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Thread: 40th anniversary of UK's UK

  1. #26
    Member Steve F.'s Avatar
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    Quote Originally Posted by moecurlythanu View Post
    When one of my friends saw me wearing it, he asked, "University of Kentucky?"
    Steve F.

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  2. #27
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    Quote Originally Posted by Frankh View Post
    The album also somehow sounds like they knew it was the end of an era.

    Thirty Years.

    Nevermore.
    I hadn't put my finger on it but yes you are right. The UK LPs really do sound like the band knows the prog gig is up. Not just in the song titles and lyrics, but the air of resignation in Wetton's voice. The cold keyboard sounds. Allan's melancholy guitar.

    It is great music IMHO but taking this perspective does make me wonder what the suits ever saw in this music that would make them money.

  3. #28
    Insect Overlord Progatron's Avatar
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    Quote Originally Posted by Zappathustra View Post
    Correct, but not only jazz. The whole pot of disparate influences (classical, jazz, folk, ethnic etc), from where the 70's bands were fishing, was ignored by the later bands, which just replicated the traditional prog sound.
    Agreed. Even TV show theme music, in the case of Yes!
    Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.

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  4. #29
    Quote Originally Posted by Zappathustra View Post
    The whole pot of disparate influences (classical, jazz, folk, ethnic etc), from where the 70's bands were fishing, was ignored by the later bands, which just replicated the traditional prog sound.
    Well, it's certainly mostly true for the UK. But not as concerns underground creative 'progressive' rock on the continent - the oh-so dreaded enterprise of incomprehensible (uh) "avant".
    "Improvisation is not an excuse for musical laziness" - Fred Frith
    "[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM

  5. #30
    Quote Originally Posted by miamiscot View Post
    I still remember the radio spots promoting this album that ran on WSHE in Miami: "With members from Yes, King Crimson, Uriah Help and Roxy Music." A little misleading but it certainly caught my attention as I waited in front of the Peaches in Fort Lauderdale on release day to snag a cassette. I was a little disappointed to be honest. It grew on me over the years but I think Danger Money was better.
    Uriah Help?

    Never heard of that band. A group with members from Uriah Heep and all members of the non-existing supergroup Hendrix Emerson Lake and Palmer?

  6. #31
    I still have this on vinyl somewhere. Haven't heard it in about 15 years. Should rectify that...

  7. #32
    Member interbellum's Avatar
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    Bought it in May 1978 and it turned out to be the centre of a part of my collection. I was (and still am) so under the impression I wanted to hear the music these musicians had made in the past (although I already had some of those albums). When I heard the instrumental demo's of this LP recently (part of the box) I was thrown back 40 years in time. Still a great progressive rock-album with jazz-rock influences.

  8. #33
    Quote Originally Posted by Scrotum Scissor View Post
    Well, it's certainly mostly true for the UK. But not as concerns underground creative 'progressive' rock on the continent - the oh-so dreaded enterprise of incomprehensible (uh) "avant".
    Yes, of course. The discussion was for the neo-bands and I was referring to them.

  9. #34
    Quote Originally Posted by Bungalow Bill View Post
    But I think the general/always vague/never definable shift from old-school prog to neo starts with UK's debut.
    I think of UK as transitional. Particularly Jobson's big poly-synth chords, which (I think) directly influenced the approach of Mark Kelly, Martin Orford, Rik Carter et al. Remember Marillion's first music was written in 1979, Pendragon, Pallas & Twelfth Night in 1978. Lead singer histrionics tended to be Gabrielesque, but keyboard texture bore as much similarity to Jobson as Banks to my ears. Jim Gilmour of Saga liked to brag about how he learned to play the Presto Vivace synth part with his left hand.

  10. #35
    There is a sadness involved in this record, as others have very well stated. A weariness. Yes, it marks the end of an era. I never warmed up to this emotionally, and considering the overflowing energy that prog was transmitting just 2 or 3 years before, this leaves a bitter taste in the mouth. Although it is a good record.

    Not surprisingly nobody has a single objection with Wetton struggling his guts out to hit the right notes. With Hammill yes, with Dagmar yes, with Demetrio yes, with excess of talent yes, with Wetton not at all. And I like his voice, it just proves my point that most proggers don't want vocals in the way of their prog.

  11. #36
    I too think Wetton has a hard time on this album. His singing is strained, flat in places (last verse of 30 Years) and he doesn't quite grasp the rhythmic flow at the beginning of Mental Medication for instance. His bass playing negotiates the music and gets the right notes but it doesn't have the attitude from the Crimson days. He's more comfortable and engaged on Danger Money, which despite its overall musical sophistication, is also forming the songwriting template for the ensuing Asia.

  12. #37
    Member moecurlythanu's Avatar
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    ^ I'll take Prog-Rock with vocals over instrumental Prog-Rock any day.

  13. #38
    Simply one the greatest debut albums of all time, regardless of what prog box you want to put it into, and an album that still sounds as fresh and vital to this day as the day it was released. The music is simply dazzling, chops galore. Doesn't sound weary to me at all. Truly a signature album of my music collection.

  14. #39
    Member nosebone's Avatar
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    It shows its miles, but it is a great album.

    Holdsy and Broof really work well together and I like the CS80 .

    What's everyone complaining about?

    What synths sound better than those old analog bad boys?
    no tunes, no dynamics, no nosebone

  15. #40
    Jazzbo manqué Mister Triscuits's Avatar
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    Quote Originally Posted by DocProgger View Post
    Doesn't sound weary to me at all.
    I hear that weariness, but I just associate it with Wetton's voice. It's nothing unique to this album--he sounds weary on "Starless," on "Lament," on "Book of Saturday," on "Carrying No Cross"...hell, even on something like "Heat of the Moment" you still get a touch of that Wetton ruefulness.
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  16. #41
    Quote Originally Posted by Mister Triscuits View Post
    I hear that weariness, but I just associate it with Wetton's voice. It's nothing unique to this album--he sounds weary on "Starless," on "Lament," on "Book of Saturday," on "Carrying No Cross"...hell, even on something like "Heat of the Moment" you still get a touch of that Wetton ruefulness.

    Right, I just think he's tailoring the vocals to the mood of the song. Never thought he's making an 'end of an era statement on prog as a genre'.....

  17. #42
    Parrots Ripped My Flesh Dave (in MA)'s Avatar
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    Quote Originally Posted by DocProgger View Post
    Never thought he's making an 'end of an era statement on prog as a genre'.....
    Nor did he, I'd guess.

  18. #43
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    ^^^ Yes, I don't think it is in any way conscious, but I think the performers were picking up on the zeitgeist.

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