Despite being relative latecomers to the scene, Camel eventually earned a considerable reputation as a progressive rock band. Their modest commercial success kept the band busy, but just outside of the big league. Hailing from Surrey, guitarist Andy Latimer formed The Brew in the late 60s. Bassist Doug Ferguson brought in drummer Andy Ward and the band landed a gig in 1971 backing singer-songwriter Phillip Goodhand-Tait. However, this proved unsatisfactory; so in a bid to make it on their own, the band secured the services of Pete Bardens on organ from a Melody Maker advertisement. Bardens, of course, had a long history in the London rock scene, having already worked with Peter Green, Mick Fleetwood, Rod Stewart and Van Morrison. Camel's debut album was released by MCA in February 1973, but the band was quickly dropped from the label, despite successful tours with Barclay James Harvest and Stackridge. Live recordings from the period confirm that Camel did have a jam-band feel; just check out the Santana-esque "God of Light." Camel then signed on with Gama management, who secured the band a record deal with Decca Records. Produced by David Hitchcock, Mirage was their issue. The straight-up "Freefall" opens, revealing the band's unpretentious and dynamic sound. The instrumental "Supertwister" takes its inspiration from the Dutch group Supersister, whom Camel toured with throughout Europe. Camel then attempts their first stab at interpreting sci-fantasy literature; here, Latimer offers the "Nimrodel" suite (taken from J.R.R. Tolkien's Lord of the Rings). The instrumental "Earthrise" has a bit of Caravan sound to it, but the similarity is merely coincidental. The "Lady Fantasy" suite lightens up with a Focus-like middle section and reprise, while Bardens's overdriven organ solo winds down the suite. Despite significant touring, including almost six months in the US, the album failed to chart. And yes, the original album cover was initially proposed as a marketing campaign for the European branch of the tobacco company of the same name.
The roots of Hatfield and the North go back to the Miller brothers-guitarist Phil and keyboardist Steve-and the final days of Delivery in mid-1972. In early 1973, keyboard player and Dave Stewart replaced Steve, joining the core of Phil, bassist Richard Sinclair (ex-Caravan) and drummer Pip Pyle (ex-Gong). Stewart had previously been in Egg and replaced keyboard player Dave Sinclair, who returned to Caravan. The band spent most of 1973 touring, including several visits to the Continent. One of the first of the Canterbury bands to sign with Virgin Records, their self-titled debut album was recorded by Tom Newman at The Manor Studio the previous winter. It's easy to see what the fuss is about. Hatfield's music is instantly recognizable—highly arranged, mathematical in structure and definitely not in 4/4 time! Composition credits are to the individual members, yet each track flows effortlessly into the next, serving as another testament to the band's cerebral virtuosity. Stewart's keyboards are central, but Miller's thick-toned guitar and Sinclair's soothing voice are also distinct signatures of the band. The debut includes several classics, including Robert Wyatt's ethereal vocalizing on "Calyx" and the rolling instrumental "(Son Of) There's No Place like Homerton." Sinclair's "Licks for the Ladies" kicks off a small batch of vocal efforts on the second side, culminating with the angelic Northettes on "Lobster in Cleavage Probe." A single, "Let's Eat (Real Soon)" b/w "Fitter Stoke Has a Bath," was released in November. Hatfield, meanwhile, stayed on the road.
Appearing a little over a year after their last album, Starless And Bible Black was the second album from the new and improved King Crimson. Most of the record was based on live recordings from the previous fall in Amsterdam. It's no wonder, as Crimson spent the better part of March through November 1973 on the road, with only a few weeks in the summer to rest. The first side contains shorter instrumental pieces, as well as a few songs proper. Both "The Great Deceiver" and "We'll Let You Know" rely on fury to get their point across (which they do), while the gentler "The Night Watch" is simply resplendent. The other tracks on the first side are compositional fragments, the drum-less "Trio" being a throwback to the Islands era band. The second side houses the big pieces, beginning with the title track. After a slow start, it gains significant mass, rising to a glorious climax. With the added studio overdubbing, "Fracture" is far more structured but nonetheless exciting. The first half of the track hints at its potential, but it's not until its closing section that it fully erupts. Again, the key is the rhythm section of John Wetton and Bill Bruford; as Robert Fripp would later comment, they were "terrible to play over." Indeed. With only 12 minutes of studio recordings, the album is a little short on new material; but taken as a live record, it's another matter. The album charted in both the UK and US, at No. 28 and No. 64, respectively. King Crimson was back on the road after the album's release, and stayed there until their last concert on July 1st, 1974 in New York's Central Park.
Back in the 60s, the Iron Curtain split the divide between what was known as Eastern and Western Europe. As much of a cultural border as it was a political one, little music drifted from one side to the other. Yugoslavia, a conglomeration of several republics held together by Marshal Tito since the end of WWII, fell somewhere in between, just beyond the shadow of the USSR. The 60s saw most native groups, such as Yu Grupa or Bijelo Dugme, concentrate on pop singles; but by the early 70s, the more aggressive bands reached out toward the progressive, recording and releasing full-length albums for state-run record labels such as Jugoton or PGP-RTB. Korni Grupa formed in 1968 in Belgrade, but it wasn't until 1972 that their debut album saw the light of day. A curious mix of heavy rock and jazz leanings, the band was led by its namesake and keyboardist, Kornelije Kovac and new vocalist Zlatko Pejakovi?. With swinging melodies and positively electric guitar from Josip Bocek, the album held up to the standards of rock from the West. For the band's second album, Italian Dischi Ricordi stepped in, along with producer Carlo Alberto Rossi (CAR Juke Box label); the result was the English-language album Not An Ordinary Life under the name Kornelyans. The bright "Rising" introduces the band, while the longer title track offers brisk, shifting original progressive rock with a rousing instrumental workout. "Fall of the Land of Woman" features some pyrotechnic guitar and keys, while the "Man with a White Flag" is another well-constructed epic, again on par with anything from the West. Pejakovic's voice is particularly strong throughout, while Kovac is a top-shelf musician and composer. Also released as a single, "Generation 1942" works well with an extended arrangement here, but its memorable chorus is what steals the show. And yet, after a poor showing at the 1974 Eurovision Song Contest and no international fortunes from the Ricordi deal, the band broke up in late 1974 after a series of farewell concerts—part of which was recorded and released as the double-album Mrtvo.
PFM traveled to Advision Studios in London to record their third album, with Claudio Fabi producing both an English and Italian version (Isola di Niente), and with Pete Sinfield again providing the English-language lyrics. Bassist Patrick Djivas, previously with Italian fusion protagonists Area, was new to the band. The World Became The World presents a significantly harder edge than previous efforts, due in part to Franco Mussida stepping to the fore on electric guitar; the result is certainly one of PFM's best. "The Mountain" opens with a foreboding choral section, followed quickly by a breakneck rhythm from Franz Di Cioccio and Djivas. Bold and intricate, it offers grandeur in the finest of Rock progressivo italiano tradition. The gentle "Just Look Away" is a throwback to their previous album, while the title track (only on the English LP) chimes over a huge, King Crimson-like chorus. The fantastical "Four Holes in the Ground" opens the second side; pacing through its several sections, Mussida adds prime electric guitar to this new take on the tarantella of "Celebration." "Is My Face on Straight" follows in similar tradition; lyrically, it's the strongest track on the record, and features a sweet accordion solo from Flavio Premoli. The album closes with the powerful instrumental "Have Your Cake and Beat It." Shifting through several moods, it is one of PFM's most refined compositions, featuring virtuoso soloing from Mauro Pagani. The album was commercially successful and thus afforded PFM the opportunity to tour North America for the first time, supporting the likes of Robin Trower, Poco and Dave Mason. Their self-professed highlight was playing before 250,000 fans at the Charlotte Speedway Festival in August. A live album from this period was issued on Manticore early the following year under the title Cook (a reference to their culinary abilities). Indeed, it was a capable showcase of their live performance.
After the breakup of The Nice in 1970, Brian Davison and Lee Jackson moved on to solo projects. Drummer Davison's jazz-tinged eponymous album Every Which Way was short-lived however; the only release was in 1970. Jackson's Jackson Heights fared folksier, and perhaps, better; he released an excellent debut, King Progress, in 1970 for Charisma, and a further three for Vertigo, with guitarist John McBurnie and keyboardist Brian Chatton (Michael Giles guested on drums). Lee approached the former Mainhorse keyboardist Patrick Moraz to replace Chatton; but with success out of reach, they opted for a new band, Refugee, with Davison added to the fold. Moraz was a keyboardist of some distinction, so it's no surprise that the band provided the prog rock style that Keith Emerson rode to success in Emerson, Lake & Palmer. Signed by Charisma, Refugee released their self-titled debut album in 1974. The fiery instrumental "Papillon" opens with all guns blazing, especially from Moraz, who plays through an armory of keyboards. The ensuing "Someday" diverges, as Jackson's vocals can be an acquired taste. The lengthy "Grand Canyon" suite goes epic, traversing around various musical landscapes; while "Ritt Mickley" ("rhythmically") gets a little jazzy, though very much in Moraz's unique style. The closing "Credo" suite is another long-form track, passing the 18-minute mark. Davison and Jackson shine as the rhythm section and Moraz gives it his all; but whether this type of classically-inspired progressive rock is one's cup of tea or not will certainly temper one's reception to the album. With Rick Wakeman's sudden departure following the Tales From Topographic Oceans' tour, Yes put an end to Refugee by hiring Moraz away for close to a two-year stint. Davison would briefly join Gong, while Jackson quit the music industry altogether.
The arrival of ex-Gnidrolog drummer Nigel Pegrum on 1974’s Now We Are Six saw Steeleye Span’s music take a nod towards the progressive. Of course, having Ian Anderson in the producer’s chair certainly pushed things along: “Thomas the Rhymer” has that complex meter that is quite like Jethro Tull. Whether this is vindication of their progressiveness or proof positive that Anderson was a folkie at heart is another matter. Whatever the setting, and despite rather strange production, the band presents first-rate music here. “Drink Down the Moon” has a somber tone that shines in the electric setting, while “Two Magicians” remains traditional. “Seven Hundred Elves” and “Edwin” both dial up the prog quotient on their folksy tunes; and throughout, Steeleye Span offer a lively dose of electric folk—though the inclusion of “Twinkle Twinkle Little Star” and a rather languid cover of Phil Spector’s “To Know Him is to Love Him” (complete with David Bowie on saxophone) are dubious at best. Nonetheless, the album rose to No. 13 on the UK charts. Their second 1975 release, All Around My Hat—also the first in a series to be produced by ex-Womble Mike Batt—was a commercial success fueled by the title track, which rose to No. 6 on the UK single charts. However, their subsequent albums couldn’t sustain the momentum, even with the readdition of Martin Carthy, and after a live album in 1978, the band ostensibly broke up; though throughout the 1980s, recordings would occasionally appear. Prior would join Mike Oldfield’s touring band in 1979.
Tangerine Dream had recorded five albums before signing to Richard Branson's fledgling Virgin Records label in 1973. Upon arriving at The Manor Studio in late 1973, their lineup was the classic, triple-keyboard one, with Edgar Froese and Chris Franke complimented by Peter Baumann. Using their sizable advance, the band purchased a Moog modular synthesizer and set out to record Phaedra. Over the course of their previous recordings for the Ohr label, Tangerine Dream created archetypical krautrock; but while their earlier works for Ohr were mostly audio monoliths, the introduction of the arpeggio sequencer here, in what would become the classic trademark of the so-called Berlin School sound, marks the beginning of a new era for the band. "Phaedra," comprising the first side of the album, gurgles and chugs over its 16-plus minutes, and is constantly propelled by Franke's sequenced rhythms. The second side offers three shorter tracks. On "Mysterious Semblance at the Strand of Nightmares," the sinuous and romantic washes of melody hurl forward without rhythm. "Movements of a Visionary" starts otherworldly before descending into a deep sequence; it stands as the new archetypal TD composition. Finally, "Sequent C" closes the album with a lonely Mellotron line, proving that few were as accomplished on the instrument as Froese. He'd go on record claiming that Tangerine Dream never played "electronic" music; in any case, it sure was something original and spectacular. Considering the band had yet to play live in the UK, the album rose to a respectable No. 15 and sold a reputed 100,000 records there. The band's profile had profited from DJ John Peel's naming their previous release Atem his import record of the year, as well as from the influence that Virgin Records was now beginning to exude.
Hailing from Torino, Arti e Mestieri ("Art and Crafts") combined the talents of keyboardist Beppe Crovella and drummer Furio Chirico. The latter had spent time in The Trip, an odd Anglo-Italian group that once featured Ritchie Blackmore. The rest of the bandmates had previously played in a local Turin group, Il Sogno di Archimede, and included guitarist (and main composer) Gigi Venegoni, bassist Marco Gallesi, violinist and vocalist Giovanni Vigliar and Arturo Vitale on wind instruments and vibes. Following their live debut, the band signed with the Cramps label and entered the studio, with Area's Paolo Tofani producing. Tilt - Immagini Per Un Orecchio combines the soaring unison lines from fusion, the intensity of prog rock and a palette straight from the analog era. "Gravità 9.81" opens, propelled by Chirico's fervent drumming. The music is both light and complex, structured and yet never strict. "Strips" continues, adding a gentle, Italian vocal section, while "Corrosione" offers a majestic melody. The band make great use of space, with each ensuing composition flowing effortlessly into the next. Everything "joins" together for the 13-minute "Articolazioni," including some nice King-Crimson inspired passages; while "Tilt" is exactly that; everything turned sideways. The band supported the excellent album by touring, opening for PFM and Gentle Giant. Released in 1975, their second album, Giro di valzer per domani, added a new vocalist, Gianfranco Gaza, and is another solid effort. However, the band then splintered, with Venegoni going on to form his own group, Venegoni & Co, also signed to the Cramps label. By the time that their final effort, Quinto Stato, was released in 1979, the band was a different musical beast altogether, with Chirico and Gallesi being the only members from the original lineup. The early 1980s saw a few live-in-the-studio albums, but they were only distributed privately.
Hailing from Hagen, North Rhine-Westphalia, Grobschnitt was formed by drummer Joachim "Eroc" Ehrig in 1971. Eroc was previously in a beat-era band called The Crew, with lead guitarist Gerd-Otto "Lupo" Kuhn and vocalist/guitarist Stefan "Wildschwein" Danielak. An interim group Charing Cross added bassist Bernhard "Bär" Uhlemann and a second drummer Axel "Felix" Harlos, but by May, they had changed their name to Kapelle Elias Grobschnitt, later shortened to Grobschnitt ("rough cut") after a brand of tobacco. Their self-titled debut album was released in early 1972 on Brain Records and delivered an infectious blend of heavy jamming and psychedelic weirdness. Prior to their second album, Volker "Mist" Kahrs joined on keyboards, replacing Hermann "Quecksilber" Quetting. His addition would prove to be the catalyst in the development of band's symphonic signature. Released by Brain in April 1974, the double-album Ballerman opens with "Sahara;" it's exactly this type of lunacy that would hallmark Grobschnitt's live performances, always interspersed with comedic sketches from band members and roadies alike. "Nickel-Odeon" next kicks off with a grinding Hammond and trebly bass; Grobschnitt don't quite have the arrangement precision of their British counterparts, but their music is all the more organic for it. The track draws some similarities to what Yes were doing a few years earlier, and it's certainly as spirited and energetic. Immediately evident is the bane of most German rock groups: English-language vocals. Whether you dig Wildschwein's accented singing (I absolutely do) or not, you may not fall anywhere in between. While a nod is in order to their British counterparts, the remainder of the first record is first-rate prog rock: Both melodic and symphonic, it stands uniquely as Grobschnitt. But hold onto your pants: the album's second disc contains Grobschnitt's stunning instrumental achievement "Solar Music." Presented first as "Suntrip" on their debut record, the suite would be the apex of their concerts. Although the analogy to long-form Pink Floyd is bound to reverberate, Grobschnitt are just as talented. For nearly 30 minutes, they hover at stasis; locked high into a musical stratosphere, providing a wildly original take on space rock. Essential listening!
Following the New Trolls break up, guitarist Nico Di Palo—plus former members Maurizio Salvi, Frank Laugelli and Gianni Belleno—released Canti D'Innocenza, Canti D'Esperienca, with a big question mark and their names on the cover; for legal reasons, they couldn't release it as the New Trolls. It's very much a hard rock album, based on Di Palo's hard-riffing guitar. A reader's poll gave the group their new name, Ibis; and British drummer Ric Parnell, fresh from a defunct Atomic Rooster, replaced Bellano for their second album, Sun Supreme. Now signed to Polydor, the band switched to English-language lyrics, offering a song cycle on each side of the record; and some Nigerian mysticism too! Di Palo's acoustic guitar opens the first side, but "Travelling the Spectrum of the Soul" fires on all cylinders, delivering some heady prog rock. "The Valley of Mists," though, is the high point: After the acoustic intro, the band erupt on a classic riff and prove their metal. "Vision Fulfilled" resolves the cycle, reprising a few themes along the way. The second side offers the three-part "Divinity," an instrumental number that inches much closer to fusion. "Part 2" shows off the band's dexterity, but also includes a lengthy drum solo; while the last section gently fades away. A final album, Ibis, featuring Di Palo and Laugelli and a couple of new players, saw release in 1975. As the band went back to singing mostly in Italian, the album didn't have much of a chance outside of Italy; and Di Palo went back to the New Trolls.
At the end of 1973, Pierre van der Linden left Focus to form Trace with Rick van der Linden from Ekseption; British drummer Colin Allen, previously with John Mayall's Bluesbreakers and Stone The Crows, was flown in as a replacement. Although it had been over two years since the band's last album, Hamburger Concerto again offers another installment of classic Focus music. The brief "Delitiae Musicae" opens, confirming both Thijs van Leer and Jan Akkerman's love of classical music—something they also pursued in contemporaneous solo works. The rocking "Harem Scarem" follows, tongue firmly in cheek. After its protracted introduction, "La Cathédrale de Strasbourg" swings beautifully with a Robert Wyatt-esque whistle solo from van Leer. With its trademark Focus melody, "Birth" reprises itself for another round before ending the side. Allen is sure-footed throughout, providing a solid bottom to the music. The title track spans the entire second side; and despite the regal intro, Focus remains grounded throughout, delivering one of their finest compositions and performances on record. The classical borrowings and instrumental acrobatics are certainly here, but so is a lot of restraint; neither the band's arrangement nor their delivery ever gets tedious. Van Leer's use of vocalizing on "Medium I" is completely effective; and there's also an orgy of analog sounds, including a classic Leslie-driven guitar riff from Akkerman opening "Rare" and Van Leer's saw-toothed ARP lead on the finale, "One for the Road." Unfortunately, this was the last charting album for the band, reaching No. 20 in the UK and No. 66 in the US. The Focus story pretty much ends here. Featuring much shorter tracks, the highly funky Mother Focus was recorded piecemeal in 1975, with minimal contribution from Akkerman. Worth seeking out however is the compilation Ship Of Memories, which contains some of the aborted recordings from 1973 and an early version of the track "Hamburger Concerto." Massive personnel changes ensued before a final, best-forgotten album with P.J. Proby was released in 1978.
Lindsay Cooper, previously with the folk band Comus, replaced Geoff Leigh for Henry Cow's second album, Unrest, released in May 1974, again for Virgin Records. The opener, "Bittern Storm Over Ulm," is somehow based on The Yardbirds' "Got to Hurry." Nevermind the how, it is one of the most listenable tracks on the album; "Half Asleep; Half Awake" is introduced by a somber piano, but as it unfolds with the band playing, it reveals a delightfully melodic tune, though one turned sideways once the improvisation begins. Inspired by Béla Bartók's use of Fibonacci sequences, the 12-minute "Ruins" is a monster track, at least the first four minutes of it. The second side turns to improvisation and studio trickery as a lack of material and pressure for the album's completion mounted (similar to Neu!'s debacle on their second album). Chris Cutler lets loose on "Upon Entering the Hotel Adion," while a plaintive tune barely surfaces from the chaos of "Deluge." The album cover again depicted a paint sock; the artist Ray Smith was a friend of the band from their days in Cambridge. There's little doubt that the members of Henry Cow were some of the most talented musicians of the progressive genre, but unfortunately the avant-garde of their oeuvre had little to do with rock ‘n' roll, at least to this listener's ears. Henry Cow would then collaborate with the similarly-minded Slapp Happy.
His contract with Harvest Records fulfilled, Kevin Ayers switched labels and management. The Confessions of Dr. Dream And Other Stories was his debut for Island Records, seeing release in May 1974. Ayers sounds fresh on the two numbers that open, "Day by Day" and "Didn't Feel Lonely Till I Thought of You;" brisk and tuneful, the latter reveals Ollie Halsall's lead guitar for the first time with Ayers, and the female backing vocals offer soul to both tracks. The trio of "It Begins with a Blessing/Once I Awakened/But It Ends with a Curse" is a psychedelic throwback to the Softs era, but with a monstrously big production here. The four-part title track then spans the second side of the album, presenting something much deeper, darker and more progressive than the first side. Nico adds her Teutonic "charm" to the first section, while the remainder of the suite is mostly instrumental. With its varied soundscape, it offers the same challenge and reward of Ayers's previous records. Throughout, Rupert Hine's production is Ayers's clearest and most accessible, anchored, of course, by Michael Giles and John G. Perry's superb rhythm section. Ayers's next studio record wasn't as fortunate. Sweet Deceiver saw release in March of 1975; but despite the backing of both Elton John's management and guest piano, plus straight-up production from Ayers and Ollie "Haircut" Halsall, it fizzled, both commercially and critically. The well-known live record June 1, 1974 also was released around this time on Island. A showcase gig boasting an impressive lineup (Brian Eno, Nico, John Cale, et. al.), it was musically unceremonious, containing just one side of Ayers's music and a second of cover versions. That same year, Ayers collaborated with Eno and David Vorhaus on Lady June's (aka June Campbell Cramer) Linguistic Leprosy. An album of her poetry set to music, it saw release on Caroline Records.
In early 1974, Rick Wakeman took a break with Yes to complete the even more ambitious Journey To The Centre Of The Earth with the London Symphony Orchestra. Recorded live at the Royal Festival Hall on January 18th, 1974 with full choir, narrator David Hemmings and Wakeman's own English Rock Ensemble, his interpretation of Jules Verne's classic tale had little to do with prog rock, let alone rock music. That hardly mattered: By the time the keyboardist announced his departure from Yes, the album was a UK No. 1 and US No. 3, and even earned himself a Grammy Award nomination. The public's appetite for Wakeman's grandiose works was certainly real. So real, in fact, that Wakeman wrote The Myths And Legends Of King Arthur And The Knights Of The Round Table in 1975 while recovering from a mild heart attack (incurred following the last performance of Journey). Obviously not heeding his doctor's advice, Wakeman had that live premiere, complete with orchestra and ice-skating extravaganza, at Wembley's Empire Pool; and the album rose to No. 2 in the UK and the Top 20 in the US. But despite the success, Wakeman's finances took a nosedive and a rethink was in order. In the interim, he composed the soundtrack for Ken Russell's Lisztomania, which featured Roger Daltrey as the 18th Century "pop" sensation. The next year saw Wakeman scaled back with a new English Rock Ensemble and world tour for 1976's sci-fi album No Earthly Connection. Somewhat a return to form, it would make the UK Top 10, yet only rise to No. 67 in the US. By the end of 1976, Wakeman's solo career was on hold, with the world awaiting his next move.
South African-born Robert Calvert’s time in Hawkwind had, up until this point, been tentative; his documented mental instabilities kept him from having a permanent position with the band. Following his departure after the Space Ritual tour, Calvert teamed up with producer Roy Thomas Baker for his first solo album. The first, Captain Lockheed And The Starfighters, presented the true story of the Lockheed F-104 Starfighter, a plane with a dubious safety record. A mix of spoken word passages and songs, the album is every bit as good as a Hawkwind release. “The Aerospace Inferno,” “The Widow Maker” and “The Right Stuff” all have that trademark Hawkwind rhythm; and it’s no wonder as his backing band was—wait for it—Hawkwind! Simon King, Lemmy, Nik Turner and Paul Rudolph, along with a bevy of guests (including Eno, Vivian Stanshall and Jim Capaldi) all add their mark to Calvert’s songwriting. It’s a good preview of his upcoming role with Hawkwind, and to his future contribution to the band’s overall sound. “The Song of the Gremlin” features Arthur Brown, with Adrian Wagner on keyboards. The second side continues the story, again mixing spoken word tracks between each music track. “Hero with a Wing” slows the pace, offering a dark, brooding monologue from Calvert; but the following “Ejection” is the album’s crown jewel, and every bit a Hawkwind classic as any the band ever released. The album saw release on United Artists to positive acclaim but did not chart. The following year, Eno would produce Calvert’s second album, Lucky Leif And The Longships; however, the end result wasn’t as strong as the first time around, with only Rudolph, Turner and Simon House from Hawkwind participating. Later in 1975, Calvert would return to Hawkwind to begin a new chapter with the band on Charisma Records.
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. Their debut album, Caricatures, saw release in 1972 on the Phillips label, and immediately reveals their sonic signature: foreboding melodies of Francis's Viscount organ punctuated by the rest of the band's stop/start dynamic. Of course, the most identifiable trait was Christian's partly sung, partly spoken "chant." 1973's Le Cimetière des Arlequins followed, earning the band their first gold record. But Ange's crowning achievement is the excellent Au-delà du Délire ("Beyond Delirium"), released in 1974. The violin that opens "Godevin le Vilain" succinctly points out the obvious: Ange's music could only be French. Unfortunately for the non-speaker, the degree of theatre and drama within Christian's delivery defies mere translation. "Les Longues Nuits d'Isaac" cranks up the prog rock quotient, Christian's impassioned delivery now just as electric. With acoustic guitars picking away, the central melody of "Ballade Pour Une Orgie" is magnificent and lighter than the typically dark, sweeping melodies and progressive aplomb that dominate the album. The second side blasts off with "Exode;" the symphonic introduction and fiery close are reminiscent of Genesis' earlier work, but Ange are by no means a reproduction. "La Bataille Du Sucre" offers more of the band's cabaret, while "Fils de Lumière" follows with another electric workout. Although relatively raw and unsophisticated, the album is still perfectly detailed; just listen to the title track's beautiful melody. Its arrangement and instrumentation provide one of the more resplendent examples of early 70s prog rock; regardless of it sounding dated, it's nonetheless a true classic. Like Hallyday, the band never found commercial success outside the French-speaking world. And although their 1976 release, Par les fils de Mandrin, saw a re-recording in English (as By The Sons Of Mandrin), it was quickly withdrawn soon after release (the band was not happy with it). The band soldiered on well into the 80s, releasing albums of varying quality over continually shifting lineups.
Formed in 1972 in Lecco, Lombardy, Biglietto Per L'Inferno ("Ticket to Hell") was another Italian band that released one classic album before breaking up. The band was discovered at a music festival, and subsequently offered a contract with the Trident label, home to The Trip and Semiramis. The band centered around the keyboard talents of two Giuseppes, "Baffo" Banfi and Cossa, plus guitarist Marco Mainetti, vocalist and flautist Claudio Canali and a rhythm section of bassist Fausto Branchini and drummer Mauro Gnecchi. Their self-titled album, Biglietto Per L'Inferno, is another classic of Rock progressivo italiano, mixing heavy rock with symphonic overtures. "Ansia" ("Anxiety") gently opens the record, revealing a heady mix of organ and piano. The dual keyboards of Banfi and Cossa certainly charge the sonic palette, but the histrionics of guitarist Mainetti also have a large presence on the album. "Confessione" offers a bit of VdGG, and as the title suggests, a dark subject matter; while the track's backing chorus is reminiscent of Lucifer's Friend's voicings. "Una strana Regina" is a more introspective composition, while "Il Nevare" is a no-holds-barred rocker. The album closes with "L'Amico Suicida," another well-constructed number. Through its 14-plus minutes, the composition is full of suspense and surprises; and, of course, a splendid finale. Released in 1974, the album was produced by Maurizio Salvadori, who worked with such diverse artists as Dedalus, The Trip and Garybaldi. A second album produced by Eugenia Finardi was reputedly in the can; but with the Trident label folding, it wouldn't see release until decades later; the band subsequently broke up. Keyboardist Banfi would forge a solo career in the late 70s, offering a few albums of electronic music for Klaus Schulze's Innovative Communication label.
Christian Vander's previous effort (MDK) was the third installment of his Theusz Hamtaahk ("Time of Hatred") trilogy: the account of the struggle between the planets Kobaïa and Earth. "Wurdah Ïtah," released as the soundtrack for Yvan Lagrange's film of the Tristan et Iseult tragedy, was the second part. Recorded in April 1974, it was presented as a Vander solo album, with the drummer also providing the main vocal and piano. Jannick Top, of course, was on hand with his sturdy bass, while Stella Vander and Klaus Blasquiz also contributed vocals. "Malawëlëkaahm" ("Incantation") opens the piece, alternating between a pulsing groove and something far more melodic. But what's most revealing is the crispness and clarity of the recording. Reduced to piano, voice and the aforementioned rhythm of Vander and Top, the album showcases the essence of the Magma sound, which at this time was Vander's rhythmic drumming and Top's bass tone. Describing the latter's tone, Julian Cope said, "He didn't have amplifiers; he just plugged straight into the National Grid." "Fur Dïhhël Kobaïa" approaches the majesty of the "celestial" and the grandeur of Carl Orff's cantata, while "Blüm Tendiwa" just plain swings. The second side continues the journey, and it's a flowing work of unwavering splendor. "Ëk Sün Da Zëss" undulates over Top's massive bass, which takes an even deeper rumble on the finale, "De Zeuhl Ündazïr." The album was released on Barclay Records and later reissued on the Egg label in 1978; it was later retitled Wurdah Ïtah. The first section of the trilogy, Theusz Hamtaahk, would see the light of day in 1980 on Retrospektiw I-II, though versions were recorded for Radio Bremen and the BBC's Top Gear in Early 1974.
Following Ax Genrich's departure, Guru Guru added Eiliff's Houschäng Nejadépour on guitar, releasing the histrionics of Dance Of The Flames. It's a great record, combining guitar-heavy, instrumental fusion with the band's usual goofiness. "Dagobert Duck's 100th Birthday" contains the typically quirky Guru Guru melody; but here, a heavy arrangement dominates, with Hans Hartmann's bass up in the mix. "The Girl from Hirschhorn" and "The Day of Timestop" showcase Nejadépour's exceptional guitar playing, with the latter even charting Mahavishnu Orchestra territory. The title track covers similar ground—except for Neumeier's backwards drumming! The band gets acoustic for the next few tracks; "Samba Das Rosas" is just that, while "Rallulli" is ethnically percussive. Nejadépour's solo acoustic guitar track "At the Juncture of Light and Dark" leads into the electric fireworks of "God's Endless Love for Men," reprising the promise of the first side. But it wouldn't last; despite a brief interlude with Gila's Conny Veit, the band broke up in 1974. Neumeier would spend the next year or so doing session work, as part of Genrich's Highdelberg project and, most notably, on Harmonia's Deluxe album. He then worked with Conny Plank to record a solo album for Atlantic in 1975, Mani Und Seine Freunde. Featuring members of Kraan, Karthago, Kollektiv and Harmonia, it wrapped up his post-Guru Guru work experience, while musically-with its funky, up-tempo and Zappa-esque lunacy on "Chicken Rock" and ethereal tribal rhythm on "From Another World"-it pointed to Neumeier's future.
