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The man is a genious in my eyes. Very seldom do I listen to keyboards that soothe my ears like these. The music is very eighties sounding, especially the choruses in songs like Danger Money and Nothing to Lose. There are plenty of exciting instrumental things on Danger Money that you would never find on an eighties album.

Yes Wetton is again like on the debut my biggest problem here. The sound quality is good, but not as good as on the debut. Especially the drums have a more murky sound. I gave the debut album from UK 4 big stars so I will rate this on 4 small stars as it is excellent, but not as good as the debut. The highlights are the opening two tracks, "Danger Money" and "Rendezvous ", even if the latter is oddly similar to "99" by Toto in parts. It hinted at a viable expression for prog as it entered the s.

But "Carrying no Cross" is the sort of track that prog would have best dispensed with during its heyday. Simply too derivative of ELP and some of the other dinosaurs. That wouldn't be so bad if Wetton didn't waste time trying to sound like Greg Lake, as he does on the frenetically mundane "Caesar's Palace Blues".

Other groups that were carrying more of a synth oriented progressive torch as the decade ended, like Saga, are also reference points even if the development was contemporaneous rather than plagiaristic. I can understand while this thrilled the die-hard prog heads given its timeline, but it is actually a fairly standard set which sacrifices listenability for technique a bit too often. For something along similar lines from the same period but more truly modern and less self indulgent, try "Black Noise" by FM.

Rendezvous Piano melody and low making somewhat broken , and the voice of Wetton very nice by the way enter on the scene winning the spotlight. There is a kind of balance the track until two minutes early reminding a bit of a bay. After entering a tunnel near the memories and images at least for me where I remembered a lot and pesei enough. Some go around Vocalizations verses on top of a line of low sensational which is good reading my releases I already noticed that I am always bassist then give special attention to the lines below.

The Only Thing She Needs Top of the battery la Neil Peart Rush , but it is only the beginning because the sequence reminds me of Gentle Giant and quebradeiras and then then Genesis for sure, especially the line of battery and timbre.

Our pot of influences that amazing, huh? I am not exactly sure who sings the backing vocals with John, but surely were excellent in all tracks. This song reminds me a bit what Asia has made some years later just a little more sophisticated.

Among the verses of the various sentences battery Terry show in shape. Caesar's Palace Blues The 'second hand' begins with a title liar laughter because it is not a blues, but more an ass of battery, this introduction gives you hear some of guitar chords which I do not know who he played , and more legal violins are the music while the voice a little torn enter on the scene.

The time for change could not be more broken. Certainly they did not want to make life easier for anybody who wanted to play the songs on the disc. Final all in 'code' and across the track with many of sensational violins Jobson. Nothing To Lose I guess I was wrong! That comes out in the style of 'Asia' natural since Wetton was one of the founders of the group , certainly reminded me very much. Trebled the vocals are very nice. I love 'coral'.

It has a nice chorus and a solo almost 'disk' which reminded me a sound and I can not remember exactly what. And just to vary the line of low Wetton that part is wonderful. Nothing to lose, nothing to lose, nothing to lose Carrying On Cross That would be the epic song of the disc? I have the impression that, yes, and as it is epic all by parties, one by one these parties will become a changing and growing. Starts shy, enigmatic, enter the voice and sings to the heart of people who go to the few among the melody in the ears and minds.

When we started to settle in, everything is changing little by little so that no one is traumatized by a sudden change, everything is done to the few and easy, like a bird that constructs its house with branches of trees and the patience of the wise.

Behold, but now it's time for change and even then it is no natural way to realize that , some lights, Keith Emerson again, a melody and it looks amazing and we are only half battery masterful here. An exclusive party for the piano almost unbelievable change in a rough, the band back many broken and returns and look what we have in the world was no longer used. Back to the topic and then the beginning, almost a circle vicious, the snake that swallows its own tail.

The disc and also the band saw the light of day in a difficult season for the progressive, the end of the 70s. Still the band is great and this disc is certainly well above average. The line up of UK that made their excellent self-titled debut album consisted of four people. Bruford was replaced with Terry Bozzio on drums but Holdsworth was not replaced, reducing the band to a trio. Bozzio's presence is a bit ironic considering the band's name since he is an American. The loss of Allan Holdsworth on guitars made it necessary to fill the void with more keyboards and violin.

The keyboards are very Keith Emerson-like on many parts. While this is quite different from the debut, it is still very much UK partly due to Wetton's very distinctive vocals and bass guitar play and Jobson's violin work.

These were some of the things that made UK special. Wetton once again wrote some great songs for Danger Money and there are hardly any weak moments. The album has only six tracks and all are very good. I would even say that Wetton's career was at its peak when he was in UK. This is even more true of Eddie Jobson. Despite having played with many prominent Prog groups, Jobson's best work was right here with UK in my opinion.

As I said, the two UK albums are quite dissimilar but both are excellent additions to your Prog collection. And since they are different from each other you need both of them! When one takes into account the abilities and experience of the personnel involved, one would expect the musicianship and composing skills to be top shelf and they are but, as in far too many cases in the prog genre, the lyrics are about as thought-provoking as a Hallmark birthday greeting card.

Personally I'd rather be perplexed by the abstract poetry of Jon Anderson or Pete Sinfield than to wallow through the kind of inane shmuck presented hereupon. I can accept that not everyone's a Gabriel or even a Townshend in this subjective area but when I feel patronized and taken for granted by simply reading over the words printed in the liner notes it seriously detracts from the experience. I mean, come on youse guys, at least spring for a rhyming dictionary! A crab-infested, disgruntled Bay City Roller could've penned better.

For heaven's sake, say something interesting! Thanks for letting me rant. I just had to get that off my chest. Off camera: "Oh, nothing sweet'ums, just talking to myself. The song features a smooth combination of conflicting time signatures that manages never to lose its rock momentum and that's due in no small part to the talent and acumen of Terry Bozzio on the skins.

Some drummers just have an uncanny knack of injecting their own individuality into their percussive attack and this lithe dude is one of the best. Jobson's keyboard work becomes a one-man-show when they reach the halfway mark and he makes an impression because of the fat, satisfying settings he utilizes and when Terry and John join in from time to time it only gets more intense. The tune ends with the band going out the same mystery door they came in.

Not bad. Not bad at all. Here Wetton's fine vocals and fluid bass lines lift the number up and over the banal words he has to sing. The tune's overall crisp ambience goes a long way in helping you to ignore that ugly indiscretion. While they unwisely keep Terry down in the mix somewhat you can still tell that he's burning some holes in the studio's drum baffles.

The kid is a well-oiled machine. The song's sleek midsection displays another furious prog ascension that eventually levels out into a dated New Wave rhythm that, alas, ultimately erodes the tune's integrity despite Eddie's commendable keyboard runs. It's nothing to write your worried mother about but it is saved from the threshing room floor by Jobson's heroic and scintillating electric violin that makes this cut stand out from what has transpired so far.

Bozzio also shines brightly as he lays down a powerful groove wide enough to drive a cement truck through with room left on each side. I'll mercifully spare you from the droll, narrow-minded lyrics about the ills of Las Wages. Use the lowest level of your imagination. The album's inevitable nadir comes in the form of "Nothing to Lose," a let's-write-a-hit-and-get-rich-on-royalties attempt that showcases a loping intro that morphs into a tepid rock beat and is a preview of the kind of prog-influenced commercialism that John would strive for with Asia.

The words are so stupid here they make what's come before seem like Dickens. The repeating refrain of the song's title is catchy, no doubt, but not in a good way. It's fodder for nightmares. Eddie's ethereal opening is quite effective, and then they evolve into a King Crimson-ish passage where Wetton's striking, lonely man vocal style elevates the mood to another level altogether.

The middle instrumental movement arrives from beyond the horizon like an approaching hurricane and Jobson's elaborate construction in which he successfully meshes Hammond organ with his strong synthesizers is astonishing. They climb to a malevolent, threatening plateau where Terry rumbles underneath the fray with a fevered passion. That forgettable phrase goes a long way in expressing my unimpression of the album's lyrics in general.

Note: Fans of that extraordinary group will like this album more than most, mainly because of Eddie Jobson. Had these fellows managed to stay together for more than a nanosecond they might have hired a lyricist and turned into something grand. But before you could say "music television" Terry had flown back to La-la land, married a singing Playboy bunny and formed the eye-popping flavor-of-the-month Missing Persons band; Wetton had started putting together yet another supergroup and the multi-gifted Jobson had hired on to play with Jethro Tull's world-touring ensemble.

So, buckaroos, it just goes to show that while these fantasy-fulfilling prog bacchanals seemed like sumptuously sinful adventures to indulge in they rarely resulted in anything lasting and, more often than not, left indelible stains in the shag carpet. Having said that, though, "Danger Money" isn't a wasted investment of your time or your finances.

There are some genuinely sublime musical moments to be enjoyed and you could do a lot worse when sampling music from this wild era. Danger Money is sure no easy money but this organ driven power prog works quite well. Jobson must have gotten himself a new pair of synths as they sound much less squeaky as on the previous album. It's a great tune with an intriguing uncanny atmosphere.

Rendezvous is a nice and uncomplicated tune finding Wetton in a romantic mood. It's good to hear he gave up on the jazzy vocals and other sorts of experiment that stretched his capabilities too much. AOR wins. Nothing To Lose is possibly worse, and a typical example of the bad and cheap pop that Asia would start assembling a few years later But then, Carrying The Cross ends the album in a respectable fashion.

It's no Starless but it's adequate proto-neo-prog if such a thing exists , starting as an ok ballad and gradually building up momentum towards an ELP mid-section. It's all a bit safe and nicely conforming to the rules laid out in the period but we had worse on this album. The dramatic crescendo spanning minutes 6 to 8 saves the album for me. The album takes a good start and ends with an extended piece that most prog fans will enjoy a lot.

I think I can settle for 3 stars for this one, finding myself in the small company that kind of prefers this one to the debut. When I was younger I had quite a hunger For technically competent song, So one day my mentor - A dude I lament for - Played me this after a bong. He wasn't quite sure what I would think And frankly neither was I ; After all, no guitar? No, that won't do, I'd miss that electrical cry.

But surely enough, without Holdsworth's muse, And Jobson no slouch at the helm This follow-up works, John Wetton berserk And Bozzio right in his realm. The title is heavy, layered by Eddie And Terry's aggressive on snare, John's in fine voice, his timing a marvel, The sound a touch pop if they dare.

Cesar is fine, if a bit plodding, 'Nothing to Lose' rather nice Though the specter of Asia foresees euthanasia And Prog's diminution enticed. Finally a classic, there is not much doubt ; A brilliant group effort of talent and stout. True prog album from super group of the late 70s, featuring Wetton always great on vocals and bass, Jobson on keyboards and electric violin, and Bozzio, accomplished drummer.

Bruford and Holdsworth were gone but it is great that the band continued relentlessly producing this excellent album. This is UK, one of the most revered acts of the Symphonic prog scene, presenting an album full of creativity and full blown prog classics. Here are the tracks and all have highlights: The violin work on this album is astounding, listen to Caesar Palace Blues for a prime example.

Jobson is one of the most dynamic violinists, hard to beat this effort. Danger Money is the title track with a slow paced off beat signature, it never hits the beat where it is meant to, and it sounds so majestic with those huge keyboard flourishes. The ambient atmosphere is strong, eventually releasing for Wetton's vocals; " miles from home, it was a hell of a lifestyle, I take the job again, danger money. This takes a while to get going but has a wonderful keyboard solo and accomplished piano.

The time sig is off kilter and competes with Wetton's great vocals. Nothing To Lose is a moderate rocking track with sustained synthesizer chords. The harmonies remind me of The Sweet, but the time sig changes often enough to give it that unique UK flavour. Jobson shows real flair on this with upbeat organ sounds, and Wetton sings very well throughout.

The violin solo is fabulous, almost like a lead guitar in places. A definitive highlight. Carrying No Cross ends it with some peculiar guitar playing and wailing singing. It builds to a rocking riff and pounding drums. The time sigs change suddenly without warning and return again to the main sig. The keyboard solo is a furious triggerfingering style with elongated chords and the bass guitar keeps a sporadic rhythm. It ends the album on a high note, and unfortunately this was the last studio album for the band as they parted their separate ways.

They left behind two scintillating studio releases that showed the rest how it is done. Genuine prog from virtuoso musicians who knew the genre. Right from the start, there is a change in UK's sound. Rendezvous is another song that doesn't sound like it would fit with the Bruford Holsworth lineup. But this ballad in alternate time signatures may be one of the most beautiful ballads John Wetton has ever sung. Only Nothing To Lose disappoints.

This song indicates the pop direction that Wetton would steer the band towards during their final tour, as documented on the "Night After Night" album. Wetton would continue this downward trend with his later projects, most notably the underperforming Asia. To be fair, it's largely more of the same from the first album - the quiet parts continue to evoke the mysterious atmospheres of the quiet sections of the debut, the loud sections are similarly boisterous.

The title track is perhaps the most thunderously catchy song UK ever did, and the closing epic Carrying No Cross is pretty decent too. Musically the album traces the muscular template of "In the Dead of Night", the obvious high point of the previous album. But the new songs left generous space for instrumental exploration.

And Jobson in particular rose to the challenge, stealing the spotlight with his trademark Perspex violin, in "The Only Thing She Needs" and the punchy "Caesar's Palace Blues", and showing all the brio of a less-classical Keith Emerson the sophomore UK album appeared only four months after ELP crashed onto "Love Beach", leaving a vacancy in the keyboard virtuoso pantheon.

But that misstep is quickly overshadowed by the mini-epic album closer "Carrying No Cross", a poor second-cousin of sorts to the celebrated King Crimson finale "Starless", with a similar structure of escalating tension and release over twelve invigorating minutes. Splitting up a band can sometimes benefit everyone involved. Bruford and Allan Holdsworth both moved on to impeccable Fusion careers, while the remaining UK players rediscovered the focus that had eluded them on the first LP. It didn't last very long see the obligatory, by-the-numbers live album "Night After Night" , but even a brief flash-in-the-pan was better than the empty kettle of Wetton's next supergroup.

The outset of the album was promising, with Jobson bringing a huge cathedral organ sound to the legato intro of the title track. It appeared possible he was leaving bubble gummy sounds behind. Indeed, much of the A-side of the album included a high B3 content. But it wouldn't last. Eventually he would bring an overly effected electric piano sound to the table. Not the cool gain driven semi-distorted Rhodes sound of the early to mid 70's. It was the sound of thin ties and hair gel.

The sound of the '80's. Being an early adopter isn't always a good thing. But the albums failings weren't all Jobson's fault. This was an album that was thematically challenged, with songs like "Ceasers Palace Blues" and the hitman themed title track, that lyrically seemed obtuse and superficial compared to the likes of "Thirty Years" and "Mental Medication".

Even the song highlight of the album, "Carrying no Cross" contained a passage toward the end, " Maybe so, but bad lyrics stick in your ear like the Ceti Eel Khan put in Chekov's ear. Additionally, except for "Carrying no Cross", the album was rhythmically pretty boring. The worst offender was "Nothing to Lose". It served to even further the poppy texture of the album. When all is said and done, Danger Money is an album with one great song, 2 okay songs, 2 bad songs, and 1 hideous stinker.

I honestly made a conscious decision to not listen to this album many years ago. But with the death of John Wetton I was revisiting all of the albums he performed on in my collection with a renewed focus. Sadly, even had Wetton's parts been perfection, which they were not, this album was not enjoyable enough to warrant more than 2 stars.

And the vast majority of that second star is due to "Carrying no Cross. The album was released in the following year of the release of their debut album. Following two lengthy American live tours, Wetton and Jobson decided to fire Holdsworth due to over musical differences. Bruford chose to depart as well. Bruford soon formed the jazz rock fusion group, Bruford, and invited Holdsworth to join him. After the departure of Bruford and Holdsworth, the remaining band's members decided don't bring another guitarist for the group.

Instead, they became a trio with the presence of the new drummer Terry Bozzio. Bozzio was another one time band's member of Frank Zappa. So, U. So, the line on the album is Eddie Jobson keyboards and electric violin , John Wetton lead vocals and bass guitar and Terry Bozzio drums and percussion. All songs were written by Eddie Jobson and John Wetton. The first track is the title track "Danger Money". It's a song that begins with a very apocalyptic, massive and bombastic sound.

Jobson's keyboards are the main musical instruments on this bombastic piece of music that construct the main body of the song. This song shows tthat this new album from the band has more straightforward melodies, many instrumental passages and quirky structure changes. This is a great opener for the album with pure powerful progressive rock.

The second track "Rendezvous ", points further more into a pop direction, resting gently on Jobson's acoustic sounding electric piano, playing in a jazzy musical vein during the instrumental section and competing against increasingly and beautiful musical cascades of the synthesizers. This is a lovely and sweet song very well performed that reminds to my mind the good old days of King Crimson's ballads.

It was released as a single to promote the album. Despite he is a great drummer he wasn't yet, in my humble opinion, in the Bruford's league. However, he was good enough to handle the chores. The song is also dominated by Jobson, and he is really a truly versatile and virtuoso musician. The piano sounds simply great and the song culminates into a great violin solo with a great bass line and a dynamic drumming. The fourth track "Caesar's Palace Blues" is a song that opens with a Jobson's demoniac electric violin alternately sounding like a heavy metal guitarist.

This is another strong rock song, this time dominated by a Jobson's violin work. It's probably the jazziest song on the album with a Wetton's great vocal work too. It's also a great progressive track where, once more, Jobson shines. The fifth track "Nothing To Lose" was the track that I heard first on the radio. This was also a track released as a single to promote the album. In retrospect, now we can say this song pointed the way to a more digestible form of progressive rock that Wetton preferred, and provided probably the formula for his next progressive band, Asia.

This is without any doubt the weakest, and the only weak track on the album. The sixth and last track "Carrying No Cross" is that obligatory epic track that you must find on any good progressive rock album. This is the kind of the tracks that a truly hard core progressive fan, prefers. With a temperament that flows meticulously like a truly symphonic piece of music, great vocals and frenzy of almost everything on Jobson's musical instruments.

It was clearly constructed as a stage crowd pleaser with over twelve minutes length. If you want to know why Eddie Jobson is considered a wizard keyboardist, this is the song you must hear. The guy is really an amazing keyboardist.

Conclusion: "Danger Money" represents a landmark in the progressive rock music. It marked definitely the end of the classic prog rock era. After that point, it seemed that the major participants in the decade of progressive rock golden era, or disbanded or moved on to a more commercial realms.

Yes reformed with Trevor Rabin with simpler, shorter and radio friendly songs, Genesis continued their transformation to a pop rock band and Asia was formed with John Wetton and Yes' guitarist Steve Howe around the same time and with the same musical style. This has many of the earmarks of a stereotypical prog-rock record: heavy-handed musicianship, oddball and shuffling time signatures, extended pieces and songs about weird or abstract topics. But UK was exceptionally tight, and the songwriting team of John Wetton and Eddie Jobson produced tracks that had just enough hooks to linger in your brain, but were unpredictable enough to keep you coming back to the songs to figure out what you missed the prior time.

Most probably that reflected a compromise between John Wetton and Eddie Jobson, who afterwards broke up the band over disagreement about how long the songs should run. The song signifies what UK Mk II was about: more straightforward melodies with some real verse and refrains folded in with tricky instrumental passages and quirky structure change ups. And though Wetton is plenty proven as a vocalist and bass player, this band had become a vehicle for its remaining true virtuoso in Eddie Jobson.

At more than 12 minutes long, they let it all hang out. If you want to know why Eddie Jobson is considered such a keyboard wizard, this is the song to head to first. Alas, Danger Money effectively marked the end of the classic prog rock period. Aside from a live record released the following year after the group disbanded, this was it for UK, too.

Genesis continued a transformation to a pop-rock band that complete by , and Asia was formed with Wetton and Yes guitarist Steve Howe around the same time. Jobson, meanwhile, kept a lower profile, releasing a couple of solo albums but working as a session player for other bands like Jethro Tull or Spyro Gyra. A comeback for prog started in the s, and it is, in a way, testament to the enduring music of its best acts — acts like this one.

March 29, by S. Victor Aaron. Share this:. Author Recent Posts.

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Bozzio may not be Bruford, but he is a good drummer in his own right and he fits right in. As for the music, most of it is in the vein that UK established with their first album. It's a bit more catchy here, and some of it is not as complex, but it's obviously still the same brand. Now to rate Danger Money. This is a tough one, as it falls right at 3.

I'll round down to 3 stars, but this is the best of the albums that I've reviewed that hasn't earned 4. EDIT: Time ameliorates all things. I've thought about it and thought about it, and I have to give this four stars. Unlike the first UK album, there's some crap in here. There are a few flaws. But and excellent example of progressive rock this is. Get it. Eddie Jobson plays the most fantastic things on his synths and keyboards and throws in the occasional electric violin solo as well.

The man is a genious in my eyes. Very seldom do I listen to keyboards that soothe my ears like these. The music is very eighties sounding, especially the choruses in songs like Danger Money and Nothing to Lose. There are plenty of exciting instrumental things on Danger Money that you would never find on an eighties album. Yes Wetton is again like on the debut my biggest problem here.

The sound quality is good, but not as good as on the debut. Especially the drums have a more murky sound. I gave the debut album from UK 4 big stars so I will rate this on 4 small stars as it is excellent, but not as good as the debut. The highlights are the opening two tracks, "Danger Money" and "Rendezvous ", even if the latter is oddly similar to "99" by Toto in parts.

It hinted at a viable expression for prog as it entered the s. But "Carrying no Cross" is the sort of track that prog would have best dispensed with during its heyday. Simply too derivative of ELP and some of the other dinosaurs. That wouldn't be so bad if Wetton didn't waste time trying to sound like Greg Lake, as he does on the frenetically mundane "Caesar's Palace Blues".

Other groups that were carrying more of a synth oriented progressive torch as the decade ended, like Saga, are also reference points even if the development was contemporaneous rather than plagiaristic. I can understand while this thrilled the die-hard prog heads given its timeline, but it is actually a fairly standard set which sacrifices listenability for technique a bit too often. For something along similar lines from the same period but more truly modern and less self indulgent, try "Black Noise" by FM.

Rendezvous Piano melody and low making somewhat broken , and the voice of Wetton very nice by the way enter on the scene winning the spotlight. There is a kind of balance the track until two minutes early reminding a bit of a bay. After entering a tunnel near the memories and images at least for me where I remembered a lot and pesei enough. Some go around Vocalizations verses on top of a line of low sensational which is good reading my releases I already noticed that I am always bassist then give special attention to the lines below.

The Only Thing She Needs Top of the battery la Neil Peart Rush , but it is only the beginning because the sequence reminds me of Gentle Giant and quebradeiras and then then Genesis for sure, especially the line of battery and timbre. Our pot of influences that amazing, huh? I am not exactly sure who sings the backing vocals with John, but surely were excellent in all tracks.

This song reminds me a bit what Asia has made some years later just a little more sophisticated. Among the verses of the various sentences battery Terry show in shape. Caesar's Palace Blues The 'second hand' begins with a title liar laughter because it is not a blues, but more an ass of battery, this introduction gives you hear some of guitar chords which I do not know who he played , and more legal violins are the music while the voice a little torn enter on the scene.

The time for change could not be more broken. Certainly they did not want to make life easier for anybody who wanted to play the songs on the disc. Final all in 'code' and across the track with many of sensational violins Jobson. Nothing To Lose I guess I was wrong! That comes out in the style of 'Asia' natural since Wetton was one of the founders of the group , certainly reminded me very much. Trebled the vocals are very nice.

I love 'coral'. It has a nice chorus and a solo almost 'disk' which reminded me a sound and I can not remember exactly what. And just to vary the line of low Wetton that part is wonderful. Nothing to lose, nothing to lose, nothing to lose Carrying On Cross That would be the epic song of the disc? I have the impression that, yes, and as it is epic all by parties, one by one these parties will become a changing and growing.

Starts shy, enigmatic, enter the voice and sings to the heart of people who go to the few among the melody in the ears and minds. When we started to settle in, everything is changing little by little so that no one is traumatized by a sudden change, everything is done to the few and easy, like a bird that constructs its house with branches of trees and the patience of the wise. Behold, but now it's time for change and even then it is no natural way to realize that , some lights, Keith Emerson again, a melody and it looks amazing and we are only half battery masterful here.

An exclusive party for the piano almost unbelievable change in a rough, the band back many broken and returns and look what we have in the world was no longer used. Back to the topic and then the beginning, almost a circle vicious, the snake that swallows its own tail. The disc and also the band saw the light of day in a difficult season for the progressive, the end of the 70s.

Still the band is great and this disc is certainly well above average. The line up of UK that made their excellent self-titled debut album consisted of four people. Bruford was replaced with Terry Bozzio on drums but Holdsworth was not replaced, reducing the band to a trio.

Bozzio's presence is a bit ironic considering the band's name since he is an American. The loss of Allan Holdsworth on guitars made it necessary to fill the void with more keyboards and violin. The keyboards are very Keith Emerson-like on many parts. While this is quite different from the debut, it is still very much UK partly due to Wetton's very distinctive vocals and bass guitar play and Jobson's violin work.

These were some of the things that made UK special. Wetton once again wrote some great songs for Danger Money and there are hardly any weak moments. The album has only six tracks and all are very good. I would even say that Wetton's career was at its peak when he was in UK. This is even more true of Eddie Jobson. Despite having played with many prominent Prog groups, Jobson's best work was right here with UK in my opinion.

As I said, the two UK albums are quite dissimilar but both are excellent additions to your Prog collection. And since they are different from each other you need both of them! When one takes into account the abilities and experience of the personnel involved, one would expect the musicianship and composing skills to be top shelf and they are but, as in far too many cases in the prog genre, the lyrics are about as thought-provoking as a Hallmark birthday greeting card.

Personally I'd rather be perplexed by the abstract poetry of Jon Anderson or Pete Sinfield than to wallow through the kind of inane shmuck presented hereupon. I can accept that not everyone's a Gabriel or even a Townshend in this subjective area but when I feel patronized and taken for granted by simply reading over the words printed in the liner notes it seriously detracts from the experience.

I mean, come on youse guys, at least spring for a rhyming dictionary! A crab-infested, disgruntled Bay City Roller could've penned better. For heaven's sake, say something interesting! Thanks for letting me rant. I just had to get that off my chest. Off camera: "Oh, nothing sweet'ums, just talking to myself. The song features a smooth combination of conflicting time signatures that manages never to lose its rock momentum and that's due in no small part to the talent and acumen of Terry Bozzio on the skins.

Some drummers just have an uncanny knack of injecting their own individuality into their percussive attack and this lithe dude is one of the best. Jobson's keyboard work becomes a one-man-show when they reach the halfway mark and he makes an impression because of the fat, satisfying settings he utilizes and when Terry and John join in from time to time it only gets more intense.

The tune ends with the band going out the same mystery door they came in. Not bad. Not bad at all. Here Wetton's fine vocals and fluid bass lines lift the number up and over the banal words he has to sing. The tune's overall crisp ambience goes a long way in helping you to ignore that ugly indiscretion. While they unwisely keep Terry down in the mix somewhat you can still tell that he's burning some holes in the studio's drum baffles. The kid is a well-oiled machine. The song's sleek midsection displays another furious prog ascension that eventually levels out into a dated New Wave rhythm that, alas, ultimately erodes the tune's integrity despite Eddie's commendable keyboard runs.

It's nothing to write your worried mother about but it is saved from the threshing room floor by Jobson's heroic and scintillating electric violin that makes this cut stand out from what has transpired so far. Bozzio also shines brightly as he lays down a powerful groove wide enough to drive a cement truck through with room left on each side.

I'll mercifully spare you from the droll, narrow-minded lyrics about the ills of Las Wages. Use the lowest level of your imagination. The album's inevitable nadir comes in the form of "Nothing to Lose," a let's-write-a-hit-and-get-rich-on-royalties attempt that showcases a loping intro that morphs into a tepid rock beat and is a preview of the kind of prog-influenced commercialism that John would strive for with Asia.

The words are so stupid here they make what's come before seem like Dickens. The repeating refrain of the song's title is catchy, no doubt, but not in a good way. It's fodder for nightmares. Eddie's ethereal opening is quite effective, and then they evolve into a King Crimson-ish passage where Wetton's striking, lonely man vocal style elevates the mood to another level altogether.

The middle instrumental movement arrives from beyond the horizon like an approaching hurricane and Jobson's elaborate construction in which he successfully meshes Hammond organ with his strong synthesizers is astonishing. They climb to a malevolent, threatening plateau where Terry rumbles underneath the fray with a fevered passion. That forgettable phrase goes a long way in expressing my unimpression of the album's lyrics in general. Note: Fans of that extraordinary group will like this album more than most, mainly because of Eddie Jobson.

Had these fellows managed to stay together for more than a nanosecond they might have hired a lyricist and turned into something grand. But before you could say "music television" Terry had flown back to La-la land, married a singing Playboy bunny and formed the eye-popping flavor-of-the-month Missing Persons band; Wetton had started putting together yet another supergroup and the multi-gifted Jobson had hired on to play with Jethro Tull's world-touring ensemble. So, buckaroos, it just goes to show that while these fantasy-fulfilling prog bacchanals seemed like sumptuously sinful adventures to indulge in they rarely resulted in anything lasting and, more often than not, left indelible stains in the shag carpet.

Having said that, though, "Danger Money" isn't a wasted investment of your time or your finances. There are some genuinely sublime musical moments to be enjoyed and you could do a lot worse when sampling music from this wild era. Danger Money is sure no easy money but this organ driven power prog works quite well. Jobson must have gotten himself a new pair of synths as they sound much less squeaky as on the previous album. It's a great tune with an intriguing uncanny atmosphere.

Rendezvous is a nice and uncomplicated tune finding Wetton in a romantic mood. It's good to hear he gave up on the jazzy vocals and other sorts of experiment that stretched his capabilities too much. AOR wins. Nothing To Lose is possibly worse, and a typical example of the bad and cheap pop that Asia would start assembling a few years later But then, Carrying The Cross ends the album in a respectable fashion.

It's no Starless but it's adequate proto-neo-prog if such a thing exists , starting as an ok ballad and gradually building up momentum towards an ELP mid-section. It's all a bit safe and nicely conforming to the rules laid out in the period but we had worse on this album.

The dramatic crescendo spanning minutes 6 to 8 saves the album for me. The album takes a good start and ends with an extended piece that most prog fans will enjoy a lot. I think I can settle for 3 stars for this one, finding myself in the small company that kind of prefers this one to the debut. When I was younger I had quite a hunger For technically competent song, So one day my mentor - A dude I lament for - Played me this after a bong. He wasn't quite sure what I would think And frankly neither was I ; After all, no guitar?

No, that won't do, I'd miss that electrical cry. But surely enough, without Holdsworth's muse, And Jobson no slouch at the helm This follow-up works, John Wetton berserk And Bozzio right in his realm. The title is heavy, layered by Eddie And Terry's aggressive on snare, John's in fine voice, his timing a marvel, The sound a touch pop if they dare.

Cesar is fine, if a bit plodding, 'Nothing to Lose' rather nice Though the specter of Asia foresees euthanasia And Prog's diminution enticed. Finally a classic, there is not much doubt ; A brilliant group effort of talent and stout. True prog album from super group of the late 70s, featuring Wetton always great on vocals and bass, Jobson on keyboards and electric violin, and Bozzio, accomplished drummer.

Bruford and Holdsworth were gone but it is great that the band continued relentlessly producing this excellent album. This is UK, one of the most revered acts of the Symphonic prog scene, presenting an album full of creativity and full blown prog classics.

Here are the tracks and all have highlights: The violin work on this album is astounding, listen to Caesar Palace Blues for a prime example. Jobson is one of the most dynamic violinists, hard to beat this effort. Danger Money is the title track with a slow paced off beat signature, it never hits the beat where it is meant to, and it sounds so majestic with those huge keyboard flourishes. The ambient atmosphere is strong, eventually releasing for Wetton's vocals; " miles from home, it was a hell of a lifestyle, I take the job again, danger money.

This takes a while to get going but has a wonderful keyboard solo and accomplished piano. The time sig is off kilter and competes with Wetton's great vocals. Nothing To Lose is a moderate rocking track with sustained synthesizer chords.

The harmonies remind me of The Sweet, but the time sig changes often enough to give it that unique UK flavour. Jobson shows real flair on this with upbeat organ sounds, and Wetton sings very well throughout. The violin solo is fabulous, almost like a lead guitar in places. A definitive highlight. Carrying No Cross ends it with some peculiar guitar playing and wailing singing. It builds to a rocking riff and pounding drums. The time sigs change suddenly without warning and return again to the main sig.

The keyboard solo is a furious triggerfingering style with elongated chords and the bass guitar keeps a sporadic rhythm. It ends the album on a high note, and unfortunately this was the last studio album for the band as they parted their separate ways. They left behind two scintillating studio releases that showed the rest how it is done. Genuine prog from virtuoso musicians who knew the genre.

Right from the start, there is a change in UK's sound. Rendezvous is another song that doesn't sound like it would fit with the Bruford Holsworth lineup. But this ballad in alternate time signatures may be one of the most beautiful ballads John Wetton has ever sung. Only Nothing To Lose disappoints. This song indicates the pop direction that Wetton would steer the band towards during their final tour, as documented on the "Night After Night" album.

Wetton would continue this downward trend with his later projects, most notably the underperforming Asia. To be fair, it's largely more of the same from the first album - the quiet parts continue to evoke the mysterious atmospheres of the quiet sections of the debut, the loud sections are similarly boisterous.

The title track is perhaps the most thunderously catchy song UK ever did, and the closing epic Carrying No Cross is pretty decent too. Musically the album traces the muscular template of "In the Dead of Night", the obvious high point of the previous album. But the new songs left generous space for instrumental exploration. And Jobson in particular rose to the challenge, stealing the spotlight with his trademark Perspex violin, in "The Only Thing She Needs" and the punchy "Caesar's Palace Blues", and showing all the brio of a less-classical Keith Emerson the sophomore UK album appeared only four months after ELP crashed onto "Love Beach", leaving a vacancy in the keyboard virtuoso pantheon.

But that misstep is quickly overshadowed by the mini-epic album closer "Carrying No Cross", a poor second-cousin of sorts to the celebrated King Crimson finale "Starless", with a similar structure of escalating tension and release over twelve invigorating minutes. Splitting up a band can sometimes benefit everyone involved. Bruford and Allan Holdsworth both moved on to impeccable Fusion careers, while the remaining UK players rediscovered the focus that had eluded them on the first LP.

It didn't last very long see the obligatory, by-the-numbers live album "Night After Night" , but even a brief flash-in-the-pan was better than the empty kettle of Wetton's next supergroup. The outset of the album was promising, with Jobson bringing a huge cathedral organ sound to the legato intro of the title track. It appeared possible he was leaving bubble gummy sounds behind.

Indeed, much of the A-side of the album included a high B3 content. But it wouldn't last. Eventually he would bring an overly effected electric piano sound to the table. Not the cool gain driven semi-distorted Rhodes sound of the early to mid 70's. It was the sound of thin ties and hair gel. The sound of the '80's. Being an early adopter isn't always a good thing. But the albums failings weren't all Jobson's fault.

This was an album that was thematically challenged, with songs like "Ceasers Palace Blues" and the hitman themed title track, that lyrically seemed obtuse and superficial compared to the likes of "Thirty Years" and "Mental Medication". Even the song highlight of the album, "Carrying no Cross" contained a passage toward the end, " Maybe so, but bad lyrics stick in your ear like the Ceti Eel Khan put in Chekov's ear.

Additionally, except for "Carrying no Cross", the album was rhythmically pretty boring. The worst offender was "Nothing to Lose". It served to even further the poppy texture of the album. When all is said and done, Danger Money is an album with one great song, 2 okay songs, 2 bad songs, and 1 hideous stinker. I honestly made a conscious decision to not listen to this album many years ago. But with the death of John Wetton I was revisiting all of the albums he performed on in my collection with a renewed focus.

Sadly, even had Wetton's parts been perfection, which they were not, this album was not enjoyable enough to warrant more than 2 stars. And the vast majority of that second star is due to "Carrying no Cross. The album was released in the following year of the release of their debut album. Following two lengthy American live tours, Wetton and Jobson decided to fire Holdsworth due to over musical differences. Bruford chose to depart as well. Bruford soon formed the jazz rock fusion group, Bruford, and invited Holdsworth to join him.

After the departure of Bruford and Holdsworth, the remaining band's members decided don't bring another guitarist for the group. Instead, they became a trio with the presence of the new drummer Terry Bozzio. Bozzio was another one time band's member of Frank Zappa. So, U. So, the line on the album is Eddie Jobson keyboards and electric violin , John Wetton lead vocals and bass guitar and Terry Bozzio drums and percussion.

All songs were written by Eddie Jobson and John Wetton. The first track is the title track "Danger Money". It's a song that begins with a very apocalyptic, massive and bombastic sound. Jobson's keyboards are the main musical instruments on this bombastic piece of music that construct the main body of the song.

This song shows tthat this new album from the band has more straightforward melodies, many instrumental passages and quirky structure changes. This is a great opener for the album with pure powerful progressive rock. The second track "Rendezvous ", points further more into a pop direction, resting gently on Jobson's acoustic sounding electric piano, playing in a jazzy musical vein during the instrumental section and competing against increasingly and beautiful musical cascades of the synthesizers.

This is a lovely and sweet song very well performed that reminds to my mind the good old days of King Crimson's ballads. It was released as a single to promote the album. Despite he is a great drummer he wasn't yet, in my humble opinion, in the Bruford's league. However, he was good enough to handle the chores. The song is also dominated by Jobson, and he is really a truly versatile and virtuoso musician.

The piano sounds simply great and the song culminates into a great violin solo with a great bass line and a dynamic drumming. The fourth track "Caesar's Palace Blues" is a song that opens with a Jobson's demoniac electric violin alternately sounding like a heavy metal guitarist. This is another strong rock song, this time dominated by a Jobson's violin work.

It's probably the jazziest song on the album with a Wetton's great vocal work too. It's also a great progressive track where, once more, Jobson shines. The fifth track "Nothing To Lose" was the track that I heard first on the radio. Retrieved 3 March Keyboard Magazine. Retrieved 28 July Library and Archives Canada. Retrieved 27 April Hung Medien. Chart History Billboard ". Retrieved 22 April Danger Money. Ultimate Collector's Edition. Authority control MusicBrainz release group. Categories : U.

Records albums. Hidden categories: All articles with dead YouTube links Articles with dead YouTube links from February Use dmy dates from April Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers Album chart usages for Canada Album chart usages for Netherlands Album chart usages for Billboard Articles with MusicBrainz release group identifiers.

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I am not exactly sure who sings the backing vocals with John, but surely were excellent in all tracks. This song reminds me a bit what Asia has made some years later just a little more sophisticated. Among the verses of the various sentences battery Terry show in shape.

Caesar's Palace Blues The 'second hand' begins with a title liar laughter because it is not a blues, but more an ass of battery, this introduction gives you hear some of guitar chords which I do not know who he played , and more legal violins are the music while the voice a little torn enter on the scene. The time for change could not be more broken. Certainly they did not want to make life easier for anybody who wanted to play the songs on the disc. Final all in 'code' and across the track with many of sensational violins Jobson.

Nothing To Lose I guess I was wrong! That comes out in the style of 'Asia' natural since Wetton was one of the founders of the group , certainly reminded me very much. Trebled the vocals are very nice. I love 'coral'. It has a nice chorus and a solo almost 'disk' which reminded me a sound and I can not remember exactly what.

And just to vary the line of low Wetton that part is wonderful. Nothing to lose, nothing to lose, nothing to lose Carrying On Cross That would be the epic song of the disc? I have the impression that, yes, and as it is epic all by parties, one by one these parties will become a changing and growing.

Starts shy, enigmatic, enter the voice and sings to the heart of people who go to the few among the melody in the ears and minds. When we started to settle in, everything is changing little by little so that no one is traumatized by a sudden change, everything is done to the few and easy, like a bird that constructs its house with branches of trees and the patience of the wise.

Behold, but now it's time for change and even then it is no natural way to realize that , some lights, Keith Emerson again, a melody and it looks amazing and we are only half battery masterful here. An exclusive party for the piano almost unbelievable change in a rough, the band back many broken and returns and look what we have in the world was no longer used.

Back to the topic and then the beginning, almost a circle vicious, the snake that swallows its own tail. The disc and also the band saw the light of day in a difficult season for the progressive, the end of the 70s.

Still the band is great and this disc is certainly well above average. The line up of UK that made their excellent self-titled debut album consisted of four people. Bruford was replaced with Terry Bozzio on drums but Holdsworth was not replaced, reducing the band to a trio. Bozzio's presence is a bit ironic considering the band's name since he is an American.

The loss of Allan Holdsworth on guitars made it necessary to fill the void with more keyboards and violin. The keyboards are very Keith Emerson-like on many parts. While this is quite different from the debut, it is still very much UK partly due to Wetton's very distinctive vocals and bass guitar play and Jobson's violin work.

These were some of the things that made UK special. Wetton once again wrote some great songs for Danger Money and there are hardly any weak moments. The album has only six tracks and all are very good. I would even say that Wetton's career was at its peak when he was in UK. This is even more true of Eddie Jobson.

Despite having played with many prominent Prog groups, Jobson's best work was right here with UK in my opinion. As I said, the two UK albums are quite dissimilar but both are excellent additions to your Prog collection. And since they are different from each other you need both of them! When one takes into account the abilities and experience of the personnel involved, one would expect the musicianship and composing skills to be top shelf and they are but, as in far too many cases in the prog genre, the lyrics are about as thought-provoking as a Hallmark birthday greeting card.

Personally I'd rather be perplexed by the abstract poetry of Jon Anderson or Pete Sinfield than to wallow through the kind of inane shmuck presented hereupon. I can accept that not everyone's a Gabriel or even a Townshend in this subjective area but when I feel patronized and taken for granted by simply reading over the words printed in the liner notes it seriously detracts from the experience.

I mean, come on youse guys, at least spring for a rhyming dictionary! A crab-infested, disgruntled Bay City Roller could've penned better. For heaven's sake, say something interesting! Thanks for letting me rant. I just had to get that off my chest. Off camera: "Oh, nothing sweet'ums, just talking to myself. The song features a smooth combination of conflicting time signatures that manages never to lose its rock momentum and that's due in no small part to the talent and acumen of Terry Bozzio on the skins.

Some drummers just have an uncanny knack of injecting their own individuality into their percussive attack and this lithe dude is one of the best. Jobson's keyboard work becomes a one-man-show when they reach the halfway mark and he makes an impression because of the fat, satisfying settings he utilizes and when Terry and John join in from time to time it only gets more intense. The tune ends with the band going out the same mystery door they came in.

Not bad. Not bad at all. Here Wetton's fine vocals and fluid bass lines lift the number up and over the banal words he has to sing. The tune's overall crisp ambience goes a long way in helping you to ignore that ugly indiscretion.

While they unwisely keep Terry down in the mix somewhat you can still tell that he's burning some holes in the studio's drum baffles. The kid is a well-oiled machine. The song's sleek midsection displays another furious prog ascension that eventually levels out into a dated New Wave rhythm that, alas, ultimately erodes the tune's integrity despite Eddie's commendable keyboard runs.

It's nothing to write your worried mother about but it is saved from the threshing room floor by Jobson's heroic and scintillating electric violin that makes this cut stand out from what has transpired so far. Bozzio also shines brightly as he lays down a powerful groove wide enough to drive a cement truck through with room left on each side. I'll mercifully spare you from the droll, narrow-minded lyrics about the ills of Las Wages. Use the lowest level of your imagination. The album's inevitable nadir comes in the form of "Nothing to Lose," a let's-write-a-hit-and-get-rich-on-royalties attempt that showcases a loping intro that morphs into a tepid rock beat and is a preview of the kind of prog-influenced commercialism that John would strive for with Asia.

The words are so stupid here they make what's come before seem like Dickens. The repeating refrain of the song's title is catchy, no doubt, but not in a good way. It's fodder for nightmares. Eddie's ethereal opening is quite effective, and then they evolve into a King Crimson-ish passage where Wetton's striking, lonely man vocal style elevates the mood to another level altogether.

The middle instrumental movement arrives from beyond the horizon like an approaching hurricane and Jobson's elaborate construction in which he successfully meshes Hammond organ with his strong synthesizers is astonishing. They climb to a malevolent, threatening plateau where Terry rumbles underneath the fray with a fevered passion. That forgettable phrase goes a long way in expressing my unimpression of the album's lyrics in general.

Note: Fans of that extraordinary group will like this album more than most, mainly because of Eddie Jobson. Had these fellows managed to stay together for more than a nanosecond they might have hired a lyricist and turned into something grand. But before you could say "music television" Terry had flown back to La-la land, married a singing Playboy bunny and formed the eye-popping flavor-of-the-month Missing Persons band; Wetton had started putting together yet another supergroup and the multi-gifted Jobson had hired on to play with Jethro Tull's world-touring ensemble.

So, buckaroos, it just goes to show that while these fantasy-fulfilling prog bacchanals seemed like sumptuously sinful adventures to indulge in they rarely resulted in anything lasting and, more often than not, left indelible stains in the shag carpet. Having said that, though, "Danger Money" isn't a wasted investment of your time or your finances.

There are some genuinely sublime musical moments to be enjoyed and you could do a lot worse when sampling music from this wild era. Danger Money is sure no easy money but this organ driven power prog works quite well. Jobson must have gotten himself a new pair of synths as they sound much less squeaky as on the previous album.

It's a great tune with an intriguing uncanny atmosphere. Rendezvous is a nice and uncomplicated tune finding Wetton in a romantic mood. It's good to hear he gave up on the jazzy vocals and other sorts of experiment that stretched his capabilities too much. AOR wins. Nothing To Lose is possibly worse, and a typical example of the bad and cheap pop that Asia would start assembling a few years later But then, Carrying The Cross ends the album in a respectable fashion.

It's no Starless but it's adequate proto-neo-prog if such a thing exists , starting as an ok ballad and gradually building up momentum towards an ELP mid-section. It's all a bit safe and nicely conforming to the rules laid out in the period but we had worse on this album. The dramatic crescendo spanning minutes 6 to 8 saves the album for me. The album takes a good start and ends with an extended piece that most prog fans will enjoy a lot.

I think I can settle for 3 stars for this one, finding myself in the small company that kind of prefers this one to the debut. When I was younger I had quite a hunger For technically competent song, So one day my mentor - A dude I lament for - Played me this after a bong. He wasn't quite sure what I would think And frankly neither was I ; After all, no guitar?

No, that won't do, I'd miss that electrical cry. But surely enough, without Holdsworth's muse, And Jobson no slouch at the helm This follow-up works, John Wetton berserk And Bozzio right in his realm. The title is heavy, layered by Eddie And Terry's aggressive on snare, John's in fine voice, his timing a marvel, The sound a touch pop if they dare. Cesar is fine, if a bit plodding, 'Nothing to Lose' rather nice Though the specter of Asia foresees euthanasia And Prog's diminution enticed.

Finally a classic, there is not much doubt ; A brilliant group effort of talent and stout. True prog album from super group of the late 70s, featuring Wetton always great on vocals and bass, Jobson on keyboards and electric violin, and Bozzio, accomplished drummer. Bruford and Holdsworth were gone but it is great that the band continued relentlessly producing this excellent album. This is UK, one of the most revered acts of the Symphonic prog scene, presenting an album full of creativity and full blown prog classics.

Here are the tracks and all have highlights: The violin work on this album is astounding, listen to Caesar Palace Blues for a prime example. Jobson is one of the most dynamic violinists, hard to beat this effort. Danger Money is the title track with a slow paced off beat signature, it never hits the beat where it is meant to, and it sounds so majestic with those huge keyboard flourishes.

The ambient atmosphere is strong, eventually releasing for Wetton's vocals; " miles from home, it was a hell of a lifestyle, I take the job again, danger money. This takes a while to get going but has a wonderful keyboard solo and accomplished piano. The time sig is off kilter and competes with Wetton's great vocals. Nothing To Lose is a moderate rocking track with sustained synthesizer chords. The harmonies remind me of The Sweet, but the time sig changes often enough to give it that unique UK flavour.

Jobson shows real flair on this with upbeat organ sounds, and Wetton sings very well throughout. The violin solo is fabulous, almost like a lead guitar in places. A definitive highlight. Carrying No Cross ends it with some peculiar guitar playing and wailing singing. It builds to a rocking riff and pounding drums. The time sigs change suddenly without warning and return again to the main sig.

The keyboard solo is a furious triggerfingering style with elongated chords and the bass guitar keeps a sporadic rhythm. It ends the album on a high note, and unfortunately this was the last studio album for the band as they parted their separate ways. They left behind two scintillating studio releases that showed the rest how it is done. Genuine prog from virtuoso musicians who knew the genre.

Right from the start, there is a change in UK's sound. Rendezvous is another song that doesn't sound like it would fit with the Bruford Holsworth lineup. But this ballad in alternate time signatures may be one of the most beautiful ballads John Wetton has ever sung. Only Nothing To Lose disappoints.

This song indicates the pop direction that Wetton would steer the band towards during their final tour, as documented on the "Night After Night" album. Wetton would continue this downward trend with his later projects, most notably the underperforming Asia. To be fair, it's largely more of the same from the first album - the quiet parts continue to evoke the mysterious atmospheres of the quiet sections of the debut, the loud sections are similarly boisterous.

The title track is perhaps the most thunderously catchy song UK ever did, and the closing epic Carrying No Cross is pretty decent too. Musically the album traces the muscular template of "In the Dead of Night", the obvious high point of the previous album. But the new songs left generous space for instrumental exploration. And Jobson in particular rose to the challenge, stealing the spotlight with his trademark Perspex violin, in "The Only Thing She Needs" and the punchy "Caesar's Palace Blues", and showing all the brio of a less-classical Keith Emerson the sophomore UK album appeared only four months after ELP crashed onto "Love Beach", leaving a vacancy in the keyboard virtuoso pantheon.

But that misstep is quickly overshadowed by the mini-epic album closer "Carrying No Cross", a poor second-cousin of sorts to the celebrated King Crimson finale "Starless", with a similar structure of escalating tension and release over twelve invigorating minutes. Splitting up a band can sometimes benefit everyone involved. Bruford and Allan Holdsworth both moved on to impeccable Fusion careers, while the remaining UK players rediscovered the focus that had eluded them on the first LP.

It didn't last very long see the obligatory, by-the-numbers live album "Night After Night" , but even a brief flash-in-the-pan was better than the empty kettle of Wetton's next supergroup. The outset of the album was promising, with Jobson bringing a huge cathedral organ sound to the legato intro of the title track.

It appeared possible he was leaving bubble gummy sounds behind. Indeed, much of the A-side of the album included a high B3 content. But it wouldn't last. Eventually he would bring an overly effected electric piano sound to the table. Not the cool gain driven semi-distorted Rhodes sound of the early to mid 70's. It was the sound of thin ties and hair gel.

The sound of the '80's. Being an early adopter isn't always a good thing. But the albums failings weren't all Jobson's fault. This was an album that was thematically challenged, with songs like "Ceasers Palace Blues" and the hitman themed title track, that lyrically seemed obtuse and superficial compared to the likes of "Thirty Years" and "Mental Medication".

Even the song highlight of the album, "Carrying no Cross" contained a passage toward the end, " Maybe so, but bad lyrics stick in your ear like the Ceti Eel Khan put in Chekov's ear. Additionally, except for "Carrying no Cross", the album was rhythmically pretty boring.

The worst offender was "Nothing to Lose". It served to even further the poppy texture of the album. When all is said and done, Danger Money is an album with one great song, 2 okay songs, 2 bad songs, and 1 hideous stinker. I honestly made a conscious decision to not listen to this album many years ago.

But with the death of John Wetton I was revisiting all of the albums he performed on in my collection with a renewed focus. Sadly, even had Wetton's parts been perfection, which they were not, this album was not enjoyable enough to warrant more than 2 stars. And the vast majority of that second star is due to "Carrying no Cross. The album was released in the following year of the release of their debut album. Following two lengthy American live tours, Wetton and Jobson decided to fire Holdsworth due to over musical differences.

Bruford chose to depart as well. Bruford soon formed the jazz rock fusion group, Bruford, and invited Holdsworth to join him. After the departure of Bruford and Holdsworth, the remaining band's members decided don't bring another guitarist for the group. Instead, they became a trio with the presence of the new drummer Terry Bozzio.

Bozzio was another one time band's member of Frank Zappa. So, U. So, the line on the album is Eddie Jobson keyboards and electric violin , John Wetton lead vocals and bass guitar and Terry Bozzio drums and percussion. All songs were written by Eddie Jobson and John Wetton.

The first track is the title track "Danger Money". It's a song that begins with a very apocalyptic, massive and bombastic sound. Jobson's keyboards are the main musical instruments on this bombastic piece of music that construct the main body of the song. This song shows tthat this new album from the band has more straightforward melodies, many instrumental passages and quirky structure changes.

This is a great opener for the album with pure powerful progressive rock. The second track "Rendezvous ", points further more into a pop direction, resting gently on Jobson's acoustic sounding electric piano, playing in a jazzy musical vein during the instrumental section and competing against increasingly and beautiful musical cascades of the synthesizers. This is a lovely and sweet song very well performed that reminds to my mind the good old days of King Crimson's ballads. It was released as a single to promote the album.

Despite he is a great drummer he wasn't yet, in my humble opinion, in the Bruford's league. However, he was good enough to handle the chores. The song is also dominated by Jobson, and he is really a truly versatile and virtuoso musician. The piano sounds simply great and the song culminates into a great violin solo with a great bass line and a dynamic drumming.

The fourth track "Caesar's Palace Blues" is a song that opens with a Jobson's demoniac electric violin alternately sounding like a heavy metal guitarist. This is another strong rock song, this time dominated by a Jobson's violin work. It's probably the jazziest song on the album with a Wetton's great vocal work too.

It's also a great progressive track where, once more, Jobson shines. The fifth track "Nothing To Lose" was the track that I heard first on the radio. This was also a track released as a single to promote the album. In retrospect, now we can say this song pointed the way to a more digestible form of progressive rock that Wetton preferred, and provided probably the formula for his next progressive band, Asia. This is without any doubt the weakest, and the only weak track on the album.

The sixth and last track "Carrying No Cross" is that obligatory epic track that you must find on any good progressive rock album. This is the kind of the tracks that a truly hard core progressive fan, prefers. With a temperament that flows meticulously like a truly symphonic piece of music, great vocals and frenzy of almost everything on Jobson's musical instruments.

It was clearly constructed as a stage crowd pleaser with over twelve minutes length. If you want to know why Eddie Jobson is considered a wizard keyboardist, this is the song you must hear. The guy is really an amazing keyboardist. Conclusion: "Danger Money" represents a landmark in the progressive rock music.

It marked definitely the end of the classic prog rock era. After that point, it seemed that the major participants in the decade of progressive rock golden era, or disbanded or moved on to a more commercial realms. Yes reformed with Trevor Rabin with simpler, shorter and radio friendly songs, Genesis continued their transformation to a pop rock band and Asia was formed with John Wetton and Yes' guitarist Steve Howe around the same time and with the same musical style.

So, "Danger Money" is a great album and became a very special album in the progressive rock music of the 70's. This is almost a perfect album where "Only Thing To Lose" disappoints, and is the only obstacle that prevents me from giving 5 stars to this album. Unfortunately, this was the last studio album from this great prog rock band.

But fortunately this virtuoso handful of musicians, left beyond two scintillating and genuine prog studio releases. It was a shame that U. Prog is my Ferrari. In "Danger Money", we see the band get nudged a bit toward that same accessible trap, but they only moved that direction very slightly.

They prepared a somewhat radio ready song called "Nothing to Lose", and hid it on the album amongst other, more complex, and non-radio-ready tracks. But, for the proggers and fans, that was okay because the other tracks packed a lot of the dazzling punch that the debut album had.

Bozzio, who was a fellow band member with Frank Zappa's group with Eddie Jobson, quickly proved his ability to meld with the complex compositions of the band. A compromise that stemmed from a disagreement between Jobson and Wetton about the length of the tracks was reached by having 3 tracks at 5 minutes or less and 3 tracks over 5 minutes.

After the release of this album, that compromise couldn't be found, so Jobson and Wetton would go their own ways, of course with Wetton later forming "Asia" and it's more radio friendly sound. However, for this album, there was still something to prove, and, even though the tracks are more melodic than they were in the debut album, there is still plenty of space for complexities in the instrumental sections.

The album starts off with a death-march kind of introduction that has a plethora of crazy synth riffs, somewhat similar to "Alaska" on the debut album. This sound bookends the track with the longer middle section being more upbeat, and even though it is a tricky rhythm and there are changing meters in the vocal sections, the structure of the lyrical piece of this track is a bit more catchy than before.

The track grabs your attention however as it works as a showcase for all three musicians. When it's finished, it comes across as a beautiful almost ballad-like track that still has a lot of substance. The ending of this track brings in Jobson's crazy electric violin playing that was also huge on the debut album and creates a jam that rings in your head long after the track ends.

More virtuoso violin playing happens in the shorter "Caeser's Palace Blues" that shows Jobson shredding the violin almost like a Steve Vai would on his guitar. This track still stands as one of the best progressive epics out there, and if you are looking for a track that gives you the same pleasure and amazment that you get when you hear King Crimson's "Starless", then this is the track. And the other plus, of course, is that John Wetton participates in both of these epic tracks.

After this 2nd amazing attempt from UK, the band disbanded with Wetton forming radio-friendly prog-pop band "Asia", Bozzio teaming with his wife Dale for the synth-pop band "Missing Persons" , and Jobson doing solo albums and playing as a temporary keyboardist for Jethro Tull. All tracks are written by Eddie Jobson and John Wetton. From Wikipedia, the free encyclopedia.

This article is about the album. For the additional payment made for working under hazardous conditions, see Hazard pay. Retrieved 27 November Archived from the original on 10 December All About Jazz. Archived from the original on 5 March Retrieved 4 March Retrieved 3 March Keyboard Magazine. Retrieved 28 July Library and Archives Canada. Retrieved 27 April Hung Medien.

Chart History Billboard ". Retrieved 22 April Danger Money. Ultimate Collector's Edition.