Van Der Graaf Generator

[Fan Site]
Reviewed: The Aerosol Grey Machine (1969) The Least We Can Do Is Wave To Each Other (1970) H to He Who, Am the Only One (1970) Pawn Hearts (1971) Godbluff (1975) World Record (1976) Still Life (1976) The Quiet Zone/The Pleasure Dome (1977)	Remarks: Country: UK

The Aerosol Grey Machine (1969)

Finally, TAGM makes it out on CD (the last of the bunch). The wait paid off in that the 1997 reissue I got has two bonus tracks: a faster version of Hammill's "People You Were Going To" from Nadir and a gawdawful "Firebrand," the B-side of an 1968 single which isn't anything more than a historical curiosity. TAGM was supposed to be a Hammill solo album, but they decided to release it under VDGG's name anyway. Although quite unimpressive by VDGG/Hammill standards, TAGM is nevertheless a pretty cool album, especially "Necromancer" with its 5/4 pattern lifted from Holst's "Mars, the Bringer of War." The hippie sound of TAGM doesn't work anymore and PH's vox are subpar -- too high and not convincing.

Verdict: well, every VDGG fan is going to get it anyway.

The Least We Can Do Is Wave To Each Other (1970)

The second VDGG, a true band cooperative effort and what set their sound for the next several years. Longer, layered compositions, with Jackson's sax successfully replacing the lead guitars dominant during the period. Some of the coolest VDGG songs are here, such as the brooding "Darkness (11/11)" and the Inquisition piece "White Hammer." Although it is still a bit unfocused, the band is really on its way to hammering out a niche in art rock (I don't want to call it progressive because the name reminds people of Yes too much, and it would be an unfair characterization of the way better VDGG).

Verdict: a must-have for VDGG fans, art-rock aficionados should check it out.

H to He Who, Am the Only One (1970)

This is what I consider the first true VDGG with only five long songs, frequent changes in mood and tempo, and multi-part compositions. PH is beginning to sound as his true self. "Killer" is perhaps one of the better and more aggressive pieces on the album although even it manages to retain the softness characteristic of VDGG. All songs are quite good making this release one of the few albums that would not benefit from trimming.

Verdict: an art-rock classic, a sign of things to come.

Pawn Hearts (1971)

This was the first VDGG I heard. The only reason I got the tape (back when I still didn't have CDs) was Robert Fripp's appearance on guitar. At that point (1989), I was very much into King Crimson and made it a point to collect guest appearances of the major band members. At first I didn't like the album a bit. The songs were weird, the vox were odd, the entire things sounded suspicious. Oddly enough, "Pawn Hearts" became one of my all-time favorite albums. Although it has only three songs, all of them, especially the epic "A Plague of the Lighthouse Keepers," are superb. The cover picture is a mood setter, with the insert band pic being one of the strangest photos ever.

Verdict: another classic, must have.

Godbluff (1975)

Here it is, the definite VDGG and one of the ultimate art-rock albums ever released. This (and the subsequent VDGG productions) form the core of progressive music. It was at this time that VDGG surpassed Genesis in popularity in Italy and perhaps elsewhere in Europe as well. There are four long complicated songs with excellent lyrics (another PH strength). It seems the four year hiatus for the band was all for the good, as this is an impressive improvement. It is from this period that one of the rare video tapings of a live appearance was taken. The Belgian TV recorded VDGG playing the entire "Godbluff" set on stage. Nothing is lost in the live performance, in fact the improvisations add a personal touch that only enhances the experience.

Verdict: gotta have this one.

World Record (1976)

Apart from having one of the coolest album covers, this is another art-rock classic. It seems that no self-respecting prog release will ever have more than five songs, but that's fine if they are like these. Ph-composed and written (with the exception of "Wondering," which also happens to be the weak link) here's another example of what this style sounded in its heyday. "When She Comes" has an oddly jazzy groove with some of the most intriguing lyrics committed to song. Ditto for the next two songs.

Verdict: definitely should check it out.

Still Life (1976)

There was this biology teacher that also collected records (he must have had more than several thousand in his apartment) that I found while looking for an Uriah Heep album. He was also a VDGG/PH maniac, not only did he have all their releases, but he lived in "A Black Room" and had pictures of himself with the beard half-shaven off (much like the "Future Now" photos). Anyway, he taped his vinyl copy of this album for me. Just when I thought the band couldn't possibly top their 1975 album, VDGG comes along and proves me wrong. There isn't a weak song here, with the title song perhaps one of the most popular live pieces. In fact, PH played it the last time I saw him in Maryland. What a treat!

Verdict: this is another album every art-rock fan should own.

The Quiet Zone/The Pleasure Dome (1977)

What a surprise! No more epic songs, no more organic compositions. This time, the band sports a violinist and an entirely new sound. With the excellent poetry of PH coming into the foreground, the music seems to recede further back and becoming an accompaniment to his narrative. Excellent, though somewhat minimalist, results. Several songs have been regulars on live shows since because their limited orchestration allows even one-man performance. One of my all-time favorite songs is on this album, "Last Frame." This is much closer to Hammill's solo work and does not really sound as a release of a band. Nevertheless, a worthy addition to VDGG pantheon.

Verdict: weaker than the previous couple of releases, but still a definitive recording.