The Quiet Zone - The Pleasure Dome

Artist: Van Der Graaf Generator
Label: Charisma
Catalog#: CAS 1131
Format: Vinyl
Country: United States
Released: 1977-09
A1 Lizard Play 4:11
A2 The Habit Of The Broken Heart 4:19
A3 The Siren Song 5:43
A4 Last Frame 5:52
B1 The Wave 3:01
B2 Cat's Eye / Yellow Fever (Running) 5:04
B3 The Sphinx In The Face 5:40
B4 Chemical World 5:52
B5 The Sphinx Returns 1:10

Arranged By – Van Der Graaf Generator
Artwork [Cover Painting] – Jess Artem
Artwork [Liner Calligraphy] – Jet (16)
Artwork [Liner Collator] – Frank Sansom
Bass – Nic Potter
Design [Logo], Layout [Cover] – John Pasche
Drums, Percussion – Guy Evans
Engineer – Dave Anderson (3), Ian Gomm, Pat Moran
Lacquer Cut By – Junz*
Lyrics By – P. H.*
Music By [Toons] – Graham Smith (tracks: B2), P.H.* (tracks: A1 to A4, B1, B3 to B5)
Photography By [Cover] – Robin Schwartz
Photography By [Liner] – Anton Corbijn
Producer – Peter Hammill
Saxophone [Sphinx-like Saxophone Inserts] – David Jaxon*
Violin, Viola – Graham Smith
Vocals [Vox], Guitar, Keyboards – Peter Hammill


Gordianisation by Troeller.
All songs published by Static Music Ltd./Chappell & Co. Ltd.
Recorded, dubbed and mixed between 13th May - 12th June 1977 at Foel, Llanfair Caerinion; Morgan, London; Rockfield, Monmouth.
...that's all the info, so CRANK IT UP!!
With lyric insert

Strawberry Bricks Entry: 
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. Obviously, the new lineup presented a different sonority from the band, driven home by Hammill's new role as full-time guitarist. Yet the album is indeed a refreshing change. "Lizard Play" immediately illustrates the band's new textures. Anchored by Potter's monster bass and Evans's deft meter, Smith's violin provides an eerie accompaniment. "The Habit of the Broken Heart" is more typical, driven by Hammill's acoustic guitar; and it even sports an organ, albeit buried low in the mix. The album's classic is "Last Frame." Another relatively straightforward rocker, it's emblematic of Hammill's songwriting; though the addition of the Potter/Evans rhythm section brings it up to a new level. Whereas the mellow "Wave" demonstrates Hammill's keen sense of melody, "Cat's Eye/Yellow Fever (Running)" is pure electricity. Screeching from start to finish, it's Smith's showcase, but not easy listening. "The Sphinx in the Face" contains some Rikki Nadir, conveyed as only Hammill can deliver. The album stands as the most conventional yet from the band, but who am I kidding: It is by no means commercial rock. It failed to chart, which shouldn't come as a shock; but it also failed to secure a US release, their first album not to do so. Pressure was beginning to mount from Charisma as the band suited up for another tour.
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