Van Der Graaf Generator
Pawn Hearts

When we talk about 1970s "progressive rock," the first names that inevitably come to mind are: Genesis, King Crimson, Yes, ELP, and Pink Floyd. Almost always, in fact, the name of Van Der Graaf Generator does not appear among these, unfortunately due to their lack of popularity. Despite this, the VDGG were authors of an album that has occupied and still occupies a prominent place, not only in the field of "progressive rock" but in the entire music scene.

The milestone we are talking about is PAWN HEARTS, a work published way back in 1971 and defined by critics as a true masterpiece of originality and musical experimentation.
The album consists of three long tracks or "suites," which are structured among themselves through a gradual increase in sound and emotional intensity, reaching its peak in the final part.
At the first listen, everything appears wonderfully surprising and engaging: the vocal and expressive talents of Peter Hammill, a visionary poet and charismatic leader and founder of the band; the pyrotechnic saxophones of Dave Jackson, omnipresent throughout the album; the gothic organ of Hugh Banton, a real pillar; the overwhelming rhythms of Guy Evans' drums and finally the electric guitar of Robert Fripp (King Crimson), who appears as a special guest.

The first track, LEMMINGS, is introduced by a delicate guitar arpeggio and a sung part, which is stunning due to its particular melody. It all resolves into a magnificent "riff" skillfully woven by Jackson's sax and Banton's organ; a "riff" in which Hammill is completely free to flaunt his surprising vocal and expressive techniques, proving he is always up to the task. The track extends, in its entirety, for about eleven minutes and consists of a sound fabric rich in virtuosity (both vocal and instrumental) and various solos (sax, organ, and piano), concluding with a slight and delicate psychedelic interlude.
The second track, MAN-ERG (about 10 minutes) is even more overwhelming than the first. It transitions from the romantic opening dictated by the piano and the seductive voice of the usual Peter Hammill, up to reaching an incredible sax riff that proceeds in a "schizophrenic" and "maniacal" way. All this creates, in the listener, a sensation of "rhythmic pounding," highlighted, primarily, by the rapid succession of sax notes and secondly, by the obsessive tempos of the drums. At this point, you can't help but come into contact with Dave Jackson's incredible wind technique (a real "Van Gogh of the saxophones") and, once again, with Hammill's unparalleled talent, which explodes in a vocal part of remarkable dramatic intensity.
The last track with the long title, A PLAGUE OF LIGHTHOUSE KEEPERS, represents the album's highlight. It is a 23-minute "suite" divided into ten parts, forming a large and varied "sound collage." Within it, we find all the characteristic elements of "progressive rock": psychedelia, improvisation, electronic experimentation, classical influences, and various virtuosity. What is surprising, however, is not so much the presence of these elements, common to all progressive "suites," but the unique and original way in which they are proposed. It is thanks to this track that the peculiar characteristics of VDGG's music are clearly delineated: a "progressive rock," almost "dark", composed of dramatic lyrics (almost all written by Hammill) and gothic instrumental atmospheres, in stark contrast to the baroque settings typical of Genesis or Yes. Probably these are the peculiarities that make the music of Peter Hammill and company extremely brilliant and original.

In conclusion, it is necessary to affirm that any music lover, regardless of various tastes, should jealously possess a copy of PAWN HEARTS in their record collection, as this album fully represents the artistic-musical avant-garde developed during the 1970s.
As for Van Der Graaf Generator, it must be said that they certainly deserved greater success than they achieved.