U.K.: Difference between revisions
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U.K. was a band that Allan recorded one studio album with. The lineup for this album was: | U.K. was a band that Allan recorded [[U.K. (album)|one studio album]] with. The lineup for this album was: | ||
*Allan Holdsworth: guitar | *Allan Holdsworth: guitar | ||
*[[Eddie Jobson]]: keyboards , violin | *[[Eddie Jobson]]: keyboards, violin | ||
*[[John Wetton]]: bass, vocals | *[[John Wetton]]: bass, vocals | ||
*[[Bill Bruford]]: drums | *[[Bill Bruford]]: drums | ||
Allan toured the U.S.A. after the release of the album, and received widespread exposure. However, Allan was not pleased with the musical direction of the band. He was expected to replicate his recorded solos on stage, something he felt very strongly against. As a consequence, he left the band after touring for the first album. Bootlegs abound from the American dates, but the only official release of these live recordings have been the box set [[Ultimate Collector's Edition (album)|Ultimate Collector's Edition]]. | |||
=Summary of quotes on U.K.= | |||
Holdsworth joined U.K. after getting to know Bill Bruford, who was approached by John Wetton and Eddie Jobson. U.K. had two factions within the band, with Bill Bruford and Holdsworth on one side and Eddie Jobson and John Wetton on the other. This internal conflict led to a musical dilemma, and Holdsworth didn't enjoy the live performances. Despite his admiration for the individual band members as people, Holdsworth felt that U.K. was a miserable experience for him, mainly due to the musical differences and the pressure to play the same solos repeatedly. Ultimately, Holdsworth left U.K. because he wanted to pursue his own musical direction and found that the band's format didn't allow for the artistic freedom he desired. ''[This summary was written by ChatGPT in 2023 based on the quotes below.]'' | |||
=Quotes on U.K.= | |||
==[[Any Key In The U.K. (Unknown publication 1978)]]== | ==[[Any Key In The U.K. (Unknown publication 1978)]]== | ||
How did '''U.K.''' come about? | How did '''U.K.''' come about? | ||
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==[[Player Of The Month (Beat Instrumental 1978)]]== | ==[[Player Of The Month (Beat Instrumental 1978)]]== | ||
Bill Bruford’s solo album (out this month) is the latest of Holdsworth’s projects; the featured musicians also include Dave Stewart on keyboards and an American called Jeff Berlin on bass, whom Allan spent several minutes enthusing over ("He’s a killer. He’s gonna scare a lot of people. Really lethal." ) At the time of writing secret rehearsals are going on with a new band believed to include Bruford, Holdsworth, Eddie Jobson and John Wetton. Whether this will result in a touring band, or in an album, or in both, is not known yet. Allan had been sworn to silence even regarding band personnel, and this information came from "another source". Let’s just hope it’s accurate. | Bill Bruford’s solo album (out this month) is the latest of Holdsworth’s projects; the featured musicians also include Dave Stewart on keyboards and an American called Jeff Berlin on bass, whom Allan spent several minutes enthusing over ("He’s a killer. He’s gonna scare a lot of people. Really lethal." ) At the time of writing secret rehearsals are going on with a new band believed to include Bruford, Holdsworth, Eddie Jobson and John Wetton. Whether this will result in a touring band, or in an album, or in both, is not known yet. Allan had been sworn to silence even regarding band personnel, and this information came from "another source". Let’s just hope it’s accurate. | ||
==[[Allan Holdsworth (Guitar Player 1980)]]== | ==[[Allan Holdsworth (Guitar Player 1980)]]== | ||
Had things become better? | Had things become better? | ||
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==[[Holdsworth & Co. A New Side Of Allan’s Music. (Guitar 1980)]]== | ==[[Holdsworth & Co. A New Side Of Allan’s Music. (Guitar 1980)]]== | ||
What sort of equipment will you be using live with the trio?
| What sort of equipment will you be using live with the trio?
| ||
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==[[Allan Holdsworth (International Musician 1981)]]== | ==[[Allan Holdsworth (International Musician 1981)]]== | ||
In 1977 I joined Gong which was a potentially interesting writing situation, but they could never stop arguing long enough to orgnaise (sic) anything. We toured a little and then I left. Later that year I played on an album with Jean-Luc Ponty - ‘Enigmatic Ocean. In 1978 I played on Bill Bruford’s solo albums ‘Feels Good To Me’ and ‘One Of A Kind’. I joined '''U.K.''' in ‘78 which consisted of Bill, John Wetton, Eddie Jobson and myself, one album there. In 1979 I went to Paris with the new trio, and here we are two years later about to make another album. Ultimately I’d like the band to do a couple of albums and establish in the USA: I’m sure we’ll have more success over there. | In 1977 I joined Gong which was a potentially interesting writing situation, but they could never stop arguing long enough to orgnaise (sic) anything. We toured a little and then I left. Later that year I played on an album with Jean-Luc Ponty - ‘Enigmatic Ocean. In 1978 I played on Bill Bruford’s solo albums ‘Feels Good To Me’ and ‘One Of A Kind’. I joined '''U.K.''' in ‘78 which consisted of Bill, John Wetton, Eddie Jobson and myself, one album there. In 1979 I went to Paris with the new trio, and here we are two years later about to make another album. Ultimately I’d like the band to do a couple of albums and establish in the USA: I’m sure we’ll have more success over there. | ||
==[[No Record Contract, No Big Hoopla, But The Fans Have Kept The Faith For Allan Holdsworth (Guitar World 1982)]]== | ==[[No Record Contract, No Big Hoopla, But The Fans Have Kept The Faith For Allan Holdsworth (Guitar World 1982)]]== | ||
For example, what I did with '''UK''' was a total disaster as far as I was concerned - I should have never done it in the first place except for the fact that maybe a few more people got to hear me. But I hated it! Because I really had no space in it, I had no being in the band. They wanted me to play the same solo, and there was no way that whatever I did would affect what went on. I couldn’t play something and then add another chorus or it would go off and do something else - I couldn’t do anything like that. I had to do it just as I was playing on a record. It made me sick. But that was the way the music was written, in bits and pieces, not real compositions, composed like violin variations, but bits and pieces thrown together. It made the music kind of non-organic and sterile to me, and I was miserable most of the time. I used to just get drunk. Half the time I couldn’t remember which tune we were playing! Basically, I enjoyed making the album with Bill, and I hated '''UK'''! I just wanted to escape the ‘Tricky Dick,’ to try and find a musical thing, where I had more of substance to do rather than parts, because anybody can learn parts.
"That’s my feeling, anyway. I was becoming so despondent about the whole thing that I didn’t care whether I was doing the job well - which is why I knew I had to leave, because it was really self-destructive. I knew I had to go." | For example, what I did with '''UK''' was a total disaster as far as I was concerned - I should have never done it in the first place except for the fact that maybe a few more people got to hear me. But I hated it! Because I really had no space in it, I had no being in the band. They wanted me to play the same solo, and there was no way that whatever I did would affect what went on. I couldn’t play something and then add another chorus or it would go off and do something else - I couldn’t do anything like that. I had to do it just as I was playing on a record. It made me sick. But that was the way the music was written, in bits and pieces, not real compositions, composed like violin variations, but bits and pieces thrown together. It made the music kind of non-organic and sterile to me, and I was miserable most of the time. I used to just get drunk. Half the time I couldn’t remember which tune we were playing! Basically, I enjoyed making the album with Bill, and I hated '''UK'''! I just wanted to escape the ‘Tricky Dick,’ to try and find a musical thing, where I had more of substance to do rather than parts, because anybody can learn parts.
"That’s my feeling, anyway. I was becoming so despondent about the whole thing that I didn’t care whether I was doing the job well - which is why I knew I had to leave, because it was really self-destructive. I knew I had to go." | ||
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==[[Guitar Phenom Allan Holdsworth Says He’s Not That Impressed By Flash (The Georgia Straight 1983)]]== | ==[[Guitar Phenom Allan Holdsworth Says He’s Not That Impressed By Flash (The Georgia Straight 1983)]]== | ||
You’ve played with a lot of groups and artists over the years–'''U.K.''', Bruford, Soft Machine, Tony Williams. Are you happier playing with I.O.U. than you were with the others? | |||
Yes, a lot happier. Because I was always the guitar player in someone else’s band, and I didn’t always like the music. In fact, quite a lot of–especially '''U.K.'''–I detested. I thought it was crap. I didn’t even want to be involved in it. And it’s funny, ’cause a lot of people like the things that I hate the most. But that’s life. | |||
==[[The Innocent Abroad (Musician 1984)]]== | ==[[The Innocent Abroad (Musician 1984)]]== | ||
Having worked with the likes of Tony Williams, Jon Hiseman (in Tempest) and Narada, it seemed only logical that Holdsworth would fall in with another great drummer; he joined Bill Bruford to make Bruford’s solo classic, One Of A Kind. The two enjoyed working together so much, Bill brought him along to help found art-rock power players '''U.K.''', something which Bruford now has second thoughts about: "It’s obvious that '''U.K.''' was split into the pop half-with John Wetton and Eddie Jobson the potential Asia-type superstars-and Allan and I on the other side. I had hoped Allan would reinforce my side of the discussions, counterbalance the rock aspects of the thing. But it was a painful counterbalancing, it wasn’t understood, and I kind of put Allan on the spot." | Having worked with the likes of Tony Williams, Jon Hiseman (in Tempest) and Narada, it seemed only logical that Holdsworth would fall in with another great drummer; he joined Bill Bruford to make Bruford’s solo classic, One Of A Kind. The two enjoyed working together so much, Bill brought him along to help found art-rock power players '''U.K.''', something which Bruford now has second thoughts about: "It’s obvious that '''U.K.''' was split into the pop half-with John Wetton and Eddie Jobson the potential Asia-type superstars-and Allan and I on the other side. I had hoped Allan would reinforce my side of the discussions, counterbalance the rock aspects of the thing. But it was a painful counterbalancing, it wasn’t understood, and I kind of put Allan on the spot." | ||
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==[[Allan Holdsworth (Guitarist 1985)]]== | ==[[Allan Holdsworth (Guitarist 1985)]]== | ||
One of the things that drove me crazy when I used to work with '''UK''', was that everything was always superficially organised, but it wasn’t organised at all really. It’s like an insect that’s got the skeleton on the outside, and I prefer it when the skeleton is on the inside. Not that there’s anything wrong with insects, bugs are great! | One of the things that drove me crazy when I used to work with '''UK''', was that everything was always superficially organised, but it wasn’t organised at all really. It’s like an insect that’s got the skeleton on the outside, and I prefer it when the skeleton is on the inside. Not that there’s anything wrong with insects, bugs are great! | ||
==[[Never again a serial-production-group (Sym Info 1986)]]== | ==[[Never again a serial-production-group (Sym Info 1986)]]== | ||
Then came '''U.K.''', which came about because some girl had recommended me to the other boys from '''U.K.''' Bill and I got fired from '''U.K.''', so that was it. Why? I have no idea, really not… why do you dismiss somebody? After that Bill started his own band. The record-company probably found it safer to go further with the other two guys in the band, who were adjusted quite commercially, than with two typical jazz-people like Bill and me.” | Then came '''U.K.''', which came about because some girl had recommended me to the other boys from '''U.K.''' Bill and I got fired from '''U.K.''', so that was it. Why? I have no idea, really not… why do you dismiss somebody? After that Bill started his own band. The record-company probably found it safer to go further with the other two guys in the band, who were adjusted quite commercially, than with two typical jazz-people like Bill and me.” | ||
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==[[Mike Pachelli Show (video transcript 1991)]]== | ==[[Mike Pachelli Show (video transcript 1991)]]== | ||
MP: And did I read this correctly, that you and Bruford were actually dismissed from the band? | MP: And did I read this correctly, that you and Bruford were actually dismissed from the band? | ||
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==[[Creating Imaginary Backdrops (Innerviews 1993)]]== | ==[[Creating Imaginary Backdrops (Innerviews 1993)]]== | ||
'''U.K.''' [the band]
| '''U.K.''' [the band]
| ||
Not a nice experience. Nice chaps and everything. But a very miserable experience. | Not a nice experience. Nice chaps and everything. But a very miserable experience. | ||
I’d like to go back to '''U.K.''' for a moment. Why was the experience so miserable?
It had a lot of potential. The band was originally Eddie Jobson, Bill [Bruford], and John Wetton without myself. They were looking for a guitarist and I had just started playing with Bill to work on his album Feels Good To Me. And he said "There’s this guitar player playing on my album, wanna check him out?" So, they had me over and thought this might work and said "Let’s give it a go." And we formed the band and came up with the name. I got on really good with all of them, but what went wrong is that everyone wanted to do something else. I think there were two factions in the band: Bill and myself and Eddie and John. And they were kind of at war really. So, that’s what made it miserable—they wanted me to play the same solos every night and it was a completely alien thing for me. I would have probably been able to adapt to that now, but what I wanted to do then was so opposite to that. Whereas now, I could have maybe said "Well I know what I want to do, but this is what this is." I enjoyed making the album, and that was great, but it got to be not too much fun on the road. It was purely a musical question. I don’t know, maybe the other guys in the band hate me, but it wasn’t that for me—it was just the musical thing. It was "Geez, what am I doing here?" It wasn’t that I didn’t like the people. I did—I really liked all of those guys, even though they probably don’t realize that! [laughs] It was purely and simply a musical problem. | I’d like to go back to '''U.K.''' for a moment. Why was the experience so miserable? | ||
It had a lot of potential. The band was originally Eddie Jobson, Bill [Bruford], and John Wetton without myself. They were looking for a guitarist and I had just started playing with Bill to work on his album Feels Good To Me. And he said "There’s this guitar player playing on my album, wanna check him out?" So, they had me over and thought this might work and said "Let’s give it a go." And we formed the band and came up with the name. I got on really good with all of them, but what went wrong is that everyone wanted to do something else. I think there were two factions in the band: Bill and myself and Eddie and John. And they were kind of at war really. So, that’s what made it miserable—they wanted me to play the same solos every night and it was a completely alien thing for me. I would have probably been able to adapt to that now, but what I wanted to do then was so opposite to that. Whereas now, I could have maybe said "Well I know what I want to do, but this is what this is." I enjoyed making the album, and that was great, but it got to be not too much fun on the road. It was purely a musical question. I don’t know, maybe the other guys in the band hate me, but it wasn’t that for me—it was just the musical thing. It was "Geez, what am I doing here?" It wasn’t that I didn’t like the people. I did—I really liked all of those guys, even though they probably don’t realize that! [laughs] It was purely and simply a musical problem. | |||
==[[No Secrets (Facelift 1994)]]== | ==[[No Secrets (Facelift 1994)]]== | ||
"... And then I guess I went from Gong to '''UK''', because I met Bill during that period." | |||
" | |||
The last few years of the Seventies was a prolific era for Holdsworth credits: major involvement with Gong, '''UK''' and Bill Bruford, first for the drummer’s jazz-oriented solo LP, and then in the band Bruford, which saw Holdsworth, Dave Stewart and bassist Jeff Berlin recruited full time. Also in this period were the first steps into solo projects ("Velvet Darkness”) as well as flirtations with jazz both free and structured with the likes of Gordon Beck and John Stevens. '''UK''' represented probably the most commercial outing Allan Holdsworth has made: a union with ex-Crimson members Bill Bruford and John Wetton plus keyboardist Eddie Jobson.
"I suppose it was an attempt to make another group like Yes. Not like that musically, but they definitely tried to pump it up. It didn’t work for me - there was no space for someone like me in that kind of band." | The last few years of the Seventies was a prolific era for Holdsworth credits: major involvement with Gong, '''UK''' and Bill Bruford, first for the drummer’s jazz-oriented solo LP, and then in the band Bruford, which saw Holdsworth, Dave Stewart and bassist Jeff Berlin recruited full time. Also in this period were the first steps into solo projects ("Velvet Darkness”) as well as flirtations with jazz both free and structured with the likes of Gordon Beck and John Stevens. '''UK''' represented probably the most commercial outing Allan Holdsworth has made: a union with ex-Crimson members Bill Bruford and John Wetton plus keyboardist Eddie Jobson.
"I suppose it was an attempt to make another group like Yes. Not like that musically, but they definitely tried to pump it up. It didn’t work for me - there was no space for someone like me in that kind of band." | ||
"I enjoyed playing with '''UK''' - they were all great guys, but it just didn’t work out - it wasn’t the right combination. And then when I went on to work with Bill, I enjoyed working with Bill but the problem was that I just had this thing in my head about wanting to do my own thing. | "I enjoyed playing with '''UK''' - they were all great guys, but it just didn’t work out - it wasn’t the right combination. And then when I went on to work with Bill, I enjoyed working with Bill but the problem was that I just had this thing in my head about wanting to do my own thing. | ||
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