U.k.

In some ways UK represented both the last hurrah of progressive music's golden age, and the standard by which all other supergroups that followed would be judged. The impeccable technical precision, complex yet modern arrangements, and dynamic live performances made them an overnight legend whose reputation has far outlasted their brief existence. No other supergroup, progressive or otherwise, has had such an immediate and lasting impact. Recorded live September 11, 1978 at Paradise Theatre in Boston, this recording is finally available after long been only found as a bootleg. Two tracks with the original UK line-up, rather than the more familiar 2nd (Danger Money and later) UK line-up.

Released as part of the ongoing 7T's series on RPM, 10cc's The UK Records Singles Collection is a tight, 14-track collection of the band's earliest recordings – those for UK Recordings, naturally…

Danger Money is the second and final studio album by the progressive rock supergroup U.K., featuring John Wetton , Eddie Jobson and Terry Bozzio. It was released by E.G. Records / Polydor in March 1979…

Eddie Harris - E.H. In The U.K. (1973) {2013 Japan Jazz Best Collection 1000 Series WPCR-27476}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 260 Mb | MP3 @320 -> 102 Mb
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© 1973, 2013 Atlantic / Warner Japan / Rhino | WPCR-27476 | Jazz Best Collection 1000 Series
Jazz / Groove / Soul Jazz / Jazz Funk / Saxophone / Trumpet

Features 24 bit remastering and comes with a mini-description. Following the hip strategy of the time, Eddie Harris flew to London to mix it up with some of Britain's most in-demand rockers – including guitarists Jeff Beck and Albert Lee, pianist Stevie Winwood and drummer Alan White – on this LP. Truthfully, though, most of the results aren't too different from what Harris had been recording at home at the time, with only a hint of a rock edge. If anything, the workmanlike Brits are too much on their best behavior – Beck plays with restraint and taste while Lee is jazzier and a bit flashier – making Harris seem like a wild man by comparison.

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…

For a band that rescued rock & roll from the Uriah Heeps of the world in the late '70s, and made a mark on everything that followed, the Sex Pistols left behind precious little in terms of their recorded legacy. Their only official release being the earth-shattering NEVER MIND THE BOLLOCKS, enthusiasts have to turn to collections of outtakes and live material to further satisfy their Pistols jones. This brings us to the mysterious NO FUTURE U.K. With virtually nothing to go on in terms of liner notes or credits, it's hard to determine exactly where these alternate version of well-known Pistols songs like "Pretty Vacant" and "Liar" are from. Are they rehearsal recordings? Demos? Outtakes? We may never know for sure, but one thing is for certain, they are relatively well-recorded, full of patented Pistols energy, and among the band's finer performances, all of which puts NO FUTURE towards the front of the posthumous Pistols pack.

The third and final record by the progressive rock trio U.K. was recorded during a 1979 concert in Japan, although it was not released until after the group disbanded; by this time the group featured bassist and lead vocalist John Wetton with ex-Zappa sidemen Eddie Jobson (keyboards and electric violin) and drummer Terry Bozzio…

Residing on Neal Street, Covent Garden this Rather Dingy Gay Club's One Year Sacrifice to the Emerging Punk Scene and the Contribution it Made as a Launch Pad Cannot Be Overstated. From Late '76 Up Until January 1978, the Roxy Club Played Host to Many Bands that to this Day, have a Lasting Influence Upon the Punk Scene…

This record is UK's sophomore studio album. It is still very progressive, and less fusion that the previous one. Jobson's keyboards still have futuristic elements and they are sometimes intense, dramatic & floating; Jobson also uses here an omnipresent vintage organ a la ELP or Triumvirat, so that the overall sound is less modern than on the previous album…