At the beginning of the year, Christian von Grumbkow put down his guitar to become the band's manager (although he would continue to provide lyrics for their music). Spaniard Pablo Weeber, on a recommendation by Guru Guru, took his place, adding a significant mark to the band's sound. Rare Birds was recorded with Cedric Beatty and Manfred Schunke, the latter of the Kunstkopf or "artificial head" fame. "Häktik Intergaläctic" and "Sky Lift" open, revealing a more song-based approach, though one no less progressive.

The double bank of Boeing 747 landing lights provides the cover image for Genesis' second live album, while the four sides of vinyl supply the sound. And whereas Genesis with Peter Gabriel had the frontman of all frontmen, Genesis without Gabriel had lights, smoke, mirrors and two drummers! Yet whatever was happening on stage, the music was still the foremost attraction; and that, of course, was the band's key to success. In concert, Genesis was nothing but impressive, and the double-album Seconds Out certainly attests.

With their records now charting in the US and UK, what must have been a confident Rush flew to Wales and Rockfield Studios to record A Farewell To Kings, their fifth studio album. It represents a substantial leap in their development. The title track opens, and it’s a typical Rush construct: Propelled by Neil Peart’s masterful drumming, Alex Lifeson and Geddy Lee hammer away until Lifeson’s lead guitar takes full-flight. The epically constructed “Xanadu” takes the concept of 2112 one step further; Lee also doubles on keyboards, providing a new augmentation to the band’s sound.

After the success of their previous album, Steve Hillage and Miquette Giraudy went off to Los Angeles to record Hillage's third solo album, Motivation Radio—this time under the production guidance of Malcolm Cecil. Cecil, along with Robert Margouleff, recorded as Tonto's Expanding Head Band; they released an album of electronic music in 1971, which ultimately led to a stint producing Stevie Wonder, among others. Joining as the rhythm section were session musicians Joe Blocker on drums and Reggie McBride on bass.

After the departure of Doug Ferguson, Camel entered the studio in 1977 with Andrew Latimer doubling on bass. However, Latimer vacated the role, as bassist Richard Sinclair finally took the call, providing a tenuous link to the Canterbury scene. Saxophonist Mel Collins, having first been a guest on the preceding tour, also joined the band as a full-fledged member.

After Hugh Banton's departure at the end of 1976, David Jackson also reconsidered his place in the band, and opted instead for the stability of a teaching career. With the pair gone, so went the "Generator" from the band's name. Peter Hammill and Guy Evans quickly rebuilt the band as a four piece, rehiring bassist Nic Potter and recruiting Graham Smith on violin, the latter having previously played with Charisma labelmate String Driven Thing and guested on Hammill's previous solo album.

With the live double-album behind them, Gentle Giant returned to the studio. The band had reached a kind of artistic critical mass by now, as had most progressive bands of the era; but in commercial terms, record sales had hit a plateau. Thus, change was in order, and the order was something shorter and certainly different: The Missing Piece. The album kicks off with the bright, cheerful and brief "Two Weeks in Spain," quite unlike anything Gentle Giant had ever recorded before. And that was only the start!

Estranged son of famed composer Maurice Jarre, French synthesist Jean-Michel Jarre studied with Pierre Schaeffer's GRM during the late 60s and early 70s. His earliest release was a single, "La Cage" b/w "Eros," a mixture of electronics and tape collages, none of which should be surprising, given the pedigree. From this release to the international success of Oxygène was quite a leap, especially considering that heretofore, Jarre had only composed a few soundtracks at his burgeoning home studio in Paris.

Recording again for the American label Asylum, our Italian friends took off for Los Angeles to produce another English-language album, the appropriately-titled Jet Lag. Inside the West Coast jazz-rock scene, PFM struck up some friendships, including Frank Zappa and Jaco Pastorius; and even added an American, Greg Bloch, ex-Mark-Almond and It's A Beautiful Day, to replace Mauro Pagani. It should be no surprise then that the resulting album completely ditches the band's prog rock styling for something a lot closer to jazz fusion.

Coming into 1977, Alan Powell, Paul Rudolph and Nik Turner were given the boot from Hawkwind following a failed coup orchestrated by Turner. Retaining Simon House and Simon King, Dave Brock and Robert Calvert recruited Adrian Shaw on bass to complete the new lineup. Released in 1977, Quark Strangeness and Charm proves the Brock/Calvert songwriting team had hit their stride; and musically, Hawkwind is at its most progressive.