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.

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.

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.

Renaissance’s live double-album—recorded on their Scheherazade tour at Carnegie Hall with the New York Philharmonic, with Tony Cox conducting—is by most accounts their best (and most consistent) document on record. The band integrates well with the orchestra; that’s not much of a surprise though, considering that Michael Dunford’s compositions were classical in nature. In fact, the band’s music often comes closer to the sound of a Broadway stage show than that of a rock concert, which perhaps explains their significant audience in New England.

Cyrille Verdeaux's second album for Virgin Records was again recorded at The Manor Studio in the UK, with Mick Glossop producing. Clearlight (the band) now featured six members, including ex-Zao bassist Joël Dugrenot, who contributed two songs, and a host of guest friends. The opening track "Chanson" is a lush affair, its under-mixed vocals provoking an exceptional effect. And if you thought David Cross (from King Crimson) couldn't play violin, listen up to the end of the track.

After leaving Gong in 1975, Daevid Allen, with Gilli Smyth and their children, moved into semi-retirement in Majorca-only to emerge a year or so later with the excellent Good Morning album for Virgin Records. Recorded with the Catalan group Euterpe, the record is primarily an acoustic affair, showcasing Allen's idiosyncratic songwriting. The band, featuring the acoustic guitars of Pepe Milan, the various keyboards of Toni Pascual and Ana Camps's high-soaring backing vocals, offers a gentle, Spanish-tinged and mostly acoustic backing to Allen's tunes.

With ex-Carmen bassist John Glascock now on board, the interminably titled album, Too Old To Rock ‘n' Roll: Too Young To Die!, followed quickly after the last Tull record. Originally intended as a musical (I've heard that before), Ian Anderson wrote the album around the story of an aging greaser, Ray Lomas-perhaps regrettably, in retrospect, as most fans took the work as being autobiographical-especially considering the likeness of the comic illustration that adorned the gatefold sleeve.

Camel's fourth record Moonmadness is generally regarded as one of their best efforts. After the success of The Snow Goose, the band undertook the daunting task of a follow-up. Written quickly between tours, the focus remained on the instrumental flair and songwriting of Pete Bardens and Andy Latimer. With Rhett Davies now manning production, the album opens with "Aristillus" (which should explain something about the US cover), a short track featuring Bardens's synthesizer work. "Song Within a Song" barely resurrects vocals, with Doug Ferguson taking the mic here.

Hoelderlin's third album was recorded less than a year after their second, and again consolidated their grasp of British prog rock. The band also experienced lineup changes: Hans Bäär (Hans Detlef Maahn) now replaced Peter Käseberg on bass, while Joachim Käseberg put down his guitar to concentrate on live sound—he was the first member to switch to the "business" side of the band. Guest Jörg-Peter "Büdi" Siebert, in a recurring role, added wind instruments. As the title suggests, the album is indeed divided into two halves.

The success generated by the previous year's Free Hand and Gentle Giant's extensive touring to promote it instilled the band a considerable amount of pressure for the follow-up. They entered the studio in February, reputedly less prepared than they'd hoped; but what they delivered was something more straightforward and precise than any of their earlier efforts. As the title indicates, the concept of Gentle Giant's eighth album is a mock interview with the band.