With the Theusz Hamtaahk trilogy complete, Christian Vander here offers the second part of a new trilogy, Köhntarkösz. Once again filled with Magma's dramatic music, the album Köhntarkösz is mostly comprised of the two parts of its title track. "Part One" is built around a relatively simple refrain, pounded into several mutations over the course of the album side. Much of Magma's sonic enormity from the previous record is replaced with sparser musical arrangements and a great use of space. Both the new dual keyboard approach and refinement of the vocals render the work much easier on the ears. But the powerful rhythm of Vander and bassist Jannick Top is still front and center, and the premise is still the same; yet here Magma's dark and foreboding muse doesn't suffer from claustrophobia, and ultimately it's far more rewarding. Penned by Top, the short "Ork Alarm" closes the side, grinding under his sawing cello and mega-bass. It's a perfect example of the direction his solo work would take. "Part Two" immediately comes across as lighter and more melodic, built around the hypnotic playing of keyboardists Gerard Bikialo on organ and Michel Graillier on electric piano, but after the former adds a ripping solo, the track descends into more familiar chaos, which of course rises to a frenetic crescendo, vocalist Klaus Blasquiz in perfect form. The album winds down with the calming tribute "Coltrane Sündïa" (which translates from Kobaïan to "Coltrane Rest in Peace"). The album, recorded with The Manor Mobile's Simon Heyworth engineering and ex-Blossom Toes Brian Godding on guitar, again saw release on A&M Records. Magma would then undertake a short tour of the UK following the album's release.
Under the guise of Popol Vuh, the Munich-based Florian Fricke created one of the most original bodies of work during the 1970s. His first two records were krautrock of the most kosmische type. Released in 1970, Affenstunde ("Monkey Hour") saw Fricke's hand on the Moog synthesizer; he was one of the first in Germany to own one. By 1972, he had switched to organ for the following In Den Gärten Pharaos (now recording for the Pilz/Ohr label), but had yet to find the quintessential Popol Vuh sound. Adding Conny Veit from Gila on guitar and Djong Yun on vocals, Hosianna Mantra approached bliss. The drum-less pieces floated high above the ebbing piano and soaring guitar runs; it's truly heavenly music. In 1973, Daniel Fichelscher from Amon Düül II joined on drums and guitar, and Popol Vuh's music finally turned ever-so-slightly toward the progressive. The next three albums comprised a trilogy based on biblical texts. Released in 1974, Einsjäger & Siebenjäger is perhaps the most "progressive" of this trio. Here, the music is built around the trio of Fricke (now exclusively) on piano, Fichelscher on guitar and drums, and Yun providing vocals. Encompassing the second side, the title track is a tour de force. Opening cautiously, it slowly builds momentum, until the drums finally kick in and Fichelscher's guitar playing takes off. He's got a clean tone (almost indistinguishable from Viet's) that complements Fricke's piano. Rooted in improvisation, the song doesn't seem to follow any structure other than its own. But even when interpreting darker moods, the music remains spiritual and uplifting, and effectively predates most new age music. Popol Vuh's next few albums would further what was started here, and reach a pinnacle with 1976's Letzte Tage - Letze Nächte. That same year, Fricke would score the soundtrack for Werner Herzog's Aguirre; and in so doing, established a relationship that would extend for decades and provide a further outlet for his music well into the 80s.
Hailing from Poland, SBB was first known as the Silesian Blues Band, and later adopted the more political "Szukaj, Burz, Buduj" (Polish for "Search, Breakup, Build"). Formed in 1971 in Siemianowice, Upper Silesia by bassist Józef Skrzek with Antymos Apostolis (confusingly aka Apostolis Anthimos) on guitar and Jerzy Piotrowski on drums, the band was adopted by popular singer and organist Czeslaw Niemen as his backing band. Niemen recorded three albums in English for the CBS label, beginning with Strange Is This World in 1970. A mix of heavy blues, passionate vocals and organ, it was followed up by another heady mix of the progressive rock in 1973, Ode To Venus, before SBB broke off on their own in early 1974. Immediately a best-seller, SBB's self-titled debut is a live recording from a club in Warszawa. Released by Poland's national record label, Muza, the album reveals a mighty powerful group. Two sprawling jams cover each side of the record; free form, yet rooted in heavy rock, Anthimos also reveals himself as one electrifying guitarist. Skrzek switches between bass and organ, while Piotrowski provides a constant driving rhythm. The band's next album, 1975's career-defining Nowy Horyzont ("New Horizon"), ventures further into the realms of the Mahavishnu Orchestra, as well as adding symphonic touches to their sound-often interrupted by Skrzek's solo piano vignettes. Touring throughout Europe, the band was in their element playing live, and without a doubt, SBB was a world-class group. Two more albums appeared for Muza: Pamiec ("Memory") followed in 1976, and Ze Slowem Biegne Do Ciebie ("With the Word I Run To You") in 1977; with Skrzek incorporating diverse keyboards, both furthered the band's evolving long-form progressive rock. Yet by 1978, SBB began to look outside Poland's borders; first recording for the East German Amiga and Czech Supraphon labels, and later for the German Spiegelei label; the albums saw further reliance of vocals, and a move to more marketable sound. However, after a final album in 1980, SBB was no more, though their legacy stands as Poland's greatest musical export.
Robert Wyatt spent the beginning of 1973 in Venice, idling his time and writing the songs that would eventually comprise his second solo record. Upon returning to England, the spring saw Wyatt playing in WMMW- with saxophonist Gary Windo, keyboardist David MacRae and bassist Ron Mathewson. He then attempted to revive Matching Mole one final time, with Windo, Curved Air's Francis Monkman and a returning Bill MacCormick. In June, however, at a party for Lady June and Gilli Smyth, an inebriated Wyatt fell from a fourth-story window. The accident paralyzed him from the waist down and dashed any further attempts for a Mole reunion. Wyatt gradually convalesced, aided in part from the generosity of Julie Christie and Jean Shrimpton, as well as a benefit concert hosted by Pink Floyd and Soft Machine on November 4th, at the Rainbow Theatre. Wyatt thus separates himself from his "drummer biped" self from this point on, with Rock Bottom being the first record of his new life. Recorded early in 1974, Wyatt focuses on keyboards and voice, as well as percussion, to produce a wonderfully melancholic record. Tracks like the gentle "Sea Song" and the intimate duo of "Alifib" and "Alifie" are certainly personal, whereas the more up-tempo "Little Red Riding Hood Hit the Road" skips over a reverse-recorded backing. Mongezi Feza's trumpet features on the former, while Mike Oldfield's guitar is a sublime addition to the beginning of "Little Red Robin Hood Hit the Road;" the track ends though in the slow-motion of harmonium, Ivor Cutler's voice and Fred Frith's viola. The album was produced by Pink Floyd drummer Nick Mason and featured a host of Canterbury friends, including drummer Laurie Allan and bassists Richard Sinclair and Hugh Hopper. True to his resolve, Wyatt had a Top 40 single in the UK with a remake of Neil Diamond's "I'm a Believer" b/w "Memories" in September (the song was previously a hit for The Monkees), though his appearance in a wheelchair for a Top Of The Pops appearance sparked controversy. Wyatt would record his next solo album, the like-minded Ruth Is Stranger Than Richard, in 1975, before semi-retiring for the remainder of the decade.
Franco Battiato's next two recordings saw his music take another step towards the avant-garde. Combining synthesizers, piano, electronics, voices and tapes into a musique concrete of effortless, hypnotic music, Sulle Corde di Aries was released in 1973. "Sequenze e Frequenze" covered the first side, while three shorter tracks filled the second; here, Battiato opted for an eastern flavor, combining electronics and acoustic tabla, with his layered voice providing the magnetic icing. Clic followed the next year, again for the Bla Bla label. Leaving the tabla rhythms behind, Battiato instead arms himself with a kitchen sink of tape effects at the mixing console. The combination of sequencers and strings on "Propiedad Prohibida" is a standout. All in all, there's more atmosphere here than on most "ambient" recordings of the era. Both albums were compiled for international release by Island in 1974 (released though as Clic), substituting an extended version of "Revolution in the Air" from the former for the entire second side of the latter. Battiato then performed a series of concerts in London (supporting Magma), and completed a re-recording of his first album in English as well. However, a car accident hastened his return to Italy and scuttled attempts at international exposure. His albums during the latter half of the 70s veered straight off the timeline, as they had everything to do with 20th century avant-garde music, much more so than his acknowledged influence of Karlheinz Stockhausen here (the album was dedicated to him). But towards the end of the decade, Battiato would again change musical direction with the times—launching him to the top of the Italian charts, and on to a long and successful solo career in his native Italy.
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. Gentle Giant are meticulous throughout the album, constructing each phrase to the next with absolute precision. The band adeptly moves from instrument to instrument, each providing a unique color to the notes that they play. The performance is sprightly, while the recording is exceptionally clean; a prime example of vinyl's fidelity. Like the opener "Proclamation," none of the tracks exceed the six-minute mark. "So Sincere" is atypically dissonant; live, however, the track would take on Giant proportions. "Aspirations" features a melancholic electric piano, with exceptional acoustic guitar from Gary Green. Grounded by a quirky percussive riff, "Playing the Game" is the album's sleeper. The song also contains one of the era's classic organ solos from Kerry Minnear. "No God's a Man" is lighter and inventive, while "The Face" has that bluesy throwback to earlier Giant music. "Valedictory" scornfully reprises the opening riff of "Proclamation;" the story has come full circle, and the album ends just as it started. Never that popular in their native England, Gentle Giant fared better in the US, where they had signed to Capitol Records. The album reached No. 78 on the US charts. A single, "The Power and the Glory" b/w "Playing the Game" was released in the UK, but quickly withdrawn.
Hawkwind's ranks continued to revolve: Dik Mik left the band the previous August, followed by Robert Calvert, who left to record a solo album. Hawkwind returned to the US in March, for their 1999 Party tour, adding Simon House, ex-High Tide and Third Ear Band, on keyboards and violin. The album, Hall Of The Mountain Grill, its title taken from a cafe the band liked to frequent, also gives a nod to the work of classical composer Edvard Grieg. "The Psychedelic Warlords (Disappear in Smoke)" kicks off with a rollicking beat and chorus; House's presence is immediate, with his Mellotron lines painting the sonic landscape. He next adds violin to the ensuing slow-building instrumental "Wind of Change." Nik Turner's "D-Rider" continues, his vocal held back in the murky mix; while Dave Brock's acoustic "Web Weaver" closes the side. With its memorable chorus, Brock delivers a classic with "You'd Better Believe It," recorded live at Edmonton Sundown. The title track features House on piano, while Lemmy and Mick Farren deliver the rock ‘n' roll of "Lost Johnny." Del Dettmar's "Goat Willow" provides another instrumental interlude, before the band closes with the hard-rocking (and live) "Paradox." It's another classic album from Hawkwind, one that benefits from both House's musical contributions and Roy Thomas Baker's production. The single "Psychedelic Warlords (Disappear in Smoke)" b/w "It's So Easy" failed to chart, but the album rose to No. 16 in the UK and nearly broke the Top 100 in the US. However, disaster nearly fell the band when they returned to the US in the fall, as the IRS impounded their equipment due to suspected tax evasion.
In early 1972, Clive John split from Man and joined up with former Eyes Of Blue keyboardist Phil Ryan and bassist Will Youatt-all fresh from Pete Brown & Piblokto!-forming Iorworth Pritchard and the Neutrons. They never got around to recording, and all three subsequently returned to Man. After appearing on Man's Be Good To Yourself At Least Once A Day and Back Into The Future albums, Youatt and Ryan left in 1973 to reform The Neutrons. Their first album, Black Hole Star, featured both Weathers on drums and Williams on guitar. Musically similar to Nektar, "Living in the World Today" offers The Neutron's music. Weathers ever-solid drumming propels the tune, with Ryan's excellent keyboards to the fore. Driven by a great vocal line, "Mermaid and Chips," with guest Caromay Dixon on vocals, is another tour de force for Ryan's piano and keyboards. "Dangerous Decisions" offers that continuous melody over a driving rhythm that made Genesis-and here The Neutrons'-songs so epic. Dedicated to "the late, great" Graham Bond, "Dance of the Psychedelic Lounge Lizards" features The Incredible String Band's Stuart Gordon on violin and Help Yourself's Dave Charles on drums. It's got a rousing chorus, while the folksy "Going To India" again features Gordon on violin, but with Dixon handling the lead vocal. The album closes with "Snow Covered Eyes," another great example of the band's music. Released by United Artists in 1974, the album featured a silver foil cover, with the band's logo designed by Rick Griffin. The album also saw a US release on Import Records. The duo would record a follow up album, Tales From The Blue Cocoons, in 1975, with Charles on drums and Williams on guitar. It was another solid and expertly performed record, however, after the supporting tour, The Neutrons subsequently broke up. Ryan returned to Man, while Charles went on to Rockfield Studios as a recording engineer.
If Danish rock begins with Burnin' Red Ivanhoe, a band that featured composer and all-around musician Karsten Vogel, Secret Oyster was Denmark's first supergroup. With keyboardist Kenneth Knudsen from the Danish band Coronarias Dans and guitarist Claus Bøhling from Hurdy Gurdy, Vogel launched Secret Oyster to explore jazz fusion realms for the three composers. Signing to CBS, the band released their self-titled first album in 1973, that gained a US release as Furtive Pearl on the Peter's International Cosmos imprint. Outwardly jazzy, with plenty of soloing, the core to Oyster was its driving rhythm section—here with bassist Mads Vinding and drummer Bo Thrige Andersen. As the track "Public Oyster" demonstrated, when the band hit a groove, they turned up the rock quotient to ride it hard. Their second album, Sea Son, also saw US release on the Cosmos imprint, in late 1974. Jess Staehr, from Burnin' Red Ivanhoe, joined on bass, while Ole Streenberg, previously in Coronarias Dans, joined on drums. The short "Oyster Jungle" opens with all the pieces in place: punchy bass, crisp drumming, electric piano, Moog, sax and a bright riff—fusion, European-style. "Mind Movie" rides along a simple motif and features some stellar guitar work from Bøhling, while "Pajamamafia" gets a little funky in the middle. "Black Mist" opens the second side with a heavy riff, but steps up to some jazzy fusion, courtesy of Vogel's sax. A string quartet augments the electric piano and guitar of the somber "Painforest." But "Paella" rides Staehr's bass line into Gong-like territory; and just like the dish, it's a mixture of everything great the band could deliver. The band toured Europe and the UK, including an opening slot for Captain Beefheart. Their next album, Vidunderlige Kælling, was a soundtrack to a ballet by Flemming Flint and saw release in 1975; while a final album, Straight To the Krankenhaus, saw the band move to more predictable fusion territory.
Hailing from Florence, Sensations' Fix was really a front for Franco Falsini; in addition to playing guitar and keyboards, he also wrote and produced most of the band's music in-wait for it-Virginia. Joining him were two Americans: bassist Richard Ursillo, previously with Campo di Marte, and drummer Keith Edwards. Their debut album, Fragments Of Light, was released in 1974 on Polydor, and is certainly the most un-Italian of all the progressive rock to come out of Italy. While comparisons to Germany's krautrock may be in order-the album does rely heavily on electronics-the connection is tenuous at best. Portable Madness also appeared in 1974, revealing a darker edge, and is somewhat akin to Heldon's contemporaneous offerings. The sinister demeanor of "Smooth and Round" opens the album, before segueing directly into the angular guitar riff of "Fullglast." Halfway through, after a somewhat awkward transition, Falsini's keyboards take over and the track goes symphonic. The band gets heavy on "Phase One And Phase Two;" and the guitar/keyboard unison continues through to the closing "Underwater," which features one rubbery bass from Ursillo. After a synthesizer introduction, that same frenetic rhythm continues on "Pasty Day Resistance" while "Leave My Chemistry Alone" again reveals an ominous outlook. There's a uniformity to the music, with the vigorous rhythm always driving the melodic compositions forward. Unfortunately, the album suffers from lo-fi production—or maybe it's just a poor pressing? The soundtrack Nasso Freddo ("Cold Nose"), a solo album from Falsini, was released by Polydor in 1975. It's an album of (mostly) electronic keyboard works; and although it's like other similar albums of the era, Falsini's murky edge sets it apart. In 1976, the band added keyboardist Stephen Head and introduced vocals to their music, releasing the Finest Finger album. It's not that much of a departure, yet enjoys better production than previous efforts. A couple more albums appeared, including one for the US All Ears label in 1977; but disappointingly, all steered towards more conventional rock. After moving to the US in the late 70s, the band would change their name to Sheriff, releasing an album of pedestrian rock in 1979.
Founded in 1969 by Rick Davies, Supertramp initially had the luxury of being funded by a Dutch millionaire, Stanley August Miesegaes. Davies teamed with Rodger Hodgson and recorded two albums, the first of which was an interesting progressive record, reminiscent of Genesis or Caravan in places; the second was known for its cover. But by 1972, they had run out of favor with both their benefactor and their record label. The pair eventually assembled another lineup and set to record their breakthrough album, Crime Of The Century. The Davies/Hodgson-penned songs roughly revolve around the theme of sanity, which gives the album a concept of sorts and draws another parallel with Pink Floyd's Dark Side Of The Moon. The other thing, of course, is the immaculate production, courtesy of Ken Scott. Powered by Hodgson's distinct voice and signature electric piano, the album is slightly more pop-oriented than progressive; but nonetheless, it's a prime example of art rock from the era. The songwriting also is an early example of what would offer success to many British prog rock bands in the 80s and beyond. But I'll give credit where credit's due: Each song is more than memorable, and the band performs flawlessly throughout. The album reached No. 4 in the UK and No. 38 in the US. The single "Bloody Well Right" b/w "Dreamer" charted in the US the following year. Supertramp would then rocket to success (both commercially and artistically) with each successive album, culminating in the perfect pop of Breakfast In America in 1979. After a live double-album in the early 80s, the band would slowly meet their commercial demise, with Davies and Hodgson famously breaking their partnership.
Hailing from the Netherlands, Trace featured the talents of two (cousins) van der Lindens. Rick, the classically-trained keyboard player, cut his teeth with classical performance before leading Ekseption (sic) for nearly five years. That band found considerable success by rocking up classical adaptations and jazz standards, though they offered little more than novelty. And yet, this would become the popular Dutch variant of prog rock. Drummer Pierre had been in several Dutch groups, including Brainbox and Focus. In 1974, the pair joined up with bassist Jaap van Eik to form Trace. Unsurprisingly, the album offers a combination of classical adaptations interspersed with original numbers. The originals, such as the jazzy "Once" and "Progression," are the highlights. Rick was clearly a first-rate talent, and his performance is technically perfect, if a bit of an exercise. Expectedly, the album went gold in their native Netherlands. Trace released a second album, Birds, in 1975, but now with English drummer Ian Mosley, fresh from Darryl Way's Wolf. The first side contained a continuous suite written by Rick; and overall the album felt more varied, even introducing a little guitar and vocal into the equation. "Opus 1065" was a standout, with Darryl Way adding violin. Like their debut album, it also saw release in the US on Sire Records. A final album, White Ladies, appeared in 1976, after which Rick would go solo and Mosley on to Steve Hackett's band.
The Acqua Fragile story begins in 1971 in the city of Parma with two bands, Il Moschettieri ("The Musketeers") and Gli Immortali ("The Immortals"). The former included bassist Franz Dondi, keyboardist Maurizio Mori and guitarist Gino Campanini and supported The Rolling Stones on their first Italian tour; while the latter offered vocalist Bernardo Lanzetti and drummer and primary composer Piero Canavera. The new band, spotted and adopted by Premiata Forneria Marconi and their management, spent the next couple of years supporting many foreign acts in Italy. They signed to Numero Uno, and Claudio Fabi produced their debut album in 1973. Acqua Fragile is very much in the style of early Charisma-era Genesis; but, in a unique twist for an Italian band of this era, featured English-language lyrics—sung by the vibrato-laden voice of Lanzetti, who, conveniently enough, had spent his college years in the US. Their second album, Mass Media Stars, was released in 1974 and saw release in the US on Import Records. "Cosmic Mind Affair" blasts off with the band's trademark harmonies, bouncing over capable, lively Rock progressivo italiano. "Bar Gazing" reveals the band's gentler, acoustic side, while the title track opens with some intricate interplay over a great bass line from Dondi before arriving at the first verse. "Professor" has that playful lilt and rich vocals that exemplify Acqua Fragile's music. Overall, the album is a big step up from their previous effort, but it wouldn't last. Mori then left the band to resume university, and Lanzetti joined PFM for their Chocolate Kings album. The addition of The Trip's keyboardist Joe Vescovi and vocalist Roby Facini from the pop group I Dik Dik did not change Acqua Fragile's fortunes however, and the band broke up in 1975.
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. "A Sprinkling of Clouds" creeps out of Tim Blake's pulsing VCS3 synthesizer, again building into an instrumental tour de force. The second side starts playfully again, before descending into the mega-riff of "The Isle of Everywhere," which is probably the ultimate example of Gong at their best; both Malherbe and Hillage have plenty of room to solo over the hypnotic head-nod groove (credited to the collective Compagnie d'Opera Invisible de Thibet, or C.O.I.T.) From there, Allen winds up Zero the Hero's cosmic adventure fittingly, with the spacious and sprawling "You Never Blow Yr Trip Forever" (sic). Unfortunately, Allen did. Following a bad trip before a gig in Cheltenham, England in April 1975, he took his leave from the band (Gilli Smyth left after the You sessions). The others would continue on; and from there, the amount of music released under the Gong banner would blossom exponentially (a good thing). This album, however, was the only from the band to see a US release. In 1977, Virgin released a double-album, Live Etc., that documented the trilogy era with live and non-album tracks. That same year, in May, the trilogy band would unite (with a host of Gong side projects) for a one-off concert at Nouvel Hippodrome de Paris; their performance was released as Gong Est Mort, Viva Gong! on the French Tapioca label.
War Child was nearly an orphan. Originally meant as a soundtrack to a film (something about a child's adventures in the afterlife), Ian Anderson's unwillingness to relinquish artistic control killed the project. Jethro Tull recovered, and instead put together a collection of (previously written) songs, giving it the distinction of being their first album since Benefit to avoid an epic construct. The album though is rich in arrangement, with David Palmer's orchestrations playing a central role. Anderson adds as much sax as flute; while it seems like John Evan must have recently picked up an accordion, as it features prominently on many tracks! Although the songs are shorter, Anderson did not do away with any of his quirky signatures, nor the typical density in his compositions. In fact, the album serves as a blueprint for what Jethro Tull would produce for the remainder of the decade. Highlights are, undoubtedly, the playful "Skating Away on the Thin Ice of the New Day" and the radio-friendly "Bungle in the Jungle"—though both were leftovers from the aborted 1972 Château d'Hérouville sessions. The latter track would reach No. 12 on the US single charts; and the album was particularly well received in the US, where it reached No. 2. In the UK, however, it would have to settle at No. 14.
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. The album opens with the angular guitar riff of the title track, one certainly as memorable as "Larks' Tongues in Aspic, Part Two." Both "Fallen Angel" and "One More Red Nightmare" follow: two of the most cohesive and well-developed songs the band would ever produce. In fact, this side of the album presents King Crimson at their most accessible, if not their most electric. The second side, however, dives right back into improvisation. "Providence" packs just about everything improv-related from the last two albums into its short eight minutes, before the album ends with the epic "Starless." But unlike its bleak title, the song is autobiographical, incorporating many elements of each different incarnation of King Crimson throughout before ending in one last glorious refrain. But as glorious as it seemed, Fripp had enough of the music industry, touring, etc., and in September announced the band had "ceased to exist." He entered semi-retirement, only to come out of it as a "small mobile intelligent unit" towards the end of the decade. The album charted in both the UK and US (No. 45 and No. 66, respectively), as did both other studio albums from this lineup. A posthumous live document, USA, recorded on their June US tour, would see release in early 1975. Bruford and Wetton would later turn up in the prog rock supergroup U.K. with Eddie Jobson, who also contributed overdubs to the live album.
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. No doubt Triumvirat filled the void an inactive ELP had left; they sound exactly the same! The difference, then, lay not in the technically perfect execution, but in the bite-sized songs that comprise their concept albums. Bassist Helmet Köllen, a fine English-language vocalist, replaced Pape mid-album. Triumvirat then fortuitously toured the US in support of Fleetwood Mac, and the following year they released Spartacus to even further success. Musically identical, the album breached the US Top 30, and after further touring, the band opted to remain in Los Angeles. Köllen then left and was replaced by bassist Dick Frangenberg and UK vocalist Barry Palmer for the 1976 album Old Loves Die Hard, the band's last to chart. Triumvirat would continue until the end of the decade, changing lineups with every album, and yet always to diminishing returns.
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. Taking the title from a Nazi slogan, the album combined excellent fusion tinged with world influences and a politically-charged message; all of this from the self-proclaimed "International POPular Group." Since it was all sung in Italian though, the politics were essentially lost in translation. However, the voice of Stratos truly transcends language; distinctive, ballsy and aggressive, it's an instrument in and of itself (and something Stratos would explore with composer John Cage a few years later). With Ares Tavolazzi now on bass, the band's second album, Caution Radiation Area, continued in the same fashion, although augmented by more electronic weirdness. Crac!, however, is generally regarded as Area's finest hour. On the opening "L'Elefante Bianco," the power of Stratos's voice is instantly apparent; while "La Mela di Odessa (1920)" continues the band's instrumental fire, until its funky breakdown. Though it takes a while to get there, "Megalopoli" reveals the band's often-missed melodic sense. Next, "Nervi Scoperti" takes flight with a hyper-kinetic fusion gone sideways, while "Implosion" lends a nod to British exports Nucleus or Soft Machine. Italy would serve up a good deal of jazz fusion over the next several years; but Area would remain the benchmark to which it all would be judged. The following year, the band released the live album Are(A)zione, which gives a good approximation of how complex this dual keyboard band was; though 1976's Maledetti was their most avant-garde. Sadly, Stratos would succumb to leukemia in 1979. The remaining members would release another couple of albums before folding in 1980.
Forming in 1972, Atoll hailed from Metz, France, and was built around the trio of guitarist Luc Serra, bassist Jean-Luc Thillot and drummer Alain Gozzo. One of France's early proponents of rock progressif, Atoll's debut single from late 1973, "Je T'Aime Quand Je Te Vois" b/w "Change Ta Vie" sold quite well; and after a few changes in personnel, they released Musiciens-Magiciens in late 1974. With André Balzer on vocals, Michel Taillet on keyboards and Laurent Gianesini guesting on sax and flute, Atoll present a fully-realized progressive rock album, albeit one influenced by their British counterparts—still, quite an achievement for their debut. The harmonies on the opening "L'Hymne Medieval" shine, and also reveal a strong French-language vocalist in Balzer. "Le Baladin du Temps" highlights the songwriting skills of the band, as the track shifts from theme to theme with relative ease and continuity. The short title track hosts a great solo from Taillet, while "Au-Delà Des Ecrans De Cristal" rocks under Serra's guitar work. The closer, "Je Suis D'Ailleurs," begins with an amazing groove, dives for a fortunately quick and rather uninspired drum solo, and then recovers, reprising some main themes from the album. Released in 1974 on the Ariola imprint Eurodisc, the album saw release in Canada on Gamma Records; lest we forget, Quebec is a French-speaking province! A second album, L'Araignée-Mal, came out the following year, again on the Eurodisc label—with Christian Béya replacing Serra on guitar, and the additions of Richard Aubert on violin and Bruno Géhin, a second keyboardist. To wit, it's one of Atoll's finest records. By their third album, Tertio, in 1977, a back-to-a-five-piece Atoll had caught the fusion bug; or, at least, far slicker production. The album even saw some vocal contributions from Stella Vander and Lisa Deluxe. But the oddest twist to the Atoll story came in 1980, after their fourth and final album, when journeyman John Wetton recorded with the band shortly before he formed Asia.
After a change in both management and record label, Barclay James Harvest released Everyone Is Everybody Else in June; though the band wasn’t thrilled with Rodger Bain’s production, the public was-both Radio Caroline and the BBC picked up on the album. Two dates from the subsequent tour were recorded for their next release, the double-album Live, with the Drury Lane performance also captured on film. The symphonic structures of “Summer Soldier” open the album, followed by the majestic Mellotron of “Medicine Man.” It’s a mighty one-two punch: a powerful live band, BJH are at their best here. Under the solid foundation of bassist Les Holroyd and drummer Mel Pritchard, John Lees’s gritty guitar helps elevate the rock quotient of their music. “Crazy City” highlights the band’s vocal harmonies, while “After the Day” lets more of Wooly Wolstenholme’s big chords shine. The album contains a selection of cuts from their Polydor debut, but also provides a cap on their previous Harvest-era repertoire, including Lees’s winsome “Galadriel” and Holroyd’s dramatic “She Said.” Fittingly, the album ends with the fan favorite “Mockingbird.” Ever slow-building, the track first highlights the band’s softer, more melodic nature before they lock groove for the hard-driving symphonic finale. BJH never sounded better on record. The album reached No. 40 in the UK charts, finally opening the floodgates for the band. Their next three albums would all chart in the UK, and see release in the US and Europe, affording the band the opportunity to tour worldwide. Wolstenholme would depart the band in 1979, releasing a solo album, Mæstoso, the following year. BJH continued to endure fashion and fate over the next decade with their unique brand of staid, forthright music, eventually finding a substantial audience in Germany.
