Vagabond Poet (93), Question The Demagogue (95)

Self-described as a combination of the musical styles of '70s rock, progressive rock, "alternative," art rock, jazz, fusion, pop, reggae, blues, heavy metal and even classical.

Time Tales (83)

Same band as System and Realm. The first album was originally released as Realm Time Tales by System. Anyway, this does not sound much like the later album (The Path by Realm), but instead is one long sci-fi opus with countless layers of swirling psychedelic keyboards that never lets up. This is not to say that it's all great: it has its moments of excitement, but probably the one thing that limits the album's appeal is Darrel Studna's wannabee Jon Anderson vocals (actually the vocals aren't bad but the vocal arrangements are really boring on a lot of the tracks). Anyway, to further detract is the miserable muddy mix on the LP (the CD was cleaned up quite a bit and sounds much better).

[See Realm/System]

Vajta (7?), 2: Ponocni Valzer (??)

Prog.

Psychedelic Dance Party (69)

German underground.

The Aerosol Grey Machine (68), The Least We Can Do is Wave to Each Other (70), H to He Who Am the Only One (70), Pawn Hearts (71), Godbluff (75), Still Life (76), World Record (76), Thge Quiet Zone/The Pleasure Dome (77), Vital (78), Now and Then (85), First Generation, Second Generation (8?, comp.), I Prophesy Disaster (93, comp.), Maida Vale (94, BBC sessions recorded '71-'76)

If you absolutely don't like vocal progressive, then stay away. It's that simple. But if you like vocals, or don't mind vocals as long as they are high quality, then look no further. VDGG's progressive is dominated by the incredible lyrics and vocal gyrations of one Peter Hammill. His vocals range from sorrowfully introspective to dementially twisted, whatever is needed to serve the mood of the song and the powerful lyrics. The music is classic progressive rock in the best sense, both definitively and stylistically. It can be startling, dramatic, powerful, soft, and best of all, unpredictable. Time, key, and speed changes are found throughtout and Hammill's voice keeps in perfect synch. The musicianship is tight, available for Hammill to tell his tortured tales. David Jackson's saxophone and flute dodge in and out of Hugh Banton's organ and mellotron. King Crimson's Robert Fripp provides a little guest guitar on Pawn Hearts and H to He.... Even if you don't like vocal progressive (I don't, usually) you may want to give VDGG a try. The music is outstanding progressive rock and you may learn to appreciate and enjoy Hammill's singular style, as I did. And if you do like talented vocals with lyrical depth Peter Gabriel only dreamed at with Genesis, then you owe it to yourself to hear Van der Graaf Generator. Their best work can be divided into two periods with a four year separation. The music from these two periods are both excellent but a bit different. Start with Pawn Hearts from the first period and Godbluff from the second. The latter, in particular, serves as a good intro to VDGG.

One of the best prog bands, IMHO. Peter Hammill's lyrics are incredible. His voice bothers some people as somewhat grating but I love it. He manages to display such intense emotion with his vocals. Fits really well with the music. I think his vocals in the second phase of VdGG were not as good (got a bit too gravelly even for me). David Jackson's sax sound is incredible. He can make it sing or scream at will. Guy Evans is not a technical wizard on drums, but I like his drum playing a lot. Always fits the song. Just about everyone's favorite album seems to be Pawn Hearts. Mine is probably H to He Who Am the Only One. Godbluff is probably the best of the second phase of VdGG.

Very powerful gothic-progressive rock with lots of lyrics. The singer, Peter Hammill, has one of the best voices in modern music, with a very wide tonal range. Many saxophone parts, often overdubed, replace the lack of lead guitar. Lots of organ (chords mostly, not solos) and very strong drum parts are also present. 1968: Debut album AGM is very unique, but recommended for those who have (and love) the rest of their albums. 1969 - 1971: The First Generation of VdGG features Peter Hammill (vox, a/c guitar), Hugh Banton (organ/piano/bass), David Jackson (flutes, saxes), Guy Evans (drums, perc.), Nic Potter (bass, left during H to He), and Robert Fripp (elec. guitar on H to He and Pawn Hearts). Very bright lyrics from Peter Hammill are beautifully sang within the long and complex music of the band. (The music was written mostly by Hammill, too). Music goes from melodic to dissonance, from mellow to aggressive and the rhythms are very sophisticated. Stunning work from both Fripp and Jackson, the two of them with Hammill overdubbing instruments and vocals. The Least We Can Do is good as a starter, with beautiful "Refugees." H to He is a bit harder to listen to the end on first hearing, but is great, especially if related to the music which actually "paints" the words into a pictures and scenes (!), "House With No Door," "The Emperor In His War Room." Pawn Hearts is great prog. rock; every song is a masterpiece. Pawn Hearts and The Least We Can Do may remind you of early Genesis (same producer and sound engineer). 1975 - 1976: The second generation of VdGG. After a separation during whichHammill made some great solo albums, Hammill, Banton, Evans and Jackson reform VdGG and put out three great albums. The music is now much stronger, tougher, (strange!) distorted elec. guitar sound, less frantic but much angrier. Hammill's voice is heavier and more aggressive. The first two albums are rockier. The first one is really a concept albums as all four pieces go together with the same music and sound line. Songs are all about 9-10 min. long. Lyrics are still interesting but less clear and specific. 1977: The Twilight Zone/The Pleasure Dome has nothing to do with the previous VdGG albums, and it sounds more like a Hammill solo, and the band is now called Van Der Graaf - without the Generator. Here are Hammill, Evans, Potter, and Graham Smith (elec. violin). The violin sound make the total music different, gloomier, and it may hurt your ears at the beginning. There are 9 "short" songs on this one. It may suit ones who doesn't like the rest of VdGG, and so may VdGG lovers hate this. 1978: Vital is the band's only official live album. There are Hammill with a noisy guitar, Potter on very laud and distorted bass, Jackson, Evans, Smith, and Charles Dickie (cello, keyboards). This one is good for VdGG fans of the second generation, who may find it as one of their best. For an outsider this may be the noisiest and ugliest record ever made. The performance is VERY strong but the sound and the playing is very crude and noisy, as Hammill often gets on stage. This performance is really shocking. Many of the band's songs were never released officialy. These songs were done in the time between the 1971 - 1975 period, and some were released on several bootlegs. Some of these bootlegs are Semi-official (Time-Vaults - out of print). Now and Then seems rather official and has two tracks of these songs, and six more from 1984 with Banton, Evans and Jackson alone, having no vocals, and the parts are more jazzy. The VU release of I Prophesy Disaster has some unreleased songs.

Contrary to what most people say, they don't really have any distinct "phases." They all share a common thread and sound like the same band. Apart from that, they are probably one of the greatest bands ever. This has a lot to do with inculding the genius Peter Hammill but all musicians contribute highly innovative performances. I can't describe them...make sure you listen to them for some time!

Superb early entry in the British prog sweepstakes led by the passionate vocals and tortured poetry of Peter Hammill, and featuring the awesome organ talent of Hugh Banton. Rounding out the nucleus of the band are Dave Jackson on saxophones and flute, and Guy Evans on drums, both gifted players (Jackson is known to play two saxes at once!). Aerosol Gray Machine is supposed to be good, but I haven't heard it. The Least We Can Do and H To He are both good early efforts, but Pawn Hearts is their classic release, including the 23-minute opus "A Plague Of Lighthouse Keepers," the alternately calm and intense "Man-Erg" and the strange and wonderful "Lemmings," which incorporates a Robert Fripp guitar solo. Not to be missed. The band broke up after Pawn Hearts, but reunited several years down the road with the terrific Godbluff. They hadn't lost a mite of their intensity, the musical interplay on such tracks as "Sleepwalkers" and "Scorched Earth" is an absolute marvel, Hammill's raw passion on "Arrow" is almost frightening. Another classic! Still Life is similar, so if you like Godbluff, you ought to like it as well. World Record is the most instrument-based of all their albums, with Hammill playing more guitar than ever. The 20-minute "Meurglys III, The Songwriter's Guild" features lots of unbelievably twisted rhythms. The Quiet Zone/The Pleasure Dome, a SINGLE disc, has Banton replaced by ex-String Driven Thing violinist Grahame Smith. His playing on "Cat's Eye/Yellow Fever (Running)" is his stellar performance. Jackson plays only on one track: "Sphinx In The Face." This album is more like a Hammill solo than anything else, the beautiful and emotional "Siren Song" makes it well worth the cash. Vital Live is a double live album recorded with this lineup and is supposed to be their worst. -- Mike Ohman

[See Hammill, Peter | Jackson, David | Magic Mushroom Band | String Driven Thing]

Sons (73, as Vander/Top/Blasquiz/Garber), Fiesta in Drums (73, as Vander/Raholison), Vander et Les Trois Jeff (73), Tristan and Iseult (74, aka Magma's Wurdah Ïtah), Fusion (81), (as Lockwood/Top/Vander/Widemann), To Love (88), Jour Apres Jour (90), Le Voyage Du Christoph Columbo (92), 65! (94), A Tous les Enfants (95)

Magma's leader and drummer who put out a string of solo albums, which, well, sound like Magma. Vander has also released several albums which are very quiet and jazzy and not at all like Magma's work.

[See Magma | Offering]

Hypothesis (71), Dragon (71), Earth (73), Heaven And Hell (75), Albedo 0.39 (76), Spiral (77), Beaubourg (78), China (79), Opera Sauvage (79), See You Later (80), Soil Festivities (84), Invisible Connections (85), Mask (85), Direct (88), The City (90), Voices (95), Foros Timis Ston Greco (A Tribute To El Greco) (95)

Has released some of the most inventive, and sweetly melodic music of our time. Despite the beautiful melodies, the music never becomes tiresome. Just about every release has something to recommend it. Beauborg and Invisible Connections are more experimental and are not really comparable to the rest of his work. Recommended: 1492, Mask, Soil Festivities, Albedo 0.39, Heaven and Hell.

Hypothesis is a free jazz album with a great deal of prog rock thrown in (sounds a bit like Area in some points). It kind of defies definition at times. The recording must have been made almost immediately after the break up of Aphrodite's Child because Michel Repoche, who was a guest artist on 666 playing trombone and tenor sax, plays violin here. He appears again on The Dragon which was recorded one month later. It more follows the general prog rock scene of the time. Both albums, however, show very little resemblance to Aphrodite's Child's 666. -- Matthew

[See Aphrodite's Child | Socrates; The above discography lists on studio albums, not soundtracks or compilations. For a more detailed discography, visit the Vangelis web page listed below.]

Of interest: Moroccan Roll (74)

French mid-70's hard rock band that would hardly deserve mention here. There are, however, a couple of excellent instrumentals on their album Moroccan Roll, combining moroccan themes with progressive rock. The rest is just very commercial stuff for the most part.

Andaluza (78), Jara (79)

Voyager (81)

Velvett Fogg (69)

Prog.

[See The Ghost]

Rumore Rosso (77), Sarabanda (79)

The sound is similar to Arti E Mestieri.

No wonder. It's a solo outing by their guitarist.

[See Arti E Mestieri/Procession]

Vent D'Est (80)

Rather boring band who put out a self-titled LP that was definitely in the Camel vein.

Humahuaca (99)

Calypso (77)

Ex-Saint Just. Instrumental songs.

[See Saint Just]

Rhapsodies (89)

Verdeaux was the mastermind behind Clearlight. His solo stuff tends to be lower key and a little more new-agey. Rhapsody For The Blue Planet is a exceptionally good concept symphonic piece, chances are anyone who liked Clearlight's Symphony will have no trouble with this one. Kundalini Opera is a six cassette set, I've heard mixed reports about it, but never heard it myself. There was one other album I heard that was killer, but I can't recall the title now.

[See Clearlight]

Water Blue (88)

Vermilion Sands are a Japanese band, whose music is very much inspired by Renaissance, symphonic and keyboard-driven, with a female lead vocalist. Also included on Water Blue is a reasonable cover version of Kate Bush's "My Lagan Love." The vocals on some of the tracks are in Japanese, but the music dominates, similar to the lush, melodic style of bands such as Novela, Teru's Symphonia, Outer Limits, etc.

Japanese folk-rock symphonic band with female singer. The sound is very polished yet delicate, with a standard four-piece instrumental lineup. The influences are split between the symphonic Renaissance, and British/Irish folk bands like Fairport Convention, Steeleye Span and Clannad. The vocals are excellent, and the lyrics are split between Japanese and English.

Vermilion Sands and Water Blue. Such beautiful names for a band and their sole album. The music contained on Water Blue is equally beautiful. Featuring the lovely soprano of Youko Rouyama, Vermilion Sands come off as a folky version of Renaissance. The full and elegant sound is created by gentle acoustic guitar and piano, soft electric guitar and synth, and Rouyama's clear voice. Where Renaissance were strongly classically influenced (even lifting many classical themes), Vermilion Sands is more influenced by folk and is also more original sounding, at least to me. I much prefer Vermilion Sands over Renaissance. Highly recommended, particularly to fans of Renaissance.

La Cathedral du Temps (90)

Krig/Volubilis (76), Rel 19.36 (78)

Basically Verto was Jean-Pierre Grasset with Potemkine backing him. All instrumental, sometimes powerful, sometimes spacy, sometimes agressive in a Heldon sort of way, but less electronic.

[See Potemkine]

Milky Way (78), Live (79?), III (80), IV...(81)

Via Lactea began as the electronic duo of Carlos Alvarado and Miguel Angel Nava. After the first release Nava split and Via Lactea became essentially the solo project of Alvarado (who was also a member of Chac Mool). Music is basically quiet and meditative, with synth, mellotron, and occasional flute, comparable to early Tangerine Dream.

[See Chac Mool]

Voos e Sonhos (91)

The style is quite reminescent of Camel, due to the impressive performance of the guitarist. This is a good album, but not without its problems: the recording is absolutely crap, with saturated highs, disappearing keyboard sounds, etc. Another problem is the vocalist. Horrible, as he doesn't fit the music in any way. To make matters worse, he sings in Portuguese and the lyrics are solidly on the silly side. But if you disconsider these slight problems, beneath it all there's a good band, with talented musicians. -- Luis Paulino

Bruits Et Temps Analogues (75)

Underground electronics. Like Heldon?

[See Red Noise]

Pantanal (92), Trelhas e Temas (92)

Viana is the violinist with the Brazillian symphonic prog-pop band Coracao Da Terra. His solo album Pantanal: Suite Sinfonica is an all instrumental tour de force in much the same style as the most symphonic aspects of CDT. Interestingly enough, some themes from Sagrado and Flecha pop up here inside other tracks. A very good album, rich with emotion, not cheesy.

Victor (96)

Victor (from the title of a poem by W.H. Auden) is comprised of Alex Lifeson (of Rush) on guitar, bass,keyboards and vocals, Edwyn from I Mother Earth on vocals, Bill Bell on bass, Blake Manning on drums. Now these people make up the core of Victor but many others also contribute. They are Alex Lifeson's own son Adrian, Dalbello, and Les Claypool of Primus. Musically Victor sounds only vaguely like Rush, Basically you get to hear a new and different Alex Lifeson than the one you're used to hearing in Rush. This Alex Lifeson is much more raw, heavier and in your face musically. You'll probably get that when you have an album thats theme is the more terrible aspects of love (or lack of). You can really hear this on tracks like "Don't Care" and "The Big Dance" which nearly sound like Nine Inch Nails had played them (well almost). As a whole though the album is firmly planted in progressive rock. A couple of the tracks could pass for '90s Rush and on the song "Start Today" you could even think Geddy Lee was singing, although it's really Dalbello. So in general if you are a fan of Rush you should find enough to your liking here along with something quite new and if you're unfamilar with Rush you'll see that Victor can stand on it's own quite well. -- Robert Meza

Victor (75)

Symphonic Prog concept album.

[See Gipsy Love | Schoenherz]

Entre 2 Paredes (95)

Alfonso Vidales is the keyboard player and primary music writer for Cast. His solo CD, _Entre 2 Paredes_, definitely has a different flavoring from Cast. Vidales solo CD would fit more with the stylings of Gandalf or Fonya, and seem to have less emotion than the ensemble works of Cast. -- Jim Watts

[See Cast]

Overture (88), Step Into...Vienna (88), Progress Live (89)

I have the first two Vienna albums, Overture and Step Into.... Vienna play a very contempory form of progressive rock. (Read: neo-prog.) The beat and rhythm is often mundane, AOR rock like a hard-rockin' Asia with touches of modern-day ELP thrown in. Don't get me wrong: these guys are much better than Asia but they're just not my style In many ways they can be compared to Gerard, a progressive band with metal/hard rock tendencies. The band is a four piece (drums, bass, guitar, keyboards) on both albums. Both albums contain some 8-9 minute cuts but most are in the 3-5 minute range. Some of the longer songs, where the band have elbow room, aren't too bad but overall, I'm not impressed. I'm sure those into modern hard-rock/neo-prog ala Dream Theater might like this pretty well. -- Mike Taylor

[See Pazzo Fanfano di Musica]

Vinegar (71)

Prog. Private pressing.

Terminal Breath (92)

Good neo-prog band from Germany. The overall sound is not so totally original but some very original ideas are explored, w/ good melodies, powerful dynamics, and given that this is their first album, I'm sure they will mature with age. Their album Terminal Breath contains six long cuts, of varying interest. Vocals are in english and understandable. Recommended highly for fans of the IQ/Marillion/Jadis type sound.

Violeta De Outono (??), Em Toda Parte (89)

Described to me as a "U2-sounding prog band," I was extremely hesitant to get an album by Violeta De Outono, a Brazilian prog trio. Actually that description is really superficial, VDO are much more talented and although their songs are album length, the music is quite good. They have 2 1/2 to date, their first solid self-titled EP, a self-titled full length LP (I haven't heard this) and, released on the Brazilian RCA label, Em Toda Parte. Gong fans will absolutely laugh like crazy if they here this one, since the band is heavily Allen-period Gong influence with glissando guitars and an odd ethnic cover of the classic "Flying Teapot" sung in Portuguese (actually only the "Up in the sky, what do you see, from outer space, a cup of tea" part) I was so surprised when I heard this, that I laughed so hard I almost cried. :-) Interesting music and very overlooked.

Revelation (71), Thoughts (71)

Heavy underground with organ ala Deep Purple.

Catarsis (88), A Moment Beyond Time (91)

Neo-progish new Canadian band. A Syn-Phonic reject!!!! Another one of those average bands that aren't worth the money.

Apparently influenced by Camel their songs feature long instrumental interludes, and English vocals somewhat in the John Wetton style.

They have two albums Catharsis and A Moment Beyond Time. On the latter, at least, they are kind of like a more rocking version of Camel, with more prominent keyboards. Vocals remind me of John Wetton during his King Crimson days.

A Canadian band who create progressive rock quite in the vein of Camel, complete with liquid guitar and flute elements. The vocals are in English and French, but are never overbearing. At times, the lead vocalist sounds like John Wetton, but the emphasis is on the instrumental interplay, which is carried out pretty well.

Canadian band who fall somewhere between Camel influenced neo-prog and AOR pop. They have two albums to date: Catharsis was a competent debut, with a handful of very good tracks, including the long 3 part instrumental that closes side two. A Moment Beyond Time is an overall better production, but is definitely a step in a more commercial direction, with a couple of hit single wannabees. In '92, a rift developed within the band between the guitarist, who wanted to move the band in a more commercial direction with more French lyrics, and the others who wanted to persue a more prog/metal direction, which resulted in the guitarist leaving and being replaced by a member of Voivod.

Prometheus (??)

Because of transliteration problems between Cyrillic and English alphabets, the band name may also be spelled Vysokonoe Leto, but are commonly known as Leap Year Summer, the translation of Visokonoye Leto. Russian symphonic prog playing adaptations of classical works. Think of them as conceptual, heavy organ-based prog, like Yes mixed with Deep Purple. Prometheus is a black-market tape. Presumably more exist. -- Mike Ohman

En Solitario (91)

Keyboardist for MIA

[See MIA]

Vita Nova (72)

Considered to be one of the rarest prog albums in the world.

Eurock says: "A Trio that plays a free-floating form of space rock not unlike mid period Pink Floyd. Melodic passages of Synth and Guitar combine with intervals of rock rhythms effectively.." From late 70's early 80's.

Il Volo (74), Essere O Non Essere? (75)

A Formula 3 offshoot with dual guitars and keyboards. Their self-titled first was much in the style of PFM, with great vocals and lush lush arrangements. Their second Essere O Non Essere, Essere, Essere, Essere! is a classic, blending the style from the first and adding a fusion element that works brilliantly, These are very short yet concise works barely going over the 30 minute mark.

Italian sextet that evolved from the mediocre Formula 3. Their debut is a significant improvement upon that band, sort of like a more hi-tech PFM. Dual keyboards and dual guitars give it a very full sound, though at times you begin to wish they'd let up a bit on the string-synth. They throw you the occasional curve, such as a ring-modulated bass solo or a weirdly filtered guitar, but it's mostly the melodic end of Italian prog we all know and have grown to love. Essere is their finest hour, with instrumentals outnumbering the vocal tracks. They try out a fusion style here, and it works great, with incredible interplay on tracks like "Gente In Amore." Splendid. -- Mike Ohman

The first album was commercial. The second one was an instrumental LP. Alberto Radius (Vocals, Guitar) is now a popular soloist.

[See Dall'aglio, Gianni | Duello Madre Osage Tribe | Tempera, Vince]

Sunset (??)

Adelbert Von Deyen has been a fairly prolific, if somewhat unnoticed, contributor to the Berlin electronic music scene, with 7-8 albums to his credit, spanning the years 1978 to 1987, all of which were issued on the respected German label, Sky. Musically, he has followed a path parallel to Klaus Schulze, with his earlier material similar to Timewind and the like, and moving on to more accessible, yet not overtly commercial synth music. The only difference is that Von Deyen seems to prefer shorter compositions, which Mr. Schulze might normally be inclined to string together atop his characteristic metronomic framework. His Sunset CD collects his best works, and the compilation is very representative of his career. Anyone who enjoys the works of Schulze should enjoy Von Deyen's music, and this collection would be the ideal place to start. I should note, however, that some of the mastering seems to have been done from old tapes, so a minor degree of fade and crackle is present in a couple of spots.

[See Samla Mammas Manna]

La Biblia (??), Jeremias Pies De Plomo (??), Estamos En La Pacera (??), Compulsion (??), Ciegos De Siglos (76), Es Una Nube (??)

New Argentine band with a sound that could be described as authentic-late-60's sounding Psychedelic rock with some 70's krautrock tendencies thrown into the mix. Lots of distorted guitars, fuzzy wah-wah rhythms, competing dual leads, folky influences, some violin too. Vocals are in Spanish.