ASTRALPHASIA - プログレ日記(Prog Blog)

ブルフォード、ホールズワースらジャズロック派と袂を分かった
ＵＫのセカンド「デンジャー・マネー」についてのウェットンのコメント。


ウェットンとしてはこれまでの様式美路線を続けるのか、
あるいは自己の経験を歌にするのか迷いがあったそうですが、
デンジャーマネー以降は後者へと路線をシフトして、
エディ・ジョブソンとの対立が深刻になります。





It represented a crossroads for me, to take the plunge and start really opening up,or continue to tell art-school stories.

Rendez-vous 6:02 and Carrying No Cross (originally Carrying THE Cross) came like second nature,and so by 'Night After Night'--if you'll excuse the expression--the die was cast.

Life on the road was taking its toll,and the JW/EJ band axis relationship was disintegrating ('Night after night,it's the same lousy fight,and I know it ain't right,that it's night after night after night").

Some nice stuff tho'--"If you should stand me upon a stage,naked before my peers,I'd sing my heart out for you every night,as long as you want me here", a good tongue-in-cheek look at 'The Show Must Go On" mind-set after nearly a year solid on the road.

The next step for me was "Caught in the Crossfire", then "That's That" on Wishbone Ash neatly underscored my feelings as my writing ethic was about to change forever,then "ASIA".

I had to move carefully from art-school to personal, so I introduced first-person on DM,but I wasn't really giving you anything of myself.

All of UK I was third person.
DM marks a transition from observation to experience,and from that I would never recover.Thank God.


ＵＫの作品に出てくる１人称は第３者のことで、
ウェットン自身のことではありませんが、
デンジャーマネーからは作風に変化が現れますが、
ウェットン自身の説明で納得です。