Before their 1978 release, Flyday, original member Jan Fride took his leave and was replaced by drummer Udo Dahmen. With compositions being credited to either Peter Wolbrandt or Hellmut Hattler, the album again covers much of the same ground as the last. The instrumental "Far West" kicks off, the band soaring along with the jazzy tempo. The vocal effort "My Brother Said" is a real treat, reminiscent of the aggressive rock of their earlier Wintrup album. "Ausflug" is (not surprisingly) light and airy, with Wolbrandt's guitar tone predating Mark Knopfler's technique. The more aggressive "Gayu Gaya" is the album's wordless-vocal entrant. Both "You're Right" and "Buy Buy" turn up the funk quotient on the second side, 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 fairy-tale vocal effort, 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 again see a change in drummers and something of a first for the band: German language vocals. Kraan would then undergo substantial personnel changes, until a late '80s lineup reunited Hattler, Wolbrandt and Fride, with newcomer Joo Kraus.
National Health's beginnings precede this debut recording by some two years. Two keyboardists, Hatfield And The North's Dave Stewart and Gilgamesh's Alan Gowen, founded the group as a large-scale rock ensemble. Early lineups included Stewart and Gowen, along with two Phil's (Lee and Miller) on guitar, one Mont Campbell on bass, Amanda Parsons on vocals, and, eventually, Bill Bruford on drums. Large indeed. Lee left first, to be temporarily replaced by Steve Hillage; Neil Murray then replaced Campbell, but not before Bruford joined U.K. Gowen then left the band he co-founded. By the time Stewart's head stopped spinning, he'd settled with Miller, Murray and Pip Pyle on drums - basically the Hatfield And The North lineup he had left! In March 1977, National Health recorded their debut album. Augmenting the line-up were Gowen, Parsons and long-time Canterbury stand-in Jimmy Hastings. The music is instantly recognizable: intricate, highly arranged, partly frenetic and always melodic. "Tenemos Roads" rides over the Pyle/Murray rhythm section; Parson's vocals are angelic, Miller's guitar tone thick, and four hands worth of keyboards fill out the lush sound. Shifting between sections with ease, it is one of Stewart's finest compositions. "Brujo", penned by Gowen, follows with the same tenacity, but is punctuated by his lead Moog. "Borogroves (Excerpt From Part Two)" features Murray's bass work; the second section sneaks in a bit of that fuzz organ, ever so associated with the so-called Canterbury bands. The chaotic introduction to "Elephants" is followed with a more frenetic than usual pace, before returning back to "Tenemos Road" for a final coda. The group signed to Charly late in 1977, leading to the album's release in 1978. Fear, not however, more change was just around the corner.
Synthesist Michael Hoenig had his start in the German group Agitation Free, alongside drummer Chris Franke. That connection was renewed when he filled in for a vacationing Peter Baumann on some of Tangerine Dream's 1974-5 tours, obviously learning a bit of their craft along the way. In 1976, he worked with Ashra's Manuel Göttsching, but recordings would not surface until decades later. In 1977, Hoenig became one of the first German musicians to sign an international deal, inking with US label Warner Brothers. It's easy to see why: Departure From The Northern Wasteland is a classic example of the "Berlin" school of electronic music, as it's been said, "even more Tangerine Dream than Tangerine Dream". Hoenig uses repetition to great end: pulsing, trance-inducing sequencer lines percolate, bubble and carry the listener throughout the sonic journey. He adds significant texture with a variety of keyboards, while former Agitation Free guitarist Lutz Ulbrich lays down some thick guitar lines as well. "Hanging Garden" offers up some solid sequencer lines in a bold arrangement, while "Voices of Where" is more ethereal, layering treated vocal loops. "Sun and Moon" closes the album succinctly, recapping Hoenig's sonic journey. Throughout, he presents one of the most listenable albums of electronic music. Hoenig never really recorded a follow-up to this album, eventually immigrating to the United States to find work in the movie soundtrack business. Along with Tangerine Dream's synchronous adventures, this brand of electronic music would see some degree of commercial acceptance over the next few years, even outside the confines of new age music.
Renaissance's next two albums were produced by David Hentschel and predictably enough saw a significant change in direction. Hentschel had of course perfected his technique with Genesis, and he certainly brought some of that influence here; just listen to the opening of "Kindness (At The End)". Not surprisingly, the songs are shorter and more pop orientated, with Michael Dunford's songwriting now mostly co-authored with Jon Camp. Additionally, Dunford's guitar goes steel string and electric, while John Tout's hands traverse far more synthesizers than any previous Renaissance effort. Granted, most of the short songs are unspectacular, but the longer "The Day Of The Dreamer" and title track contain all of Renaissance's old appurtenances and coupled with Hentschel's production, gain both a greater immediacy and denser landscape than ever before. Haslam's voice too was more moderate in the mix, but no less inviting. The sleeper however is the rather throwaway "Northern Lights". Released as a single, it rose to No. 10 in the UK charts. So after nearly a decade out of the UK charts, A Song For All Seasons would finally gain them entrance again, rising to No. 35. The album fared well in the US as well, reaching No. 58. Renaissance recorded the even more commercial Azure D'Or in 1979, but without an accompanying single, it sunk with little trace. The band effectively broke up following the departure of Tout and Terry Sullivan in 1980, though in the early '80s, Haslam, Camp and Dunford recorded two forgettable albums for Miles Copeland's IRS label.
Since we last visited Tangerine Dream, Peter Baumann had packed his bags for a solo career, most notable though was his excellent production work for the French Egg label. Edgar Froese and Chris Franke then took the dramatic steps of reinventing Tangerine Dream by inviting drummer Klaus Krieger and wind instrumentalist Steve Jolliffe into the band. Jolliffe had been in an early incarnation of the band during the late '60s, but his tenure now would certainly be more controversial: Jolliffe would also supply Tangerine Dream with vocals! This change of direction, including adding acoustic instruments to the mix, was another attempt to broaden the band's sound. So at the very least, hats off to the band for trying something radically new. The album opens with "Bent Cold Sidewalk"; a straight-up song with a decent hook, the chorus fades into the much more familiar terrain of a great sequencer workout before ending in vocal refrain. "Rising Runner" is even more of a short-take; riding on a sinister keyboard line and Krieger's quick tempo, it seems more like proof of concept than a finished work. Taken alone (and vocoder aside), Jolliffe's vocal contributions may not be ideal, but they certainly integrate well with the music. So whatever the prognosis, Froese and Franke must have put some thought into what they were doing here. Yet if the first side of the album left anyone feeling short- changed, the second side's "Madrigal Meridian" more than makes up for it. Here Tangerine Dream offers a journey as dark and sinister as the cover art. Krieger's syncopation with the sequencers is perfectly hypnotic and the track ends in a gloriously romantic refrain. Jolliffe's leads, whether flute, lyricon or modulated whatever, float effortlessly, and Froese offers one of his best guitar solos on record. The album took quite a bit of critical heat upon release, but certainly not commercial. Cyclone lays claim to be the album that broke the band in their native Germany, and the subsequent European tour in support of the album had record attendance. I have to agree: the album is one of the most original and unique in the timeline. Yet the fact remains, Tangerine Dream would never weather this type of storm again.
Tim Blake was one of the first members to leave Gong after the completion of their Radio Gnome trilogy in 1974. After a solo recording contract with Virgin stalled, Blake found himself back in France, near penniless and homeless. He then hooked up with Patrice Warrener to help pilot the Crystal Machine into what was perhaps the first full-on laser light show the world would see. The duo presented the production at a couple of weeklong residencies in Paris in 1975, before eventually taking the extravaganza to Britain in 1976. Blake then secured a recording contract with French label Barclay’s progressive imprint Egg. His first release, Crystal Machine, was a compilation of live recordings from 1976 and 1977 and while providing excellent examples of his electronic technique, the album suffered from a less than stellar recording. Released the following year, Blake’s New Jerusalem presents a much more complete realization of his art. Blake’s synthesizers were contemporaneous to many at the time, including those of the so-called Berlin school. But his studio recordings are more song-based than purely instrumental vignettes; with Blake even taking his hand at vocals on a few tracks. The excellent “Song For A New Age” is exactly that, while the quicker tempo of “Generator Laser Beam” has a more modern slant. The lengthy “Passage Sur La Cité (Des Révélations)” reveals the combination: under a pulsing sequenced rhythm, Blake’s bubbling and burbling synthesizers provide texture, while the Mini Moog provides lead; there’s even a modicum of glissando guitar for good measure. The second side is encompassed with “New Jerusalem”, perhaps the most fully-realized presentation of his considerable talent on the synthesizer. Although there’s a hippy vibe throughout, the album gives clear insight into his contribution to the Gong sound and his much underrated skill as a writer. In fact, “Lighthouse” would fit squarely on any of the trilogy Gong albums. The album also sees Jean-Philippe Rykiel as guest; the French synthesist would form a long relationship with Blake, and with Warrener and the Crystal Machine in tow, the trio would hit the road again in 1978, playing throughout Europe and Japan. An unreleased album, Waterfalls In Space, was produced the same year. However the expensive production was eventually landed and Blake then found full time work with his old mates Hawkwind.
Tony Banks, Phil Collins, and Michael Rutherford headed to Amsterdam shortly after mixing Seconds Out to record this, their eleventh record. Rutherford chose to fill Steve Hackett's now vacant position (hence the album title), but Genesis also made a conscious decision to shorten the songs up, in order to provide for more diversity on the album. Boasting eleven tracks, And Then There Were Three still contains substantial musicality and a wonderfully dark production that gives it a very uniform feel, something not usually associated with the band. Driven by a deep bass pedal, "Down And Out" leads things off. The songs are indeed not only shorter, but also a lot more concise; gone is most of the instrumental flash, but not necessarily the fire. The second side's "Deep In The Motherlode" ambulates over a similar rollicking bass line. "Undertow", "Snowbound" and "Many Too Many" carry on in the tradition of "Carpet Crawlers" or "Afterglow"; beauty is never in short supply in Genesis' repertoire. "Burning Rope" is most similar to anything on the previous Wind And Wuthering album, and at seven minutes the longest track on the record. Similar are both "Scene's from a Night's Dream" and "The Lady Lies". The album closes with "Follow You, Follow Me", a track that nearly didn't make it on the album. Written in the Genesis "jam" fashion, its simplicity marks not only the end of side two, but also the beginning of a new era in Genesis history. The single reached No. 7 in the UK and a respectable No. 23 in the US. The album was similarly successful, reaching No. 3 in the UK and at No. 14, charted higher than any previous in the US. Genesis spent most of 1978 touring in support of the album, including two treks across America with "the mirrors" in tow. Milwaukee born Daryl Stuermer, previously in Jean-Luc Ponty's band, joined the band as their touring guitarist, in another relationship that would extend decades.
Heavy Horses, the band's twelfth album, was released as the Jethro Tull celebrated a decade in the business. No small feat. Unfortunately, Anderson stuck to the tried and true Tull formula he first pitched on Too Old To Rock-n-Roll, and precious little had changed, save the song's titles. He continues his dalliance with most things country, including two songs about... mice. Darryl Way lends a fiddle to the upbeat number "Acres Wild". In sharp contrast is the altogether heavy "No Lullaby". Similar to the previous album's "Pibroch", it's the only potent rocker on the album. "Journey Man" reveals a little nostalgia with the Tull of old; however the album is mostly big on acoustic numbers that bypass instrumental flash for rich arrangements. Technical perfection may have its place, but rock-n-roll was never supposed to sound sterile! "Moths" and "Rover" opt for a little simplicity while the title track sports a big orchestral gown. Despite the rural nature of the compositions, Andersons' voice sounds like a canned studio trick; he is almost always doubled-up in each channel, sounding both hoarse and processed. Regardless, the album still scored high in the charts on both sides of the Atlantic, reaching into the Top 20. Jethro Tull set off on the annual round of touring, dragging along their Masion Rouge mobile studio to record what would make up their next record, the live double-album Bursting Out. Released later in the year, it again put Tull into the Top 20 in both the US and UK charts.
With his second record, Steve Hackett began his solo career in earnest. It should come as no surprise then that none of his former bandmates make a contribution here. Instead, Hackett opted for a very diverse guest list: Steve Walsh and Phil Ehart of Kansas, label-mate Graham Smith, Chester Thompson (well, not technically a member of Genesis), the returning Johns' Acock and Hackett, and a few unlikely candidates, namely Richie Havens and Randy Crawford. The album starts out with a few numbers that wouldn't sound out of place (not surprisingly) on a Kansas record. In fact, it's worth noting that the single release of "Narnia" featured John G. Perry on vocals, as Steve Walsh's record label feared fans would confuse it as a new Kansas single! Fast and furious, the tracks reflect the harder edge of Hackett's songwriting. "Kim", for his wife (who would also provide the paintings for most of his albums), showcases Hackett's favor for nylon string guitar. His brother John provides a lone flute line, both haunting and beautiful. "How Can I" features Havens' raspy voice and who would have guessed it would be such a perfect match. The second side runs continuous, and again parades the album's diversity. Featuring Randy Crawford, "Hoping Love Will Last" is an interesting mix, both soulful and progressive in the same pass. The title track covers the same instrumental terrain as Genesis, but here Hackett lances out with some very aggressive guitar work, again, something he'd never have managed to do with that band. "The Voice Of Necam" flows effortlessly into "Icarus Ascending". Again with Havens on vocals, it's another achingly beautiful song, giving the album a powerful and soulful ending. The album reached the UK Top 40, though failed to chart in the US. Hackett would then assemble a touring band, with greater success just around the corner.
In late 1977, Steve Hillage spent some time with his ex-Gong cohorts producing ex-Hawkwind member Nik Turner's eponymous solo album Xitintoday. He then toured the UK, assisted by American drummer Joe Blocker and newcomer Curtis Robertson on bass, and of course his ever-present partner Miquette Giraudy on keyboards. For his fourth album, Hillage manned the producer's chair with Pink Floyd's Nick Mason; so it should be no surprise that the ensuing Green is one of his most cosmic releases. "Sea Nature" opens in style, and immediately evident is a much larger sense of space, both inner and outer. "Ether Ships" bubbles with electronics, while "Musick Of The Trees" kicks back with acoustic touches. Hillage gets in the mood on "Palm Trees (Love Guitar)", while "Unidentified Flying Being" is a throwback to the funky groove of the previous album. Both tracks feature some great lead guitar from Hillage. Beginning with "UFO Over Paris", he and Miquette weave their ambient magic over the next few tracks: the hypnotic pulse of "Leylines to Glassdom" floats right into the luscious "Crystal City". Eventually Hillage reprises a quite heavy "Glorious Om Riff" from Gong's "Master Builder" to close. There's little doubt the album is one of his strongest ever, and it would again see Hillage chart in the UK, reaching No. 30. And yes, the album was pressed on green vinyl.
After King Crimson came to a close in late 1975, the rhythm section - the formidable duo of Bill Bruford and John Wetton - took some journeyman work (Genesis, National Health and Uriah Heep) before regrouping to form what would become U.K. Rick Wakeman was around for some of the early rehearsals, but for whatever reason he opted to return to Yes. Then, in 1977, the duo decided to each pick a replacement: Wetton brought Eddie Jobson, while Bruford towed in guitarist Allan Holdsworth. Given the pedigree of the members ("super" being the operative word), their debut album was eagerly anticipated. The three-part "In the Dead Of Night" leads off, penned, like most of the other tracks on the album, by Jobson and Wetton. The latter certainly knows a decent hook, a perfect complement to his distinctively clear voice. Holdsworth adds his signature guitar playing, while the second section showcases Jobson on the electric violin. Bruford's drumming is crisp throughout, but the highly-rated Bruford/Wetton rhythm section is unfortunately mostly understated. Jobson's keyboards, and their unique sonic signature, provides a wonderful document of the technology he used (early polyphonic synthesizers). "Time To Kill" gives Jobson another turn on lead violin but Holdsworth's single note accompaniment is equally enthralling. "Nevermore" and "Mental Medication" offer Holdsworth both a hand in the composition and two on acoustic guitar. Overall the songs are good, and the album is punctuated by a particular heaviness, and of course, lots of virtuoso soloing. But it's also replete with sterile production: few outside the cognoscenti were going to get excited about this music. So despite the hype, the album failed to make any significant dent in the charts. The quartet did take to the road in the US, and judging by their set lists, had a larger repertoire ready to record, but Bruford and Holdsworth had other plans.
After the success of his debut album, Anthony Phillips set out to record this, an album of (more or less) commercial rock music. As such, Wise After The Event showcases Phillips' songwriting. There's no denying the similarity of his music here to that of Genesis, but the connection is one of lineage more than anything suspect. He is joined this time not by any Genesis cohort, but rather the world-class rhythm section of Michael Giles and John G. Perry, and the production talents of Rupert Hine. Phillips also takes on all guitar and keyboard duties, with typically excellent results. "We're All As We Lie" is relaxed and playful, with layers of acoustic guitars picking gently away. Similarly "Birdsong" again starts off placid, but ends under the fury of the Giles/Perry rhythm and an electrifying lead guitar. On the second side, both "Pulling Faces" and "Greenhouse" are considerably up-tempo, and Hine's production certainly makes the best of everyone involved. But there is also this certain gentleness, or shall I say femininity to the album - not that there's anything wrong with that. Lyrically, Phillip's songs are purely romantic, as evidenced by the overwrought "Regrets" and "Now What Are They Doing", but given the material, they'd work no other way. Phillips also handles all of the lead vocals for the album. Although not the most powerful singer, he's more than capable here. The album saw release on both sides of the Atlantic, with Phillips now signed to Passport in the US. Several of the vignettes on the Private Parts & Pieces Vol. II album were intended as instrumental bridges between the songs here.
Peter Gabriel hit the road after his first album was released, crossing America in the spring of 1977 before heading over to Europe later in the fall. Touring solidified the band for the upcoming album, which by the last leg comprised bassist Tony Levin and electronic wiz Larry Fast, plus new guys Jerry Marotta on drums and Sid McGinnis on guitar. Keyboards were handled by Automatic Man Larry “Bayete” Cochran, though duties would be split with Roy Bittan on the album. For Gabriel's second record, again titled Peter Gabriel, he found himself in Holland with Robert Fripp in the producer's chair, evidently in an effort to "speed up [the] recording process". Fripp had guested on his last tour (performing as “Dusty Rhodes”). The album is again a mixed affair. Gabriel's songwriting shines brightly on the big tracks, "On The Air", "White Shadow" and the timely anthem "D.I.Y.". Usually anchored by Marotta's firm drums and Levin's soon-to-be-legendary bass work and with a ripping solo from Fripp, they offer something uniquely Gabriel, and very removed from his work with Genesis. “Mother Of Violence” was co-written with his wife Jill, is the better of the slow tracks on the album. Yet tracks like "Animal Magic" and "Perspective", with Bittan's tinkly piano and McGinnis' slide guitar, just come across as standard rock tunes, and at worst, even Fripp's production can't save languid crooners like "Home Sweet Home" or “Flotsam and Jetsam”. Slightly out of place, "Exposure" is really a Fripp number and quite different from the other tracks on the album, but it does, in some way, point to the future. Despite the lack of single, the album was again successful, reaching No. 13 in the UK and No. 45 in the US. His fall 1978 tour (with Timmy Capello replacing Bayete) included “The Lamb Lies Down On Broadway” in the set list, the last time he would regularly perform a Genesis tune in public.
Van Der Graaf ended their last tour with a few nights in early January at London's Marquee Theatre. The band was now a five piece, the same quartet that recorded the prior year's The Quiet Zone/The Pleasure Zone, plus the addition of Charles Dickie on cello. Those recordings made the basis of this, the final installment from VDGG, offering more of the chaos and less of the control that marked their music. "Ship of Fools" sets the tone. Peter Hammill's playing electric guitar; nothing subtle here, he's got as much grace as a steamroller. "Still Life" follows and literally explodes, with Guy Evan's drumming mixed high up on the right channel and Nic Potter's overdriven bass in the left. Gone are the delicacies of Hugh Banton and David Jackson (though the latter makes a guest appearance) for a full frontal assault. If you get through Graham Smith's screeching intro, "Last Frame" is one of the more successful translations on the album. The same isn't always true for the older VDGG material, though "Pioneers Over C" holds together fairly well. The double-album even contains some new material; well suited for the quintet, it's about as raw as Hammill's music would ever get. "Door" spins out of control underneath Evan's ever-increasing tempo, while "Urban" reprises a bit of "Killer". Fittingly, the punk "Nadir's Big Chance" closes the show. The album was mixed the following month at Foel and given to Charisma in hope that it would balance their finances with the label. By the time of the release though, Hammill had already spent the majority of the year on tour with Graham Smith (including his first U.S. dates) and recorded his seventh solo album, ph7. Thus, Vital remains Van Der Graaf Generator's swan song, warts and all.
Camel's lineup remained stable since the last album, and no doubt Breathless is all the better for it. The album again sports immaculate production, this time courtesy of Mick Glossop. The melodic and airy title track opens the album, with a signature vocal from Richard Sinclair. "Echoes" features some tasty guitar work from Latimer and reprises his now familiar melodic song style, as does the second side's "You Make Me Smile". But "Wing and A Prayer" is an unfamiliar venture in pop, while Sinclair's "Down On The Farm" is uniquely his own (and not Camel). "Summer Lightning" is also dissimilar, this time not unlike the funk-up of Steely Dan. The instrumental "The Sleeper" is indeed the album's sleeper; fiery and exciting it's an up to date reminder of Camel's instrumental dexterity. The album was well received, rising to No. 26 in the UK charts. However, shortly before the album's release, Pete Bardens would depart Camel for Van Morrison's band, while Sinclair would also take his leave. Two keyboardists from Caravan, Jan Schelhaas and Dave Sinclair, would be deputized for the subsequent tour, but American keyboardist Kit Watkins and Colin Bass (the latter on bass of course) would take over for the next album. Released in 1979, I Can See Your House From Here sported remarkable musicianship, but unfortunately offered little but straight up commercial rock. From here, Camel would be plagued with personnel changes on each successive album, though Latimer would manage to hold the band together (and continue to chart) until the mid-'80s.
Recorded just prior to the last days of VDG, The Future Now marks a new beginning for their former lead singer. It's a very idiosyncratic record, partly due to the lo-fi nature of the recording and partly due to it being a Peter Hammill solo record. In fact, even if one was unfamiliar with his previous albums, the Man Ray-influenced pose on the cover should give a fairly good idea that this isn't going to be easy listening! And with the exception of a few overdubs by some ex-VDGG musicians, the album is one-hundred percent Hammill. The opening track "Pushing Thirty" is a throwback to his Rikki Nadir alter-ego; slightly acerbic, highly literate and full of attitude. Yet Hammill is much more than a wordsmith. The unconventional performance of both "Energy Vampires" and the title track tread similar lyrical ground, but occupy a different music space. Whether the sustain of the thick-toned guitar, an ambling harmonium, multi-tracked voice or some other fx'd instrument, they're a glorious indulgence of "sculpted noise" (and a tribute to the tape-recorder and razor blade). Undoubtedly that technology wrought each song as well: "The Cut" and "Motor Bike In Afrika" are from a similar die, while "Second Hand" blithely ticks away over its drum-machine pattern. But Hammill's really in his element with as little accompaniment as possible. Whether forged on the guitar ("Trappings" and "If I Could"), the piano ("Mousetrap" and "Still In The Dark") or just voice ("Mediaeval"), few artists can create so much with so little. Stripping away the studio trickery, Hammill's delivery is both emotive and superlative, and a good approximation of the power of his live performance. Hammill's next album, PH7 would tread very similar ground; in fact, it's almost a sister-set of recordings. But with little commercial success to show for his efforts, these would be his last for Charisma. From here, he would foster a solo career uniquely his own. While others would find mainstream success in the '80s, Hammill's career would be best defined by a different measure - perseverance. One of the most prolific artists to arise from the progressive era, he continues to release records to his ever-fervent fan base to this very day.
One look at the album cover and you'd have to figure that once again something was different inside Yes' latest record. Recorded at London's Advision Studios, Tormato was another step away from Yes' epic-length proportions, containing nine (count 'em) songs. "Future Times" kicks in immediately and races along in fine Yes tradition. Steve Howe and Rick Wakeman trade leads while Chris Squire delivers one rubbery bass. In fact, that bass tone would lend a particular signature to the album. The song dives right into "Rejoice", reminding us that the band had indeed made it "ten true summers long". "Don't Kill The Whale", one of the band's most outright statements, was the album's single and Top 40 hit in the UK. "Release Release" is again frantic, though the "live" break in the middle is a little misguided. Wakeman is to the fore with his new polyphonic synthesizers, but unfortunately he's playing all over everthing. After all, frantic isn't a word usually reserved for Yes music, but this isn't your typical Yes album. Side two opens with "Arriving UFO" and "Circus Of Heaven", and as you might guess, both are prime examples of Jon Anderson's cosmic fancy; perhaps something only a Yes fan would truly appreciate! Squire offers the placid "Onward" to slow the pace, before the album winds up with its undisputed classic, "On The Silent Wings Of Freedom". Driven along by Alan White's kick drum, it contains all the power and splendor of any of Yes' classics. The album was a success, reaching the Top 10 on both sides of the Atlantic. Yes then spent the rest of the year in the US performing "in the round", returning to the UK for a few dates at London's Wembley Arena. Both Howe and Wakeman then took time to complete solo albums, while Anderson teamed up with Vangelis for the highly successful Short Stories album (released in early 1980). In 1979, the band returned for another US tour in the summer and then headed to Paris to record their next album, with Roy Thomas Baker producing. The sessions however ended acrimoniously with only a handful of demos and by the end of the year, both Anderson and Wakeman had left Yes. Drama, of course, was just around the corner.
In late 1977, Dave Brock and Robert Calvert presented a show as the Sonic Assassins, teaming with bassist Harvey Bainbridge, drummer Martin Griffin and keyboardist Paul Hayles. All were in the Devon-based Ark, who had previously crossed paths with Brock on several occasions. Returning to the UK from the disastrous spring US tour, Brock and Calvert had a change of heart and plan, allowing them to split ties to Hawkwind’s old management. They began new sessions in June with Bainbridge, Griffin and new keyboardist Steve Swindells (previously in Pilot) under the moniker “Hawklords”. Released in October, 25 Years On sported a not only a new name, but a decidedly new image. Although the musical plot is undeniably similar to the previous couple of albums, there’s a different feel to what they recorded here. “Psi Power” contains a classic Calvert lyric, sharp, witty, and full of humor, as does “Flying Doctor”. But the band, aided by Swindell’s approach to the keys and a load of acoustic guitar, sound, well, more modern. “Freefall”, co-written by Bainbridge, offers an updated take on the Hawkwind sound, one also continued on “The Only Ones” and Calvert’s excellent “(Only) The Dead Dreams Of The Cold War Kid”. The album reached No. 48 in the UK charts, and saw a US release on Charisma. Cover artist Barney Bubbles had a large role in staging the subsequent tour, a massive 42 date endeavour, but it didn’t last. Budget cuts continually curtailed the 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 until his untimely death at age 43 in 1988.
Well-tanned, the members of ELP grace the album cover on the shores of Nassau, Bahamas where it was recorded. Certainly after the financially disastrous tours following the Works tour, the band was in need of a break. The album reflected the extremes of ELP - when they were good, they were great, but when they were awful, you had Love Beach. (The band has since acknowledged that the album was pursued only to fulfill their contractual obligations with Atlantic). Pete Sinfield provides lyrics for the record, though the sun must have also affected him as well: here's the refrain from the title track: "I'll make love to you on love beach". The first side contains a series of shorter songs, mostly penned by Greg Lake that amount to little more than over-arranged boogie rock, though "For You" is marginally tolerable. The second side however raises a little more hope, with the Keith Emerson penned album-side long "Memoirs Of An Officer And A Gentlemen". The first and fourth sections trace more familiar ELP (read classical) terrain, while "Love At First Sight" is overly romantic sap. "Letters from the Front" however is most successful, offering a more modern take on the ELP sound. The album barely cracked the Top 50 on both sides of the Atlantic, and the band folded with little fanfare; both a posthumously released live album and a greatest "hits" would seem like a feeble postscript. Carl Palmer then fronted the short-lived PM before joining Asia, while Lake released a couple of solo albums a year later. Emerson would subsequently turn to the steady work of movie soundtracks.
Rush were riding high on the success of the previous two years when again they rolled into Rockfield Studio in the UK to record their sixth studio album. The album was the last in their “progressive” phase and featured no radio singles. The saga of “Cygnus X-1” from the previous year’s album continued in epic proportion, picking up some Greek mythology along the way. “Apollo” and “Olympus” are highlights to the six parts that cover the first side of the album. It’s a further refinement of Rush’s sci-fi epics. Alex Lifeson’s guitar tone is as unique as it is astounding, yet most surprising on Hemispheres is his restraint - guitar solos are few and far between. The second side comprises a few shorter songs. “Circumstances” contains their brand of heavy riffing, but the keyboard break is welcome. “The Trees” is excellent storytelling, also highlighting the band’s versatility and arrangement skills; by now, Rush had reached or surpassed the quality of their British prog rock mentors (including the use of a naked man's posterior on the record cover!). “La Villa Strangiato” is a self-described “exercise in self-indulgence”: running at breakneck speed and all instrumental, the band let out all the stops, showcasing their exceptional virtuosity - and no, they aren’t kidding. The album was more successful in the UK, racking up to No. 14, while in the US it just broke the Top 50. This however would be rectified in early 1980, when Rush would perfect their formula for radio-friendly prog rock on the exceptional Permanent Waves album.