The history is immense, with this bassist/vocalist of a rock titan, the Jack Bruce of prog, as it were. URIAH HEEP, ROXY MUSIC, KING CRIMSON, UK, ASIA and yet the solo records have been few and far between.
Raised In Captivity is the latest and by many accounts, the definitive work, underscored and emphasized perhaps by the presence of so many guest stars from Wetton’s illustrious past.“Well, it’s been a while since the last one,” begins Wetton, always the gent with smart and honest things to say. “And it’s something I had planned to do, but Asia’s touring schedule didn’t really allow it until now. And even then, it was very, very tight, because I had taken on a commitment to do some shows with UK as well, and so that expanded my road work for this year. But the month of January was completely open, and my manager said, ‘Come on, it’s now or never.’ Now, I had been working with BILLY SHERWOOD on and off over the last five years, and he sent me over some tribute tracks and I’d send him back, and they’re good fun. They’re really good fun to do.
Billy makes lots of records for Cleopatra, so the main client is Cleopatra Records, who actually have WILLIAM SHATNER’s new album, which I’m on, which will be released sometime this year. Which I think is great. I got an e-mail from William Shatner, Captain Kirk, saying, ‘Thank you for your contribution. Absolutely wonderful.’ And that for me is marvelous. Even better for my son, because he’s 13, and thinks it’s so cool (laughs).” Billy Sherwood is in fact a big part of Raised In Captivity, and it’s no surprise, given the great things he did for YES’ Open Your Eyes, not to mention holding together THE TUBES on their last tour, given the serious illness of that band’s regular keyboardist.
“Yes, working with Billy, I got to know roughly what he does, which is that he’s an extremely good engineer, he’s a nice guy, and I kind of knew that we could get the project done.” But the impassioned metaphysics of the album, that’s all Wetton. “What was I trying to do?” queries John, asked after the mission of the thing. “Actually getting all the stuff out that I can’t get out with Asia. The whole ethos of the album is in the title, Raised In Captivity. It’s the product of me being born in the English Midlands, just after the Second World War, when rationing was in place. It was fairly austere, growing up; we still had a huge Victorian value hangover in the home and in the school, and suddenly, after all this kind of draconian thing, my schooling draconian the only way to describe it, really.
You could be physically beaten for having your hair one millimeter over your collar and things like that. Suddenly, I’m thrown out into the ‘60s (laughs) and anything goes. And it’s swinging London, free love; you know, it’s the whole nine yards. And it’s kind of a confusing way to grow up.
So I was suddenly catapulted into London, age 19, very confused, really. I knew what I wanted to do, which was to play music. My brother was a church organist, so I’d grown up with music in the house. It was a different kind of music.
So my groundings were very much in English church music, but there were certain things that I took from that, which I still use today, which is parallel harmonies, and choruses like that. If you take the chorus of, say ‘Heat Of The Moment’, it’s kind of like a country chorus, but the three-part harmony – it’s the direct result of being schooled in church music.” ‘But anyway, back to the story, I was presented with the opportunity to get this stuff out, and I had originally titled Battle Lines, which is from 20 years ago, that was originally called Raised In Captivity, and it got changed, because somebody blew the whistle on it.
They found out what the title was going to be, and they used it for a magazine article, and kind of took the wind out of my sails. Actually, in hindsight, I probably should’ve just gone ahead with it, but I didn’t. So I kept the title and I had the material there for the songs, and now it’s 20 years later, until I recorded it. And a lot of music on the album, this album, the lyrics are about freedom, they are about grasping what do I have now? Not what did I have yesterday, and what am I going to have tomorrow, but what I’ve got this very moment.
There are titles like ‘The Last Night Of My Life’, while ‘Steffi’s Ring’ specifically contains references to, live every day like it’s the last one of your life. For me, the whole album is about making the most of what I’ve got now, not really wallowing in the past, but living for now, today.” So is Raised In Captivity the definitive JOHN WETTON album, the summary, the life’s work?“Yes, quite probably. It’s the first one that I’ve made truly sober. And so I’m able to look at life with a little bit of reality, something that has evaded me for quite a long time.
There is stiff competition there from Battle Lines, which was early ‘90s, again recorded in California, same place, same venue, but a different time in my life. Not that I was drinking when I was doing Battle Lines – I wasn’t – but I wasn’t in that clear frame of mind that I am now.
And yeah, yeah, I think I’m more able to assess my life now than I was 20 years ago. Although I think Battle Lines is a great album. It’s a really good album. It still sounds up-to-date, it’s very clean, kind of Hollywood production.
Ron Nevison did a spectacular job on it. But this is a lot more rough and raw, and that’s pretty much what I’m like. It’s more descriptive of my personality, this new album, because I’ve noticed that if I try and be too clean and too sophisticated, it doesn’t suit me. I’m better when I’m a little bit rough around the edges, which is not difficult for me.” As alluded to, another reason Raised In captivity feels like a family reunion, even, God forbid, a send-off, is the presence of players that comprise well, it’s like John’s life is flashing before his eyes. “TONY KAYE came, and STEVE MORSE came, because of Billy Sherwood,” explains Wetton.
“The other ones are very much of my past. I keep thinking that every record that I make is going to be the last one.
You know, certainly in terms of it being a physical CD. When I stop making physical CDs, that will be the end of recording as I know it, if you know what I mean. So having that product in my hand, and the sleeve and the information, all that stuff, when I don’t make another album that has all that stuff with it, then I’ll consider I’ve moved into a different phase, maybe kind of retirement mode. But every record I make these days, certainly in the last five years, I keep thinking will be the last one, maybe. So this time I wanted to have a few people on it that were associated with my career, quite closely. Certainly people who have been landmarks. ROBERT FRIPP being one, Mick Box, STEVE HACKETT, EDDIE JOBSON, Geoff Downes, these people have been fairly crucial in my career.” Wetton is not averse to tour dates for the album, starting in his career stronghold in Japan, very likely in January.
However, more talk of retirement, notably at length, the idea that BILL BRUFORD (not to mention Lee Kerslake, also a Wetton cohort) is one of the few guys to come forward and pronounce, “I’m done!” leads to revelations about John’s own compromised physical abilities“I know that PHIL COLLINS has had physical problems with his back,” sighs Wetton, “and the last I heard, he’s not going to play any more live shows which I think is a tragedy, because personally, when people ask me who’s the best drummer you ever played with, I tell them Phil Collins. Because he’s an incredibly musical drummer. He’s got all the power of a rock drummer, but he thinks in musical terms. Bill Bruford is a lot like that, but Phil Collins, I think has more rock to him. But anyway, so we’re all getting to that kind of stage of the game now, where physically it’s a lot more difficult to do what we’ve been taking for granted for the last 40 years.
I have carpal time in my right hand, which, I had an operation and it made no difference at all. That was four years ago, and I can’t even do a button up with my right hand. So I have to have a plectum strapped to my thumb, when I play. You know not supposed to do this for this long (laughs) – it’s as simple as that. I’m still able to figure out stuff on a guitar, and there’s never been a better time actually, with the decline in record sales; with the increase in the popularity of live shows, there’s never been a better time to go out and play.” Does that mean you’ve stopped playing keyboards?“I find it very difficult. Very difficult. And keyboards is my main writing instrument.
In fact, I just had my piano restored. To an absolutely wonderful, wonderful standard. And just starting to get back into it again. But problems are eventually overcome, aren’t they? But it doesn’t make my life any easier. The carpal tunnel thing is absolutely crippling.
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Very, very painful, but I don’t want to go into that too much. No one is going to suffer that, unless they play an instrument like a bass or a cello, or guitar, I suppose.
But it’s very painful, and I can’t even feel three of my fingers. I have no idea whether I’m touching anything solid or hot or cold or whatever. Thank God it’s not my left hand, because the left hand would be even worse.” Thank the prog rock wizards however, that John’s voice is still strong, yet only weirdly strong in the manner it’s always been, like a ROGER DALTREY or GRAHAM BONNET, this type of voice that always seems to be working too hard, beyond capacity, strained to get where it is, but loaded with dimension when it gets there.“Yes, the voice, if that ever went, I would say, well look, God is telling me to pack it all in,” laughs Wetton. “But up until now, my voice has got stronger, in a sense, mainly because I take care of myself these days, and partly because, you know, it gets better with practice. But vocally I am, at the moment, OK. A lot of people don’t even notice that my bass playing is very, very workmanlike, functional. But it’s nothing compared to what it was.
If people come along and think they’re going to see JACO PASTORIUS, they’re going to be sorely disappointed. It was better days for me when I was 23 and playing in King Crimson.
But, yes, the voice is the main instrument now.”.
John Wetton performs with Asia in honor of the release of the band's 2008 'Phoenix' album, its first studio album in 25 years. AP Photo/Jason DeCrow. “Raised In Captivity” is Wetton’s latest solo effort, and, by many accounts, the definitive work, underscored and emphasized perhaps by the presence of so many guest stars from Wetton’s illustrious past. “Well, it’s been a while since the last one,” begins Wetton. “And it’s something I had planned to do, but Asia’s touring schedule didn’t really allow it until now.
And even then, it was very, very tight, because I had taken on a commitment to do some shows with UK, as well, and so that expanded my road work for this year. But the month of January (2011) was completely open, and my manager said, ‘Come on, it’s now or never.’ Now, I had been working with Billy Sherwood on and off over the last five years, and he sent me over some tribute tracks, and I’d send him back, and they’re good fun. They’re really good fun to do. Billy makes lots of records for Cleopatra, so the main client is Cleopatra Records, who actually have William Shatner’s new album, which I’m on which I think is great. I got an e-mail from William Shatner, Captain Kirk, saying, ‘Thank you for your contribution. Absolutely wonderful.’ And that for me is marvelous. Even better for my son, because he’s 13 and thinks it’s so cool (laughs).” Billy Sherwood is in fact a big part of “Raised In Captivity,” and it’s no surprise, given the great things he did for Yes’ “Open Your Eyes,” not to mention holding together The Tubes on that band’s last tour, given the serious illness of that band’s regular keyboardist.
“Yes, working with Billy, I got to know roughly what he does, which is that he’s an extremely good engineer, he’s a nice guy, and I kind of knew that we could get the project done,” he said. But the impassioned metaphysics of the album, that’s all Wetton. John Wetton has shared a track-by-track breakdown of the songs on his solo effort “Raised in Captivity” at his website (www.johnwetton.com).
The tracks (and guest artists) are: 1. Lost for Words (Steve Morse) 2. Raised in Captivity (Robert Fripp) 3. Goodbye Elsinore (Steve Hackett) 4. The Last Night of My Life (Alex Machacek) 5.
We Stay Together 6. The Human Condition (Tony Kaye) 7. Steffi’s Ring (Geoff Downes) 8. The Devil and the Opera House (Eddie Jobson) 9.
New Star Rising (Mick Box) 10. Don’t Misunderstand Me (Tony Kaye) 11. Mighty Rivers (Anneke Van Giersbergen) “‘What was I trying to do?’” queries Wetton, asked after the mission of the album. “Actually getting all the stuff out that I can’t get out with Asia. The whole ethos of the album is in the title, “Raised In Captivity.” It’s the product of me being born in the English Midlands, just after the second World War, when rationing was in place. It was fairly austere, growing up; we still had a huge Victorian value hangover in the home and in the school, and suddenly, after all this kind of Draconian thing, my schooling Draconian the only way to describe it, really. You could be physically beaten for having your hair one millimeter over your collar and things like that.
Suddenly, I’m thrown out into the ’60s (laughs) and anything goes. And it’s swinging London — free love, you know, it’s the whole nine yards. And it’s kind of a confusing way to grow up. So I was suddenly catapulted into London, age 19, very confused, really. “I knew what I wanted to do, which was to play music. My brother was a church organist, so I’d grown up with music in the house. It was a different kind of music.
So my groundings were very much in English church music, but there were certain things that I took from that, which I still use today, which is parallel harmonies, and choruses like that. If you take the chorus of, say ‘Heat Of The Moment’, it’s kind of like a country chorus, but the three-part harmony – it’s the direct result of being schooled in church music.” “But anyway, back to the story, I was presented with the opportunity to get this stuff out, and I had originally titled ‘Battle Lines,’ which is from 20 years ago. That was originally called ‘Raised In Captivity,’ and it got changed, because somebody blew the whistle on it. They found out what the title was going to be, and they used it for a magazine article and kind of took the wind out of my sails. Actually, in hindsight, I probably should’ve just gone ahead with it, but I didn’t. So I kept the title, and I had the material there for the songs, and now it’s 20 years later until I recorded it. And a lot of music on the album, this album, the lyrics are about freedom, they are about grasping what do I have now?
Not what did I have yesterday, and what am I going to have tomorrow, but what I’ve got this very moment. There are titles like ‘The Last Night Of My Life’, while ‘Steffi’s Ring’ specifically contains references to, live every day like it’s the last one of your life. For me, the whole album is about making the most of what I’ve got now, not really wallowing in the past, but living for now, today.” So is “Raised In Captivity” the definitive John Wetton album, the summary, the life’s work? “Yes, quite probably.
It’s the first one that I’ve made truly sober. And so I’m able to look at life with a little bit of reality, something that has evaded me for quite a long time. There is stiff competition there from Battle Lines, which was early ’90s, again recorded in California, same place, same venue, but a different time in my life. Not that I was drinking when I was doing Battle Lines – I wasn’t – but I wasn’t in that clear frame of mind that I am now. And yeah, yeah, I think I’m more able to assess my life now than I was 20 years ago, although I think ‘Battle Lines’ is a great album.
It’s a really good album. It still sounds up to date; it’s very clean, kind of Hollywood production. Ron Nevison did a spectacular job on it. But this is a lot more rough and raw, and that’s pretty much what I’m like. It’s more descriptive of my personality, this new album, because I’ve noticed that if I try and be too clean and too sophisticated, it doesn’t suit me. I’m better when I’m a little bit rough around the edges, which is not difficult for me.”. John Wetton's decades of instrumental wizardry have left behind a painful souvenir: carpal tunnel syndrome.
That hasn't stopped Wetton from going on tour and hittin gthe studio. But if his voice goes, Wetton says he's taking that as a sign from God to pack it in. Photo courtesy Geffen Records. “I find it very difficult. Very difficult. And keyboards is my main writing instrument.
In fact, I just had my piano restored to an absolutely wonderful, wonderful standard, and just starting to get back into it again. But problems are eventually overcome, aren’t they? But it doesn’t make my life any easier. The carpal tunnel thing is absolutely crippling. Very, very painful, but I don’t want to go into that too much. No one is going to suffer that, unless they play an instrument like a bass or a cello, or guitar, I suppose. But it’s very painful, and I can’t even feel three of my fingers.
I have no idea whether I’m touching anything solid or hot or cold or whatever. Thank God it’s not my left hand, because the left hand would be even worse.” Thank the prog-rock wizards, however, that John’s voice is still strong, yet only weirdly strong in the manner it’s always been, like a Roger Daltrey or Graham Bonnet — the type of voice that always seems to be working too hard, beyond capacity, strained to get where it is, but loaded with dimension when it gets there. “Yes, the voice, if that ever went, I would say, ‘Well, look, God is telling me to pack it all in,” laughs Wetton. “But up until now, my voice has got stronger, in a sense, mainly because I take care of myself these days, and partly because, you know, it gets better with practice. But vocally, I am, at the moment, OK.
A lot of people don’t even notice that my bass playing is very, very workmanlike, functional. It’s nothing compared to what it was. If people come along and think they’re going to see Jaco Pastorius, they’re going to be sorely disappointed. It was better days for me when I was 23 and playing in King Crimson. But, yes, the voice is the main instrument now.”.
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(January 2017) John Wetton Born John Kenneth Wetton ( 1949-06-12)12 June 1949, England Died 31 January 2017 ( 2017-01-31) (aged 67), England Cause of death Occupation Singer-songwriter, musician, producer Years active 1965–2017 Musical career Genres, Instruments Vocals, bass guitar, guitar, keyboards Labels, Atlantic Records, Geffen, Universal Records, Avalon, EMI, King Records, Associated acts, Jack-Knife, Website John Kenneth Wetton (12 June 1949 – 31 January 2017) was an English singer, bassist, and songwriter. He was born in, Derbyshire, and grew up in, Dorset. He rose to fame with bands, /, and. After his period with King Crimson, Wetton formed, and later he was the frontman and co-principal songwriter of the supergroup, which proved to be his biggest commercial success. Their sold eight million copies worldwide and was 's No. 1 album of 1982.
He later formed the duo Icon with (also from Asia, ex-Yes, ex-), and from the 1990s had a successful solo career, releasing several studio and live albums. Wetton had a long career as an in-demand session bass player, collaborating with many members of bands such as (including, and ), and '. Contents.
Career Wetton grew up in and was in a number of early bands with, on bass and vocals, including The Corvettes, The Palmer-James Group (formed with Alec James), Tetrad, and Ginger Man. A key early band was; after live work with, he joined and also did various sessions. Wetton's first big break came when he joined Wimborne, Dorset musician in his new line-up of in 1972, allowing Wetton to come to the fore as a lead singer and composer. Palmer-James also worked with the band as a lyricist.
Wetton remained with the band until Fripp unexpectedly disbanded it in 1974. Wetton continued to work on various projects, including a tour with and two albums with. In 1977, after failed attempts to reunite King Crimson and create a new band with, Wetton formed with, who had also been in King Crimson with him. Wetton brought into U.K. Keyboard/violin wizard, while Bruford brought in guitarist.
Upon Bruford and Holdsworth's departure, American percussionist joined, making U.K. A threesome a la. This version of U.K. Released the studio album (1979) and toured in support of. Wetton released his first solo album, in 1980 after the break-up of U.K. Later that same year, he had a brief stint in, contributing bass and vocals to their album (1981).
In 1981, at the urging of ', Wetton started working and writing with, who had most recently been in. They went on to form with whom Wetton worked until 1983.
In that year, Wetton was fired from Asia at the insistence of Geffen Records, ostensibly because of less-than-expected sales of the (1983) album. Wetton was brought back to Asia in 1985, with replacing Steve Howe, to complete (1985). In the late 1980s, Wetton's collaboration with former Roxy Music guitarist was released as Wetton/Manzanera (1986), with drums provided by Yes's. Also around this time, Wetton began working again with and in an attempt to restart Asia without Steve Howe.
Some of the material by this incarnation of Asia made its way onto 1990's CD. The 1990s saw Wetton mostly out of Asia and focusing on a solo career.
In 1999, another attempt to reform Asia resulted in Wetton participating in the short-lived progressive rock group with Carl Palmer, and. The group performed several shows in the U.K. And recorded one live album, Live in the Hood, before disbanding when Wetton and Palmer returned to their solo projects. In the early 2000s, he reunited with Asia keyboardist for iCon. In 2006, an official reunion of the original Asia line-up (Wetton, Downes, Howe, and Palmer) finally occurred.
The studio album titled (2008), the original band's first since 1983's, was released in April 2008 and peaked at No. 73 on the North American Top 200 albums charts. The original line-up released two more studio albums, (2010) and before Howe departed in January 2013.
With new guitarist, Asia released in March 2014. In 2013 he guested on the album with, with whom he had played live 42 years before. That same year, he toured with Chicago-based band to commemorate the 40th anniversary of the album. Wetton also worked extensively as a with such musicians as, and. Death Wetton died in his sleep at a hospice in, on 31 January 2017, from. He was survived by his wife Lisa, son Dylan, brother Robert and mother Margaret (Peggy). Stated 'It is with great sadness and a heavy heart, that I have to report we have lost my dearest friend, brother, bandmate and long term musical collaborator.
He will be remembered as one of the world’s finest musical talents, and I for one of many was wholly blessed by his influence. Life will not be the same without him. And words are not really enough to describe the loss I feel right now'., who was Wetton's producer, co-songwriter and co-performer on his solo album, replaced him in Asia. On June 17, 2017, Asia performed a special concert in Wetton's memory, titled An Extraordinary Life (full title: An Extraordinary Life - An Interactive Celebration of the Life & Music of John Wetton), in reference to the eponymous song from the Asia album; Some King Crimson songs were also performed at the event. Influence Some artists have cited Wetton as an influence or have expressed their admiration for him, including, of and, of, and Joseph D. Band timeline.
(1971). (1972).
(1971–1972). (1972).
(1972–1974). (1974–1975). (1975–1976). (1977–1980, 2011–2015). (1979). (1980). John Wetton (1980–2017).
(1981–1983, 1984–1986, 1989–1991, 2006–2017). (1999–2000). Icon (Wetton/Downes) (2002, 2005–2009) Discography.
^ 'My Own Time: The Authorized Biography of John Wetton', by Kim Dancha, 1997. Retrieved 2014-06-05. Eder, Bruce. Retrieved 19 August 2007.
Stump, Paul – Unknown Pleasures: A Cultural biography of Roxy Music, Thunder's Mouth Press, New York, 1998, pps. 72, 154.
![Raritan Raritan](/uploads/1/2/3/8/123803389/803823154.jpg)
Kirk Blows. Retrieved 2011-03-15. Humbled in the U.S.A.' , Rolling Stone, Sept. 21, 1978.
'Asia: Continental Drift?' , CREEM Magazine, April 1986. Billboard magazine, April 2008. Retrieved 2017-01-31.
John Wetton Raised In Captivity
![Wetton Wetton](/uploads/1/2/3/8/123803389/547509970.jpg)
Retrieved 2017-01-31. Robbins, Josh (31 January 2017). Bosso, Joe (21 November 2015). From the original on 6 April 2016. Retrieved 7 March 2017. John Wetton is the singer here, and man, what a voice he has. And his bass tone!
I love ’s tone – I got a lot from him, and from, too – but John Wetton is what I was going for. I remember playing a couple of gigs with Marshalls, and I thought, ‘Yeah, this is John Wetton’s tone.’.
Murphy, Bill (2008). 'JUAN ALDERETE Slouching Towards Bedlam'. On the funk-flavored screamer 'Ilyena,' he dials in a distortion-kissed tone that lies somewhere between 's and Brit Legend John Wetton (he acknowledges both as influences).
access-date= requires url=. From the original on 15 July 2017. Retrieved 15 July 2017. Anderson, Ron (31 January 2017). Brooklyn, New York. Retrieved 14 November 2017.
Lawrence, Dan (14 August 2014). From the original on 8 March 2017. Retrieved 7 March 2017. John Wetton from King Crimson and Asia is another person that I really look up to as a player. External links Wikimedia Commons has media related to.