Seems not everyone had their fill with Tales From Topographic Oceans; built around a story inspired by Roger Dean's wooden space ship on Yes' Fragile album cover, Jon Anderson's Olias Of Sunhillow is once again chock full of sci-fantasy and mysticism. The story, influenced by Vera Stanley Alder and J.R.R. Tolkien, concerned the migration of four tribes to a new planet. Dean however wasn't present for the art (he was always closest to Steve Howe), so the record jacket sports lavish illustrations from David Fairbrother-Roe (whose art also adorned albums by Popol Ace and Nazareth). Anderson wrote and recorded the entire record himself, which was something of a "coming of age" for the self-proclaimed non-musician. Dipping mostly across the strings of harp and acoustic guitars, there's also a fair amount of electronics heard throughout the album, obviously the influence of his budding collaboration with Greek synthesist Vangelis (or perhaps his unconfirmed playing)-just check out the opening moments of "Ocean Song." Of course, Anderson's distinct voice is always front and center. He pens a good melody and the album's dozen songs are no exception: "Sound Out The Galleons," "Flight of the Moorglade Mover" and "To The Runner" rank up there with the best of Yes' tunes, and the album flows continuously, from start to finish. Maybe it's Mike Dunne in the engineer's chair of Anderson's Mobile Mobile studio we have to thank, but the cohesion is genuine and effective. The album was the most successful of Yes' solo efforts, reaching No. 8 in the UK charts and breaking into the US Top 50. Yes reunited for the US "solo albums tour" in the summer of 1976, and then the band regrouped in Montreux in October.
Now signed to the Brain label, Birth Control headed to Conny Plank's studio with English producer David Hitchcock, best known for his work with Camel and Caravan. Yes, it was for another foray into progressive rock, here with a concept to boot. Penned by Zeus B. Held, the story revolves around the life of everyman Adam Striver, who at his death confronts "backdoor possibilities." Sporting more complicated arrangements than the previous record, the suites "One First of April" and "Beedeepees" fill the first side. Gentle Giant's influence is more pronounced, especially in the rich instrumentation. "Subterranean Escape" is lively and full of color, with a fantastic instrumental fade. Birth Control even gets symphonic on "Futile Prayer." The second side contains another suite, "La Cigüena de Zaragoza." The first section, "The Farrockaway Ropedancer," features some great interplay between the band members, while the closing "Behind Grey Walls" and "No Time to Die" reprise their themes between continually shifting meters. Although an excellent album of prog rock, the band's new direction confounded fans. Next, Birth Control added two ex-Message musicians to their lineup: Horst Stachelhaus on bass replaced Peter Föller, while Manfred von Bohr came in on drums, leaving Nossi Noske to concentrate exclusively on vocals. The ensuing album Increase was produced by Hitchcock as well. He reworked their progressive styling to approach a (more or less) contemporary feel, and to generally excellent results; in particular, check out "Until the Night." Held recorded one final album with Birth Control, the disappointing Titanic, before leaving the band for a successful career as a record producer. Though in decline, Birth Control continued for another few years, even after Bruno Frenzel's untimely death in 1983.
Robert Calvert returned full-time to Hawkwind, following a guest spot with the band at the Reading Festival the previous August. Now consisting of guitarist Dave Brock, saxophonist Nik Turner, drummers Simon King and Alan Powell (the so-called "drum empire"), bassist Paul Rudolph and Simon House on keyboards and violin, Calvert now fronted Hawkwind. With new management in place, they signed to Charisma Records and released their eighth studio album, Astounding Sounds, Amazing Music, in August 1976. True to its title, the album features a more refined and contemporary sound. With a nod to the 1936 film of the same name, "Reefer Madness" reintroduces Calvert like a man reborn! Both his vocal delivery and lyrical wit reveal a talent previously unheard. Equally telling is the redundancy of Turner's sax solo, especially when contrasted with House's sleek synthesizer lines. "Steppenwolf" follows, a nod to Hermann Hesse's epic novel. Another of Brock's big-chord rockers, it features his deliciously phased guitar, and House on organ. The Rudolph/Powell/King rhythm section also renders a musicality never before revealed in Hawkwind history. Though veritable enough, the instrumentals "City of Lagoons," "The Aubergine That Ate Rangoon" and "Chronoglide Skyway" from Powell, Rudolph and House, respectively, are for the most part, surprisingly un-Hawkwind like, and ultimately led to Calvert and Brock's displeasure with the album. Featuring a remix from David Gilmour, "Kerb Crawler" b/w "Honk Dorky" failed as a single, though the album reached No. 33 on the UK charts (it did not see release in the US), as did the live compilation Roadhawks, issued to shore up the band's commitments to United Artists. Following their Atomhenge tour of the UK in the fall, the band would again undergo further changes.
Hailing from Nice, France, Shylock formed in 1974, combining the talents of keyboardist Didier Lustig, drummer André Fisichella and guitarist Frédéric L'Épée. The band then retreated to a church in the Maralpin town of St-Dalmas-le-Selvage to write and rehearse. Early compositions were named sequentially, and later evidenced by the titles on their debut album, Gialorgues (named after a valley in St. Dalmas). The band self-released the instrumental album in 1976, printing a reputed 1000 copies; however, CBS subsequently signed the band and re-released the album in early 1977. "Le Quatrième" is the opening track; after a brief introduction from Lustig's claviers, the band breaks into a big symphonic theme with L'Épée's guitar soaring. Throughout, the band add a healthy dose of rock to their progressive compositions, recalling Genesis toward the lead-up to the track's end. The brief "Le Sixième" is more angular, propelled by Fisichella's brisk and effervescent drumming. The first section of "Le Cinquième" offers a literal quote of King Crimson's "Larks' Tongues in Aspic, Part Two," and there's little doubt that the band's intent is homage; just as their forbearer, Shylock excels at improvisation and rebound, shifting effortlessly between well-developed themes and offering a grand rock progressif throughout the album's second side. After a break for mandatory military service, Shylock reformed to record their second and final album, Île De Fièvre, with bassist Serge Summa completing the record after the original bassist, Christian Villena, suddenly departed. The album was released in 1978, but neither the band nor their record company were happy with it; and despite subsequent attempts to rekindle the atmosphere that generated the band's excellent debut, Shylock called it a day.
Steve Hillage's second album, recorded at Bearsville Studios in New York, featured a different group of guest musicians—this time, all were Americans. Todd Rundgren took over the production duties and his Utopia compatriots subbed as the backing band: Roger Powell manned the keyboards, while Kasim Sulton and John Wilcox filled the rhythm section. Evidently Hillage and flat mate Chris Cutler were big fans, so he jumped at the chance to work with the American. The album, L, opens with a cover of Donovan's "Hurdy Gurdy Man," though Hillage's signature is all over it. Far more interesting is the original "Hurdy Gurdy Glissando" that follows. Guided by a tabla rhythm, it slowly rises before erupting into a quick-tempo jam—one that even borders on the fusion end of things. The Utopians are a strong ensemble; Wilcox's manic drumming is often overbearing. The second side's major track is the 12-minute "Lunar Musick Suite" (sic). Thrust open with Hillage's Arabic-tinged guitar soaring above a sequencer loop, any subtlety is lost once Wilcox's pounding beat kicks in. The track then takes a far more celestial pace and things get infinitely more interesting. Don Cherry adds some trumpet—a unique combination—before the track turns all Hillage at the end. His guitar playing is exceptional throughout the album, relying on speed and fluidity more than his usual echo delay. Despite another plodding backbeat, the closing track is a rousing cover of George Harrison's "It's All Too Much." Though this song failed to chart as a single, the album would be Hillage's most successful, reaching the Top 10 in the UK. With his ever-present partner Miquette Giraudy on vocals and synthesizer, Hillage then assembled a touring band: The first incarnation featured Colin Bass on (what else) bass, ex-Jethro Tull drummer Clive Bunker on drums, Basil Brooks (Zorch) on synthesizers, Phil Hodge on keyboards and Frenchman Christian Boulé, previously with Clearlight, as a second guitarist. Eventually, the band made it to the US to tour, supporting Electric Light Orchestra.
Kansas' third album, Masque, pointedly displayed the two sides to the band. They still contained "Two Cents Worth" of boogie-rock; however, with Kerry Livgren's songwriting, the band also delivered two classics from their "symphonic" side: "Icarus-Borne on Wings of Steel" and "The Pinnacle." Sales for the album, however, were as stagnant as their previous releases, and the band reached a supposedly do-or-die scenario with their label. Fortunately for Kansas, all musical points connected on Leftoverture, and the band delivered an instant classic. With big harmony vocals and manic riffing, "Carry on Wayward Son" kicks the album off in high gear. Livgren and Rich Williams's dueling guitars complement each other in the finest Southern rock tradition; it's no wonder that the song was a US Top 10 single for the band. Mainly written by keyboardist/guitarist Livgren—in fact, he's the band's primary songwriter—Kansas delivers an album of remarkable consistency; virtuosity and accessibility combine on each track. Livgren's lyrics hint at Christian undertones (e.g. "The Wall," "Questions of my Childhood") and their overt sincerity also sets them apart from most other progressive bands. Tracks like "Miracles out of Nowhere" and "Opus Insert" feature rich arrangements that always remain melodic and never fail to rock hard—their secret being Phil Ehart's quick, constant tempo. The acoustic "Cheyenne Anthem," a tribute to the tribe of the same name, even manages to sneak in a tricky instrumental section. Producer Jeff Glixman deserves some credit too, as the album is sonically exceptional; while there's a lot going on, the mix is neither muddy nor overbearing. The album's closer, "Magnum Opus," was arranged from bits and pieces of music that the band had accumulated over the years (hence, the album's portmanteau title) and illustrates Kansas at their best: bold, electric and, above all, American. The album was an unqualified success, reaching No. 5 on the US charts and earning double-platinum sales.
After rehearsals in the famed Headley Grange venue and a few UK concerts, Van der Graaf Generator were back at Rockfield Studios to record their third album in less than a year. Peter Hammill even found time to record a solo album, the subject of which was the breakup of his relationship. His cathartic Over was quite a wrenching matter; but, thankfully, World Record is another story. The album attempts to be the most straightforward that VdGG would deliver, though ultimately it may be their most perplexing. Hammill picks up the electric guitar for most of the record; that said, his performance is tenuous at best: VdGG were never a guitar band, and this album wasn't going to change that. Just listen to "Masks:" Hammill's cack-handedness is a bizarre juxtaposition to the rest of the band's precision. The sultry "When She Comes" features some of VdGG's sexiest arrangements, a big contrast to the following "A Place to Survive." Here, Hugh Banton's organ roar is deafening, with Hammill's anguished delivery perfectly following suit. "Meurglys III (The Songwriter's Guild)" is Hammill's ode to his guitar; and, incredibly, VdGG even get down to jamming-Banton's reggae chops, alongside Hammill's half-baked lead, are perfectly insane, though David Jackson's saxophone sounds effete. Yet the epiphany of "Wondering" is the ideal ending, and most fitting to the band's blistering run over the past two years. VdGG were on the road for the album's release, completing another short UK tour before undertaking their first concerts in North America. They played a half-dozen shows in Canada and made their only US appearance ever, on October 18th, 1976, at the Beacon Theatre in New York. The remainder of the year was spent touring Europe. Banton's self-built organ, the "HB1," finally debuted at their November John Peel Session; but his notice had already been served: Banton's last gig with VdGG was in Saarbrücken on December 9th, 1976.
Banco concluded the year by recording a soundtrack, Garofano Rosso ("Red Carnation"), based on Elio Vittorini's novel of the same name. Released on the Manticore label in early 1976, the instrumental album is a showcase for both Vittorio and Gianni Nocenzi's compositions, and the band's performance. They next took to the studio to record an even headier concept, based roughly on the crucifixion of Jesus Christ. Issued in Italy as Come In Un' Ultima Cena, the English version carried the title As In A Last Supper and was again released on Manticore Records. The opening track "At Supper, For Example" immediately reveals the strength of the work. Francesco Di Giacomo's voice soars along with the melody, with the band providing perfect accompaniment. The blatant hook of "The Spider," under a more typical progressive arrangement, follows. The obvious classicism of "John Has a Good Heart, But..." leads into the altogether heavier "Slogan," with the Nocenzi brothers' keyboards at the fore. After its protracted introduction, "They Say Dolphins Speak," slides into an enchanting modern groove, with Di Giacomo's voice following suit. The balance of the record continues in similar fashion, alternating between the gentle calm of "The Night Is Full" and the symphonic splendor of "Towards My Door." The album is perhaps the most fully conceived and executed from Banco—thanks, in part, to its excellent production, again engineered by Peter Kaukonen. The band toured Europe with Gentle Giant following the record's release, but it would be another two years before the band's next album appeared, partly due to Manticore's financial collapse. Di Terra, released in 1978, was an outlier; mostly orchestral, it's a large-scale work that generally eschews the rock of the band's earlier career for something far more, well, orchestral, and with excellent results. For the next few years, Banco experimented with different musical directions. Canto Di Primavera followed in 1979, but swung too far to the "pop" end of the spectrum, while the live Capolinea offered funky versions of songs from their catalog. Banco del Mutuo Soccorso then ditched both their progressive leanings (and most of their name) for an altogether more populist sound, which carried the band well into the 1980s.
Since we last left Eloy, the band had added a second guitarist, Detlev Schwaar, for 1975's Power And The Passion. The sprawling concept album displayed a marked progression from the band's previous efforts; their writing was more demonstrative, and Manfred Wieczorke's use of synthesizers added considerable texture. But despite the success of the album in their native Germany, problems with management led to the band's breakup, with founding member Wieczorke joining German hard rockers Jane. Undeterred, Frank Bornemann formed a new band with bassist Klaus-Peter Matziol, drummer (and lyricist) Jürgen Rosenthal and keyboardist Detlev Schmidtchen. The British influences so prevalent in their earlier work had by now dissolved into the signature Eloy sound; Dawn represents a considerable step forward in their more prosaic adaptation of symphonic rock. Tracks like "The Sun-Song" or "The Midnight-Fight" also indicate the band's reliably spirited performance. Matziol produces a powerful bass sound, while Rosenthal is an accomplished drummer. Originally hired as a guitarist, Schmidtchen is less successful at keyboards; they mostly sound monochromatic, even when augmented by strings. Nevertheless, the album was a huge success in Germany, selling over 150,000 copies. Eloy would refine the same formula on their next album, Ocean, and again the following year on Silent Cries And Mighty Echoes—and the more symphonic (and musically akin to mid-70s Pink Floyd) their sound became, the more success they garnered. After a live album in 1979, Bornemann would again repopulate the band with new blood, as they continued well into the 80s, yet musically drifted dangerously close to heavy metal. However, Colours, released in 1980, is regarded as their last epic progressive work.
Mona Lisa came from Orléans, France, and followed in the footsteps of countrymate Ange with their so-called "rock theatre:" a uniquely French style of progressive rock inspired by Genesis. A debut album L'Escapade, produced by Ange guitarist Jean-Michel Brézovar, was released by the Arcane label in 1974; but the following year's Grimaces showed progress. By their third album, the band had coalesced into a lineup of guitarist Pascal Jardon, keyboardist Jean-Paul Pierson, bassist Jean-Luc Martin, drummer Francis Poulet and vocalist Dominique Le Guennec. Le Petit Violon De Mr Grégoire saw release on Jean-Claude Pognant's Crypto label in 1976, and is generally regarded as not only the band's masterpiece, but also one of the premier examples of rock progressif. "Le Chant des Glaces" is propelled by a sturdy bass and blistering lead guitar, while the following "Allons Z'enfants" offers a more typically French symphonic vocal number, with Le Guennec's powerful voice to the fore. Jardon's guitar has a heavy tone similar to Steve Hackett's, but the arrangements here are fresh as well as accomplished. The second side presents the dark, dramatic title suite in three parts. "La folie" ("Madness") opens with organ and spoken word, then quickly unfolds to a brisk tempo, punctuated by Pierson's synth. "De toute ma haine" ("Of all my hatred") follows, expertly and spiritedly spinning together disparate musical chunks. "Plus loin vers la Ciel" ("Further near Heaven") continues, highlighting the bracing, marching tempo of the band's compositions. Though perhaps appearing late in the game, the album is one of the finest in the French canon. A final (and again, excellent) album with Le Guennec, Avant Qu'il Ne Soit Trop Tard, appeared in 1977. However, disillusioned with the band's lack of commercial success, Le Guennec departed. A final album with Poulet (successfully) performing vocals appeared in 1979.
After their fiery debut, Nova suffered from some lineup changes. The rhythm section was the first to leave, while Danilo Rustici wasn't far behind. Corrado Rustici and Elio D'Anna then recruited a keyboardist—Renato Rosset from New Trolls Atomic System—and reached out to the fusion world for the rest of the lineup: Narada Michael Walden, ex-Mahavishnu Orchestra, provided drums, while Percy Jones, Phil Collins and Robin Lumley, all on loan from Brand X, filled in with bass, percussion and production, respectively. The title track kicks off; and yes, Nova's still delivering first-class fusion. But there are changes; Rosset's keyboards provide a new texture to the music, while the Jones/Walden rhythm section is certainly nimbler than on the previous work. The contemplative "Night Games," one of only three vocal numbers on the album, slows the pace considerably; and things almost come to a halt on the acoustic meanderings of the ensuing "Poesia (To a Brother Gone)." This track, however, is a veritable showcase for the technical talents of Rustici and Rosset. The second side kicks off with "Thru the Silence," a vocal number with some similarity to their debut album. True to its name, "Driftwood" floats gracefully before locking onto its funky riff. Jones's bass tone is true to his signature sound, while Rustici eventually explodes on electric guitar. Written by Walden, the instrumental "Princess and the Frog" closes, offering a much more conventional fusion—though injected with a funky little section in the middle. Although the fireworks of their debut have settled to embers, Vimana offers further refinement over the previous work. It was the first Nova album to see release in the US, on Arista Records.
Born in 1953, Peter Baumann attended the JFK American School in Berlin, gaining an education in American culture as well as language. He first joined Tangerine Dream in 1972, following his stint with The Ants. Released in 1976 on Virgin Records, his solo record, Romance 76 was recorded during one of Baumann's hiatuses from the band. "Bicentennial Present" opens the album, and revealing Baumann's musical contribution to TD; mostly it's the melodic synth lines where the band's tone is instantly recognizable. "Romance" offers a melody similar to The Token's 1961 hit "The Lion Sleeps Tonight," but instead rides a simple sequencer line to its end. The second side is dominated by "Meadows of Infinity," a three-part epic that features the Munich Philharmonic Orchestra in the piece's first part. It's a unique piece of music, combining classical orchestration with electronics. Moody and dark, the track traverses a wide range of territory, meandering through "The Glass Bridge," before arriving in a more familiar TD landscape for the closing section, "Meadow of Infinity (Part 2)." Following his departure from Tangerine Dream after their 1977 US tour, Baumann set up his Paragon recording studio in Berlin. There, he produced music for several German artists, including Cluster, Asmus Tietchens and Conrad Schnitzler, as well as an album with the female singer Leda, Welcome To Joyland. His Trans-Harmonic Nights album appeared in 1979 for Virgin; it offered shorter tracks, though they still contained his trademark sequences. However, Baumann's next album, Repeat Repeat, presented a significant shift in his music, as well as in his location. Now based in New York, he turned away from the TD dreamscapes and on to more commercial synth pop that defined the early 80s. Another similar album, Strangers In The Night, appeared in 1983. Baumann then left his musician career behind in 1984 and founded the Private Music label, which specialized in new age music.
Following closely in the direction first offered on Phaedra, Tangerine Dream released Rubycon and the live Ricochet in 1975; the former rose to No. 12 on the UK charts, the band's highest position yet. Both were excellent releases that featured one single composition split over each of the album's sides, again with heavy accents on mood and atmosphere. Stratosfear, however, reflects a paradigm shift for the band: Augmented by acoustic instruments, including harmonica, guitar, piano and harpsichord, Tangerine Dream's constructions now move toward actual composition. The title track is exceptionally rich, sporting a memorable melody; once it gears up though, it moves steadily over the swift, sequenced rhythm. "The Big Sleep in Search of Hades" is unassuming, yet features a colorful interior. Still, it's the second side's "3 Am at the Border of the Marsh from Okefenokee" that is truly classic. After a cinematic introduction, we're treated to a hypnotically slow sequence over which the band conducts their magic. "Invisible Limits" reaches even further over its 11 minutes, recapping the new territory the band has invaded. Tangerine Dream is more musical than ever here, and set on a new sonic course that would continue to evolve. One major criticism, though, is that the album is a mere 35 minutes long. Despite being a disaster to record-tales of equipment failure plagued the sessions (and reportedly a Nick Mason mix left on the shelf)-Stratosfear was moderately successful on the charts, reaching the UK Top 40. The band toured the US for the first time in early 1977, releasing the excellent live double-album Encore as evidence. Yet even more fortuitous was the band's highly successful soundtrack to William Friedkin's film Sorcerer, which also was released that year.
During the year since their last release, Genesis had not only transitioned to Phil Collins as vocalist, but they also found time to tour America and record their next album. Wind & Wuthering picks up where their previous album left off, though offering a little more empathy to their past spirit; and in particular the Selling England By The Pound album. The lively "Eleventh Earl of Mar" opens; it's a rocker, but the gentle break is stuffed with detail. "All in a Mouse's Night" is similar, again driven by Mike Rutherford's bass pedals. He also offers the single, "Your Own Special Way" b/w "It's Yourself." It's a simple song with the obvious hook in the chorus, and Phil Collins's multi-tracked vocals right up front in the mix; no wonder it broke into the Top 50 on the UK charts. Yet the album also is heavy on instrumentals as well: three by count, and four if you include the lengthy middle section in "One for the Vine." Steve Hackett, always undermixed on Genesis records, makes his mark here with both a largess of writing credits and his nylon-string guitar. "Blood on the Rooftops" and "Unquiet Slumbers for the Sleepers…" break the mold, and certainly as a result of the guitarist's contribution. "…In That Quiet Earth" offers more of the band's instrumental fire, segueing ever so effortlessly into Tony Banks's down-tempo "Afterglow." The album is painstakingly detailed both in arrangement and in instrumentation, particularly on the second side, that endears it as one of Genesis' most enduring and musical records. It was similarly successful on the charts, making a Top 10 appearance in the UK, but just missing the Top 30 in the US. The band again embarked on a massive world tour in support of the album, this time with American Chester Thompson assisting Collins on drums.
One of Sweden's early symphonic rock bands, Ura Kaipa (after a Stone Age chieftain) was founded by keyboardist Hans Lundin, bassist Tomas Eriksson and drummer Thomas Sjöberg. In late 1974, with Ingemar Bergman replacing Sjöberg and Roine Stolt arriving on guitar, the band shortened their name to Kaipa and began performing live. In mid-75, the band recorded their first album at Marcus Music Studios in Stockholm. Released in December 1975 on Decca Records, their self-titled debut sold well, considering distribution was limited to Scandinavia. The music was progressive rock of the most symphonic nature, and Swedish-language lyrics. Inget nytt under solen ("Nothing New Under The Sun") saw release the following year. Its highlight is the epic length "Skenet Bedrar" ("It's Not What It Seems") that spans the record's first side. Again, the track reveals the influence that classical music had on the band, as well as the British progressives, such as Genesis and Yes. That said, the album is unique work, full of drama and expert musicianship, but again firmly in the realm of symphonic rock. A few tracks were recorded in English; however, they would remain in the vaults for future CD bonus tracks. The album made an appearance on the Swedish charts and the band spent 1977 touring, performing over 100 shows. Before Kaipa's next album, 1978's Solo, their last for Decca, the band suffered some personnel changes. Eriksson left, replaced by Mats Lindberg, while Mats Löfgren joined on lead vocals. With Stolt's departure in 1979 for his own group Fantasia, the band again went through "reconstruction." Two further albums appeared, but the progressive plot was mostly lost; and the band broke up in 1982.
Phos was, in fact, the Greek band's fourth album, and represented a significant change in style from their earlier releases. Originally named Socrates Drank the Conium, the band centered their heavy, blues-based psychedelic rock on John Spathas's guitar work, influenced greatly by Jimi Hendrix. Not that much had changed by their third album, 1973's On The Wings, which was their first to see release outside of Greece. In the US, it was the first of two records from the band to see release on the Peters International Cosmos label. In 1975, the original trio of Spathas, drummer George Tourkogiorgis and bassist Anthony Trandalides, hooked up with Vangelis in London's Orange Studio (with future Nemo Studio manager Keith Spencer-Allen), just after the keyboardist moved shop to England (and prior to his big success as a solo artist). Vangelis provided significant contributions to the album, Phos, as both keyboardist and producer to the Tourkogiorgis/Spathas compositions. The opener "Starvation" is a remake from the band's first album. Spathas's multi-tracked guitars are still primary, but Vangelis's trademark keyboard tones provide additional color. "Queen of the Universe" and "The Bride" refreshingly hint at Greek folk music, while "Killer" goes for heavier rock. The complexities of "Time of Pain" and "Mountains," barring the latter's long fade are reminiscent of Gentle Giant—and, for that matter, good prog rock. Socrates only misses the mark when the tempo slows, as on "A Day in Heaven" and the group-written "Every Dream Comes to An End;" the former is pedestrian rock, and the latter is an uninspired blues-based instrumental. While it featured a unique combination of talent, this would be the only record from this lineup; though some years later, Spathas and Tourkogiorgis would reunite for another round of albums. In the meantime, Vangelis would, of course, continue being Vangelis.
Following the release of their last album in 1975, Pink Floyd had spent 1976 sinking hundreds of thousands of pounds into their Britannia Row Studios, where Animals was recorded. The bulk of the album had already been written before the session; "Dogs" first appeared in 1974 as "You Gotta Be Crazy," while "Sheep" was previously "Raving and Drooling." Roger Waters again dominates the picture, providing the album's grand and Orwellian concept. Dividing people into groups of dogs, pigs and sheep provided for some interesting lyrical matter (including a spattering of Psalm 23), but never mind a deeper meaning; one ultimately gets the feeling that Waters hates them all. Both memorable and unmemorable at the same time, his brief acoustic "Pigs on the Wing Parts 1 & 2" bookend the record. Waters's "Pigs (Three Different Ones)" is new material, though it certainly wouldn't have been out of place on the preceding album. Rick Wright and David Gilmour both provide some of their most heroic performances on record; in particular, check out the latter's guitar solo on "Dogs." Moreover, the album stands as one of the band's hardest rocking affairs, and perhaps one of their most listenable. The well-matured tracks are perfect constructs, and the production is well-suited for the material. Aubrey Powell's black-and-white photography furthers the Orwellian motif. In fact, the album's visual element—of a pig flying over the smoke stacks of England's Battersea Power Station—would provide a lasting image for the band, and one that featured prominently on the subsequent In The Flesh tour and, a decade later, in lawsuits. Though failing to top the charts, it earned Pink Floyd No. 2 and No. 3 spots in the UK and US, respectively. Not bad, considering that "punk" had just broke.
Pierre Moerlen was born in Colmar, France, in 1952. A star pupil at Conservatoire Régional de Strasbourg, one of his earliest rock groups, Hasm Congélateur included future Magma guitarist Gabriel Fédérow. During his tenure in Gong, Moerlen took more than one sabbatical for a parallel career in classical music—as a percussionist with the Percussions de Strasbourg. Thus, when he set out to recruit a new lineup for Gong, it was obvious which direction he would take-percussive! With only Mireille Bauer returning from the Shamal band-the two had known each other since they were teenagers-Moerlen added two other percussionists: his brother Benoît and Mino Cinelu. The lineup was rounded out with former Gong (and Magma) bassist Francis Moze, returning after a three-year absence, and guitarist Allan Holdsworth, fresh from a stint with The New Tony Williams Lifetime. Entitled Gazeuse! (roughly French for "Sparkling"), the album was produced by Dennis MacKay and saw release in early 1977. Both "Expresso" (also the US title of the album) and "Night Illusion" open with the guitarist's signature tone, and reveals a jazzy band underneath. Clearly, the emphasis is on rhythm; Moerlen and company provide a densely-arranged fusion, with Moze's fretless bass a superb complement. True to its name, "Percolations" is the percussion tour de force on the album, and also features Benoît's vibraphone. The second side contains another two numbers that feature Holdsworth's huge guitar riffs: "Shadows Of" first appeared as the title track on the guitarist's 1976 album, Velvet Darkness, while "Esnuria" would feature one last contribution from a lingering Didier Malherbe. Throughout, Moerlen delivers his powerful and unique take on fusion, which mostly accentuates the "rock" in jazz-rock. However, the Gong reunion concert in Paris in May (where most Gongs past and present took the stage), would signal changes for the band.
In 1975, the original 1969 lineup of Renaissance tossed around the idea for a reformation. Sadly, guitarist Keith Relf died in May 1976 before anything was formalized; he was electrocuted in his home while playing guitar. But the unfortunate turn of events (sorry) energized the remaining members to form Illusion, taking their name from the second album of the original Renaissance lineup. Drummer and main composer Jim McCarty, singer Jane Relf, bassist Louis Cennamo and keyboardist John Hawken (ex-Armageddon and ex-Strawbs, respectively) recruited guitarist John Knightsbridge and drummer Eddie McNeill. Signed by Island Records, the group released their debut album Out Of The Mist in early 1977. The bright “Isadora” leads off, picking up right where the old lineup left off. Hawken’s piano is to the fore, with the combined voices of McCarty and Relf high up in the mix; it’s a typical melodic number for the band, with a beautifully-arranged fade out. McCarty’s acoustic guitar opens “Road To Freedom,” but Hawken’s piano quickly takes over and leads the song through to a rousing finale. “Beautiful Country” is a prime example of Illusions’ craft, with Cennamo’s ever-present bass a perfect complement to the delicate arrangement. “Solo Flight” offers Knightsbridge a chance to shine on electric guitar. A capable rehash of “Face of Yesterday” was first proffered on their 1971 namesake album, while “Candles Are Burning” is perhaps a nod to the Dunford-Haslam led band. The band supported both Dory Previn and Bryan Ferry, and the album even rose into the lower reaches of the US charts. Wagering for success in the rapidly-closing progressive era, former Yardbird Paul Samwell-Smith was brought in to produce a second album, Illusion, released in 1978. Whether the powerful rock of “Madonna Blue,” the quiet introspection of “Louis’ Theme” or the more progressive “Cruising Nowhere,” it was again a strong showing, though without a US release. Demos for a third album were recorded (released in 1990 as Enchanted Caress), but after being dropped by Island Records, the band quickly split up. McCarty’s next major project was the partial Yardbirds’ reunion with Samwell-Smith and Chris Dreja, Box of Frogs, in 1984.
By the time Ian Anderson got around to writing this, Jethro Tull's tenth studio album, he had moved outside London for a life in the country—and, presumably, he had gotten over the fact that he was indeed too young to die. "Ring Out, Solstice Bells" was initially released (as an EP) the previous November for the holiday season and managed (surprise, surprise) to chart on the UK Top 40. Though the album's subject matter and cover image seem to have turned folksy, there's little folk music inside Songs From The Wood, save perhaps for the songs' subject matter. The title track opens with Anderson's multi-tracked vocals, before breaking into a typical Tull-style rocker. But while the production may suit the instrumental fire, his voice sounds unnatural and over-produced. Longtime orchestral arranger David Palmer is the new player, and along with John Evan, they now give the band four hands on the keyboards. "Hunting Girl" and "Pibroch (Cap in Hand)" both feature solid arrangements, making the most of both keyboardists while offering some great guitar work from Martin Barre. The second side's "Velvet Green" is primarily an acoustic number, while "The Whistler" has a folksy hook and an excellent instrumental break. As a single, "The Whistler" b/w "Strip Cartoon" only made the lower reaches of the US charts. The album, however, charted well, reaching No. 13 in the UK and No. 8 in the US. In February, Jethro Tull toured the UK for the first time in over three years.
