Man - Be Good To Yourself At Least Once A Day (United Artists UK | November 1972) Following the success of Greasy Truckers Party, United Artists issued another live album, Live at the Padget Rooms Penarth, but at a reduced price and in limited quantities. A hit, it soared straight to the top of the budget charts in September. But recording their next studio album was proving to be unfruitful, leading, of course, to more lineup changes: Martin Ace left, while Deke Leonard was sacked; Clive John returned, but on guitar, bringing with bassist Will Youatt and keyboardist Phil Ryan from The Neutrons. Released in November Be Good To Yourself At Least Once A Day proves to be one of Man's finest recordings. "C'mon" leads off the album and straight into "Keep on Crinting," the Manband rocks steady throughout, laying out their impeccable improvisational skills. The second side's "Bananas" begins the immortal lyric: "I like to eat bananas / because they have no bones / I like marijuana / because it gets me stoned," but it's the next nine minutes after the break that render the track classic. Throughout the album, Ryan's keyboards are impeccable: classic tones, an economy of all the right notes-and empty spaces. John and Micky Jones prove to be a perfect pairing on guitars, continuously complementing each other. "Life on the Road" closes, another jaunty number, again highlighting the jam-band nature of the group. I would be remiss not to mention the album's pop-up fold-out map of Wales, perhaps one of the most extravagant and perfectly executed packages to ever hold a vinyl record. The Manband finally nestled into the charts in 1973 with the half-live, half-studio album Back Into The Future, with ex-Wild Turkey Alan "Tweke" Lewis replacing Ryan on the studio side. Further changes were afoot: Jones and drummer Terry Williams rehired Leonard, alongside two members from Help Yourself, keyboardist Malcolm Morley and bassist Kevin Whaley. Leaving their psychedelic edge behind and adopting a more mainstream rock sound, Man would remain together for a further few more excellent albums, before calling it quits in 1976.

Album of the Day: Man - Be Good To Yourself At Least Once A Day (United Artists UK | November 1972) progaotd

Anthony Phillips - The Geese & The Ghost (Passport US | March 1977) Anthony Phillips first appeared in the timeline as the original guitarist for Genesis. Unable to make the commitment to life in a rock band, he left in 1970 and returned to formal music studies at Guildhall School of Music & Drama. His friendship with Mike Rutherford never wavered-in fact, with Phil Collins, they recorded the unreleased single "Silver Song" b/w "Only Your Love" in 1973 for Charisma Records, during a lull in Genesis' activity. In 1974, he and Rutherford began a collaboration on what would later become his debut solo album; but the latter's commitments to Genesis would prolong the process by years. True to form, Phillips never left his musical connection to Genesis too far behind. Released in 1977, The Geese & The Ghost is a strong testament to that association. The gentle 12-string number "Which Way the Wind Blows" wouldn't sound out of place on a current Genesis album, or Trespass, for that matter; Collins even provides most of the vocals here. But it's the baroque styling of "Henry: Portraits from Tudor Times" that both dominates the album and reveals Phillips's art. With guitars fluttering away, he and Rutherford paint gentle, acoustic landscapes, not unlike the Peter Cross-penned art that also graces the album's cover. The arrangements are lyrical and exquisite, with flute, oboe and cello all adding color. Phillips takes a vocal (and piano) break on the terribly romantic "Collections," while only the second half of the title track provides any electricity to this otherwise pastoral album. Phillips would stick to the formula implemented here with his "library" series of instrumental releases, all bearing the cheeky subtitle Private Parts and Pieces. Though anachronistic with contemporary musical trends, the album was a genuine success, reputedly selling tens of thousands of copies. It also earned Phillips a contract with Arista, and a shot at a few albums that would be larger in both scope and budget.

Album of the Day: Anthony Phillips - The Geese & The Ghost (Passport US | March 1977) progaotd

Jethro Tull - This Was (Island UK | October 1968) The story of Jethro Tull begins with the John Evan Band in Blackpool during the mid-60s. Like most other bands from the era, they played soul covers before moving on to the blues. The summer of 1967 brought Ian Anderson and Glenn Cornick to London. Adding Mick Abrahams on guitar and Clive Bunker on drums (both from McGregor's Engine), Jethro Tull-named after an 18th century agriculturist-was complete, although they gigged for several months under different names (ostensibly to get repeat gigs); Even their first single, "Sunshine Day" b/w "Aeroplane," was released as "Jethro Toe" (typo, if you can believe it). By 1968, the band had gained a residency at the Marquee Club and national recognition, based partly on their Sunbury Jazz and Blues performance that summer. Having picked up his technique from virtuoso Roland Kirk, flautist and vocalist Anderson was the obvious frontman. On This Was, the band plays incredibly tight and raucous-just listen to "Dharma for One" or "Cat's Squirrel." Anderson's songwriting is strong and already developing into his own style, evidenced in particular on "A Song for Jeffrey." Their self-financed debut offers a classic hybrid of hard blues with a jazzy edge that was an instant hit upon release. The album reached No. 10 in the UK charts, while earning a respectable No. 62 in the US. Such was the buzz on Jethro Tull that The Rolling Stones chose them (with a pre-Black Sabbath Tony Iommi miming on guitar) for their Rock ‘n' Roll Circus TV special in December 1968 over another freshman band-Led Zeppelin.

Album of the Day: Jethro Tull - This Was (Island UK | October 1968) progaotd

Man - Revelation (Pye UK | January 1969) 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.

Album of the Day: Man - Revelation (Pye UK | January 1969) progaotd

Conrad Schnitzler - Con (Egg FR | Sometime 1978) Born in 1937, Conrad Schnitzler was one of the most original and influential audio artists in Germany. Having studied under Josef Beuys in Düsseldorf in the early 60s, he found himself in Berlin towards the end of the decade. There, with a similarly-aged Hans-Joachim Roedelius, they started both the Zodiak Free Arts Lab club and the group Kluster; eventually, Schnitzler also joined Tangerine Dream, playing cello on their debut album. His earliest solo recordings were mostly private releases—commissions from galleries, or cassettes—and most were titled with a color (Schwarz, Rot, Blau, Grün, usw.). Schnitzler's forte, however, was his so-called "intermedia," or performance art. Iconic images of Schnitzler either face-painted in a Kabuki mask, or wearing a motorcycle helmet mounted with a megaphone and holding tape-recorder, reveal his true artistic self. But in 1978, he teamed up with Peter Baumann at his Paragon Studio to record a more commercial release, simply titled Con. "Electric Garden" opens the record, revealing a stark, electronic landscape. Blips, bleeps and washes of sound may render it alien-sounding, but their construction is preeminent here. The ensuing "Ballet Statique" offers a minimal sequence over its five minutes, as well as a contemplative, even soothing mood. "Zug" kicks off the second side; and yes, it mimics a train. The following "Metall 1" is white noise, while "Black Nails" reprises many of the album's themes. Con saw release on the French label Egg (and would later be retitled Ballet Statique when it was released on CD). From here, Schnitzler would enter his most prolific stage—at least, from a commercially-viable release standpoint-working with other artists, including his son Gregory and Wolfgang Seidel. He even collaborated with Baumann again in 1982 as Berlin Express; they produced a new wave-ish 12-inch for CBS's Portrait Records in the USA.

Album of the Day: Conrad Schnitzler - Con (Egg FR | Sometime 1978) progaotd

Kraan - Andy Nogger  (Passport US | January 1975) Kraan's third record, Andy Nogger, was their first recorded with legendary producer Conny Plank. It's a significant relationship, one that would extend across many years and projects together, both as a producer and musician. As the excellent "Stars" demonstrates, Kraan has a highly energetic and original sound—somewhere between rock and jazz, but nowhere around the then-current idiom of fusion. "Son of the Sun" and "Yellow Bamboo" are typical of the Kraan formula, which revolves around the band members' tight interplay—in particular, bassist Hellmut Hattler and drummer Jan Fride's rhythm section. Melodic and subtly flavored with world-ethnic influences, Kraan never descends into pointless soloing or unnecessary complication in their arrangements. Both "Andy Nogger" (a disturbing tale of a pervert) and "Home" have enough charm and conviction in the delivery of their English-language lyrics to rival the other instrumental numbers. Not only was the album was successful in their native Germany—Musik Express voted it the Album of the Year-but it was their first record to see international release, on the Gull label (UK, France, Scandinavia) and on Passport Records in the US. Kraan's forte, however, was on stage, as they were a formidable live band. Their next release, Kraan Live, recorded in Berlin's Quartier Latin in October 1974, capitalized on that. The double-album, also released in the UK on the Gull label, would go on to be their best-selling record in Germany. Both instrumentals "Nam Nam" and "Holiday am Marterhorn" received expanded performances and would continue to feature prominently in their live set. [US release date]

Album of the Day: Kraan - Andy Nogger  (Passport US | January 1975) progaotd

Tangerine Dream - Tangram (Virgin US | May 1980) 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.

Album of the Day: Tangerine Dream - Tangram (Virgin US | May 1980) progaotd

Genesis - Wind & Wuthering  (Atco US | December 1976) During the year since their last release, Genesis had not only transitioned to Phil Collins as vocalist, but they also found time to tour America and record their next album. Wind & Wuthering picks up where their previous album left off, though offering a little more empathy to their past spirit; and in particular the Selling England By The Pound album. The lively "Eleventh Earl of Mar" opens; it's a rocker, but the gentle break is stuffed with detail. "All in a Mouse's Night" is similar, again driven by Mike Rutherford's bass pedals. He also offers the single, "Your Own Special Way" b/w "It's Yourself." It's a simple song with the obvious hook in the chorus, and Phil Collins's multi-tracked vocals right up front in the mix; no wonder it broke into the Top 50 on the UK charts. Yet the album also is heavy on instrumentals as well: three by count, and four if you include the lengthy middle section in "One for the Vine." Steve Hackett, always undermixed on Genesis records, makes his mark here with both a largess of writing credits and his nylon-string guitar. "Blood on the Rooftops" and "Unquiet Slumbers for the Sleepers…" break the mold, and certainly as a result of the guitarist's contribution. "…In That Quiet Earth" offers more of the band's instrumental fire, segueing ever so effortlessly into Tony Banks's down-tempo "Afterglow." The album is painstakingly detailed both in arrangement and in instrumentation, particularly on the second side, that endears it as one of Genesis' most enduring and musical records. It was similarly successful on the charts, making a Top 10 appearance in the UK, but just missing the Top 30 in the US. The band again embarked on a massive world tour in support of the album, this time with American Chester Thompson assisting Collins on drums.

Album of the Day: Genesis - Wind & Wuthering  (Atco US | December 1976) progaotd

Il Balletto di Bronzo - Ys (Polydor IT | May 1972) Italy, more than any other country represented in the timeline, produced some of the most genuine and decadent progressive rock during the early 70s. Even more obscure than the English "cult classics," only the polycarbonate and aluminum of the compact disc has allowed for these treasures—which were originally pressed in the hundreds—to be resurrected from both oral legend and obscurity. One of the prime examples is Il Balletto di Bronzo ("Bronze Ballet"). Another Neapolitan band, their debut album Sirio 2222, released in 1970 on RCA, owed much to 60s psychedelia; prog rock it certainly wasn't. However, in 1971, guitarist Lino Ajello and drummer Giancarlo Stinga added two new players to the lineup: bassist Vito Manzari and, most significantly, ex-Città Frontale keyboardist Gianni Leone. Leone quickly instigated a new musical direction for the band; the resulting album, Ys, remains one of the most revered classics of the era. A concept album about a mythical city in Breton folklore, the album consists of five movements. With a foreboding chorus, "Introduzione" unfolds to the classically-inspired organ of Leone. Halfway through the track, Manzari's bass cues up a prog rock workout that the band hammers out with a manic intensity reminiscent of Van der Graaf Generator. While the band is up to task, it's Leone's keyboards that steal the show, presenting a classic palette throughout: With organ, piano, Mellotron, Moog and spinet (similar to a harpsichord), it's an almost dissolute pleasure. Leone's Italian vocals and the female chorus are similarly discordant, as "Secondo Incontro" ("Second Encounter") attests; yet throughout the album, Il Balletto di Bronzo is heavy, dissonant, reckless, completely over the top and all the more wonderful for it. This is classic rock progressivo Italiano. The band attempted an English language version of the album; however, it never saw completion. (Decades later, two tracks were released as a CD single; in addition to the English lyrics, it features a different mix from the album). After a round of touring and a second single in 1973, the band broke up due to lack of success.

Album of the Day: Il Balletto di Bronzo - Ys (Polydor IT | May 1972) progaotd

Van der Graaf Generator - Pawn Hearts (Charisma UK | October 1971) Pawn Hearts would be the final statement of Van der Graaf Generator's "first generation," and they ended it with a masterpiece. The album's first side contains "Lemmings (Including COG)" and "Man-Erg," the latter being the only number that was previously road tested before the recording session. Both are full of VdGG mechanics: the relative calm of "Man-Erg" pierced by Hugh Banton's hammering organ, while "Lemmings" plunges into even darker imagery, both lyrically and sonically. Initial plans for the album called for a double, with a live side and solo numbers written by Banton, David Jackson and Guy Evans (some of this was recorded and left in the vaults) to offset Peter Hammill's "A Plague of Lighthouse Keepers," which encompasses the entire second side. Per Hammill, it was written primarily "on the back of the tour bus," and offers the epic life-struggle saga. Dense and thematic, the composition cruises along like a ship through unknown waters: one moment peaceful, the next in a sonic maelstrom. The band is in top form throughout, with Banton adding ARP and Mellotron to his armory. VdGG never sounded better on record. It's also a prime example of what could be achieved in a recording studio and with a razor blade, as the piece was recorded minutes at a time. The spry "Theme One," title music written by George Martin for the BBC, was included on the US release of the album. Again, despite constant touring, the album failed to chart in the UK. But in 1972 VdGG would tour Italy three times, where the album would reach No. 1. Still, by the end of the year, frictions with Charisma came to a head; and the band, penniless, called it a day. Hammill would embark on a solo career; he quickly recorded three solo albums, most with contributions from the other VdGG members, before eventually reforming the band in late 1974.

Album of the Day: Van der Graaf Generator - Pawn Hearts (Charisma UK | October 1971) progaotd

Kraan - Flyday (Harvest DE | February 1978) Before Kraan's 1978 release, Flyday, original member Jan Fride took a break from music and was replaced by drummer Udo Dahmen, previously in Aachen's Rufus Zuphall. With compositions credited to either Peter Wolbrandt or Hellmut Hattler, the album covers much of the same ground as the last. The instrumental "Far West" kicks off with the band soaring along to the jazzy tempo. The vocal effort "My Brother Said" is a real treat, reminiscent of the aggressive rock of the band's earlier Wintrup album. "Ausflug" is (not surprisingly) light and airy, with Wolbrandt's guitar tone predating Mark Knopfler's technique; while the bold "Gayu Gaya" is the album's wordless-vocal entrant. On the second side, both "You're Right" and "Buy Buy" turn up the funk, with Ingo Bischof's keyboards taking a step to the fore. The balance of the side is contrasted with two mellow numbers: "Young King's Song" is a fairytale vocal number, while the sleepy title track is marked again by Wolbrandt's poignant guitar work. The album was released by EMI Electrola (on blue vinyl); but again, did not see an international release. A live album Tournee followed in 1980, presenting material from the last two records. The 1982 release Nachtfahrt would also see a change in drummers and something of a first for the band: German language vocals. Kraan would then undergo several personnel changes, until a late 80s lineup reunited Hattler, Wolbrandt and Fride, with newcomer Joo Kraus for a final two albums.

Album of the Day: Kraan - Flyday (Harvest DE | February 1978) progaotd

Traffic - Mr. Fantasy (Island UK | December 1967) Steve Winwood was known for his blue-eyed soul with the Spencer Davis Group, and songs such as "Gimme Some Lovin'" and "I'm a Man" were the last in a string of hits from the group. By 1967, Winwood was out on his own, engaging some friends from his native Birmingham to form Traffic. They retired to the proverbial "cottage in the country" and created the first of two records that, along with Pink Floyd and The Jimi Hendrix Experience, would best characterize Britain's answer to America's acid rock: psychedelic rock. Their debut album, Mr. Fantasy, takes The Beatles' approach to great pop songs and adorns it with a palette straight from the era: Mellotron, sitar, lots of acoustic guitar, children's voices, etc. But into all of that, the band infuses a wide spectrum of influences; whether the raucous honky-tonk of "Berkshire Poppies" or the bluesy jazz of "Giving to You," Traffic is highly original and above all, rock ‘n' roll. Yet Winwood never loses sight of his R&B roots; just witness "Coloured Rain" and "Smiling Phases." The title track is perhaps the highlight, a preview of what the band could (and eventually would) deliver. Drummer Jim Capaldi and flautist/saxophonist Chris Wood provide ample support throughout; however, Dave Mason would prove to be a foil to the progressive experiments, leaving (but returning) soon after the recordings. The album made the UK Top 10, as did the singles "Paper Sun" b/w "Giving to You" and "Hole in My Shoe" b/w "Smiling Phases" earlier during London's Summer of Love. 1968 saw the whole trip repeated with the band's self-titled second album, Traffic. Although the album included two of Mason's finest compositions, "You Can All Join In" and "Feelin' Alright," only the latter would be issued as a single. Still, the album would again reach the UK Top 10 and even breach the US Top 20. But by 1969, Winwood disbanded Traffic to join the supergroup Blind Faith with Ric Grech, Ginger Baker and Eric Clapton.

Album of the Day: Traffic - Mr. Fantasy (Island UK | December 1967) progaotd

Agitation Free - Malesch (Vertigo DE | Sometime 1972) Agitation Free's roots were in the same creative scene that most bands in late-60s Berlin shared. The group was founded in 1967 by bassist Michael Günther and guitarist Lutz "Lüül" Ulbrich. By the time their ranks had congealed enough to record their debut album, drummer Christopher Franke had already departed to Tangerine Dream, and guitarist Ax Genrich to Guru Guru. By 1971, keyboardist Michael Hoenig, guitarist Jörg Schwenke and drummer Burghard Rausch had joined Günther and Ulbrich, and teamed up with avant-garde composer Thomas Kessler and his Berlin studio. Improvisation and experimentation were at the band's core; and fortunately, so was endurance. Using a grant from the Goethe Institute, the band traveled to Egypt, Lebanon and Cyprus. Upon returning to Berlin, Agitation Free recorded their debut album, Malesch, for the Music Factory label in 1972. "You Play for Us Today" opens with a soundbite from their trip, one of the many field recordings interspersed throughout the record; while "Sahara City" drifts in stasis until it erupts, "Ala Tul" offers a progressive sound, anchored by organ and punctuated by a gripping rhythm from Rausch and guest Uli Popp. "Pulse" rises from a simple pulsating synth, just as the title track "Malesch" emerges from an organ line. Much like music from the Middle East, the band builds on a pattern, propelled forward by a fluid, moving rhythm. As avant-garde or even academic as their roots may be, there's still a musicality to the band that defies that pedigree. Like the best American psychedelic bands, Agitation Free excel at improvisation, and offer a free rock sound that's both stirring and moving. The closing "Ruecksturz" reprises a melodious theme, indicating the direction for their next album. [????? or "malesch" is an Egyptian word that translates to "take it easy, don't worry"—a response to their first concert's cancellation due to a customs delay entering Egypt.]

Album of the Day: Agitation Free - Malesch (Vertigo DE | Sometime 1972) progaotd

Morgan - Nova Solis (RCA Victor IT | July 1972) Love Affair were a soul band from London that scored a UK No. 1 hit with "Everlasting Love" b/w "Gone Are the Songs of Yesterday" in 1968. Following vocalist Steve Ellis's departure in 1969, keyboardist Morgan Fisher and drummer Maurice Bacon re-branded the group as L.A. to distance themselves from their pop audience and past. Adding bassist Bob Sapsed along the way, they recorded an excellent if uneven album, New Day, in 1970. Part soul and part underground rock, the album spotlighted Gus Eadon's strong voice and flute. But by the following year, the split from Love Affair was complete: Fisher, Bacon and Sapsed recruited vocalist Tim Staffell from the pre-Queen band Smile and as Morgan went full-on progressive. The band signed a lucrative deal with RCA Italy in early 1972 and then went off to Rome to record their debut album, Nova Solis. "Samarkhand the Golden" blasts off; Fisher's various keyboard tones are exquisite. The album follows the theme-based compositions of Morgan's keyboard-trio peers, but with Staffell's high tenor and Spased's rubbery, fretless bass, the band offers their own original and exciting take on prog rock. "Alone" is an acoustic-based number from Staffell, while the following "War Games" begins with a blast of VCS3 synthesizer. The second side is encompassed with the side-long "Nova Solis," Staffell's tale of space travel, with music from Fisher and his galaxy of keyboards. Morgan recorded a second album in 1973, but it was rejected by RCA; and after residency commitments to the Marquee Club, the band folded. The album did eventually find release in the US in 1976 on Import Records with its original title, Brown Out, and with its alternate title, The Sleeper Awakes, on UK's Cherry Red label in 1978. Fisher then went on to join Mott The Hoople and British Lions, but also curated the eclectic Miniatures album in 1980. Staffell, on the other hand, turned to a career of crafting models, including the trains on the original Thomas the Tank Engine television series. Meanwhile, Bacon followed his father's footsteps into artist management.

Album of the Day: Morgan - Nova Solis (RCA Victor IT | July 1972) progaotd

Faust - IV (Virgin UK | September 1973) Faust were uniquely German; and, in all likelihood, were the antithesis of the aesthetics of British prog rock. In fact, Faust's raison d'être had more in common with post-modern art than anything remotely romantic; however, their relative success (courtesy of Virgin Records) was tightly tied to the progressive era. Their first two albums for Polydor, both produced by Uwe Nettelbeck, were instant krautrock classics, though not easy listening by any stretch. Richard Branson signed the band to his Virgin label and released The Faust Tapes album for a ridiculously low price (that of a single, 49p). Coupled with a tour of the UK with Henry Cow (and Peter Blegvad from Slapp Happy in tow), the album sold a reputed 100,000 copies. Their next album, IV, was recorded under the auspices of Virgin's The Manor Studio and offered more of Faust's music to progressive audiences. The album's opener, the relentlessly churning grind of "Krautrock," is a brazen tribute to their Teutonic sonic heritage; it's simply astonishing. "The Sad Skinhead" offers reggae, but not really, just as the beauty of "Jennifer" hides something more sinister underneath. "Giggy Smile" breaks open with a classic riff, yet quickly dissolves into frenzy before returning to the same riff, albeit sideways. Throughout, the album explores composition and musicianship with a healthy dose of revisionism, with the band's unique brand of psychedelia in equal measure. Like Neu!, Faust's legacy would attain mythical status in the ensuing decades. This however was their final release, as they would break up in 1975 after aborted sessions at Giorgio Morodor's studio in Munich.

Album of the Day: Faust - IV (Virgin UK | September 1973) progaotd

Starcastle - Starcastle (Epic US | February 1976) Hailing from Illinois, Starcastle was one of a few US prog rock bands (along with Ethos and Symphonic Slam) that achieved some recognition in the mid-70s. After trudging the bar circuits under various names, the core of guitarist Steve Hagler, drummer Steve Tassler, keyboard player Herb Schildt and bassist Gary Strater were joined by another two members: second guitarist Matthew Stewart and vocalist Terry Luttrell, the latter previously in another Champaign band, REO Speedwagon. In 1974, they changed their name to Starcastle and signed to Epic Records. To say that they were influenced by British progressive rock is, of course, a huge understatement. "Lady of the Lake" reveals an easygoing Yes approach, with the emphasis on the vocal harmonies. "Elliptical Seasons" has a little more Midwest grit to it, while "Stargate" goes symphonic. But if two things stick out immediately about Starcastle's music, it's Luttrell's voice and lyrics; unfortunately, his high tenor lacks any visceral punch (most evident on "Sunfield") and his lyric-writing seems like high school poetry. Musically though, the band is playful, boasting rich arrangements that make the best of their expansive sound; check out "To the Fire Wind." Although the Yes-clone analogy runs true, their accessible approach probably owes as much to another Illinois band: Styx. The album was well received, and Starcastle even opened for some of their prog rock big brethren, including Jethro Tull and Rush, on subsequent tours. Epic then sent the band off to Montreal with Queen producer Roy Thomas Baker to record their next album. Though the collaboration was uneasy, there's little argument that Fountains Of Light, released in early 1977, would be the band's definitive statement. Starcastle released two further albums, but even shorter haircuts couldn't change their prospects. Without a record label, the band folded in 1980.

Album of the Day: Starcastle - Starcastle (Epic US | February 1976) progaotd

Gong - Shamal  (Virgin UK | February 1976) With Daevid Allen and Gilli Smyth in Majorca, the remaining members of Gong—Mike Howlett, Didier Malherbe and Pierre Moerlen—were left holding both the proverbial torch and a two-album contract with Virgin Records to fulfill. Tim Blake had already split to France to start his own solo career, while Steve Hillage would make a final guest appearance here. The band toured the UK in late 1975 with Clearlight, and live tapes reveal the full impact of the new members. The set list includes tracks from the Trilogy era and Hillage's Fish Rising album, as well as new material. With Pink Floyd's Nick Mason in the producer's chair, the album Shamal mixes up the old Gong formula: Gone are most traces of psychedelia, replaced with a modern jazz-rock; while the long, groove-driven jams are refitted with tight and sophisticated arrangements. On "Wingful of Eyes" and "Shamal," Gong even add a little funk. Newcomers Mireille Bauer (tuned percussion), Patrice Lemoine (keyboards) and Jorge Pinchevsky (violin) provide the incentive for the change, though the additional instrumentality isn't wasted in pointless soloing. The album still retains novelty, avoiding most of the then-current fusion and, most importantly, the album never forgets that it's rock music. Even "Cat in Clark's Shoes" attempts to inject a little humor; lest we forget this is Gong! Unfortunately though, none of this would last, as the band divided over whether to include vocals or go purely instrumental. Howlett would put his bass down and turn to the production chair for a highly rewarding career; while Malherbe would last for one additional album before fronting his own excellent fusion band, Bloom. Pierre Moerlen was then left with the reins of Gong.

Album of the Day: Gong - Shamal  (Virgin UK | February 1976) progaotd

Jean-Jacques Kravetz - Kravetz (Vertigo DE | Spring 1972) The Parisian-born Jean-Jacques Kravetz was classically-trained on alto saxophone at the prestigious Conservatoire de Paris. In the mid-60s, he moved to Hamburg to work as a music teacher and moonlighted with folk-rockers The City Preachers on keyboards. Around the time of Frumpy's metamorphosis into Atlantis, Kravetz assembled some friends to record a solo album in Hamburg for the Vertigo label. Drummer Udo Lindenberg brought his former Mustangs bandmate, bassist Karl "Steffi" Stephan, and adds vocals to a couple of tracks. Inga Rumpf guests on "I'd Like to Be a Child Again," offering her voice and lyrics; but it's really Thomas Kretzschmer's guitar solo that steals the show. And there's Kravetz with his remarkable organ playing; not only does he have the chops, but his tone is exemplary, ranking him with the top British players. Lindenberg offers some vocals on "Ann Toomuch," while Kravetz adds a synthesizer solo toward the end. "Routes" drifts into chaos before returning on a nice groove, again with Kretzschmer providing the solo. The simple piano of "When the Dream Is Over" backs another Lindenberg vocal, while "Master of Time" is indeed masterful, and wouldn't have been out of place on Frumpy's second album. Kravetz was re-released in 1975 on the German Fontana label as 8 Days In April by The Hamburg Scene. Stephan, Kravetz and Kretzschmer would later work with Lindenberg in his Panik Orchestra; Kravetz also was a member of Randy Pie and, from 1977 on, Peter Maffay's band.

Album of the Day: Jean-Jacques Kravetz - Kravetz (Vertigo DE | Spring 1972) progaotd

Mike Oldfield - QE2 (Virgin US | October 1980) For his next record, Oldfield assembled a new cast, including Genesis producer David Hentschel, vocalist Maggie Reilly and keyboardist Tim Cross. The opening "Taurus 1" clicks away under a pulsing drum-machine until the rhythm section of Phil Collins and Mike Frye kick in, revealing a potent rocker. It's got that Oldfield vibe: slightly folky, slightly progressive yet adorned with a battery of keyboards and his unique guitar tone as well. "Sheba," again with Collins on drums, features Reilly on vocoder. Her vocal contribution is integral to the album: It's mostly wordless, which helps define the record. "Conflict" comes across just as one would expect: Oldfield's guitar soaring above the drum patterns of Frye and Morris Pert. Two cover versions come next, with Abba's "Arrival" closing the first side, and The Shadows' "Wonderful Land" opening the second. Oldfield does a great job of appropriating the material; and with the help of longtime collaborator David Bedford, he also tailors them to fit with his original material. "Mirage" sounds familiar, copping a riff seemingly straight from his "Tubular Bells," yet one that's filled out with a horn section. The title track, named after Cunard Line's ocean liner, is another big composition, with a rousing chorus and double-speed guitar. The album closes with the delicate "Molly," dedicated to Oldfield's daughter. Ultimately though, it is Hentschel's production that makes the album a curious mix of new technology and old world themes. The album charted in the UK, rising to No. 27; and the following year saw Oldfield hit the road for his European Adventure Tour with Reilly, Frye, Cross, Pert and guitarist Rick Fenn from 10cc.

Album of the Day: Mike Oldfield - QE2 (Virgin US | October 1980) progaotd

Asia - Asia (Geffen US | March 1982) From the beginning, Asia was designed as a big-name supergroup. John Wetton had previously been in a bevy of progressive groups, with the last being U.K. Joining him were Steve Howe and Geoff Downes from Yes, and a post-PM Carl Palmer from Emerson, Lake & Palmer; though earlier possibilities included Trevor Rabin, Roy Wood and Rick Wakeman. Geffen A&R man John Kalodner compelled the band to start writing in late 1980, and in a direction that was strictly AOR: that is, album-orientated rock. The accoutrements included a "big" band name and a Roger Dean album cover; and the results were phenomenal. Asia quickly rose to the top of the US charts, where the album would stay for some nine weeks. In the UK, the album crested at No. 11, but remained on the charts for 38 weeks. The record earned gold status in the UK and quadruple-platinum in the US, while further earning the band a Grammy award nomination for Best New Artist in 1982. Side one of the album was packed with the singles: "Heat of the Moment," "Only Time Will Tell" and "Sole Survivor" lead off with a one-two-three punch, the former two with videos to air on the recently-minted MTV. There's nothing wrong, per se, with Asia's music. Wetton's voice is radio-friendly, as are his lyrics; and though the arrangements are a little congested, the hooks more than make up for it. The latter track even offers a little progressive edge. But one thing is clear: Asia was a business proposition for the new decade, something purpose-built to the core for commercial success, whether it be radio-airplay or sold-out tours. As the barcode on the back jacket signifies, this record marked the end of an era for the generation of progressive musicians, one that had spent the past decade following their muse through the varied and diverse music of the timeline. Asia released a second album, Alpha, in July 1983, spawning the US No. 1 hit "Don't Cry" b/w "Daylight." While successful, the genie was already out of the bottle, and those pesky supergroup problems quickly arose. Wetton left temporarily in 1983, with none other than Greg Lake subbing for him; Lake's performance is captured in the concert video Asia in Asia, recorded at Tokyo's Budokan Hall. But when Wetton returned, Howe then promptly left, replaced by Mandy Meyer from the Swiss metal band Krokus. A final album from this lineup, Astra, was released in late 1985; but with disappointing sales, tours were canceled and the band folded.

Album of the Day: Asia - Asia (Geffen US | March 1982) progaotd

Can - Ege Bamyasi (United Artists DE | November 1972) In late 1971, Can released a single "Spoon" b/w "Shikako Maru Ten." By the new year, it had risen to No. 6 in the West German charts. Completely infectious, Jaki Liebezeit's drumming is enhanced by a drum machine; but it's the relative "tune" that makes the song a hit. Of course, being the theme song for the TV show Das Messer ("The Knife") helped too! The success afforded the band the opportunity to purchase a cinema between Cologne and Bonn, which they turned into their Inner Space Studios. Can's third studio album Ege Bamyasi saw release at the end of 1972. Turkish for "Aegean okra," it's instantly recognizable from the "can" on the cover. "Pinch" kicks off side one and immediately Liebezeit's drumming grips the listener's ears with a funky groove, perfectly filled with sharp accents. Holger Czukay's bass is even more minimal, but effectively delivers the right amount of punch. "Sing Swan Song" swings and sways with an ethnic hint, courtesy of Michael Karoli's guitar. Can ride the same groove for "One More Night," but it's Damo Suzuki's vocal delivery that makes it sexy. "Vitamin C" gives Irmin Schmidt a chance to shine, while the lengthy "Soup" harks back to the psychedelic messiness of Tago Mago as it goes completely sideways. The brief "I'm So Green" pales compared to "Spoon," but the song was tacked onto the record at the last minute. Never mind, Can delivers one of the most original, powerful, minimal but above all accessible albums that would make up their catalog. It also saw release in France and the UK, and, for the first time, the US. Suzuki would record another album with Can, the excellent Future Days in 1973, but then leave to become a Jehovah's Witness.

Album of the Day: Can - Ege Bamyasi (United Artists DE | November 1972) progaotd

Asia - Asia (Geffen US | March 1982) From the beginning, Asia was designed as a big-name supergroup. John Wetton had previously been in a bevy of progressive groups, with the last being U.K. Joining him were Steve Howe and Geoff Downes from Yes, and a post-PM Carl Palmer from Emerson, Lake & Palmer; though earlier possibilities included Trevor Rabin, Roy Wood and Rick Wakeman. Geffen A&R man John Kalodner compelled the band to start writing in late 1980, and in a direction that was strictly AOR: that is, album-orientated rock. The accoutrements included a "big" band name and a Roger Dean album cover; and the results were phenomenal. Asia quickly rose to the top of the US charts, where the album would stay for some nine weeks. In the UK, the album crested at No. 11, but remained on the charts for 38 weeks. The record earned gold status in the UK and quadruple-platinum in the US, while further earning the band a Grammy award nomination for Best New Artist in 1982. Side one of the album was packed with the singles: "Heat of the Moment," "Only Time Will Tell" and "Sole Survivor" lead off with a one-two-three punch, the former two with videos to air on the recently-minted MTV. There's nothing wrong, per se, with Asia's music. Wetton's voice is radio-friendly, as are his lyrics; and though the arrangements are a little congested, the hooks more than make up for it. The latter track even offers a little progressive edge. But one thing is clear: Asia was a business proposition for the new decade, something purpose-built to the core for commercial success, whether it be radio-airplay or sold-out tours. As the barcode on the back jacket signifies, this record marked the end of an era for the generation of progressive musicians, one that had spent the past decade following their muse through the varied and diverse music of the timeline. Asia released a second album, Alpha, in July 1983, spawning the US No. 1 hit "Don't Cry" b/w "Daylight." While successful, the genie was already out of the bottle, and those pesky supergroup problems quickly arose. Wetton left temporarily in 1983, with none other than Greg Lake subbing for him; Lake's performance is captured in the concert video Asia in Asia, recorded at Tokyo's Budokan Hall. But when Wetton returned, Howe then promptly left, replaced by Mandy Meyer from the Swiss metal band Krokus. A final album from this lineup, Astra, was released in late 1985; but with disappointing sales, tours were canceled and the band folded.

Album of the Day: Asia - Asia (Geffen US | March 1982) progaotd

Anthony Phillips - Sides (Passport US | April 1979) Anthony Phillips's 1979 release Sides was another attempt at commercial rock music; but, as the title might suggest, the album splits itself between the commercial songs of the first side and the progressive rock of the second. Most of the musicians from his preceding album were back, including the potent rhythm section of Michael Giles and John G. Perry. Hardly pensive, the opening track "Um & Aargh" wastes no time making use of the duo. Lyrically, the track relates a perfect account of Phillips's tribulations as a recording artist. But the following "I Want Your Love" goes 180 degrees in the opposite direction (towards schlock), while "Holy Deadlock" seems to borrow its guitar riff from Genesis' "Follow You Follow Me." Never comfortable with his own voice, Phillips enlisted Genesis roadies Dale Newman and Dan Owen for vocal duties, and whether they succeed or not I'll leave up to the listener. "Side Door" sports incredibly slick production (again from Rupert Hine), while "Bleak House" wears a more familiar veneer. The second side's "Sisters of Remindum" is a volatile instrumental that features Phillips on piano; while the excellent "Magdalen" harks back to the best tracks from Phillips's previous album and stands as one of his finest compositions. The closing "Nightmare" is a highlight as well: Completely uncharacteristic, it's a progressive rock stormer, and a rare insight into Phillips as an electric guitarist. This would be one of Phillips's last attempts at pop music, though, as his career would later concentrate on the instrumental vignettes, film and library music of the Private Parts & Pieces series. The first album in the series saw release in late 1978, while others would follow with some regularity over the next several years, all on Passport Records.

Album of the Day: Anthony Phillips - Sides (Passport US | April 1979) progaotd

Patrick Moraz - The Story of I  (Atlantic US | June 1976) Following the Relayer tour, Yes' keyboardist Patrick Moraz teamed up with two old friends and Mainhorse compatriots—Jean Ristori as engineer and Jean de Antoni on guitar—and further assembled an impressive cast of musicians for his solo album. John McBurnie of Jackson Heights wrote the album's lyrics and sang vocals, while drum duties were split between Alphonse Mouzon (side one) and Andy Newmark (side two). Jeff Berlin provided bass, while Ray Gomez was the second guitarist. The album tells the story of a tower where people can enact their own fantasies inside; though ultimately, it's a trap: The liner notes offer the play-by-play. All that aside, it's an amazing record of ethno-fusion-rock, or whatever you want to call it. Obviously, there's no shortage of Moraz's virtuoso keyboards, but two days in Brazil also provided percussion overdubs that give The Story of I its unique character. McBurnie's vocals on "Warmer Hands" and "Indoors" highlight the pop sensibility within the record, though not to be lost to the thick manic fusion underneath; note the frenetic soloing of the latter! The groove of "Incantation (Procession)" is hypnotic and the palette of sounds nonpareil. The album was meant to be played as a single piece of music, and I must agree: It works best as a whole. Moraz finished touring commitments with Yes in 1976; but by the end of the year, when the group convened in Switzerland to record their next album, Moraz got the boot. He was quick to recover, however, releasing his next album Out In The Sun in 1977, and after moving to Brazil, the Latin-flavored Patrick Moraz appeared in 1978. It was his last for Charisma. But as luck would have it, he then landed work as touring keyboardist for the Moody Blues. Splitting releases with Carrere Records-including the excellent Future Memories-in France and the American PVC label, Moraz would enjoy a prolific solo career well into the 80s, which also included two albums on the EG label with Bill Bruford.

Album of the Day: Patrick Moraz - The Story of I  (Atlantic US | June 1976) progaotd

Giles, Giles & Fripp - The Cheerful Insanity Of Giles, Giles & Fripp (Deram UK | September 1968) 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.

Album of the Day: Giles, Giles & Fripp - The Cheerful Insanity Of Giles, Giles & Fripp (Deram UK | September 1968) progaotd

Franco Battiato - Pollution (Bla Bla IT | Late 1972) One of the few solo artists from Italy during the progressive era, Sicilian Franco Battiato was first heard as a beat singer in the 60s, as were many others of his generation. Battiato then signed to Bla Bla Records with Osage Tribe—defecting, however, for a solo career after just one single. His debut solo record, Fetus (with matching cover), was released in 1972. Primarily an acoustic affair, Battiato's songs were for the most part simple and almost folk in structure, albeit with a keen sense of melody. It's the production, however, that was truly innovative; Battiato used the studio to great effect, layering vocals, guitars, synthesizers and just about anything else he could find to create something quite sui generis. He continues in this direction on Pollution. The album saw release in late 1972, concurrent with the deployment of a giant magnetic stroboscope in Imola used to study the effects of the internal combustion engine. Again, it's a unique pastiche; but now much closer to rock progressivo Italiano, due to the instrumentation employed on the record. "Il Silenzio Del Rumore" begins with Battiato reciting something in Italian over a classical music tape, before diving into a hard-driving prog rock workout. The production once again sets it apart; Battiato synthesizer is uncommonly raw and unsubtle, riding up high in the mix. The fat synthesizer lines of "Areknames" carry the tune's infectious melody, sugarcoated with harmony and propelled by an offbeat rhythm; while "Beta" rides a stoner vibe. Battiato returns to more typical song structure on "Plancton," while the contagious melody and vocal harmonies of the title track close out. The album reached the Italian Top 20 in 1973.

Album of the Day: Franco Battiato - Pollution (Bla Bla IT | Late 1972) progaotd

King Crimson - Red  (Atlantic US | October 1974) By the time the reinvigorated King Crimson recorded this third offering, the band was down to Robert Fripp and the rhythm section of Bill Bruford and John Wetton. Though it wasn't known at the time, Red would be their swansong, and an album on which Fripp could proudly wrap up the Crim saga. Oddly though, Fripp invited two former members to the recording, Ian McDonald and Mel Collins; while David Cross's part came from a previously recorded improvisation. The album opens with the angular guitar riff of the title track, one certainly as memorable as "Larks' Tongues in Aspic, Part Two." Both "Fallen Angel" and "One More Red Nightmare" follow: two of the most cohesive and well-developed songs the band would ever produce. In fact, this side of the album presents King Crimson at their most accessible, if not their most electric. The second side, however, dives right back into improvisation. "Providence" packs just about everything improv-related from the last two albums into its short eight minutes, before the album ends with the epic "Starless." But unlike its bleak title, the song is autobiographical, incorporating many elements of each different incarnation of King Crimson throughout before ending in one last glorious refrain. But as glorious as it seemed, Fripp had enough of the music industry, touring, etc., and in September announced the band had "ceased to exist." He entered semi-retirement, only to come out of it as a "small mobile intelligent unit" towards the end of the decade. The album charted in both the UK and US (No. 45 and No. 66, respectively), as did both other studio albums from this lineup. A posthumous live document, USA, recorded on their June US tour, would see release in early 1975. Bruford and Wetton would later turn up in the prog rock supergroup U.K. with Eddie Jobson, who also contributed overdubs to the live album.

Album of the Day: King Crimson - Red  (Atlantic US | October 1974) progaotd

Anthony Phillips - 1984 (Passport US | June 1981) Curiously, Anthony Phillips's next offering was an album of electronic music released in 1981, and under the title 1984. Assisted by Richard Scott in the studio, Phillips composed and created all of the music exclusively on electronic keyboards, though Morris Pert did add some percussion to the recordings. The Roland CompuRhythm CR-78 was an early programmable drum machine, and its familiar "chirp" can be heard on Phil Collins's classic track, "In the Air Tonight." The Orwellian black-and-white cover image of a cage presents a stark contrast to previous Peter Cross creations, yet the music was divergent as well. "Prelude ‘84" b/w "Anthem 1984" was issued as a single, but the meat of record is the two-part title track "1984," which encompasses most of the album. Gone are Phillips's pastoral, acoustic compositions; instead, the music is constantly propelled by the driving force of the drum machine. It's a contemporary work, though as lyrical as any of Phillips's previous efforts. Themes reprise themselves, tension ebbs and flows and all of it culminates in a grand vocoder finale. The layers of Polymoog and ARP 2600 synthesizers blast away, forging a landscape of dark beauty; it's a brilliant work and a bold step forward for Phillips. The album was released by RCA Records in the UK, and again on Passport Records in the US. For the remainder of the 80s, Phillips concentrated on his Private Parts & Pieces series. Another curious outlier though was the 1983 album Invisible Men, again recorded with Richard Scott. Ostensibly a pop album, it saw Phillips return to both contemporary song-form and subject matter (the Falklands War) for a final time.

Album of the Day: Anthony Phillips - 1984 (Passport US | June 1981) progaotd

Gentle Giant - Free Hand  (Capitol US | July 1975) In 1975, Gentle Giant signed to Chrysalis Records in the UK—an agreement that purportedly stemmed from the relationship the band had made with the label after touring with mainstays Jethro Tull. On their first album for the label, Free Hand, the band replaces the uniformity of their previous efforts with a much more playful and varied atmosphere. The first side revolves around the themes of broken relationships, both personal and business. "Just the Same" kicks things off with a choppy rhythm, but its highlight is the break: one minute soaring, the next quirky. "On Reflection" is a throwback to "Knots;" its a cappella rounds are arranged with medieval flavor, and with a gentle vocal break from Kerry Minnear. "Free Hand" is the potent rocker, but unfortunately suffers from rather stiff execution and an abrupt ending. In fact, the more concise live versions of these songs would bump the electricity up a notch and become concert favorites. After all, Gentle Giant were at their best live. The second side is less straightforward. Opening with a classic Atari Pong sample, "Time to Kill" (get it?) has a sharper tempo that lends a certain swing to the arrangement. Multifaceted, and ornate, "His Last Voyage" is Giant doing what they do best. The atypical break features a haunting piano riff, followed by another great guitar solo from Gary Green. The instrumental "Talybont" is pure medieval music. "Mobile" skips along at a jig's pace, though it has an air of earlier works—particularly in the interplay between violin and acoustic guitar, and the wah-wah break. The album barely scraped the lower reaches of the UK charts, but it did become the band's first and only album to break the Top 50 in the US.

Album of the Day: Gentle Giant - Free Hand  (Capitol US | July 1975) progaotd

Gentle Giant - Octopus (Columbia US | December 1972) On their second release of the year, Gentle Giant delivers a more discrete and diverse record. Previously in the Welsh band Eyes of Blue and Pete Brown & Piblokto!, John Weathers was the newcomer; his hard-hitting drumming and a huge bass line launch "The Advent of Panurge" (again a nod to François Rabelais) into a hypnotic groove, from which the song switches back and forth from its chorus. The Moog on "A Cry For Everyone" squawks proudly, here the lyrics are under the influence of Albert Camus. "Raconteur Troubadour" offers a little medieval music, as does the band's tribute to their roadies, "Dog's Life." The band is adept at layering overdubs throughout; however, "Knots," based on the work of Scottish psychologist R.D. Laing, takes it to an extreme: It's a madrigal gone sideways—in other words, classic Gentle Giant. The second side opens with a "sample" of a coin toss, the first in a tradition that would extend over their next several albums. The autobiographical "Boys in the Band" shows Gentle Giant at their best: Rocking hard and steady, it demonstrates the band's musical dexterity and complex arrangements. "Think of Me with Kindness," featuring the tender vocals of Kerry Minnear, is an uncharacteristic ballad, but beautiful nonetheless. The closing "River" is another of the big power tracks on the album. Ray Shulman's wah-wah violin and Gary Green's bluesy guitar solo harken back to the earlier Giant albums; but here, Weathers's solid beat takes it up a notch. As such, the aptly titled Octopus dispatches eight ("octo") succinct compositions ("opus") that reflect the generous talent of Gentle Giant's six members. The band would continue to perform excerpts from the album in a more concise live arrangement. The album sparked some interest in the very lower reaches of the US charts, partly due to the band's extensive touring in the fall (opening for Black Sabbath) before the album's release, and its curious die-cut cover. However, the record would fail to chart in the UK—even with a Roger Dean album cover.

Album of the Day: Gentle Giant - Octopus (Columbia US | December 1972) progaotd