|John Dexter Jones
|additional vocals on tracks 6, 8, 9, 11 & 12
The Myth Of Independence
Living In A Promised Land
The Freedom Train
And All The Kings Men
July 2000 "...And All The King’s Men" was first released in 1994. After four years of constant touring, the album crowned a particular era of Jump's history, receiving high praise in diverse areas of the music media.The decision to revive was based on the demands of a much wider audience since signing to CYCLOPS, and Jump's continuing live success. This set of material brought Jump to te attention of Marillion's Mark Kelly, who went on to produce the next album.
A testament to the enduring quality of"...And All The King’s Men" is that virtually the entire set rotates its way around even the current live show. From the sharp-tongued vision of 90's Britain in the title track to the timeless commemoration of wasted lives in “Shed No Tears", here is an honest commentary of the times.
"Six O'Clock" was deemed by the band to be one of the finest recorded pieces, but did not quite "fit" the flow of the album. It was held over with good intention, but since then has frustratingly remained in the '94 time warp ........ until now. The track features John and Chrissie Hammond (of Cheetah, Rick Wakeman and latterly Cata).
Chrissie appears throughout the CD, but this particular song is undoubtably the highlight of her association with Jump thus far. Add to this one of Pete Davies' most sublime solos and we hope that you agree that "Six O'Clock" is a bonus track indeed. "Judgement Day" (another track featuring Chrissie) started out as "The Wall". A full-on rocking set opener, "The Wall" is a song about the bottom of the M1 motorway, where on a Friday evening, the red Tail-lights are "The Wall", and deals with the steel cage mentality where "freedom" traps you in the car! Those of you who have experienced the band's next release "The Myth Of Independence" may notice that the middle section of the music was used in "Heaven and Earth", and part of the vocal was used on the end of "Drive Time". Like the sentiment, "The Wall" is not pretty, but it certainly brings back those '93/94 gigs, where attention grabbing was all the rage!