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One Of A Kind

Artist: Bruford
Label: E'G Records
Catalog#: PD-1-6205
Format: Vinyl
Country: United States
Released: 1979
Tracklist
A1 Hell's Bells 3:32
A2 One Of A Kind - Part One 2:20
A3 One Of A Kind - Part Two 4:00
A4 Travels With Myself - And Someone Else 6:12
A5 Fainting In Coils 6:33
  Notes:

Narrator - Sam Alder
Voice [Alice] - Anthea Norman-Taylor
Voice [The Mock Turtle] - Bill Bruford

B1 Five G 4:41
B2 The Abingdon Chasp 4:50
B3 Forever Until Sunday 5:46
B4 The Sahara Of Snow - Part One 5:18
B5 The Sahara Of Snow - Part Two 3:23
Credits

Bass - Jeff Berlin
Drums, Producer - Bill Bruford
Engineer - Stephen W. Tayler
Guitar - Allan Holdsworth
Keyboards - Dave Stewart
Technician [Tape Operator] - Simon Hilliard

Notes

Recorded at Trident Studios, Soho, London; between January and February 1979
The Words to Fainting In Coils are from Lewis Carroll's 'Alice's Adventures in Wonderland'

Strawberry Bricks Entry: 
Drummer Bill Bruford assembled the core group of Allan Holdsworth, Dave Stewart (then on loan from National Health) and American bass player Jeff Berlin for his first solo album, 1978's Feels Good To Me. Recorded in 1977 at Trident Studios, the album was produced by Robin Lumley and had a vague affinity towards what Brand X was attempting at the same time (instrumental jazz fusion). Compared to Kenny Wheeler's flugelhorn, Annette Peacock's vocals were a very odd addition to the album-yet, to each his own, as they say. In September 1978, following the departures of he and Holdsworth from U.K., and Stewart from National Health, Bruford assembled the same team as a band, conveniently named Bruford. Their subsequent album, One Of A Kind was recorded in early 1979, and thankfully he kept his jazz-rock purely instrumental. Written by Stewart and Alan Gowen, "Hell's Bells" offers a supple and well-arranged fusion, but really takes off when Holdsworth lets loose on his guitar. Both parts of the title track follow suit, though the harder edge and huge theme of "Fainting in Coils" is most satisfying. Both "Five G" and "The Abingdon Chasp" are again atypical, though the latter features Berlin's nimble bass playing. Bruford's drumming is of course exemplary, his distinctive snare always a welcome sound. "Forever until Sunday" features an uncredited Eddie Jobson on violin and carries over from the U.K. repertoire, as does "The Snow of Sahara Part Two" (co-written with Jobson). Throughout the album, the musicianship is of the highest order; the music however is perhaps a bit too precise; unless of course this type of perfectly-perfect fusion is your cup of tea. Holdsworth abruptly left the band following the album's release to pursue his own music. His replacement was the hitherto (and henceforth) "unknown" John Clark, whose debut was documented on The Bruford Tapes: a live album released later in the year. Bruford's next album, 1980's Gradually Going Tornado, would see a return to vocals (courtesy of Berlin). He then put his solo career on hold to join a resurrected King Crimson in 1981, where he would also start to explore the technology of electronic drums.
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