{"id":2963,"date":"2010-10-04T15:00:01","date_gmt":"2010-10-04T19:00:01","guid":{"rendered":""},"modified":"2012-06-25T20:56:10","modified_gmt":"2012-06-26T00:56:10","slug":"the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man","status":"publish","type":"post","link":"https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/","title":{"rendered":"The Rock Town Hall Interview: John Wetton"},"content":{"rendered":"<div class=\"image_block\" style=\"text-align: center;\"><a href=\"http:\/\/www.rocktownhall.com\/blogs\/media\/blogs\/rth\/wetton.jpg\"><img loading=\"lazy\" src=\"http:\/\/www.rocktownhall.com\/blogs\/media\/blogs\/rth\/wetton.jpg\" alt=\"\" width=\"400\" height=\"547\" \/><\/a><\/p>\n<div class=\"image_legend\">John Wetton: yet another good egg enters the Halls of Rock<\/div>\n<\/div>\n<p>Following a tosssed-off aside in a recent <a href=\"http:\/\/www.rocktownhall.com\/blogs\/index.php\/they-don-t-make-em-like-that-anymore-king-crimson-1974\" target=\"_blank\">analysis\/appreciation<\/a> of a <em>Lark&#8217;s Tongue in Aspic<\/em>-era <strong>King Crimson<\/strong> performance an immediate groundswell of support gathered around the previously inconceivable notion that <strong>John Wetton<\/strong> (Asia, King Crimson, Roxy Music, UK, Family, Uriah Heep, and much more) was the <em>Sexiest Man in Prog-Rock<\/em>.<\/p>\n<p>To clarify, it&#8217;s not that Wetton&#8217;s good looks had previously been inconceivable but that good looks ever played a part in the brainy, challenging progressive rock scene. In the wake of this discussion Townspeople were polled, and between the results of nearly 1000 voters and a panel of rock experts, Wetton was officially deemed &#8211; <em><a href=\"http:\/\/www.rocktownhall.com\/blogs\/index.php\/making-the-case-for-the-sexiest-man-in-prog-rock\" target=\"_blank\">once and for all<\/a><\/em> &#8211; <strong>The Sexiest Man in Prog-Rock<\/strong>.<\/p>\n<p>That&#8217;s the silly part of the story. We managed to contact Wetton for his thoughts on this distinction (&#8220;I&#8217;m delighted to be deemed a cute pig in the litter,&#8221; he replied). Better yet, he agreed to an interview with us. It&#8217;s the following interview, one focusing on his musical experiences rather than beauty tips, that&#8217;s the most appreciated thing to come from a silly notion and an unexpected encounter with Wetton and a broad swath of prog-rock fans.<\/p>\n<p>As you probably know, if this is even your second day in the Halls of Rock, Rock Town Hall regulars tend to be deeply immersed in the music we&#8217;ve lived through. Musicians like Wetton, whose careers have woven through a broad swath of rock history, can be especially enticing as interview subject. We spend more time than the average person contemplating Rock&#8217;s Big Issues, and who better to hear from than musicians who&#8217;ve straddled eras, genres, and band responsibilities? In the following interview, John Wetton provides insight on these issues and displays an enthusiasm for and confidence in his musical ventures and colleagues that I found refreshing. I hope you do, too.<\/p>\n<p><strong>RTH:<\/strong> How is your health, John, and what are you working on these days? Did I read correctly that been at work on projects with both Asia and Eddie Jobson?<\/p>\n<p><strong>John Wetton:<\/strong> My health is good, thank you&#8212;having survived (with enormous help on both counts) two life-threatening conditions, I&#8217;m being a little more circumspect, but still have a lust for life and a desire to enjoy the journey, regardless of the destination. I&#8217;ve just completed 50 dates with Asia&#8211;in Europe, USA and Japan&#8212;we complete the world touring for 2010 with a 5-date UK tour before Christmas.<\/p>\n<p>I played 3 dates in Poland with Eddie Jobson last November, &#8220;for old times&#8217; sake.&#8221; It was generally regarded as a UK reunion and was great fun, but we have no plans to extend that run right now. It was a terrific band&#8211;myself, Eddie, Marco Minneman, Tony Levin, and Greg Howe.<\/p>\n<p><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/IZ786qh4AGA?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><br \/>\n<em>[NOTE: Mogul Thrash would spawn not only Wetton but two the founding members of Average White Band, which Townspeople also know as the band that gave us RTH hero Hamish Stuart.]<\/em><\/p>\n<p><strong>RTH:<\/strong> Your career must be a dream for writer Pete Frame and his <em>Rock Family Tree<\/em> books. The earliest band I knew of that you were in was <strong>Family<\/strong>, but I learned that you were in an earlier band that recorded an album, <strong>Mogul Thrash<\/strong>. The music sounds in the jazz-rock vein of Soft Machine and Colosseum. Prior to Mogul Thrash, were you already rooted in jazz and improvisatory music?<\/p>\n<p><strong>JW:<\/strong> I guess my name would have cropped up on many of Pete&#8217;s Family trees, but I did most of my band-hopping in the &#8217;70s&#8212;since then I&#8217;ve done side projects, but the bulk of my work has been either with Asia or as a solo artist.<\/p>\n<p>Jazz was never really an influence until I was in my early 20s, when I started to listen to some fantastic players&#8211;John McLaughlin, Miroslav Vitous, Herbie Hancock. My huge early musical influence from around age 5, was my brother, a church organist and choirmaster. Piano is my first instrument.<\/p>\n<p><strong>RTH:<\/strong> At the same time, you&#8217;ve also displayed a strong pop sense through your career. As a boy, were you more a Beatles or Stones fan?<br \/>\n<!--nextpage--><br \/>\n<strong>JW:<\/strong> I was a Beatles boy, but influences were Beethoven, Bach, Beach Boys, and European church music in general: Pergolesi, Vivaldi, Tallis, Handel all feature prominently. I switched from piano to bass guitar originally because it was a cool thing to do while singing. I was always interested in the song; that was the most important thing, and pretty much what I bring to the party.<\/p>\n<p><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/Nob52_oaTcI?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><br \/>\n<strong>RTH:<\/strong> The Family records I own strike me as working in a heavy folk-rock vein, similar to Jethro Tull, Fairport Convention, and Traffic, rather than what we&#8217;ve come to describe as &#8220;progressive rock.&#8221; Today, rock critics and other obsessives categorize various forms of English progressive music from the early &#8217;70s in various ways, but at the time did you feel you were consciously venturing into new territory, or was what you were doing was a natural extension of psychedelia, blues-rock, and the like?<\/p>\n<p><strong>JW:<\/strong> There was an explosion of musical activity, a volcano which happened in Britain, and particularly in London, in the late &#8217;60s\/early&#8217;70s, where US blues was forged with European classical, and that was really what we know now as progressive music. &#8220;Whiter Shade of Pale&#8221; ushered in the Bach flavouring; King Crimson, borrowing heavily from Beatles hooks and classical landscapes, recorded the Daddy of progressive albums, <em>In the Court of the Crimson King<\/em>.<\/p>\n<p><strong>RTH:<\/strong> There&#8217;s an amazing clip on YouTube of you and your fellow guitarist in Family each playing double-neck guitars for &#8220;Between Blue and Me,&#8221; with you on a bass\/6-string and him on a 12-string\/6-string. Did you often employ those guitars on the same song?<\/p>\n<p><strong>JW:<\/strong> Yes, this was an axe that <a href=\"http:\/\/www.youtube.com\/watch?v=PnwVbQPJcck\" target=\"_blank\">went with the gig<\/a>. I also learnt violin for some of Family&#8217;s repertoire. <strong>Charlie Whitney<\/strong>&#8216;s was the iconic Gibson SG double-neck, mine was a slightly more ungainly Gibson, and agony to play for long periods.<br \/>\n<!--nextpage--><br \/><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/U5rYpL0ra-E?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><br \/>\n<strong>RTH:<\/strong> What brought you to King Crimson?<\/p>\n<p><strong>JW:<\/strong> I grew up in the Bournemouth area, which is where KC was conceived, and I met <strong>Robert Fripp<\/strong> when we were both in our mid-teens. We kept tabs on each other&#8217;s progress (as we still do), and when we both lived in London, remained in fairly regular contact. Robert had approached me at an earlier date to join the band, but I felt it was under the wrong circumstances, so when the time was right, and with a new line-up, I eagerly accepted the mouth-watering invitation to join a &#8220;magic band.&#8221;<\/p>\n<p><strong>RTH:<\/strong> As the new frontman and lead vocalist for a heavily instrumental band directed by a seemingly imposing, seated guitarist, what were your marching orders? I mean, did Fripp have expectations of you to project his vision to an audience?<\/p>\n<p><strong>JW:<\/strong> I had no brief on entering Crimson&#8212;all of the guys were high caliber, and yes, it was instrumental-heavy, as were most of the proto-prog bands (Yes, ELP, Genesis, Soft Machine), but demanded the chorister vocal foil to the firepower of the band. When the KC vocalist sang, people listened, because the the human voice is such a welcome oasis of solace in the maelstrom of slashing chords and manic percussion that was the Crimso beast.<\/p>\n<p><strong>RTH:<\/strong> How were songs composed for and learned by King Crimson? As I hear it, there are the &#8220;Fripp bits&#8221; that&#8217;s he&#8217;s played through any incarnation of the band (with Fripp playing that scale he seems to have exclusive rights to playing), and then there are the melodic bits, which I could imagine someone like yourself composing independently and presenting to the band on acoustic guitar. Were the distinctly Fripp passages typically composed with the more traditional melodic\/lyrical passages, or was one part usually added to the other?<\/p>\n<p><strong>JW:<\/strong> Robert would usually write the instrumental pieces&#8211;&#8220;Larks Tongues II,&#8221; &#8220;Red,&#8221; &#8220;Fracture&#8221;&#8211;but there were group rehearsals where everyone would bring their wares to the party. I brought &#8220;Starless&#8221; to the writing rehearsals for <em>Starless and Bible Black<\/em>, but it fell on deaf ears until the next batch of rehearsals, when suddenly it had found favour. Attached to Bruford&#8217;s demonic bass riff, my pretty ballad became a showstopper, and now sits proudly in Crimson&#8217;s catalog as a perennial fave. You only have to look at the writing credits to see it was no one-man band from &#8217;72-&#8217;74. A lot of our live stuff was improvised, and we had only one rule&#8211;that the one person who led (and that could be anyone) would be supported.<\/p>\n<p><strong>RTH:<\/strong> Do you have a favorite album or line-up from your time with King Crimson?<\/p>\n<p><strong>JW:<\/strong> Probably <em>Red<\/em>. It was a band with players at the top of their game. Muscular, powerful, yet capable of extreme tenderness and intimacy. A joy.<br \/>\n<!--nextpage--><br \/><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/2cgntAJAKlg?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><br \/>\n<strong>RTH:<\/strong> To me <em>Red<\/em> sounds more &#8220;timeless&#8221; or &#8220;ahead of its time&#8221; than any other album in progressive rock. Before your trio disbanded, did you feel like the band was on the brink of something new, or am I hearing the artistic end of the line?<\/p>\n<p><strong>JW:<\/strong> At the time of <em>Red<\/em>, <strong>Ian McDonald<\/strong> had been tempted back into the fold. For me, this was heading to be my dream team, and a band that I could see staying together for 20 years, but that was not a view shared by other members. I thought the potential to be endless, and was very disappointed that it did not carry on. The Floyd, who were very much in the same position, had broken through with the single &#8220;Money,&#8221; and <em>Dark Side of the Moon<\/em> was &#8220;doing nicely.&#8221; I felt that KC had the legs to go the distance, our live showing was on the up, gig attendances were very, very encouraging.<\/p>\n<p><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/b9QpI3wVvek?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><br \/>\n<strong>RTH:<\/strong> Next you joined <strong>Roxy Music<\/strong>, right? Were you considered a full-time member? Did you record with them as well as tour? It&#8217;s always a bit sketchy to me whether they had a permanent bassist.<\/p>\n<p><strong>JW:<\/strong> I joined Roxy Music because I knew them individually. Terrific guys, they asked me to vet their auditions for new bassists. When I turned in a verdict of thumbs down, they asked me if I would do it. Crimson had just imploded, they were at their peak of &#8220;pop&#8221; popularity, and I was a hired hand, but also a family friend, so I enjoyed privileges within the Roxy camp. It was tremendous fun, and I love the guys. Bryan and Phil are real gentlemen.<\/p>\n<p><strong>RTH:<\/strong> How would you characterize the differences in Fripp&#8217;s leadership in King Crimson to the dynamic in Roxy Music?<\/p>\n<p><strong>JW:<\/strong> There really is no comparison of the two bands&#8212;of one I was a writing, singing, playing component, in the other I was just doing a job&#8211;a very nice job, but still a job.<\/p>\n<p><strong>RTH:<\/strong> Over time, did Bryan Ferry make a concerted effort to exert more control over Roxy Music, or did the group come to a more settled approach naturally? The early albums and the first few after <strong>Eddie Jobson<\/strong> replaced <strong>Eno<\/strong> still have that sense of the unexpected. Then, it sounds like Phil Manzanera and the other &#8220;wildcards&#8221; in the band have been tamed or shackled. Were you there during this transition?<\/p>\n<p><strong>RTH:<\/strong> No, the only Roxy Music album I played on was <em>Viva<\/em>, although I made appearances on many of their solo projects (including Brian Eno&#8217;s <em>Here Come The Warm Jets<\/em>). I wasn&#8217;t really proxy to Roxy to that extent.<\/p>\n<p><strong>RTH:<\/strong> Somehow, in the &#8217;70s, you also found time to play with <strong>Uriah Heep<\/strong> and <strong>Wishbone Ash<\/strong>, two heavy rock bands. Were you more of a gun-for-hire in those bands than you would be in your next band, <strong>UK<\/strong>?<\/p>\n<p><strong>JW:<\/strong> Very much so. I have a strong work ethic, and would always rather be working than going to the pub on a Saturday night. I was still looking for the band that would succeed Crimson in my career, UK was a close runner, but Asia delivered everything.<br \/>\n<!--nextpage--><br \/><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/AYJdvWfNFr8?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><br \/>\n<strong>RTH:<\/strong> How bad was the timing for the formation of UK? It seemed to me you were one of the last truly idealistic prog-rock bands to form in the &#8217;70s, just as punk rock was hitting from the underground and corporate AOR was taking form in the boardrooms of major-label record companies.<\/p>\n<p><strong>JW:<\/strong> Well, punk was only hitting in its most commercial form, it never dealt any lasting damage to the hierarchy of behemoths that it threatened in 1976. Those bands just got bigger, and punk barely had the time to wipe the vomit from its chin before the record and movie industries joined forces and MTV was born.<\/p>\n<p><strong>RTH:<\/strong> Getting back to a similar theme I raised regarding your early years, if you read enough rock encyclopedias and hang with enough rock nerds there&#8217;s a notion that &#8220;Progressive Rock&#8221; and &#8220;Art Rock&#8221; are not quite the same genre. Crimson would be categorized as part of the former group, while Roxy Music would be lumped in with the latter. (No one&#8217;s ever sure where Pink Floyd belongs.) As few years later the Art Rock group would mostly be celebrated by punk and new wave artists, while most of the Prog-Rockers would be considered pariahs. As a musician whose work and relationships straddled those scenes, did you and your mates ever sense a stylistic spectrum from &#8220;cool&#8221; Art Rock bands to &#8220;outdated&#8221; Prog Rock dinosaurs?<\/p>\n<p><strong>JW:<\/strong> I always think of Art Rock as 10CC, XTC, Styx&#8212;good pop songs with <a href=\"http:\/\/en.wikipedia.org\/wiki\/Sixth_form\" target=\"_blank\">6th form<\/a> lyrics. Prog was always more enigmatic and self-indulgent to the n&#8217;th degree.<\/p>\n<p><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/V93KOGBX2vw?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><br \/>\n<strong>RTH:<\/strong> In 1981, after a decade spent replacing key members in bands, you finally got to take the lead in a brand-new band, the supergroup <strong>Asia<\/strong>. Were you prepared to be a bandleader? Did the success of the band affect your personal life?<\/p>\n<p><strong>JW:<\/strong> I had oodles of material; I was very confident. To all intents and purposes had the world at my feet, but I had a major flaw. I am an alcoholic, and unbeknownst to me, that disease was progressing in me like a tsunami. Regardless of whether I was butcher, baker, or candlestick-maker, the result would have been the same. Towards the end of my 20s, my drinking was remarkable, by the time Asia hit, 4 years later, it was to become far more public. It got worse and worse and worse, until it stripped me to the bone, and nearly killed me. I don&#8217;t drink today, and I&#8217;m better by far for it.<\/p>\n<p><strong>RTH:<\/strong> With the progressive rock genre pretty much exhausted, did you and your bandmates feel Asia had to walk a tightrope between the expectations of loyal prog-rock audiences and the pressures of AOR marketers?<\/p>\n<p><strong>JW:<\/strong> No, the songs I had collected for Asia were concise, and fairly commercial&#8212;that&#8217;s really what I brought to the table, anyway&#8211;even in King Crimson. They were ideal to propel what would have been another prog amalgam into the stratosphere. The other factors were to be found in the fact that the band looked great, it sounded great on the radio, I had found a tremendous writing partner in <strong>Geoff Downes<\/strong>, and our trump card was Mike Stone, who knew exactly how to record the band.<\/p>\n<p><em>On the next page John sits through a handful of <strong>Dugout Chatter<\/strong> questions, which demand gut answers to some hard-hitting questions!<\/em><br \/>\n<!--nextpage--><br \/>\n<ins><strong><big>Dugout Chatter: John Wetton Edition!<\/big><\/strong><\/ins><\/p>\n<div class=\"image_block\" style=\"text-align: center;\">\n<div style=\"text-align: center;\"><object classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" width=\"400\" height=\"400\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"data\" value=\"http:\/\/www.rocktownhall.com\/dugout400x400.swf\" \/><param name=\"src\" value=\"http:\/\/www.rocktownhall.com\/dugout400x400.swf\" \/><embed type=\"application\/x-shockwave-flash\" width=\"400\" height=\"400\" src=\"http:\/\/www.rocktownhall.com\/dugout400x400.swf\" data=\"http:\/\/www.rocktownhall.com\/dugout400x400.swf\"><\/embed><\/object><\/div>\n<\/div>\n<p><strong>First, some John Wetton trivia: What legendary bassist directly replaced you in two bands?<\/strong><\/p>\n<p>That would have to be <strong>Trevor Bolder<\/strong>. Greg Lake replaced me in Asia, and I him in KC.<\/p>\n<p><strong>When you were in King Crimson, did you or your bandmates ever pull a prank involving Fripp&#8217;s stool? Guitar stool, that is&#8230;<\/strong><\/p>\n<p>Certainly not, we did put a concrete &#8216;Big Boy&#8217; statue outside his hotel room once.<\/p>\n<p><strong>You&#8217;ve played with probably 90% of the musicians who would be listed in Pete Frame&#8217;s Rock Family Tree for the Prog-Rock scene. Is there one musician from that scene you most wish you could have played with?<\/strong><\/p>\n<p>I&#8217;d like to have done more with <strong>Phil Collins<\/strong>. We were involved together in<br \/>\ntwo albums, but I&#8217;d love to have seen what we would have done with a free rein.<\/p>\n<p><strong>You did some studio work in the early &#8217;70s with <\/strong><strong>George Martin<\/strong>. Do you recall the first Beatles question you asked him?<\/p>\n<p>I got on really well with George, and did quite a lot of work with him. He helped me enormously, and is a terrific man. There is one priceless moment that I will treasure with George. A guitar player was busy throwing down a solo over a song that we were working on. George turned to look at me, pressed the &#8220;dim&#8221; button, and said, &#8220;John, does it bother you that James is playing OUTSIDE the chords?&#8221;<\/p>\n<p>&#8220;Yes, George, it does.&#8221;<\/p>\n<p>&#8220;Then be a good fellow and take him your chord-sheet, would you?&#8221;<\/p>\n<p>I don&#8217;t think we talked Beatles very much at all&#8212;this was only one year after their break up. Many years later, I was privileged to spend time (and write) with <strong>Richard<br \/>\nStarkey<\/strong>, and there is no doubting the almost palpable magic that surrounds that exclusive band of people.<\/p>\n<p><strong>Today I just realized (or was reminded &#8211; it&#8217;s been a long time since my old eyes scanned the album credits) that you played on my favorite Bryan Ferry solo album, <em>Let&#8217;s Stick Together<\/em>! Can I shake your hand?<\/strong><\/p>\n<p>Yes, you can, because I did.<br \/><iframe class='youtube-player youtuber' type='text\/html' width='425' height='355' src='http:\/\/www.youtube.com\/embed\/SX5eLApVyFc?rel=0&amp;fs=1&amp;ap=%252526fmt%253D18' webkitAllowFullScreen mozallowfullscreen allowFullScreen frameborder='0'><\/iframe><\/p>\n<nav class=\"page-links\"><strong>Pages:<\/strong> <a href=\"https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/\" class=\"post-page-numbers\"><span class=\"page-num\">1<\/span><\/a> <a href=\"https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/2\/\" class=\"post-page-numbers\"><span class=\"page-num\">2<\/span><\/a> <a href=\"https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/3\/\" class=\"post-page-numbers\"><span class=\"page-num\">3<\/span><\/a> <a href=\"https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/4\/\" class=\"post-page-numbers\"><span class=\"page-num\">4<\/span><\/a> <a href=\"https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/5\/\" class=\"post-page-numbers\"><span class=\"page-num\">5<\/span><\/a> <a href=\"https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/6\/\" class=\"post-page-numbers\"><span class=\"page-num\">6<\/span><\/a><\/nav>\n","protected":false},"excerpt":{"rendered":"<p>John Wetton: yet another good egg enters the Halls of Rock Following a tosssed-off aside in a recent analysis\/appreciation of a Lark&#8217;s Tongue in Aspic-era King Crimson performance an immediate groundswell of support gathered around the previously inconceivable notion that John Wetton (Asia, King Crimson, Roxy Music, UK, Family, Uriah Heep, and much more) was <a href='https:\/\/www.rocktownhall.com\/blogs\/the-rock-town-hall-interview-john-wetton-prog-rock-s-sexiest-man\/' class='excerpt-more'>[&#8230;]<\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20,667],"tags":[18,106,319,320,76,96,1014,67,330],"_links":{"self":[{"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/posts\/2963"}],"collection":[{"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/comments?post=2963"}],"version-history":[{"count":0,"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/posts\/2963\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/media?parent=2963"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/categories?post=2963"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rocktownhall.com\/blogs\/wp-json\/wp\/v2\/tags?post=2963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}