Again recording as A.R. & Machines, 1972 saw Achim Reichel release the ambitious double-album opus, Echo. He enlisted the services of Conny Plank as engineer and featured a host of guest musicians including Dicky Tarrach, Hans Lampe, Jochen Petersen and others. It’s an unprecedented set, a complete long-form take of the A.R. & Machines’ trip, and easily one of the most stunning albums of the “krautrock” era.

Tim Blake was ousted from Gong following the completion of their Radio Gnome Invisible trilogy in 1974. After a solo recording contract with Virgin stalled, Blake found himself back in France, near penniless and homeless. He then teamed up with light artist Patrice Warrener to help pilot the Crystal Machine into what was perhaps the first full-on laser light show experience. The duo presented the production at a couple of weeklong residencies in Paris in 1975, before eventually taking the extravaganza to Britain in 1976.

Founded by keyboardist Chuck Leavell and the powerful rhythm section of drummer Jai Johanny Johanson (aka Jaimoe) and bassist Lamar Williams, the trio first made themselves known by opening shows for The Allman Brothers Band under the moniker We Three. Jaimoe, of course, was a founding member of the Allman Bros.; while both Leavell and Williams came on board in 1972.

In 1971, keyboardist Claudio Simonetti and drummer Walter Martino first teamed up in Il Ritratto di Dorian Gray: a band from Rome that played British-style prog rock. In 1973, Simonetti, now with guitarist Massimo Morante and bassist Fabio Pignatelli, traveled to London and recruited an English singer, Clive Haynes. Adopting the name Oliver, the band reputedly sparked the interest of producer Eddie Offord; it's an unsurprising connection, as music from this era sounds a lot like Yes! However, nothing panned out.

After wrapping up his East Wind fusion project, Stomu Yamash'ta next project would be the apex of his career. In 1976, he assembled a superstar lineup that included Steve Winwood, Klaus Schulze, Rosko Gee, Al Di Meola, Michael Shrieve and Pat Thrall (the latter from Automatic Man), and recorded Go for Island Records, with Dennis MacKay producing. The opening track's lush strings unfold to Winwood's ever-soulful voice on "Crossing the Line." It's certainly a prototype of the kind of music that would yield hit singles for the singer in the 80s.

Led by Robert John Godfrey, The Enid was a uniquely progressive act that, despite having first appeared in the mid-70s, had staying power on through the late 80s. Godfrey first appeared on the timeline in 1969, overseeing orchestral duties for Barclay James Harvest. In 1974, he recorded a solo album for Charisma Records titled The Fall Of Hyperion. Godfrey met longtime guitarists Francis Lickerish and Stephen Stewart at Finchden Manor, a public school for troubled adolescents.

Led by Fumio Miyashita and Kei Ishikawa Far Out was one of the original Japanese psychedelic bands. They released one album of lo-fi psychedelic rock, 日本人 (“Japanese”), in 1973. Miyashta then recruited a new lineup as Far East Family Band, including two keyboardists: Akira Itoh and Masanori Takahashi, the latter more famously known as Kitaro. Nipponjin, which carried the subtitle, “Join Our Mental Phase Sound,” was mostly a re-recording of their “The Cave” Down To The Earth album, but with English lyrics and Klaus Schulze hired for the remix.

Bassist Peter Vink and drummer Beer (what a great first name!) Klaasse, both previously in one of the Netherlands' original R&B bands, Q65, founded Finch. After a series of personnel changes, the duo recruited guitarist (and composer) Joop van Nimwegen and keyboardist Cleem Determeijer. The band then inked a deal with EMI and recorded their first album, Glory Of The Inner Force. "Register Magister" introduces the Finch sound.