In 1968, Deep Purple scored great success in America with a cover of Joe South's "Hush," but their three albums for the Tetragrammaton label were patchy at best. Although the musicianship was high, with Jon Lord's classically-inspired organ breaks and Ritchie Blackmore's arpeggio runs and big riffs, they had a 60s-sounding vocalist in Rod Evans. Rocking-out Colosseum style, the instrumental "Hard Road (Wring That Neck)" from Book Of Taliesyn was arguably the best nugget from that period. When the label folded, the band regrouped and brought on Roger Glover and Ian Gillan from Episode Six. The first release from the Mark II lineup was Lord's five-part Concerto For Group And Orchestra. Recorded and broadcast from the Royal Albert Hall, the band warmed up with three songs ("Wring That Neck," "Child in Time" and "Hush") before launching into the "classical" piece. The Royal Philharmonic Orchestra play, the band rocks out, the Philharmonic play some more, the band rocks out… and so it goes. Lord's classical writing is of soundtrack-quality at best, while the band's parts are typical heavy rock with a lot—and I mean a lot—of soloing. Not a great integration; but it was, as Lord said, "a beginning." Sounds more like an excuse. Still, it was Deep Purple's first charting album in the UK, hitting No. 26. Six months later, the band released the single "Black Night" b/w "Speed King" from the album In Rock. Lord's classical ambitions were shelved (though the band's version of his Gemini Suite would follow), and Blackmore now guided their heavy riffing formula off the timeline and on to mammoth international success as one of the premier heavy rock bands of the 1970s. Just look to Italy for more successful attempts at fusing rock music with an orchestra.

The rock group Man were Wales' finest sons. Originally formed in 1962 in Swansea, Wales, The Bystanders were a singles band with a heavy touring schedule for the time. A minor hit broke the UK Top 50 in 1966; but with the exit of Vic Oakley, guitarist Micky Jones, keyboardist Clive John and the rhythm section of Ray "Taff" Williams and Jeffrey Jones reemerged as Man in 1968, with a musical switch to psychedelia and the addition of guitarist Roger "Deke" Leonard. Their debut album Revelation was issued on the Pye label in early 1969, and saw release on the Philips label in the US under the group name Manpower. Ostensibly a concept record about the course of human life, Man's debut is chock-full of late-60s psychedelia. "And in the Beginning" offers a heavy intro and spoken word interlude between some great guitar from Jones. "Sudden Life" adds a little blues to the mix, while the acoustic "Love" scales back a bit. The faux-orgasm vocals of "Erotica" was shocking for its time-banned in the UK, yet a hit in France! The second side's "Blind Man" is another good-time rocking number, but "And Castles Rise in Children's Eyes," with John's organ at the fore, highlights Man at their most psychedelic and progressive. "Don't Just Stand There (Come in Out of the Rain)" follows up with more keyboard acrobatics from John, while "The Future Hides Its Face" closes, reprising the opening theme. An excellent second album, 2 Ozs Of Plastic With A Hole In The Middle (including the rockin' "Spunk Rock"), saw release in September and built on their debut; and further touring earned them success in Germany, which they subsequently made their home base.

The Trip were an Anglo-Italian group that had origins in London. Enrico "Riki" Maiocchi, of the pop group I Camaleonti, recruited a young Ritchie Blackmore, Billy Gray and Avrid Andersen, among others, and moved to Turin, Italy. Blackmore bowed out early, and was replaced by organist Joe Vescovi; but by the time the band recorded their first album in 1970 for RCA Italiana, Maiocchi was out too. Their debut finds The Trip mixing blues rock with heavy organ and rich harmonies, and some classical influences. However, their second album, Caronte, based on the mythological character Charon, finds their music moving toward the realm of British prog rock. Vescovi, with his self-proclaimed influence of Keith Emerson, is up to task; so while the influence is obvious, there's still originality in The Trip's take on the progressive. Yet they never lose their heavy blues-rock roots, as the opener "Caronte I" attests. "Two Brothers" follows suit, opting for vocals this time, à la Atomic Rooster or Lucifer's Friend. "Little Janie," an ode to Janis Joplin, eschews the prog for something lighter, while the similar "L'ultima ora e Ode a J. Hendrix" is a little more run-of-the-mill, offering only a few plaintive guitar lines over the prolonged final section. Gray and drummer Pino Sinnone then left, the latter replaced by Furio Chirico, and the new three piece recorded 1972's Alantide. Venturing deeper into the style of Emerson, Lake & Palmer, it features the furious drumming of Chirico. One final album, the even more playful Time For A Change, was released on Trident Records in 1974. But it was time for a change, indeed. The band split, with Chirico co-founding Arti e Mestieri and Vescovi briefly joining Aqua Fragile and then I Dik Dik.

Hailing from the Finland, Blues Section was (you guessed it) a blues-inspired band fronted by British expatriate Jim Pembroke, drummer Ronnie Österberg, bassist Måns Groundstroem and others. They released an eponymous album in 1967, on the Finnish Love Records. But soon after Pembroke and Österberg left, and after a few more singles, the band broke up. Österberg then set out to form Wigwam, drafting Pembroke and organist Jukka Gustavson, with bassist Pekka Pohjola arriving in 1968 for their second album, Tombstone Valentine. It featured Kim Fowley in the producer's chair, and even managed to secure a US release on MGM's Verve Forecast. The band's music (roughly a cross between Traffic and The Band) matured into a more progressive sound for 1971's double-album Fairyport. By all accounts the sprawling jam, "Rave-Up for the Roadies," with guest Jukka Tolonen on guitar, was more indicative of their live set: nothing like their records! Both Pembroke and Pohjola then cut solo albums (the former, as Hot Thumbs O'Riley, released the whacked-out Wicked Ivories for Charisma in 1972), leaving Gustavson to mostly pen the epic 1974 release, Being. His "Proletarian" kicks off, rolling straight into the short "Inspired Machine;" immediately, it's evident that the band has refined their music to the point of being immaculate, while Gustavson's grasp of the English language is second to none. The more playful melody of Pembroke's "Petty-Bourgeois" follows; the contrast between the two composers is pronounced, but the band performs both with equanimity. "Pride of the Biosphere" gets heavy into the album's concept (life, death, religion and the meaning of it all), while the musicality of "Pedagogue," including the wonderfully resplendent horn arrangement, reveals the enormous technical talent contained within the band. "Crisader" continues the story, with Pohjola's brief "Planetist" swinging with abandon. Pembroke offers another of his lush melodies on "Maestro Mercy" and the following "Prophet" offers Gustavson a chance to show his considerable keyboard talents again. Finally, Pembroke's transcendent "Marvelry Skimmer" concludes the story. All told, the album is one of the most unique and perfectly crafted albums in the timeline. Yet perfection pays a price, and the band would barely weather the tumultuous sessions recording the masterpiece.

Following closely in the direction first offered on Phaedra, Tangerine Dream released Rubycon and the live Ricochet in 1975; the former rose to No. 12 on the UK charts, the band's highest position yet. Both were excellent releases that featured one single composition split over each of the album's sides, again with heavy accents on mood and atmosphere. Stratosfear, however, reflects a paradigm shift for the band: Augmented by acoustic instruments, including harmonica, guitar, piano and harpsichord, Tangerine Dream's constructions now move toward actual composition. The title track is exceptionally rich, sporting a memorable melody; once it gears up though, it moves steadily over the swift, sequenced rhythm. "The Big Sleep in Search of Hades" is unassuming, yet features a colorful interior. Still, it's the second side's "3 Am at the Border of the Marsh from Okefenokee" that is truly classic. After a cinematic introduction, we're treated to a hypnotically slow sequence over which the band conducts their magic. "Invisible Limits" reaches even further over its 11 minutes, recapping the new territory the band has invaded. Tangerine Dream is more musical than ever here, and set on a new sonic course that would continue to evolve. One major criticism, though, is that the album is a mere 35 minutes long. Despite being a disaster to record-tales of equipment failure plagued the sessions (and reportedly a Nick Mason mix left on the shelf)-Stratosfear was moderately successful on the charts, reaching the UK Top 40. The band toured the US for the first time in early 1977, releasing the excellent live double-album Encore as evidence. Yet even more fortuitous was the band's highly successful soundtrack to William Friedkin's film Sorcerer, which also was released that year.

Following the departure of Darryl Way and Francis Monkman, Sonja Kristina and Mike Wedgwood regrouped as Curved Air and recruited two young prodigies: guitarist Kirby Gregory and keyboardist/violinist Eddie Jobson. Along with drummer Jim Russell, they made their debut on the 1973 album Air Cut. "The Purple Speed Queen" kicks off the album, propelled by Jobson's heavy organ and Gregory's up-in-the-mix guitar runs. "Elfin Boy" is a stark contrast: a gentle folk number with Kristina's voice to the fore. Yet it's the appreciably heavy rock of the lengthy Jobson-penned "Metamorphosis" that finally fulfills Curved Air's promise: full of Jobson's keyboard acrobatics, the song is veritable prog rock. For "Armin," Jobson switches to violin, again revealing his prodigious talent on the fiery instrumental; while Gregory steps out with some cool Leslie-effected guitar on his "U.H.F." The latter is a relatively straightforward guitar rock number, but with an odd yet effective break in the middle. Wedgwood steps up to the microphone on his "Two-Three-Two," revealing his pop sensibilities that would later grace Caravan. But the overwrought arrangement of the closing "Easy" reveals the album's weakness: The "over the top" sound here is simply way over the top. This would be the only release from the lineup, though another record would remain in the vault. The original Curved Air, with Kristina, Way, Monkman and Florian Pilkington-Miksa, reunited in late 1974 for a live album and tour, and thus managed to pay off an outstanding tax bill. Way and Kristina would then recruit new blood for their final two records, 1975's Midnight Wire and 1976's Airborne, both on RCA. Stewart Copeland, brother of manager Miles Copeland and future husband of Kristina, joined on drums, while Mick Jacques played guitar. However, without much success, Way split from the group in 1976; and after one final tour, the band broke up for good. Stewart would then join up with Gong alumnus Mike Howlett in the pre-Police Strontium 90.

Gilli Smyth, aka Shakti Yoni, first met Daevid Allen in 1964 by which time she had already earned her degrees from King's College London, taught in Paris and had her first child. When Allen was barred from England in 1967 for visa irregularities, the pair returned to Paris and founded Gong. Following their stint with Planet Gong in the mid-70s, Smyth's first album, Mother, was assembled (mostly) with various Gong recordings, some dating back to the early 70s. With her non-singing space whisper, Allen's tape loops and loose backing music to her half-sung spoken word musings on all things motherhood (she had recently given birth to two sons with Allen), the blueprint for her Mother Gong works was set. In 1979, with her relationship with Allen behind her, she partnered with Harry Williamson, and lived in Devon until 1982. Williamson had previously worked with ex-Genesis guitarist Anthony Phillips on a soundtrack to his father's renowned Tarka The Otter (also released as Battle Of The Birds: A Celtic Tale, with Smyth narrating), and cut a single "Nuclear Waste" b/w "Digital Love" as The Radio Actors: Sting, Mike Howlett, Steve Hillage, Steve Broughton and Nik Turner. Recorded at Dave Anderson's Foel Studio, Fairy Tales stands as the first Mother Gong album. The album sets three classic fairy tales—Wassilissa, The Three Tongues (Languages) and The Pied Piper, all recited by Smyth—to Williamson's musical backing with a host of guests, Gong-related and otherwise. Keyboardist Mo Vicarage and drummer Dino Ferari (from Nik Turner's Inner City Unit), and Automatic Fine Tuning's bassist Trevor Darks make up the core band, with guitarist Eduardo Niebla on guitar (from the Spanish band Atila). Mother Gong toured extensively, performing at Glastonbury festival in both 1979 and 1981. Smyth and Williamson would next record the Robot Women trilogy of albums, based on Ira Levin's Stepford Wives and recorded with Guy Evans, Didier Malherbe, Yan Emeric Vagh and a revolving cast of other musicians. In 1982, Smyth and Williamson would immigrate to Australia, continuing Mother Gong down under, and eventually recording again with Allen.

Another stanchion of the London underground scene, Arthur Brown had huge success with the single "Fire" b/w "Rest Cure." Released in June, it rose to the top of the UK charts, while reaching No. 2 in the US that September. The single was a tough act to follow, perhaps even overshadowing the rest of his career. But let's not sell the man short. Brown's real contribution to rock music was theatre: his on-stage antics-from fire helmet to crucifixion-set the standard for most every act to follow. Plus, Brown's musical partner, Vincent Crane, was nothing short of genius. The Who's Pete Townshend and Kit Lambert produced their debut album, The Crazy World Of Arthur Brown. As covers of Screamin' Jay Hawkins and James Brown songs attest, the R&B influence is obvious, but the album's highlight is the five-song "opera" that comprises the first side of the record. Alternating from swinging pop to psychedelia, Crane's swirling organ playing and songwriting act as perfect counterpoint to Brown's distinct voice. Crane was no flash either. Having a formal musical education from Trinity College, his arrangements are first-rate. There's sophistication on "Child of My Kingdom" that transcends his age at the time, and his virtuoso performance certainly rivals any contemporary; perhaps even setting the standard for the organ. The album was extremely successful, reaching the UK No. 2 and the US No. 7. A young Carl Palmer replaced original drummer Drachen Theaker shortly after the album's release, yet after a second US tour, the band broke up, with Palmer and Crane forming Atomic Rooster. Brown's attempt to resurrect the band failed, but he would soon catch the progressive bandwagon with Kingdom Come.

The painstakingly documented history of King Crimson begins with their birth on January 13th, 1969 in the basement of the Fulham Palace Café, London. The trio of Giles, Giles & Fripp had expanded a year earlier with the arrival of Ian McDonald. Lyricist Peter Sinfield, McDonald's songwriting partner, became the band's fifth member; this included the duties of road manager, light artist, resident hippie, etc. Yet at Robert Fripp's persistence, fellow Bournemouth guitarist Greg Lake joined on bass and vocals, replacing Peter Giles; Lake had previously been in The Gods. The recording of their debut album was twice abandoned (once with The Moody Blues' producer Tony Clark), but a third self-produced effort, with E.G. Management's David Enthoven and John Gaydon footing the bill, proved successful. The power of the band is immediately apparent as "21st Century Schizoid Man" blasts away: King Crimson resounds like nothing before it. Propelled by Michael Giles's inventive drumming, the band's interplay is precise, and their sound is simultaneously immense yet detailed; Fripp's screeching guitar solo is positively terrifying. The Mellotron figures prominently, dominating both "Epitaph" and the title track. This was no mere accessory; rather, the band were writing specifically for the instrument. It's an important point as the technology of the era was instrumental in defining the genre of progressive rock. The album's gentler moments, "I Talk to the Wind" and "Moonchild," showcase McDonald's ability as a composer and Fripp's grace (and considerable jazz influence) as a guitarist, especially in the latter's improvised half. Here the band is both mature and meticulous. Throughout the album, King Crimson display their talents. Listening to the flute solo in the title track, it's obvious that McDonald is an accomplished soloist; yet that he's showing us he can play is central to the progressive aesthetic as well: There is no hiding his virtuosity or creativity; in fact, he's flaunting it. Even Sinfield's words, sympathetic to Lake's voice, soar, though it's a matter of taste as to whether they "crack at the seam." In The Court Of The Crimson King sets a new standard for rock music, on what Pete Townshend called an "uncanny masterpiece." The cover art, a harrowing face painted by Barry Godber, also would set the album apart. King Crimson's timely supporting slot at The Rolling Stones' free concert in London's Hyde Park in July was most fortunate. Consequently, the album-arguably the first prog rock record-awaited a flurry of interest; it peaked at No. 5 in the UK, while in the US it broke into the Top 30. King Crimson ended their first year with a two-month tour of the US.

Guitarist Manuel Göttsching, with bassist Hartmut Enke and the intermittent Klaus Schulze on drums, founded Ash Ra Tempel in 1971, after purchasing Pink Floyd's sound equipment in London. The trio had previously worked together with Conrad Schnitzler in Eruption. They released four albums of exemplary krautrock, combining blues influences with Jimi Hendrix pyrotechnics in freak out-style playing. The album's side-long tracks were mostly improvisational, and drew some similarity to the early Guru Guru albums. Ash Ra Tempel further collaborated with on-the-lamb acid-guru Timothy Leary for another album, and participated in Rolf-Ulrich Kaiser's Cosmic Jokers sessions, from which tapes would be pilfered for a further series of albums. But by 1973, after a farewell concert in February, Schulze and Enke departed. Göttsching continued, now with Rosi Müller and producer Dieter Dierks on bass. It's not surprising then, that Starring Rosi presents a change to the Ash Ra Tempel formula. "Laughter Loving" opens with a "space whisper," yet unfolds to reveal a sprite instrumental that recalls Agitation Free's contemporary work (read: American Southern rock). Gone are the feedback and freak out, and in their place is a clean guitar tone, with journeyman drummer Harald Grosskopf supplying the quick beat. Müller offers some hippie prose as Göttsching strums away on the ensuing "Day-Dream;" while the brief "Cosmic Tango" does just that. The second side's "Interplay of Forces" is another track that features Göttsching's remarkable guitar playing, this time with a conga-enhanced rhythm. Similarly, "Bring Me Up" closes the side, offering another potent rocker—again with a little Latin influence, for good measure. Though the album would be the last (sort of) for Ash Ra Tempel, Göttsching kept busy, plotting his next course of action.

Heldon's fourth album (also carrying the subtitle of Richard Pinhas's then-girlfriend, Agneta Nilsson) was released in early 1976, and offered a more polished production than previous efforts. The big change though was the middle section of the album's side-long piece, "Perspective IV." Aided by Coco Roussel on drums, Alain Bellaïche on bass guitar and Patrick Gauthier on Mini-Moog synthesizer, Heldon delivers very aggressive rock ‘n' roll. The approach was continued on the next album, Un Rêve Sans Conséquence Spéciale (US title: A Dream Without Reason), where Heldon was now the trio of Pinhas, Gauthier and drummer François Auger-(more or less) a band. While there is a certain resemblance to the power-trio era King Crimson, Heldon is far darker, far more experimental and indeed, violent: The album is a savage mix of lead guitar, lead synthesizer, manic drumming and incessant sequencer. "Marie Virginie C." finds a potent combination of sequencer and drums, while "Elephanta" is pure percussive mayhem. "MVC II" again is altogether different: Lumbering over a slower sequence, it's a lot closer to what would be known as "industrial" music later in the decade. "Toward the Red Line" features bassist Jannick Top, but his contribution is difficult to discern: The track harks back to the extreme electronic improvisation of Heldon's earlier works. The album saw distribution on the French Cobra label, and even garnered a US release on the Aural Explorer/Inner City label. Two final Heldon albums followed, with both offering further refinement (and progressively slicker production) to the approach first presented here. Interface saw release on Cobra in 1977, while the 1978 release Stand By saw a switch to the Egg label and Didier Batard on bass. In late 1976, beginning with the album Rhizosphere, Pinhas launched a parallel solo career (mostly synthesizer works), and continued recording well into the 1980s.

Uriah Heep, named after the Charles Dickens character, was one of the more critically-derided bands of the era. The classic quote is this: "If this band makes it, I'll have to kill myself" (Rolling Stone, Melissa Mills, 1970). Sadly, a few of the members did pass away too early: New Zealander Gary Thain in 1976, while David Byron (born David Garrett) died in 1985. Lead singer Byron and guitarist Mick Box had previously been in the Essex-based band The Stalkers, which mutated into Spice in 1967. With the arrival of bassist Paul Newton the following year, they recorded a lone single, but also signed on with manager Gerry Bron. Former The Gods' keyboardist Ken Hensley came on board during recording sessions in late 1969, at which point Spice changed their name to Uriah Heep. Recorded at Lansdowne Studios with engineer Peter Gallen (as were most of their albums), their debut album appeared in 1970, followed quickly by two more albums in 1971. Heep's sound was much closer to the heavy thunder of Deep Purple than anything strictly progressive, but their albums were original and contained epic gems such as "Salisbury" and "July Morning." During this time, the band endured several personnel changes (mainly with drummers) before settling down in 1972 with Thain (formerly with the Keef Hartley Band) on bass and Lee Kerslake (another The Gods' alumnus) on drums. Demons And Wizards embodies Uriah Heep's finest hour. It has all the accoutrements of a good prog rock record: songs about wizards and demons, plenty of Hammond organ and a Roger Dean cover. But the one element that raises the bar is the great songwriting. Whether "The Wizard," "Traveller in Time" or "Circle of Hands," each track rocks hard and delivers catchy hooks. From start to finish, the album moves consistently and sets a blueprint for the stadium-sized anthem rock that would appear later in the decade. The Heep nearly had a hit single in the classic "Easy Livin'" b/w "Gypsy," and the album reached the Top 20 in both the UK and US, earning gold status as well.

Having recently parted ways with Robert Fripp, Pete Sinfield entered Command Studios in London with just about every other King Crimson alumnus to record his first (and only) solo record. And although he'd already capably filled the producer's chair for Roxy Music and PFM, on Still, he had assistance from Greg Lake and Mel Collins. The album's opener, "The Song of the Seagoat," takes its theme from Antonio Vivaldi's well-known Lute Concerto in D Major and offers a good glimpse at what to expect: a very feminine album, with lots of words and a vocal delivery that you will probably either like or hate. It's hard to say when Sinfield is in his element: Songs like "A House of Hopes of Dreams," "Envelopes of Yesterday" and "The Night People" definitely work; none would have sounded out of place on the previous two King Crimson albums. Even "Under the Sky," co-written with Ian McDonald, passes; though Sinfield's hand at rock 'n' roll, "Wholefood Boogie," falls way short of the mark. And perhaps it goes without saying that by 1973, no one should have been recording songs called "The Piper." But all told, the album is a final slice of Sinfield's romanticized art and another glimpse into his piece of the greater King Crimson puzzle. The album was released on ELP's Manticore label to no particular acclaim. Sinfield would continue producing and composing before being "seduced" into working with ELP on a semi-permanent basis.

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.

It would be hard to have passed through the 60s without hearing one of Manfred Mann's numerous singles that littered the Top 10 in England—including his most famous "Doo Wah Diddy Diddy" b/w "What You Gonna Do," which topped both sides of the Atlantic. Two singers marked the band's early days: Paul Jones ("chapter one"), and in 1966, Mike D'Abo ("chapter two"). But as the South African (born Manfred Lubowitz) keyboardist entered the 70s, he and longtime musical partner Mike Hugg left the pop world behind, releasing two albums under the moniker Chapter Three. (The band was initially called Emanon, "no name" spelt backwards.) Drummer Hugg, dating back to 1962 with the Mann-Hugg Blues Brothers, was also a pianist and composer, best known for The Yardbirds' hit "You're a Better Man Than I." The group also featured future East Of Eden bassist Steve York and drummer Craig Collinge, plus Bernie Living on wind instruments, and a host of guest musicians, including Steve Corbett and Dave Coxhill. Their debut is an excellent record; serious brass arrangements outfit its heavy-ish tunes à la Colosseum, though it still sounds rooted in the 60s. No matter, check out the organ solo in "Snakeskin Garter" or the weightlessness of "Konekuf." From deep grooves to swinging jazz, the album is one dark, sexy beast! "Sometimes" is a lighter, even timeless number, while "One Way Glass" makes the best of the York and Collinge rhythm section. Hugg's voice is probably an acquired taste; here, it perfectly suits the music-just listen to how well it renders the slow, dark reinterpretation of his "Mister You're a Better Man Than I." Mann's "A Study In Inaccuracy" lets the horns honk loose, before Hugg's plaintive "Where Am I Going" closes with a touch of beauty. Released on the Vertigo label, it was followed by Volume Two in October 1970. But by then the band had split as the Mann-Hugg partnership drew to a close. A final third album was recorded but remains (mostly) unreleased.

Following his time with Neu! and Harmonia, Michael Rother turned to a solo career, releasing a series of albums on the Sky label during the late 70s and early 80s. First up was Flammende Herzen, ("Flaming Hearts"), in 1977. Recorded with Conny Plank, the album also marked the beginning of Rother's relationship with drummer Jaki Liebezeit of Can. Purely instrumental, the album features Rother's signature guitar work. Pure in tone and simple in execution, the title track expertly layers each guitar part, creating a gentle, poignant mood that's eventually boosted by Liebezeit's drumming. "Zyklodrom" follows with a big synth, yielding to strumming guitar, before again bursting open when the drums kick in. Layered with various sonic textures, simple melodies predominate, propelled by a motorik beat. The overall feel to Rother's music is both stirring and uplifting, and indeed, heartening. "Karussell" is similar, but the more minimal landscape and drum machine beat of "Feuerland" is a little starker. "Zeni" closes, driven by Liebezeit's quick beat. In 1978, the album would become the soundtrack to a film of the same name, from director Walter Bockmayer. Rother's next album, Sterntaler, also appeared the following year, while the excellent Katzenmusik saw release in 1979. Both were successful, in fact, the guitarist was voted Musician of the Year by readers of Germany's longstanding Sounds magazine. By the early 80s, though, Rother had signed with Polydor Records and ventured away from the guitar-dominated work of the Sky albums, yet onto continued musical success.

With nearly a decade of work behind him, guitarist Manuel Göttsching was one of the pillars of the so-called Berlin School of electronic rock. In 1974, Göttsching recorded Inventions For Electric Guitar, his first true solo album (played only on guitar), at his new Studio Roma in Berlin. His guitar technique is similar to Achim Reichel or Robert Fripp: Using layers of echo-effect guitar, Göttsching created hypnotic washes of sound—early "trance" in modern terms. After a few years of collaborations (most notably with Michael Hoenig), he returned under the moniker Ashra, signed with Virgin Records and released the excellent New Age Of Earth in 1977. Göttsching favored keyboards this time around, but the results were lilke his previous work. He then assembled a band with guitarist Lüül Ulbrich from Agitation Free and drummer Harald Grosskopf from Wallenstein, and began to tour, including gigs in the UK and France. Blackouts followed shortly thereafter, with Göttsching again playing all of the instruments on the record. It was heavily-sequenced rock, and comparable to Steve Hillage's work of the same period. Released in 1979, Correlations offers the first listen to Ashra, the band. Needless to say, the compositions gain significant mass with the extra musicians on board. "Ice Train" is lively rock that features layers upon layers of guitar, while "Pas De Trois" emphasizes rhythm. Certainly, the album is a product of late 70s technology, but it also gives a nod to the emerging "new wave." In 1981, Göttsching recorded the landmark E2-E4 (released on Klaus Schulze's label in 1984), which presaged most 90s techno music.

Fred Frith was best known for his unique approach to guitar playing as part of the equally unique Henry Cow, and later Art Bears. Frith had released a solo album in the interim, Guitar Solos (a series of improvised—you guessed it—guitar solos), and a final album with Henry Cow in 1979, Western Culture. For Gravity, Frith teamed up with two Rock In Opposition stalwarts for another look at song-form, dance music and, of course, the avant-garde. On the first side of the record, Swedish group Samla Mammas Manna guest, and the results are a potpourri of ethnic music, improvisation and all the weirdness one might expect from Frith. There's even a golden nugget of prog rock buried inside the brilliant "Norrgarden Nyvla." Lars Hollmer's accordion is a treat, as is Frith's violin. The second side features members of the US band The Muffins, to similar effect. In particular, the deconstruction of "Dancing in the Street" is ridiculously avant-accessible, culminating in a frenzy of tape manipulation before fading with a meandering guitar line. But the following "Slap Dance" is certainly more palatable. The album was released on the US label Ralph Records, perhaps best known for signing The Residents. The following year saw the release of another similar album, Speechless. Here Frith teamed up with another pair of RIO bands, Etron Fou Leloublan and Massacre. A final record for the label, Cheap At Half The Price, would appear in 1983.

Agitation Free remained busy after recording their debut album, appearing in the cultural program for the 1972 Munich Olympics as well as touring France for a few months in 1973. Guitarist Stefan Diez deputized for their second album, titled 2nd; it also saw release on the Music Factory label. "First Communication" opens the album. With its guitars in unison, it offers a sound that has more similarities with the improvisations of American Southern rock than with the German krautrock of the day! Never mind though—the ensuing "Dialogue and Random" is pure electronic bliss. The following two-part "Laila" offers more of the band's wonderful jam-band rock; again, the dual guitar interplay of the second part is sublime. The lucid journey continues on "In the Silence of the Morning Sunrise;" Paced by a metronomic drum, the light melody reveals more of the band's close interplay, draped in Michael Hoenig's ever-present synths. "A Quiet Walk" goes acoustic, while the closing "Haunted Island" is a rare vocal number from the band. Following the album's release, the group kept busy with radio broadcasts and touring; but by 1974, the band had run its course. After a farewell concert, Agitation Free broke up, and a final record, Last, was released in 1976 by the French label Barclay. Though one of the more musically accessible bands of the era, Agitation Free's records were, for a while, interminably difficult to find. But the story has a happy ending: Hoenig went on to work with Tangerine Dream before forging a solo career, while Lüül Ulbrich would join Ashra towards the end of the decade and also foster a successful solo career in the 80s.

With Phil Collins in Canada sorting out his personal life, Genesis entered 1979 on hiatus. Both Tony Banks and Mike Rutherford turned their attention to solo projects, with Banks's being the first out of the gate. A Curious Feeling was produced with David Hentschel at Abba's Polar Studios, with Banks handling all instrumentation—only Chester Thompson assisted on drums and percussion. Based loosely on the novelette Flowers for Algernon by Daniel Keyes, the album is a relatively uniform set of songs. Since Banks was always one of Genesis' main songwriters, it should come as no surprise that A Curious Feeling gives a good approximation of his contribution to that band; and conversely, the album also sheds light on the other members' contribution to Genesis by what it isn't. Banks is a lyrical songwriter; his compositions are flowing, with an emphasis on beauty and romanticism. Both "The Lie" and "After the Lie" are typically expressive, while the second side's "You" and "Somebody Else's Dream" contain a harder edge. Throughout, the production is flawless, though perhaps a little too contrived. Banks's instrumental "The Waters of Lethe" (also the working title of the album) is flush with that trademark Yamaha CP70 piano tone; it's also no wonder that the album sounds a lot like the previous Genesis record, And Then There Were Three. The opening "From the Undertow" and another instrumental "Forever Morning" are obviously from the same well. Kim Beacon from Charisma labelmate String Driven Thing provides the vocals for the album—a quite controversial choice, in retrospect. His smoky tenor is by no means a distraction, but it might be too familiar a match for the music: It's typical of the kind of voice that Genesis (and ex-Genesis) members would select for their solo albums. Regardless, the album was a success, rising to No. 21 on the UK charts.

The success generated by the previous year's Free Hand and Gentle Giant's extensive touring to promote it instilled the band a considerable amount of pressure for the follow-up. They entered the studio in February, reputedly less prepared than they'd hoped; but what they delivered was something more straightforward and precise than any of their earlier efforts. As the title indicates, the concept of Gentle Giant's eighth album is a mock interview with the band. The title track chops along under a huge organ riff, its lyrics offering a wry and jaded answer to questions they'd probably been asked a thousand times before. "Give it Back" is unique; its reggae rhythm is obviously a departure for the band, but it breaks into a great instrumental middle section that's more familiar. "Design" is the obligatory (and by now, tiring) a cappella track. The second side starts off with "Another Show," a straightforward rocker in typical Gentle Giant fashion. "Empty City" is a gorgeous song, layered with multi-tracked guitars and a beautiful synthesizer line. When asked by the interviewer (Sounds' Phil Sutcliffe), "What kind of music do you play then?" the Giant responds with "Timing:" a fitting track, it's chock-full of all the things one's come to love about their music. But the best is saved for last. Building up with a mélange of harpsichords and other keyboards that make their rounds underneath a gentle Minnear vocal, "I Lost My Head" erupts into another full-on rocker. Gentle Giant would again embark on a world tour in support of the album, documented on the exceptional Playing The Fool double-album, released the following year. However, the changing landscape of popular music would usher in a different course for the Giant. This would be the end of an era for the band.

Formed by Guitarist Jukka Tolonen and drummer Vesa Aaltonen, Tasavallan Presidentti ("President of the Republic") also featured bassist Måns Groundstroem and a British singer, Frank Robson, both previously in Finland's Blues Section. After the band's debut album, Pekka Pöyry joined on flute and sax for the Swedish-only release (and somewhat overlapping) Tasavallan Presidentti II. Like their first record, there's a heavy debt to Traffic and even Procol Harum, though both contain world-class performances. Vocalist Eero Raittinen replaced Robson prior to the recording of their next album, Lambert Land. "Lounge" kicks the album off with a healthy cocktail of guitar, sax, flute and piano. Jazzy and tightly interwoven, the band offer a spry and progressive record full of originality and atmosphere—undoubtedly due in part to the production of American expatriate Sam Charters, best known for his work with Country Joe and the Fish. Raittinen's voice is a welcome addition, as it's one that avoids the clichés of his British counterparts. The title track traces a haunting organ line, offering something dark and deep, before breaking out into the jazz-backed "Celebration of the Saved Nine," the lone composition from Pöyry. The second side's "The Bargain" delivers a groove and interior monologue similar to Can (!) before relenting to Tolonen's epic "Dance." As the track's explosive solo attests, the Finnish guitarist is an exceptional talent, who indubitably helped propel the band to the West. "Last Quarters" closes; it's a splendid song, carried by a solitary flute, Leslie-fed guitar and Raittinen's double-tracked vocal. All in all, it stands as the classic Scandinavian album of the progressive era. Tasavallan Presidentti decamped to the UK in late 1972 and again in Spring 1973, where they ultimately recorded their final album at De Lane Lea Studios with Peter Eden. Milky Way Moses saw international release in 1974, along with a reissue of the 1971 solo album Tolonen! But with Tolonen now solo, the band splintered and Groundstroem went off to Wigwam. Tolonen would record a few albums in the early 80s with Samla Mammas Manna guitarist Coste Apetrea.

Upon review, The Nice's self-titled third record is certainly not their strongest effort, as it fails to offer any progress on the band's prior two releases. The album opens with "Azrael Revisited," though Keith Emerson's piano is an inferior substitute to David O'List's guitar on the original single. Evidently short on material, The Nice then add two covers: A particularly languid reading of Tim Hardin's "Hang On to a Dream" did little but break into an extended solo from Emerson, while Bob Dylan's "She Belongs to Me" is laborious at best. With its jazzy horn arrangements, "For Example" fares better, offering a solid bite of the band's formula. The second side of the record was recorded during the band's first tour of the US, at the Fillmore East in New York. The Nice were in their element on stage, and the live rendition of "Rondo (69)" gives a good estimation of what the fuss was all about. Oddly, the album was the first for The Nice to chart, rising to No. 3 in the UK. And yet, disappointed by their stagnant success (and perhaps also their lack of material), Emerson would barely make it through the year with the band. Still, two posthumous albums were released, again mainly taken from live recordings. The first, Five Bridges Suite, released in June 1970, would be the most successful Nice album, reaching No. 2 in the UK. Its attraction was the suite of the same name, recorded live with an orchestra at Fairfield Halls. Released in April 1971, Elegy also would make the UK Top 5. Lee Jackson subsequently formed Jackson Heights, releasing four nondescript albums over the next three years, before teaming up again with Brian Davison in 1973 in The Nice-clone Refugee. Emerson was immediately off to Emerson, Lake & Palmer, where formula first proposed with The Nice would reach its natural conclusion.

If The Moody Blues' last album was a little hoity-toity, never mind, because they let it all hang out in stunning psychedelic fashion on In Search Of The Lost Chord. Released in July 1968, the band's second record fully exploits the then-current counter-culture with lyrical themes exploring inner and outer space, both spiritual and terrestrial. "Ride My See-Saw" is classic Moodies, with great guitar licks from Justin Hayward. Ray Thomas's "Dr. Livingstone, I Presume" is a bouncy, Beatlesque number, while John Lodge's "House of Four Doors" reminds us that this is still 60s music. But Thomas's "Legend of a Mind" is the album's centerpiece. Mike Pinder's pitch-shifted Mellotron is completely effective, providing the sonic cue to an acid trip, while Thomas's flute solo would become legendary when performed live. Pinder's "The Best Way to Travel" continues the psychedelic goodness, while "Visions of Paradise" invokes a folksy vibe, with a great vocal from Hayward. Graeme Edge offers a couple of spoken word pieces, for good measure. The closing "OM" uses Indian sitar, tambura and tabla to great effect. All-in-all, the Moodies make the most of the studio and their musical abilities in creating perhaps their finest work. Again, Tony Clarke and engineer Derek Varnals provide the album's production, creating a soundscape that fully exploits the then-current stereo high fidelity-the album still sounds fabulous. Packaged with a dramatic cover painting from Phil Travers, the album rose to No. 5 in the UK, though only reaching the US No. 23. The Moody Blues would repeat this formula to continual success, including the excellent A Question Of Balance album in 1970. They took a rest in 1973, next releasing a plethora of solo albums, some good, some so-so, only to return at the end of the decade for more chart-climbing success, but in a more musically mainstream manner.

Quiet Sun's sole album was recorded while Roxy Music guitarist Phil Manzanera was recording his debut solo record, Diamond Head. That album included an incredible roster of musicians (and the classic track "Miss Shapiro"), but it also sought to cover the same pop territory as Roxy Music, and most certainly succeeded. Mainstream, then, was the progressive "studio twin." Manzanera returned to keyboardist Dave Jarrett, as well as Bill MacCormick and Charles Hayward: the former an ex-Matching Mole bassist, and the latter the future This Heat drummer. Quiet Sun had, in fact, first been together in 1970, while the members were at school in Dulwich; failing to ever secure a recording contract, they broke up in 1972. Thus resituated, Quiet Sun set out to right their unfinished business and record their original set of music. They share writing credits, contributed individually though; yet each track blends seamlessly into the next. "Sol Caliente" leads off; and once it kicks into full gear, the heat, as the title suggests, indeed turns up. Yet it's Manzanera's electric guitar that gives the album its unique twist on the Canterbury formula, lending it much more of a "rock" feel. To wit, it's a highly electric experience, bordering on manic at times—especially on the wonderfully titled "Mummy Was an Asteroid, Daddy Was a Small Non-Stick Kitchen Utensil." Jarrett primarily keeps his hands on both electric and acoustic pianos, while the Hayward/MacCormick rhythm section is dynamic throughout. The album's one vocal track, Hayward's "Rongwrong," takes a cue from Robert Wyatt, both musically and lyrically. But unfortunately, this would be the only album from Quiet Sun. Manzanera then formed the relatively disappointing but critically successful 801, releasing a couple of albums on Island Records before returning to Roxy Music later in the decade.

Bo Hansson spent the early 60s as a member of The Merrymen in his native Sweden. The band, which also included harmonica player Bill Öhrström, opened for one of The Rolling Stones' Scandinavian tours and recorded one album with US singer Boz Scaggs. Switching to the organ, Hansson formed a relatively well-known duo with drummer Rune Karlsson, eventually releasing three albums in Sweden as Hansson-Karlsson. They were even friendly with Jimi Hendrix, having jammed with him when they opened for the Experience in 1966. But by 1969, Hansson, locked away in his recording studio with Karlsson and engineer Anders Lind, began recording his musical interpretation of the Tolkien fantasy trilogy; or rather, Music Inspired by at the Tolkien estate's request. Lind's Silence Records released the album, Sagan Om Ringen ("Lord Of The Rings"), in November 1970 to relative commercial success in Sweden—so much so that Charisma picked up the album some two years later in the UK, where it would enter the Top 40. It's relevant to note that the album is one of the first in the multi-instrumentalist tradition. Hansson's work, though, is often misinterpreted; his quiet yet sinister organ tones are more like Pink Floyd than anything fairy tale-esque or electronic, and his guitar tone is just as exceptional. At any rate, interpreting Tolkien's trilogy, which was undergoing a huge renaissance in the early 70s (as were most things sci-fi/fantasy), turned out to be a shrewd decision. Aided with session musicians and approaching a band format, Hansson would record several other similar albums over the next few years, but would never again achieve this level of success—at least commercially. [UK release date]

For Permanent Waves, Rush was back in Canada with producer Terry Brown. They assembled at Le Studio in Quebec where the band would continue to record for the next 15 years. The album was written and recorded over the summer of 1979, and the band was back on the road before the album was even released. The record contains six tracks, marking a return to shorter, less epic pieces. "The Spirit of the Radio" opens with a killer guitar riff; and somewhat controversially, drops into a reggae beat for a few bars before Alex Lifeson's guitar solo kicks in. Released as a single, it reached No. 13 in the UK—Rush's highest placement to date. Featuring another of Lifeson's blistering solos, "Freewill" earned substantial radio airplay. Neil Peart's lyrics are perhaps the key to the band's new success: Gone are didacts, constellations, etc. and present instead are Peart's deep expositions on life. It's a significant change, as important to Rush's radio-friendliness as the shortened length of their songs: Fans could relate to Peart's words. As "Jacob's Ladder" ticks away, there's a little nod to the Rush of the previous two albums; it's a multi-part suite, with Geddy Lee's keyboards prominently featured. The second side opens with the rocking "Entre Nous." Lifeson's rhythm guitar during the verses portents a slight change in his style that would be explored on later albums in the 1980s. "Different Strings" is an acoustic number, with a piano part from artist Hugh Syme, who also was responsible for much of Rush's album art. It's an evocative number, and one that ends too quickly. The three-part "Natural Science" closes the album; it's another nod to the epic that traffics in your typical Rush-isms, including some fantastic drum rolls from Peart. Again, Rush defy all odds by combining expert musicianship, with complex and progressive writing and egg-headed lyrics into music that is somehow accessible and commercial. Their everyman approach to work through constant touring also earned them an absolutely loyal fan base who, in turn, rewarded the band with well-deserved success. Released on January 1st, 1980, the album reached No. 3 in the UK and No. 4 in the US.

Novalis were reduced to a quartet for their next album, Sommerabend. Produced by Achim Reichel, the symphonic record again bypasses the overt complexities of most prog rock of the day. Written by Lutz Rahn, the instrumental "Aufbruch" opens. After the spicy intro, Novalis' large, sweeping and melodic lines take over, propelled by Hartwig Biereichel's powerful drumming. Detlef Job's guitar is at the fore, and Rahn lays his hand on a few more keyboards. "Wunderschätze," written by Job, follows in the footsteps of the previous album, again using a text from Karl Friedrich von Hardenberg for its lyrics. The crowning achievement of the record though is the title track, which encompasses the entire second side. "Sommerabend" contains five discrete sections, ranging from the lightly melodic "Wetterleuchten" and pastoral "Am Strand" to the foot-stompin' "Ein Neuer Tag." Throughout, the sections seamlessly flow together and the band's execution is precise. The album and subsequent tour would be an artistic peak for the band. They then added a vocalist, Fred Mühlböck: an Austrian who made his debut on the 1977 live album Konzerte. Novalis' music then moved into a more commercial realm on the ensuing Brandung, also released in 1977, which featured the popular track "Irgendwo, Irgendwann" ("Somewhere, Sometime"). It's easy going rock for the most part, with some creative instrumentation, such as the extended instrumental sections of "Sonnenwende" ("Solstice"). Rahn released a solo album, Solo Trip for Telefunken-Decca's Strand label in 1978. Performing the entire album on a battery of keyboards and rhythm machines, it's another formidable offering of Rahn's romantic music.

Khan was the brainchild of Steve Hillage. Previously in Uriel (aka Arzachel), the guitarist went off to complete his studies at the University of Kent in Canterbury, where much of the album was subsequently written. Gaining support from Caravan's manager Terry King, he formed Khan in 1971, with Nick Greenwood (ex-The Crazy World of Arthur Brown) on bass and Eric Peachey on drums. Dave Stewart replaced original keyboardist Dick Heningham just prior to recording Space Shanty, their first and only album. The title track reveals some heavy psychedelic rock, but with a fair amount of melody and hippie flair. Building on the Arzachel/Egg formula, the record showcases Hillage's distinct guitar style. Here, he first finds the echo effect that would provide the signature to his guitar work with Gong; but he also doesn't shy away from bending a few notes either. Stewart's organ, of course, is a fine complement, particularly on "Stranded." Hillage's first solo album, Fish Rising, would be the logical successor to this record; just check out the closing section of "Driving to Amsterdam." After the album's release, Hillage and Stewart carried on with a new rhythm section for a few short months; but an offer from Kevin Ayers lured Hillage away, and the band ended abruptly, with Stewart moving on to Hatfield and the North after a spell of unemployment. The album was originally issued by Deram in the UK and Brain in Germany, but also was reissued years later in the US on Passport Records. Following his departure, Greenwood released a solo album called Cold Cuts, featuring Heningham and Peachey, which he had recorded in California in 1970, prior to joining Khan.

When Tangerine Dream next appeared in January 1980, it was at a concert in East Germany; they were one of the first Western bands to perform there. The addition of keyboardist Johannes Schmölling returned the band to its trio format; though it ultimately would provide even further distance from their 70s style as they forged ahead into the new decade. Of course, the technology of electronic music was now rapidly changing. The 1980s saw the rise of digital and sampling technology, which effectively changed "sound design" forever. Gone were the Dream's free-wheeling analog trips of the past, and in was something more calculated and composed. Containing two "sets" over both sides of the album, Tangram maintains Tangerine Dream's high standard throughout. Some of the themes can be heard on the aforementioned concert, released as Quichotte in 1981, on the East German Amiga label. The music, however, is more compartmentalized, with distinct sections expertly sewn together. The big change is, obviously, Schmölling. A classically-trained musician and degreed sound engineer, his contribution to the band is vastly different than former member Peter Baumann's. Here, the music is restful and perhaps even a bit conventional in places. But none of this is to say that it's new age pap—that would come much later. Mood is still the band's strong suit; and over the course of the record, Tangerine Dream cover the entire gamut: from sequenced fury, to meditative digressions to more formal compositions. Again, the album charted in the UK, rising to No 36. Toward the end of the year, Virgin Records would release a four-album, career-spanning compilation, ‘70-‘80, which included one side of previously unreleased material.

Fairport Convention got its start in the same London underground as their more psychedelic counterparts and eventually became England's first (and finest) electric folk band. Founded by bassist Ashley Hutchings, guitarists Simon Nicol and Richard Thompson, and singer Judy Dyble, the band took its name from Nicol's parents' house in Muswell Hill. Drummer Martin Lamble joined after their first gig, while second vocalist Iain Matthews (McDonald) was recruited just prior to the recording of their first album. With the requisite Bob Dylan and Joni Mitchell covers, Fairport too was absorbing their own influences-in particular West Coast; so much so that they were even dubbed "The British Jefferson Airplane." Their debut though is a pleasant and gentle affair that showcased the talents of guitarists Thompson and Nicol. "Sun Shade" and "The Lobster" both portend the King Crimson debut in some respects-except of course there's no Mellotron. Underneath the subdued recording, the compositions have more dynamics than one may expect-the guitar work is simply sublime-but the album remains just a beginning for the young band. Dyble would leave the band after the album's release. However, this seemingly innocuous event would be serendipitous to the timeline. Working with Ian McDonald, she enlisted the services of Giles, Giles & Fripp, and in doing so, sowed the seeds for King Crimson's rise. As for Fairport, her replacement, Sandy Denny, would impart significant momentum into the direction Fairport Convention would follow.

After the breakup of The Nice in 1970, Brian Davison and Lee Jackson moved on to solo projects. Drummer Davison's jazz-tinged eponymous album Every Which Way was short-lived however; the only release was in 1970. Jackson's Jackson Heights fared folksier, and perhaps, better; he released an excellent debut, King Progress, in 1970 for Charisma, and a further three for Vertigo, with guitarist John McBurnie and keyboardist Brian Chatton (Michael Giles guested on drums). Lee approached the former Mainhorse keyboardist Patrick Moraz to replace Chatton; but with success out of reach, they opted for a new band, Refugee, with Davison added to the fold. Moraz was a keyboardist of some distinction, so it's no surprise that the band provided the prog rock style that Keith Emerson rode to success in Emerson, Lake & Palmer. Signed by Charisma, Refugee released their self-titled debut album in 1974. The fiery instrumental "Papillon" opens with all guns blazing, especially from Moraz, who plays through an armory of keyboards. The ensuing "Someday" diverges, as Jackson's vocals can be an acquired taste. The lengthy "Grand Canyon" suite goes epic, traversing around various musical landscapes; while "Ritt Mickley" ("rhythmically") gets a little jazzy, though very much in Moraz's unique style. The closing "Credo" suite is another long-form track, passing the 18-minute mark. Davison and Jackson shine as the rhythm section and Moraz gives it his all; but whether this type of classically-inspired progressive rock is one's cup of tea or not will certainly temper one's reception to the album. With Rick Wakeman's sudden departure following the Tales From Topographic Oceans' tour, Yes put an end to Refugee by hiring Moraz away for close to a two-year stint. Davison would briefly join Gong, while Jackson quit the music industry altogether.

With Syd Barrett's unpredictability on stage reaching the point of embarrassment for the band, Pink Floyd-bassist Roger Waters, drummer Nick Mason and keyboardist Rick Wright-forged ahead into 1968 with fellow Cambridge guitarist and friend David Gilmour in tow. Driven by pressure from EMI for another hit, they first released a single, "It Would Be So Nice" b/w "Julia Dream" in April, but it was mostly throwaway. However, the album, A Saucerful Of Secrets, fared much better. A few of the songs, including Wright's "Remember a Day" and Barrett's "Jugband Blues," were recorded the previous year and sound it. The remaining tracks illustrate the transition to the post-Barrett Floyd. Clearly, it's Waters who came in to deliver the goods; just check out the wicked opening bass riff of "Let There Be More Light," the first track recorded without contribution from Barrett. Gilmour steps up to the microphone on the track, revealing a voice that would become a signature for the band. Brooding and pulsing, the title track and "Set the Controls for the Heart of the Sun" are propelled by Mason's deft but never busy drumming. Pink Floyd take a step toward progressive rock, relying on both their performance and the recording of the track to make their point. The ride is still psychedelic, but now more similar to the dark avant-garde of their live set than what they did previously with Barrett's gleeful compositions. But the album isn't without some duds: Waters's attempt at Barrett-like song-craft, "Corporal Clegg," and Wright's second tune on the album, "See-Saw," both miss the mark. Nevertheless, the record's marvel is that it existed at all. It was a definite success, breaking into the UK Top 10 at No. 9. The band released another single, "Point Me at the Sky" b/w "Careful with That Axe Eugene" in December, their last for almost a decade.

Novalis took not only their namesake from German poet Georg Philipp Friedrich Freiherr von Hardenberg, but also drew from his concepts of lyricism and romanticism to form their highly original music. The band was unique among German progressives in that they generally bypassed the British idiom of prog rock to offer something uniquely their own. The band formed in the early 70s in Hamburg, combining the talents of bassist Heino Schünzel, vocalist Jürgen Wenzel, keyboardist Lutz Rahn and drummer Hartwig Biereichel. Their debut album Banished Bridge was released on the Brain label in 1973. Drenched in classical flourishes, the album's side-long title track presents their music: Delicate strokes of acoustic and folk music brush the wide musical landscape, slowly evolving (but avoiding lethargy) until the band finally ignites with broad symphonic splashes of melody. Sonically, Rahn's keyboards paint the canvas. "High Evolution" starts the second side, with organ bubbling underneath the brisk rhythm section; while "Laughing," despite its folksy start, gains momentum after the classically-inspired interlude, with Rahn's organ again dominating the picture. The closing track, "Inside of Me (Inside of You)," with its instrumental passage and long symphonic refrain, also relies on classical structures (à la Procol Harum) to get its point across. Unfortunately, Wenzel is not a terribly strong vocalist, and there's a particular 60s vibe to the record. After a subsequently grueling tour, Wenzel left the band and later, when recording sessions (again with producer Jochen Petersen) were canceled, the band collapsed.

Yes' second album didn't break much new ground for the band, but it did confirm what most already knew: that they were a force to be reckoned with. In the studio, Eddie Offord sat, fortuitously, at the engineer's desk for the first time with the band. Yet Time And A Word wouldn't be the quantum leap Yes needed to propel them into the big league. In fact, the only leap here was Tony Cox's orchestral arrangements, a rather de rigueur post-psychedelic ornamentation of the day. To their credit, the strings (including quotes of Gustav Holst's "Jupiter") work better here than on other albums from the era, thanks in part to Tony Colton's up-front production. The album has a huge sound, relentlessly propelled by the Squire and Bruford rhythm team. But the star of the album is the grinding organ of Tony Kaye; classic in tone and always in the right place, whether anchored to the rhythm, counterpoint to Peter Banks's guitar or at its best, to the fore. The band still aren't 100 percent on original tunes, as capable covers of Richie Havens and Stephen Stills songs comprise half of the first side. The Jon Anderson-penned "Then" is particularly satisfying, while his "Clear Days" benefits from Cox's "Eleanor Rigby"-style arrangement. Anderson's lyrics tackle some cosmic themes for the first time on "Astral Traveller," something he'd return to on subsequent albums. With his old mate in The Warriors, David Foster, they co-wrote both "Time and a Word" and "Sweet Dreams," two great pop songs that would crop up in Yes' live set over the next decade. The album managed to crack the UK charts, rising to No. 45. Banks left the band just after the album was released; so soon that it's his replacement, Steve Howe, who appears on the album's US cover.

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]

Signed to Manager Miles Copeland's BTM label, Renaissance released Turn Of The Cards in May 1974; the album would break the band into the US Top 100. It also contained a few songs that would become concert favorites, including "Running Hard" and "Mother Russia." However, Scheherazade And Other Stories, released in August 1975, was the more accomplished of the two releases. It features the standard Renaissance fare: Annie Haslam's crystal clear and five-octave voice high in the mix, supported by the virtuoso talents of John Tout on piano, Jon Camp on his distinctive Rickenbacker bass and Tony Cox providing orchestral arrangements. Acoustic guitarist Michael Dunford is still the band's main songwriter (and link to the "other" lineup), with lyrics written by Cornish poetess Betty Thatcher; but this album also is the first to include written contributions from Camp and Tout. In particular, "Trip to the Fair," is a delight, benefiting from rich production. The album's second side features their version of Rimsky-Korsakov's Scheherazade. Perhaps more than any other band of the era, Renaissance did more than borrow classic motifs for the basis of their compositions: They wrote classical music for rock instruments, with "Song Of Scheherazade" being the perfect ringer. The band toured both the US and the UK with an orchestra, including high-profile concerts with the Royal Philharmonic Orchestra at the Royal Albert Hall. However, the band's popularity would shine in the US, where their albums now saw release on Sire Records. The album was their highest charting album yet, entering the Top US 50 at No. 48.

Having recused himself from Roxy Music, Eno set upon a solo career. His first two albums, 1974's Here Come the Warm Jets and Taking Tiger Mountain (By Strategy), were planted firmly in the glam and art rock of his former band; however, Eno's forte was experimentation, with a revisionist outlook towards rock ‘n' roll. Eno's third vocal record, Another Green World, is generally regarded as his finest. The album hosts a veritable cast of musicians from the timeline, including Robert Fripp, Percy Jones, Phil Collins and Paul Rudolph. Alternating between so-called pop songs and instrumental vignettes, the album is pure Eno. Using he and Peter Schmidt's Oblique Strategies cards, he uses chance to guide compositions and literal descriptions to find sounds: "Wimshurst guitar," "anchor bass," "choppy organs," and so forth. The deadpan "I'll Come Running to tie Your Shoe" is classic, as well as the plaintive "St. Elmo's Fire." The treatments Eno applies to the songs are more interesting as the songs themselves—sound for sound's sake—which speaks to Eno's compositional modus operandi: it's really not about the destination the song brings, but rather the journey while it's playing. To wit, witness "In Dark Trees," "Becalmed" or the title track. From here, Eno's career would follow two paths, one continuing his pop muse into production (and a final vocal album), and the other exploring process or "non-music," beginning with Discreet Music for his Obscure Records in late 1975. In 1976, Eno would then venture off to Germany to work with Cluster's like-minded Roedelius and Moebius and collaborate on the first of a legendary trio of albums with David Bowie, as well as participate in the 801 supergroup with Phil Manzanera, Bill MacCormick, Francis Monkman and others.

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.

Hailing from Hagen, North Rhine-Westphalia, Grobschnitt was formed by drummer Joachim "Eroc" Ehrig in 1971. Eroc was previously in a beat-era band called The Crew, with lead guitarist Gerd-Otto "Lupo" Kuhn and vocalist/guitarist Stefan "Wildschwein" Danielak. An interim group Charing Cross added bassist Bernhard "Bär" Uhlemann and a second drummer Axel "Felix" Harlos, but by May, they had changed their name to Kapelle Elias Grobschnitt, later shortened to Grobschnitt ("rough cut") after a brand of tobacco. Their self-titled debut album was released in early 1972 on Brain Records and delivered an infectious blend of heavy jamming and psychedelic weirdness. Prior to their second album, Volker "Mist" Kahrs joined on keyboards, replacing Hermann "Quecksilber" Quetting. His addition would prove to be the catalyst in the development of band's symphonic signature. Released by Brain in April 1974, the double-album Ballerman opens with "Sahara;" it's exactly this type of lunacy that would hallmark Grobschnitt's live performances, always interspersed with comedic sketches from band members and roadies alike. "Nickel-Odeon" next kicks off with a grinding Hammond and trebly bass; Grobschnitt don't quite have the arrangement precision of their British counterparts, but their music is all the more organic for it. The track draws some similarities to what Yes were doing a few years earlier, and it's certainly as spirited and energetic. Immediately evident is the bane of most German rock groups: English-language vocals. Whether you dig Wildschwein's accented singing (I absolutely do) or not, you may not fall anywhere in between. While a nod is in order to their British counterparts, the remainder of the first record is first-rate prog rock: Both melodic and symphonic, it stands uniquely as Grobschnitt. But hold onto your pants: the album's second disc contains Grobschnitt's stunning instrumental achievement "Solar Music." Presented first as "Suntrip" on their debut record, the suite would be the apex of their concerts. Although the analogy to long-form Pink Floyd is bound to reverberate, Grobschnitt are just as talented. For nearly 30 minutes, they hover at stasis; locked high into a musical stratosphere, providing a wildly original take on space rock. Essential listening!

The Alan Parsons Project was initially just that: a project built for a one-off album recorded for Charisma Records. Parsons, of course, had gained a considerable education at EMI Studios in the late 60s and early 70s, working on such classic albums as The Beatles' Abbey Road and Pink Floyd's The Dark Side Of The Moon, even earning a few Grammy Award nominations along the way; and by now, had already lent his appreciable production and engineering skills to many artists, including Pilot, Ambrosia and Al Stewart. Based on the writings of Edgar Allan Poe, Tales Of Mystery And Imagination emerged from Parsons's partnership with composer and singer Eric Woolfson. The album features a bevy of guests and orchestration from Andrew Powell. "The Raven," driven by its signature bass line and vocoder vocal, was a minor hit single in the US at No. 80, while "The Tell-Tale Heart" features Arthur Brown's distinctive vocal—always a treat on any album. The second side contains the "The Fall of the House of Usher" suite: a large scale symphonic instrumental that presents the question, "Is this rock?" The album resides in a musical space between pop and progressive rock that, like Supertramp or Electric Light Orchestra before it, offers a commercial blueprint many progressive artists would follow for the balance of the decade. The album was also a commercial success, rising to the lower reaches of the Top 40 on both sides of the Atlantic. From here, the Project signed to Arista Records and set off to MOR land (predicted here by the closer "To One in Paradise"). Continuing well into the 80s, they racked up a string of Top 20 releases along the way, beginning with the following year's I Robot.

Throughout his career, David Bowie always had one eye on stardom and the other on his music. His art, however, was a careful balance of the two; his popularity rarely wavered throughout the vast swings of his musical offerings. In the 60s, he ventured from R&B artist to singer-songwriter, culminating with Rick Wakeman's Mellotron on the classic "Space Oddity." In 1970, he released an incredibly progressive album of hard rock, The Man Who Sold The World, before launching into glam rock and the Spiders from Mars. In the mid-70s, Bowie turned to both a writing collaboration with Brian Eno and, more surprisingly, the krautrock of Germany for inspiration. In 1976, Bowie and Eno headed to Europe with longtime producer Tony Visconti and a backing band to record two albums, both released in 1977. First up in January was Low, recorded in France and mixed in Berlin. Bowie provided the songs on the first side, but it was mostly Eno and his studio alchemy for their veneer. While there's modern, electronic Euro-ness afoot, it's still unmistakably tuneful; there's no denying the "Sound and Vision" the pair generate. The second side takes an abrupt left turn towards the ambient: Song-less and drum-less, the side shows Bowie and Eno following their artistic muse, painting the musical canvas with sound. The melody of "Warszawa" has a passing familiarity, one that's entirely romantic; while "Art Decade" travels over the gentle pulse of the Chamberlain, an early sampler. The eerie "Weeping Wall" is 100 percent Bowie, and the cinematic "Subterraneans" could go on forever-Bowie also provides sax on the track. Turns out, the formula was a success, as the album reached No. 2 in the UK and No. 11 in the US. Recorded at Hansa Tonstudio in Berlin, the grittier Heroes followed in October, with Robert Fripp's thick-toned guitar the unmissable addition. It reached No. 3 in the UK, yet dipped to No. 35 in the US. Bowie and Eno would reunite for a final collaboration in their so-called Berlin trilogy, the more conventional Lodger, in 1979. After one final dalliance with art rock on Scary Monsters in 1980, Bowie would sanitize his act and move into commercial territory for the remainder of the 80s.

In late 1979, Dave Brock, Simon King and Harvey Bainbridge were eager to resurrect the old Hawkwind banner and hit the road. To complete the lineup, they reached out to two old friends from the very beginning of the band, nearly a decade before: ex-Gong member Tim Blake, a friend from the Ladbroke Grove scene, and guitarist Huw Lloyd-Langton, who had last played with Hawkwind on their debut album. Signing to Bronze Records (courtesy of their former manager Doug Smith), Live Seventy Nine was released out of the blue in June 1980, yet to great acclaim: It reached No. 15 on the UK charts. A re-energized mix of old classics from the new lineup, it was spearheaded by the two-guitar assault of Brock and Langton. Hawkwind headed to the studio in the late summer of 1980, but without drummer King; the precision of digital technology had ended his long-standing reign with the band. His replacement was, incredulously enough, "the" Ginger Baker from Cream; evidently, Langton's wife Marion had the connections that helped bring him into the Hawkwind fold. The ensuing album, Levitation, released in November, was yet another chapter in the Hawkwind saga, and a veritable start to their second decade. Taking a nod to the current new wave of British heavy metal revival, "Motor Way City" and "World of Tiers" reveal a powerful band with one foot firmly rooted in heavy rock. It's a direction that they'd pursue for years to come. Langton's fluid lead guitar graces the anthems "Who's Gonna Win the War" and "Dust of Time," while Blake's synths feature on "Psychosis" and "Space Chase." The album reached No. 21 on the UK charts. What followed was the now-to-be-expected ups and downs of a Hawkwind tour, again resulting in the departure of band members. Blake got the sack after spending too much time on the phone with his then-girlfriend; while Baker, who never took to the live staging of a Hawkwind show, was fired after attempting mutiny with replacement keyboardist Keith Hale. Story goes that "the world's worst bass player" (Bainbridge) was the one to fire "the world's best drummer." Undaunted, the core of Brock, Lloyd-Langton and Bainbridge would remain together, with yet another lineup of Hawkwind forthcoming.

Named after Terry Riley's A Rainbow In Curved Air, Curved Air was another novel group of the progressive era; and the band had no shortage of talent, either. Violinist Darryl Way was a Royal College of Music graduate, while multi-instrumentalist Francis Monkman came from the competing Royal Academy of Music. Seeking to meld their knowledge of classical music and rock, the two joined forces as Sisyphus in 1969, adding drummer Florian Pilkington-Miksa and bassist Robert Martin. They morphed into Curved Air when they added one of the most unlikely of progressive devices-the female voice! They found a more than capable singer in Sonja Kristina (Linwood), recently released from the London production of Hair. She had her start in London's folk scene, including the Troubadour Club. The group's debut album Air Conditioning was issued by Warner Bros Records. As the opening track (and single) "It Happened Today" demonstrates, the band's music was ripe with West Coast influence. The second half of the album ascends into more classically-inspired territory; but overall, the album's highbrow orchestral embellishments are on a par with the average songwriting, with one big exception: Way's majestic crescendos on "Screw." That's not to say that the album isn't without some redemption. Monkman's echoed guitar work on "Propositions" is unique, as is his Mellotron on Way's "Situations." But even Way's violin tour de force "Vivaldi" ends up a screechy mess. Their debut album has the distinction of being the first picture disc, which no doubt helped propel it into the UK Top 10.

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.

From Hannover, Eloy formed in 1969, taking their name from sci-fi author H.G. Wells's Time Machine. As with many German bands at the time, Eloy covered English bands, which had considerable influence on their music. Oddly enough, the band gained a recording contract by winning a talent contest. Their hard rock debut, sung in English (as were all their albums), was a private release, but constant touring led to a deal with EMI. For their second album, Inside, guitarist and vocalist Frank Bornemann had taken control of the band's musical direction as, unsurprisingly, it took a turn to the sci-fi and the progressive. Combining the bluesy riffs of early Jethro Tull and the psychedelic jams of Pink Floyd, the album is still quite a statement. The first side is comprised entirely of "Land of Nobody" and features the excellent organ work of Manfred Wieczorke. Fritz Randow and Wolfgang Stocker's plodding rhythm section are new for the album, but Stocker wouldn't last for another. The second side features three shorter tracks that further highlight the band's unique combination of both hard and progressive rock. Bornemann's voice is "like Ian Anderson with a German accent" and something you either like or (more than likely) don't. Recorded while Bornemann simultaneously produced the Scorpions second album, their next album, Floating, followed in much the same direction. Both created some stir in the US, but unfortunately their record label Janus went bankrupt. Eloy, however, would soldier on.

Story has it that after listening to Jade Warrior's music, Steve Winwood convinced Chris Blackwell to sign the band to his Island Records. Now reduced to the core of Tony Duhig and Jon Field, the duo left most of their musical past behind, including vocals and any trace of psychedelia. On their 1974 release, Floating World, each track is presented as wide and cinematic in sound as it is descriptive in title. After the introductory "Clouds," "Mountain of Fruits and Flowers" emerges with a stirring bass line. "Waterfall" flows like a river, before descending into a cataclysm of conga drums. Then, seemingly out of nowhere, "Red Lotus" erupts with Duhig's heavily distorted guitar! The second side courses about the same as the first. "Rainflower" is a gentle guitar number, while the jazzy "Easty" adds rhythm underneath. "Monkey Chant" features Duhig's brother Dave on lead guitar and is another improbable (but welcome) heavy number. The plaintive "Memories of a Distant Sea" closes, briefly reprised on "Quba." Characterized by dynamics and world influences, Jade Warrior use their instruments like paintbrushes, yet never completely fill the canvas. And like the oriental-flavored album art, their music is both restive and contemplative, and generally avoids all clichés but their own. The duo also presage the instrumental "fourth world" and new age genre that would rise to some commercial prominence in the 1980s. Jade Warrior would release another three albums of much similar effect for Island before splitting up in 1979; and little would be heard from either musician during 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.

The success of Jane's previous album would spark a renaissance for the band, yet not before another change in their ranks. Adding to the core of Peter Panka, Klaus Hess and Martin Hesse, Eloy's Manfred Wieczorke replaced Werner Nadolny on keyboards prior to the tour that rendered their next effort: the double-album Jane Live (later retitled Live At Home), released in early 1977. Massively successful, it earned Jane a gold record in Germany. In addition, the year saw a studio follow-up, Between Heaven And Hell. Another prog rock epic, the album's first side is encompassed by the title track. After a lengthy intro, the band lays into one of their signature grooves, with a similarly classic lyric ("I don't know, I go to heaven, I don't know, I go to hell"), and perfect Pink Floyd-esque vocals. The next section goes a little psychedelic, and then descends into a Gregorian chant! Wieczorke's keys fade back in, and the band then provides a nice exposition for Hess to showcase his talent on guitar. The second side begins with the triptych "Twilight;" the first section rides a doom riff, while the second switches gear to something more metal, before the track closes with a more elegant and stately finale. "Your Circle" is an anomaly, a basic rocker more suited for Ziggy-era Spiders from Mars than anything Jane. Engineered by Manfred Schunke at Delta Acustic in Berlin, the album is another Kunstkopf, or "artificial head," recording. In 1978, the band released Age Of Madness, which saw Wieczorke's keyboards dominate; however it was his last with the band. By 1980, the group had drifted away from their "Jane sound;" and after a series of rather dire albums, the band released their final record on Sky in 1986.

Following James Litherland's departure from Colosseum, the guitarist and vocalist formed James Litherland's Brotherhood with trumpeter Michael Rosen, formerly of Eclection (and manager for Cressida). Arriving in London from his native Bournemouth, John Wetton was added on bass, along with two Scottish saxophone players, Roger Ball and Malcolm Duncan, better known as the "Dundee Horns." Last to arrive was drummer Bill Harrison (real name Bill Atkinson). In mid-1970, the band teamed with Brian Auger to record an album, eventually christening themselves as Mogul Thrash, a parody name from a Spike Milligan sketch. Their self-titled debut album, with Auger producing, saw release on RCA in early 1971. It's a stunning album, featuring a brashy combination of jazzy blues and loud horn arrangements. "Something Sad" blasts the album open. With a strong bass line and matching horns (all arranged by Ball), it's easily in the same league as Colosseum. Litherland is a strong singer, especially when paired here with Wetton's backing. The lengthy "Elegy" is classic blues rock. The horns take a rest for a good half of the song while Litherland's guitar takes over; and if you ever wondered why Robert Fripp would later hire Wetton for King Crimson, just listen to his bass playing here-it's simply stunning. Harrison's kick drum features in "Dreams of Glass and Sand" but while "Going North, Going West" starts out with promise, it ultimately doesn't go anywhere other than around. "St. Peter" features a lead vocal from Wetton and Auger on piano. The band's single, "Sleeping in the Kitchen" b/w "St. Peter" hit the charts in Belgium, but despite touring extensively in Europe, they failed to find success in the UK and after a fallout with management, broke up shortly after the album's release. Ball, Duncan and Rosen would form the Average White Band, while Wetton was off to Family. Litherland would end up in Bandit, after a brief stint with his next band, Million.