Rick Wakeman drew a solo contract with A&M Records while he was a member of the Strawbs; and while things were taking off with Yes, he found both time and inspiration for his debut solo record in a paperback book, The Private Life of Henry VIII. It's with no surprise then to find that every track on The Six Wives Of Henry VIII is dedicated to each of the infamous king's wives. Musically speaking, Wakeman's solo career had little to do with Yes music, as he composed very little for that band.

Following Colosseum's demise after their US tour in 1971, drummer Jon Hiseman retained bassist Mark Clarke for his next project: the considerably hard-rocking Tempest. With Paul Williams providing lead vocals, the ace in the hole was guitarist Allan Holdsworth. He had previously played in 'Igginbottom, a band that recorded an obscure (and unexciting) album for Deram Records in 1969, and had just played on Ian Carr's Belladonna album. Their self-titled debut, Tempest, opens with "Gorgon," revealing the band's heavy mix of blues and rock.

One of the few solo artists from Italy during the progressive era, Sicilian Franco Battiato was first heard as a beat singer in the 60s, as were many others of his generation. Battiato then signed to Bla Bla Records with Osage Tribe—defecting, however, for a solo career after just one single. His debut solo record, Fetus (with matching cover), was released in 1972. Primarily an acoustic affair, Battiato's songs were for the most part simple and almost folk in structure, albeit with a keen sense of melody.

This double-album has three things that make it legendary: An early live recording of Camel, a totally improvised set from Henry Cow and an example of Gong’s free form concert format. (The fourth side featured Global Trucking Village Company).

1972 saw Focus, now with Bert Ruiter on bass, back in the studio recording the formidable and lengthy double-album Focus 3. The record begins with the lively "Round Goes the Gossip..." then slides into the pastoral "Love Remembered." The bulk of the album, however, is two sprawling improvisations: "Answers? Questions! Questions? Answers!" and "Anonymus II" (sic). Both showcase the band's talents, namely, Jan Akkerman's guitar heroics and one tight rhythm section; be sure to check out Ruiter's funky bass solo on side three.

On their second release of the year, Gentle Giant delivers a more discrete and diverse record. Previously in the Welsh band Eyes of Blue and Pete Brown & Piblokto!, John Weathers was the newcomer; his hard-hitting drumming and a huge bass line launch "The Advent of Panurge" (again a nod to François Rabelais) into a hypnotic groove, from which the song switches back and forth from its chorus. The Moog on "A Cry For Everyone" squawks proudly, here the lyrics are under the influence of Albert Camus.

Renaissance first appeared in the timeline back in the late 60s, as a group formed by ex-Yardbirds members Keith Relf and Jim McCarty. Quite incredibly, the same band reappeared years later with no original members. Their auspicious "re-debut" Prologue, the first of two albums for Capitol Records, builds on the premise of their predecessors, but with some changes: The title track bangs open with John Tout's grand piano, copping a quote straight from one of the Russian Kuchka ("mighty handful").

By the time Kingdom Come had gotten around to recording their second album, the band had slimmed down to guitarist Andy Dalby, organist Michael "Goodge" Harris and drummer Martin "Slim" Steer—all retained from their first album, Galactic Zoo Dossier. Bassist Phil Shutt, however, was new. Frontman Arthur Brown hadn't changed; and while the tracks approach a more linear presentation, the resulting self-titled album contains the same bizarre cut-up weirdness as their debut.

Rather than rest his fate on Vincent Crane's whim, vocalist Pete French took an offer to join Cactus after a US tour in early 1972. Undeterred, Crane called a recently ex-Colosseum Chris Farlowe to join Atomic Rooster. The new band previewed material from the album on a particularly excellent set for the BBC in June, recorded at the Paris Theatre. The resulting Made In England album is again another strong effort, and one quite novel in the timeline. Here Crane ups the mixture of soul, something almost unheard of in progressive circles.

Peter Gabriel's appearance began to (literally) blossom during the summer prior to this album's release. After he debuted his partially shaven head at the Lincoln Festival in May, the costumes weren't far behind. His between song chatter—ostensibly done to allow time for the band to tune up—was as cryptic and incredible as his lyrics; and indeed, Foxtrot gave him the material to back it up.