When music was music

What would happen if four of the world's most talented musical virtuosos came together, armed with the latest in musical technology? Surely you would find the 'music of the future'?

Such simple intention was embryonic of U.K. As hard as it is to believe today, thus was also, in 1977 as the men worked together in the studio, the primary marketing tool. Four alchemists at work in the lab, developing something never before experienced. Music fans were told simply that four pre-eminent players, namely Bill Bruford of Yes, King Crimson and latterly Genesis, Eddie Jobson of Roxy Music and Zappa, John Wetton of King Crimson and Uriah Heep, and Allan Holdsworth of just about every jazz-prog group that had ever existed had joined forces (no one cared about the record company jiggery-pokery involved) with this one single intention.

Not to have fun. Not to send out some political message. Not under the auspices of charitable fundraising. This was about creating music that would change perceptions of what was possible, about giving four of the finest 'popular' musicians who have ever lived the opportunity to flex those chop muscles. What an intention. What a desire. What a result. Punk killed prog? Don't you believe it.