is still one of the most beautiful song ever written...

I agree but Jon Anderson was right there too.

To me, add Greg Lake, Peter Gabriel, Phil Collins, Ian Anderson, Annie Haslam.

@Holiday True, but actually Fripp was initially going to be part of a new band with Eddie Jobson, John Wetton, and Bill Bruford in 1978. When Fripp opted out of that situation, Allan Holdsworth was brought in and the band became UK. It was only after that aborted project as far as Fripp was concerned, that he decided to form a new band that would begin the 1980's for him. That group, initially called Discipline, ultimately became the new version of King Crimson in 1981 as you mentioned.

@@vbassone so in essence UK was almost like a Fripp-less King Crimson?

@@zachhoward9099 Almost.

The band wasn't initially called King Crimson. He wanted to call it Discipline which not everyone loved and he only got the idea to bring back the King Crimson moniker in rehearsals. So he may have had the impulse to start a new band but not a new version of King Crimson specifically.

'and now you find yourself in '82"......lol

V A SANTIAGO Have you seen the I Talk to the Wind version with Hackett, Wetton, Buford, MacDonald? Sublime.

Well, they did play together in the studio on the song Starless from the album Red :)

Maybe squeeze Levin and Belew in there, represent the Anglo American years.

@@bent2 McDonald also was on One More Red Nightmare too!

Add to that David Cross too...

SilentKnight43 I did the same thing. And Greg Lake and Keith Emerson got swept up in all that grief too. I’m still listening to all of it like I did as a teenager. Prog forever!

What are these lesser-known Asia tracks I wonder?

Such a contradictory position to me that Fripp had regarding all that, but he has never been a simple man to understand

There are 2 UK Studio albums, So there are 2 albums you must hear, UK and Danger Money, both very good if you have not listened to either they are a must.

Absolutely. I don't see those albums too horribly different from one another either.

He comes across as a pompous ass in this a lot of the times.... Great voice and bassist though

I think that they didn't end up in very Good terms

He is not Billy Cobham thou. Too british for Jazz, to Jazzy for rock. There is a reason why Soft Machine never achived success in Jazz while bands Like Mahavishnu Orchestra became legends

No, I have to agree. Bruford plays right on the beat, whereas the best jazz drummers have a more elastic sense of time. Someone like Elvin Jones or Jack DeJohnette will play behind or even ahead of the beat to bring everyone together. It's not good or bad, just a stylistic difference.

yes, but one thing i like about soft machine, was how they sounded different on each album. highly underrated band...

Big SF fan here.... Bundles was great, but their best was 3 and 4.... and their live recordings (mostly bootlegs at the time).

The theme song is by the Italian prog-jazz-rock band, Arti & Mestieri.

I thought it was some UK piece lol

@@robbieclark7828 love it!

@@caryheuchert Thanks Cary!

@@caryheuchert Which apparently John would have hated.

During King Crimson's Double Trio mid 90's tour, Robert Fripp insisted that there be no spotlight on him as well, even though he was sitting in the middle at the rear of the stage. So throughout the show he would either be virtually invisible or only a backlit silhouette. Very unusual effect.

He also worked on Wishbone Ash's 1981 Number the Brave. And that's it

I had read somewhere Sir that many left handed people become ambidextrous over time and at a much higher rate then right handed people, can’t remember the reasoning behind the numbers though

@@zachhoward9099 @Zach Howard as a (partial) left-hander myself, I think it has a lot to do with societal pressure and the stigma from being different from the majority. I got my first guitar at 12 years old. I instinctively grabbed the neck with my right hand, but the guy who was giving me rudimentary lessons told me because the right handed guitar I needed to play it right-handed. I had never seen a picture of Hendrix at that time and didn't realize you could simply turn it over and restring it so I learned how to play right handed it has been that way ever since! I don't know how it happened, but I write, eat and use a mouse left handed, but I do literally everything else right handed. I'm not ambidextrous, it's just either one or the other.

I write left handed and play guitar right handed…I believe that Robert Fripp does the same.

He was naturally left handed but played right handed.

Heep had some good tunes. Return to Fantasy rocks steady in places, even though it was a half hearted shot at recapturing Demons and Wizards success and fantasy style lyrics. I recommend the Wetton era UH tune One Way or Another. He sings the verses (Hensley sings chorus) and lays down a fat bass line. I certainly agree that UH fit the definition of self indulgent stoner rock, but couldn't King Crimson fit that definition also? KC definitely had a more refined, professional sound compared to the noisy, distorted, drug fuelled, banality of UH, but both used their share of abstract, mystical lyrics. I also agree that Wetton was less than inspired in Uriah Heep, he was merely a hired gun seeking a paycheck with a brand name act and he was just killing time between KC and UK. John was a round peg jammed in a square hole, Heep was in disarray when he joined due to the dismissal and eventual death of previous bassist Gary Thain, singer David Byron was out of control with booze, Ken Hensley was hoovering up mounds of cocaine, and the rest of the band were growing apart from both of them. John Lawton replaced Byron after the two Wetton albums, Trevor Bolder replaced Wetton, the band continued on with Hensley and a more commercial sound for three Lawton albums (Innocent Victim the best) and the bloody abortion called Conquer with overmatched eye candy named John Sloman trying to sing. I enjoy both classic Heep (70-76) and all things Wetton though. I just think somebody like Roger Glover or Glenn Hughes would have been a better match for Heep than Wetton (especially Hughes and his then voracious appetite for cocaine and his vocal range, hell he could have capably replaced Byron on vocals and played bass had he not been going off the tracks with Deep Purple followed by 15 years of snorting coke and bouncing around inconsistent stints with Pat Thrall, Gary Moore, Black Sabbath, and Phenomena, turning in top notch studio work with all four while simultaneously being too high and out of shape to tour much with any of them). In summary, diverse, progressive artists like Wetton don't belong in noisy proto metal bands such as Uriah Heep.

@@markrago5024 Yeah, love the Heep album High & Mighty!

This was a great interview. Enjoyed getting Wetton's viewpoint instead of just books and articles by authors who weren't involved.

Hell, Welton should have been used to Allan's reticence. He played with a man that made Allan look like Pete Townsend on stage by comparison for nearly three years...

I know right?!

Arti & Mestieri - Nove Lune Dopo

He was even more wrong about Allan Holdsworth!!!!!

Remember, this was made in 1980 Bruford evolved over the years with Earthworks and many other ensembles

Exactly. What ignorant comments he makes here. Impossible to keep a TRUE GENIUS like Holdsworth from becoming known........

If more "shredder" guitarists went back through the chain of influences like blues enthusiasts did you'd see a lot more people playing Holdsworth, Fripp, Howe, DiMeola, and Hackett riffs on your IG feed.

Well, Wetton was around 30-years-old here - still young, and very much in that mindset of what "he" wanted to do and liked. He wasn't into Holdsworth or jazz in general at that time, it seemed to me... at least in as far as it wasn't what he wanted to do or be part of, and being a "progressive" musician meant he was getting lumped in with that camp (even to this day, I know a lot of people who don't realize the difference between jazz fusion and progressive rock). Yes, he sounds quite a bit pompous here (most things do when you're a young artist and really serious about yourself), but as he said about Fripp, "Now I've got my way, and he's got his." I'm sure that's ultimately his attitude towards Holdsworth and Bruford... the collaboration was good for what it was, but they all clearly wanted different things, and they all achieved them on their own terms, regardless of how they all felt about each other at that time.

Bill Bruford was a superb jazz drummer.

OF COURSE Allan made a mark, that's putting it very mildly. Allan was one of the greatest geniuses ever in music let alone the guitar.....If Wetton wanted a rock star guitarist then he should have hired a rock star guitarist. To hire one of the greatest improvisers of all time, and demand that he NOT improvise is fucking RIDICULOUS.

@@vbassone agreed!

Dude, Holdsworth was hugely influential on the 80s generation of shredders. People like Steve Vai were definitely influenced and inspired by people like Holdsworth and Fripp. They were bigger names back then. We don't see them mentioned much these days because you don't hear them on classic rock radio, but guitarists knew about these unique players in the day.

@@shawnmcvey7789 Not only did Alex Lifeson, Steve Vai, Eddie Van Halen, and Eric Johnson know about Holdsworth, through Holdsworth's influence on them, ROCK guitar, along with Jazz-Rock guitar, and Jazz guitar were ALL LARGELY reshaped.

@@vbassone Holdsworth, Beck, DiMeola, McLaughlin, Benson, all had amazingly unique and influential lead playing during the time when fusion came around. I'd say there's an argument for putting Larry Carlton up there too. The only thing that miffs me about a lot of fusion guitarists is they never seem to play "rhythm". The jazzier side of the spectrum does, but the more rock flavored ones never seem to focus on it much, which is why I also gravitate towards players like Al McKay, Carlos Alomar, and session guys like Larry Carlton for my rhythm chops in a fusion situation.

I definitely agree, but I can kinda see where he might get that idea. I love those albums, but they are pretty odd ducks in the 70s jazz fusion world. Earthworks was a lot closer to jazz than rock, especially compared to Bruford. I'd bet by the 90s Wetton had softened or changed his opinion.

I agree and I really love Feels Good to Me and One of a Kind but I can certainly see what John means. In comparison to the other prominent fusion bands at the time (Weather Report, Return to Forever), Bruford was kind of odd, mostly because of his drumming and Holdsworth’s playing. Still fantastic though, great melodies come to mind from Sample and Hold, Seems like a Lifetime Ago, Sahara of Snow, Beelzebub, One of a Kind, and the Abingdon Chasp

I would hope that he would have changed or softened his opinion later in life, yes.@@shawnmcvey7789

love that! Agreed.

Keep in mind they were all equals in U.K. and the band dissolved because they all had different ideas for the music. We get to hear all this great music without bias, they probably took years to overcome the difficulties of being in such a talented band. Having a whole band of killer, creative players brings in a whole new set of difficulties🤣

@@shawnmcvey7789 It was Jobson and Wetton's band. You cannot hire creative improvisational geniuses like Allan Holdsworth and then tell him you want him to play the same solo that he played on the record night after night on tour, which is exactly what the final falling out with Holdsworth was about. Ironically, it is the iconic and completely innovative solos Holdsworth plays all throughout the UK debut record in 1978 such as In The Dead of Night, that has had the most lasting effect on fans of that album over 40 years after it was recorded, so Wetton looks completely foolish in hindsight watching this video as his comments about Holdsworth couldn't be more foolish.

You're really mad at a guy who died like 4 years ago. Chill out.

@@jassie138 You chill out wise guy. EVERYTHING i said is accurate. Got it?

@@vbassone Oh grow the fuck up. You're mad about a fucking grudge that happened 40 years ago and that you weren't even involved in. If you seriously give this much of a fuck about it, go see a doctor while you still can. Therapy does wonders. They're all incredible musicians. All of them made their mark on music history.

Sure you can. And when he doesn't comply you show him the door, like a boss.

@@toddlee2571 Listen you moron, it's Allan Holdsworth. Yes, you can make that TERRIBLE decision to NOT let him be and play like the genius he was but that isn't advisable. I'll say it again so you understand; UK IS LUCKY to have had Allan Holdsworth in that band. What part of that don't you understand?

@@toddlee2571 No idiot, then hire a DIFFERENT Guitarist in the FIRST Place. Got it?

@@toddlee2571 Showed him the door to their GREAT LOSS, and trust me Allan couldn't wait to leave that band so the feeling was mutual.

@@vbassone I don't agree that it was their great loss, at least not in Wetton's case as he went on to big time fame with Asia. You might not like but millions did. But boy did Bruford cheese off Wetton by sticking up for Holdsworth. I disagree with Wetton that Bruford wasn't a great jazz drummer, lacked melody didn't have complete ideas. I don't know how anyone listens to a song like Fainting In Coils or Feels Good To Me and not hear melody or satisfying conclusion. But then again, Wetton managed to chase away Howe and Palmer too.

Vincent Guarna he’s dead bro

@@bigball8468 DUHHHH, yeah I know. And your point is?????

They should have hired Peter Banks. . and Carl Palmer.

@@vasantiago3038 Possibly. Wetton was LUCKY to have Holdsworth in UK!! What he says here is a fucking joke and a shame. It is also completely disrespectful in many ways to one of the greatest electric guitarists that has ever lived.

@@bigball8468 Well, so is Allan Holdsworth.