Charles Snider

Far East Family Band - Nipponjin  (Vertigo DE | Late 1975) 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.

Album of the Day: Far East Family Band - Nipponjin  (Vertigo DE | Late 1975) #progaotd #progrock #strawberrybricks

Gentle Giant - In A Glass House (WWA UK | December 1973) 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.

Album of the Day: Gentle Giant - In A Glass House (WWA UK | December 1973) #progaotd #progrock #strawberrybricks

Kraan - Wintrup (Spiegelei DE | June 1973) 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.

Album of the Day: Kraan - Wintrup (Spiegelei DE | June 1973) #progaotd #progrock #strawberrybricks

Biglietto Per L'Inferno - Biglietto Per L'Inferno (Trident IT | Sometime 1974) 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.

Album of the Day: Biglietto Per L'Inferno - Biglietto Per L'Inferno (Trident IT | Sometime 1974) #progaotd #progrock #strawberrybricks

Gentle Giant - Gentle Giant (Vertigo UK | November 1970) 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.

Album of the Day: Gentle Giant - Gentle Giant (Vertigo UK | November 1970) #progaotd #progrock #strawberrybricks

The Gods - Genesis (Columbia UK | November 1968) 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.

Album of the Day: The Gods - Genesis (Columbia UK | November 1968) #progaotd #progrock #strawberrybricks

Soft Machine - Land Of Cockayne (EMI UK | March 1981) 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.

Album of the Day: Soft Machine - Land Of Cockayne (EMI UK | March 1981) #progaotd #progrock #strawberrybricks

Gong - You  (Virgin UK | October 1974) 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.

Album of the Day: Gong - You  (Virgin UK | October 1974) #progaotd #progrock #strawberrybricks

Gentle Giant - Three Friends (Vertigo DE | April 1972) 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.

Album of the Day: Gentle Giant - Three Friends (Vertigo DE | April 1972) #progaotd #progrock #strawberrybricks

Robert Wyatt - Robert Wyatt – Rock Bottom (Virgin US | July 1974) 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.

Album of the Day: Robert Wyatt - Robert Wyatt – Rock Bottom (Virgin US | July 1974) #progaotd #progrock #strawberrybricks

Steve Winwood - Arc Of A Diver (Island US | December 1980) 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.

Album of the Day: Steve Winwood - Arc Of A Diver (Island US | December 1980) #progaotd #progrock #strawberrybricks

Robert Wyatt - Robert Wyatt – Rock Bottom (Virgin US | July 1974) 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.

Album of the Day: Robert Wyatt - Robert Wyatt – Rock Bottom (Virgin US | July 1974) #progaotd #progrock #strawberrybricks

Quiet Sun - Mainstream  (Antilles US | August 1975) 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.

Album of the Day: Quiet Sun - Mainstream  (Antilles US | August 1975) #progaotd #progrock #strawberrybricks

Hawklords - 25 Years On (Charisma UK | October 1978) Returning to the UK after a tour of the US in Spring 1978, Dave Brock and Robert Calvert had a change of heart regarding Hawkwind; they jettisoned not only the band, but the band name and management as well. Perhaps the seeds were sown in late 1977 when, teamed with the Devon-based Ark-bassist Harvey Bainbridge, drummer Martin Griffin and keyboardist Paul Hayles-Brock and Calvert performed as the Sonic Assassins. The pair began new sessions in June with Bainbridge, Griffin and keyboardist Steve Swindells (previously in Pilot) under the moniker Hawklords. Released in October, 25 Years On sported not only a new name, but also a new image. Although the musical plot is similar to the previous couple of Hawkwind albums, the record evokes a slightly different feel. "Psi Power" and "Flying Doctor" contain a classic Calvert lyric, witty and sharp; yet the band, aided by Swindells's approach to the keyboards and a load of acoustic guitar, sound much more contemporary. "Freefall," co-written by Calvert and Bainbridge, offers an updated take on the classic Hawkwind sound, as do "The Only Ones" and Calvert's excellent "(Only) the Dead Dreams of the Cold War Kid." The album reached No. 48 on the UK charts and saw release on Charisma Records. Barney Bubbles had a large role in not only the album's art, but also in staging the subsequent tour, a massive 42-date endeavor; but it didn't last. Budget cuts continually curtailed its elaborate presentation; and by tour's end, both Griffin and Calvert had had enough. Subsequent sessions were aborted, and Swindells split when offered a solo deal. This would be the end of the road for Calvert and Hawkwind, with only a spattering of guest appearances in their future. His rather under-the-radar solo career did continue, however, until his untimely death at age 43 in 1988.

Album of the Day: Hawklords - 25 Years On (Charisma UK | October 1978) #progaotd #progrock #strawberrybricks

Kingdom Come - Arthur Brown's Kingdom Come (Polydor UK | October 1972) By the time Kingdom Come had gotten around to recording their second album, the band had slimmed down to guitarist Andy Dalby, organist Michael "Goodge" Harris and drummer Martin "Slim" Steer—all retained from their first album, Galactic Zoo Dossier. Bassist Phil Shutt, however, was new. Frontman Arthur Brown hadn't changed; and while the tracks approach a more linear presentation, the resulting self-titled album contains the same bizarre cut-up weirdness as their debut. The album kicks off with the slow-building atmosphere of "Water" before arriving at one of Brown's most enduring compositions, the slow and soulful "Love is a Spirit." From there, "City Melody" offers a classic prog rock workout from the band that ends in a wild frenzy of synthesizer and weirdness—something the short "Traffic Light Song" bypasses. The second side begins with the Vincent Crane-penned "The Teacher," with Dalby on vocals. The earthy "The Experiment" (complete with farting) is a mini-epic in and of itself, racing through several themes over the course of its eight-minute length. The band is again exceptional throughout, with Harris providing the classic organ tone. "The Whirlpool" is self-explanatory, though it does feature some plaintive guitar lines from Dalby. The album ends with another crooner from Brown, the heartfelt and stirring "The Hymn." Kingdom Come was unique among British progressives; though in all likelihood, the understated musicianship within the band was lost in the implausible weirdness! By all accounts, the live Kingdom Come experience was indescribable; thus, the band kept a constant touring schedule, as chart success eluded the band yet again.

Album of the Day: Kingdom Come - Arthur Brown's Kingdom Come (Polydor UK | October 1972) #progaotd #progrock #strawberrybricks

Peter Hammill - Nadir's Big Chance  (Charisma UK | February 1975) Following the break-up of Van der Graaf Generator in late 1972, Peter Hammill pursued his solo career in earnest. Released in 1973 and 1974, respectively, both Chameleon In The Shadow Of The Night and The Silent Corner And The Empty Stage were primarily acoustic affairs, showcasing Hammill's one-man show (but not without contributions from former VdGG members). There's no license in labeling them as love/hate affairs; Hammill's voice could reach manic proportions, often bordering on the unlistenable: Check out the former album's "In the End." But In Camera, also released in 1974, was quite darksome and experimental. Of its many highlights were the epic "Faint Heart and The Sermon" and the VdGG-like "Gog," which then sank into the murky tape loops of "Magog." On Nadir's Big Chance, however, Hammill gathered Banton, Evans and Jackson, and assumed the role of protagonist Rikki Nadir, a "loud, aggressive perpetual sixteen-year-old." It's definitely a group effort; and in fact, the quartet agreed to reform VdGG during the recording of the album. Here, Hammill trades in his usual one-man pallor for an altogether livelier and electric set. The album alternates between the urgency of the title track or the angst-ridden "Nobody's Business," and the contemplative "Shingle Song" or the languorous "Pompeii." "The Institute Of Mental Health, Burning" though is particularly inventive; backwards and panning guitars certainly add to the arrangement. Hammill reprises "People You Were Going To" from VdGG's first single, as well as Chris Judge Smith's "Been Alone So Long." The album concludes with the funky electric clavinet of "Two or Three Spectres," which is a perfect example of Hammill's newfound attitude. The proto-punk album would garner near-mythical status, with kudos from artists as diverse as David Bowie and John Lydon. Hammill then put his solo career on pause, as the "second generation" of VdGG was just months from taking the stage.

Album of the Day: Peter Hammill - Nadir's Big Chance  (Charisma UK | February 1975) #progaotd #progrock #strawberrybricks

Van der Graaf - The Quiet Zone/The Pleasure Dome (Charisma UK | September 1977) After Hugh Banton's departure at the end of 1976, David Jackson also reconsidered his place in the band, and opted instead for the stability of a teaching career. With the pair gone, so went the "Generator" from the band's name. Peter Hammill and Guy Evans quickly rebuilt the band as a four piece, rehiring bassist Nic Potter and recruiting Graham Smith on violin, the latter having previously played with Charisma labelmate String Driven Thing and guested on Hammill's previous solo album. Obviously, the new lineup presented a different sonority from the band, driven home by Hammill's new role as full-time guitarist. Yet the album is indeed a refreshing change. "Lizard Play" immediately illustrates the band's new textures. Anchored by Potter's monster bass and Evans's deft meter, Smith's violin provides an eerie accompaniment. "The Habit of the Broken Heart" is more typical, driven by Hammill's acoustic guitar; and it even sports an organ, albeit buried low in the mix. The album's classic is "Last Frame." Another relatively straightforward rocker, it's emblematic of Hammill's songwriting; though the addition of the Potter/Evans rhythm section brings it up to a new level. Whereas the mellow "Wave" demonstrates Hammill's keen sense of melody, "Cat's Eye/Yellow Fever (Running)" is pure electricity. Screeching from start to finish, it's Smith's showcase, but not easy listening. "The Sphinx in the Face" contains some Rikki Nadir, conveyed as only Hammill can deliver. The album stands as the most conventional yet from the band, but who am I kidding: It is by no means commercial rock. It failed to chart, which shouldn't come as a shock; but it also failed to secure a US release, their first album not to do so. Pressure was beginning to mount from Charisma as the band suited up for another tour.

Album of the Day: Van der Graaf - The Quiet Zone/The Pleasure Dome (Charisma UK | September 1977) #progaotd #progrock #strawberrybricks

Kraan - Let It Out  (Spiegelei DE | December 1975) Kraan was riding a critical and commercial peak coming into the sessions that yielded their fifth album, Let it Out. Joining Kraan was ex-Karthago keyboardist Ingo Bischof, a frequent guest at the Wintrup commune. Conny Plank also paid a visit, and suggested that the recording take place at the commune's farmhouse. The album stands as a creative high point for the band. Bischof's electric piano and clavinet fit perfectly into Kraan's music, whether he's playing rhythmically or providing a lead. The album features only two vocal tracks; the opener "Bandits in the Woods" is a classic tale of paranoia, while the title track rocks along in Kraan's typical feel-good style. The mellow "Degado" substitutes vocalizing for lyrics, another of Peter Wolbrandt's tricks; while the experimental "Die Maschine" is a rare treat, perhaps owing much to Plank's studio alchemy. But "Luftpost" and "Prima Klima" clearly illustrate the jazzy direction of the band, with the arrangements here even tighter and the interplay more intense. Both "Overseas Bound" and "Picnic International" follow suit, the latter revolving around a beautifully melodic run and punctuated by a bright, funky rhythm. Johannes Pappert would barely complete the album before leaving the band to start his own group, Alto. The album was particularly well received in Germany, where the band cleaned up in the annual Sounds polls. Collectors note: The US issue of the album, released a year later (in 1976) on Passport Records, differs from the German Spiegelei pressing, as it contains five subtly remixed tracks.

Album of the Day: Kraan - Let It Out  (Spiegelei DE | December 1975) #progaotd #progrock #strawberrybricks

Magma - Live  (Utopia FR | Fall 1975) Recorded in June at the La Taverne de l'Olympia in Paris, the magnificent double-album Live (later known as Hhaï/Live) is perhaps Magma's most exemplary statement. The lineup had toured the UK earlier in the year: joining Christian and Stella Vander and Klaus Blasquiz were violinist Didier Lockwood and keyboardist Benoît Widemann, with bassist Bernard Paganotti replacing Jannick Top; guitarist Gabriel Fédérow and pianist Jean-Pol Asseline rounded out the stage. Obviously, the lineup induces a new sonority with far less vocal hysteria; and the renditions of "Köhntark" (actually "Köhntarkösz") and "Mëkanïk Zaïn" (from "MDK") definitely benefit from it. Lockwood is an excellent instrumentalist, while Paganotti's bass work is as tremendous as Top's. But even more interesting are the tracks on side three: "Kobah" rides one of the grooviest of grooves the band would offer, and even affords guitarist Fédérow a chance to make his mark. Presenting a gentle melody, the dreamy "Lïhns" is a soft yet overt display of beauty. "Hhaï" slowly unfolds, with Vander offering a mellifluous vocal before erupting into excellent, melodic jazz fusion, with Widemann and Asseline's keyboards to the fore. This album-side is Magma at its most accessible; unless, of course, you happen to favor the Wagnerian approach. The album saw release on the Utopia imprint but was distributed by RCA Records. Patrick Gauthier replaced Asseline in the fall; but true to form, the band split up in 1976. As Vander set about to create a new lineup for Magma, he also found time to tour with bassist Top, as the cleverly-named VanderTop.

Album of the Day: Magma - Live  (Utopia FR | Fall 1975) #progaotd #progrock #strawberrybricks

Group 1850 - Polyandri  (Rubber Records NL | Sometime 1975) Formed in The Hague, Netherlands in the early 60s, Groep 1850—or rather, Group 1850—was one of the Netherlands' early rock groups. Early singles earned the band the attention of Philips Records; and in late 1968, that gave way to a full-blown acid classic, Agemo's Trip to Mother Earth. Written by keyboardist Peter Sjardin and guitarist Daniel van Bergen, the album is very much of the era, and one that embraces both the good and bad of psychedelia; the sound lies somewhere between the West Coast acid rock and London's psychedelia. A second album followed in 1969, with drummer Martin van Duynhoven, guitarist Dave Duba and bassist Dave Geldof in the fold. However, this would be the band's last recording for some time. By the early 70s, the group (minus van Bergen) had an altogether different vibe, and live recordings reveal long-form jamming based around Sjardin's keyboards. Seemingly out of nowhere, a new album appeared on the small Rubber Records in 1975. Titled Polyandri, it's a very different animal than its 60s brethren. Closer in vibe to Gong, the album embraces psychedelia's natural progression towards space rock. Written and produced (or as the liner notes put it, "organised") by Sjardin, there's still plenty of acid fun here, but the groove of "Thousand Years Before" is positively electric, fueled by Duba's guitar. "Silver Earring" adds a flute from Golden Earring's Barry Hay, but it's Geldof's bass line that steals the show. "Patience" has a near-krautrock vibe that flows through to "Cages." "Avant Le Pericles" even ventures toward the ambient, with a pulsing organ floating throughout the soundscape, accented by Hans Dulfer's sax. All in all, the band offers an excellent album of space rock; but unfortunately, also one that got lost in the annals of time. Aside from a couple of live albums in the mid-70s, little else was heard again from Group 1850 or its members.

Album of the Day: Group 1850 - Polyandri  (Rubber Records NL | Sometime 1975) #progaotd #progrock #strawberrybricks

Rush - 2112  (Mercury US | April 1976) Rush were a Canadian trio who, in just a few short years, went from riff-laden heavy metal (read: Led Zeppelin-style) to British progressive rock (read: Yes-style). The band had an excellent and versatile guitarist in Alex Lifeson, while Geddy Lee was known for both his trebly bass and high-pitched vocals. Drummer par excellence Neil Peart, who joined for the band's second album, also provided lyrics for the band's music. Their sound had steadily "progressed," both artistically and commercially, over a few albums, culminating here on 2112. Based in part on the writings of Ayn Rand's novella Anthem, the album takes its title from the suite of songs that comprises the first side of the record. Of course, it isn't that different from "The Fountain of Lamneth" on the previous Caress Of Steel, just more refined. The opening movement "Overture" is a blistering run-through of Rush's brand of heavy rock. But as the band weaves its guitar-based rock through the suite's discrete sections offering a tale of a dystopian future, Rush certainly have more to offer than your average head bangers, both musically and intellectually. The second side kicks off with the ultimate hemp homage, "A Passage to Bangkok." Subject matter aside, it's a classic Rush song, combining their pop sensibility with a great melody-and that great oriental riff-in a heavy metal anthem. The closing "Something for Nothing" follows in the same mold. This album was their first commercial success, managing to reach No. 61 on the UK charts. Their US breakthrough took a little longer though, and was the result of continuous touring with the likes of Kiss and Aerosmith. The live double-album All The World's A Stage, released in the fall, rose to No. 40 in the US.

Album of the Day: Rush - 2112  (Mercury US | April 1976) #progaotd #progrock #strawberrybricks

Cervello - Melos (Ricordi IT | September 1973) Another band from Napoli, Cervello (Italian for "brain") saw their debut at one of Italy's many and well-attended "pop" music festivals. Formed in 1970, the band that recorded their debut consisted of vocalist Gianluigi Di Franco, guitarist Corrado Rustici, saxophonist Giulio D'Ambrosio, bassist Antonio Spagnolo and drummer Remigio Esposito; almost all were under the age of 20. Entitled Melos after the Greek island, the album was recorded in the summer of 1973 with Osanna's Danilo Rustici (Corrado's brother) and Elio D'Anna producing, and was released on the Ricordi label. Both the band and the album are unique, forgoing keyboards and instead using flute and electric sax as a replacement; these instruments are immediately recognizable on the opening "Canto Del Carpo." Gentle melodies, supported by acoustic guitar and playful vocal harmonies, dominate the music which is firmly rooted in the rock progressivo Italiano tradition. "Trittico" and "Euterpe" are both achingly beautiful. Di Franco's voice is strong and passionate; however, the ace in the hole is Rustici's John McLaughlin-inspired electric guitar. "Euterpe" erupts when the drums crash in, and Rustici's guitar solo reveals a considerable and emerging technique. "Scincione" (T.R.M.)" offers a chaotic fury, typical of the band's harder rocking moments. The record was released with an elaborate gimmick cover (a die-cut tomato can); and although it's now considered one of the crowning achievements of RPI, the album didn't sell well, and the band broke up. Rustici would join Osanna for their 1974 album Landscape Of Life, then moved on to both Uno and Nova with his brother and D'Anna.

Album of the Day: Cervello - Melos (Ricordi IT | September 1973) #progaotd #progrock #strawberrybricks

Curved Air - Air Conditioning (Warner Bros. US | November 1970) Named after Terry Riley's A Rainbow In Curved Air, Curved Air was another novel group of the progressive era; and the band had no shortage of talent, either. Violinist Darryl Way was a Royal College of Music graduate, while multi-instrumentalist Francis Monkman came from the competing Royal Academy of Music. Seeking to meld their knowledge of classical music and rock, the two joined forces as Sisyphus in 1969, adding drummer Florian Pilkington-Miksa and bassist Robert Martin. They morphed into Curved Air when they added one of the most unlikely of progressive devices-the female voice! They found a more than capable singer in Sonja Kristina (Linwood), recently released from the London production of Hair. She had her start in London's folk scene, including the Troubadour Club. The group's debut album Air Conditioning was issued by Warner Bros Records. As the opening track (and single) "It Happened Today" demonstrates, the band's music was ripe with West Coast influence. The second half of the album ascends into more classically-inspired territory; but overall, the album's highbrow orchestral embellishments are on a par with the average songwriting, with one big exception: Way's majestic crescendos on "Screw." That's not to say that the album isn't without some redemption. Monkman's echoed guitar work on "Propositions" is unique, as is his Mellotron on Way's "Situations." But even Way's violin tour de force "Vivaldi" ends up a screechy mess. Their debut album has the distinction of being the first picture disc, which no doubt helped propel it into the UK Top 10.

Album of the Day: Curved Air - Air Conditioning (Warner Bros. US | November 1970) #progaotd #progrock #strawberrybricks

Procol Harum - Shine On Brightly (Regal Zonophone UK | September 1968) Procol Harum's second effort starts off predictably: Gary Brooker's monochromatic wail over Matthew Fisher's swirling Hammond chords on the title track offer elegance, while the pitter-patter of the following "Skip Softly (My Moonbeams)" gives way to something deeper. "Wish Me Well" even attempts some blues, obviously at guitarist Robin Trower's suggestion. Although the first side of the record could have easily come from their debut, the second side, containing the epic "In Held ‘Twas in I," is the real accomplishment here. Originally titled "Magnum Harum," it's a suite of intertwining songs, but serves as the template for the most progressive of all accessories: the album-side-long track. This idiomatic trait would remain the ultimate expression for the progressive artist: creating a composition with only the physical limitation of the vinyl record as the boundary. Opening with Keith Reid's ramblings about the Dalai Lama, the band breaks into some uncharacteristically complex runs, in a theme they would return to throughout the piece's various transitions. The success is the landscape; the track shifts between seriousness and folly, each movement well-integrated into the next, and culminating with Trower's soaring guitar over the final refrain. The track combines the writing and arrangement talents of both Brooker and Fisher, and the execution of the entire band-no small achievement. Like their debut, the album charted in America, reaching No. 24, but would again falter in their native Britain. Procol Harum would weather some personnel changes over the years, as they followed a similar musical path until their breakup in 1977. Their 1972 live album In Concert With The Edmonton Symphony Orchestra was a career zenith on both sides of the Atlantic; but Shine On Brightly would remain their shining achievement, and a milestone for progressive rock.

Album of the Day: Procol Harum - Shine On Brightly (Regal Zonophone UK | September 1968) #progaotd #progrock #strawberrybricks

Fairport Convention - Unhalfbricking (Island UK | July 1969) Prior to their second album, vocalist Sandy Denny-a regular at London's Troubadour and Les Cousins folk clubs-joined Fairport Convention. She had already recorded two low-key albums, along with a third (unreleased) with the Strawbs, All Our Own Work. Spurred on by Denny's arrival, Fairport now took cues from traditional British music-in a move similar to progressive rock's relation with classical music-ready to set a new standard for electric folk rock. Released in January 1969, What We Did On Our Holidays was a significant step forward for the band, containing two compositions that would be famous in the Fairport catalog: Denny's "Fortheringay" and Richard Thompson's "Meet on the Ledge." But their next album, Unhalfbricking, would further cement their path as folk rock pioneers. It was again recorded at Sound Techniques with producer Joe Boyd and engineer John Wood. A curious mix of covers (Bob Dylan's "Million Dollar Bash," "Percy's Song" and a French rendition of "If You Gotta Go, Go Now"), originals include Denny's most famous composition, "Who Knows Where the Time Goes" and two from Thompson. But the album's highlight is undoubtedly the epic eleven-minute reading of the folk standard "A Sailor's Life." A slow-building raga, Denny's captivating voice eventually yields to the ever-rising rock tempo, ultimately punctuated by Thompson's guitar and guest Dave Swarbrick's fiddle. Truly epic and above all, British. The album was a success, rising to No. 12 in the UK Charts, while the single, "Si Tu Dois Partir" b/w "Genesis Hall" rose to No. 21.

Album of the Day: Fairport Convention - Unhalfbricking (Island UK | July 1969) #progaotd #progrock #strawberrybricks

Bruford - One Of A Kind (EG Records US | June 1979) Drummer Bill Bruford assembled the core group of Allan Holdsworth, Dave Stewart (then on loan from National Health) and American bass player Jeff Berlin for his first solo album, 1978's Feels Good To Me. Recorded in 1977 at Trident Studios, the album was produced by Robin Lumley and had a vague affinity towards what Brand X was attempting at the same time (instrumental jazz fusion). Compared to Kenny Wheeler's flugelhorn, Annette Peacock's vocals were a very odd addition to the album-yet, to each his own, as they say. In September 1978, following the departures of he and Holdsworth from U.K., and Stewart from National Health, Bruford assembled the same team as a band, conveniently named Bruford. Their subsequent album, One Of A Kind was recorded in early 1979, and thankfully he kept his jazz-rock purely instrumental. Written by Stewart and Alan Gowen, "Hell's Bells" offers a supple and well-arranged fusion, but really takes off when Holdsworth lets loose on his guitar. Both parts of the title track follow suit, though the harder edge and huge theme of "Fainting in Coils" is most satisfying. Both "Five G" and "The Abingdon Chasp" are again atypical, though the latter features Berlin's nimble bass playing. Bruford's drumming is of course exemplary, his distinctive snare always a welcome sound. "Forever until Sunday" features an uncredited Eddie Jobson on violin and carries over from the U.K. repertoire, as does "The Snow of Sahara Part Two" (co-written with Jobson). Throughout the album, the musicianship is of the highest order; the music however is perhaps a bit too precise; unless of course this type of perfectly-perfect fusion is your cup of tea. Holdsworth abruptly left the band following the album's release to pursue his own music. His replacement was the hitherto (and henceforth) "unknown" John Clark, whose debut was documented on The Bruford Tapes: a live album released later in the year. Bruford's next album, 1980's Gradually Going Tornado, would see a return to vocals (courtesy of Berlin). He then put his solo career on hold to join a resurrected King Crimson in 1981, where he would also start to explore the technology of electronic drums.

Album of the Day: Bruford - One Of A Kind (EG Records US | June 1979) #progaotd #progrock #strawberrybricks

Novalis - Novalis (Brain DE | May 1975) In 1974, Achim Reichel rediscovered Novalis for his Gorilla Musik production company. New to the band were two guitarists, Detlef Job and Carlo Karges. The latter, previously with Tomorrow's Gift, would make a significant impact with both his songwriting and German-language lyrics. In fact, Novalis would be one of the first German groups of the era to shun the prevailing trend of English lyrics to instead explore the lyricism of their native tongue. Back with the Brain label, they released their second album, simply titled Novalis. The instrumental "Sonnengeflecht" opens with a brisk melody and updated sound; no wonder, the translation is "Solar Plexus." "Wer Schmetterlinge lachen hört" (literally, "who hears butterflies laugh") begins with an air of formality, but quickly descends into a swift instrumental workout featuring both guitarists. Lutz Rahn's Hammond organ is still central to the Novalis sound; but here, he adds further texture with synthesizer. "Dronsz" is a treat: It bypasses their typically romantic arrangements for an indulgence in sound that's slightly out of character for the band. Taking its theme from Bruckner's Fifth Symphony, the second side leads off with "Impressionen." This track contains more of the formality of their previous work; but with the addition of the two guitarists, it further emphasizes their rocking dimension. The closing track, "Es Färbte Sich Die Wiese Grün" ("the meadow colors [itself] green") also reaches out to the past, this time adapting its lyrics from the poetry of Karl Friedrich von Hardenberg, where they also found their namesake, Novalis. Here the rhythm section of Hartwig Biereichel and Heino Schünzel (the latter also provided vocals for the album), drives the song. The arrangement is more diverse, but the melodies are classic. Before Novalis' next album, Karges would depart, and eventually ended up in Nena's pop band, co-penning her massive hit, "99 Luftballons."

Album of the Day: Novalis - Novalis (Brain DE | May 1975) #progaotd #progrock #strawberrybricks

Strawbs - Hero And Heroine (A& US | February 1974) The Strawbs had a significant lineup reshuffle following their previous album: Blue Weaver left in 1973 and later went on to great success as a member of The Bee Gees backing band, while Richard Hudson and John Ford formed their own group, Hudson Ford. The remaining members, Dave Cousins and Dave Lambert, then recruited former Nashville Teen and Renaissance keyboardist John Hawken, bassist Chas Cronk (on the recommendation of Rick Wakeman) and ex-Stealers Wheel drummer Rod Coombes. Produced by Cousins and Tom Allom, Hero And Heroine is one of the Strawbs' finest albums. With significantly darker subject matter, Hawkin's various keyboard tones also contrast previous efforts from the band. "Sad Young Man" features a bright melody and a great vocal from Cousins. Lambert's sharp and rockin' "Just Love" highlights the difference in songwriting to Cousins's more introspective "Shine on Silver Sun." The title track blasts open with Hawken's keyboards, but still contains the folksiness the Strawbs are known for. "Round and Round" kicks up the rock quotient, while "Lay a Little Light on Me" has another particularly strong vocal from Cousins, before the descent into the spiraling progression of "Hero's Theme." The album was successful, reaching No. 35 in the UK and breaking the Top 100 in the US. The Strawbs' next album, Ghosts, was also recorded with the same lineup, however, it would be the last with Hawken. Finding success primarily in the US, the quartet continued for a few more years, but following the 1978 album Deadlines, The Strawbs would effectively breakup. Cousins would next find a career in radio, but also continue performing, including as a duet with future Strawbs guitarist guitarist Brian Willoughby. [US release date]

Album of the Day: Strawbs - Hero And Heroine (A& US | February 1974) #progaotd #progrock #strawberrybricks

La Düsseldorf - La Düsseldorf (Teledec DE | June 1976) After leaving Neu!, drummer Klaus Dinger, along with his brother Thomas and Hans Lampe, formed the like-minded La Düsseldorf, in tribute to their native city. Conny Plank was enlisted for production duties, while Klaus switched to guitar and vocals, purportedly to aim the band toward a "pop" styling. Simply titled La Düsseldorf, their debut recording was released by Teledec/Nova in mid-1976. With soaring synths and melodies complementing Klaus's breathy vocals, the opening track, "Düsseldorf," is an effervescent, light-hearted offshoot of the typical Neu! formula. Over the same infectious beat, the following "La Düsseldorf" shows a punkier edge. Yet punk the white overall-clad Klaus certainly wasn't; take a listen to his hippie anti-establishment lyrics here. "So many gangsters" indeed! A single from the album, "Silver Cloud" b/w "La Düsseldorf," was a surprise hit earlier in the year, reaching No. 2 in the German hit parade. On the album, it's a pleasant instrumental, repeating its infectious groove in long-form. "Time" closes the album, another strong number that ambles forward under a majestic organ riff. Both tracks feature ex-Thirsty Moon Harald Konietzko on bass. The album was as influential as it was successful, with David Bowie claiming that it was a significant influence on his upcoming Low album. La Düsseldorf's follow-up, Viva, was released in 1978 and continued where their debut left off. It also was a success, driven by another hit single, "Rheinita" b/w "Viva," which reached No. 3 on the German charts. A third album, Individuellos, would see release in 1981; but the death of bandmate Andreas Schell and a failed third single hailed the band's end. A final album with Plank producing, Néondian, was recorded but quickly withdrawn (and would finally be reissued as Mon Amour in 2017). Little would be heard from Dinger until he teamed up, even quite contentiously, with Japanese label Captain Trip in the 90s.

Album of the Day: La Düsseldorf - La Düsseldorf (Teledec DE | June 1976) #progaotd #progrock #strawberrybricks

Beggars Opera - Waters Of Change (Vertigo UK | November 1971) Perhaps the most easily recognizable "trademark of quality" from the era, Vertigo Records delivered a wide range of music during the late 60s and early 70s. A few of their acts, like Black Sabbath and Rod Stewart, went on to superstardom; while most others would have to be content in releasing what would become some of the most collectible records of the era. Beggars Opera was a band of the latter set. Formed in Glasgow in 1969, the band consisted of vocalist Martin Griffiths, keyboardist Alan Park, drummer Raymond Wilson and guitarist Ricky Gardiner. Their first album, Act One, was released in early 1971, and amounted to a predictably good mixture of underground sounds with classical overtones. Adding Gordon Sellar on bass and Gardiner's wife Virginia Scott on Mellotron, the band released Waters Of Change later in the year. Scott had previously co-written some numbers for the band, and her contribution here is unique: She's one of the few female musicians in the timeline. Underneath a grinding organ, the classic "Time Machine" unfolds with washes of Mellotron alongside its tight groove. The bouncy "I've No Idea" follows with similar progressive verisimilitude; it's also a showcase of Park's considerable talent. The second side's "Festival" presents a typically stately melody for the band, and one that augments the formality of Griffith's voice. "Silver Peacock" flourishes in the band's arrangement, while "The Fox" closes with more of the band's quasi-classical music and one electric finale. The album was best received in Germany, where the band would hence concentrate their efforts. Another album, Pathfinder, followed in 1972; but after that, the band suffered some changes, including the loss of both Griffiths and musical direction (check out the languishing cover of "MacArthur Park"). Following one final album for Vertigo, they effectively broke up. In 1974, Gardiner, with Scott and ex-Savoy Brown vocalist Pete Scott, recorded two albums as Beggars Opera for a German label. He found more success as a guitarist on David Bowie's Low album, which eventually led him to Iggy Pop's band. Beggars Opera would record a final album in 1981.

Album of the Day: Beggars Opera - Waters Of Change (Vertigo UK | November 1971) #progaotd #progrock #strawberrybricks