When they appeared in the early '80s, Asia seemed to be a holdover from the '70s, when supergroups and self-important progressive rockers reigned supreme. Featuring members of such seminal art rock bands as King Crimson (John Wetton), Emerson, Lake & Palmer (Carl Palmer), and Yes (Steve Howe), as well as Geoff Downes from the Buggles, Asia did feature stretches of indulgent instrumentals on their records. However, they also could be surprisingly poppy, and that is what brought them to the top of the charts with their debut album, Asia, and its hit single, "Heat of the Moment." Alpha, their second album, also had a couple of hits ("Don't Cry" and "The Smile Has Left Your Eyes") but its follow-up, Astra, was a flop. The group disbanded in 1985, only to reunite in 1990 without John Wetton; John Payne took his place. After churning out a couple of new songs for a greatest-hits collection, the band hit the road, including two sold-out dates in front of 20,000 fans in Moscow, of all places. Thereafter, they toured sporadically and released the albums Aqua (in 1992) and Aria (in 1994).

Asia began with the apparent demise of Yes and Emerson, Lake & Palmer, two of the flagship bands of British progressive rock. After the break-up of King Crimson in 1974, various plans for a super group involving bassist John Wetton had been mooted, including the abortive British Bulldog project with Bill Bruford and Rick Wakeman in 1976. Wakeman left this project at the urging of management, according to Bill Bruford. In 1977, Bruford and Wetton were reunited in UK, augmented by guitarist Allan Holdsworth and keyboardist/violinist Eddie Jobson. Their eponymous debut was released in 1978. By January 1980, UK had folded after one lineup change and three recordings. A new supergroup project was then suggested involving Wetton, Wakeman, drummer Carl Palmer and (then little known) guitarist Trevor Rabin, but Wakeman left this project too shortly before they were due to sign to Geffen and before they had played together.Wetton's Caught in the Crossfire solo album (1980) did not fare very well in England.

In early 1981, Wetton and former Yes guitarist Steve Howe were brought together by A&R man John Kalodner and Geffen Records to start writing material for a new album. By this point, progressive rock bands such as Yes and Emerson, Lake and Palmer had folded, so many qualified musicians were available for this proposed group. They were eventually joined by drummer Carl Palmer, and finally by Howe's recent Yes cohort, keyboardist Geoff Downes. Two other players auditioned and considered during the band's formation were former The Move and ELO founder Roy Wood and South African guitarist/singer Trevor Rabin, who would go on to be part of a reformed Yes in 1983. Rabin, in a filmed 1984 interview included in the DVD 9012Live, said that his involvement with Asia never went anywhere because "there was no chemistry" among the participants.

The band's first recordings, under the auspices of Geffen record label head David Geffen and Kalodner, were considered disappointing by music critics and fans of traditional progressive rock, who found the music closer to radio-friendly Album-oriented rock. However, Asia clicked with fans of popular arena acts such as Journey, Boston and Styx. Indeed, Kalodner had once introduced Wetton to Journey's short-lived frontman Robert Fleischman, who had penned such Journey classics "Anytime" and "Wheel in the Sky," with a view to Fleischman becoming Asia's lead-singer. Fleischman was already known to bandmember Carl Palmer. However, as they worked on material together, Fleischman was impressed by Wetton's singing and felt the voice best suited to the new material was Wetton's own. Leaving Asia amicably, Fleischman returned to America eventually to work on several projects with ex-KISS guitarist Vinnie Vincent. Rolling Stone gave Asia an indifferent review, while still acknowledging the band's musicianship was a cut above the usual AOR expectations.

Source: Wikipedia

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Marillion

Emerson, Lake and Palmer

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Is Jeff Beck Britons' Greatest Guitarist Ever?

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Toyah Willcox is a highly successful, creative and incredibly diverse woman. Her major hit records and many prestigious stage and screen roles have made her one of Britain's biggest household names.

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Her musical career spans three decades and highlights include 13 UK top 40 singles, over 30 albums and she is considered one of the greatest women in British music. More recently, she formed a new band called The Humans with Bill Rieflin (also in REM), Chris Wong and special guest appearances by rocker husband, Robert Fripp of King Crimson fame.

Willcox began life in Birmingham where she started out in acting school. She had a role in the classic, Quadrophenia. She played the brash and blonde Monkey which launched her as belligerent and anti-establishment figure.

Meanwhile, she had also started up her own band, simply called Toyah. By 1979, the band released its first EP called Sheep Farming in Barnet. The second album, The Blue Meaning, slipped into the Top 40 and with the critical acclaim of her previous release, she was heralded as an up-and-coming talent.

By 1981, the track It’s a Mystery helped to secure her appearances on hit TV shows like Top of the Pops and The Old Grey Whistle Test Christmas Special. This was followed by several other hits including Thunder In The Mountains (#4) and I Want to Be Free (#8). The following year, she was awarded Best Female Singer in the Rock & Pop Awards (known today as the BRITs).

Although 1981 was the last year she had any top 10 hits, her EPs and albums continued to do well.

In the mid-80s, Willcox went solo and had some modest hits with Don’t Fall in Love (I Said) and a version of Echo Beach.

After concentrating mainly on her acting career, Willcox returned with avengence in 2007 with a digital release called Latex Messiah and two years later, she formed The Humans and released a cover of Nancy Sinatra’s These Boots Are Made For Walking.

Toyah continues to work in music, writing and performing, whilst refusing to compromise any aspect of her multi-faceted and varied career.

Albums:

Source: Juanita Appleby

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This supergroup came together from a collection of flourishing bands to become one of the most successful major players in the world of Prog Rock. Keith Emerson had learned piano as a child and played in a number of bands prior to being in the backing band for American singer PP Arnold. The band quickly outgrew their backing duties and became a band in their own right, calling themselves The Nice. Along side Lee Jackson, Brian Davidson and Davy O’List, they became a popular live attraction and soon recorded their first, well-received album The "Thoughts Of Emerlist Davejack" in late 1967.Guitarist O’List left the band during the recording of the second album “Ars Longa Vita Brevis” After considering replacement guitarists, they decided to continue as a three piece – a forerunner of the future. Combining traces of jazz and classical elements within a rock structure, a further three albums were released with diminishing success before the band split up in 1970.

Greg Lake had been in a number of bands in and around his local area in the southwest of England, including The Gods, with future members of Uriah Heep. Following his departure from the Gods, he teamed up with old friend Robert Fripp as bass player in the newly formed King Crimson. As lead vocalist, co writer and co producer, Lake played a huge part in the success and influence of the bands stunning debut "In The Court Of The Crimson King". Following a US tour supporting The Nice on their farewell tour, Lake left Crimson to join Emerson in the formation of a new band pausing only to complete Crimsons second release, "In The Wake Of Posidon".

Carl Palmer played in a number of bands in his teenage years. His main influence in his early days was jazz drummers. Following a stint in Chris Farlow’s Thunderbirds, he was drafted into the Crazy World Of Arthur Brown to go on tour, when the original drummer, Drachen Theaker, was forced to leave the band due to a phobia of flying. The band pretty well disintegrated during the tour of the States and Palmer left with Keyboard player Vincent Crane to form Atomic Rooster. Palmer only stayed for one album, the self-titled release in early 1970.The music was similar in style and feel to the Crazy World, heavily dominated by organ, although by the time of Palmers departure, guitarist John Du Cann had joined and was influencing their sound.

Upon meeting Emerson and Lake, Palmer found an immediate connection and musical empathy and it was agreed they would form a band. Before finally agreeing on Palmer, Mitch Mitchell, the drummer with the Jimi Hendrix Experience, was approached. Rumour has it that after declining the invite he mentioned the aspirations of the others to Hendrix who was keen to experiment. A session was planned between the four but Hendrix died before this was finalised and the three decided to commence as a trio. Who knows what the outcome would have been had HELP ever formed?

Following some extensive rehearsals, the band made its debut in August 1970 and for their second gig, played at the giant Isle of Wight festival. Signed to Island Records, their first album was released in December 1970 and crowned a busy year. This self-titled debut was an intriguing affair. Despite effective contributions from L & P, the keyboards from Emerson dominate proceedings. Borrowing (unaccredited at the time) from a variety of classical pieces, and heavily influenced by complex jazz time signatures, the album takes some listening but rewards those brave enough to last the pace. The opening track, "The Barbarian", swirls with a mixture of keyboards, as does the powerful “Knife-edge” There had to be a drum solo and it duly appears in the turgid “Tank” Both “The Three Fates” and “Take A Pebble” showcase Emerson’s virtuosity but it is the last track, the melancholy “Lucky Man” that seals the success of the album. Added at the last minute at the request of the record label, this timeless ballad, written by Lake at a very early age, became a hit single release. The Moog synthesiser solo that closes the track illustrates the full potential of this unique instrument. In Emerson’s hands, this stunning noise truly sends shivers down the spine and perfectly celebrates the death of the lucky man of the title with its mournful, spectral sound. The release met with the approval of their increasing fans who sent it high into the charts on both sides of the Atlantic.

Dropping most of the restraint they showed on the first album, the follow up, released in June 1971, was a concept album. “Tarkus” told the story of a mythical, half mechanical armadillo type creature that battles other like creatures before being defeated by the Manticore! Taking up one side of the original album, the title track, references religion, war, and famine. It did not take long for the band to wander into pretension and over indulgence. Again expertly played, with Emerson’s keyboard wizardry to the fore, this time the spark of passion has gone and you are left with an emotionless, cold sound. The remaining tracks are mostly below standard, shorter tracks. Already a favourite at live shows “Tarkus” became a staple part of their theatrical performances for many years with the poor Tarkus itself blown up and restored countless times. The album hit the right note with old fans and won new recruits, sending it to the very top of the UK album chart for a week.

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Now established as a major live and recording act, the next release combined the two. “Pictures At An Exhibition” an interpretation of Mussorgsky’s original work was recorded live at the Newcastle City Hall and released in November 1971 as a budget set. Hugely successful hitting the top ten in both the UK and USA, it is a showpiece for all things keyboardy. Again you can only marvel at the musicianship but it rarely involves the listener and so many notes are crammed into the shortest space.

The third studio album “Trilogy” was put out in July 1972 and opened with the appropriately named “Endless Enigma” which reappeared a couple tracks later. Still incredibly popular and able to chart seemingly at will. The overindulgence had by now firmly taken hold. Most tracks sounded just like other ELP songs and only the obligatory novelty track “Hoedown” and another Lake ballad “From The Beginning” moved away from the norm.

After extensive touring in the States, “Brain Salad Surgery” was next up in November 1973. The first release on the bands newly formed Manticore label. Boasting a fantastic sleeve by Alien creator H.R.Giger there was some hope that the band would take some steps forward… Dominated by the half hour long "Karn Evil 9", pretty well every one of Emerson’s vast arrays of keyboards are played. “Karn” 1st Impression Part Two" is the most pleasing with some continuity and playful lyrics co written by Lake’s old Crimson cohort Pete Sinfield. An interesting version of the hymn “Jerusalem” opens proceedings and one of Lake’s hauntingly beautiful ballads “Still You Turn Me On” offers some variation with some nice guitar but apart from that, it’s the same old ELP. Technically brilliant but filled with their pomposity. This release is held in high esteem by fans and it has everything the ELP connoisseurs demand. To the outsider, it is relentless, almost painful.

And just when the hammering stopped, they released a TRIPLE live album to celebrate their extensive world tour. Recorded during 1973/74 and released in August 74 it contained the lot. The whole of the track “Tarkus” the whole (plus a bit) of “Karn Evil 9. “Take a Pebble” extended to 26 minutes and incorporating “Lucky Man” among others, a bit of King Crimson and a lot more of ELP. The audience loved it. As rock theatre it was unsurpassed. By now ELP could do no wrong “Welcome Back My Friends To The Show That Never Ends” (they weren’t kidding!) went top 5 in both the UK and the States.

Exhausted by the continual touring, they took a sabbatical, pursuing solo projects, and return to the studio after a three year break to record “Works” Vol 1". Taking its cue from Pink Floyd’s Ummagumma, this double album release gave one side to each member with the band combining on side four. This did not go down well with the fans that had waited a long time for a proper “ELP” release. Instead they got one side of a piano concerto. One side of acoustic ballads, one side of pseudo classical pieces plus a track featuring one of the Eagles and, finally, two tracks from the band. These tracks were among the best that ELP had produced. “Fanfare For The Common Man” a re working of a Copeland piece, was released in edited form as a single and gave the band a final single chart placing. And “Pirates” probably the most complete and realised track the band recorded. This tantalising glimpse of what the fans wanted was not enough to help the album sell and for the first time the band contemplated a lack of success.

Coupled with a vast change in the musical climate, the realisation that their time had been and gone hit the band hard. The same year they released “Works” Vol 2". This was almost an acceptance of defeat and was the most un ELP like album. Containing twelve tracks and none over five minutes this attempt, finally, at brevity was brave but pointless. Most of the tracks were leftovers from previous sessions and the quality variable. To fulfil contractual obligations, “Love Beach” recorded in the Bahamas and released in 1978 to critical ridicule was enough for the band to take the hint and they disbanded the following year.

Following brief excursions with other bands and solo projects, Emerson becoming involved with film scores, Palmer forming first PM and then another supergroup Asia and Lake producing a couple of solo works, Emerson and Lake formed another version of ELP this time with Cozy Powell on the drum stool. Just one album was released and the band toured. Ditching Lake, Emerson teamed up again with Palmer and Robert Berry to form the unsuccessful “3”

In 1991, the original ELP reformed. An album of all new material was released in 1992 and the band hit the tour trail again throughout 92/93 to support “Black Moon” The tour and the album proved to be moderately successful and encouraged the band to record a follow up, 1994’s “In The Hot Seat” and that was the last album release although the band did carry on touring right up to 1998.

Keith Emerson continues to score for films with notable success. He has also released many solo albums and tours to small venues at regular intervals. He reformed The Nice in 2003 for a short tour.

Greg Lake has played with Ringo Starr and The Who and tours infrequently as the Greg Lake Band

Carl Palmer achieved huge success with Asia, has released some solo albums and gives drum clinics all over the world.

ELP were a band of their times. Indulged to be pretentious with little self discipline they never the less achieved tremendous commercial acclaim selling around 40 million albums. While later albums showed a lack of restraint, their debut contained many moments of inspiration and classic prog. Their musicianship was never in doubt but their music rarely stimulated the emotions after that first release. They became targets for the Punk/New wave movement and were easy targets, held up to be the worse that “old rock” offered. As critics jumped ship and embraced the new sounds, ELP were left high and dry, held up to ridicule with their Persian carpets, two ton drum kits, revolving keyboards and convoys of trucks, they didn’t help themselves! They became completely out of step with the musical times and were swept away by the spiky haired, plastic clad army that were encouraged to hate them. In this time of financial restraint and environmental issues it is unlikely we will see their like too much in the future.

Roger Gibbens

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Greg Lake

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As a singer and instrumentalist, Greg Lake has had his greatest success and influence in the progressive rock outfit Emerson, Lake & Palmer and, before that, as a founding member of the original King Crimson. He has also been reasonably popular as a solo artist working in more of a hard-rock idiom.

As a boy, growing up in a poverty stricken part of the seaside resort town of Bournemouth, he got his first guitar for his twelfth birthday, as a gift from his mother, and began taking lessons from a local teacher named Don Strike, one of whose other students was Robert Fripp, who became close friends with Lake. Around the time he was 12 years old, Lake also wrote a folk-style song that played a major part in his future, entitled "Lucky Man".

Lake learned to read music and also to play pieces by Paganini, among other classical composers, but his aspirations lay with emulating the sound of his favorite band of the era, Cliff Richard & The Shadows, and their lead guitarist, Hank B. Marvin. Lake passed through a succession of groups, including a local quartet called Unit Four, in which he played guitar and sang. He and Unit Four guitarist David Genes later formed the Time Checks, and, still later, around 1967, with another Unit Four member, John Dickinson, was a member of a band called the Shame, who cut a single in 1968. He also sang on a record by a band called The Shy Limbs.

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In 1968, Lake succeeded Mick Taylor as a member of an outfit called The Gods, whose other members included future Uriah Heep founders Ken Hensley (keyboards, vocals) and Lee Kerslake (drums), and it was there that his songwriting first blossomed. He left the band just before they began to record, having been approached by his boyhood friend Robert Fripp to join the outfit that he was putting together out of a failed trio called Giles, Giles & Fripp, Lake joined the quintet (Fripp on lead guitar, Ian McDonald on keyboards, saxes, and flute, Michael Giles on drums, and Peter Sinfield as lyricist) as lead singer and bassist. 

King Crimson proceeded to carve out a name for themselves unique in the history of rock music as the leading progressive rock band of their era. Their first album, In The Court of the Crimson King, became the standard for serious progressive rock albums. Lake, along with the others, was suddenly a star. That first line-up of the band only lasted a year, by December of 1969, Giles and McDonald were tired of touring and opted out, and Lake refused to continue working with the group, although he stayed around long enough to sing on their second album, In the Wake of Poseidon (1970).

At the suggestion of Tony Stratten-Smith, Lake was approached by keyboard player Keith Emerson, who was in the process of putting together a new group after three years with his current band, The Nice. The latter group's main fault was its lack of a real lead singer, and Emerson saw in Lake, whose voice had dominated In The Court of the Crimson King, the solution to that problem. The two eventually recruited drummer Carl Palmer and formed progressive rock's first supergroup, Emerson, Lake & Palmer, who were a success from their self-titled first album, released in 1970, which closed with Lake's old song "Lucky Man". The latter became one of the group's few successful singles, one of their rare attempts to compete on AM radio, it also turned Lake into one of the most familiar voices in progressive rock, rivaling such figures as The Moody Blues' Justin Hayward. Lake's production experience as a member of King Crimson (who had produced their own debut album) also served ELP in good stead, and his songwriting became the creative nucleus for the group's first three studio albums.

ELP dominated the charts and the field of progressive rock right up until 1977, by which time the entire genre of "art rock" was beginning to lose popularity. The stresses between the trio caused them to split up after a tour in 1979, and Lake embarked on a solo career.

Lake organized a new band with ex-Thin Lizzy guitarist Gary Moore on lead guitar, Rory Gallagher alumnus Ted McKenna on drums, and ex-Joe Cocker/Gerry Rafferty keyboard player Tommy Eyre, and recorded Lake's first solo album, Greg Lake (1981).

The sound on that record was very different from ELP, as it was dominated by guitars, rather than keyboards, and featured Lake singing in a harder, more aggressive style. On tour he covered material going back to the King Crimson days, but he also regaled audiences with pumping versions of the new songs. A second album, Manoeuvers, followed in 1983, but by that time the creative and commercial bloom were both off of the rose, and Lake took his first break from music. He appeared in 1985 as the lead singer of Asia during that group's tour, but he didn't remain with the band.

In 1986, he reteamed with Emerson and drummer Cozy Powell as Emerson, Lake & Powell, and recorded an album for Mercury Records, which wass followed by a world tour. After a stint with ex-Asia member Geoff Downes and King Crimson drummer Michael Giles in a group called Ride The Tiger, Lake reteamed with Emerson and Palmer for a film that was never finished, which led to their first new album in 13 years, Black Moon (1992).

During the middle- and late-1990's, Lake has continued to work with Emerson and Palmer, while pursuing his solo work as well. The latter has included a 1994 tour of the United States. He had also done a considerable amount of charitable work on behalf of missing children, and his song "Daddy", written in response to one such case, which ended tragically, achieved national exposure as a theme for a television series devoted to the plight of missing children. artistdirect.com

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King Crimson

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In Court With Robert Fripp.

The band came together from the remnants of R & B bands, The Farinas and The Roaring Sixties. Formed originally by Charlie Whitney, Jim King, Tim Kirchin and Harry Ovenall in the early sixties. By 1967, Ric Grech had replaced Kirchin on bass and Roger Chapman was now the vocalist. The band moved to London from their Leicestershire base and were renamed Family following a meeting with famous record producer Kim Fowley. It is rumoured that Fowley suggested the name due to the bands on- stage appearances in double-breasted suits that made them look like members of the Mafia!!

Now willing to throw off the straitjacket of R & B and ready to embrace the freedom and influences that the exploding underground scene offered, their reputation as a live act grew due in no short measure to the wild man antics of Chapman. They recorded their debut single “Scene Through An Eye Of A Lens” in late 1967. Produced by the influential Jimmy Miller, it is a fine example of British psychedelia and the first time Chapman’s unique vocals were heard on record. Not that too many did hear as the record sold poorly and flopped.

The band signed to the Reprise label and they set about recording their first album during early 1968. By this time, drummer Ovenall had left and Rob Townsend was drafted in as replacement. “Music In A Dolls House” was released in July 1968 and received wide critical acclaim. Mostly produced by Dave Mason of Traffic, the album accurately captured their live show, and contains a number of tracks destined to become firm Family favourites such as “See Through Windows” “Me My Friend” “Old Songs New Songs” and “Peace Of Mind”. With Chapman’s odd vocals, ranging from gentle and almost whispered words, though to rasping strained exclamations, and with a most un- rock like line up of instruments, the album perfectly reflected their position as one of the more original bands of the Progressive Underground. The rich and varied sound helped by the inclusion of saxophones, cello, sitar, impressive violin and freaky effects is now acknowledged as a forgotten classic of British Psychedelic Rock.

The band did receive some unwanted publicity around this time as they featured in the novel “Groupie” by Jenny Fabian and Johnny Byrne with the thinly disguised pseudonym “Relation”

Continuing on an upward path that saw them now in the same league as Pink Floyd and Soft Machine, the band were anxious to return to the studio to record their next album, 1969’s “Family Entertainment” This album was a more straight forward affair with less experimentation and with the psychedelics reigned in. More of an out and out rock album than the predecessor, the musicianship is still there and the songs are tight but you cannot help but be a tad disappointed after the originality of the debut. Chapman’s voice still ensures that “Family” sound and strong tracks such as “Observations From A Hill”, the gentle “Face In The Cloud” with its haunting sitar, the rocky Beatles-like “Second Generation Woman” and the timeless “Weavers Answer” all help to deliver a fine album that made its mark on the UK chart with a number 6 placing.

With their success in the UK now established, the next step was the American market and in April 1969 the group embarked on what was to be a problematical tour. Shortly after the tour started. Ric Grech left the band to join Blind Faith and John Weider was recruited. With previous experience playing with the likes of Steve Marriott, The Pirates and latterly with Eric Burdon’s Animals, Weider proved to be a more than suitable replacement. While this on its own would have been enough to throw the band off its stride, more problems followed. As support to Ten Years After, they received little attention or applause and confrontations with the audience were common. They also had an incident with influential promoter Bill Graham who accused Chapman of hurling a mic stand at him. Although not the case, they were removed from the support slot for a while and, coincidently, were never to become more than a cult band in the States.

Following their return home, Jim King was forced from the band and talented multi- instrumentalist John “Poli” Palmer joined.

The next album, “A Song For Me” was released in January 1970. As this album was the first to feature the new influential band members, it was obvious that the sound of the band would change. With this album, Family served up a much heavier version of the “Family sound" but still used an interesting array of instruments to keep listeners on their toes. The opening track, “Drowned In Wine” contained some of the most agonised, bluesy vocals from Chapman, while the title song, clocking in at around ten minutes, had all band members trying to out do each other as they rocked out. The new sounds appealed to the fans as the album speed up to number 4 in the charts.

Now on a commercial and critical high, the band wanted to capture their astonishing live show on record. The next release was “Anyway” which had one side live and one studio. (You could do that in those days!). A decent enough record, it does give the feeling of a bit of a stopgap before the next “proper” release. Perhaps this is a bit unfair as the live side is good if a bit unfocused and the recording quality is, at best, average. The studio side works better and shows the band once again not afraid to use an imaginative selection of instruments. The stand out tracks are the live “Strange Band” and the impressive “Part Of The Load” For the third release running, the album charted, reaching number 7.

The band had a break from recording, continuing with their heavy touring schedule and a compilation album was put out. “Old Songs New Songs” was just that-previously recorded tracks with some remixed.

 In June 1971, John Weider left and was replaced by John Wetton. Two albums were recorded with Wetton. “Fearless” in 1971 and “Bandstand” in 1972. “Fearless” was an outstanding release. Varied and expertly played throughout. New man Wetton’s debut was a success with his vocals on the track “Save Some For Thee” particularly impressive.1972’s “Bandstand” saw the band at its most mainstream yet. As always the musicianship was high, but the tracks were more conventional and commercial. The album contained the hit single “Burlesque” and the single that should have been a hit “My Friend The Sun” Chapman is at his most restrained throughout and the album has more than its share of ballads. Both the albums had respectable showings in the chart, reaching 10 & 15 respectively and even creeping into the US Top 200. During Wetton’s time with the band, they also released their best selling single “In My Own Time”

That was the last of Wetton’s involvement with Family. He left to join King Crimson in July 1972 and Jim Cregan was drafted in and by the end of that year, Poli Palmer had also left to be replaced by Tony Ashton.

“Its Only A Movie” was the last Family release in 1973. It was a dull affair showing the band to be just passed its prime. No longer innovative, the band seems to be going through the motions and it is a sad final document for the band to end on.

Following a farewell tour, they played their final show in their hometown of Leicester in October 1973.

Chapman and Whitney formed “Streetwalkers” in 1974 releasing a number of albums.

Chapman has since enjoyed a successful solo career, most notably in Europe, with 24 solo albums to his name.

Whitney now lives in Greece and concentrates on Bluegrass and Folk music.

Jim King is still involved in music but no longer performs.

Ric Grech played in Blind Faith, Ginger Baker’s Airforce and with Traffic. In 1974 he formed another “Supergroup” called KGB with Mike Bloomfield and Carmine Appice. He died in 1990.

Rob Townsend joined Medicine Head after Family and is a long time member of The Blues Band.

John Weider joined Stud upon leaving and continues to record and release music, most recently in a New Age style.

Poli Palmer has played on many albums as a session player, including releases by Pete Townsend, Peter Frampton and Linda Lewis.

John Wetton seems to have played in most UK rock bands. In addition to King Crimson, he has played with Asia, Wishbone Ash, Uriah Heep, UK, Roxy Music etc

Jim Cregan was in Cockney Rebel and a long time member of the Rod Stewart Band. He recently teamed up again with Roger Chapman to appear live and produce Chapman’s album “One More Time For Peace”

Tony Ashton enjoyed huge success with the single “Resurrection Shuffle” with Gardner and Dyke. Always in demand as a session player he recorded many albums. He died in 2001 from cancer.

Despite a number of chart albums and singles, Family were never big players in the Progressive rock scene. Their unforgettable live shows were sensational and the early albums showed remarkable creativity as they exploited the musical freedom the times allowed. The lack of success in the States however, ultimately hurt their reputation.

Never given the acclaim of their contemporaries like Traffic, The Moody Blues or Jethro Tull, their first three albums helped define the music of the time as much as any band. 

The track here is the rare first single "Scene Through The Eye Of A Lens" from 1969

Roger Gibbens

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Made up of a mix of leading 70s rock artists, Bad Company, with its distinctive vocals and forceful blues style, remains one of the most acclaimed British classic rock bands.

Formed in 1973, vocalist Paul Rodgers (formally of Free), guitarist Mick Ralphs (formally of Mott the Hoople), bassist Boz Burrell (formally of King Crimson) and drummer Simon Kirke (also formally of Free) experienced immediate success with its debut album suitably titled Bad Company.

The album went platinum five times and contained hits in the form of “Bad Company”, “Can’t Get Enough”, “Movin’ On”, “Ready for Love” and “Rock Steady”.

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In 1975, the band followed up with another album, Straight Shooter, which got them nominated for a Grammy thanks to top ten hit and iconic guitar laden “Feel Like Makin’ Love”.

The band’s third album, Run with the Pack, climbed to number 5 on the US and UK charts. Burnin’ Sky in 1977 reached gold and Desolation Angels hit double platinum in 1979.

In 1982, Bad Company released Rough Diamonds which peaked at number 26. Rodgers decided to take a hiatus from the band and eventually experienced a very successful solo career.

During the 1980s and 1990s, original members Ralphs and Kirke resurrected the band and released four albums but it wasn’t quite the same without the backing of Rodgers iconic vocals and songwriting.

Fans’ prayers were finally answered in 1998 when the band reunited with Rodgers for a US tour and double-album anthology release.

The band and particularly Rodgers remains active in the rock music industry with tours, collaboration and new material.

For The Record:

Members includeBoz Burrell (born Raymond Burrell, August 1, 1946, Lincoln, England),David Colwell (joined in 1991), guitar;Robert Hart, vocalsBrian Howe (joined in 1986),Simon Kirke (born July 28, 1949, Shrewsbury, England), drums;Mick Ralphs (born March 31, 1944, Hereford, England), guitar; Paul Rodgers (born December, 17, 1949, Middles-brough, England),Rick Wills, bass.

Band formed in England, 1973; signed to Swan Song Records, 1974; released six albums, 1974-83; reformed with new singer Brian Howe, 1986; released five albums, 1986-93; returned with singer Robert Hart and signed to EastWest Records, 1995.

Addresses:Record company — EastWest Records, 75 Rockefeller Plaza, New York, NY 10019.

Before they released their next album, they had to decide on a name. "We were having a terrible time picking a name—we had the lineup, and the record was in the can, but we didn't have a name," Kirke told Sharon Liveton inBillboard. Paul Cooper, the head of Atlantic on the West Coast, suggested they keep the name Bad Company. "Until then, it hadn't even crossed my mind," said Kirke.

Discography:

Bad Company, Swan Song, 1974.

Straight Shooter, Swan Song, 1975.

Run with the Pack, Swan Song, 1976.

Burnin' Sky, Swan Song, 1977.

Desolation Angels, Swan Song, 1979.

Rough Diamonds, Swan Song, 1982.

10 from 6, Atlantic Records, 1986.

Fame and Fortune, Atlantic Records, 1986.

Dangerous Age, Atlantic Records, 1988.

Holy Water, Ateo Records, 1990.

Here Comes Trouble, Ateo Records, 1992.

The Best of Bad Company Live... What You Hear Is What You Get, Ateo Records, 1993.

Company of Strangers, EastWest Records, 1995.

Stories Told& Untold, EastWest Records, 1996.

Source: Juanita Appleby, eNotes

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

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King Crimson By Roger Gibbens

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 In 1967, two brothers, Michael and Peter Giles auditioned guitarist Robert Fripp to join their band. Despite wanting to recruit a singer/keyboard player, Fripp was asked to join. Following the unsuccessful release of a couple of singles and an album, they added multi-instrumentalist Ian McDonald to the line up to enhance the sound.

Fripp, by now frustrated with the lack of success and the overall sound, suggested adding his friend Greg Lake to the band to replace the equally frustrated Peter Giles. In turn, McDonald brought in his friend, Pete Sinfield to help out with lights, and lyrics. Starting rehearsals in early 1969, Sinfield christened the band "King Crimson" who made their live debut in April that year. By now a mellotron had been added to McDonald’s keyboard set up and this sound would become the most recognisable sound in the burgeoning Progrock movement of which the band would play a huge part in establishing. Following a high profile gig supporting the Rolling Stones at Hyde Park, the debut album was released in October 1969. Receiving huge acclaim, “In The Court Of The Crimson King” proved to be a masterpiece. From the striking cover artwork to the highly imaginative,informed and experimental music, it was performed with a precision and intensity that would result in the boundaries of rock music forever being redrawn. The first track, the brutal “21^st Century Schizoid Man” set the scene with its doomy effect-laden vocals and jazzy time signatures. Following this were two mellow almost ambient tracks but it is the final two that established the sound of the band. Both Epitaph and In The Court Of The Crimson King employed heavy use of the mellotron and contained surreal lyrics. Amazingly for a debut release, the album entered the chart at number 5 as it took its place among the rock elite. Following a successful introduction to the States, tensions that would follow the band throughout their career surfaced and the first classic King Crimson line up split in December 1969. Leaving just Fripp and Sinfield to fly the flag, the early momentum was lost and the level of success would never be achieved again. 

In The Court Of The Crimson King

Fripp and Sinfield rallied the troops to record the follow up album. “In The Wake Of Poseidon” It met with a mixed reception. General opion was that it was a pale copy of the first. One track however was different. “Catfood” with its jazz piano, courtesy of Keith Tippett, was an indication of a new direction. After recruiting new members Gordon Haskell, Mel Collins and Andy McCulloch and with Sinfield now playing synthesisers, the third album, “Lizard” was recorded in 1970. This was the most inaccessible release to date containing some of Sinfield's more obtuse words and featuring a selection of jazz musicians. The recurring theme of band members leaving continued and for the next album, Islands where Boz Burrell and Ian Wallace replaced Haskell and McCulloch. Despite all the comings and goings, “Islands” was a gorgeous album. Softer and more structured it contained more restrained playing from the invited jazz musicians. However a growing distance appeared between Fripp and Sinfield over this period and eventually ended with Fripp giving Sinfield the call to leave the band after the release of “Islands” Fripp then began recruiting for replacements for his next vision of Crimson. Radically different now, John Wetton (bass), Bill Bruford, (drums), David Cross (Violin) and Jamie Muir (percussion) joined Fripp in the latest line up. With no one else left from the original band, this was the opportunity that Fripp wanted to escape from the clutches of the first album. “Larks Tongue In Aspic” in 1973 and “Starless And Bible Black” the following year, seemed to put the band back on track. Both reached the top 30 in the UK and contained strong songs littered with melodies but with enough experimentation to satisfy their cult following. While live, the band bombarded the audience with a metal like assault. This was too much for David Cross whose violin was lost in the noise and for Jamie Muir who left. (to join a Tibetan monastery it was rumoured!).

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Fripp was by now having his own spiritual crisis and split the band “completely and for ever and ever” in September 1975. He relocated to New York where his work with artists such as Peter Gabriel, David Bowie, Talking Heads and Blondie gained him much respect from the mainstream. Now heavily into electronics, he developed his “Frippertronics” tape loop system with Brian Eno that would be used in various forms on all future work. Solo albums followed, usually including a wide selection of guest artists from the above list. Some short-lived bands were formed and split. In 1981 he formed “Disipline” with Tony Levin, Adrian Belew and old mate Bill Bruford. In October that year, searching for some commercial success on his own, he decided to rename the band “King Crimson” With second guitarist Belew in the mix, Fripp was able to concentrate on a new sound for Crimson. Using all manner of electronics they were producing truly progressive music. Disappointingly for some, however, the mighty mellotron had been put out to grass. The band released three albums with this line up, “Discipline” in 1981, “Beat” in 1982 and “Three Of A Perfect Pair” in 1984. All were well received with tightly constructed sounds with modern new wave and post punk influences. By the time of the third album however, tensions had appeared and this resulted in one side of the album having a lighter, poppier feel, while the other was more extreme at Fripp’s insistence. Consequently the band broke up and it would be a further 10 years before the name of King Crimson would be heard again. Fripp get himself busy during this period forming a number of short-term bands and contributing his original sounds to a number of recordings. He also started a guitar school and formed his own record label, DMG which would result in a number of rare recordings being released in future years.

Following encouragement from Belew, Fripp decided to reassemble the band as King Crimson in 1994. The line-up consisted of Fripp, Belew, Trey Gunn, Tony Levin, Pat Maslelotto, and once again Bill Bruford. Running the band as “Two Trios” the band released “Thrak” in 1995.which contained some incendiary twin guitar and masses of electronics, which had now progressed, from “Frippertronics” to “Soundscapes” to keep up with the digital age. The six-piece band proved to be awkward to manage so Fripp split the band into smaller units. These he called “ProjeKcts”. This enabled the band to work on various compositions before bringing them to the main band. Bruford became unhappy with this set up and left for the last time. From here onwards, with regular long gaps between albums and tours, the band has continued. Tapping into industrial metal and sonic ambience the band still push the boundaries.

King Crimson has been at the forefront of “Progressive Music” for 40 years. Never afraid to take risks they have gone their own way and poked out their tongues at the music industry. Many past members have gone on to huge success in other bands such as ELP. Bad Company, Foreigner and Asia. Many contemporary bands have cited King Crimson as a major influence. 

When things became comfortable, Fripp would split the band or head off on a musical tangent that would alienate and exasperate both fans and label chiefs. But this is what their long-suffering fans want. Never predicable, the legacy they leave will ensure the King will reign for a long long time.

Roger Gibbens

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

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Pink Floyd

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