When they appeared in the early '80s, Asia seemed to be a holdover from the '70s, when supergroups and self-important progressive rockers reigned supreme. Featuring members of such seminal art rock bands as King Crimson (John Wetton), Emerson, Lake & Palmer (Carl Palmer), and Yes (Steve Howe), as well as Geoff Downes from the Buggles, Asia did feature stretches of indulgent instrumentals on their records. However, they also could be surprisingly poppy, and that is what brought them to the top of the charts with their debut album, Asia, and its hit single, "Heat of the Moment." Alpha, their second album, also had a couple of hits ("Don't Cry" and "The Smile Has Left Your Eyes") but its follow-up, Astra, was a flop. The group disbanded in 1985, only to reunite in 1990 without John Wetton; John Payne took his place. After churning out a couple of new songs for a greatest-hits collection, the band hit the road, including two sold-out dates in front of 20,000 fans in Moscow, of all places. Thereafter, they toured sporadically and released the albums Aqua (in 1992) and Aria (in 1994).

Asia began with the apparent demise of Yes and Emerson, Lake & Palmer, two of the flagship bands of British progressive rock. After the break-up of King Crimson in 1974, various plans for a super group involving bassist John Wetton had been mooted, including the abortive British Bulldog project with Bill Bruford and Rick Wakeman in 1976. Wakeman left this project at the urging of management, according to Bill Bruford. In 1977, Bruford and Wetton were reunited in UK, augmented by guitarist Allan Holdsworth and keyboardist/violinist Eddie Jobson. Their eponymous debut was released in 1978. By January 1980, UK had folded after one lineup change and three recordings. A new supergroup project was then suggested involving Wetton, Wakeman, drummer Carl Palmer and (then little known) guitarist Trevor Rabin, but Wakeman left this project too shortly before they were due to sign to Geffen and before they had played together.Wetton's Caught in the Crossfire solo album (1980) did not fare very well in England.

In early 1981, Wetton and former Yes guitarist Steve Howe were brought together by A&R man John Kalodner and Geffen Records to start writing material for a new album. By this point, progressive rock bands such as Yes and Emerson, Lake and Palmer had folded, so many qualified musicians were available for this proposed group. They were eventually joined by drummer Carl Palmer, and finally by Howe's recent Yes cohort, keyboardist Geoff Downes. Two other players auditioned and considered during the band's formation were former The Move and ELO founder Roy Wood and South African guitarist/singer Trevor Rabin, who would go on to be part of a reformed Yes in 1983. Rabin, in a filmed 1984 interview included in the DVD 9012Live, said that his involvement with Asia never went anywhere because "there was no chemistry" among the participants.

The band's first recordings, under the auspices of Geffen record label head David Geffen and Kalodner, were considered disappointing by music critics and fans of traditional progressive rock, who found the music closer to radio-friendly Album-oriented rock. However, Asia clicked with fans of popular arena acts such as Journey, Boston and Styx. Indeed, Kalodner had once introduced Wetton to Journey's short-lived frontman Robert Fleischman, who had penned such Journey classics "Anytime" and "Wheel in the Sky," with a view to Fleischman becoming Asia's lead-singer. Fleischman was already known to bandmember Carl Palmer. However, as they worked on material together, Fleischman was impressed by Wetton's singing and felt the voice best suited to the new material was Wetton's own. Leaving Asia amicably, Fleischman returned to America eventually to work on several projects with ex-KISS guitarist Vinnie Vincent. Rolling Stone gave Asia an indifferent review, while still acknowledging the band's musicianship was a cut above the usual AOR expectations.

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This supergroup came together from a collection of flourishing bands to become one of the most successful major players in the world of Prog Rock. Keith Emerson had learned piano as a child and played in a number of bands prior to being in the backing band for American singer PP Arnold. The band quickly outgrew their backing duties and became a band in their own right, calling themselves The Nice. Along side Lee Jackson, Brian Davidson and Davy O’List, they became a popular live attraction and soon recorded their first, well-received album The "Thoughts Of Emerlist Davejack" in late 1967.Guitarist O’List left the band during the recording of the second album “Ars Longa Vita Brevis” After considering replacement guitarists, they decided to continue as a three piece – a forerunner of the future. Combining traces of jazz and classical elements within a rock structure, a further three albums were released with diminishing success before the band split up in 1970.

Greg Lake had been in a number of bands in and around his local area in the southwest of England, including The Gods, with future members of Uriah Heep. Following his departure from the Gods, he teamed up with old friend Robert Fripp as bass player in the newly formed King Crimson. As lead vocalist, co writer and co producer, Lake played a huge part in the success and influence of the bands stunning debut "In The Court Of The Crimson King". Following a US tour supporting The Nice on their farewell tour, Lake left Crimson to join Emerson in the formation of a new band pausing only to complete Crimsons second release, "In The Wake Of Posidon".

Carl Palmer played in a number of bands in his teenage years. His main influence in his early days was jazz drummers. Following a stint in Chris Farlow’s Thunderbirds, he was drafted into the Crazy World Of Arthur Brown to go on tour, when the original drummer, Drachen Theaker, was forced to leave the band due to a phobia of flying. The band pretty well disintegrated during the tour of the States and Palmer left with Keyboard player Vincent Crane to form Atomic Rooster. Palmer only stayed for one album, the self-titled release in early 1970.The music was similar in style and feel to the Crazy World, heavily dominated by organ, although by the time of Palmers departure, guitarist John Du Cann had joined and was influencing their sound.

Upon meeting Emerson and Lake, Palmer found an immediate connection and musical empathy and it was agreed they would form a band. Before finally agreeing on Palmer, Mitch Mitchell, the drummer with the Jimi Hendrix Experience, was approached. Rumour has it that after declining the invite he mentioned the aspirations of the others to Hendrix who was keen to experiment. A session was planned between the four but Hendrix died before this was finalised and the three decided to commence as a trio. Who knows what the outcome would have been had HELP ever formed?

Following some extensive rehearsals, the band made its debut in August 1970 and for their second gig, played at the giant Isle of Wight festival. Signed to Island Records, their first album was released in December 1970 and crowned a busy year. This self-titled debut was an intriguing affair. Despite effective contributions from L & P, the keyboards from Emerson dominate proceedings. Borrowing (unaccredited at the time) from a variety of classical pieces, and heavily influenced by complex jazz time signatures, the album takes some listening but rewards those brave enough to last the pace. The opening track, "The Barbarian", swirls with a mixture of keyboards, as does the powerful “Knife-edge” There had to be a drum solo and it duly appears in the turgid “Tank” Both “The Three Fates” and “Take A Pebble” showcase Emerson’s virtuosity but it is the last track, the melancholy “Lucky Man” that seals the success of the album. Added at the last minute at the request of the record label, this timeless ballad, written by Lake at a very early age, became a hit single release. The Moog synthesiser solo that closes the track illustrates the full potential of this unique instrument. In Emerson’s hands, this stunning noise truly sends shivers down the spine and perfectly celebrates the death of the lucky man of the title with its mournful, spectral sound. The release met with the approval of their increasing fans who sent it high into the charts on both sides of the Atlantic.

Dropping most of the restraint they showed on the first album, the follow up, released in June 1971, was a concept album. “Tarkus” told the story of a mythical, half mechanical armadillo type creature that battles other like creatures before being defeated by the Manticore! Taking up one side of the original album, the title track, references religion, war, and famine. It did not take long for the band to wander into pretension and over indulgence. Again expertly played, with Emerson’s keyboard wizardry to the fore, this time the spark of passion has gone and you are left with an emotionless, cold sound. The remaining tracks are mostly below standard, shorter tracks. Already a favourite at live shows “Tarkus” became a staple part of their theatrical performances for many years with the poor Tarkus itself blown up and restored countless times. The album hit the right note with old fans and won new recruits, sending it to the very top of the UK album chart for a week.

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Now established as a major live and recording act, the next release combined the two. “Pictures At An Exhibition” an interpretation of Mussorgsky’s original work was recorded live at the Newcastle City Hall and released in November 1971 as a budget set. Hugely successful hitting the top ten in both the UK and USA, it is a showpiece for all things keyboardy. Again you can only marvel at the musicianship but it rarely involves the listener and so many notes are crammed into the shortest space.

The third studio album “Trilogy” was put out in July 1972 and opened with the appropriately named “Endless Enigma” which reappeared a couple tracks later. Still incredibly popular and able to chart seemingly at will. The overindulgence had by now firmly taken hold. Most tracks sounded just like other ELP songs and only the obligatory novelty track “Hoedown” and another Lake ballad “From The Beginning” moved away from the norm.

After extensive touring in the States, “Brain Salad Surgery” was next up in November 1973. The first release on the bands newly formed Manticore label. Boasting a fantastic sleeve by Alien creator H.R.Giger there was some hope that the band would take some steps forward… Dominated by the half hour long "Karn Evil 9", pretty well every one of Emerson’s vast arrays of keyboards are played. “Karn” 1st Impression Part Two" is the most pleasing with some continuity and playful lyrics co written by Lake’s old Crimson cohort Pete Sinfield. An interesting version of the hymn “Jerusalem” opens proceedings and one of Lake’s hauntingly beautiful ballads “Still You Turn Me On” offers some variation with some nice guitar but apart from that, it’s the same old ELP. Technically brilliant but filled with their pomposity. This release is held in high esteem by fans and it has everything the ELP connoisseurs demand. To the outsider, it is relentless, almost painful.

And just when the hammering stopped, they released a TRIPLE live album to celebrate their extensive world tour. Recorded during 1973/74 and released in August 74 it contained the lot. The whole of the track “Tarkus” the whole (plus a bit) of “Karn Evil 9. “Take a Pebble” extended to 26 minutes and incorporating “Lucky Man” among others, a bit of King Crimson and a lot more of ELP. The audience loved it. As rock theatre it was unsurpassed. By now ELP could do no wrong “Welcome Back My Friends To The Show That Never Ends” (they weren’t kidding!) went top 5 in both the UK and the States.

Exhausted by the continual touring, they took a sabbatical, pursuing solo projects, and return to the studio after a three year break to record “Works” Vol 1". Taking its cue from Pink Floyd’s Ummagumma, this double album release gave one side to each member with the band combining on side four. This did not go down well with the fans that had waited a long time for a proper “ELP” release. Instead they got one side of a piano concerto. One side of acoustic ballads, one side of pseudo classical pieces plus a track featuring one of the Eagles and, finally, two tracks from the band. These tracks were among the best that ELP had produced. “Fanfare For The Common Man” a re working of a Copeland piece, was released in edited form as a single and gave the band a final single chart placing. And “Pirates” probably the most complete and realised track the band recorded. This tantalising glimpse of what the fans wanted was not enough to help the album sell and for the first time the band contemplated a lack of success.

Coupled with a vast change in the musical climate, the realisation that their time had been and gone hit the band hard. The same year they released “Works” Vol 2". This was almost an acceptance of defeat and was the most un ELP like album. Containing twelve tracks and none over five minutes this attempt, finally, at brevity was brave but pointless. Most of the tracks were leftovers from previous sessions and the quality variable. To fulfil contractual obligations, “Love Beach” recorded in the Bahamas and released in 1978 to critical ridicule was enough for the band to take the hint and they disbanded the following year.

Following brief excursions with other bands and solo projects, Emerson becoming involved with film scores, Palmer forming first PM and then another supergroup Asia and Lake producing a couple of solo works, Emerson and Lake formed another version of ELP this time with Cozy Powell on the drum stool. Just one album was released and the band toured. Ditching Lake, Emerson teamed up again with Palmer and Robert Berry to form the unsuccessful “3”

In 1991, the original ELP reformed. An album of all new material was released in 1992 and the band hit the tour trail again throughout 92/93 to support “Black Moon” The tour and the album proved to be moderately successful and encouraged the band to record a follow up, 1994’s “In The Hot Seat” and that was the last album release although the band did carry on touring right up to 1998.

Keith Emerson continues to score for films with notable success. He has also released many solo albums and tours to small venues at regular intervals. He reformed The Nice in 2003 for a short tour.

Greg Lake has played with Ringo Starr and The Who and tours infrequently as the Greg Lake Band

Carl Palmer achieved huge success with Asia, has released some solo albums and gives drum clinics all over the world.

ELP were a band of their times. Indulged to be pretentious with little self discipline they never the less achieved tremendous commercial acclaim selling around 40 million albums. While later albums showed a lack of restraint, their debut contained many moments of inspiration and classic prog. Their musicianship was never in doubt but their music rarely stimulated the emotions after that first release. They became targets for the Punk/New wave movement and were easy targets, held up to be the worse that “old rock” offered. As critics jumped ship and embraced the new sounds, ELP were left high and dry, held up to ridicule with their Persian carpets, two ton drum kits, revolving keyboards and convoys of trucks, they didn’t help themselves! They became completely out of step with the musical times and were swept away by the spiky haired, plastic clad army that were encouraged to hate them. In this time of financial restraint and environmental issues it is unlikely we will see their like too much in the future.

Roger Gibbens

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The band came together from the remnants of R & B bands, The Farinas and The Roaring Sixties. Formed originally by Charlie Whitney, Jim King, Tim Kirchin and Harry Ovenall in the early sixties. By 1967, Ric Grech had replaced Kirchin on bass and Roger Chapman was now the vocalist. The band moved to London from their Leicestershire base and were renamed Family following a meeting with famous record producer Kim Fowley. It is rumoured that Fowley suggested the name due to the bands on- stage appearances in double-breasted suits that made them look like members of the Mafia!!

Now willing to throw off the straitjacket of R & B and ready to embrace the freedom and influences that the exploding underground scene offered, their reputation as a live act grew due in no short measure to the wild man antics of Chapman. They recorded their debut single “Scene Through An Eye Of A Lens” in late 1967. Produced by the influential Jimmy Miller, it is a fine example of British psychedelia and the first time Chapman’s unique vocals were heard on record. Not that too many did hear as the record sold poorly and flopped.

The band signed to the Reprise label and they set about recording their first album during early 1968. By this time, drummer Ovenall had left and Rob Townsend was drafted in as replacement. “Music In A Dolls House” was released in July 1968 and received wide critical acclaim. Mostly produced by Dave Mason of Traffic, the album accurately captured their live show, and contains a number of tracks destined to become firm Family favourites such as “See Through Windows” “Me My Friend” “Old Songs New Songs” and “Peace Of Mind”. With Chapman’s odd vocals, ranging from gentle and almost whispered words, though to rasping strained exclamations, and with a most un- rock like line up of instruments, the album perfectly reflected their position as one of the more original bands of the Progressive Underground. The rich and varied sound helped by the inclusion of saxophones, cello, sitar, impressive violin and freaky effects is now acknowledged as a forgotten classic of British Psychedelic Rock.

The band did receive some unwanted publicity around this time as they featured in the novel “Groupie” by Jenny Fabian and Johnny Byrne with the thinly disguised pseudonym “Relation”

Continuing on an upward path that saw them now in the same league as Pink Floyd and Soft Machine, the band were anxious to return to the studio to record their next album, 1969’s “Family Entertainment” This album was a more straight forward affair with less experimentation and with the psychedelics reigned in. More of an out and out rock album than the predecessor, the musicianship is still there and the songs are tight but you cannot help but be a tad disappointed after the originality of the debut. Chapman’s voice still ensures that “Family” sound and strong tracks such as “Observations From A Hill”, the gentle “Face In The Cloud” with its haunting sitar, the rocky Beatles-like “Second Generation Woman” and the timeless “Weavers Answer” all help to deliver a fine album that made its mark on the UK chart with a number 6 placing.

With their success in the UK now established, the next step was the American market and in April 1969 the group embarked on what was to be a problematical tour. Shortly after the tour started. Ric Grech left the band to join Blind Faith and John Weider was recruited. With previous experience playing with the likes of Steve Marriott, The Pirates and latterly with Eric Burdon’s Animals, Weider proved to be a more than suitable replacement. While this on its own would have been enough to throw the band off its stride, more problems followed. As support to Ten Years After, they received little attention or applause and confrontations with the audience were common. They also had an incident with influential promoter Bill Graham who accused Chapman of hurling a mic stand at him. Although not the case, they were removed from the support slot for a while and, coincidently, were never to become more than a cult band in the States.

Following their return home, Jim King was forced from the band and talented multi- instrumentalist John “Poli” Palmer joined.

The next album, “A Song For Me” was released in January 1970. As this album was the first to feature the new influential band members, it was obvious that the sound of the band would change. With this album, Family served up a much heavier version of the “Family sound" but still used an interesting array of instruments to keep listeners on their toes. The opening track, “Drowned In Wine” contained some of the most agonised, bluesy vocals from Chapman, while the title song, clocking in at around ten minutes, had all band members trying to out do each other as they rocked out. The new sounds appealed to the fans as the album speed up to number 4 in the charts.

Now on a commercial and critical high, the band wanted to capture their astonishing live show on record. The next release was “Anyway” which had one side live and one studio. (You could do that in those days!). A decent enough record, it does give the feeling of a bit of a stopgap before the next “proper” release. Perhaps this is a bit unfair as the live side is good if a bit unfocused and the recording quality is, at best, average. The studio side works better and shows the band once again not afraid to use an imaginative selection of instruments. The stand out tracks are the live “Strange Band” and the impressive “Part Of The Load” For the third release running, the album charted, reaching number 7.

The band had a break from recording, continuing with their heavy touring schedule and a compilation album was put out. “Old Songs New Songs” was just that-previously recorded tracks with some remixed.

 In June 1971, John Weider left and was replaced by John Wetton. Two albums were recorded with Wetton. “Fearless” in 1971 and “Bandstand” in 1972. “Fearless” was an outstanding release. Varied and expertly played throughout. New man Wetton’s debut was a success with his vocals on the track “Save Some For Thee” particularly impressive.1972’s “Bandstand” saw the band at its most mainstream yet. As always the musicianship was high, but the tracks were more conventional and commercial. The album contained the hit single “Burlesque” and the single that should have been a hit “My Friend The Sun” Chapman is at his most restrained throughout and the album has more than its share of ballads. Both the albums had respectable showings in the chart, reaching 10 & 15 respectively and even creeping into the US Top 200. During Wetton’s time with the band, they also released their best selling single “In My Own Time”

That was the last of Wetton’s involvement with Family. He left to join King Crimson in July 1972 and Jim Cregan was drafted in and by the end of that year, Poli Palmer had also left to be replaced by Tony Ashton.

“Its Only A Movie” was the last Family release in 1973. It was a dull affair showing the band to be just passed its prime. No longer innovative, the band seems to be going through the motions and it is a sad final document for the band to end on.

Following a farewell tour, they played their final show in their hometown of Leicester in October 1973.

Chapman and Whitney formed “Streetwalkers” in 1974 releasing a number of albums.

Chapman has since enjoyed a successful solo career, most notably in Europe, with 24 solo albums to his name.

Whitney now lives in Greece and concentrates on Bluegrass and Folk music.

Jim King is still involved in music but no longer performs.

Ric Grech played in Blind Faith, Ginger Baker’s Airforce and with Traffic. In 1974 he formed another “Supergroup” called KGB with Mike Bloomfield and Carmine Appice. He died in 1990.

Rob Townsend joined Medicine Head after Family and is a long time member of The Blues Band.

John Weider joined Stud upon leaving and continues to record and release music, most recently in a New Age style.

Poli Palmer has played on many albums as a session player, including releases by Pete Townsend, Peter Frampton and Linda Lewis.

John Wetton seems to have played in most UK rock bands. In addition to King Crimson, he has played with Asia, Wishbone Ash, Uriah Heep, UK, Roxy Music etc

Jim Cregan was in Cockney Rebel and a long time member of the Rod Stewart Band. He recently teamed up again with Roger Chapman to appear live and produce Chapman’s album “One More Time For Peace”

Tony Ashton enjoyed huge success with the single “Resurrection Shuffle” with Gardner and Dyke. Always in demand as a session player he recorded many albums. He died in 2001 from cancer.

Despite a number of chart albums and singles, Family were never big players in the Progressive rock scene. Their unforgettable live shows were sensational and the early albums showed remarkable creativity as they exploited the musical freedom the times allowed. The lack of success in the States however, ultimately hurt their reputation.

Never given the acclaim of their contemporaries like Traffic, The Moody Blues or Jethro Tull, their first three albums helped define the music of the time as much as any band. 

The track here is the rare first single "Scene Through The Eye Of A Lens" from 1969

Roger Gibbens

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