U Totem (91), Strange Attractors (94)

U Totem is the combination of the 5UU's and the Motor Totemists Guild. They are very good. Their style reminds me of Messaien or Lutoslawski. The best description I can offer is they are what Henry Cow wanted to be. The levels of control in this band is astonishing. The compositions are chordally dense and can, at times, be as dark as Univers Zero! There are 5 people in U Totem. They play keyboards, percussion, flute, bassoon, bass, male and female vocals (the female singer is IMHO *better* than Annie Halsam from Renaissance - I compare them because they sound similar). I only have their self titled CD but there are several earlier things avaliable (from Wayside) from when they were 5UU/MTG. They are avant but not obnoxiously so, the music makes sense (to me). VERY PROG. To hear a band this adventurous producing work in the 90's is reassuring.

[See 5uu's | Motor Totemists Guild | Present]

U.K. (78), Danger Money (79), Night After Night (79)

A supergroup that is truly deserving of the title. Allan Holdsworth and Bill Bruford are their usual, more-than-competent selves, John Wetton's performance is thankfully much closer to his work with King Crimson than Uriah Heep. But it's Eddie Jobson, fresh from working with Roxy Music, who's the star of the show. On the fabulous first album, his electric violin playing and use of the polyphonic CS80 synthesizer steals the show. But not only is the playing good, the songs are well written, too. "Thirty Years" is an eye-popping exercise in dynamics, with a lovely intro with liquid synthesizers which leads into the heavy main section with power bass/guitar riffing an a hot violin solo. The 13-minute, three-part "In The Dead Of Night" is the kind of musical intricacy prog fans live for, especially the fast ending section. And "Nevermore" is a luscious jazzy piece with wondrous guitar interludes by Holdsworth. One of the best albums from the progressive dark ages. Danger Money features an altered lineup (Holdsworth and Bruford out, Terry Bozzio in), but no significant change in sound, save the lack of guitar. This album likewise has much to recommend it. Though the writing overall isn't quite as good, the playing is just as hot as ever. Best track: "Carrying No Cross," with some of Jobson's best keyboard work since Curved Air's "Metamorphosis." -- Mike Ohman

I have the self-titled UK album which features Bill Bruford on drums, John Wetton on bass and vocals, Allan Holdsworth on guitars and Eddie Jobson on keyboards and violin. Each of these guys are noted musicians, as you probably know. Despite the talent involved, the music is merely average (what is it about these supergroups, anyway?) and not very exciting. Bruford turns in his usual excellent performance and Holdsworth's solos are up to the standards set on his solo albums. Jobson and Wetton are also up to snuff performance-wise though Wetton's voice isn't as good as his singing on the King Crimson albums. There just doesn't seem to be much synergism among the players and that keeps the music from really gelling. Certainly, there are much worse albums out there and this album does have several delightful moments but it just seems this could be so much better. The eight songs range from three to eight minutes in length, averaging about five minutes. Overall, not bad and I'm sure many of you would go a bundle on this. I pull it out for a listen now and again but just can't help feeling it could have been so much better ...

Unlike most UK fans, I prefer their second release Danger Money to their first, self-titled album. The song "Carrying No Cross" is a favorite of mine. John Wetton (of King Crimson, Asia) on bass and vocals and Eddie Jobson on keys (and violin) were on both studio albums. Bill Bruford, Terry Bozzio, and Allan Holdsworth were also in this band.

Danger Money is much better than the first one. It will appeal to ELP fans with Jobson's incredible keyboards.

I didn't hear anything from their first album, with Allan Holdsworth and Bill Bruford, but Danger Money, with John Wetton, Eddie Jobson, and Terry Bozzio, is pretty good. A bit on the depressing side though, but not really in a beautiful way, like Marillion.

Bill Bruford, John Wetton, Alan Holdsworth, Eddie Jobson. How could it go wrong. The first album was great. After that Bruford and Holdsworth left, and they got Terry Bozzio of Zappa fame to sit in. I hear that this album was more commercial, but I've never heard it.

[See Bruford | Holdsworth, Allan | Jobson, Eddie | King Crimson | Wetton, John | Zappa, Frank]

Ultimate Spinach (68), Behold and See (68), Ultimate Spinach (69)

Late sixties flower-power hippie group from Boston, with a fairly non- commercial sound and some definite proto-progressive leanings (incorporating some classical, jazz and baroque elements, unusual instrumentation, long instrumentally oriented tracks in multiple parts). Mostly of historical interest, the lyrics, and some of the more mainstream tracks, tend to be very dated sounding.

Unisono (75)

Uni Sono is a moderately interesting jazz fusion release featuring Pekka Pohjola, with a keyboardist (Olli Ahvenlahti?), a drummer (Vesa Aaltonen, I think), a sax player and a guitarist. I'd rate it below The Group and Pohjola's earlier work (i.e., up to and including "The Mathemmatician's Air Display") in terms of musical interest. -- David Wayne

[See Group, The | Made in Sweden | Pohjola, Pekka | Wigwam]

The United States of America (68)

I believe this is Joe Byrd's first album. This album has the original version of "Garden of Earthly Delights" which Snakefinger covered on one of his solo albums. Tripped out stuff. Actually has the title cut for his second album on this one The American Metaphysical Circus.

Perhaps the most technically advanced recording of 1968. Led by electronic musician Joseph Byrd, the band uses synthesizers, electric violin, ring-modulation, electric harpsichords fuzz-bass and electric drums in a way never attempted before. Very arty and influential, and of historic interest to prog-heads. There's also some pretty damn good music here! Not as dated-sounding as one might think. -- Mike Ohman

[See Byrd, Joe and the Field Hippies]

1313 (78, aka Univers Zero), Heresie (79), Ceux De Dehors (81), UZED (84), Heatwave (86)

Univers Zero stands unique among bands. From Belgium, Their sound combines elements of progressive rock along the lines of Magma/King Crimson with a dark and gothic chamber music style, plus some evident Bartok influences. In recent years, Cuneiform reissued all of their five regular LPs originally released between 1978 and 1986, leaving only the 1983 EP Crawling Wind yet unspoken for. Their first album 1313 is the most acoustic and obviously chamber influenced of all, using violin, viola, cello, bassoon, harmonium, spinet, bass, guitar, and percussion. Their second album Heresie uses pretty much the same instrumentation, but is infinitely darker - Wayside's '87 catalog said it best: "This may be the most sinister rock LP ever recorded." I couldn't agree more. On their third outing Ceux Du Dehors ("Those of the outside") they turned up the electricity a bit more and in general it could be said that this was the turn of a new page for the band, with greater use of dynamic intensity and more prominent role for guitar and drums. UZED continues onward in the same direction, this time using saxes and some synthesizers to further develop their unique vision. The final album Heatwave features an extra keyboardist, and hence a very prominent role for synthesizers, although the general mood of the music remains essentially unchanged. For those not yet tuned into them, I'd recommend getting started with UZED or Ceux Du Dehors. The percussionist and bandleader Daniel Denis has since released two solo albums, and original guitarist Roger Trigaux formed the band Present, all of which are available on Cuneiform as well. Other UZ band members have appeared on some of these albums.

Ceux Du Dehors is a mix of dark chamber music and Magma-esque rock. Mellotrons, Hammond organ, bass, drums and guitar play alongside viola, harmonium and woodwinds. Complex and symphonic, yet with a chilling nightmare atmosphere permeating every minute, quite outstanding. UZED adds synthesizers and cello to the mix and is more "modern" sounding. Full of changes, unpredictable twists and turns that make for very exciting listening. This may be their best. Heatwave delves ever deeper into the gothic horror atmosphere, thanks to an even stronger use of creepy synthesizer sounds. The sidelong "Funeral Plain" is a high point. -- Mike Ohman

One of the very most innovative Belgians around, this band defined Bartokian and moody chamber rock, and Heresie may be one of the most DOOMIEST SINISTER albums ever. Love 'em to death!

Post minimalist dark chamber ensemble featuring Daniel Denis. A good choice for those interested in exploring more complex music. Intense and scary music -- recommended!.

UZED is one of my favorite albums of all time. They play mostly classical instruments. UZED is very rythmically interesting. I have Heresie also, and it's pretty dark. 1313 has a pretty strong Stravinsky feel to it. I can't reccomend this band enough. If you like contemporary classical, you must buy at least one of their albums.

[See Art Zoyd | Denis, Daniel | Julverne | Present]

Universe (??)

British prog, only issued in Norway

Universe (77)

Uno (74)

Osanna offshoot. Solid hard prog like Osanna.

[See Osanna]

L'Uovo Di Colombo (73)

Better than Alluminogeni, are the band L'Uovo Di Colombo who's similarities are evident, but the music in this case is much more original and their creativity definitely stands out. Easily one of the best in the classical rock genre, L'Uovo Di Colombo's self-titled release was released limited edition in Japan so is rather rare on CD, although not as rare as the original LP.

The album has a ELP sound with a good singer and a good drummer. When the band was dissolved Ruggero Stefani went to play in Samadhi and Elio Volpini with Etna and then Flea.

[See Etna | Flea | Reale Accademia Di Musica | Samadhi]

Ur Kaos (87)

Urban Sax 1 (77), Urban Sax 2 (78), Paradise Lost (82, with Pierre Henry), Fraction Sur Le Temps (86), Spiral (90)

16-50 member sax orchestra, with up to 27 saxophone players, large choir, five percussionists, four guitarists and two keyboardists. One of the percussionists was Mirielle Bauer, previously with Gong.

[See Delired Cameleon Family | Gong | Lard Free]

Michal Urbaniak's Fusion (74), Atma (74), Fusion III (75), Inactin' (75), Paratyphus B (75), Body English (76), Ecstasy (78), Serenade for the City (80)

Urbaniak is a jazz violinist, his three "fusion" albums are excellent examples of mid-70's fusion that sounds as fresh today as it did when it was new. most feature the amazing Urszula Dudziak on vocals on some tracks, who's voice has such a range it sounds like a moog synthesizer at times. Also features Larry Coryell and others. Great stuff, full of fire and intensity.

Urbaniank now lives in the USA but is apparently the musical pride of Poland. The correct spelling of his name is with L/, an L with a slash going right through it.

Utopia (72)

Primarily a Lothar Meid solo album, this does sound very close to the kind of things he was doing with Amon Düül II. Recorded with members of Amon Düül II as well as Embryo, Cherubin, the Ralf Nowy Group and Popol Vuh. This album features an alternate take of "Deutsch Nepal" from Wolf City with vocals again by weirdo Rolf Zacher. The song "Alice" sounds surprisingly like Kevin Ayers.

Although Utopia may have been Lothar Meid's idea, in conjunction with Olaf Kubler (ex-Passport saxophonist and Amon Düül II's producer) and Jimmy Jackson (Embryo's keyboardist), the album features all the members of Amon Düül II that recorded Wolf City. Much of the music is quite different from Wolf City, too. "Alice" and "Las Vegas," for example, are light and jazzy. "What You Gonna Do" sounds partly like these songs and also partly like something from Carnival in Babylon. "Jazz Kiste" shows the Passport influence. But then, Utopia also features a different mix of "Deutsch Nepal" from Wolf City, plus "The Wolfman Jack Show," "Utopia No. 1" and "Nasi Goreng" which are much more typical of Amon Düül II. Although jazzier, Utopia is, in most respects, an Amon Düül II album. The Spalax label CD reissue even the band Amon Düül II and the title Utopia. Technically incorrect but, for half the album, accurate. -- Mike Taylor

[See Amon Düül II | Embryo | Passport]

Todd Rundgren's Utopia (74), Another Live (76), Ra (77), Oops Wrong Planet (77), Adventures In Utopia (80), Deface The Music (81), Utopia (82), Swing To The Right (82), Oblivion (84), POV (85), Trivia (86), Live In Japan '92 , + Compilations/Anthologies

Formed by Todd Rundgren, the original lineup of Utopia sported no fewer than three keyboardists. The first album was a classic of Stateside prog, with intense, unrelenting musical interplay best displayed on the 30-minute track "The Ikon." An absolutely essential album. Another Live was recorded with a slightly altered version of this six-piece lineup (different drummer and synthesist), and is a somewhat uneven single live LP. The first half is made up of three excellent new songs, including the acoustic "The Wheel." The B-side is more scattershot: starting off with "Mr. Triscuits," a great jam. Then follows a few weird cover songs: "Something's Coming" from West Side Story, and the old Move song "Do Ya". The album is rounded off by a couple of Todd solo songs: "Heavy Metal Kids" and a surprisingly weak rendering of the classic "Just One Victory". By the time RA came out, the group was reduced to a four-piece. Since Rundgren intended the band as a musical collective, we get a chance to see each member's personality. Rundgren tackles the heaviest and most political stuff ("Hiroshima"), keyboardist Roger Powell flirts with metaphysics ("Sunburst Finish"), bass player Kasim Sulton is the sensitive one specializing in balladry ("Eternal Love." while drummer John Wilcox is the maniac specializing in weirdness ("Jealousy"). This album has much to recommend for the prog-head, "Communion With The Sun" especially, but also "Hiroshima" and "Sunburst Finish." The 18-minute "Singring And The Glass Guitar" is a very entertaining "electrified fairytale" that apparently became quite a spectacle when performed on stage. Oops! Wrong Planet was indeed a mistake considering what came before it, full of preachy political songs and bland pop. There still are some good songs here: "The Marriage Of Heaven and Hell," "Love In Action." Adventures In Utopia is much better, though only two tracks are explicitly progressive: "Caravan" and "The Road To Utopia," the latter being a dead ringer for Yes. The other albums are more pop and techno-rock than prog. Deface The Music is a dead-on Beatles parody--novel but not essential. Swing To The Right is more soapbox preaching a la Oops!. The song "One World" is actually good live, but you'd never guess it from the grating version here. Utopia is a full-length LP augmented by an EP, almost all pure pop-rock, but one of the best albums since Adventures. Oblivion and POV are mixed bags of technoid rock and pop. Trivia anthologizes these last three albums, adding a brace of new songs. -- Mike Ohman

Todd Rundgren's Utopia released a long string of albums, beginning with a very progressive sound with no less than three keyboardists, but later streamlining down to a 4 piece and moving into a more mainstream pop/rock direction. Best (most progressive) albums are: Todd Rundgren's Utopia, Another Live, and Ra. Little of interest beyond these first three.

If you're hooked after listening to the above recomendations, try Oops, Wrong Planet, Initiation, or Adventures In Utopia. Lots of straightforward pop to wade through, but some decent prog tunes can be found. And since Rundgren's pop is often as good as it gets, these aren't that bad an experience, anyway.

[See Rundgren, Todd]

Utopian Fields (89), White Pigeon, You Clean (90)

Norwegian progressive band that are quite vocal, and remind me a bit of the German band Anabis with the obvious influences of Pink Floyd and Wishbone Ash. Maybe not truly progressive but I quite liked their self titled debut which came with a poster.

Norwegian band that delivers 70's flavored progressive rock with a wider than usual array of influences, with a 90's style production. Difficult to draw comparisons with anything in particular, but the overall sound is very accessible, but not neo-proggy. Very philosophical-quasi religious lyrics, an excellent vocalist, and strong playing by all. Both highly recommended.