Sky -

Sky was an English/Australian classical-rock super-combo that released six Ariola albums between 1979 and 1983 with world-class guitarist John Williams. Their repertoire mixed originals with songbook themes and rearranged classical pieces, including their hit 1980 Bach adaptation “Toccata.” The first two albums feature former Curved Air keyboardist Francis Monkman.

Members: John Williams (guitar, 1979-83), Herbie Flowers (bass, tuba), Francis Monkman (keyboards, 1979-80), Kevin Peek (guitar, 1979-85), Tristan Fry (drums, percussion, trumpet), Steve Gray (keyboards, saxophone, 1981-94), Paul Hart (guitars, keyboards, mandolin, cello, 1984-94), Richard Durrant (guitar, 1993-94)

Background

Sky formed in London in 1978 when guitarist John Williams and bassist Herbie Flowers assembled a five-piece with keyboardist Francis Monkman, drummer and percussionist Tristan Fry, and guitarist Kevin Peek. The formation path ran through the 1971 John Williams album Changes, where Flowers and Fry joined Williams on an early non-classical session. Their partnership resumed on the 1978 Williams album Travelling, which added Monkman to the circle.

Williams entered Sky as an Australian classical guitarist with major concert and recording credentials. In 1978, he scored a UK Top 10 hit with “Cavatina,” an instrumental Stanley Myers composition recorded for The Deer Hunter.

Flowers brought a long session résumé that included Blue Mink, Clive Dunn, Lou Reed, David Bowie, Elton John, Roy Harper, George Harrison, and the post-psych projects Hungry Wolf and Rumplestiltskin.

Fry worked as a timpanist with the London Philharmonic Orchestra and the Academy of St Martin in the Fields, with parallel session credits behind Frank Sinatra, Greg Lake, and The Beatles.

Monkman co-founded Curved Air and played on their 1970–72 albums Air Conditioning, Second Album, and Phantasmagoria, each graced with his multi-keyboard arsenal and secondary guitar tracks. In the interim, he earned credits behind Labi Siffre, Alan Sorrenti, Harvey Andrews, Al Stewart, the Alan Parsons Project, and Phil Manzanera.

Peek originated in the Aussie pop-psych band the James Taylor Move, which morphed into the London-based Quartet. In the UK, did session work for Cliff Richard, Mary Hopkin, and Manfred Mann’s Earth Band.

The five players signed with Ariola and recorded their first album at Abbey Road. They entered the studio as a cross-discipline ensemble built from classical guitar, orchestral percussion, electric bass, rock guitar, and keyboard composition.

Sky

Sky released their self-titled debut album in May 1979 on Ariola.

The album contains two Flowers collaborations, two Monkman titles, a Ruiz-Pipò arrangement, a Satie arrangement, and the full-side Monkman piece “Where Opposites Meet.” Williams and Peek interweave guitar threads amid Monkman’s arsenal of piano, harpsichord, and synth.

“Westway” advances on a driving beat as bass, acoustic guitar, and harpsichord lock the opening figure into sharper ensemble turns. “Carillon” glides from ivory keys and nylon-string arpeggios, rises to a firmer crest, and recedes through a calmer final passage. “Danza” turns a Spanish-derived classical theme through brisk lead-work, old-world accents, and ebbing variants.

“Gymnopedie No. 1” slows Satie’s contour into a sedate chamber transcription. “Cannonball” quickens with chiming guitar lines and abrupt turns. “Where Opposites Meet” develops recurring motifs through odd-meter passages, intricate harpsichord interplay, a late acoustic passage, a false ending, and a final electric return.

A1. “Westway” (3:37) – Flowers, Monkman
A2. “Carillon” (3:27) – Flowers, Gomm
A3. “Danza” (2:57) – Ruiz-Pipò; arranged by Peek
A4. “Gymnopedie No. 1” (3:40) – Satie
A5. “Cannonball” (3:39) – Monkman

B1. “Where Opposites Meet” (19:22) – Monkman

Sky recorded their self-titled debut at EMI Abbey Road Studio 3 in London with Abbey Road engineers Haydn Bendall and Tony Clark, who produced the album with Sky. Nick Blair mixed the album at Abbey Road. Clark entered the Sky sequence after Seventies engineering credits for Cliff Richard and Steve Harley.

Sky appeared in a sleeve with photography by Paul Cox and LFI. The cover shows a blue cloud field beneath a black block “sky” nameplate, with the five member names along the upper edge.

In May 1979, Ariola issued “Cannonball” (b/w “Tristan’s Magic Garden”). “Carillon” followed in September 1979 (b/w “El Cielo”). Sky reached No. 9 on the UK Albums Chart and No. 10 on the Kent Music Report.

BBC used Sky for 1979 appearances on Musical Chairs, Pebble Mill at One, and The Val Doonican Music Show. The group also filmed “Cannonball” for The Old Grey Whistle Test and played “Where Opposites Meet” at the UNICEF Year of the Child concert at Wembley Arena.

Outside Sky, Monkman added keyboards to the 1979 Dana album The Girl Is Back and the 1979 David Essex album Imperial Wizard. Louis Clark also used Monkman and Peek on the 1979 album (per-spek-tiv) n.

Sky 2

Sky released their second studio album, Sky 2, in April 1980 on Ariola.

The album contains four sides of original material and classical adaptations. Side B spotlights Monkman’s “FIFO” sequence while Side C includes Flowers’ tuba feature (“Tuba Smarties”), a Fry contribution (“Tristan’s Magic Garden”), and Williams-arranged pieces by Praetorius, Rameau, and Vivaldi.

“Hotta” drives over a burbling beat, repeats a Spanish-dance motif, alternates electric and acoustic figures, and yields to a percussion break. “Dance of the Little Fairies” skips through 5/4 as harpsichord and classical-guitar figures brighten the chamber run. “Sahara” arcs from quiet piano chords into flamenco-tinged lines, settles into a calmer guitar-piano middle, and returns through denser ensemble motion.

“FIFO” surges through the main movement, recedes into Adagio, scatters through Scherzo, suspends the fourth movement, and resolves on a fading figure. “Tuba Smarties” lopes through a live tuba melody with a light polka tilt. “Ballet-Volta” shifts from a mid-tempo classical line into a faster acoustic passage.

“Gavotte and Variations” steps through harpsichord figures and formal turns. “Andante” slows Vivaldi into an unadorned chamber transcription. “Tristan’s Magic Garden” drifts from glassy mallet tones into a louder percussion feature. “El Cielo” traces two Spanish themes from acoustic guitar and synthesizer into a broader final passage.

“Vivaldi” electrifies the Curved Air source with hard-edged lines and a brief solo recess. “Scipio” overlays its two parts, moving from delicate classical figures to brisk ensemble passages and synthesizer runs. “Toccata” converts Bach into fast electric runs, bright synthesizer figures, and a short drum solo.

A1. “Hotta” (7:46) – Peek, Flowers
A2. “Dance of the Little Fairies” (3:31) – Flowers
A3. “Sahara” (6:56) – Peek

B1. “Fifo” (6:44) – Monkman
B2. “Adagio” (2:29) – Monkman
B3. “Scherzo” (4:19) – Monkman
B4. “Watching the Aeroplanes” (3:33) – Monkman

C1. “Tuba Smarties” (3:18) – Flowers
C2. “Ballet-Volta” (2:45) – Praetorius; arranged by Williams
C3. “Gavotte and Variations” (6:14) – Rameau; arranged by Williams
C4. “Andante” (2:58) – Vivaldi; arranged by Williams
C5. “Tristan’s Magic Garden” (4:09) – Fry
C6. “El Cielo” (4:20) – Traditional; arranged by Williams

D1. “Vivaldi” (4:03) – Way
D2. “Scipio” (12:09) – Flowers
D3. “Toccata” (4:42) – J.S. Bach; arranged by Peek

Sky recorded and mixed Sky 2 at EMI Abbey Road Studio 3 with Bendall and Clark. The sleeve keeps the upper-edge member names and places a white “sky²” logo over a sunset gradient with black mountain silhouettes.

In March 1980, Ariola issued “Toccata” (b/w “Vivaldi”), which reached No. 5 on the UK Singles Chart and No. 83 on the Billboard Hot 100 in the United States. Sky 2 reached No. 1 on the UK Albums Chart and No. 125 on the Billboard 200 in the United States.

After Sky 2, Monkman cleared out for Steve Gray, a Middlesbrough pianist and arranger with Seventies session credits behind John Barry and Quincy Jones. Monkman recorded the 1980 library album Energism and added keyboards to the David Essex soundtrack Silver Dream Racer.

In August 1980, Ariola issued the non-album single “Dies Irae” (b/w “March to the Scaffold”).

Sky 3

Sky released their third studio album, Sky 3, in March 1981 on Ariola.

The album contains originals by Flowers, Peek, Gray, Fry, and one Handel arrangement by Williams. Gray multi-tasks on piano, harpsichord, clavinet, and synthesizers while Fry expands the percussion field with marimba, vibraphone, and waterphone.

“The Grace” traces a stately guitar miniature. “Chiropodie No. 1” quickens through a changing instrumental sequence. “Westwind” brightens from a clean ensemble figure, threads time changes through counterpoint, and returns through a firmer final passage. “Sarabande” glides through Handel’s line with harpsichord detail and synthesizer overlay.

“Connecting Rooms” moves through a three-part suite of alternating guitar and keyboard leads, pauses at a false ending, and resumes through a mellow piano-and-acoustic interlude. “Moonroof” charges through hard-edged lead-work and a late section turn. “Sister Rose” leans into Spanish-flecked phrasing, recedes to an intricate acoustic passage, and surges back into a fuller ensemble run.

“Hello” rests on a gentle opening, spreads into an electric crest, and returns to calmer figures. “Dance of the Big Fairies” skips from tuba through circus turns, Baroque figures, Greek-dance motion, and a faster close. “Meheeco” rises from faraway bass into Mexican-tinged motion, an energized middle, and a large finale. “Keep Me Safe and Keep Me Warm, Shelter Me from Darkness” passes from a brief chamber start into a stronger burst and a quiet release.

A1. “The Grace” (0:30) – Flowers
A2. “Chiropodie No. 1” (4:22) – Peek, Flowers
A3. “West Wind” (6:22) – Peek
A4. “Sarabande” (3:03) – Handel; arranged by Williams
A5. “Connecting Rooms” (7:10) – Fry

B1. “Moonroof” (4:03) – Peek
B2. “Sister Rose” (4:31) – Gray
B3. “Hello” (4:12) – Gray
B4. “Dance of the Big Fairies” (3:30) – Flowers, Peek
B5. “Meheeco” (6:35) – Flowers, Gray
B6. “Keep Me Safe and Keep Me Warm, Shelter Me from Darkness” (0:54) – Flowers

Sky recorded and mixed Sky 3 at EMI Abbey Road Studio 3 with Bendall and Clark. Malcolm Davies mastered the album at Abbey Road.

Sky 3 appeared in a gatefold sleeve with cover design credited to The Hutton Company. Peter Parker and Philip Bergman share the design credit, with photography by Ray Massey. The cover shows a reflective three-dimensional “sky3” logo above a dark horizon and small star points.

Ariola lifted “Moonroof” as an Australian single. Sky 3 reached No. 3 on the UK Albums Chart and No. 181 on the Billboard 200 in the United States.

Sky taped a February 1981 BBC concert at Westminster Abbey for Amnesty International. Monkman issued the film score The Long Good Friday and the solo album Dweller on the Threshold after his Sky exit.

Sky 4: Forthcoming

Sky released their fourth studio album, Sky 4: Forthcoming, in March 1982 on Ariola.

Forthcoming presents newly arranged material from classical, folk, and songbook sources, with composers re-purposed by Gray (Khachaturian, Wagner, Ravel, Hoagy Carmichael), Williams (Theodorakis, J.S. Bach), Fry (Berlioz), and Peek, who supplied “My Giselle” from a theme by Adam de la Halle.

“Masquerade” glides from gauzy waltz figures into a guitar-to-electric handoff. “Ride of the Valkyries” restrains Wagner’s theme through piano-forward passages and measured ensemble force. “March to the Scaffold” marches from classical piano into a sharper keyboard-led treatment. “To Yelasto Pedi” turns its Greek-tinged theme through acoustic guitar, harpsichord detail, a delicate marimba recess, and a stronger ending. “Waltz No. 2” resolves an uneasy Ravel opening into a piano-led miniature.

“Fantasy” drives Bach through bright harpsichord figures and brisk ensemble runs. “My Giselle” expands from a sombre classical-guitar line into stronger electric passages. “Xangô” steps through moody marimba motion and sparse picking. “Fantasia” replaces Mudarra’s vihuela source with organ figures and heavier ensemble accents. “Skylark” relaxes into a jazz-shaded reading with Williams carrying the melody line.

A1. “Masquerade” (3:20) – Khachaturian; arranged by Gray
A2. “Ride of the Valkyries” (5:07) – Wagner; arranged by Gray
A3. “March to the Scaffold” (5:00) – Berlioz; arranged by Fry
A4. “To Yelasto Pedi” [The Smiling Child] (4:00) – Theodorakis; arranged by Williams
A5. “Waltz No. 2” (2:35) – Ravel; arranged by Gray

B1. “Fantasy” (3:14) – J.S. Bach; arranged by Williams
B2. “My Giselle” (4:36) – Peek
B3. “Xango” (5:07) – Villa-Lobos; arranged by Sky
B4. “Fantasia” (3:43) – Mudarra; arranged by Flowers, Peek
B5. “Skylark” (3:10) – Carmichael; arranged by Gray

Sky recorded Sky 4: Forthcoming at EMI Abbey Road Studio 3 with Bendall and Clark. Chris Blair mastered the album at Abbey Road.

Sky 4: Forthcoming appeared in a sleeve designed by Cooke Key with photography by Brian Griffin. The cover places the five members in side-profile along the lower edge beneath violet-white light beams and the block “sky4” nameplate. Griffin’s contemporary sleeve credits include Joe Jackson (Look Sharp!), Depeche Mode (A Broken Frame), Echo & the Bunnymen (Heaven Up Here), and the Psychedelic Furs (Mirror Moves).

In March 1982, Ariola issued “Masquerade” (b/w “Fantasy”). “My Giselle” followed in June 1982 (b/w “Fantasia”). Sky 4: Forthcoming reached No. 7 on the UK Albums Chart and No. 24 on the Kent Music Report.

BBC televised Sky from Westminster Abbey in July 1982. Gray also released Beatles Orchestral, a 1982 orchestral-arrangement album with guitarist Martin Kershaw.

Sky Five Live

Sky released the double live album Sky Five Live in January 1983 on Ariola.

Five Live documents their 1982 Australian tour lineup with Williams, Peek, Flowers, Fry, and Gray. The album contains a large block of new concert pieces, including “The Animals,” “KP I,” “Love Duet,” “The Bathroom Song,” “KP II,” “Antigua,” and “Sakura Variations.” Earlier repertoire material includes “Dance of the Little Fairies,” “Sahara,” “Meheeco,” and “Hotta.”

“The Animals” gathers over a steady beat, threads acoustic filigree around electric riffs, and loosens into a long piano-and-bass recess. “The Swan” pares Saint-Saëns to a delicate marimba feature. “KP I” drives through electric/acoustic interplay and rockier live motion. “Dance of the Little Fairies” retains its playful chamber turn with marimba, piano, and acoustic figures. “Love Duet” slows into a romantic electric/acoustic exchange.

“The Bathroom Song” lopes through piano and la-la syllables. “KP II” quickens into a straighter live run. “Antigua” drifts through a slow classical-guitar miniature. “Sahara” sears the set with electric tension. “Sakura Variations” blossoms through a filigreed string-and-keyboard exchange. “Meheeco” extends into saloon-tinted motion and mariachi-style accents. “Hotta” drives the finale through its burbling rhythmic base and expanded solo space.

A1. “The Animals” (20:56) – Flowers, Gray
A2. “The Swan” (4:36) – Saint-Saëns; arranged by Fry
B1. “KP I” (7:26) – Peek
B2. “Dance of the Little Fairies” (4:33) – Flowers
B3. “Love Duet” (7:06) – Gray

C1. “The Bathroom Song” (2:48) – Flowers
C2. “KP II” (3:36) – Peek
C3. “Antigua” (3:55) – Williams, Trowbridge
C4. “Sahara” (7:44) – Peek
C5. “Sakura Variations” (7:56) – Peek, Williams
D1. “Meheeco” (12:59) – Flowers, Gray
D2. “Hotta” (9:00) – Peek, Flowers

Sky recorded Sky Five Live during concerts at the Comedy Theatre and Concert Hall in Melbourne, Perth Concert Hall, Festival Theatre in Adelaide, and Capitol Theatre in Sydney. AAV-Australia Mobile Recording Studio captured the concert tapes. Sky mixed the album at EMI Abbey Road Studio 3 with Bendall and Clark.

In January 1983, Ariola issued “The Animals (Part One)” (b/w “KP II”). Sky Five Live reached No. 14 on the UK Albums Chart and No. 16 on the Kent Music Report.

Cadmium

Sky released their fifth studio album, Cadmium, in November 1983 on Ariola.

Cadmium contains one Prokofiev adaptation, two Alan Tarney commissions, and seven member originals. Williams makes his final Sky studio appearance while Gray maintains his keyboard presence amid co-founders Peek, Flowers, and Fry.

“Troika” jingles from sleigh bells into a Prokofiev-based arrangement, then quickens through a firmer electric section. “Fayre” bounds through a compact ensemble run. “Mother Russia” rises from a mellow classical opening into a traditional-tinged jam with twisting section changes. “Telex From Peru” pivots from formal ensemble lines into syncopated motion, drops at a false ending, and returns through Spanish-styled lines and jazz-leaning figures.

“The Boy From Dundee” climbs from a spare opening into a broader light-textured passage. “Night” drives through harder electric lines and compact rhythmic motion. “Then and Now” balances acoustic guitar and keyboard figures in a slower classical setting. “Son of Hotta” surges from a bright motif into a stronger late passage.

A1. “Troika” (3:00) – Prokofiev; arranged by Fry
A2. “Fayre” (3:07) – Peek
A3. “A Girl in Winter” (3:30) – Tarney
A4. “Mother Russia” (6:53) – Gray
A5. “Telex from Peru” (8:10) – Flowers

B1. “The Boy from Dundee” (5:21) – Flowers
B2. “Night” (3:54) – Peek
B3. “Then and Now” (3:25) – Fry
B4. “Return to Me” (3:50) – Tarney
B5. “Son of Hotta” (6:59) – Gray

Sky recorded Cadmium with Mobile One Recording Studio and at EMI Abbey Road Studio 3. Clark engineered the sessions under the Bendall-Clark-Sky production credit. Sky mixed the album at Abbey Road. Chris Blair mastered the final LP.

Cadmium appeared in a sleeve under art direction by Nick Marchant. Torchlight, London handled the design. The cover uses a cadmium-yellow field with the cloud-filled Sky logo above the lower-case title line.

In November 1983, Ariola issued “Troika” (b/w “Why Don’t We?”). Ariola serviced “A Girl in Winter” (b/w “Vivaldi”) as a 1984 promo single. Cadmium reached No. 44 on the UK Albums Chart and No. 30 on the Kent Music Report.

After Cadmium, Williams left Sky in February 1984 and returned to full-time classical work. Sky welcomed Rick Wakeman as a guest keyboardist for the 1984 Australian tour, then continued as a quartet with Flowers, Fry, Gray, and Peek. Ariola compiled Masterpieces – The Very Best of Sky during the same year and issued “Fool on the Hill” (b/w “The Spirit”).

The Great Balloon Race

Sky released their sixth studio album, The Great Balloon Race, in 1985 on Epic.

The Great Balloon Race presents Flowers, Fry, Gray, and Peek as a quartet, joined by vocalist Clare Torry, reedist Ron Aspery, panpipist Adrian Brett, guitarist Lee Fothergill, and keyboardist-singer Tony Hymas, the former PhD musician.

“Desperate for Your Love” unsettles spoken text against airy synths and dissonant backing, gathers a slow spatial tune, and exits through whispered and sung syllables. “Allegro” springs from harpsichord into fast, sharper electric lines. “The Land” settles into a mellow synthesizer theme, broadens through orchestral shading, and reaches a synthetic-didgeridoo tag.

“Peter’s Wedding” hurries through short movements, a bass recess, synthetic church bells, flute-and-percussion interplay, and a saxophone finish. “The Great Balloon Race” floats from a serene opening into sharper rhythmic figures. “The Lady and the Imp” pivots from piano into an Irish-jig passage, jazz-leaning accents, and a sedate ending.

“Caldando” lilts on acoustic guitar, soft keyboards, and pan-pipes through classical and jazz-tinged figures. “Roleystone” hardens into lively motion around a bright synthesizer riff. “Night Sky” recedes into serene piano and nylon-string figures.

A1. “Desperate for Your Love” (6:37) – Hymas
A2. “Allegro” (3:34) – Gray
A3. “The Land” (3:19) – Peek, Spencer
A4. “Peter’s Wedding” (7:19) – Flowers

B1. “The Great Balloon Race” (4:50) – Flowers
B2. “The Lady and the Imp” (5:39) – Flowers, Gray
B3. “Caldando” (4:34) – Gray
B4. “Roleystone” (3:24) – Peek
B5. “Night Sky” (2:31) – Gray

Sky recorded and mixed The Great Balloon Race across Air Studios, Soundwest Recorders, Magic Studios–West Hampstead, and The Town House. Jon Jacobs and Ric Curtin share the engineering credit with Nicky Flowers and Owen Davies. Nick Webb mastered the album at EMI Studios.

The Great Balloon Race appeared in a sleeve with art direction by Roslav Szaybo, a CBS art director whose portfolio includes Soft Machine (Seven) and The Clash (self-titled). Studio Gerrard shares the design and artwork credits. The cover places a chevron-striped hot-air balloon above a diagonal split between green grass and reddish-brown field.

In March 1985, Epic issued “Desperate for Your Love” (b/w “The Great Balloon Race”). “Night Sky” followed in May 1985 (b/w “KP4”). The Great Balloon Race reached No. 63 on the UK Albums Chart.

After The Great Balloon Race, Sky reduced public activity while the members continued outside projects. Wakeman rejoined as a guest for the 1987 Australian tour, billed as A New Journey. The quartet then prepared an orchestral Mozart album with the Academy of St Martin in the Fields.

Mozart

Sky released their seventh studio album, Mozart, in November 1987 on Mercury.

Mozart contains arranged Mozart pieces performed by Flowers, Fry, Gray, and Peek with the Academy of St Martin in the Fields under Sir Neville Marriner. The repertory draws from The Marriage of Figaro, The Magic Flute, Don Giovanni, Eine kleine Nachtmusik, the “Haffner” Symphony, and the “Alla Turca” piano-sonata movement.

“Overture” launches Mozart’s opening through a fast orchestral-and-electric treatment. “Eine kleine Nachtmusik: Rondo” pairs orchestral sweep with acoustic guitar figures. “Symphony No. 34: Last Movement” fuses orchestral drive with harder electric passages. “Symphony No. 35: Andante” turns on intricate paired figures. “The Magic Flute: Overture” passes from symphonic opening to electric section and returns to orchestra.

“Eine kleine Nachtmusik: Romanza” threads nylon-string detail through a mostly classical treatment. “Horn Concerto No. 4: Rondo” foregrounds horn against the symphonic body. “A Musical Joke: Presto” starts on keyboard figures, breaks at a false ending, and resumes through electronic lines. “Come, Sweet May” rests on piano with spare orchestral support. “Alla Turca: Rondo” turns Mozart’s march into a jazzy reworking that alternates large and softer passages.

A1. “The Marriage of Figaro: Overture” (3:56) – Mozart
A2. “Eine kleine Nachtmusik: Rondo” (2:44) – Mozart
A3. “The Marriage of Figaro: Non So Piu, Cosa Son” (2:33) – Mozart
A4. “Symphony No. 34: Last Movement” (3:49) – Mozart
A5. “Symphony No. 35: Andante” (5:27) – Mozart
A6. “The Magic Flute: Overture” (6:51) – Mozart

B1. “Eine kleine Nachtmusik: Romanza” (5:36) – Mozart
B2. “Horn Concerto No. 4: Rondo” (3:36) – Mozart
B3. “Don Giovanni: La Ci Darem La Mano” (3:00) – Mozart
B4. “A Musical Joke: Presto” (3:59) – Mozart
B5. “Come, Sweet May” (2:56) – Mozart
B6. “Alla Turca: Rondo” (6:31) – Mozart

Sky recorded Mozart with the Academy of St Martin in the Fields under Sir Neville Marriner. Sky produced the album from its own Mozart adaptations and arrangements.

Mozart appeared in a Mercury sleeve whose cover places a stone Penrose triangle above a sunset seascape, with the sun centered in the triangular void.

Mercury issued “The Marriage of Figaro: Overture” (b/w “A Musical Joke: Presto”) as a 1987 UK promo single.

Sky played one November 1987 concert to promote Mozart, with Paul Hart added to the stage lineup. The group then entered a long pause before brief early-Nineties activity with Hart and guitarist Richard Durrant.

Discography: