Prior to recording their next album, Wolfgang "Popo" Jäger would replace Bassist Bernhard "Bär" Uhlemann. Concentrating more on arrangement and production, Jumbo, released in 1975, presented a more polished Grobschnitt, offering an album of a seemingly symphonic style of progressive rock. As a whole, the album is different than its predecessor; the long, ambling space rock of "Solar Music" is replaced with a more precise progressive; little is left to improvisation or chance. With its punchy bass line, "The Excursion of Father Smith" opens the record with a lively, circus-like character. Grobschnitt jump between verses, shifting musical passages with ease. There's a symphonic air to their music, as well as pristine execution. Again recorded by Conny Plank, it's a sonic masterpiece. Lupo's lead guitar drives "The Clown," revealing a very Yes-inspired progressive sound, propelled by Eroc's hard-hitting drumming. The second side's "Dream and Reality" opens softly with Wildschwein's impassioned and exquisite voice, before shifting gears and offering Mist a chance to blast his keyboards. Opening with trance-like guitars, "Sunny Sunday's Sunset" is a progressive triumph for the band. Playful and melodic, the band offer an epic mix of composition and arrangement, both soft and driving, all to further the story. The album was a success, so much so that the band even released a version "mit deutsche Texten" for their home market in 1976, as a well as a single, "Sonnenflug" b/w "Der Clown." Before the next Grobschnitt record, main man Eroc would find time to record and release two solo albums, 1975's Eroc and 1976's Zwei, that demonstrate the drummer's skill as both a musician and engineer. The former is a heady mix of synthesizers, including the Dada cut-up "Horrorgoll," while the second descends into further wackiness of spoken-word, Schlager and beyond!
To record the band's eighth album, Ian Anderson assembled the crew in Monte Carlo with their new mobile studio: no grand compositional aspirations this time, but perhaps a little holiday fun. What came out was an album of contrasts and one of Jethro Tull's most dynamic records—polarized between the acoustic of the minstrel and the electric of the band. The title track kicks off quietly with Anderson literally in character; but soon the band lets loose, propelled by Barriemore Barlow's kick drum and one helluva riff from Martin Barre's guitar. One moment soft and introspective, the next erupting into hard rock, this contradiction of Anderson's acoustic musing and the band's near-ferocious nature is the album's strength. In particular, Minstrel In The Gallery finds Barre with his amp turned up to the proverbial "11." "Cold Wind to Valhalla" and "Black Satin Dancer" follow the same formula to similar effect, but the dichotomy is still apparent; the band's fiery instrumental passages rarely overlap Anderson's song craft (David Palmer's orchestration does, yet it's complementary as always). Anderson adds a couple of solo acoustic numbers accompanied by string quintet, including the fine "One White Duck/010 = Nothing at All." "Baker St. Muse" comprises most of the second side and is a slight return to former prog glory; though refreshingly, Anderson keeps things in check, as the mini-epic retains all the old Tull's flavor and intensity in a right-sized portion. The album made the Top 20 in the UK and reached No. 7 in the US, where an edited version of the title track also became a minor hit single. Hammond would exit the band after the album's release, to be replaced by ex-Carmen bassist John Glascock.
In the time between their previous album and this release, Pink Floyd had risen to the very top of rock ‘n' roll's elite. And while most would consider this a high-class problem, the band seemed none-the-happier for it. The first attempt at a follow-up, the Household Objects project, was abandoned in the fall of 1973. The band reconvened in early 1975, only to have the sessions interrupted by two US tours. Once back in the studio, artistic torpor prevailed until Roger Waters ultimately took over. The bulk of Wish You Were Here is the nine-part suite "Shine on You Crazy Diamond:" a tribute to their erstwhile member, Syd Barrett, who—bald, pale and fat—appeared at Abbey Road Studios while the band prepared the album's final mix. It would be the last "band" composition for the Floyd. Pressure from their record label (and a healthy dose of Waters's cynicism) provided inspiration for both "Welcome to the Machine" and "Have a Cigar." The former is a Floyd classic, lurking underneath a percolating VCS3, while the latter features Roy Harper on vocals. The title track, the lone David Gilmour composition, became almost every budding guitarist's first cover. The album proved to be one of the band's finest; the stark arrangements belie a cool and concise precision, in both the band's compositions and performance; Rick Wright in particular makes a strong showing. Enormously successful, the album topped the charts on both sides of the Atlantic and provided a stylistic blueprint for many to follow. The album was originally packaged in blue shrink wrap (in the US, that is; it was black in the UK), with only a sticker to identify the contents.
Cyrille Verdeaux's second album for Virgin Records was again recorded at The Manor Studio in the UK, with Mick Glossop producing. Clearlight (the band) now featured six members, including ex-Zao bassist Joël Dugrenot, who contributed two songs, and a host of guest friends. The opening track "Chanson" is a lush affair, its under-mixed vocals provoking an exceptional effect. And if you thought David Cross (from King Crimson) couldn't play violin, listen up to the end of the track. Christian Boulé's cosmic guitar on "Without Words" is classic, and should please any Gong fan. However, it's Verdeaux's rich polyphony of sounds that give the arrangements their unique feel, somewhere between the density of Magma and the anarchy of Gong; just check out the excellent "Way." The slightly more conventional "Ergotrip" segues into the keyboard-driven "Et Pendant Ce Temps-Là" and dominates the second side—the band is in exceptional form here, weaving a dense arrangement around the bold compositions. Forever Blowing Bubbles would be the last on Virgin Records; after the label put Clearlight on tour with Gong, Verdeaux refused to move to the UK, thus ending the deal. He would record two additional albums under the Clearlight banner, each again featuring a bevy of musicians. Les Contes du Singe Fou ("Tales of the Crazy Monkey") was released in 1977 on the Isadora label and featured Ian Bellamy on vocals (in English). The last Clearlight album, Visions, was released on Polydor in 1978, and featured two Didiers, Malherbe and Lockwood. In the early 80s, after the tragic death of his son, Verdeaux would relocate to the US and embark on a solo career.
Recorded in June at the La Taverne de l'Olympia in Paris, the magnificent double-album Live (later known as Hhaï/Live) is perhaps Magma's most exemplary statement. The lineup had toured the UK earlier in the year: joining Christian and Stella Vander and Klaus Blasquiz were violinist Didier Lockwood and keyboardist Benoît Widemann, with bassist Bernard Paganotti replacing Jannick Top; guitarist Gabriel Fédérow and pianist Jean-Pol Asseline rounded out the stage. Obviously, the lineup induces a new sonority with far less vocal hysteria; and the renditions of "Köhntark" (actually "Köhntarkösz") and "Mëkanïk Zaïn" (from "MDK") definitely benefit from it. Lockwood is an excellent instrumentalist, while Paganotti's bass work is as tremendous as Top's. But even more interesting are the tracks on side three: "Kobah" rides one of the grooviest of grooves the band would offer, and even affords guitarist Fédérow a chance to make his mark. Presenting a gentle melody, the dreamy "Lïhns" is a soft yet overt display of beauty. "Hhaï" slowly unfolds, with Vander offering a mellifluous vocal before erupting into excellent, melodic jazz fusion, with Widemann and Asseline's keyboards to the fore. This album-side is Magma at its most accessible; unless, of course, you happen to favor the Wagnerian approach. The album saw release on the Utopia imprint but was distributed by RCA Records. Patrick Gauthier replaced Asseline in the fall; but true to form, the band split up in 1976. As Vander set about to create a new lineup for Magma, he also found time to tour with bassist Top, as the cleverly-named VanderTop.
Prior to Genesis, guitarist Steve Hackett recorded with Quiet World. Featuring the Heather brothers three, 1969's The Road was a proto-progressive opus, replete with orchestral arrangements, yet Hackett's distinctive guitar, later honed with Genesis, was within. Years later, while Genesis was on hiatus following Peter Gabriel's departure, Hackett, along with his brother John and the rhythm section of Mike Rutherford and Phil Collins, recorded his debut solo record. With each track named after the Major and Minor Arcana of a tarot playing card deck, Voyage Of The Acolyte not only provides a closer listen to Hackett as a guitarist, who, more often than not, sat low in the mix with Genesis, but also to Hackett as the composer. The energetic opener "Ace of Wands" has the flair of Genesis, but is uniquely Hackett. He layers on the guitars—acoustic, electric, backwards, fuzzed—all up front and center in the mix, something he'd never have gotten away with in Genesis. "A Tower Struck Down" is another quirky instrumental tour de force, aided by John Acock's keyboards and Percy Jones's bass. The album contains several acoustic numbers, demonstrating Hackett's mastery of nylon-string guitar, and he even takes a crack at singing on the pastoral "The Hermit." But the gem is "Star of Sirius." Despite offering another chance to preview Collins as lead vocalist, the well-constructed track lays down an archetype that Hackett would follow on later solo records. "Shadow of the Hierophant" features Sally Oldfield on vocals, but benefits even more from its slow-building symphonic refrain. Surprisingly, perhaps, the album hit the Top 30 on the UK charts. But whatever the future would have in store for Hackett, he was back to recording with Genesis by September.
In late 1974, after the recording of Peter Hammill's Nadir's Big Chance album, the four former members of Van der Graaf Generator agreed to reform the band again. Hammill spent the next six months writing most of the material that would end up on their next two albums. Thus reconstituted, Hammill, along with keyboardist Hugh Banton, saxophone and flautist David Jackson and drummer Guy Evans set out to France in May to "road test" their new material. They entered Rockfield Studios in June and recorded Godbluff, plus two tracks that would appear on their next album. From the opening bars of "The Undercover Man," the new aspects of VdGG are immediate; the music is more open and uniform, and the band sound re-energized and (more or less) modern. Whether VdGG Mark II could have made it into the "big league" was always debatable; their idiosyncrasies are perhaps too profound. But here, VdGG's purpose is clear: performance. The chaos has found control, and the band's execution is impeccable. "The Undercover Man" gently fades into the epic "Scorched Earth." Driving and foreboding as its title suggests, it's as heavy a song as one could ask for. Hammill's lyrical intensity is matched only by his vocal delivery, and he sounds as assured as ever. Evans's tempo is quick and controlled throughout, while Jackson's brass arrangements are a perfect foil to Banton's organ. "Arrow" finds Banton playing bass opposite Hammill on electric piano. After a loose start, Hammill pulls things forward, revealing one of the band's most enduring songs. "The Sleepwalkers" digresses into a circus-like cha-cha with nary a blink, and then erupts with a quick double-kick from Evans's bass drum. The album remains the band's most consistent record. VdGG recorded a John Peel Session shortly following the album's release, and then went on tour for the balance of the year.
Yes bassist Chris Squire's solo album Fish Out Of Water was the first to appear after Yes took a sabbatical following Relayer. That each member recorded an album worthy of release on Atlantic Records is debatable; but judged by this record alone, it was a great idea! Squire put together a fantastic band, including ex-Yes member Bill Bruford and almost ex-Yes member Patrick Moraz, with noted session players Mel Collins and Jimmy Hastings contributing. In addition to piano, Andrew Pryce Jackman provided the luscious orchestral arrangements. Jackman was previously in Squire's late 60s outfit The Syn. Squire took on all the vocal and guitar duties, with his distinctive Rickenbacker bass obviously to the fore. The album contains the same majesty of Yes, with the added distinction of not sounding like Yes at all. The energetic melody and pipe organ of "Hold Out Your Hand" presage "Parallels" from the next Yes album, while "You by My Side" is similarly melodic. Both feature a huge bass line straight down the middle; Jackman's arrangements meld each piece together, giving the side a fluidity not found in even the best of Yes' efforts. Moraz lends a hand (or two) to the instrumental section of the next track, "Silently Falling," before Squire's electric guitar sends the ending section into a spiraling refrain. "Lucky Seven" (written in 7/8 time) has the simplicity of Fragile's best moments; Squire's bass soars over Bruford's deft rhythm and Jackman's chiming electric piano. "Safe (Canon Song)" reaches out to symphonic proportions, repeating an even longer fade than on the first side. The album was moderately successful, charting in the Top 50 on both sides of the Atlantic, as did most of the other Yes members' solo albums; and Yes' record-breaking tour in the summer of 1976 would feature live renditions from these individual works. But Squire would stick true to Yes, and this would remain his only solo record for many decades.
Led by Fumio Miyashita and Kei Ishikawa Far Out was one of the original Japanese psychedelic bands. They released one album of lo-fi psychedelic rock, 日本人 (“Japanese”), in 1973. Miyashta then recruited a new lineup as Far East Family Band, including two keyboardists: Akira Itoh and Masanori Takahashi, the latter more famously known as Kitaro. Nipponjin, which carried the subtitle, “Join Our Mental Phase Sound,” was mostly a re-recording of their “The Cave” Down To The Earth album, but with English lyrics and Klaus Schulze hired for the remix. “Nipponjin” opens the first side with bubbly synthesizers and sitar. Miyashita’s guitar and voice are upfront, and his tentative hold of the English language lends some charm; the track was first heard on the Far Out album but in guitar form. “The Cave” reveals a strong Pink Floyd influence and plenty of dynamics. The tracks on the second side run together, drifting in and out of the mix; but when they’re in, it’s mostly heavy psychedelic rock, while the quieter moments are either awash with Mellotron or silence. The closing “Mystery of Northern Space” rises to a symphonic finale. Though dated, this is venerable space rock, with a strong reflective or even hippie vibe—the precursor to Acid Mothers Temple, anyone? The album saw release on the Vertigo label in Germany and on Mu Land in Japan the following year. The band’s next album, Parallel World, was recorded directly under the hands of Schulze and guitarist Günter Schickert at Virgin’s The Manor Studio; as such, it should have been the more successful of the two albums, but unfortunately at the cost of much of their originality—especially on the long title track. Oddly, both Vertigo and Virgin turned the album down, and it only saw release in Japan. Both Kitaro and Itoh then split for successful solo careers with new age music. Miyashta, bassist Akira Fukakusa and guitarist Hirohito Fukushima recruited a new drummer and recorded the band’s final album, Tenkujin, for the US label All Ears Records. Far Out’s Ishikawa would form Chronicles in the mid-70s in Los Angeles, also releasing one album, ...Like A Message From The Stars, for All Ears Records in 1977. Miyashta eventually turned to a prolific career in electronic therapy music.
Vangelis embarked on his solo career while still a member of Aphrodite's Child, the earliest fruits of which were several soundtracks, mostly recorded at Studio Europa Sonor in Paris. Both Hypothesis and The Dragon, recorded in London for Giorgio Gomelsky in 1971 (and released without Vangelis's permission in 1978), were little more than jam sessions-albeit pretty good ones-fusing psychedelic rock with jazz and ethnic influences. His first solo album proper, 1974's Earth, was recorded for Vertigo. Slightly uncharacteristic of his later work, it featured Robert Fitoussi on vocals and former bandmate Silver Koulouris on acoustic guitars. Mellow and spacious, the collection of songs was unique in his catalog. In 1975, Vangelis signed to RCA Records and moved shop to London where he set up his Nemo Studios, with the advance paying for the electronic gear. Vangelis had been asked to replace Rick Wakeman in Yes, but it wasn't meant to be; instead he forged what would become a fruitful partnership with Jon Anderson. The first taste of this collaboration is contained here, on the ethereal (and sappy) "So Long Ago, So Clear." Yet Heaven And Hell is pure Vangelis; it's huge and powerful, rooted in choral and symphonic tradition; but at the same time, not without some electronic exploration. His themes run from the simple ("Needles & Bones") to the bombastic ("Symphony to the Powers B"), but their textures are what set him apart. Although he'd get classified in the new age bin, Vangelis remains a pioneer of electronic keyboard music. In addition to a steady stream of soundtrack work, he would create a sizable catalog over the years, but those released on RCA, alternating between the symphonic (Albedo 0.39, Spiral) and the experimental (Beauborg), should all be considered essential.
Kraan was riding a critical and commercial peak coming into the sessions that yielded their fifth album, Let it Out. Joining Kraan was ex-Karthago keyboardist Ingo Bischof, a frequent guest at the Wintrup commune. Conny Plank also paid a visit, and suggested that the recording take place at the commune's farmhouse. The album stands as a creative high point for the band. Bischof's electric piano and clavinet fit perfectly into Kraan's music, whether he's playing rhythmically or providing a lead. The album features only two vocal tracks; the opener "Bandits in the Woods" is a classic tale of paranoia, while the title track rocks along in Kraan's typical feel-good style. The mellow "Degado" substitutes vocalizing for lyrics, another of Peter Wolbrandt's tricks; while the experimental "Die Maschine" is a rare treat, perhaps owing much to Plank's studio alchemy. But "Luftpost" and "Prima Klima" clearly illustrate the jazzy direction of the band, with the arrangements here even tighter and the interplay more intense. Both "Overseas Bound" and "Picnic International" follow suit, the latter revolving around a beautifully melodic run and punctuated by a bright, funky rhythm. Johannes Pappert would barely complete the album before leaving the band to start his own group, Alto. The album was particularly well received in Germany, where the band cleaned up in the annual Sounds polls. Collectors note: The US issue of the album, released a year later (in 1976) on Passport Records, differs from the German Spiegelei pressing, as it contains five subtly remixed tracks.
Following the demise of Osanna prior to their 1974 release, Landscape Of Life, Elio D'Anna and Danilo Rustici formed Uno. Originally slated with Napoletano Toni Esposito on drums, the pair ventured to London to record an eponymous album, Uno, with drummer Enzo Vallicelli. Yet the group did not last, even with Rustici's brother Corrado, previously a member of Cervello, augmenting on guitar. So D'Anna and the Rustici brothers returned to London and under the auspices of Pete Townshend, producer Rupert Hine and Arista Records, formed Nova. Two Italian musicians, Luciano Milanese (a member of I Trolls, the precursor to New Trolls) and Franco "Dede" Lo Previte (from Circus 2000), comprised the rhythm section. Produced by D'Anna and Danilo, it's easy to hear where the keyboard-less Blink got its start: The Osanna/Uno connection is indeed true. "Taylor Made" immediately reveals some high-energy fusion and vocals-in fact, that's the most amazing thing about the album-Nova is one of the few groups to combine instrumental fusion with vocals successfully, perhaps because Corrado's voice is so well-suited for the music. Once the 12-string electric guitar kicks in on "Something Inside Keeps You Down," the track locks onto a tight groove under a fidgety rhythm section, with D'Anna providing the lead instrument. "Nova," an instrumental track of more typical fusion, features a dual guitar assault from the brothers Rustici, with D'Anna's sax often soaring in unison. Nova then offers a little soul groove on "Used to Be Easy," while another instrumental, "Toy," gets funky. However, the band saves the best for last: "Stroll On" stands as a prime example of the group's hyperkinetic fusion. Corrado supplies the angst-ridden vocal, a fine fit for the track's aggression, while both Rusticis deliver incendiary guitar solos. The album owes more than a nod to the type of music Mahavishnu Orchestra pioneered; but it remains one of the most electric and frenetic fusion albums ever produced.
Another offshoot of the Sanremo-based Il Sistema, Celeste was founded in late 1972 by Ciro Perrino and Leonardo Lagorio, who was briefly a member of Museo Rosenbach. Their motive was not to recreate Il Sistemi, but rather forge a group with a more acoustic and classical feel. Rounding out the lineup were Giorgio Battaglia on bass and Mariano Schiavolini on guitar, the latter still a student in Sanremo. Their debut, Celeste, is also known by the title of the first track, "Principe Di un Giorno," and suffered a protracted release, as the album was reportedly written in 1973 and recorded in 1974. The opening track reveals an original mix of guitar and flute, offering something more akin to symphonic rock than anything folky. The Mellotron lines that open "Favole antiche" ("Ancient fable") recall King Crimson's first album, but the similarities end there; Celeste are as original and Mediterranean as they come. Gentle interplay between guitar and bass dominate the track, with flute and piano providing an ethereal, even "celestial" atmosphere. "Eftus" is softer, with the Mellotron and ARP sounding otherworldly; but there's a certain depth within, and one also accentuated by Perrino's gentle vocals and mostly drum-less percussion. "Giochi Nella Notte" adds horns to great effect, while "La Grande Isola" rises to some playful ARP synthesizer. The album is unique in the Italian canon, and it evokes a mood that is unmatched by any other group, foreign or otherwise. The album was released in 1976 on New Troll's Aldo and Vittorio De Scalzi's small Grog label, an offshoot of the Magma label. Celeste would record their next album that same year, cleverly titled Celeste II, but it was never released. The music was different, approaching something jazzy, with Lagorio's sax dominating. After stints in SNC and La Compagnia Digitale, Perrino would form the spacey St. Tropez with Battaglia in 1980; but, again, recordings would not see release until many years later. He did however release an excellent album of ethereal electronic music, Solare, in 1980 on the Caio label. Evidently solving the album release problem, Perrino co-founded (with Mauro Moroni) the important reissue label Mellow Records in 1991.
Hannover-based rock band Jane has a long history, dating back to the late 60s and a group called the J.P.'s (Justice of Peace). By 1971, the band centered around the heavy drums of Peter Panka, the swirling organ of Werner Nadolny and the solid tone of Klaus Hess's Gibson guitar. Their debut album Together was the second release on Bruno Wendel and Günter Körber's Brain Records, and carried a catalog number of 1002 (another Hanoverian recording, The Scorpions' Lonesome Crow, was 1001). While they had developed a signature sound, personnel changes with each subsequent release dogged the band, and it would take a few years for Jane to reach their high-water mark. And while it's easy to write them off as a kind of poor man's Pink Floyd, that would be a complete injustice to the band. Jane's formula is distinct: simple, stately themes delivered over a sluggish beat, with melodic lead guitar and very Floydian vocals. Then there were the lyrics. Between their non-native accents and unique "command" of English prose, Jane could be a little flustering for the native English speaker. However, the band redressed any misconstruction with their most cohesive and epic statement: Fire, Water, Earth & Air, recorded in late 1975. As the title track unfolds, Hess's lead guitar ramps up and lets out a flurry of melodic runs, before the band breaks to the hard-rocking groove of "Fire (You Give Me Some Sweet Lovin')." "Water (Keep On Rollin')" flows to Panka's rock-steady beat, which also is lock-grooved with Martin Hesse's bass. With washes of keyboards and Hess's growling guitar, the music produces a hypnotic, head-nodding vibe. The second side begins with the slow grind of the "Earth (Angel)," awash in Moog synthesizer. "Air (Superman)" contains a typical refrain and a classic lyric that sums up the entire album: "Superman cool again easy."
Nektar returned to the US to capitalize on the chart success of their previous two releases; there, they undertook an extended tour between March and May of 1975, with Larry "Synergy" Fast and ever-present Mick Brockett's light show in tow. They were then off to Château d'Hérouville in France to record Recycled, with producer Peter Hauke and Fast. The concept of environmentalism was drawn from the US tour, as well having road-tested some of the music during the tour. The album picks up on the immediacy of its predecessor, but the differences are immediately apparent: Fast's liberal use of Moog synthesizer brings in a wealth of symphonic and electronic textures to the recording. The main theme of "Recycle" drifts in and out throughout the course of the first side, which plays continuously. Mo Moore and Ron Howden provide a swift beat throughout, with Fast's synthesizers providing segue. The whole thing culminates with a huge choir and crescendo on "Unendless Imagination?" Demonstrably, the album is a massive production—and that's just the first side! Nektar is as tight as ever; their brisk signature continues straight on through and to the end of side two. The brilliant hook of "Marvellous Moses" captivates, until the band finally rests on the apocalyptically titled "It's All Over." Now relocated to New Jersey, the album could have marked a new direction for the band; but ultimately it would be their undoing. It barely broke the US Top 100, and by the end of the year, Roye Albrighton would take his leave, forming Snowball with Curt Cress and Kristian Schultze of Passport. Nektar then recruited a new guitarist/vocalist, Dave Nelson, for the 1977 release Magic Is A Child, on Polydor Records. The album moved into more calculated and commercial territory, but failed to garner any interest and by 1979 the band had all but broken up. With two new members, Albrighton and Taff Freeman carried on for 1980's Man In The Moon, but it only saw release in Germany. Despite some success touring, Freeman returned to the US and Nektar then called it a day. [US release date]
Led by Robert John Godfrey, The Enid was a uniquely progressive act that, despite having first appeared in the mid-70s, had staying power on through the late 80s. Godfrey first appeared on the timeline in 1969, overseeing orchestral duties for Barclay James Harvest. In 1974, he recorded a solo album for Charisma Records titled The Fall Of Hyperion. Godfrey met longtime guitarists Francis Lickerish and Stephen Stewart at Finchden Manor, a public school for troubled adolescents. The Enid's debut album, In The Region Of Summer Stars, is based on a Tarot sequence, and had the same provisional title as Steve Hackett's first solo album (also for Charisma). While the dueling guitars on "The Fool... ...The Falling Tower" and the heavy arrangement of "The Last Judgment" reveal a progressive sound, the instrumental album presents a more symphonic and playful approach, as the title track suggests. In fact, The Enid's second album, Aerie Faerie Nonsense, was nothing short of full-blown classical music, played—quite surprisingly—without an orchestra! Epic and cinematic, it's more like a movie soundtrack. The band then switched to Pye Records and released two more albums, with personnel changes on each: Touch Me came out in 1979, and Six Pieces the following year, before the band was dropped from the label and subsequently dissolved. After releasing a string of singles in the early 80s, Godfrey and Stewart reunited, releasing further albums under their own label, Enid Records.
Following Peter Gabriel's departure from Genesis, the band searched for a new vocalist (short-listed were Mick Jones, Steve Gould and Bernie Frost), before ultimately realizing that they already had their man right behind the drum seat: Phil Collins. Of course, his voice, not that dissimilar from Gabriel's, had been heard plenty by now. That settled, the band entered the studio with the task of proving whether they could survive without their former frontman. Ensconced at Trident, Genesis brought in David Hentschel as producer; he had previously worked with the band as an assistant engineer on Nursery Cryme; the results here were so successful that Hentschel would man the recording desk for the band for the remainder of the decade. And that's what strikes first: A Trick Of The Tail sounds fantastic. Whether on the bass pedal-driven rocker like "Dance on a Volcano," the nimble "Robbery, Assault and Battery," or gentler romantic numbers like the 12-string guitar-based "Entangled" and "Ripples," the band shines through the crystal-clear production. Tony Banks takes the largess of writing credits, yet not without contributions from the others. It's songs like "Mad Man Moon" and the title track that give hint to the future: More narrative than before, Banks writing offers a much more lyrical approach. "Squonk" remains the album's highlight, with its theme again reprised on the closing "Los Endos." Both are testaments to the instrumental might of the group, which, of course, is why the band survived Gabriel's departure. The album surpassed all previous others in sales, reaching No. 3 in the UK and No. 31 in the US. The album's not-so-subtle change in direction would influence a generation of neo-progressive rockers who appeared in the UK during the 1980s. Former Yes and King Crimson drummer Bill Bruford would score a prog rock "hat trick" when hired to augment Genesis on their US tour later in the year.
With Daevid Allen and Gilli Smyth in Majorca, the remaining members of Gong—Mike Howlett, Didier Malherbe and Pierre Moerlen—were left holding both the proverbial torch and a two-album contract with Virgin Records to fulfill. Tim Blake had already split to France to start his own solo career, while Steve Hillage would make a final guest appearance here. The band toured the UK in late 1975 with Clearlight, and live tapes reveal the full impact of the new members. The set list includes tracks from the Trilogy era and Hillage's Fish Rising album, as well as new material. With Pink Floyd's Nick Mason in the producer's chair, the album Shamal mixes up the old Gong formula: Gone are most traces of psychedelia, replaced with a modern jazz-rock; while the long, groove-driven jams are refitted with tight and sophisticated arrangements. On "Wingful of Eyes" and "Shamal," Gong even add a little funk. Newcomers Mireille Bauer (tuned percussion), Patrice Lemoine (keyboards) and Jorge Pinchevsky (violin) provide the incentive for the change, though the additional instrumentality isn't wasted in pointless soloing. The album still retains novelty, avoiding most of the then-current fusion and, most importantly, the album never forgets that it's rock music. Even "Cat in Clark's Shoes" attempts to inject a little humor; lest we forget this is Gong! Unfortunately though, none of this would last, as the band divided over whether to include vocals or go purely instrumental. Howlett would put his bass down and turn to the production chair for a highly rewarding career; while Malherbe would last for one additional album before fronting his own excellent fusion band, Bloom. Pierre Moerlen was then left with the reins of Gong.
Hailing from Illinois, Starcastle was one of a few US prog rock bands (along with Ethos and Symphonic Slam) that achieved some recognition in the mid-70s. After trudging the bar circuits under various names, the core of guitarist Steve Hagler, drummer Steve Tassler, keyboard player Herb Schildt and bassist Gary Strater were joined by another two members: second guitarist Matthew Stewart and vocalist Terry Luttrell, the latter previously in another Champaign band, REO Speedwagon. In 1974, they changed their name to Starcastle and signed to Epic Records. To say that they were influenced by British progressive rock is, of course, a huge understatement. "Lady of the Lake" reveals an easygoing Yes approach, with the emphasis on the vocal harmonies. "Elliptical Seasons" has a little more Midwest grit to it, while "Stargate" goes symphonic. But if two things stick out immediately about Starcastle's music, it's Luttrell's voice and lyrics; unfortunately, his high tenor lacks any visceral punch (most evident on "Sunfield") and his lyric-writing seems like high school poetry. Musically though, the band is playful, boasting rich arrangements that make the best of their expansive sound; check out "To the Fire Wind." Although the Yes-clone analogy runs true, their accessible approach probably owes as much to another Illinois band: Styx. The album was well received, and Starcastle even opened for some of their prog rock big brethren, including Jethro Tull and Rush, on subsequent tours. Epic then sent the band off to Montreal with Queen producer Roy Thomas Baker to record their next album. Though the collaboration was uneasy, there's little argument that Fountains Of Light, released in early 1977, would be the band's definitive statement. Starcastle released two further albums, but even shorter haircuts couldn't change their prospects. Without a record label, the band folded in 1980.
Camel's fourth record Moonmadness is generally regarded as one of their best efforts. After the success of The Snow Goose, the band undertook the daunting task of a follow-up. Written quickly between tours, the focus remained on the instrumental flair and songwriting of Pete Bardens and Andy Latimer. With Rhett Davies now manning production, the album opens with "Aristillus" (which should explain something about the US cover), a short track featuring Bardens's synthesizer work. "Song Within a Song" barely resurrects vocals, with Doug Ferguson taking the mic here. "Chord Changes" starts lively and then finds Camel back to playing the blues. Bardens's organ and Latimer's lead guitar exchange over a slow tempo that just so happens to sound a lot like Focus; but it's a welcome return to their earlier jam band feel, especially after the highly-arranged construct of their last album. But wait, "Spirit of the Water" sounds like a Snow Goose outtake (except with Bardens on vocals). "Another Night," also released as a single, highlights both the band's interplay (even the rhythm section gets into the foray) and Latimer's lyrical guitar work. It's a good example of Camel at their best. Latimer's flute features prominently on "Air Born," another well-arranged track that showcases the band's lighter, easy-going side. "Lunar Sea" is a fiercer workout, supported by a firm bass line from Ferguson, and even ventures towards jazz-rock. The album was their most successful chart-wise, reaching No. 15 in the UK and becoming a best-seller in the US. However, Ferguson left the band shortly thereafter. He would be replaced by Richard Sinclair, previously with Hatfield and the North.
