The British singer, songwriter and musician Peter Hammill is one of the key figures in the history of progressive rock. As the leader and main creative force of Van der Graaf Generator, he was behind some of the most powerful and compelling rock music of the 1970s, and since VdGG reformed in 2005 has continued to lead the group down a unique musical path. But Van der Graaf Generator are only part of the Peter Hammill story. Beginning with 1971’s Fool’s Mate and continuing all the way to 2021’s In Translation, Hammill has carved out a lengthy solo career consisting of some 35 albums, plus many live albums and collaborations. The range of styles in evidence on these albums is remarkable, from baroque progressive rock to snotty proto-punk, angular new wave, delicate ballads, electronic experiments and he even wrote and recorded a full-length opera. This is the first book to offer an in-depth exploration of Peter Hammill’s solo discography, revealing the sonic intensity and emotional turmoil that lie at the heart of his work. The book is an invaluable companion to Dan Coffey’s Van der Graaf Generator On Track. Richard Rees-Jones lives in Geneva, Switzerland, where he works for an international organization. He previously lived in Vienna and wrote the chapter on music for the Time Out Guide to Vienna. He has also written album reviews for the acclaimed music website The Quietus and for The Sound Projector magazine. He comes from Salisbury, south-west England, and studied English at Sussex University. He is married with two children. This is his first book.

An account of the English rock band Hawkwind shows them to be one of the most innovative and culturally significant bands of the 1970s. Fifty years on from when it first formed, the English rock band Hawkwind continues to inspire devotion from fans around the world. Its influence reaches across the spectrum of alternative music, from psychedelia, prog, and punk, through industrial, electronica, and stoner rock. Hawkwind has been variously, if erroneously, positioned as the heir to both Pink Floyd and the Velvet Underground, and as Britain's answer to the Grateful Dead and Krautrock. It has defined a genre—space rock—while operating on a frequency that's uniquely its own. Hawkwind offered a form of radical escapism and an alternative account of a strange new world for a generation of young people growing up on a planet that seemed to be teetering on the brink of destruction, under threat from economic meltdown, industrial unrest, and political polarization. While other commentators confidently asserted that the countercultural experiment of the 1960s was over, Hawkwind took the underground to the provinces and beyond. In Days of the Underground, Joe Banks repositions Hawkwind as one of the most innovative and culturally significant bands of the 1970s. It's not an easy task. As with many bands of this era, a lazy narrative has built up around Hawkwind that doesn't do justice to the breadth of its ambition and achievements. Banks gives the lie to the popular perception of Hawkwind as one long lysergic soap opera; with Days of the Underground, he shows us just how revolutionary Hawkwind was.

Put on your high-heel sneakers (or your carpet slippers) and join a tour of the Black Rooms with their shuttered windows, of the Green Rooms and the adjoining stages. Meet the man on the stage, flanked by Hamlet and Heisenberg, uncertain of what was and what will be, but quite assured that he cannot keep time: Peter Hammill. The critical toolbox and the associative palette are used in roughly equal measures, leaving scholarly glyphs as well as poetic graffiti down Hammill's passage of time. The shouting, however, is up to you!

Formed in Guildford, Surrey in England in 1971, Camel, though not directly part of the genre, were strongly influenced by the bands emerging from Canterbury in Kent at the same time. In particular, the band mixed humour and profundity, in a similar way to bands like Caravan and Hatfield and the North. However, and there's a clue in the name, and their music seamlessly integrated Middle Eastern and North African themes, forms and rhythms - as well as Jazz, folk and classical elements - to create an exciting and exotic new strand to the ballooning world of progressive rock in the early 1970s. After two critically well-received, but unsuccessful albums, Camel came to transatlantic attention in 1975 with the release of purely instrumental The Snow Goose, inspired by Paul Gallico's novella of the same name. The chart success of that album led to a sold-out performance in October 1975 at the Royal Albert Hall (with the London Symphony Orchestra, no less, in tow), and cemented the band's place in the ongoing story of progressive rock. The band has had its fair share of tragedy, including the death of founder Peter Bardens and serious illness to guitarist and flame-carrier Andy Latimer. Nonetheless, with Latimer still at the helm, and after almost 50 years and fourteen studio albums, Camel continue to perform to rapturous receptions across the world. This track by track analysis takes the reader along on their half-century journey, carving out a special, inimitable niche in British rock music.

One of the most iconic and successful British bands of the 1980s, Level 42 are also arguably the ultimate 'fusion' unit, streamlining their energetic early jazz/funk/rock sound into slick, effortlessly-soulful pop music. Encompassing eleven studio albums, including twenty UK top 40 hits and two US top twenty singles, their catalogue, in many ways, defines the '80s but also reflects their musical virtuosity and vibrant eclecticism, peppering tracks with influences from Herbie Hancock, Return To Forever and The Mahavishnu Orchestra. Emerging from the so-called 'Britfunk' scene, Level 42 developed from being one of the most electrifying live acts of the era to become a true songwriters' collective, delivering the effervescent, ubiquitous hits 'The Sun Goes Down (Living It Up)', 'Something About You' and 'Lessons In Love'. Level 42 - on track is the first in-depth study of the band's illustrious catalogue, track by track, album by album, with recording information, musical analysis, studio gossip, full musician credits and contributions from Mark King and Gary Husband. The book also covers the solo projects of the band's many members. Level 42 - on track is a must for fans and those interested in the wider musical landscape of the 1980s and 1990s.