David Bedford's classical credentials included study at London's Royal Academy of Music and tutelage under Italian avant-garde composer Luigi Nono. He crossed over into the rock world as the keyboard player for Kevin Ayers and the Whole World in 1969. In 1970, that band performed Bedford's The Garden of Love, written—in true avant-garde form—for "pop group." This association led to further collaboration with guitarist Mike Oldfield and others on the Virgin roster. Bedford's first "solo" album, Nurse Song With Elephant, was a purely experimental effort, and released on John Peel's Dandelion label in 1972. Bedford then signed to Virgin Records and set to record his Star's End composition. Featuring the talents of Oldfield and Henry Cow's Chris Cutler on percussion, it is performed by the Royal Philharmonic Orchestra. While Oldfield's guitar is a tie-in to the progressive audience, it's an album of symphonic music. Taken in proper context, the album is more than a curiosity; it encircles the non-traditions of modern composers, of which Bedford was a part of. He would next orchestrate Oldfield's Tubular Bells in 1975; a great success, the album reached No. 20 in the UK. Bedford would provide similar services to a variety of artists over the decade, in addition to recording three additional albums for Virgin. The Rime Of The Ancient Mariner was a somber keyboard composition, based on Samuel Taylor Coleridge's work of the same name. In some ways, it echoed Rick Wakeman's then-current works, but with far greater humility. Both The Odyssey in 1976 and Instructions For Angels in 1977 were more accessible progressive music albums, performed mainly on keyboard and synthesizer, and bordered on new age music. Following a final album in 1985, Bedford would continue to create a sizable body of work outside of the "rock" arena.
If one had to pick an album to define progressive rock, it would be a double; and more often than not, Genesis' The Lamb Lies Down on Broadway would top the list. The sprawling double-album revolves around Peter Gabriel's story of a NYC street kid, Rael; that it roughly approximates every boy's journey out of adolescence is more than likely what gives the album its universal appeal. The anthem of "The Lamb Lies Down on Broadway" begins with Tony Banks's rolling piano giving away to Mike Rutherford's monster bass line. Immediately, this isn't the bucolic or quirky Genesis of albums past. The production is thick, loud and upfront; and above all, appropriate. The Mellotron on "Fly on a Windshield" lends a menacing edge, while the playful melody of "Cuckoo Cocoon" provides the album's single. "In the Cage" reignites the proceedings, with Banks offering some huge synthesizer lines. One can feel the testosterone in "Back in NYC;" with Gabriel's lyrics direct and his delivery forceful, it's totally in your face. "Counting Out Time" is similarly immediate—sexual initiation laid out in numbers. The melodic emotion of "The Carpet Crawlers" points to the future, as does "The Chamber Of 32 Doors." After the roar of "Lillywhite Lilith," the third side meanders until the elegant "The Lamia" slithers in, one of the strongest melodies on the album. Steve Hackett, who's also taken a step up in the mix, provides one his most elegant guitar solos on record. With a rollicking organ line, "The Colony of Slipperman" then hastens the pace. "The Light Lies Down on Broadway" reprises the journey so far, and the transition from here to the end of the record is as smooth as the first side. "In the Rapids" is a kind of emotional finale to the work and finally, Gabriel leaves us with the moral of the story, something Monty Python's Knights of Ni would certainly not want to hear! Put it all in a first-class Hipgnosis gatefold jacket and it's not hard to see why this became Genesis' bestselling album to date. Massive and sprawling, the album is nonpareil; the band is inventive, profound and, at times, timeless. Genesis embarked on a world tour from late 1974 until mid-75 in support of the album, performing the epic Lamb—costume changes and all—in its entirety for each show (none were filmed). The tour also proved to be one of the catalysts for Gabriel's departure from the band. The remaining four members would regroup in July 1975; but that of course, is another story.
Gryphon wasn't initially a rock band, but a folk band, and one playing medieval and Renaissance music at that; their first two albums were acoustic affairs recorded for the Transatlantic label. Richard Harvey and Brian Gulland, both Royal College of Music graduates, formed the band in 1971, and later added guitarist Graeme Taylor and drummer David Oberlé. Bassist Phil Nestor jumped aboard for their second album, Midnight Mushrumps, which featured the lengthy track of the same name. Their unique music earned them the distinction of being the only band to be played on all four BBC radio stations in the course of a week. However, influenced by the burgeoning progressive scene, Gryphon switched to electric instruments and rocked things up considerably for Red Queen To Gryphon Three. Offering four tracks of instrumental progressive rock, the band's Renaissance-era influences are perfectly complicated, if not lively. Harvey's use of keyboards is extensive, while Gulland takes some sort of honor in being the only bassoon and crumhorn player in a rock context. Serendipitously, the band landed the opening spot on a couple of Yes' 1974 tours, exposing their unique music to a much wider audience. The album enjoyed some success, and a US release on Bell Records (a label not known for prog rock). The band's next record, Raindance, was released the following year and continued in the same vein, though now with the addition of vocals on a few tracks. After a series of personnel changes, the band released one final album in 1977 before splitting up.
That Kraftwerk ventured into pop territory isn't that far of a stretch; they'd always had a way with melody, and the whole krautrock trip was getting a little passé by now. The journey down side one of Autobahn is just like a Sunday afternoon cruise on the freeway: scenic, ambling with the windows down. Driven by a cheery, pulsing beat, "Autobahn" shifts between reoccurring themes throughout, the destination being as irrelevant as the location—once aboard, you just enjoy the ride. And yes, unbelievably, an edited version of the song made the Top 40 singles charts in both the UK and US, propelling the album to No. 4 and No. 5 on the charts, respectively. The second side's "Kometenmelodie 1" is veritable krautrock, while "Kometenmelodie 2" offers more of the band's easy melodies. For most Brits and Americans, Kraftwerk was undoubtedly their introduction to German rock; the band toured North America and the UK for the first time in 1975, with Wolfgang Flür and Karl Bartos in tow. There was considerable hype around the "electronic" nature of the album upon release, but their use of synthesizers and programmed rhythms here was just a start. Kraftwerk would further innovate into "dance" areas, exuding greater influence with each successive release as they perfected their electro-pop in their Kling Klang Studio. Few bands in the timeline can truly be called ahead of their time, but Kraftwerk was a rare exception.
The Blue Effect were another impressive progressive rock band to come from behind the Iron Curtain. The band’s name-the so-called “blue book” that postponed the members’ military conscription-was changed to Modry Efekt during the post-Prague Spring “normalization.” Formed by the Prague-born guitarist, Radim Hladík spent the 60s in a succession of beat-era groups, most famously with “bigbít” legends The Matadors. By 1968, he and vocalist Vladimír Mišík found their musical calling in The Blue Effect, adding drummer Vladimír Čech and bassist Jiří Kozel. Their debut album, Meditace (later released for export as Kingdom of Life in 1972), still, however, had a foot firmly in 60s R&B. The band’s next album, Coniunctio (“The Link”), recorded with Martin Kratochvíl’s Jazz Q, played to their jazz roots; it’s a direction they would further over their next two albums, Nová Syntéza 1 & 2 (“New Synthesis”), while adding keyboardist Lešek Semelka and bassist Josef Kůstka to the group. The quartet then recorded the band’s instrumental fifth album, released in 1974 with an export title of A Benefit of Radim Hladík (it would also see release in 1975 as Radim Hladík & Modry Efekt). With Hladík firmly at the helm writing and arranging, the music completely turned progressive. A formidable guitarist, his technique is world-class: blistering, technical and relentless, but also capable of deep melodicism, as evidenced on “Tearoom” (“Čajovna”). “Jigsaw Puzzle” (“Skládanka”) features flautist Jiří Stivín, but rides the jumpy beat punctuated by Kůstka’s bass. Hladík doubles up guitar lines to great effect throughout: witness the melancholic “Lost and Found” (“Ztráty a nálezy”) or the darker “Hypertension” (“Hypertenze”). Now known as M. Efekt, the band’s next album, 1977’s excellent Svitanie (“Dawn”), saw release on the Slovak label Opus. New keyboardist Oldřich Veselý and bass player Fedor Frešo completed the “federal” Czechoslovakian lineup. The Blue Effect carried on into the early 80s, but life in a rock band during that era in Czechoslovakia’s history was difficult. It’s a shame his music never really left his homeland, he’s certainly on par with the celebrity of Alvin Lee or Jan Akkerman. Hladík though found steady work as a session musician with the national radio station, and in a folk duo with Jaroslav Hutko.
Following Rick Wakeman's abrupt departure, Yes set out to find a replacement for him. Short-listed was Nick Glennie-Smith (Wally), Jean Roussel (Cat Stevens) and Greek keyboard wizard Vangelis, but the band accepted Swiss-born Patrick Moraz instead. The classically-trained Moraz had been in Mainhorse in the early 70s; and more recently, played in Refugee. The band retired to bassist Chris Squire's home, where he had recently finished building a recording studio. The result, in some ways, was Yes' most un-Yes like recording to date. If Tales From Topographic Oceans suffered from sprawl, Relayer is the exact opposite. The album is dense and more complex; and, courtesy of Moraz's various keyboards, offers a new tonality from the band's previous works. The album's centerpiece, "The Gates of Delirium," is another epic from Jon Anderson, this time inspired by Tolstoy's War and Peace. GoD packs in enough drama for an entire album; but sensibly, Yes attempt to cut it down to size—to half the record, that is. The track opens meekly; but once things get started, the Squire and Alan White rhythm team switch into overdrive, providing one heavy foundation throughout. Halfway through the track, the band explodes into an instrumental foray that owes more to fusion than to prog rock. But true to form, the track resolves into Anderson's gentle ballad "Soon," a song he would reprise for decades. One gets the feeling that "Sound Chaser" is going to be another new monster piece of Yes music, but it's mostly a showcase for Steve Howe's prowess on the Telecaster. "To Be Over," however, is the album's gem. As the playful counterpoint gently unfolds into the main theme, Howe's guitar once again leads the song through its powerful symphonic refrain. The album fared well on the charts, breaking the Top 5 on both sides of the Atlantic. After a tour of the US in support of the record, Yes splintered and, in perhaps their most pretentious act, each individual member went on to record a solo album. The band reconvened in 1976 for further stadium-filling tours; however, by the end of the year, they were in Switzerland, ready to record a new album.
The debut album from Heldon introduces French electronic rock pioneer Richard Pinhas and the larger Parisian counter-culture he piloted. Though he left his teaching post at the Sorbonne, Pinhas never left his philosophy behind. His work would always remain left of center, as the title Electronique Guerilla attests; and the spirit of the May 1968 student revolt remained the key to both his musical invention and dedication to his uncompromising spirit—Heldon sound like little before it. Pinhas relies on unpolished improvisation here: "Zind" opens with huge pulses from an AKS synthesizer and nothing else. "Back To Heldon" adds a looping sequence and another of Pinhas's trademarks: the heavily-sustained tone of his Les Paul guitar—an acknowledged influence of Robert Fripp. It's these two instruments, the synthesizer and the heavily-sustained guitar, that dominate Pinhas's music. Under a repetitive guitar line, the more contemplative "Northernland Lady" features several layers of sonic texture; there's not a lot of composition in the motionless piece, though it's full of atmosphere. "Ouais Marchais, Mieux Qu'en 68" is a group effort; Coco Roussel handles drums with brother Pierrot on bass, while philosopher Gilles Deleuze provides the spoken words of Friedrich Nietzsche. The final two tracks offer more synthesizer/guitar explorations; however, there's absolutely nothing cosmic or academic here, just raw extracts of sound from Pinhas's hands. In 1975, Pinhas would release two albums: Allez Teia was a mostly somnambulant record of guitar and Mellotron drones, while the double-album It's Always Rock ‘N' Roll, a play on The Rolling Stones' record issued the same year, offered a wider variety of Pinhas and friends' sonic inventions. All were recorded at his Schizo Studios and released on his own Disjuncta/Urus label. The label released many like-minded albums from others in the Parisian counter-culture, as did the Cobra and Pôle labels—and each was as uniquely progressive as it was unique.
Born in Bihar, India, guitarist Gary Boyle moved to England in his childhood. He then spent the early 60s in Hamburg before returning to the UK and session work, most notably with Dusty Springfield. He teamed with Brian Auger and the Trinity, and contributed to their 1970 album Befour. The early 70s saw more session work with Auger, Keith Tippett, Stomu Yamash'ta and others. In 1973, Boyle formed Isotope with ex-Nucleus bassist Jeff Clyne, drummer Nigel Morris and keyboardist Brian Miller, with the latter writing much of the band's material. Their debut album Isotope saw release in 1974, with typical comparisons to other British fusion groups of the day (more jazz than rock). However, Isotope would never be known for their stability; and soon after the album's release, keyboardist Laurence Scott and ex-Soft Machine bassist Hugh Hopper came aboard. The band toured extensively, breaking only to record their second album, Illusion, with Family's Poli Palmer. Hopper's fuzz bass kicks off the title track, always a good sign. "Rangoon Creeper" slinks along over a funky clavinet, before switching gears towards more typical fusion and one of Boyle's typically awesome guitar solos; fast and fluid, he certainly can lay down the notes. Hopper's "Sliding Dogs/Lion Sandwich" takes a break from the expected fusion for a wilder approach to jazz-rock, while his "Golden Section" is indeed golden. Returning from a US tour (the album released by Motown), change beset the band once again; and save Morris, a new lineup joined Robin Lumley to record a final album, Deep End. Another attempt to reactivate Isotope (notably with future Buggle Geoff Downes) only amounted to BBC sessions, and Boyle then turned to a solo career. Produced again by Lumley, his 1977 album The Dancer earned the Jazz/Pop award at the annual Montreux International Jazz Festival.
With Christian Vander’s usurpation of Magma, pianist François “Faton” Cahen and saxophonist Yochk’o “Jeff” Seffer split to form Zao. They recruited two topflight players from the Paris jazz scene: drummer Jean-My Truong and bassist Joël Dugrenot, along with Jean-Yves Rigaud on violin. Their debut album, Z=7L, was recorded at Strawberry Studios and saw release on the Vertigo label in France. As one would expect, it furthers the “zeuhl” of Magma, but with a catch: If Magma had Klaus Blasquiz providing unique vocals, Zao parlayed this histrionic approach with Mauricia Platon. Mostly a lead instrument, her scat stylings are completely over the top-to the point of obscuring an otherwise amazing fusion record. It didn’t last. Their second album, Osiris, saw release on the Richard Pinhas’s Disjuncta label and does without Platon’s lead voice. A bit darker than its predecessor, the album still has a few vocal acrobatics (from Dugrenot), just witness the opening “Shardaz.” A Zao archetype, unison playing and sharp start/stops highlight the band’s ensemble performance. “Isis” opens playfully, then rides Cahen’s electric piano, shifting moods from fierce to fun, while always swinging with precision. “Reinna” and “Yog” invoke zeuhl of the highest order, the latter punctuated by Truong’s meter accompanied by percussionists. “La Rhune” repeats its brooding motif ...until the end of the song. Now signed to RCA, change struck with the arrival of bassist Gérard Prévost and the addition of an all-female string quartet, Quatuor Margand, on Zao’s 1975 album Shekina. Musically, Seffer and Cahen’s “zeuhl” would take a backseat to a more rhythmically complex fusion. Next, ex-Magma violinist Didier Lockwood joined the band, contributing to the album Kawana. It was a high point for the Zao, even seeing release in the US on the Peters International Cosmos label. But the inevitable happened: Seffer then left the band to work further with Quatuor Margand, Truong and Lockwood formed Surya, and Cahen was left with Zao. He issued one final album, Typhareth, in 1977. While only Prévost carried over, it does contain the earliest recordings from Manu Katché, who would later drum for Peter Gabriel. Cahen would later work with Gong’s Didier Malherbe in Faton Bloom. Seffer would continue his fusion of jazz, ethnic and classical music, issuing his Chromophonie series in the early 80s.
Hailing from Berlin, Klaus Schulze is one of the pioneers of electronic music. In the late 60s though, he was a drummer and an early member of Tangerine Dream, playing on their debut album Electronic Meditation. By 1970 he had left for Ash Ra Tempel, and upon leaving that band for a solo career, he made the switch to keyboards. His debut album, 1972's Irrlicht, was recorded on an organ and manipulated tape. Yet by the following year, he had added synthesizers to his arsenal, and began to tour throughout Europe. The career-defining Blackdance appeared in 1974 on Brain/Metronome, with international release now on Virgin Record's Caroline imprint. Released in early 1975, Picture Music marks his acquisition of the EMS VCS3 synthesizer. "Totem" graces the first side. Rising from a percolating pulse, the gentle tones dance effortlessly throughout, presenting one of the most amazing pieces of electronic music. Though similarities to Tangerine Dream could be drawn, Schulze's work is more meditative and accessible. The second side's "Mental Door" offers a far more complex soundscape, utilizing drums for the underlying rhythm. After a lengthy introduction, Schulze's improv on an ARP dominates, before yielding to a protracted cosmic fade. The album is one of the finest examples of purely electronic music. The popular Timewind, another of his classics, was released later the same year. An ode to Richard Wagner, the album is ambient, ethereal and romantic. This prolific period of Schulze's career would continue well into the 80s, as he released numerous albums and soundtracks, toured Europe many times, and participated in many projects, such as Go and Richard Wahnfried. He even found time to curate the Innovative Communication label with Klaus D. Mueller.
Kraan’s third record, Andy Nogger, was their first recorded with legendary producer Conny Plank. It’s a significant relationship, one that would extend across many years and projects together, both as a producer and musician. As the excellent “Stars” demonstrates, Kraan has a highly energetic and original sound—somewhere between rock and jazz, but nowhere around the then-current idiom of fusion. “Son of the Sun” and “Yellow Bamboo” are typical of the Kraan formula, which revolves around the band members’ tight interplay—in particular, bassist Hellmut Hattler and drummer Jan Fride’s rhythm section. Melodic and subtly flavored with world-ethnic influences, Kraan never descends into pointless soloing or unnecessary complication in their arrangements. Both “Andy Nogger” (a disturbing tale of a pervert) and “Home” have enough charm and conviction in the delivery of their English-language lyrics to rival the other instrumental numbers. Not only was the album was successful in their native Germany—Musik Express voted it the Album of the Year-but it was their first record to see international release, on the Gull label (UK, France, Scandinavia) and on Passport Records in the US. Kraan’s forte, however, was on stage, as they were a formidable live band. Their next release, Kraan Live, recorded in Berlin’s Quartier Latin in October 1974, capitalized on that. The double-album, also released in the UK on the Gull label, would go on to be their best-selling record in Germany. Both instrumentals “Nam Nam” and “Holiday am Marterhorn” received expanded performances and would continue to feature prominently in their live set. [US release date]
Though based in Germany, Down To Earth saw Nektar back to recording in the UK at Chipping Norton Studios, with producer Peter Hauke in tow. The album revolves around the concept of a circus; popular at the time, Argent would also use this theme. The band leave behind most of their psychedelic trappings and long-form jamming, and instead deliver an album of expertly-crafted songs. The lively "Astral Man" glibly sets the stage; these British expatriates may have been taking a stab at their countrymen's otherworldly opuses, or perhaps even a little at their own. But whatever motive the band had in mind, Nektar deliver a near-perfect slab of art rock. The album's highlight is the killer riff of "Nelly the Elephant;" the band rides the groove hard and heavy, and it's perfectly complemented by Robert Calvert's ringmaster recitation and a massive horn arrangement. The Yes-inspired "Early Morning Clown" and lively "That's Life" are a little more reflective, but no less effective. "Fidgety Queen" features another big arrangement, and even adds a little funk to the equation; while "Oh Willy" simply rocks out. Nektar leaves the excess off the album—no unnecessary frills or fills here—and thus presents their most consistent and accessible work. Throughout the record, the production is clean and uncluttered, with Mo Moore's bass high up in Dieter Dierks's mix. "Show Me the Way" closes the album in suitable style, with Roye Albrighton delivering both a fine vocal and some excellent guitar work. As he would later remark, the album was their Magical Mystery Tour, and I'll agree: Down to Earth is a more than worthy descendant. The album charted in the US, reaching No. 32, and the single "Astral Man" b/w "Nelly the Elephant" even managed to scrape the lower reaches of the Top 100. [US release date]
Kansas stems from the unlikely place of (you guessed it) Kansas. In the late 60s, high school classmates Phil Ehart and Kerry Livgren each led competing bands in their native Topeka. By 1970, the two bands united as Kansas, only to split the following year. Drummer Ehart then went to England to look for musical inspiration (which he didn't find), and quickly returned to reform his original band, White Clover. He recruited Steve Walsh and Robby Steinhardt along the way, while bassist Dave Hope and guitarist Rich Williams joined in 1972. Livgren's group (referred to as Kansas II) had continued all the while; yet by 1973, he too was persuaded to join White Clover, fulfilling their need for a second songwriter. In 1973, the six-piece band, now named Kansas, signed to rock promoter Don Kirshner's label and released three albums in the space of two years; each was incrementally more successful than the other, as the result of continuous touring. Their 1974 self-titled debut starts like the crack of a whip; "Can I Tell You" was one of the demos that got the band signed. Set apart from their progressive British contemporaries, Kansas reveals more influence from heavy rock outfits such as Deep Purple. Taking cues from Southern rock as well, their sound is certainly American, though their "three parts to the ensemble" of guitar, violin and keyboard is unique and firebrand. Released in 1975, the band's second album Song For America featured the excellent title track, also released as a single. It's a Kansas standard that shifts through each classically-influenced section, punctuated by a driving beat. Throughout, Steinhardt's virtuoso violin and Walsh's soaring voice create the band's signature style. "Lamplight Symphony" follows a similar path. The second side's "The Devil Game" is a blistering rocker, while "Incomudro - Hymn to the Atman" displays the band's instrumental prowess. The album reached No. 57 on the US charts and was the first to feature their distinct logo, designed by Peter Lloyd.
Hailing from Munich, saxophonist Klaus Doldinger (b. 1936) had an illustrious career throughout the 1960s, playing with such jazz luminaries as Don Ellis and Donald Byrd. But in the late 60s, he hooked up with the younger generation to explore psychedelic and jazz-rock terrains. He recorded two albums on the Liberty label with Motherhood, a band that included the yet-to-be-famous Udo Lindenberg on drums and a pre-Amon Düül II's Lothar Meid on bass. Adding Jimmy Jackson on organ and Olaf Kübler on tenor saxophone, they morphed into Passport in 1971. Amidst ever-changing lineups, Doldinger would release another couple of albums (the first two compiled as Doldinger in the US), as he refined his jazz-rock compositions into his own brew of fusion. The great breakthrough came on the fourth album, Looking Thru, in 1973. Doldinger had now assembled his formidable all-German team: bassist Wolfgang Schmid, drummer Curt Cress and keyboardist Kristian Schultze. Doldinger's soloing style is lyrical, as are his melodies; and Passport always delivered jazz-rock that was easy to digest: never dense or overly technical, yet with enough weight to avoid fluff. It all reached a peak here on Cross-Collateral. "Homunculus" soars high above its huge bass line. The title track gets hyperkinetic; but after Cress's break, it slows down into a funkier groove, before again being propelled by Cress's quick tempo. The second side follows in similar style; "Will-O'-The Wisp" sways to its crispy electric pianos, while "Albatros Song" floats through its more open arrangement. The following year saw the band release the like-minded Infinity Machine. Doldinger took Passport to Brazil for their next record; and despite the obvious Latin flavor, the album, as the cover art would suggest, signaled the start of a more commercial slant that Doldinger would pursue well into the 80s.
Following the break-up of Van der Graaf Generator in late 1972, Peter Hammill pursued his solo career in earnest. Released in 1973 and 1974, respectively, both Chameleon In The Shadow Of The Night and The Silent Corner And The Empty Stage were primarily acoustic affairs, showcasing Hammill’s one-man show (but not without contributions from former VdGG members). There’s no license in labeling them as love/hate affairs; Hammill’s voice could reach manic proportions, often bordering on the unlistenable: Check out the former album’s “In the End.” But In Camera, also released in 1974, was quite darksome and experimental. Of its many highlights were the epic “Faint Heart and The Sermon” and the VdGG-like “Gog,” which then sank into the murky tape loops of “Magog.” On Nadir’s Big Chance, however, Hammill gathered Banton, Evans and Jackson, and assumed the role of protagonist Rikki Nadir, a “loud, aggressive perpetual sixteen-year-old.” It’s definitely a group effort; and in fact, the quartet agreed to reform VdGG during the recording of the album. Here, Hammill trades in his usual one-man pallor for an altogether livelier and electric set. The album alternates between the urgency of the title track or the angst-ridden “Nobody’s Business,” and the contemplative “Shingle Song” or the languorous “Pompeii.” “The Institute Of Mental Health, Burning” though is particularly inventive; backwards and panning guitars certainly add to the arrangement. Hammill reprises “People You Were Going To” from VdGG’s first single, as well as Chris Judge Smith’s “Been Alone So Long.” The album concludes with the funky electric clavinet of “Two or Three Spectres,” which is a perfect example of Hammill’s newfound attitude. The proto-punk album would garner near-mythical status, with kudos from artists as diverse as David Bowie and John Lydon. Hammill then put his solo career on pause, as the “second generation” of VdGG was just months from taking the stage.
Along with a host of guests from the French progressive scene, Cyrille Verdeaux recorded a series of albums under the umbrella of Clearlight. The Paris-born keyboardist had a formal musical education at Conservatoire de Paris, and this experience certainly shaped his compositions. Signed to Virgin Records in the wake of Tubular Bells' success, the similarities between Mike Oldfield and Clearlight are purely topical: If Oldfield represented a folksy, hippie vibe, then Clearlight was the opposite—the French sophisticate. As its title suggests, Symphony is indeed a large-scale concerto, and one of the earliest works that truly earns the description "symphonic." On one side of the album, guitarist Christian Boulé and drummer Gilbert Artman, the latter the leader of Lard Free, aid Verdeaux. Propelled by the rhythm section of Artman and bassist Martin Isaacs, Verdeaux's excellent keyboard work favors piano and Mellotron. His composition hints at minimalism and jazz, but the work is far denser, driven by massive motifs and rich instrumentation. The other side of the album features a drum-less piece recorded at Virgin's The Manor Studio with Gong members Steve Hillage, Didier Malherbe and Tim Blake; the latter also shared production duties. There's more openness to this side, with Blake's synthesizer lending a cosmic edge. Guided by piano, the piece rolls through each section's theme with intensity and a modicum of weirdness (something I always like). Yet with Verdeaux's work ultimately rooted in composition and the classics, the side ends in a resplendent finale. The album saw release in 1975, almost a year after it was recorded. In between, Verdeaux hosted the psychedelic Delired Chameleon Family album, a soundtrack for the Pierre Clémenti film, Visa de censure no. X.
Hatfield and the North's second album appeared a year after their debut. The Rotters' Club offers more of their jazzy inventions and supports a fine cast of guests, including Virgin labelmates Lindsay Cooper and Tim Hodgkinson from Henry Cow. Again, Dave Stewart's keyboards are central, particularly his use of the electric piano and organ. Phil Miller offers his highly-sustained guitar, especially on the excellent "The Yes No Interlude." One of the band's finer elements is the incredible rhythm section of Pip Pyle and Richard Sinclair; they handled the ever-changing meters with absolute precision. "Fitter Stoke Has a Bath" drifts into one of Sinclair's finest compositions, the cheerfully somber "Didn't Matter Anyway." "Underdub," a jazzy number from Miller, opens the second side; but it's Stewart's multi-section "Mumps" that dominates. The Northettes open the track with "Your Majesty Is Like a Cream Donut (Quiet)," but Miller's guitar leads the larger section, "Lumps." The track is protean: certainly jazz-like in structure, but definitely not jazz or fusion. In typical Canterbury style, Hatfield succeed in harnessing an incredible amount of talent without ever succumbing to flash. While their music may never get you up and kicking your heels, it more than likely will sit you down for a good, long listen. The album ventured into the UK charts, reaching No. 43. By early summer, Sinclair had had enough of touring and the band broke up. Miller would eventually regroup the band as National Health, with Pyle joining in 1977; while Sinclair went on to Camel the same year. A posthumous compilation, Afters, appeared in 1979, solving the puzzle of their choice of band name.
Argent released a live album, Encore, at the end of 1974, which showcased the considerable talents of the original quartet. However, Russ Ballard then would exit for a rewarding career as a songwriter; while the remaining members would draft two guitarists, John Grimaldi and John Verity, as replacements, beginning with their 1975 studio release, Circus. Produced by Zombie alumnus Chris White, the album indeed revolves around the concept of a circus. Mellotrons ablaze, the title track starts the show, revealing a jazzy undertone to Argent's progressive rock. "Highwire" quickly changes pace: rollicking one moment, fiery fusion the next. Rod Argent's voice is rich and his vocal delivery convincing. "Clown" dials down the intensity of the proceedings; but the following "Trapeze," penned by Jim Rodford, gets the show back on course with a strong bass line and some trademark Hammond, before jumping back into a funky little groove. A couple more tracks round out the story before the rousing finale of the "The Jester" closes. The album is a testament to Rod Argent's songwriting and deft arrangements, as well as the band's impressive execution. Argent recorded one final album, Counterpoint, in late 1975, again venturing further into the fusion zone. But without any commercial success, and Bob Henrit in poor health, the band called it quits the following year. Subsequently, Rod Argent went into session work, opened a keyboard shop in London and recorded a lone solo album, Moving Home, with an A-list of guests (Phil Collins, Alphonso Johnson, Gary Moore) in 1978. The others formed the hard-rocking Phoenix, after which Rodford and Henrit both ended up in The Kinks, though at different junctures. Grimaldi sadly succumbed to multiple sclerosis in 1983.
Banco is short for Banco Del Mutuo Soccorso or "Bank of the Mutual Trust." Hailing from Rome, the group centered around brothers Vittorio and Gianni Nocenzi's dual keyboards, and Francesco Di Giacomo's classic Italian tenor. Following a UK tour in 1974, the band was approached by Emerson, Lake & Palmer's Manticore label, who had already signed fellow countrymen Premiata Forneria Marconi. This contract led to the band's next album: a re-recording of several tracks from their previous three albums for Dischi Ricordi, all of which had made the top of the Italian charts. Simply titled Banco (though also referenced as IV), the album features Di Giacomo's rather large frame on the cover. The formal "Chorale" opens unceremoniously, but is followed by the lively "L'Albero Del Pane," an unreleased Italian song. Spirited, the track highlights the group's intricate arrangements, a rather ELP-inspired break and, of course, Di Giacomo's superb voice. However, the opening meters of "Metamorphosis" demand complete attention: Bold, complex and shifting, this is Rock progressivo italiano at its finest. Along with the exceptional drumming of Pier Luigi Calderoni, Gianni's piano and Vittorio's Hammond and synthesizer intertwine effortlessly as the track evolves into a striking masterpiece "Outside" (original title "RIP") gives new guitarist Rodolfo Maltese some room to stretch before digressing into something a little more bel canto. The next pair of songs offer translations to English from Marva Jan Marrow, who also worked with PFM. Whether they add anything to the equation is debatable, as Di Giacomo's voice is a treat no matter what language he sings in. The gentle "Leave Me Alone" (originally "Non mi rompete") is uncharacteristically acoustic and reminiscent of PFM or Le Orme; while the liberal use of synthesizers and interplay between musicians adds a unique Banco feel to "Nothing's The Same" (original "Dopo niente e più lo stesso"), certainly another highlight of the album. The final track "Traccia II" brings the album full circle, but sounds like a midi file. Without a doubt, Banco's first three records—the self-titled debut Banco Del Mutuo Soccorso, Darwin, and Io Sono Nato Libero—are worth more of an investigation than this compilation offers.
