Novalis were reduced to a quartet for their next album, Sommerabend. Produced by Achim Reichel, the symphonic record again bypasses the overt complexities of most prog rock of the day. Written by Lutz Rahn, the instrumental "Aufbruch" opens. After the spicy intro, Novalis' large, sweeping and melodic lines take over, propelled by Hartwig Biereichel's powerful drumming. Detlef Job's guitar is at the fore, and Rahn lays his hand on a few more keyboards.

In 1974, Achim Reichel rediscovered Novalis for his Gorilla Musik production company. New to the band were two guitarists, Detlef Job and Carlo Karges. The latter, previously with Tomorrow's Gift, would make a significant impact with both his songwriting and German-language lyrics. In fact, Novalis would be one of the first German groups of the era to shun the prevailing trend of English lyrics to instead explore the lyricism of their native tongue. Back with the Brain label, they released their second album, simply titled Novalis.

Novalis took not only their namesake from German poet Georg Philipp Friedrich Freiherr von Hardenberg, but also drew from his concepts of lyricism and romanticism to form their highly original music. The band was unique among German progressives in that they generally bypassed the British idiom of prog rock to offer something uniquely their own. The band formed in the early 70s in Hamburg, combining the talents of bassist Heino Schünzel, vocalist Jürgen Wenzel, keyboardist Lutz Rahn and drummer Hartwig Biereichel. Their debut album Banished Bridge was released on the Brain label in 1973.

Perhaps the most easily recognizable “trademark of quality” from the era, Vertigo Records delivered a wide range of music during the late 60s and early 70s. A few of their acts, like Black Sabbath and Rod Stewart, went on to superstardom; while most others would have to be content in releasing what would become some of the most collectible records of the era. Beggars Opera was a band of the latter set. Formed in Glasgow in 1969, the band consisted of vocalist Martin Griffiths, keyboardist Alan Park, drummer Raymond Wilson and guitarist Ricky Gardiner.

In 1973, Wallenstein switched to Rolf-Ulrich Kaiser's Kosmische Musik label, and saw some personnel changes. Jerry Berkers left and was replaced by bassist Dieter Meier; while a new member, Joachim Reiser, joined on violin. The band then rechristened itself as "The Symphonic Rock Orchestra" and released the excellent Cosmic Century album. Jürgen Dollase's piano still dominates, but as the lead-off track "Rory Blanchford" attests, Reiser's violin is indeed a new texture.

Though originating from Mönchengladbach, Germany, Wallenstein sported an international lineup: Keyboardist Jürgen Dollase and drummer Harald Grosskopf aided American Bill Barone on guitar and Dutchman Jerry Berkers on bass and vocals. Their debut album Blitzkrieg shared the band’s original name; their choice of using a term associated with Nazi Germany was controversial for the time. Released on the Pilz label, the album was produced by Dieter Dierks. Written by Dollase, Wallenstein’s symphonic styling is based on his classically-trained piano playing.

From Hannover, Eloy formed in 1969, taking their name from sci-fi author H.G. Wells's Time Machine. As with many German bands at the time, Eloy covered English bands, which had considerable influence on their music. Oddly enough, the band gained a recording contract by winning a talent contest. Their hard rock debut, sung in English (as were all their albums), was a private release, but constant touring led to a deal with EMI.

Armed with a two-album deal from A&M Records (and reportedly signed by Herb Alpert) it was at manager Giorgio Gomelsky's request that Christian Vander firmly took the reins of Magma to realize his epic work, Mekanïk Destrukïw Kommandöh. It tells the story of Nebëhr Gudahtt, a sort of apocalyptic prophet from the planet Kobaia—Book of Revelations-type stuff, really. Recorded versions existed as early as January and the piece was performed in New York in July (with a horn section that included the Brecker Brothers); the album, however, is the grandest of presentations.

While Daevid Allen and Gilli Smyth were off in Majorca, the core group of Tim Blake, Steve Hillage and Didier Malherbe—with newcomers Mike Howlett on bass and Pierre Moerlen on drums—spent the spring touring France as Paragong. When the couple returned, this "classic" lineup completed their first UK tour in the summer, and then returned to France to record the second installment of the Radio Gnome Invisible trilogy.

Gentle Giant recorded their fifth album in the still-settling wake of the eldest Shulman Phil's departure. The band was back at Advision, but for the first time since their debut without engineer Martin Rushent. Like the black-and-white cover, In A Glass House has a stark, monochromatic feel to it; but nevertheless contains some classic Giant material. "The Runaway" kicks off on John Weathers's solid offbeat; and along with "Experience," both songs would remain concert favorites for some years, albeit in shortened form.