$11.99 (CD-R)
$11.99 (CD-R)
Assembly is the CD reissue of the
sole LP by Ken Watson, an album that, if not quite legendary, was certainly
special to those tuned into the underground progressive rock scene in the
mid-1980’s.
To this is added 20-minutes of superb new material. Ken Watson is a guitarist who released this album
himself in 1985 in micro-quantity. He’s joined by other musicians on keyboards, bass,
and drums for an all-instrumental effort of progressive rock with a fusion edge. The music
is rooted in the 1970’s tradition, with that same feel in the arrangements and musical
dynamics, while not strongly resembling any one band. One might describe Assembly
as a mixture of Happy the Man, the Dixie Dregs, and Bruford. It will also appeal to fans
of artists such as Kenso, Pekka Pohjola, SBB, and Samla Mammas Manna. The new material has
a darker element recalling Univers Zero in places. France’s Harmonie
magazine named Assembly one of the top ten American progressive
albums of all time!
Note the current incarnation of Assembly is a CD-R (recordable CD) with a
full-color label printed directly on the disc -- no adhesive paper labels! These
are silver CD-Rs, nearly indistinguishable from a replicated CD. We guarantee
them to be defect-free and will replace them at any time free of charge.
“I heard very well rendered Happy The Man in Next X. The composition is tight, intricate, clean and executed with perfection, at times mirroring HTM in uncanny precision. Skeletons in Armor is a blending of Bruford, Pekka Pohjola, HTM and Yes. Watson’s guitar stylings bring to mind a crisper Al DiMeola staccato leaning towards Steve Howe and dancing around in Stan Whitaker’s phrasings... From [Beating Swords Into Plowshares] on out to the last second, this CD is PAR EXCELLENCE!! Beating Swords Into Plowshares was a great ride down the Return To Forever, HTM, Mahavishnu Orchestra, Dixie Dregs, Al DiMeola’s first solo album, memory lane. I was in nostalgia/inspiration nirvana. This is what progressive rock is to be hailed for as the gem of the ’70s! A drum cadence carries you off into splendor and daydream. Elroy’s Poem is very, very Al DiMeola yet better in the eerie twists and turns of the Far East’s musical flavorings, and there are Pekka Pohjola sensitivities in composition throughout. Acoustic guitar with electric guitar interwoven is wondrous the way Watson arranges it all. I heard Steve Morse’s web of pluckings sail by in guitar voicings and skillful playing by Watson... Layered mosaics of various guitar and steady bass, drums, and incessant keys build to a Birds of Fire type finish. The later recorded, previously unreleased tracks: Prelude to Beating Swords Into Plowshares, Next X Part 2 and Barking at the Moon are definitely Watson but have a darker, moody, mature, well-aged wine taste to them. Pekka Pohjola is there, DiMeola/Whitaker riffs, and more HTM. In Next X Part 2 there is evidence of the influence of Kit Watkins’ early solo efforts, especially the Labyrinth years. However, I prefer Watson’s work here as it retains the excellent guitar that was missing after HTM disbanded. The tempo change-ups and the other-worldly carousel feel of HTM is strong in Next X Part 2... I believe Ken Watson has successfully created a piece here that is where HTM was headed before their demise... The last track, Barking at the Moon, is a guitarist’s playground, meshing the best of any of the great axemen out there into Watson’s imaginative riff-fest, with that Steve Morse/Joe Satriani/Randy Rhoads powertrain on overdrive. This piece is just plain 75 miles an hour across the Great Plains fun!! If you are a progrock lover in any degree, you need to have this in your collection. File it right beside Happy The Man.” [fAZE 3 magazine (John W. Patterson)] “As an avid collector, I have had the opportunity to sample a mind-numbing quantity of progressive music over the last several years, ranging in quality from the abhorrent to the sublime. Once in a while, I even stumble across a real gem. Of the few ’real gems’ I’ve discovered, Ken Watson’s Assembly is one of my all-time favorites... In the past, Ken’s music has been described as killer jazz-rock fusion and more than once, likened to that of the Dixie Dregs. Although not entirely inaccurate, I think that both assessments are a little misleading. While there is definitely some jazz influence as well as a surplus of hot fretwork, the material really does not fit anywhere within the mold of the fusion label... But what really stands out, even above the top-notch musicianship, is the quality of the compositions. Rhythmically and harmonically complex and varied, yet remarkably easy to sink one’s teeth into, Ken’s compositions transport the listener through an ever-enjoyable roller coaster ride that is as comfortable as it is exciting. When played at sufficient volume, you are practically guaranteed to feel as though you’ve traveled somewhere magical... If your hunger for great music puts you in the mood to make a wonderful new progressive discovery, I can’t recommend this disc highly enough!” [Gibraltar (Alan Benjamin)]
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“Originally released independently in 1985, Watson’s homebrew project has stood the test of time; until this CD came out, that vinyl release with its low-budget black & white cover would find its way onto my turntable at least once a month for a refresher. I even bought a spare copy for the day I wore my original out... This is smokin’ hot folks, the kind of music they don’t make much of anymore... Compositionally, this is rich, full of drama and emotion, with plenty of stylistic flair... Three additional tracks recorded between 1988 and 1993 further develop and expand upon the styles from the album proper, with even greater instrumental and compositional variety. These are a real treat, especially the eleven minute Next X Part Two!” [Exposé] “Ken Watson’s Assembly is easily one of the best CD reissues of 1994... in some ways, Assembly seems a guitarist’s alter-ego for Happy the Man... Great stuff and definitely recommended, particularly to fans of Happy the Man, Kenso, and other bands in that style.” [Panorama] “If it’s allowable to call a progressive jazz-rock fusion album ’symphonic’ - well, here you have it. There’s layer upon layer of tightly crafted goings-on here, as Watson takes the best of Happy the Man into 80’s fusion territory mined by such vets as Chick Corea’s Return to Forever and the Dixie Dregs... Perhaps most pleasing about this album is its accessibility. Though complex and challenging, it never frustrates with overly difficult, oddball phrasing. And it never wears you out... If you’re a progressive rock fan who has little interest in anything with the ’fusion’ label attached, chances are that Assembly will make you an appreciative convert.” [Progression] “Ken Watson’s Assembly is probably the best CD I purchased in 1994... When you compare Ken Watson to other guitar virtuosos like Eric Johnson or Ronnie Montrose, you immediately recognize the primary difference: Ken’s chops are easily as good as any of these other guitar heroes, but compositionally he writes circles around them. This is by far the most well-balanced album I’ve heard in years... I’d add that even if you usually shy away from instrumental music, you should give this a listen. Buy this disc - you won’t miss the vocals!” [Gibraltar (Jim Watts)] “Assembly offers up a brilliant smorgasbord of blistering fusion, instrumental rock, and clever electronics, all played very tight, driven by Watson’s guitars and synths, with drums by Dave Webb and other musicians guesting.” [Gibraltar] “Watson showcases his personal favorites on Assembly: the rhythmic and technical way of playing of Happy the Man, the jazzy feel of Brand X, and the guitar style of Steve Hackett... Especially the Happy the Man influences are dominant but very very enjoyable. Assembly is strongly recommended to people who like the aforementioned comparisons.” [Background] “Watson’s merger of Happy the Man-style keyboard progressive and early 80’s fusion is regarded as a mini-classic in some circles... He creates some cool, spacey jazz lines, often mixed amongst tasty Hackett/Morse-inspired guitar work, in addition to complex slabs of progressive.” [i/e] “Ken’s brand of fusion, like Kit Watkins’ early solo work, is greatly inspired by European styles, hints of Brand X, Pekka Pohjola, Janne Schaffer, and even hints of Canterbury musics, all lively and nicely crafted... A good album that’s really going to please those with a taste for melodic instrumental fusion.” [Audion]
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RealAudio
Clips (G2 28K Mono)
All clips are excerpts. The downloadable versions require the entire file to be downloaded first but can be saved to disk. The streaming versions will begin to play after a few seconds.
Ken Watson Biography