France never really took to rock ‘n' roll the way other Europeans did; in the 60s, French rock bands were few and far between, the yé-yé of Johnny Hallyday notwithstanding. Yet in the early 70s, "rock progressif" slowly infiltrated French culture; and of those bands that did emerge (Atoll, Catharsis, Mona Lisa), Ange was certainly the most quintessential. Formed in 1970 by brothers Christian and Francis Décamps, the band had consolidated into their most classic lineup in 1971, with Jean-Michel Brézovar on guitar, Daniel Haas on bass and Gérard Jelsch on drums.

David Bedford's classical credentials included study at London's Royal Academy of Music and tutelage under Italian avant-garde composer Luigi Nono. He crossed over into the rock world as the keyboard player for Kevin Ayers and the Whole World in 1969. In 1970, that band performed Bedford's The Garden of Love, written—in true avant-garde form—for "pop group." This association led to further collaboration with guitarist Mike Oldfield and others on the Virgin roster.

Area was another of Italy's finest exports, albeit rooted in fusion rather than progressive rock. The band was formed by Greek singer and organist Demetrio Stratos in 1972 and included main composer Patrizio Fariselli on keyboards, Paolo Tofani on guitar and Giulio Capiozzo on percussion. The bassist at this point was Patrick Djivas, who would later end up in PFM, while Eddie Busnello added saxophone. Their debut album Arbeit Macht Frei was released on the Cramps label in 1973.

Gryphon wasn't initially a rock band, but a folk band, and one playing medieval and Renaissance music at that; their first two albums were acoustic affairs recorded for the Transatlantic label. Richard Harvey and Brian Gulland, both Royal College of Music graduates, formed the band in 1971, and later added guitarist Graeme Taylor and drummer David Oberlé. Bassist Phil Nestor jumped aboard for their second album, Midnight Mushrumps, which featured the lengthy track of the same name.

If one had to pick an album to define progressive rock, it would be a double; and more often than not, Genesis' The Lamb Lies Down on Broadway would top the list. The sprawling double-album revolves around Peter Gabriel's story of a NYC street kid, Rael; that it roughly approximates every boy's journey out of adolescence is more than likely what gives the album its universal appeal. The anthem of "The Lamb Lies Down on Broadway" begins with Tony Banks's rolling piano giving away to Mike Rutherford's monster bass line.

That Kraftwerk ventured into pop territory isn't that far of a stretch; they'd always had a way with melody, and the whole krautrock trip was getting a little passé by now. The journey down side one of Autobahn is just like a Sunday afternoon cruise on the freeway: scenic, ambling with the windows down. Driven by a cheery, pulsing beat, "Autobahn" shifts between reoccurring themes throughout, the destination being as irrelevant as the location—once aboard, you just enjoy the ride.

Triumvirat hailed from Cologne, but offered a style of music that was pure British progressive rock. Their debut album Mediterranean Tales was recorded and released in 1972, with two Hans, Pape on bass and vocal, and Bathelt on drums, plus Jürgen Fritz on keyboards. Anchored by the classically-trained keyboards of the latter, the album sat firmly in Emerson, Lake and Palmer tradition, but contained enough originality to hold its own. Released by Capitol Records, the follow-up Illusions On A Double Dimple was the band's first in a run of albums to have chart success in the US.

With the opening tracks "Thought for Naught/A P.H.P.'s Advice," Didier Malherbe and Daevid Allen playfully set the stage for the third and final installment of Gong's Radio Gnome Invisible trilogy. For the most part though, Gong forgoes the song format of the previous album and instead rides the long rock-solid grooves of Mike Howlett and Pierre Moerlen's ace rhythm team. That said, it's hardly surprising that You is Gong's strongest release yet. The mantra of "Master Builder" ignites with Steve Hillage's formidable lead guitar.

For Gentle Giant's sixth album, the band wanted a "more spontaneous feel," prompting them to record most of the tracks on the first or second take. To that end, they succeeded, as The Power And The Glory ranks as one of the band's most unified and cohesive efforts. The album revolves around the concept of political power; and whether intentionally or not, the album's recording did coincide with the Watergate hearings, making it by-and-large a contemporary subject—something for which prog rock would rarely be known.

By the time the reinvigorated King Crimson recorded this third offering, the band was down to Robert Fripp and the rhythm section of Bill Bruford and John Wetton. Though it wasn't known at the time, Red would be their swansong, and an album on which Fripp could proudly wrap up the Crim saga. Oddly though, Fripp invited two former members to the recording, Ian McDonald and Mel Collins; while David Cross's part came from a previously recorded improvisation.