The word is out — band reunions are big pay days. OK, so that isn’t
exactly groundbreaking news. But why do only a fraction of the reunited go on
to record new albums? It can be argued the “new” album from a reunited
band is a major step in authenticating the actual reunion. It shows that the
reunion has legs; that the band is prepared to pick up from where they left
off and possibly kick the dust up to a higher musical plateau. Going into the
studio, however, intensifies the pressure cooker on members who not only have
to relearn the repertoire for the big reunion tour, but are now saddled with
the burden of creating new and wondrous music.
This is an especially novel challenge select former members barely cognizant
enough to retread past glories frown upon with patented zeal. After all, playing
the old hits is really all the fans want anyway, right? But there are a few
brave honchos who press forth, working extra hard to revive that old spark,
complete unfinished business, and issue new music. Such was the task before
Asia when they decided after their mildly successful 25th Anniversary reunion
tour featuring original members John Wetton, Geoff Downes, Carl Palmer and Steve
Howe to make Phoenix.
The passing of time, new technologies, and the changing of the guard creates
obstacles for most classic rock bands that aspire to release records filled
with fresh music. Many go the independent route, but not Asia. For a group whose
sales rose and fell as quickly as blue chip stocks, they have scored a major
coup by signing with EMI America. Whether that translates into big numbers is
anyone’s guess, but apparently the band’s progressive pedigree holds
sway with a couple of badass brassheads.
Asia stands at a unique intersection in their storied span — at odds
with what moves in today’s marketplace, coupled with whether or not wrapping
the pompous posturings of Yes, ELP and King Crimson around sleeker, pop-oriented
songs is entirely necessary. Unlike 1982, 10-minute epics are as acceptable
as three-minute “hits” from seasoned classic rock bands. On Phoenix,
there’s a mixture of great maturity swimming in a sea of discovery —
retaining respect for the more recent past (as members of Asia) as well as the
distant past (as members of Yes, ELP and King Crimson).
At its core is the songwriting nucleus of Wetton and Downes. They write the
commercial tunes like the catchy opener “Never Again” and “Heroine,”
a surgery sweet ballad that still gets the benefit of Wetton’s graceful,
assured vocals and Howe’s short, but soothing guitar solo. Wetton and
Downes also get credit for more complex material like the two mini suites, “Sleeping
Giant/No Way Back/Reprise” and “Parallel Worlds/Vortex/Déyà.”
The execution and instrumental brilliance of both, however, are clearly group
efforts. Each player gets his chance to remind listeners age isn’t about
to diminish the shine of the Asia legacy.
As the guy who never left and kept the Asia name an ongoing enterprise with
other players, Downes is especially adept at adding just the right textures
and sampling new sounds that echo with more drama and depth than the hollow
synths of the 80s. Amazingly, Howe is balancing his Asia duties with an upcoming
40th Anniversary Yes tour. The economy of his playing is supplanted by his virtuosity
as a master with few peers. When you hear the simple, searing leads weaving
in and out of Downes’ artfully punctuated keyboard work on something like
“Alibis,” it’s easy to understand that unique Howe stamp is
what gave Asia its edge in the 80s.
Tactfully sharp, Carl Palmer monitors the pace rigidly, refraining from the
prancing paradiddles except on the rare opening in the end zone. The most captivating
performances on Phoenix belong to John Wetton. With recent
health problems and a drug and alcohol addled past, Wetton has fought long and
hard to redeem his credibility as a musician. Here, there is no doubt that the
voice of Asia is as strong and vibrant as ever. For Wetton, it truly is “An
Extraordinary Life.”
So the question invariably winds its way back to the arena of relevance and
the need for a new album from Asia. Superior musicianship and great songs never
go out of style, and while it’s illogical to think Phoenix
could ascend to the heights of the group’s debut from 1982, the record
succeeds by remaining true to its purpose. If this release is a set up for things
to come, then we could be seeing some more new and wondrous music from Asia.
~ Shawn Perry
