Vangelis embarked on his solo career while still a member of Aphrodite's Child, the earliest fruits of which were several soundtracks, mostly recorded at Studio Europa Sonor in Paris. Both Hypothesis and The Dragon, recorded in London for Giorgio Gomelsky in 1971 (and released without Vangelis's permission in 1978), were little more than jam sessions-albeit pretty good ones-fusing psychedelic rock with jazz and ethnic influences. His first solo album proper, 1974's Earth, was recorded for Vertigo.

Prior to Genesis, guitarist Steve Hackett recorded with Quiet World. Featuring the Heather brothers three, 1969's The Road was a proto-progressive opus, replete with orchestral arrangements, yet Hackett's distinctive guitar, later honed with Genesis, was within. Years later, while Genesis was on hiatus following Peter Gabriel's departure, Hackett, along with his brother John and the rhythm section of Mike Rutherford and Phil Collins, recorded his debut solo record.

In late 1974, after the recording of Peter Hammill's Nadir's Big Chance album, the four former members of Van der Graaf Generator agreed to reform the band again. Hammill spent the next six months writing most of the material that would end up on their next two albums. Thus reconstituted, Hammill, along with keyboardist Hugh Banton, saxophone and flautist David Jackson and drummer Guy Evans set out to France in May to "road test" their new material. They entered Rockfield Studios in June and recorded Godbluff, plus two tracks that would appear on their next album.

In the time between their previous album and this release, Pink Floyd had risen to the very top of rock ‘n' roll's elite. And while most would consider this a high-class problem, the band seemed none-the-happier for it. The first attempt at a follow-up, the Household Objects project, was abandoned in the fall of 1973. The band reconvened in early 1975, only to have the sessions interrupted by two US tours. Once back in the studio, artistic torpor prevailed until Roger Waters ultimately took over.

To record the band's eighth album, Ian Anderson assembled the crew in Monte Carlo with their new mobile studio: no grand compositional aspirations this time, but perhaps a little holiday fun. What came out was an album of contrasts and one of Jethro Tull's most dynamic records—polarized between the acoustic of the minstrel and the electric of the band. The title track kicks off quietly with Anderson literally in character; but soon the band lets loose, propelled by Barriemore Barlow's kick drum and one helluva riff from Martin Barre's guitar.

Manfred Mann's Earth Band completed their first tour of the US in 1974, where they probably discovered the track that would open their next album, 1975's Nightingales & Bombers. A cover of Bruce Springsteen's "Spirits in the Night" also was released as a single, but hold this space: They'd return to the writer's well a year later for much greater fortunes.

Originally the Sebastian Hardie Blues Band, these Australians paid their dues as Johnny O'Keef's backing band during the 60s. In 1973, the Plavsic brothers Peter (bass) and Alex (drums) joined up with guitarist and vocalist Mario Millo, while keyboardist Toivo Pilt jumped aboard a year later. It should be evident by now that a lot of bands were "switching" to progressive styles around this time. Though this wasn't disingenuous per se, the more organic evolutions of the original British groups still remained the barometer, and comparisons could not be avoided.

Quiet Sun's sole album was recorded while Roxy Music guitarist Phil Manzanera was recording his debut solo record, Diamond Head. That album included an incredible roster of musicians (and the classic track "Miss Shapiro"), but it also sought to cover the same pop territory as Roxy Music, and most certainly succeeded. Mainstream, then, was the progressive "studio twin." Manzanera returned to keyboardist Dave Jarrett, as well as Bill MacCormick and Charles Hayward: the former an ex-Matching Mole bassist, and the latter the future This Heat drummer.

In 1975, Gentle Giant signed to Chrysalis Records in the UK—an agreement that purportedly stemmed from the relationship the band had made with the label after touring with mainstays Jethro Tull. On their first album for the label, Free Hand, the band replaces the uniformity of their previous efforts with a much more playful and varied atmosphere. The first side revolves around the themes of broken relationships, both personal and business. "Just the Same" kicks things off with a choppy rhythm, but its highlight is the break: one minute soaring, the next quirky.

In 1974, a heavy tour schedule consumed Caravan. John G. Perry left in July and was replaced at producer David Hitchcock’s suggestion by ex-Curved Air bassist Mike Wedgwood. After a switch to Miles Copeland’s BTM agency, the band embarked on their first US tour in September. They entered the studio in early 1975 to record their sixth album, Cunning Stunts. The record kicks off with the proud “The Show of Our Lives” (with Wedgwood on lead vocals), before sliding into “Stuck in a Hole.” Both the latter track and “No Backstage Pass” would be the only compositions from Pye Hastings.