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.

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.

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.

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.

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.

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.

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.

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.

In early 1974, Rick Wakeman took a break with Yes to complete the even more ambitious Journey To The Centre Of The Earth with the London Symphony Orchestra. Recorded live at the Royal Festival Hall on January 18th, 1974 with full choir, narrator David Hemmings and Wakeman's own English Rock Ensemble, his interpretation of Jules Verne's classic tale had little to do with prog rock, let alone rock music. That hardly mattered: By the time the keyboardist announced his departure from Yes, the album was a UK No. 1 and US No. 3, and even earned himself a Grammy Award nomination.

At the end of 1973, Pierre van der Linden left Focus to form Trace with Rick van der Linden from Ekseption; British drummer Colin Allen, previously with John Mayall's Bluesbreakers and Stone The Crows, was flown in as a replacement. Although it had been over two years since the band's last album, Hamburger Concerto again offers another installment of classic Focus music. The brief "Delitiae Musicae" opens, confirming both Thijs van Leer and Jan Akkerman's love of classical music—something they also pursued in contemporaneous solo works.