A while back, I revisited the entire discography of the prog-pop band Asia’s original lineup while I was folding newsletters for the Delaware County Historical Society. More recently, I had the chance to dive deep into the band’s lesser-known John Payne era. After listening, I had to rank each album! I don’t see any reason to revisit this period in the band’s history now that I’ve done it, but here’s what I took away from the journey.
If you don’t recognize Asia by name, you probably know some of their classic hits, like “Only Time Will Tell,” “Sole Survivor,” and their biggest anthem, “Heat of the Moment.” Formed in 1981 by members of Yes, the Buggles, King Crimson, and Emerson, Lake & Palmer, Asia blended progressive rock with radio-friendly pop. The band’s 1982 self-titled debut was a huge success, but their subsequent albums couldn’t capture the same magic. By 1991, keyboardist Geoff Downes was the only original member left. To keep Asia going, Downes brought in new singer and bassist John Payne, along with a rotating lineup that occasionally featured original guitarist Steve Howe and drummer Carl Palmer.
The Downes-Payne era of Asia produced five studio albums –Aqua, Aria, Arena, Aura, and Silent Nation-before the original lineup reunited in 2006. That’s about the time I first explored Asia’s discography. I torrented everything, including the Downes-Payne albums, when I was in high school. Unfortunately, it’d been years since I heard them. Not anymore! Here’s how the Downes-Payne era albums stack up against one another.
5- Silent Nation (2004)
Released in 2004, Silent Nation marked John Payne’s final album with Asia. It includes contributions from veterans Guthrie Govan on guitar and Chris Slade on drums. Unfortunately, the album opens with “What About Love,” a slow, plodding track with muddy drums and lackluster instrumentation. Things improve with “Long Way From Home,” which showcases Downes’ signature shimmering synths and an anthemic chorus that brings energy back into the mix.
Unfortunately, the production issues persist as the album drags on. Downes’ keyboards -the best part of this iteration of the band- often seem like they’re in hiding. Songs like “Midnight,” “Blue Moon Monday,” and the title track spend their time searching for a hook that never arrives. “Ghost in the Mirror” stands out thanks to its delicate acoustic guitar, soaring organ, strong chorus, and unusual 7/4 time signature. “I Will Be There For You” comes close to capturing the spirit of classic Asia, but it falls short due to its muddled production and disjointed transitions. Ultimately, Silent Nation feels weary, as if the band’s energy has run dry. Perhaps that’s part of what contributed to the original lineup’s reunion two years later.
4 Aria (1994)
Although they contributed to the first album the Payne-era Asia recorded, original members Steve Howe and Carl Palmer were firmly out of the picture when Aria was released. This time, Payne and founding member Geoff Downes were joined by guitarist Al Pitrelli and newcomer Michael Sturgis on drums. Payne finally steps confidently into his role as lead singer, setting the tone as Aria opens with the dynamic “Anytime.” The song begins with a foreboding soundscape that evolves into a by-the-books AOR rocker. Still, it’s pretty good.
Aria takes time to hit its stride, but the end of its first half offers some standout moments. “Summer” brings a beautiful acoustic guitar arrangement and a break that indulges Downes’ classic ’80s synth flair. Then comes the majestic “Sad Situation.” The song wouldn’t feel out of place on Asia’s 1982 debut and shines as Aria’s best- at least until the soaring “Feels Like Love” arrives two tracks later. It’s cheesy schlock, but it’s charmless.
3- Arena (1996)
Following a disappointing tour for Aria, Downes and Payne attempted to steady Asia’s sinking ship by bringing Steve Howe back on board. When that didn’t work out, they enlisted guitarists Elliot Randall and Aziz Ibrahim, whose styles added unique Latin and Middle Eastern flair to Arena. The highlight here is its production: moving away from the bombastic style of Aqua and Aria, Arena delivers a balanced mix that lets Geoff Downes’ synthesizers truly shine. Still, it’s the band’s most intimate album.
With its frantic keyboards, atmospheric guitar, harmonized leads, and soaring chorus, “Heaven” is a standout on the album’s first half. “Two Sides of the Moon” reaches new heights with its chiming guitar and an unexpected reggae ending, while “The Day Before the War” feels like it could have come straight off Astra or even a Dream Theater record. The intro to “Never” recalls “Here Comes the Feeling” from Asia, but its chorus falls short of its promise. At the end of the day, Arena sounds fresher and less forced than some of Asia’s bigger albums, but it sometimes drifts into directionless easy-listening territory.
2- Aqua (1992)
Released in 1992, Aqua introduced Asia’s new era with Geoff Downes and John Payne at the helm. Founding members guitarist Steve Howe and drummer Carl Palmer were back too! Unfortunately, their contributions were limited- Howe appears on six of the album’s thirteen tracks, while Palmer drums on just three. To round out the sound, a group of younger session musicians added fresh energy to the mix. Whether that change was for better or worse is debatable: John Payne’s dramatic, theatrical vocals are a stark departure from John Wetton’s classic style, and Howe’s classically-influenced guitar doesn’t always mesh with Al Pitrelli’s sharper metal riffs.
Still, Aqua‘s bright spots really shine: the atmospheric “Aqua Part 1,” the driving synths of “Who Will Stop the Rain,” the bluesy roadhouse shuffle of “Back in Town,” and the anthemic chorus of “Lay Down Your Arms” come close to matching the best of the original band’s output. Unfortunately, much of the rest resembles a collection of mismatched pieces from different eras. Little more than Howe’s periodic appearances and Downes’ synthesizer fanfare tie Aqua to Asia’s classic output, but it serves as a fine introduction to the band’s second era.
1- Aura (2001)
By the time Asia set out to record a new album in 2001, the lineup was down to just Geoff Downes and John Payne. In response, they formed a kind of supergroup around the sessions, bringing in heavy-hitters like Chris Slade, Elliott Randall, Guthrie Govan, Simon Phillips, Tony Levin, Vinnie Colaiuta, and former touring guitarist Pat Thrall. Even Steve Howe returned for two tracks! The result is Aura, an album that shifts between Asia’s classic output and the newer sounds introduced on Arena.
The album kicks off with the regal “Awake,” the band’s best opener. Sequenced synthesizers? Orchestration? Funk bass? What’s not to like? “Ready to Go Home” starts off a pensive reflection on life and mortality, the morphs into a powerful, lush ballad. After a powerful opening, “Free” kicks into high gear as Downes’ frenetic synths weave around Thrall and Howe’s descending guitar leads. Eerie keyboard textures pulse beneath it all, setting the stage for Payne’s commanding chorus. Despite its stylistic shifts, Aura stands as the most cohesive -and ultimately Asia’s strongest- album of the Downes-Payne era.
Asia’s music from 1992 to 2004 echoes the original band’s sound but has enough differences to stand on its own. Unfortunately, I’m not sure it deserves that spotlight. Without the Asia name to lend it some credibility, this reimagined lineup likely wouldn’t have drawn much interest. While the original iteration of Asia’s work spans a broad quality spectrum from two-star stinkers to five-star classics, albums from the Downes-Payne era mostly settle in a steady, if uninspired, two-to-three star range. After listening, I’m not sure I’ll find myself returning to these albums. They’re an interesting chapter in the Asia story, but they lack the magic that made the band’s early hits unforgettable.
Promotional images of the band Asia and cover art of Aqua, Aria, Arena, Aura, and Silent Nation are copyrighted material, the use of which has not been specifically authorized by the copyright owner. The image of the cover is used solely to identify the albums in the context of critical commentary. This should constitute a “fair use” referenced and provided for in section 107 of the US Copyright Law.