweet Dreams (Holdsworth) - 5:00
8. Is She Just A Dream? (Holdsworth, Kelly) - 4:33
9. Blind Girl (Robinson) - 3:46
10.The Donkey (Robinson) - 10:42
Credits :
Allan Holdsworth – Vocals, Guitar
Steven Robinson – Vocals, Guitar
Dave Freeman – Drums
Mick Skelly – Bass 

JEAN-LUC PONTY — Le Voyage : The Jean-Luc Ponty Anthology (1996) 2CD | Two Version | FLAC (image+.tracks+.cue), lossless

Ponty has worked with Frank Zappa and John McLaughlin, has provided brilliant violin work as a session player, and has had a terrific run as a bandleader. This two-disc set dips into Ponty's Atlantic Records releases, tracing the development of Ponty's particular brand of jazz fusion and providing a very nice look at his career as a bandleader. A few of the cuts seem a bit watery and thin, but this has more to do with the original recording and mixing than the performances or mastering -- Rhino's mastering department has provided the usual quality of production here. Jean-Luc Ponty is a notable performer in the jazz arena, one who has a clear vision and strong ideals when it comes to his music -- he likes to test his boundaries and explore new possibilities. A notable collection. Steven McDonald
Tracklist 1 :
1. "Question with No Answer" – 3:29   
2. "Bowing-Bowing" – 4:53   
3. "Echoes of the Future" – 3:11   
4. "Aurora, Pt. 2" – 6:15   
5. "Waking Dream" – 2:26   
6. "Renaissance" – 5:48   
7. "New Country" – 3:09   
8. "Enigmatic Ocean, Pt. 2" – 3:37   
9. "Enigmatic Ocean, Pt. 3" – 3:43   
10. "Mirage" – 4:54   
11. "Egocentric Molecules" – 5:49   
12. "Cosmic Messenger" – 4:41   
13. "Ethereal Mood" – 4:04   
14. "I Only Feel Good with You" – 3:17   
15. "No Strings Attached" (live) – 6:02 
Tracklist 2 :
1. "Stay with Me" – 5:36   
2. "A Taste for Passion" – 5:25   
3. "Once a Blue Planet" – 4:05   
4. "Forms of Life" – 4:49   
5. "Rhythms of Hope" – 4:03   
6. "Mystical Adventures, Pt. 4" – 0:47   
7. "Mystical Adventures, Pt. 5" – 5:06   
8. "Jig" – 3:58   
9. "Final Truth, Pt. 1" – 4:55   
10. "Computer Incantations for World Peace" – 5:41   
11. "Individual Choice" – 4:57   
12. "Nostalgia" – 5:03   
13. "Eulogy to Oscar Romero" – 2:34   
14. "Infinite Pursuit" – 5:59   
15. "In the Kingdom of Peace" – 4:04   
16. "Caracas" – 3:51   
17. "Forever Together" – 5:46
All songs by Jean-Luc Ponty.
Personnel :
Jean-Luc Ponty - Autoharp, Violin, Electric Piano, Organ, Synthesizer, Bass Synthesizer, Keyboard Bass, Electronic Percussion
Joaquin Lievano, Peter Maunu - Guitar, Guitar Synthesizer
Daryl Stuermer, Dan Sawyer, Martin Atangana, Allan Holdsworth, Scott Henderson , Jamie Glaser - Guitar
Allan Zavod - Piano, Clavinet, Organ, Keyboards, Synthesizer
Patrice Rushen - Piano, Clavinet, Organ, Synthesizer
Chris Rhyne - Piano, Keyboards, Synthesizer, Bass Synthesizer
Wally Minko - Piano, Keyboards
Mokhtar Samba - Drums, Cowbells, Timbales
Norman Fearrington, Ndugu, Ray Griffin - Drums, Percussion
Mark Craney - Drums
Abdou M'Boup - Cowbells, Shaker
Paulinho Da Costa - Percussion

GARY HUSBAND — Dirty & Beautiful · Volume 1 (2010) FLAC (tracks+.cue), lossless

Fusion isn't as plentiful as it was back in the 1970s, which was the golden age of fusion just as the '30s and early '40s were the golden age of swing and the mid- to late '40s and '50s were the golden age of bop. But noteworthy fusion can still be found if you know where to look for it, and Gary Husband's Dirty and Beautiful, Vol. 1 is an example of noteworthy 21st century fusion. An impressive cast of fusion icons joins the British keyboardist/drummer/composer on this 2010 release, including guitarists Allan Holdsworth and John McLaughlin and keyboardist Jan Hammer; guitarist Robin Trower, who is best known for hard rock and blues-rock, is also on board. With such a cast, one would expect five-star results. But Dirty and Beautiful, Vol. 1 falls short of exceptional, although it's still an enjoyable, solid outing as well as a fairly diverse one. This 51-minute CD, which is dominated by Husband's original material, has its more aggressive moments (including "Ternberg Jam" and "Dreams in Blue"), but many of the tunes are on the reflective, contemplative side; that is certainly true of "Bedford Falls," "Afterglow," "The Maverick," "Averstone Jam," and the mysterious "Boulevard Baloneyo." And Husband reminds listeners that quality fusion, like quality bop, quality Dixieland, or quality swing, isn't just about pyrotechnics -- which is why there is a lot of lyricism on this album to go with all the chops and technical proficiency. Fusion enthusiasts will appreciate the amount of nuance that Husband and his soloists bring to Dirty and Beautiful, Vol. 1. Alex Henderson  
Tracklist :
1 Leave 'Em On  4:32
Bass – Jimmy Johnson
Drums – Gary Husband
Guitar – Allan Holdsworth
Keyboards – Jan Hammer
Written-By – Allan Holdsworth
2 Bedford Falls  3:20
Bass – Laurence Cottle
Drums – Gary Husband
Keyboards – Gary Husband
Written-By – Gary Husband
3 Between The Sheets Of Music  3:32
Bass – Jimmy Johnson 
Drums – Gary Husband
Guitar – Allan Holdsworth
Violin – Jerry Goodman
Written-By – Jan Hammer, Anthony Smith
4 Yesternow - Preview  0:57
Bass – Livingstone Brown
Drums – Gary Husband
Guitar – Robin Trower
Written-By – Miles Davis
5 Afterglow  2:15
Keyboards – Gary Husband
Written-By – Gary Husband
6 Dreams In Blue  10:12
Bass – Jimmy Johnson 
Drums – Gary Husband
Guitar – John McLaughlin
Keyboards – Gary Husband
Written-By – Gary Husband
7 Ternberg Jam  3:01
Bass – Jimmy Johnson 
Drums – Gary Husband
Keyboards – Gary Husband
Written-By – Gary Husband
8 Moon Song  4:32
Bass – Laurence Cottle
Drums – Gary Husband
Guitar – Steve Hackett
Keyboards – Gary Husband
Written-By – Gary Husband
9 Swell  0:45
Drums – Gary Husband
Keyboards – Gary Husband
Written-By – Gary Husband
10 The Maverick  4:53
Bass – Steve Price
Drums – Gary Husband
Guitar – Steve Topping
Written-By – Steve Topping
11 Boulevard Baloneyo  7:42
Bass – Jimmy Johnson 
Drums – Gary Husband
Guitar – Allan Holdsworth
Keyboards – Gary Husband
Written-By – Gary Husband
12 Alverstone Jam 5:22
Bass – Mark King
Drums – Gary Husband
Keyboards – Gary Husband
Written-By – Gary Husband, Mark King

GARY HUSBAND — Dirty & Beautiful · Volume 2 (2012) FLAC (tracks+.cue), lossless

Rather than releasing a double album, keyboardist/drummer Gary Husband split the jazz fusion songs he recorded with high-profile guests into two separate but equal hour-long discs. It's a logical, economically feasible way to get this music out and probably makes for a better overall listening experience, too, since the sound can get wearing, even over the length of a single platter. Anyone who enjoyed the first volume from 2011 will find the same pleasures here as Husband invites mostly guitar-shredding guests such as Mike Stern, John McLaughlin, Wayne Krantz, Robin Trower, Jimmy Herring, and old pal Allan Holdsworth, among others, for a good, old-fashioned '80s fusion fest. As is typical of the genre, the line between noodling and edgy improvisation can get awfully thin and there are moments that alternate on either side of that divide. That's the case within the confines of some songs such as the ten-minute John McLaughlin extravaganza "Sulley" that goes through multiple tempo changes, winding through its extended playing time with some terrific guitar soloing and some that just meanders. Props to bassist Mark King, whose husky yet malleable playing on the track holds down the rhythm and keeps the song vital even when the leads wander. Trower's Hendrix-inspired bluesy reverb on Miles Davis' "Yesternow-Epilogue" fades in where the first set's "Yesternow-Prologue" left off in a performance that blurs the border between rock and jazz. The energized nature of the disc is tempered on a short and lovely reading of Jan Hammer's "Rain." Hammer doesn't contribute to the track, but he does appear on Holdsworth's "Fred 2011," letting Husband -- who plays both drums and keyboards on eight of the eleven cuts -- concentrate on percussion. A similar dynamic applies to John McLaughlin's "New Blues, Old Bruise," where the guitarist is M.I.A. Rather, tenor saxist Sean Freeman, whose playing is strongly influenced by Wayne Shorter, gets free rein to strut his impressive stuff, which shifts from lovely to jagged as he blows his way through the ten-minute jam. Despite the obviously overdubbed nature of Husband's double-duty instrumental work, this album, and the previous one, sounds remarkably organic. That's especially true of the funky "East River Jam" featuring a relatively dialed down Wayne Krantz, whose innovative solos seldom go where you think they will. It adds up to a tasty, if somewhat inconsistent project that will please fans of both the old-school jazz fusion genre and of the prestigious musicians who help Husband bring it home. Hal Horowitz
Tracklist :
1    If The Animals Had Guns Too 5:28
Bass – Jimmy Johnson
Guitar – Ray Russell
Keyboards, Drums – Gary Husband
Written-By – Gary Husband
2    Rolling Sevens 4:44
Bass – Teymur Phell
Guitar – Mike Stern
Keyboards, Drums, Percussion – Gary Husband
3    New Blues, Old Bruise 10:21
Keyboards, Drums – Gary Husband
Tenor Saxophone – Sean Freeman
Written-By – John McLaughlin
4    East River Jam 3:01
Guitar – Wayne Krantz
Keyboards, Drums – Gary Husband
Written-By – Gary Husband, Wayne Krantz
5    Fred 2011 4:48
Bass – Jimmy Johnson
Drums – Gary Husband
Guitar – Allan Holdsworth
Keyboards – Jan Hammer
Written-By – Allan Holdsworth
6    Rain 2:48
Guitar – Neil Taylor
Keyboards, Drums – Gary Husband
Written-By – Jan Hammer
7    Lock, Stock & Two Smoking Brothers 6:14
Drums – Gary Husband
Guitar, Programmed By – Alex Machacek
Written-By – Alex Machacek
8    Fuguie 4:18
Keyboards – Gary Husband
Written-By – Gary Husband
9    Sulley 10:08
Bass – Mark King
Guitar – John McLaughlin
Keyboards, Drums – Gary Husband
Written-By – Gary Husband
10    England Green 2:52
Bass – Laurence Cottle
Guitar – Jimmy Herring
Keyboards, Drums – Gary Husband
Written-By – Gary Husband
11    Yesternow - Epilogue 4:52
Bass – Livingstone Brown
Guitar – Robin Trower
Keyboards, Drums – Gary Husband
Written-By – Miles Davis

ALLAN HOLDSWORTH — Velvet Darkness (1976-2000) RM | Serie CTI Best Selection | FLAC (tracks+.cue), lossless

This debut solo release by Allan Holdsworth has an "in the raw," coarsely presented, jam-session quality complete with warts and all, as well as real gems of jazz fusion shining through. A first hearing of this release in its vinyl version might provoke laughter at how really bad it sounds compared to Holdsworth's other releases as well as his playing with other groups. As it turns out, Holdsworth himself abhors this release (considering it "a real terrible disaster"), and has taken legal action and had it removed from production for several reasons. The original label used rehearsal tapes to compile it, deeming it unnecessary to finance real sessions. During the recording session, Holdsworth had to hurry through each song and apparently never obtained the masters to go over before release. In essence, the original release was nothing more than a taped rehearsal, packaged by CTI as an album without Holdsworth's permission. This recording has been bootlegged by label after label, none of the musicians involved ever saw any royalties, and no legal paperwork exists. (The recording's known labels and release/re-release dates include CTI Records [1976], King Records [1976], Epic Associated Records [CD, 1990], King Records [Japanese-only CD, 1994], and CTI Records [Japanese-only CD, 1997]. Velvet Darkness was also released in 1997 on an unknown label in Japan as a bootleg CD; an original copy of the vinyl LP album had been transferred to the CD.) This 1990 release with alternate takes (just more pieces dredged up from the jam-session practice tapes) is indeed an interesting snapshot of young stellar musicians doing their thing in a laid-back but energetic fusion-funk-rock groove. It is for all the above reasons that this is indeed a completist/collectors item nowadays. Included are the now very rare recordings of Holdsworth playing acoustic guitar and violin, which he does very well. The alternate take of "Gattox" is a special treat, featuring Holdsworth soloing with an intensity and emotive power that echoes all the best dynamics jazz fusion could offer in the '70s. Obtaining this release second-hand is probably the only and most proper way to find it now. John W. Patterson  

Tracklist :

1 Good Clean Filth 5:23

2 Floppy Hat 2:46

3 Wish 4:21

4 Kinder 3:06

5 Velvet Darkness 4:43

6 Karzie Key 3:10

7 Last May 1:38

8 Gattox 4:54

 Credits:

Bass – Alphonse Johnson

Drums – Narada Michael Walden

Electric Guitar, Acoustic Guitar, Violin, Written-By – Allan Holdsworth

Engineer [Recording] – Rudy Van Gelder

Piano – Alan Pasqua

Producer – Creed Taylor

ALLAN HOLDSWORTH — Road Games (1983-2001) FLAC (tracks+.cue), lossless

Short but sweet: this 24-plus-minute re-release of an '80s-era solo effort originally appeared as a vinyl EP, and has never before been issued on CD. It is a unique mix of great vocals with a more rocking, bluesy, and jazzy quasi-mainstream song-themed balladic thrust. This release showcases Allan Holdsworth playing less "out there." Don't misunderstand -- the guitar is amazing: multi-voiced, fusion-fired, ethereally chorded, delightfully crystalline clear, note-flourished, and swooningly embellished. Add in the vocals of Jack Bruce for that Cream flashback or the I.O.U. band feel of Paul Williams' crooning, back to back with killer bass by Jeff Berlin and tastefully poised drums by Chad Wackerman, and you have fusion-rock bliss.Holdsworth addicts have waited a very long time for this to appear in the CD format. So go for it. It sounds great all over again. The original album cover graphics and notes are included. John W. Patterson

Tracklist :

1 Three Sheets To The Wind 4:15

Written-By – Allan Holdsworth

2 Road Games 4:15

Written-By – Allan Holdsworth, Paul Williams

3 Water On The Brain Pt. II 2:44

Written-By – Allan Holdsworth

4 Tokyo Dream 4:03

Written-By – Allan Holdsworth

5 Was There? 4:07

Written-By – Allan Holdsworth, Paul Williams

6 Material Real 4:44

Written-By – Allan Holdsworth, Paul Williams

Credits:

Bass Guitar – Jeff Berlin

Drums – Chad Wackerman

Guest, Backing Vocals – Joe Turano, Paul Korda, Paul Williams 

Guest, Lead Vocals – Paul Williams (tracks: 2)

Guest, Vocals – Jack Bruce

Guitar – Allan Holdsworth

ALLAN HOLDSWORTH – Secrets (1989) FLAC (image+.cue), lossless

A true masterpiece, Secrets is the massive culmination of Allan Holdsworth's years-long legato technique and SynthAxe development. Conceptually inspired by but significantly different from the electric guitar, the SynthAxe is not a guitar-controlled synthesizer; it's a completely unique instrument of its own, making the guitarist's gripping performances all the more impressive. Holdsworth actually plays both instruments at a world-class level, setting an almost unreachable technical standard for aspiring rock, jazz, and fusion players. In addition to Secrets' technical accomplishments, Holdsworth contributes some of the most inspired songwriting of his career. The instrumental choruses are subtle and fluid, and the vocal lines on "Secrets" (performed by Rowanne Mark) and "Endomorph" (Craig Copeland) surpass earlier Holdsworth-penned efforts with their touching lyrics and melodies. Simply put, this 1989 Enigma release is a triumph, the final contribution to the artist's seminal '80s collection that includes Metal Fatigue and Atavachron. Fans of progressive music (no matter the genre) are recommended to search out the furtive Secrets, and unearth the sadly hidden knowledge of a musician's sublime transcendence of form, through passion and genius. Vincent Jeffries 
 Tracklist:
1    City Nights    2:33
2    Secrets 4:21
Vocals – Rowanne Mark
3    54 Duncan Terrace (Dedicated To Pat Smythe) 4:33
Piano – Alan Pasqua
4    Joshua 5:54
Keyboards – Steve Hunt 
5    Spokes    3:29
6    Maid Marion 7:16
Keyboards – Steve Hunt 
7    Peril Premonition 4:43
Bass – Bob Wackerman
Drums, Keyboards – Chad Wackerman
Other [Hammer] – Jeffrey Ocheltree
Voice – Clair Holdsworth
8    Endomorph (Dedicated To My Parents) 4:19
Vocals – Craig Copeland
Credits:
Bass – Jimmy Johnson (tracks: 1 to 6)
Drums – Vinnie Colaiuta (tracks: 1 to 6)
Guitar, Mixed By – Allan Holdsworth
Lyrics By – Rowanne Mark (tracks: 2, 8)
Music By – Allan Holdsworth (tracks: 2, 3, 5, 8), Chad Wackerman (tracks: 7), Gary Husband (tracks: 1), Steve Hunt (tracks: 4, 6)
Producer – Allan Holdsworth

ALLAN HOLDSWORTH — Wardenclyffe Tower + 3 (1992-2008) RM | FLAC (tracks+.cue), lossless

This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work. One very obvious oddity is the strange and ill-advised ending to the opener, "5 to 10," which concludes with a toilet flushing and an annoying voice-over. Mistakes in judgment aside, there is something formless about this album, something that blurs the tracks together in a meaningless way. Holdsworth has always been more of a distinctive than a strong composer, and the batch of tunes that he contributes here is not very compelling. The title track, with its power-chord verse, and his collaboration with singer Naomi Star, "Against the Clock," are his strongest moments. The presence of Hunt's "Dodgy Boat" helps but it is not enough to elevate this album to the level of Holdsworth's past successes. This is not to say that there is not meaningful music on Wardenclyffe Tower, because there is. "Against the Clock," which features not only Star's voice but also the drums of Vinnie Colaiuta, is one such success. Holdsworth makes use of the SynthAxe guitar synthesizer on several tracks on Wardenclyffe Tower, the most effective use of which is here, where his solo emerges from empty space in a constantly accelerating fashion, like a boulder rolling down a hill (although Holdsworth's ascending line sets forth the impossible scenario of falling upwards). All in all, however, there is a lack of dynamic movement in the soloists and the compositions in general. Of value to Holdsworth completists, but not of much interest to casual fans. Daniel Gioffre  

Tracklist :

1 5 To 10 5:36

Bass – Jimmy Johnson 

Drums – Chad Wackerman

Guitar, Synthaxe, Soloist [Guitar] – Allan Holdsworth

Soloist [Keyboards] – Steve Hunt

Voice [Jazz Fan] – oel (The Demon Barber) Schnebelt

Written-By – A. Holdsworth

2 Sphere Of Influence 5:58

Bass – Jimmy Johnson  

Drums – Gary Husband

Guitar, Soloist [Guitar] – Allan Holdsworth

Soloist [Keyboards] – Steve Hunt  

Written-By – A. Holdsworth 

3 Wardenclyffe Tower 8:44

Bass – Jimmy Johnson 

Drums – Chad Wackerman

Guitar, Synthaxe, Soloist [Synthaxe] – Allan Holdsworth

Soloist [Keyboards] – Gary Husband

Written-By – A. Holdsworth

4 Dodgy Boat 5:37

Bass, Soloist [Bass] – Jimmy Johnson 

Drums – Gary Husband

Guitar, Soloist [Guitar] – Allan Holdsworth

Keyboards, Soloist [Keyboards] – Steve Hunt  

Written-By – S. Hunt 

5 Zarabeth 6:31

Bass – Jimmy Johnson 

Drums – Chad Wackerman

Guitar, Soloist [Guitar] – Allan Holdsworth

Keyboards, Soloist [Keyboards] – Steve Hunt 

Written-By – A. Holdsworth 

6 Against The Clock 4:58

Bass – Jimmy Johnson 

Drums, Soloist [Drums] – Vinnie Colaiuta

Synthaxe, Soloist [Synthaxe] – Allan Holdsworth

Vocals – Naomi Star

Written-By – A. Holdsworth 

7 Questions 4:07

Bass – Jimmy Johnson  

Drums, Keyboards – Chad Wackerman

Guitar, Soloist [Guitar] – Allan Holdsworth

Written-By – C. Wackerman 

8 Oneiric Moor 1:43

Guitar – Allan Holdsworth

Written-By – A. Holdsworth 

- Bonus Tracks - 

9 Tokyo Dream 5:05

Bass – Jimmy Johnson  

Drums – Chad Wackerman

Guitar, Synthaxe – Allan Holdsworth

Keyboards – Gordon Beck

Written-By – A. Holdsworth 

10 The Unmerry Go Round Part 4 3:01

Bass – Jimmy Johnson 

Drums – Chad Wackerman

Guitar – Allan Holdsworth

Soloist [Piano] – Gordon Beck

Written-By – A. Holdsworth 

11 The Unmerry Go Round Part 5 1:58

Bass – Jimmy Johnson 

Drums – Chad Wackerman

Guitar, Guitar [Baritone] – Allan Holdsworth

Written-By – A. Holdsworth 

CHAD WACKERMAN - The View (1993) FLAC (tracks+.cue), lossless

When drummer Chad Wackerman recorded The View for Germany's CMP label in 1993, real fusion wasn't as plentiful as it had been in the 1970s. Many A&R people seemed to want either formulaic smooth jazz/NAC artists or hard bop-oriented "Young Lions" in Armani suites -- if they weren't looking for the next Kenny G, they were looking for the next Wynton Marsalis. Nonetheless, worthwhile fusion was still being recorded -- it just wasn't as plentiful as it once was. The phrase "worthwhile fusion" easily describes The View, which falls short of remarkable but is a decent, respectable effort that features such noteworthy soloists as Allan Holdsworth (one of fusion's most respected guitar heroes), Jim Cox (keyboards, organ, piano), and Walt Fowler (flügelhorn, trumpet). Throughout the album, Wackerman shows himself to be a sensitive, intuitive drummer. When Holdsworth, Cox, or Fowler is taking a solo, Wackerman knows how to be encouraging. Of course, the fact that Wackerman (whose influences include Tony Williams and Billy Cobham, among others) wrote most of the material himself doesn't hurt. And that material is diverse, ranging from the cerebral ("On the Edge," "Black Coffee") to the romantic ("Starry Nights"). Not surprisingly, The View was totally ignored by NAC stations in the United States -- even something as lyrical as ("Starry Nights") was rejected by NAC program directors, who reasoned that their listeners only wanted to hear smooth jazz favorites like Najee, Richard Elliot, and Dave Koz. And that's a shame because there was a time when stations that played electric, non-straight-ahead jazz would have welcomed an album like The View, which demonstrated that real fusion could still be found in 1993 if you knew where to look for it. by Alex Henderson 
Tracklist:
1 Close To Home 5:25
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Organ, Synthesizer – Jim Cox
Written-By – C. Wackerman
2 Across The Bridge 5:41
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Flugelhorn – Walt Fowler
Guitar – Carl Verheyen
Synthesizer – Jim Cox
Written-By – C. Wackerman
3 Black Coffee 5:57
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Carl Verheyen
Organ, Synthesizer – Jim Cox
Trumpet, Flugelhorn – Walt Fowler
Written-By – C. Wackerman
4 Empty Suitcase 2:50
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Piano – Jim Cox
Trumpet – Walt Fowler
Written-By – A. Holdsworth, C. Wackerman, J. Cox, J. Johnson, W. Fowler
5 Introduction 6:35
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Organ, Clavinet, Synthesizer, Piano – Jim Cox
Written-By – C. Wackerman
6 Starry Nights 4:38
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Carl Verheyen
Piano – Jim Cox
Written-By – C. Wackerman
7 All Sevens 8:10
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Carl Verheyen
Piano, Organ, Synthesizer – Jim Cox
Trumpet – Walt Fowler
Written-By – C. Wackerman
8 On The Edge 2:50
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Organ, Piano – Jim Cox
Written-By – A. Holdsworth, C. Wackerman, J. Cox, J. Johnson
9 Just A Moment 1:12
Flugelhorn – Walt Fowler
Guitar – Allan Holdsworth
Written-By – A. Holdsworth, W. Fowler
10 The View 5:05
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Carl Verheyen
Organ – Jim Cox
Trumpet – Walt Fowler
Written-By – C. Verheyen, C. Wackerman
11 Flares 5:26
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Carl Verheyen
Organ – Jim Cox
Written-By – C. Wackerman
12 Bash 1:32
Drums, Percussion – Chad Wackerman
Written-By – C. Wackerman
13 Days Away 3:07
Bass – Jimmy Johnson 
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Piano – Jim Cox
Trumpet – Walt Fowler
Written-By – A. Holdsworth, C. Wackerman, J. Co, J. Johnson, W. Fowler

BILL BRUFORD - Feels Good To Me (1978) lp [24bits-96hz] FLAC (tracks+.cue), lossless

This is the first solo date by drummer Bill Bruford after the first demise of King Crimson. Feels Good to Me goes far beyond the usual prog rock conceits of its time, and enters fully into the compositional structures and improvisational dynamics of jazz. Here he surrounds himself with various mates from the Canterbury scene -- guitarists Allan Holdsworth (Soft Machine and Tony Williams' Lifetime) and John Goodsall (Brand X), bassist Jeff Berlin, keyboardist Dave Stewart, and ECM flügelhorn stalwart Kenny Wheeler. He also enlisted the enigmatic vocal prowess of poet, singer, and songwriter Annette Peacock.
The opener, "Beelzebub," is a furious staccato workout. Holdsworth trades eights with Bruford and Berlin executes loping basslines as Stewart waxes painterly with both organ and synthesizer. It's knotty and stops on a dime before charging into a beautiful solo by Holdsworth and resolving itself with the ensemble restating the theme. "Back to the Beginning" has one of four vocal performances by Peacock. It's a jazz tune -- funky, syncopated, and heavily and wildly lyrical both in groove and meter. It's a song about addictions and, given Peacock's sultry treatment, it's hard to tell if they are chemical, material, or sexual. The band works hard staying behind the singer but can't help but overshadow her.
On the two-part "Seems Like a Lifetime Ago," musical schizophrenia sets in. After a colorful pastoral intro, Peacock glides beautifully through Bruford's lyric of forlorn reverie accompanied by a gorgeous Wheeler solo. Then "Part Two" begins with her growling out the refrain and the band taking off for parts unknown. Hard funky rhythms call Holdsworth's lead guitar to move flat up against Bruford's frenetic drumming. They challenge each other dynamically as the rest of the rhythm section nervously dances around them. Holdsworth finally grabs the lead and plays a solo that is nothing short of breathtaking, giving way to a restatement of the theme and Bruford opening up the harmonic structure before bringing it to a transcendent close two minutes later. The album's six instrumentals are tight: they hold improvisational breaks to the limits of compositional dictation rather than vice versa. The most beautiful, "Either End of August," features Stewart and Wheeler playing unusual yet melodic solos that entwine with each other as the rest of the band struggles to keep the drama out of the music. They don't succeed entirely and the track is all the better for it.
The set closes with "Adios a la Pasada (Goodbye to the Past)," a collaboration between Peacock and Bruford. It's on Peacock's favorite theme: to emerge from love scraped and beaten, yet resolved to keep an open heart. The opening is spare and strange, coated with whispering keyboards and bass haunting the artist's every word. Then Bruford majestically leads the band, soaring into the heart of her lyric, "What it is/Is this/Is what it is/Forgive yourselves/Release yourselves from the past." The music opens up an entirely new sonic dimension, as if history, both musical and emotional, was being rewritten. And it was. Bruford has yet to issue a solo recording as powerful as Feels Good to Me.  by Thom Jurek  
Tracklist:
A1 - Beelzebub 3:16
Written-By - Bill Bruford
A2 - Back To The Beginning 7:09
Words By, Music By - Bill Bruford
A3 - Seems Like A Lifetime Ago (Part One) 2:30
Words By, Music By - Bill Bruford
A4 - Seems Like A Lifetime Ago (Part Two) 4:25
Written-By - Bill Bruford
A5 - Sample And Hold 5:12
Written-By - Bill Bruford, Dave Stewart
B1- Feels Good To Me 3:49
Guitar [Additional] - John Goodsall / Written-By - Bill Bruford
B2 - Either End Of August 5:27
Written-By - Bill Bruford
B3 - If You Can't The Heat 3:20
Written-By - Bill Bruford, Dave Stewart
B4 - Springtime In Siberia 2:43
Written-By - Bill Bruford, Dave Stewart
B5 - Adios A La Pasada (Goodbye To The Past) 7:56
Music By - Bill Bruford / Words By - Annette Peacock
Credits
Bass – Jeff Berlin
Featuring [With], Flugelhorn – Kenny Wheeler
Guitar – Allan Holdsworth
Keyboards – Dave Stewart
Percussion [Tuned And Untuned Percussion], Drums [Kit Drums] – Bill Bruford
Vocals – Annette Peacock
 

BRUFORD - One of a Kind (1979) FLAC (image+.cue), lossless

Bill Bruford ended his brief affair with U.K. and condensed his original outfit to a quartet, releasing a second album of sinewy, celebratory jazz/rock fusion, One of a Kind. Good-humored twists and turns abound in the music, punctuated by Bruford's steadying if slightly subversive rhythms, Allan Holdsworth's flashes of fire, Jeff Berlin's insistent bass, and Dave Stewart's remarkably colorful keyboards. At the heart of many of these songs is an uplifting melody, a trait shared with fusion artists like Weather Report and Jean-Luc Ponty, though Bruford's outfit favors a faster pace than the former and pursues more musical avenues in a single song than the latter. When he takes to tuned percussion, Bruford can even sound like Frank Zappa (both bands have a funky side to them). Standout cuts this time include "Hell's Bells," "Fainting in Coils" (which, in an indirect link to his previous employers, would have felt at home on Robert Fripp's Exposure), "Five G," and "The Sahara of Snow." The remaining tracks are a little less muscular, and the band's strength would seem to lie in fusion propelled by the complex rhythmic patterns of Bruford and Berlin (i.e., when the band leans closer to the rock side of the fusion family). Those who enjoy their fusion with a healthy dose of rock will find One of a Kind a fair match for anything from Return to Forever or Brand X. Note that many of these songs also appear in live versions on the beat-the-boots release The Bruford Tapes. by Dave Connolly  
Tracklist:
1 Hell's Bells 3:33
Written-By – Gowen, Stewart
2 One Of A Kind - Part One 2:20
Written-By – Bruford
3 One Of A Kind - Part Two 4:04
Written-By – Bruford, Stewart
4 Travels With Myself - And Someone Else 6:13
Written-By – Bruford
5 Fainting In Coils 6:33
Narrator – Sam Alder
Voice [Alice] – Anthea Norman Taylor
Voice [The Mock Turtle] – Bill Bruford
Words By – Lewis Carroll
Written-By – Bruford
6 Five G 4:46
Written-By – Bruford, Stewart, Berlin
7 The Abingdon Chasp 4:54
Written-By – Holdsworth
8 Forever Until Sunday 5:51
Written-By – Bruford
9 The Sahara Of Snow - Part One 5:18
Written-By – Bruford
10 The Sahara Of Snow - Part Two 3:24
Written-By – Bruford, Jobson
Credits:
Bass [The Bass], Vocals [The Vocals] – Jeff Berlin
Drums [The Drums] – Bill Bruford
Guitar [The Guitar] – Allan Holdsworth
Keyboards [The Keyboards] – Dave Stewart
Producer – Bill Bruford

GONG - Gazeuse! (1976-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

Gazeuse! was the first in a successful line of strictly jazz-rock sessions for percussionist Pierre Moerlen and company -- compositions that stressed jazz more than rock and which generally strayed away from lyrical content. This 1976 recording, also released under the title Expresso, was the band's first completely instrumental album, a companion piece to the later, somewhat warmer Expresso II, which is quite similar in sound and structure. To say Gazeuse! is percussive is an understatement. Drummer Moerlen is accompanied by brother Benoit and Mireille Bauer on vibraphones with Mino Cinelu playing other assorted percussion. "Percolations" is a showcase for this foursome: Part one, a display of beautiful vibes and xylophones; part two, a technically superb drum solo. Pierre's playing is fierce in this second part, exhibited by some truly volatile drumming near the close. Allan Holdsworth is the sole guitarist on the album and contributes two of his own compositions. His "Night Illusion" is a standout and reminiscent of Bill Bruford's Feels Good to Me on which Holdsworth collaborated around the same time. Longtime Gong member Didier Malherbe adds spice to the proceedings with jazzy flute on "Shadows Of" and prominent sax on the slightly funky "Esnuria." by David Ross Smith  
Tracklist:
1 Expresso 5:58
Written By, Drums – Pierre Moerlen
2 Night Illusion 3:42
Written By, Electric Guitar – Allan Holdsworth
3 Percolations 10:02
Written By, Drums – Pierre Moerlen
4 Shadows Of 7:48
Written By, Electric Guitar – Allan Holdsworth
5 Esnuria 8:02
Written By, Drums – Pierre Moerlen
6 Mireille 4:13
Written By, Bass Guitar – Francis Moze
Credits:
Bass, Piano, Gong – Francis Moze
Congas, Percussion – Mino Cinelu
Drums, Vibraphone, Marimba, Glockenspiel – Pierre Moerlen
Guitar – Allan Holdsworth
Saxophone, Flute – Didier Malherbe
Vibraphone – Benoit Moerlen
Vibraphone, Marimba, Glockenspiel – Mireille Bauer

GONG — Expresso II (1978-2015) RM | Mini LP | SHM-CD Universal Japan | FLAC (image+.cue), lossless

As interesting and fun as the Daevid Allen period was, the name Gong became more meaningful in the context of the music as percussionist Pierre Moerlen assumed the role of bandleader. An emphasis on percussives of all sorts became clear on Gazeuse!, the band's first completely instrumental album, and the music became much jazzier, though never considered jazz. Expresso II finds Pierre Moerlen's Gong at their peak. Like their previous studio release, Gazeuse!, the album is instrumental, the music is very polished, the sound very clean. Vibes and xylophone dominate on this album, somewhat reminiscent of the sound Zappa achieved through Ruth Underwood on One Size Fits All just three years earlier. The first two tracks, "Heavy Tune" and "Golden Dilemma," are the highlights here, partially due to the fact that the rest of the cuts all blend together and sound quite similar. The listener is pleasantly assaulted with a barrage of vibes, yet what a unique sound it is when heard on a rock-oriented album. Guitar combos rarely get much better than on "Heavy Tune," as Mick Taylor rips out leads over Allan Holdsworth's grinding rhythm guitar. The collective guitar sound achieved is one of restrained power; however, the piece can comparatively be considered a rocker. Gong shifts to a different gear with the following track, "Golden Dilemma," a faster-paced, jazzy piece with incredible solos from guitarist Bon Lozaga. Formerly of Curved Air, Darryl Way's violin is a highlight on "Sleepy" and "Boring" (neither of which apply). "Sleepy," which combines Way's violin with Holdsworth's guitar leads, prefigures the sound of the first U.K. album (Holdsworth went on to form U.K. with violinist Eddie Jobson). A very short album, Expresso II is possibly the strongest of the post-Allen Gong, and an essential album. David Ross Smith  
Tracklist :
1 Heavy Tune 6:22
Bass Guitar – Hansford Rowe
Drums, Glockenspiel, Vibraphone – Pierre Moerlen

Lead Guitar – Mick Taylor
Marimba – Mireille Bauer
Rhythm Guitar – Allan Holdsworth
Vibraphone – Benoit Moerlen
Written-By – Pierre Moerlen
2 Golden Dilemma 4:51
Bass Guitar – Hansford Rowe
Congas – Francois Causse
Drums, Xylophone – Pierre Moerlen
Guitar – Bon Lozaga
Marimba – Mireille Bauer
Vibraphone – Benoit Moerlen
Written-By – Hansford Rowe
3 Sleepy 7:17
Bass Guitar – Hansford Rowe
Bass Guitar, Soloist [Dr. Q] – Hansford Rowe
Congas – Francois Causse
Drums – Pierre Moerlen
Guitar – Allan Holdsworth
Vibraphone – Mireille Bauer
Vibraphone, Marimba, Percussion – Benoit Moerlen
Violin – Darryl Way
Written-By – Mireille Bauer
4 Soli 7:37
Bass Guitar – Hansford Rowe
Congas – Francois Causse
Drums – Pierre Moerlen
Guitar – Allan Holdsworth
Soloist [Vibraphone] – Benoit Moerlen
Vibraphone – Mireille Bauer
Written-By – Hansford Rowe
5 Boring 6:23
Bass Guitar – Hansford Rowe
Congas – Francois Causse
Drums, Timpani, Tubular Bells – Pierre Moerlen
Marimba – Mireille Bauer
Vibraphone – Benoit Moerlen
Violin – Darryl Way
Written-By – Mireille Bauer
6 Three Blind Mice 4:47
Bass Guitar – Hansford Rowe
Congas – Francois Causse
Drums – Pierre Moerlen
Vibraphone, Marimba – Mireille Bauer
Vibraphone, Tubular Bells, Glockenspiel, Claves, Xylophone – Benoit Moerlen
Written-By – Benoit Moerlen

U.K. - U.K. (1978-2014) RM / SHM-CD / FLAC (image+.cue), lossless

The debut album from amalgamated progsters John Wetton, Bill Bruford, Eddie Jobson, and Allan Holdsworth has the edge over both Danger Money and Night After Night because of the synthesis of melody and rhythm that is inflicted through nearly every one of the eight tracks. While not as commercial sounding as Wetton's 1980s supergroup Asia, U.K. mustered up a progressive air by the use of intelligent keyboard and percussion interplay without sounding mainstream. Jobson's work with the electric violin and assorted synthesizers adds to an already profound astuteness carried by Wetton. Former Yes and Genesis drummer Bill Bruford is just as important behind the kit, making his presence felt on numbers like "Thirty Years" and "Nevermore." Without carrying the same rhythms or cadences through each song, U.K. implements some differentiation into their music, straying from the sometimes over-the-top musicianship that occurs with the gathering of such an elite bunch. The melodious finish of such tracks as "By the Light of Day" and "Alaska" showcases the overall fluency of each member, and shows no signs of any progressive tediousness that could have easily evolved. All three of U.K.'s albums are enjoyable, but the debut sports the most interest, since it spotlights their remarkable fit as a band for the first time. by Mike DeGagne 
Tracklist:
1 In The Dead Of Night  5:38
Written-By – Jobson, Wetton
2 By The Light Of Day  4:32
Written-By – Jobson, Wetton
3 Presto Vivace And Reprise  2:58
Written-By – Jobson, Wetton
4 Thirty Years  8:05
Written-By – Bruford, Jobson, Wetton
5 Alaska  4:45
Written-By – Jobson
6 Time To Kill  4:55
Written-By – Bruford, Jobson, Wetton
7 Nevermore  8:09
Written-By – Holdsworth, Jobson, Wetton
8 Mental Medication  6:12
Written-By – Holdsworth, Bruford, Jobson
Bonus Tracks
9 In The Dead Of Night - Single Version 3:03
10 Mental Medication - Single Edit 3:25
Credits
Drums [Kit Drums], Percussion – Bill Bruford
Guitar – Allan Holdsworth
Violin [Electric], Keyboards, Electronics – Eddie Jobson
Voice, Bass – John Wetton