by Mark Kadzielawa

Asia first came onto the scene in 1982, and was one of the first super groups of the 80s. The band consisted of vocalist/bassist John Wetton (King Crimson, U.K., Uriah Heep, Roxy Music,) guitarist Steve Howe (Yes,) drummer Carl Palmer (Emerson, Lake & Palmer,) and keyboardist Geoff Downes (The Buggles, Yes.) All four members were very accomplished in their musical fields, and already tasted great success with their former bands. Asia was destined to be big, and the success came instantly. The self titled album was a big commercial success. Asia hits were everywhere, and the newly formed MTV championed the band too. The success was massive, the band went on to sell over 10 millions of their debut album.
The second album, "Alpha," showed the band evolving and developing their own sound, but it was less successful commercially. The troubles soon followed in Asia camp, and the lineup changes began to take place. As these changes followed, Asia, slowly began to lose its identity, and the fans had a difficulty keeping up with the band. By 1991, bassist/vocalist John Payne joined the band, the only original member left was Geoff Downes. The partnership between Downes and Payne lasted until 2006. Payne's lead Asia released several albums, and managed to keep the name in the spotlight during that time with various degrees of success. Nowadays, Payne continues to perform under Asia Featuring John Payne.
In 2006, after years of speculations, the original Asia reformed. The four original members came together once again and toured around the world. In 2008, Asia released "Phoenix," and continued to tour. The album was met with lukewarm reviews. It had some fine moments, but it was generally an unfocused record. Also, at that time, John Wetton, went through some serious health issues, but managed to successfully recover. The original Asia had a great task ahead of them. Making a record that would satisfy its fan base, and silence the critics. Asia accomplished the task in 2010 as they released "Omega." The new album is extremely to the point. Very reminiscent of the early 80s sound and style. The album just boils with quality songs Asia fans were waiting for all of these years. The new material is very catchy, focused, and equipped with numerous hooks. "Omega" is a milestone release, and a true return to form.
Vocalist/bassist, John Wetton, reveals the path leading to "Omega," examines the album, and discusses the dynamics within the band.

When I spotted the new album cover, and noticed that camouflaged Asia logo, something told me the band is in the fighting mode, and sure enough after just one listen the record confirmed my suspicions.
John Wetton: (Laughter....) I've never thought of it that way, but yeah, it makes sense what you are saying. The album is much more direct than some of the stuff that we've done. The producer (Mike Paxman) was a guy who was very straight forward, middle of the road type a guy. He's a rock producer. His last few records were Uriah Heep and Status Quo. He had a very clear idea how of the album should be compiled of powerful and melodic songs with hooks everywhere. And that's really what we got. The idea behind the album was that it should be 100% Asia. Not King Crimson, not ELP, not Yes, but Asia. And in that respect the album reminds me a lot of our second album "Alpha." On the first, self titled album, there were still signs of our progressive roots, but the second one had that Asia direction which was more defined and melodic. And that also explains the title. "Alpha" was the album that to me felt the same, so we called this one "Omega" because the stylistically relate to each other. That's what it sounded like to me, so that's my story.
When did you begin to write this record?
Geoff and I wrote most of the stuff. We started on the last U.S. tour. We started setting up our recording studio in one of the hotel rooms. And I believe we did that in few places, Philadelphia, Kansas City, and Los Angeles. We started jotting musical notes and ideas for this album. One of the first songs we came up with was the track that ended up being a bonus song. It was "Drop The Stone," that definitely was one of the first ones we came up with in Kansas City. The actual bones of the whole thing were conceived over that last six week tour we did in the U.S. And that was in July, 2009.
So, it looks like majority of it was written on the road, correct?
For the first time, we normally never wrote like that before. But we knew we were gonna have to come up with material fairly quickly, and Geoff and I normally write a lot. I mean we came up with four records in the last four years. That's a lot of material you see. So, we didn't have anything in the back that waited for us. It all had to be from scratch which was OK. But it's not easy to get that volume of material out so quickly. So we had to start writing on the road. And actually it turned out good because you get different influences. I don't know whether it's because of coincidence, but for example the tracks we wrote in Kansas City ("Drop The Stone") is very bluesy. Which is unusual for us because we normally don't come up with bluesy songs. Another great song was "Emily" which we wrote in Philadelphia, about a certain young lady with a certain sexual persuasions. The songs are very American because they were written here. You can't help but absorb the influences, when you're talking to people you're absorbing the culture all the time. And music like to reflect that I think. So what we came up with the addition of the producer who wanted a more direct Asia is something that Americans seem to really like. We weren't aiming it that way, but it's just the way it came out. He just happened to be here when we were writing the stuff. What the producer wanted to do was to cut out all kind of noodling, and just give you the songs. He wanted four minutes of raw stuff. And if you listen to intros and solos, they are down to a minimum.
Did you enjoy the process then? Do you see yourself repeating the experience?
Writing is a fairly delicate process for me. I have to tear it out of myself, especially on the road when it's stressful enough to do shows. I did most of the lyrics when we were back in the U.K. The titles, and maybe the chorus sequences were done on the road, so the rhythmic ideas were implanted. I find it very difficult to write lyrics on the road. You're in a full state of emotional stress at all times. I like to just sit in my home where everything flows, and get the job done, but writing lyrics on the road for me is virtually impossible. But getting a structure of the ideas, that I don't have a problem with.
My advice is simple. if you can write records this good from now on, write them only on the road.
(Laughter.....) I just might do that in the future, maybe there won't be enough time do them at home.
Another funny one for you. You've mentioned all of the songs were influenced from being on the road, so did you play in the Middle East in order to write "Holy War?'
(Hysterical laughter..) No, the title came from....I'm quite fascinated by the period of the crusades. This insane kind of assumption the Christians had that they were absolutely right, no one else could be right. And they would go and invade another country, convinced and killing people and believing their cause was right. The arrogance of the European Christians in the 12th and 13th century was quite extreme. And that's where the idea comes from. Of course the whole thing is still going on today, no change. It's certainly the same, and both sides are convinced that God is on their side, and that they will be victorious because God loves them. I don't really see how that's gonna work, but it's been something that been going on for a thousand years, possibly even more. So that's where "Holy War' comes from, and it's not offering any solutions of course.
How does "Omega" compare with your first reunion album "Phoenix?"
I used a lot of existing material on "Phoenix." Some things on "Phoenix" are at least 20 to 25 years old. I can think of at least of four or five tunes that had been in my pocket for that long. That's a big difference. Also, because we've produced it ourselves, "Phoenix" is not as focused.
Having said that, was it difficult for you to find that writing itch when you got back together?
We don't really just sit down and write. We're not a band that rehearses. We don't rehearse at all. We don't write together. We write either individually, or as for me I write with Geoff quite a lot. Most of the band's popular tunes are written by myself and Geoff. We're not a band that's gonna live in a house together, or anything like that. We are four different people, and we don't like rehearsing. We don't particularly like socializing. When we come in to record, I come in with a song and we basically see how it goes. I show them the key in which each should be played, and everyone just plays their parts. The same thing happens if Steve brings a song. Geoff and I always have at least nine or ten ideas by the time we get to the studio. So, all the guys have to do is play their parts. We don't sit around for hours in the rehearsal room trying to find the ideas. The ideas are brought into the studio, and then the ideas are executed. And that's the way it's always been. And with "Phoenix," because we had no producer, we had nobody to say to us "look lads, this is unnecessary, you don't need that, I don't like the song at all, it has to go." We were allowed to do whatever we wanted, so we ended up with an album that's slightly unfocused. There are some great moments, but generally it falls short. It was great to go into the studio and have someone make an executive decision. Someone who would say "I don't think this is right, I don't think this is gonna work," or say "this is great, we'll go with this idea." I kind of like that in the studio because musicians tend to be very strong minded, and would end up arguing until the cows come home. I think to have someone make that decision was good, and we respond well to that.
"Omega" is a record full of great songs, and several potential hits, so what's being done to have the album heard? It seems like nowadays getting your music heard is the biggest challenge.
Yeah, I know. The radio won't play it, and that's one major problem. It's unlikely that we're ever gonna have a hit. If these songs were on the album that came out in 1983 they would've been selling off the scale. Now, the atmosphere is changed. We have just put out a collection of songs that we feel representative us right now. If one of them get used as a trailer music again that would be great. America's Got Talent used our "An Extraordinary Life" track as a trailer for their show. Now that kind of exposure in 1983 would've been phenomenal, the record would've sold right out of the box. And because it's now the people don't necessary make that connection between the song they hear, the artist they know. It's not the same thing anymore. For instance a kid who downloads singles is not interested in downloading an album. He or she just wants a certain track that they think is brilliant. They may not know who produced it, or what label it was on. They probably only know who was the singer. So they are only interested in that one song as a disposable piece of art. Back in the day people bought albums, they studied the artwork, they knew who produced it, they read the lyrics, they knew everything about the record. That doesn't exist anymore. And very few people will actually buy the finished product, read it, and absorb the whole thing. Most people just download one track or so. I keep thinking every record I make will be my last. And somehow I manage to dribble on to another record, but the whole thing has changed so much. I just read on the plane that Eminem has gone to number one on the chart and sold 130 thousand sales. 20 years ago that would not even got you in top 100. But to relate to your initial question, I don't know how we are being played, if we're being played on the radio at all. We just have to make the record that we want, and other people like, hope it strikes a chord. In the old days you went on the road to promote the record, and now it's the other way around.
How many new songs are you incorporating in to your live set?
We're playing 5 new songs, and they seem to be going down well. Some of them went down better in Germany, some of them went down better in America. We're really pleased. We ditched all the retro stuff. We don't take the walk down the memory lane anymore. We don't play any King Crimson, The Buggles, ELP, or Yes anymore. On the current tour we just do Asia, in fact we only sell Asia merchandise as well. We don't sell any retro or any personal merchandise. It's very much focused on Asia, and people really like that.
That's great, but I could easily see you playing the whole new album, and then do some classics people want to hear. I feel the album is that strong.
I like that idea, but I think it might a little bit too much for some people, but the Asia fans would love that.
Well, let's face it, at this point the people who see you live are the Asia fans.
They are, yeah. You're absolutely right. Nobody gets to our shows by mistake anymore.
How is the band getting along nowadays? I mean you've had some well publicized clashes in the past, but now you're older and wiser I suppose.
Well, that's very much it. We're a little bit more tolerant, and a little bit more accepting of each other. What used to drive us crazy in 1982 is possibly a little bit more acceptable these days. Also, we took steps when we reformed to give everyone a comfort zone. If someone wanted to travel alone for instance, they can. If someone wanted to stay at a different hotel, they can. We try to make it as comfortable as possible. Being on the road is all sorts of things. It can be stressful mainly. It can be lonely, and we try to just ease those problems as much as possible. We're a lot more difficult to take off these days, I can tell you that. Back in 1982/83 we used get people sniping at us from record companies and from the management companies. It was a lot easier to pick one off. And once you picked one off from the band it was like the herd of wildebeast, and if you get a one straggler, it's easy to kill. And if you are in the middle of the pack you're impossible. The leopards can't get you. So what we have now is a very strong group I think. If we are attacked, then we defend as a band, as a group as four people. In 80s we didn't do that. If someone came and said "I don't think your guitar player is any good," someone would agree with him, and that's how problems would start. Now it different, we defend each other quite aggressively. We're very much difficult to chip away this time. We have a much stronger group ethic. There is a lot more respect, and you've observed we're older, wiser, and little bit more tolerant I hope.
John, you've had a chance to play with some great bands in the past. I mean, King Crimson, Uriah Heep, Roxy Music, Wishbone Ash, and U.K. are well established and respected names. Can you describe the musical evolution that took place?
Most of the other bands that people mention was over 30 years ago. So if you mention King Crimson, Uriah Heep, Roxy Music, or anything like that, it was 35 years ago. That's an awful long time ago. It's well pre-Asia. King Crimson was a band where I felt most useful. Most comfortable and most useful. That only lasted for me for three years, and when that came to an end I just took gigs that I didn't form, I didn't sing, or write for. It was just a pick up gig for me. And you can include Uriah Heep, Roxy Music, or Wishbone Ash in that. I like to keep working, but bands like Uriah Heep, Roxy Music, or Wishbone Ash was not where my heart was. The bands where my heart was were the ones that I could contribute to as a vocalist and writer, and having some say in the direction of the band. And I can't say I've heard any of that in those bands. So, really the ones that formed my career, and made me the person that I am today were King Crimson, U.K., and Asia. Other bands were just pick up gigs because I'd rather be working than not working. I mean I still see Mick Box from Uriah Heep regularly, and we're great friends. I had a lot of fun working with Uriah Heep, and some good music came out of it, but it wasn't where my heart was.



What does John Wetton do when he's not on stage, not recording, not handling any band business?
Staying alive I suppose. I used to ride horses a lot, I used to ski, and do all sorts of physical stuff, and then I broke my ankle...rather dramatically in 2001, and all that stuff came to an end. My son is 12 years old, he lives in Germany with his mother, he comes over and visits me whenever I'm at home. He takes a lot of my time up. He also keeps me young at heart. He is very good like that. I read a lot, I go to the movies a lot. I'd like to keep up with anything that's going on culturally. I'm bit of a torture vulture. I will fly to Sweden to see a concert. If there is someone I really want to see I just go, get on the plane and go and see them. If I can afford it, I got the time, I just go and do it. I really appreciate it at this stage of the game. There were times in my past where either I couldn't afford to do something, or couldn't be bothered, or I was incapacitated too much to be able to do that, and now I'm not. Now I have the time, the money, and I can do what I want. So for me, I'll go and see a concert at the tip of a hat if it's someone I really want to see.
That's fantastic you still have the passion for music and arts, and I know you went through some serious health issues recently.
Absolutely, more so than ever before. Just before we recorded "Phoenix" I had a triple bypass heart surgery, so I nearly died. One thing that I cannot take for granted since that operation that this life is gonna go on forever. Before that I thought I was indestructible. Since then I know I have no idea how long I'm gonna last. I know that everyday has to be lived to its fullest, and that's where the song "An Extraordinary Life" comes from. It's all about carpe diem, it's all about being grateful to be alive. It's about living everyday to the fullest. When you faced death, you really have to go out and do things and live it to the fullest. I don't want to sit here and say "I wished I'd gone to that fucking concert in Sweden," you just have go out and do it. And yes, I am passionate about that. If Joni Mitchell ever went on tour again I'd be there regardless if it's in Japan or Canada, or whatever. I would go to that concert. I can't afford to miss these things these days.

links:
http://www.originalasia.com/index.php