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

THE TONY WILLIAMS LIFETIME - The Collection (1992) FLAC (image+.cue), lossless

This CD has all of the music from drummer Tony Williams' Believe It and Million Dollar Legs LPs. The best-known version of Williams' Lifetime is the trio he led during 1969-1970 with guitarist John McLaughlin and organist Larry Young. There are times (particularly on the first half of this reissue) that this later edition of Lifetime approaches the power and creativity of the original group. Key among the sidemen is guitarist Allan Holdsworth, a very underrated and creative musician whose style falls between rock and jazz and who often improvises more like a keyboardist than a guitarist. Alan Pasqua on electric piano and bassist Tony Newton (who also takes a few forgettable vocals) complete the group; background brass and strings are added to some of the songs in the later date. Although not flawless (some of the music has dated), these long-overlooked performances are worth exploring by fusion collectors, especially for Holdsworth's fiery yet thoughtful solos. by Scott Yanow
Tracklist :
1 Snake Oil 6:30
Tony Newton
2 Fred 6:48
Allan Holdsworth
3 Proto-Cosmos 4:03
Alan Pasqua
4 Red Alert 4:39
Tony Newton
5 Wildlife 5:22
Tony Williams
6 Mr. Spock 6:17
Allan Holdsworth
7 Sweet Revenge 6:05
Tony Williams
8 You Did It to Me Baby 3:52
Antonio Newton / Tony Williams
9 Million Dollar Legs 6:39
Tony Williams
10 Joy Filled Summer 5:53
Tony Newton
11 Lady Jane 4:01
Alan Pasqua
12 What You Do to Me 7:08
Tony Williams
13 Inspirations of Love 9:47
Tony Newton
Credits :
Arranged By [String & Horn] – Jack Nitzsche (tracks: 7 to 13)
Bass, Vocals – Tony Newton
Drums – Tony Williams
Guitar – Allan Holdsworth

ALLAN HOLDSWORTH | GORDON BECK – The Things You See (1979-1989) FLAC (tracks+.cue), lossless

This is an excellent release to satisfy fans of both Beck's great piano work and the mind-boggling work of Holdsworth especially on tracks like The Things You See (When You Haven't Got Your Gun) and Diminished Responsibility which as a guitarist I don't know how he does it playing at incredible speed on an acoustic guitar presumably fretting and playing each note sounding like Eddie Van Halen's Spanish Fly from Van Halen 2 except we know Eddie was two-hand tapping on that tune. Really amazing guitar work from Holdsworth here and a must have in any guitarist's sonic library. web
Tracklist :
1. Golden Lakes 4:49
2. Stop Fiddlin' 2:56
3. The Things You See 4:32
4. Disminished Responsability 8:17
5. She's Lookin', I'm Cookin' 11:58
6. At The Edge 3:18
7. Up Country 3:43
Credits :    
 Acoustic Guitar, Electric Guitar, Vocals – Allan Holdsworth
Piano, Electric Piano – Gordon Beck

THE NEW TONY WILLIAMS LIFETIME - Believe It (1975-2004) FLAC (tracks+.cue), lossless

Believe It is the first album by The New Tony Williams Lifetime, released in 1975 on Columbia Records. The New Lifetime was a jazz fusion band formed by the drummer Tony Williams with Allan Holdsworth on guitar, Alan Pasqua on keyboards and Tony Newton on bass.

The compositions Fred, Proto Cosmos and Red Alert are also featured on the Allan Holdsworth DVD Live at Yoshi's, released in 2007. Holdsworth has often stated that his time with the drummer was the most influential formative stage of his career.

By the time drummer Tony Williams left Miles Davis in '69, he had moved even farther away from the acoustic tradition than his former employer. His first recordings with his new band, Lifetime, were characterized by the sleeve instructions: "Play it Loud!" While the energy level was high and the music was infused with a rock and roll philosophy, it was nevertheless uncompromising and continued to push the boundaries; intense, daring and sometimes a little terrifying, the early incarnation of Lifetime was a literal barrage on the senses.

By '75, Williams had signed with a new label, pieced together a New Tony Williams Lifetime, and moved in a little more conventional jazz-rock direction. But unlike so many fusion records of the time, Believe It managed to be powerful without the bombastic pyrotechnics of bands like Return to Forever. Originally available on a CD that combined it with the far less successful follow-up, Million Dollar Legs , this long out-of-print title has finally been reissued by Columbia, remastered and with two bonus tracks.
Believe It features former Motown bassist Tony Newton, keyboard player Alan Pasqua and, most notably, British guitarist Allan Holdsworth, who, while already somewhat of an underground legend in his own country, had yet to make an impression in North America. Believe It changed all that, demonstrating that not only was Holdsworth a fresh new voice on his instrument, but a fine writer as well. "Fred," later re-titled "Kinder" by Holdsworth, and a staple in his repertoire for some years to come, introduces Holdsworth's unique harmonic language, with a lyrical bent that manages to be completely distinctive. And his playing style is quite simply like no other; influenced heavily by Coltrane, Holdsworth, even at this early stage in his career, is capable of sheets of sound that, punctuated by held notes and legato runs, are visceral in their impact.
No less visceral, of course, is Williams himself. While peers including Billy Cobham and Lenny White gravitated towards more overblown displays of virtuosity, Williams overpowers both with his stronger sense of groove and sheer muscularity. And while he is every bit as capable of extravagant displays of technique, he always sounds more musical. Even on intense burners like the Holdsworth-penned bonus track "Letsby," he is less concerned with how many beats he can throw into a fill; and his solo over Holdsworth's power chord ostinato is the epitome of construction.
For someone who moved the concept of rhythmic freedom so far forward as part of Miles' second quintet, Williams may have been the most overtly rock and roll-informed drummer of the mid-'70s fusion era. With an inherent sense of groove and honest energy that comes from compositions that are less contrived and more direct vehicles for improvisational flight, Believe It is one of the most compelling arguments for the validity of jazz-rock fusion, before the term became such a dirty word.
They just don't make 'em like this anymore! 28 years after its original release, this album STILL sounds as invigorating as the day it was released. Tony Williams, much like his mentor Miles Davis had a knack for picking great talent for his bands, especialy young upstart British guitar virtuosos.
As if John McLaughlin wasn't enough, he went and found the soft-spoken and ridiculoulsy innovative Allan Holdsworth, who spun melodic and fluid solos with the ease of a saxophonist. Already having stints with Tempest and Soft Machine under his belt, Holdsworth's style was jumping to the next level already, and Tony Williams did nothing to stand in the way, in fact, Allan was heavily encouraged and cheered on in his explorations by his bandmates here. Allan did things that just sounded absolutely impossible on a guitar at the time, and I remember so vivdly hearing this album at age 16 and having my jaw scraping the ground in amazement!

Armed with nothing more than a Gibson SG and a Marshall amp, Allan H just roared in an destroyed the place with his emotionally charged soloing and exploratory compositions, and a finely tuned musical sense to make te compostions of his bandmates come alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass and Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a force to be reckoned with.

The other thing that still grabs me about this album is the open. raw live sound with minimal overdubbing, as honest and accurate in capturing this band's power in the studio as you could hope for. There's not one weak cut on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord melody of "Fred" and the rip snorting brilliance of "Mr. Spock" (especially with the section where Williams and Holdsworth switch roles, Tony putting forth the solo of his life and Holdsworth bashing out angry Black Sabbath-like power chords underneath before roaring to a great close). The bonus tracks are a VERY worthwhile addition as well, "Letsby" is a slightly different take on "Mr. Spock" and "Celebration" get's more funky while still snarling like a panther (thanks again to Allan Holdsworth's raging guitar).
A serious fusion classic if ever there was and definitely worth adding to your library. Turn it up to 11 and let your jaw drop again! web
Tracklist :
1. Snake Oil 6:30
Tony Newton
2. Fred 6:48
Allan Holdsworth
3. Proto-Cosmos 4:02
Alan Pasqua
4. Red Alert 4:39
Newton
5. Wildlife 5:22
Tony Williams
6. Mr Spock 6:15
Holdsworth
- Bonus Tracks -
7. Celebration 4:01
Tony Williams
8. Letsby 6?34
Allan Holdsworth
Credita :
Allan Holdsworth – guitar
Alan Pasqua – keyboards
Tony Newton – bass
Tony Williams – drums

ALLAN HOLDSWORTH – Atavachron (1986-1996) FLAC (tracks+.cue), lossless

For a little background, back in the '80s the SynthAxe was invented. It looked like something that fell out of a UFO. It was guitar-like with sets of strings and other onboard controls that allowed the triggering (playing) of synthesizers. What was unique was that guitarists could therefore play a synthesizer without needing a great amount of keyboard expertise. The SynthAxe was the interface that very uniquely interpreted a guitarist's skill into synth sounds. For guitarist Allan Holdsworth, it was yet a whole new way to achieve the sounds unvoiced in his soul in ways he just couldn't do with a standard guitar. Holdsworth has always sought a horn-like voicing with the ability to manipulate a note in a myriad of ways. He is known for being one of the most unique stylists on guitar, but it is the SynthAxe that allows him to go places a guitar can't reach. This release was special in that it marks Holdsworth's first use of the SynthAxe alongside electric guitar. The SynthAxe sounds more like a keyboard than a guitar. It has a wider sound spectrum than keyboards and in this release you will hear a myriad of synthscapes and effects. This release offered a semi-progressive symphonic element and served to ever stretch the boundaries of jazz fusion. Beautiful female vocals in one song framed by surrealistic visual musicks of the SynthAxe and keyboardy leads by Holdsworth may have turned guitar fans off, but this effort is clear evidence of the genius Holdsworth was demonstrating release after release. And as expected, Holdsworth continued to strive for that reed voicing and phrasing on his guitar solos, which merely pushed him to his best. John W. Patterson

Tracklist :

1. Non Brewed Condiment 3:39

2. Funnels 6:10

3. The Dominant Plague 5:41

4. Atavachron 4:45

5. Looking Glass 4:31

6. Mr. Berwell 6:21

7. All Our Yesterdays Sea 5:25 

Musicians :

Allan Holdsworth - Guitar, Ssynthaxe

Jimmy Johnson - Bass

Gary Husband - Drums

Special Guests :

Alan Pasqua - Keyboards

Tony Williams, Chad Wackerman - Drums

Billy Childs - Keyboards, Soloist

Rowanne Mark - Vocals

 

ALLAN HOLDSWORTH – Metal Fatigue (1985) FLAC (tracks+.cue), lossless

Criminally unknown and underappreciated, Allan Holdsworth is one of the greatest musicians ever to pick up the electric guitar. Here, on 1985's Metal Fatigue, everything finally comes together for him. For the majority of this record, Holdsworth is joined by bassist Jimmy Johnson and drummer Chad Wackerman, and these two musicians, virtuosos in their own right, complement Holdsworth beautifully (check out Johnson's wonderful part in "Home" and lovely solo on "Panic Station"). The leader is known for his extremely legato phrasing and rich harmonic vocabulary, both of which are on display in the solo and frantic fills of "Metal Fatigue." Anchored by Paul Williams' vocals, the song is marvelously constructed, with a strong verse melody supported by Holdsworth's upper-register guitar chords. The guitarist's much-vaunted whammy bar work is also on full display here. Certain fills in "Metal Fatigue" are almost queasy sounding, as Holdsworth bends and slurs in impossible ways. His use of the tremolo bar comes out not only during his melodic playing, but also during his rhythm playing, where he allows his chords just a trace of shimmer, enough to lend body to his playing but not enough to blur the harmonies. The influence of Holdsworth's unique style is evident in the work of such rock guitarists as Eddie Van Halen and Alex Lifeson (listen to VH's "Drop Dead Legs" or Rush's "YYZ" for a taste of this connection), but the watered-down and otherwise assimilated adaptations of his style pale compared to the unadulterated stuff. One of the most important fusion records of the '80s is also Holdsworth's best work. Absolutely essential for those who like their rock with a healthy dose of jazz. Daniel Gioffre
Tracklist :
1    Metal Fatigue 4:54
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth, Williams
2    Home 5:29
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth
3    Devil Take The Hindmost 5:33
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth
4    Panic Station 3:31
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth, Williams
5    The Un-Merry-Go-Round 14:06
Bass Guitar – Gary Willis
Drums – Gary Husband
Guitar – Allan Holdsworth
Keyboards – Alan Pasqua
Written-By – Holdsworth
6    In The Mystery 3:49
Bass Guitar – Jimmy Johnson
Drums – Mac Hine
Guitar – Allan Holdsworth
Vocals – Paul Korda
Written-By – Holdsworth, Korda