This was by no means a major release; these are, however, the first recordings from guitarist Robert Fripp, and as such, of interest to the timeline. The band came to London from provincial Bournemouth, on England's south coast. Brothers Peter Giles and Michael Giles, bass and drums respectively, had spent the last seven years as a rhythm section together, performing mainly R&B covers. In London, they managed to secure a deal with Deram Records, who released two singles and the album, The Cheerful Insanity Of Giles, Giles & Fripp. Unfortunately, the album's highlight is on the opening track: "North Meadow" reveals a concise arrangement and the tight interplay of the Giles brothers. Otherwise, the tracks are predictably of the era. Each album side presents a musical story as terminally dated as the other: Fripp's "The Saga of Rodney Toady" on the first side, and on the second, Michael Giles's "Just George." The closing track "Erudite Eyes" finally gets electric and eclectic, but good luck getting that far through the record. Lyricist and jack-of-all Pete Sinfield would later remark "if one wondered what my contribution to King Crimson was, they should simply listen to this album!" But the album's failure was portentous: GG&F met up with Fairport Convention's Judy Dyble and her boyfriend Ian McDonald in response to an ad Dyble had placed for a backing band. Dyble remained for a short while (a version of "I Talk to the Wind" appeared on The Young Persons' Guide To King Crimson in 1975) before the men took over. And a few months and one wealthy uncle later, King Crimson was born.

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.

Supersisters' third album, Pudding en Gisteren, yielded a Dutch Top 40 single and again saw release in the UK, this time on Polydor. The single, "Radio" b/w "Dead Dog," evinces Robert Jan Stips's creativity and humor, while the ensuing "Psychopath" offers a nod to Kevin Ayers. Clocking in around the 12-minute mark, "Judy Goes on Holiday" covers a lot of ground, including some serious doo-wop that closes the piece. The title track gets back on course, charting a rousing melody of clavinet and flute, before slinking down to a funkier groove. From there, it's all over the place, with Stips's keyboards always at the fore and the ever-present rhythm section of Ron van Eck and Marco Vrolijk underneath. The album was successful, at least critically, as Supersister earned an Edison music award in their native Netherlands. As with the band's two previous albums, the record was produced by Hans van Oosterhout. However, due to creative differences on Supersister's following project, Sacha van Geest and Vrolijk left the band. Their next album—Iskander, a tribute to Alexander the Great—featured Charlie Mariano on sax and Herman van Booyen on drums, and was recorded at The Manor Studio with Giorgio Gomelsky producing. It's a powerful record, but one rooted in fusion and without the "Canterbury" charm. Oddly enough, Elton Dean of Soft Machine would join the band following Mariano's departure. A final album, Spiral Staircase (under the band name Sweet Okay Supersister), was released in 1974, with Stips and van Gest revisiting some of their earliest material; but after that, the band called it a day. Stips joined Dutch rockers Golden Earring for several albums (including the excellent To The Hilt) in the mid-to-late 70s.

This double-album offers a chronological retrospective of Jethro Tull's career to date, compiling non-album singles and recordings from 1968-1971. However, with only four tracks from the previous studio albums, many (myself included) consider it an album of nearly all-new material. So given the bulky proposition of Thick As A Brick, released earlier in the year, many also found Living In The Past much easier to digest. In fact, the album did break into the Top 10 on both sides of the Atlantic. The title track, a UK hit for the band in mid-1969, made it back into the US charts shortly before the album's release. The packaging also rivaled that of TAAB, with its thick cardboard cover resembling a hardcover book than a record jacket. But all of that aside, the compilation remains one of the most satisfying Tull records, due in part to the era it encompasses: their best. Much like the previous Benefit in composition and feel, the album focuses on Ian Anderson as singer-songwriter. The album contains some of his most delicate tunes: in particular, the primarily acoustic numbers on the fourth side, including "Life Is a Long Song," "Up The ‘Pool" and "Dr. Bogenbroom." The instrumental "For Later" (sic) is the sleeper track, however, speaking volumes about prog rock in its brief two minutes and eight seconds. The third side of the album contains part of a live concert recorded in late 1970 at Carnegie Hall; but (unfortunately) it's just a lot of soloing from John Evan and Clive Bunker. The remaining—and far more interesting—portions of that concert were released in 1992 as part of Jethro Tull's 25th Anniversary Box Set.

By the time Jethro Tull got around to releasing their strong second effort, Martin Barre had joined on guitar. His addition was integral to the evolution of the band as his guitar playing would prove sympathetic to their burgeoning progressive style. Written by Ian Anderson to appease management's desire for a single, "Living in the Past" b/w "Driving Song" saw release in May. It soared up the UK charts, reaching No. 3. The album followed with even greater results. Stand Up features all original compositions from Anderson, except for a spirited interpretation of J.S. Bach's "Bourrée in E minor," here titled "Bourée." Although the blues influence is still apparent on tracks like "Nothing Is Easy" and "A New Day Yesterday," Anderson's original songwriting style was becoming more prominent; "Look into The Sun" and "Reasons for Waiting" adopt an acoustic, though certainly not folk approach, that would become one of his signatures. "Jeffrey Goes to Leicester Square" and "Fat Man" follow suit. The band is particularly strong throughout, with Clive Bunker's drumming an overlooked asset. "For A Thousand Mothers" succinctly closes. The album rose to No. 1 in the UK, and made a Top 20 appearance in the US on the heels of their first tour of America, where they would support Led Zeppelin and Fleetwood Mac. The first unqualified mainstream success of progressive rock, the album remains one of the finest of any era.

Following the breakup of The Nice in March 1970, bassist and vocalist Lee Jackson turned to Tony Stratton-Smith and Charisma for his next project, Jackson Heights. A debut album was recorded with a few friends, but a band never materialised and despite touring with Charisma labelmates, he was eventually dropped by the label. It's a shame because Kings Progress is a good album, full of gentle acoustic songs sung by Jackson. The lively "Mr. Screw" kicks off, but the longer "Since I Last Saw You" evokes a darker mood, more representative of the album. Jackson's and Charlie Harcourt's guitars are prominent, a far different texture than The Nice ever offered. "Sunshine Freak" invokes a 60s vibe, while the title track, complete with orchestration, is more formal. The album ends with a laid-back re-recording of The Nice's "Cry of Eugene." Recruiting keyboardists Brian Chatton (ex-Flaming Youth) and John McBurnie, Jackson's fortunes turned when the band was signed by Vertigo. The band however toured without a drummer, with Michael Giles only contributing to their studio recordings. Two albums were quickly released in 1972, Fifth Avenue Bus and Ragamuffins Fool (the latter titled Jackson Heights in the US). Both signal a change in direction: Jackson's unique and distinct voice takes a backseat to McBurnie's vocals and Chatton's piano. They're both venerable albums and not without their moments ("Autumn Brigade" and "Catch a Thief," respectively), but ultimately they offered more straight-forward and less interesting music. A third album was released in 1973, the lasciviously titled (and covered) Bump N Grind. Jackson then approached Swiss keyboardist Patrick Moraz for touring, which ultimately led to the demise of Jackson Heights and the rise of his next project, Refugee.

In 1973, Wallenstein switched to Rolf-Ulrich Kaiser's Kosmische Musik label, and saw some personnel changes. Jerry Berkers left and was replaced by bassist Dieter Meier; while a new member, Joachim Reiser, joined on violin. The band then rechristened itself as "The Symphonic Rock Orchestra" and released the excellent Cosmic Century album. Jürgen Dollase's piano still dominates, but as the lead-off track "Rory Blanchford" attests, Reiser's violin is indeed a new texture. The flowing arpeggios of "Grand Piano" follow right into the appreciably rocking "Silver Arms;" here, Dollase adds organ and synthesizer to his armory, but it's Bill Barone's guitar work that's blistering. "The Marvellous Child" continues in similar fashion; Dollase's vocals aren't particularly strong, but they're entirely fitting. Both "Song of Wire" and "The Cosmic Couriers Meet South Philly Willy" ride their lively symphonic arrangements, with Barone's guitar again dominating. Wallenstein's fourth album (with Jürgen Pluta now on bass) Stories, Songs & Symphonies followed in 1975; and in some ways, it's a love or hate affair. If you liked the direction of the previous album, it's even more idiomatic of Wallenstein's original music; however, it also marked the end of an era. In 1977, Dollase would sign to RCA and release the more commercial No More Love, retaining only Pluta from the previous lineup. The following year, Dollase recruited an entirely new band to continue in an even more conventional direction, and found moderate chart success before he retired from music altogether in the early 1980s. Harald Grosskopf would hookup with Klaus Schulze for a few years in the mid-70s before releasing his first solo album in 1980.

After the live album and further touring in 1975, Magma retracted to its core lineup of Christian Vander, Klaus Blasquiz and Jannick Top. The band recorded two further studio albums before folding. Üdü Wüdü saw release in 1976, again on the Utopia imprint of RCA, and by Tomato Records in the USA and Canada (part of Gramavision). The first side opens with the uncharacteristic "Üdü Wüdü," a lighter, jazzy tune with a calypso-like beat. Vander supplies the vocal, with a call-response from the female chorus. Bernard Paganotti and Patrick Gauthier were around long enough to contribute to "Weidorje," before exiting to form the band of the same name. The remainder of the first side is a mixed bag, some of it part of the larger Ëmëhntëht-Rê song cycle. But indubitably, Top's militaristic "De Futura" is the album's high point. A masterwork of his Utopia Sporadic Orchestra, it's a primordial soup of grunts, bass rips and a host of sounds from Top. The side-long composition doesn't really go anywhere, but it most certainly has a scary presence! Attahk followed almost two years later; but lacking any unifying composition, the album was again a mish-mash of styles. Yet with a larger horn section and Laurent Thibault's production, it was a good record nonetheless. Though flush with archival live material, Inedits was a bootleg-quality release for Tapioca Records in 1977. Vander would often revisit Magma over the ensuing years, in live concerts and for a final album, Merci in 1984; but the 80s would see his career turn solidly to jazz.

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.

Following their second 1968 US tour supporting the Jimi Hendrix Experience, Soft Machine effectively broke up. Robert Wyatt stayed in the US, while Mike Ratledge returned to London and Kevin Ayers sold his bass and departed for Ibiza, where he would eventually launch a moderately successful solo career. But a recording commitment to Probe Records prompted new sessions for the band, this time at London's Olympic Studios. Wyatt and Ratledge invited roadie Hugh Hopper to join up. Not only was Hopper an accomplished bassist, but along with his brother Brian Hopper (who added saxophone to the album), he also came from the same Canterbury breeding ground of The Wilde Flowers. Several of Hopper's compositions had already found their way into the Softs repertoire, including the classic "Memories." Hopper's songs also comprised the bulk of the album's first side, the somewhat lighter "Rivmic Melodies" set, including Wyatt's classic reading of "A Concise British Alphabet." The quasi-instrumental "Hibou, Anemone and Bear" is particularly strong, and the different sections flow together seamlessly, underscoring an impressive continuity of sound. Apart from Hopper's uncharacteristic (but welcome) acoustic guitar on "Dedicated to You but You Weren't Listening," side two, subtitled "Esther's Nose Job," contains more of Ratledge's discrete compositions. Again, the Softs rely on their arranging skills to tie it all together. Hopper's finessed bass playing is more fitting than Ayers psychedelic plodding; and combined with Ratledge's overdriven organ and Wyatt's busy but persistent drumming, this "music for your mind" is a sonic tour de force, and a classic album of any musical era. Volume Two was their first album to see release in the UK.

Hailing from Florence, Sensations' Fix was really a front for Franco Falsini; in addition to playing guitar and keyboards, he also wrote and produced most of the band's music in-wait for it-Virginia. Joining him were two Americans: bassist Richard Ursillo, previously with Campo di Marte, and drummer Keith Edwards. Their debut album, Fragments Of Light, was released in 1974 on Polydor, and is certainly the most un-Italian of all the progressive rock to come out of Italy. While comparisons to Germany's krautrock may be in order-the album does rely heavily on electronics-the connection is tenuous at best. Portable Madness also appeared in 1974, revealing a darker edge, and is somewhat akin to Heldon's contemporaneous offerings. The sinister demeanor of "Smooth and Round" opens the album, before segueing directly into the angular guitar riff of "Fullglast." Halfway through, after a somewhat awkward transition, Falsini's keyboards take over and the track goes symphonic. The band gets heavy on "Phase One And Phase Two;" and the guitar/keyboard unison continues through to the closing "Underwater," which features one rubbery bass from Ursillo. After a synthesizer introduction, that same frenetic rhythm continues on "Pasty Day Resistance" while "Leave My Chemistry Alone" again reveals an ominous outlook. There's a uniformity to the music, with the vigorous rhythm always driving the melodic compositions forward. Unfortunately, the album suffers from lo-fi production—or maybe it's just a poor pressing? The soundtrack Nasso Freddo ("Cold Nose"), a solo album from Falsini, was released by Polydor in 1975. It's an album of (mostly) electronic keyboard works; and although it's like other similar albums of the era, Falsini's murky edge sets it apart. In 1976, the band added keyboardist Stephen Head and introduced vocals to their music, releasing the Finest Finger album. It's not that much of a departure, yet enjoys better production than previous efforts. A couple more albums appeared, including one for the US All Ears label in 1977; but disappointingly, all steered towards more conventional rock. After moving to the US in the late 70s, the band would change their name to Sheriff, releasing an album of pedestrian rock in 1979.

Lindsay Cooper, previously with the folk band Comus, replaced Geoff Leigh for Henry Cow's second album, Unrest, released in May 1974, again for Virgin Records. The opener, "Bittern Storm Over Ulm," is somehow based on The Yardbirds' "Got to Hurry." Nevermind the how, it is one of the most listenable tracks on the album; "Half Asleep; Half Awake" is introduced by a somber piano, but as it unfolds with the band playing, it reveals a delightfully melodic tune, though one turned sideways once the improvisation begins. Inspired by Béla Bartók's use of Fibonacci sequences, the 12-minute "Ruins" is a monster track, at least the first four minutes of it. The second side turns to improvisation and studio trickery as a lack of material and pressure for the album's completion mounted (similar to Neu!'s debacle on their second album). Chris Cutler lets loose on "Upon Entering the Hotel Adion," while a plaintive tune barely surfaces from the chaos of "Deluge." The album cover again depicted a paint sock; the artist Ray Smith was a friend of the band from their days in Cambridge. There's little doubt that the members of Henry Cow were some of the most talented musicians of the progressive genre, but unfortunately the avant-garde of their oeuvre had little to do with rock ‘n' roll, at least to this listener's ears. Henry Cow would then collaborate with the similarly-minded Slapp Happy.

Led by Fumio Miyashita and Kei Ishikawa Far Out was one of the original Japanese psychedelic bands. They released one album of lo-fi psychedelic rock, Far Out, in 1973. Miyashta then recruited a new lineup as Far East Family Band, including two keyboardists: Akira Itoh and Masanori Takahashi, the latter more famously known as Kitaro. Nipponjin, which carried the subtitle, "Join Our Mental Phase Sound," was mostly a re-recording of their "The Cave" Down To The Earth album, but with English lyrics and Klaus Schulze hired for the remix. "Nipponjin" opens the first side with bubbly synthesizers and sitar. Miyashita's guitar and voice are upfront, and his tentative hold of the English language lends some charm; the track was first heard on the Far Out album but in guitar form. "The Cave" reveals a strong Pink Floyd influence and plenty of dynamics. The tracks on the second side run together, drifting in and out of the mix; but when they're in, it's mostly heavy psychedelic rock, while the quieter moments are either awash with Mellotron or silence. The closing "Mystery of Northern Space" rises to a symphonic finale. Though dated, this is venerable space rock, with a strong reflective or even hippie vibe—the precursor to Acid Mothers Temple, anyone? The album saw release on the Vertigo label in Germany and on Mu Land in Japan the following year. The band's next album, Parallel World, was recorded directly under the hands of Schulze and guitarist Günter Schickert at Virgin's The Manor Studio; as such, it should have been the more successful of the two albums, but unfortunately at the cost of much of their originality—especially on the long title track. Oddly, both Vertigo and Virgin turned the album down, and it only saw release in Japan. Both Kitaro and Itoh then split for successful solo careers with new age music. Miyashta, bassist Akira Fukakusa and guitarist Hirohito Fukushima recruited a new drummer and recorded the band's final album, Tenkujin, for the US label All Ears Records. Far Out's Ishikawa would form Chronicle in the mid-70s in Los Angeles, also releasing one album, ...Like A Message From The Stars, for All Ears Records in 1977. Miyashta eventually turned to a prolific career in electronic therapy music.

Gentle Giant recorded their fifth album in the still-settling wake of the eldest Shulman Phil's departure. The band was back at Advision, but for the first time since their debut without engineer Martin Rushent. Like the black-and-white cover, In A Glass House has a stark, monochromatic feel to it; but nevertheless contains some classic Giant material. "The Runaway" kicks off on John Weathers's solid offbeat; and along with "Experience," both songs would remain concert favorites for some years, albeit in shortened form. "An Inmates Lullaby," one of the quiet tunes on the album, is exceptional: The track's percussive vibes provide emphasis rather than embellishment. "Way of Life" clicks away under Weathers's fierce tempo, but it sounds a little too neat; while the noodling arrangement of "Experience" opens the second side. But all of Gentle Giant's studio trickery sounds, well, just like studio trickery. And although Weathers's drums are curiously up in the mix (a good thing), one can't help but get the feeling that the album was constructed, layer by layer and part by part, rather than played by a band. Still, it's difficult to throw stones at the album: The luscious melody and strings of "A Reunion" complement a tender vocal from Kerry Minnear and together are sublime. The title track is the album's hardest rocking affair, and also perhaps the most successful; its incessant beat drives the song forward through its various sections, holding interest throughout. Gary Green's guitar work is particularly strong here, as is Derek Shulman's direct vocal. Though the album never saw release in the US, it went on to sell a reputed 150,000 copies on import and attain near-legendary status with fans. Not bad for an album that was rejected by their US label, Columbia.

Formed in 1970 in their native Ulm, Kraan first migrated to Berlin before eventually settling at an artists' commune in Wintrup in late 1971. Nestled deep in the idyllic Teutoburg Forest, the close quarters further shaped the band's intuition for each other as musicians; Kraan lived their music. The band featured the superb instrumental talents of bassist Hellmut Hattler, saxophonist Johannes "Alto" Pappert and brothers Jan (Fride) on drums and Peter (Wolbrandt) on guitar and vocals. Recording for the German Spiegelei label, their self-titled debut, released in 1972, was based on their then-current live set, and a little more musical than most krautrock of the time. Their second album, 1973's Wintrup, is a more discrete offering of heavy rock songs, with a large dose of psychedelia to boot. Largely autobiographical, their perfect English lyrics profess the freedom which commune life afforded them, likely in sharp contrast to their generation's upbringing. "Silver Wings" and "Jack Steam" ride sharp riffs, revealing excellently crafted songs, while "Gut und Richtig" proves to be an archetype Kraan composition: more relaxed, it's genuinely playful, allowing each member of the band a chance to solo. "Mind Quake" is an epic tale of youth rebellion, yet with a tea break in the middle. "Backs" features the flowery psychedelic saxophone of Pappert, always treated electronically-the perfect foil for no keyboards? The gentle and acoustic "Wintrup" vividly documents the band's tribulations with commune life. The album remains vastly underrated in the band's catalog. As with most Kraan albums, the artwork was drawn by Wolbrandt.

Formed in 1972 in Lecco, Lombardy, Biglietto Per L'Inferno ("Ticket to Hell") was another Italian band that released one classic album before breaking up. The band was discovered at a music festival, and subsequently offered a contract with the Trident label, home to The Trip and Semiramis. The band centered around the keyboard talents of two Giuseppes, "Baffo" Banfi and Cossa, plus guitarist Marco Mainetti, vocalist and flautist Claudio Canali and a rhythm section of bassist Fausto Branchini and drummer Mauro Gnecchi. Their self-titled album, Biglietto Per L'Inferno, is another classic of Rock progressivo italiano, mixing heavy rock with symphonic overtures. "Ansia" ("Anxiety") gently opens the record, revealing a heady mix of organ and piano. The dual keyboards of Banfi and Cossa certainly charge the sonic palette, but the histrionics of guitarist Mainetti also have a large presence on the album. "Confessione" offers a bit of VdGG, and as the title suggests, a dark subject matter; while the track's backing chorus is reminiscent of Lucifer's Friend's voicings. "Una strana Regina" is a more introspective composition, while "Il Nevare" is a no-holds-barred rocker. The album closes with "L'Amico Suicida," another well-constructed number. Through its 14-plus minutes, the composition is full of suspense and surprises; and, of course, a splendid finale. Released in 1974, the album was produced by Maurizio Salvadori, who worked with such diverse artists as Dedalus, The Trip and Garybaldi. A second album produced by Eugenia Finardi was reputedly in the can; but with the Trident label folding, it wouldn't see release until decades later; the band subsequently broke up. Keyboardist Banfi would forge a solo career in the late 70s, offering a few albums of electronic music for Klaus Schulze's Innovative Communication label.

Gentle Giant rose from the remains of the Shulman brothers' pop group, Simon Dupree & the Big Sound. That band had some minor chart success when the single "Kites" b/w "Like the Sun, Like the Fire" broke into the UK Top 10 in late 1967. More surprisingly were the legions of teenage girls that the band attracted, as documented in the British television show Man Alive. But at the turn of the decade, the three Shulman brothers-Derek, Ray and Phil-were ready to make the switch over to a more serious, progressive sound and show the world their considerable musical talents. They teamed up with Royal Academy of Music graduate Kerry Minnear on keyboards and drafted Gary Green to play guitar, while Martin Smith would be the band's first drummer. Their first album was released on the Vertigo label, one of the new labels catering to the burgeoning progressive sound. An auspicious debut, Gentle Giant would become one of the more celebrated and cerebral bands of the progressive era, with their complex arrangements, shifting time signatures and expansive artillery of instruments all trademarks of the band. Some of that is here in their debut; particularly on "Giant," with its excellent keyboard break, and "Alucard" ("Dracula" backwards), with its huge Minimoog bass line. Composition would also remain Gentle Giant's strong suit. Take "Nothing at All"-gentle folk number? Not really. It breaks down into a cacophony of phased drums and piano. The bluesy digression of "Why Not" offers some of the same, but also reveals another Giant tradition-the ability to rock out-something the band (but not the genre) would never forget. Charting, however, would always be a problem, especially in their native England.

Hailing from Hatfield, Hertfordshire, guitarist Mick Taylor and brothers John Glascock and Brian Glascock, bass and drums respectively, were originally in groups as schoolmates. Adding Ken Hensley on keyboards and vocals, they changed their name to The Gods in 1965. Taylor soon left to join John Mayall's Bluesbreakers (replacing Peter Green), while the Glascocks also strayed from the band. In Autumn 1967, Hensley, with Joe Konas on guitar, Lee Kerslake on drums and a returning John Glascock (replacing interims Paul Newton and Greg Lake), kept it together long enough for a residency at the Marquee Club and an album with Columbia Records. Produced by David Paramour (Simon Dupree, Koobas, Cliff Bennett) and engineered by EMI Studio's Peter Vince, Genesis is a fantastic slice of late 60s psychedelic rock, complete with inter-song transitions. The 60s vibe is evident on "Candles Getting Shorter," but added Mellotron is a nice touch. "Looking Glass" is the veritable classic: riding a sturdy Hammond organ, it features Hensley's distinctive falsetto and those trademark harmonies that would make Uriah Heep what it became. "Plastic Horizon" drags a bit, but the psychedelic romp of "Farthing Man" quickly picks up the pace. The album is spirited throughout and features superb songwriting from Hensley and Konas, forming a blueprint for Hensley's later success. But a single of The Beatles' "Hey Bulldog" b/w "Real Love Guaranteed" didn't chart, and by the time their second (also excellent) album To Samuel A Son was released in late 1969 the band had all but split. They released a one-off album as Head Machine in 1970, but that too failed to generate interest. Konas immigrated to Canada, while the other members joined rocker Cliff Bennett and regrouped as Toe Fat, releasing two albums of pedestrian rock.

Written by Karl Jenkins, Soft Machine's final record was produced by Mike Thorne, who also had just produced Wire's trailblazing trilogy of art-rock albums for the Harvest label. The record's title refers to a medieval land of plenty, and plenty of diverse tracks is what the album holds. Released in 1981, Land of Cockayne arrived well past Soft Machine's sell-by date; their previous studio album was 1976's Softs, with a live album recorded and released the following year. However, joining Jenkins and drummer John Marshall were an A-list of guests: Jack Bruce, Allan Holdsworth, Alan Parker, John Taylor, Ray Warleigh and Dick Morrissey. It's also the only album from the band to feature string arrangements. But what about the music? Composed entirely by Jenkins, he moves between new agey-ness, a good measure of disco-era funk (with strings, of course), some Oldfield-like minimalism and a tiny hint of the Softs of old (there's some nice blowing toward the end of the record). Holdsworth makes his mark on "Sly Monkey," but I still can't believe how much the opener "Over ‘n' Above" sounds like Supertramp! It's a strange record; not that it's difficult to listen to or digest, but it's one that ultimately has no time or place. Soft Machine? Not really. New Age? Maybe. Rock ‘n' roll? Certainly not. 1981? Really!? Well, it opened to little fanfare; and apart from a week-long residency in 1984 at Ronnie Scott's, the album remains Soft Machine's final coda.

With the opening tracks "Thought for Naught/A P.H.P.'s Advice," Didier Malherbe and Daevid Allen playfully set the stage for the third and final installment of Gong's Radio Gnome Invisible trilogy. For the most part though, Gong forgoes the song format of the previous album and instead rides the long rock-solid grooves of Mike Howlett and Pierre Moerlen's ace rhythm team. That said, it's hardly surprising that You is Gong's strongest release yet. The mantra of "Master Builder" ignites with Steve Hillage's formidable lead guitar. "A Sprinkling of Clouds" creeps out of Tim Blake's pulsing VCS3 synthesizer, again building into an instrumental tour de force. The second side starts playfully again, before descending into the mega-riff of "The Isle of Everywhere," which is probably the ultimate example of Gong at their best; both Malherbe and Hillage have plenty of room to solo over the hypnotic head-nod groove (credited to the collective Compagnie d'Opera Invisible de Thibet, or C.O.I.T.) From there, Allen winds up Zero the Hero's cosmic adventure fittingly, with the spacious and sprawling "You Never Blow Yr Trip Forever" (sic). Unfortunately, Allen did. Following a bad trip before a gig in Cheltenham, England in April 1975, he took his leave from the band (Gilli Smyth left after the You sessions). The others would continue on; and from there, the amount of music released under the Gong banner would blossom exponentially (a good thing). This album, however, was the only from the band to see a US release. In 1977, Virgin released a double-album, Live Etc., that documented the trilogy era with live and non-album tracks. That same year, in May, the trilogy band would unite (with a host of Gong side projects) for a one-off concert at Nouvel Hippodrome de Paris; their performance was released as Gong Est Mort, Viva Gong! on the French Tapioca label.

For their third album, Gentle Giant made their first foray into the realm of the concept album; and, as such, it's one of the band's most cohesive and satisfying records. As the title suggests, Three Friends does indeed revolve around the lives of three childhood friends. All of the Giant's cleverness that one may have "acquired a taste" for on previous records is present here; yet more direct and rock steady, the six compositions reflect a bluesy, if not ballsy, performance. The rollicking "Prologue" opens, its main theme punctuated to great effect with a fat saw-tooth Moog line. In contrast, the ensuing "Schooldays" is beyond inventive, whether it's the syncopated interplay between vibes, vocals and guitar on the verse or the gorgeous piano and Mellotron in the middle section; Kerry Minnear's voice is the perfect complement for the track. Accordingly, "Working All Day" gets a little dirty; the band adds a horn section over the laidback rhythm, and the heavy breakdown features a great organ solo from Minnear. The second side ambles before exploding into the giant rocking riff of "Peel the Paint," finally digressing into a mess of drums and echo guitar (not that I'm complaining); the band bounces right back with the snappy "Mister Class and Quality?" Underneath Minnear's hard-driven organ, the track seamlessly glides into the symphonic refrain of "Three Friends." Drummer Malcolm Mortimore had joined for the album and an ensuing European tour supporting Jethro Tull; however, his time in the band was cut short due to a motorcycle accident. Further tour commitments forced the band to quickly find a replacement. The album was the first of two released in the US on Columbia Records, and with Martin Rushent producing.

Robert Wyatt spent the beginning of 1973 in Venice, idling his time and writing the songs that would eventually comprise his second solo record. Upon returning to England, the spring saw Wyatt playing in WMMW- with saxophonist Gary Windo, keyboardist David MacRae and bassist Ron Mathewson. He then attempted to revive Matching Mole one final time, with Windo, Curved Air's Francis Monkman and a returning Bill MacCormick. In June, however, at a party for Lady June and Gilli Smyth, an inebriated Wyatt fell from a fourth-story window. The accident paralyzed him from the waist down and dashed any further attempts for a Mole reunion. Wyatt gradually convalesced, aided in part from the generosity of Julie Christie and Jean Shrimpton, as well as a benefit concert hosted by Pink Floyd and Soft Machine on November 4th, at the Rainbow Theatre. Wyatt thus separates himself from his "drummer biped" self from this point on, with Rock Bottom being the first record of his new life. Recorded early in 1974, Wyatt focuses on keyboards and voice, as well as percussion, to produce a wonderfully melancholic record. Tracks like the gentle "Sea Song" and the intimate duo of "Alifib" and "Alifie" are certainly personal, whereas the more up-tempo "Little Red Riding Hood Hit the Road" skips over a reverse-recorded backing. Mongezi Feza's trumpet features on the former, while Mike Oldfield's guitar is a sublime addition to the beginning of "Little Red Robin Hood Hit the Road;" the track ends though in the slow-motion of harmonium, Ivor Cutler's voice and Fred Frith's viola. The album was produced by Pink Floyd drummer Nick Mason and featured a host of Canterbury friends, including drummer Laurie Allan and bassists Richard Sinclair and Hugh Hopper. True to his resolve, Wyatt had a Top 40 single in the UK with a remake of Neil Diamond's "I'm a Believer" b/w "Memories" in September (the song was previously a hit for The Monkees), though his appearance in a wheelchair for a Top Of The Pops appearance sparked controversy. Wyatt would record his next solo album, the like-minded Ruth Is Stranger Than Richard, in 1975, before semi-retiring for the remainder of the decade.

Three years had passed between the time Steve Winwood broke up Traffic and the arrival of his first solo album, Steve Winwood, in June 1977. Recorded with a variety of musicians including Willie Weeks and Andy Newmark, it sold moderately in the US, reaching No. 22 in the charts while rising to No. 12 in the UK. Full of soulful tunes and his golden voice, it was a fine if somewhat understated record. Winwood went completely solo for his next album, Arc Of A Diver, writing, performing and producing the music himself. The only outside collaborations were with lyricists Will Jennings, George Flemming and Vivian Stanshall. Propelled by the catchy single "While You See a Chance" b/w "Vacant Chair," the album was a commercial hit, rising to No. 3 in the US charts and No. 13 in the UK. Along with the title track, they reveal Winwood's formula for success: slightly bright and funky songs, awash with pleasant synths and his amazing lead work on the Multimoog-it's smart, sophisticated and palatable pop perfectly crafted for the aging baby boomer generation. "Second-Hand Woman" follows the same formula, while "Slowdown Sundown" looks back to his Traffic past. "Spanish Dancer" and "Night Train" both ride a thoroughly modern groove over their lengthier arrangements. Winwood's voice is front and center, confident and always-soulful: completely suited for radio and MTV. He would continue to collaborate with Jennings on his 1982 album Talking Back To The Night, charting at No. 6 in the UK, one of his best appearances there since his time with Traffic. After moving to New York a few years later, Winwood would soar to the top of the charts worldwide in 1986 with the fantastic album Back In The High Life. Teeming with numerous hit singles that littered the Top 10 on both sides of the Atlantic, the album would also earn Winwood three Grammy Awards. With now-predictable success, Winwood would sign to Virgin Records for his next few albums, ending his long standing affiliation with Island Records.

Robert Wyatt spent the beginning of 1973 in Venice, idling his time and writing the songs that would eventually comprise his second solo record. Upon returning to England, the spring saw Wyatt playing in WMMW- with saxophonist Gary Windo, keyboardist David MacRae and bassist Ron Mathewson. He then attempted to revive Matching Mole one final time, with Windo, Curved Air's Francis Monkman and a returning Bill MacCormick. In June, however, at a party for Lady June and Gilli Smyth, an inebriated Wyatt fell from a fourth-story window. The accident paralyzed him from the waist down and dashed any further attempts for a Mole reunion. Wyatt gradually convalesced, aided in part from the generosity of Julie Christie and Jean Shrimpton, as well as a benefit concert hosted by Pink Floyd and Soft Machine on November 4th, at the Rainbow Theatre. Wyatt thus separates himself from his "drummer biped" self from this point on, with Rock Bottom being the first record of his new life. Recorded early in 1974, Wyatt focuses on keyboards and voice, as well as percussion, to produce a wonderfully melancholic record. Tracks like the gentle "Sea Song" and the intimate duo of "Alifib" and "Alifie" are certainly personal, whereas the more up-tempo "Little Red Riding Hood Hit the Road" skips over a reverse-recorded backing. Mongezi Feza's trumpet features on the former, while Mike Oldfield's guitar is a sublime addition to the beginning of "Little Red Robin Hood Hit the Road;" the track ends though in the slow-motion of harmonium, Ivor Cutler's voice and Fred Frith's viola. The album was produced by Pink Floyd drummer Nick Mason and featured a host of Canterbury friends, including drummer Laurie Allan and bassists Richard Sinclair and Hugh Hopper. True to his resolve, Wyatt had a Top 40 single in the UK with a remake of Neil Diamond's "I'm a Believer" b/w "Memories" in September (the song was previously a hit for The Monkees), though his appearance in a wheelchair for a Top Of The Pops appearance sparked controversy. Wyatt would record his next solo album, the like-minded Ruth Is Stranger Than Richard, in 1975, before semi-retiring for the remainder of the decade.

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.