Kevin Ayers is one of rock's oddest and more likable enigmas, even if often he's seemed not to operate at his highest potential. Perhaps that's because he's never seemed to have taken his music too seriously -- one of his essential charms and most aggravating limitations. Since the late '60s, he's released many albums with a distinctly British sensibility, making ordinary lyrical subjects seem extraordinary with his rich low vocals, inventive wordplay, and bemused, relaxed attitude. Apt to flavor his songs with female backup choruses and exotic island rhythms, the singer/songwriter inspires the image of a sort of progressive rock beach bum, writing about life's absurdities with a celebratory, relaxed detachment. Yet he is also one of progressive rock's more important (and more humane) innovators, helping to launch the Soft Machine as their original bassist, and working with noted European progressive musicians like Mike Oldfield, Lol Coxhill, and Steve Hillage.

Ayers cultivated a taste for the bohemian lifestyle early, spending much of his childhood in Majorca before he moved with his mother to Canterbury in the early '60s. There he fell in with the town's fermenting underground scene, which included future members of the Soft Machine and Caravan. For a while he sang with the Wilde Flowers, a group that also included future Softs Robert Wyatt and Hugh Hopper. He left in 1965, met fellow freak David Allen in Majorca, and returned to the U.K. in 1966 to found the first lineup of the Soft Machine with Allen, Wyatt, and Mike Ratledge.

Wyatt is usually regarded as the prime mover behind the Soft Machine, but Ayers' contributions carried equal weight in the early days. Besides playing bass, he wrote and sang much of their material. He can be heard on their 1967 demos and their 1968 debut album, but by the end of 1968 he felt burned out and quit. Selling his bass to Mitch Mitchell of the Jimi Hendrix Experience, he began to write songs on guitar, leading to a contract with Harvest in 1969. His relationship with his ex-Soft Machine mates remained amiable; in fact, Wyatt and Ratledge (as well as Ayers' replacement, Hugh Hopper) guested on Ayers' 1969 debut.

Ayers' solo material reflected a folkier, lazier, and gentler bent than the Soft Machine. In some respects he was comparable to Syd Barrett, without the madness -- and without the ferocious heights of Barrett's most innovative work. Ayers was never less than enjoyable and original, though his albums were erratic right from the start, veering from singalong ditties and pleasant, frothy folk ballads to dissonant improvisation. The more ambitious progressive rock elements came to the forefront when he fronted the Whole World in the early '70s. The backing band included a teenage Mike Oldfield on guitar, Lol Coxhill on sax, and David Bedford on piano. But Ayers only released one album with them before they dissolved.

Ayers continued to release albums in a poppier vein throughout the '70s, at a regular pace. As some critics have noted, this dependable output formed an ironic counterpoint to much of his lyrics, which often celebrated a life of leisure, or even laziness. That lazy charm was often a dominant feature of his records, although Ayers always kept things interesting with offbeat arrangements, occasionally singing in foreign tongues, and flavoring his production with unusual instruments and world music rhythms. He (or Harvest) never gave up on the singles market, and indeed his best early-'70s efforts in that direction were accessible enough to have been hits with a little more push. Or a little less weirdness. Even Ayers at his most accessible and direct wasn't mainstream, a virtue that endeared him to his loyal cult.

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That cult was limited to the rock underground, and Ayers logically concentrated on the album market throughout the 1970s. Almost always pleasant, eccentric, and catchy, these nonetheless started to sound like a cul-de-sac by the mid-'70s. Ayers pressed on without changing his approach, despite the dwindling audience for progressive rock and the oncoming train of punk and new wave. He only recorded sporadically after 1980, though he remained active in the early 1990s, mostly on the European continent. The 2007 release The Unfairground was first 21st Century release.

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After a musical upbringing, encouraged by their father, three Shulman brothers, Phil, Derek and Ray, gravitated towards the R&B scene that was starting to make an impact in the early 1960’s. Derek and Ray formed a band and encouraged their elder brother to join, calling themselves at various times The Howling Wolves and The Roadrunners. After a while, their sound developed and became more soul based. To reflect this transformation, they changed their name again. As lead singer, Derek became Simon Dupree and the backing band, including both his brothers, The Big Sound.

Now singed to EMI, a number of unsuccessful releases followed until, in 1967, the single “I See The Light” just scraped into the top 50. As with many bands around this time, the burgeoning psychedelia sound was seen to be an attractive way forward and although reluctant, Simon Dupree And The Big Sound were pushed by both label and management to follow this perceived profitable trend. Their next release, "Kites" became one of the hits of the “Summer Of Love” perfectly capturing the “vibe” of the time, this beautifully produced slab of psychedelic pop remains one of the most evocative and integral tracks of the era. An album “Without Reservations” was released shortly after to very minor success and the follow up single “For Whom The Bell Tolls” also failed to make the same impact as “Kites”.

Upset and frustrated by the musical corner they had been pushed into and considering themselves to be a soul band, they called the bluff of the record industry and released a single under the pseudonym “The Moles” which received considerable airplay. The joke backfired when rumours began to circulate that the band were in fact The Beatles when Syd Barrett of Pink Floyd eventually revelled the true identity, disappointment across the industry was rife and both The Moles and Simon Dupree disbanded.

After a break of six months and despite the desire to return to their R&B roots, the new band they were to form was to be a huge jump away from their somewhat simplistic roots. Now able to flex their musical muscles and put their instrumental education and skills to good effect, Gentle Giant was launched in 1970. First recruiting Gary Green and Kerry Minnear, both multi instrumentalists and, in the case of Minnear, a graduate from the Royal College Of Music, they then added Martin Smith from the Big Sound on drums.

Signing to the recently launched “Vertigo” label, which became home for many Progressive Rock bands, they released their fist album, "Gentle Giant", in 1970. This keyboard heavy debut with its complex time changes highlighted the bands many influences from classical, medieval, jazz and, rock . Containing fine harmonies and interplay from the vast array of instruments, it is perhaps too reliant on showcasing the new sounds of synthesiser and Mellotron as on the track “Alucard” The nine minute “Nothing At All”, with fine soulful vocals and heavy guitar is wrecked by a drum solo and discordant keyboards, but, when reigned in with self –discipline, as with the more traditional rock of “Why Not” the album is overall an impressive and brave first effort.

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1971 saw the second release; “Acquiring The Taste” was a huge leap forward. Considerably more experimental and adventurous, you must first get over the pretentious sleeve notes proclaiming the desire to “expend the frontiers of popular music” before the first track and the first highlight. “Pantagruel’s Nativity” sets the tone for the album with its blend of instruments, this time complimenting and not conflicting with each other. The vocals are gentler and have an almost choral feel and the production is clear. Comparisons with the lighter side of King Crimson are inevitable. However, the songs of Gentle Giant are always structured and accessible. 

Following the release of “Acquiring The Taste”, Martin Smith left and was replaced by Malcolm Mortimore who recorded with the band for the next album, 1973’s “Three Friends” Inevitably, a concept album, it is one of the bands simpler efforts but still contains all the usual qualities associated with the band. The final, title track is the standout with some superb guitar underpinning some fine organ and vocals.

Following a motorcycle accident, Mortimore was forced to leave the band and was replaced by John Weathers, who had previously played in the Grease Band and with Graham Bond’s Magic. In late 72, this line up released “Octopus” What had gone on before had only been a build up to this. This was the band at its peak and would be the album that established the sound of Gentle Giant. Drawing heavily on medieval and classical influences with tracks such as “Raconteur Troubadour” yet still hitting a harder edge with “A Cry For Everyone” and “Knots” which in extended form would become staples of their live show. With its Roger Dean cover the album is a Prog Rock Classic!

Eager to promote this well received release, the band had first to fulfil a US tour. Remarkably they were to support Black Sabbath! This totally inappropriate pairing understandably resulted in poorly received sets and would have dramatic repercussions as a frustrated and discouraged Phil Shulman had had enough and left the band. Deciding to continue as a five piece, they recorded “In A Glass House” in 1973 and “The Power And The Glory” the following year, both concept albums. Still showing an experimental desire, tracks like “An Inmates Lullaby” and “Proclamation” are unusual and beautifully played. “Freehand” came next and proved to be their most commercially successful release to date making the US Top 50 and rewarding the band for simplifying the sound reflected in the tracks “On Reflection” and “Time To Kill”.

By the time of the release of “Interview” and the live double “Playing The Fool” in 1976 a decline in the bands output had begun. Although only gradual, some of the inventiveness had disappeared. Following the release of “Missing Piece” and “Giant For A Day”, they relocated to the USA and the resulting “Civillian” was recorded in 1979 but these all fell short of the high standards previously reached.. These final three albums were a last shot at the sort of stardom enjoyed by the likes of Yes and Genesis and craved by some members of the band. When success did not materialise, the band split in the summer of 1980 and have so far resisted any temptation to reform as Gentle Giant although various members do come together from time to time as Three Friends and Rentle Giant.

Derek Shulman swapped sides and worked for Polygram and Mercury and became president of ATCO and Roadrunner records.

Ray Shulman went into production and records soundtracks for TV and adverts.

Phil Shulman retired from music but helps his son Damon with his music career.   

Martin Smith died in 1997 aged 50

Kerry Minnear runs Alucard music, which handles Gentle Giants royalties.

Malcolm Mortimore has continued to work as a session musican.

John Weathers played with Man for many years.

Gary Green continues to play in the USA.

Never achieving great commercial success, their reputation ensures that they remain big players in the Prog Rock world. Gentle Giant had an original and instantly recognisable sound. By placing themselves on the esoteric side of rock, they sit comfortably along  with the influential Canterbury rock scene along side the likes of Caravan, Egg, Gong and Hatfield And The North. Never compromising, their first five albums remain high points of the genre and should be in every prog fans collection.

The track here is the live “The Advent Of Panurge” taken from a rare American radio broadcast from 1975.

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Pink Floyd were an English rock band established in 1965 by Syd Barrett (lead vocals and lead guitar), Nick Mason (drums), Roger Waters (bass guitar) and Richard Wright (vocals and keyboard). They became famous for their psychedelic and space rock music which later evolved to progressive rock. The band is known for its imaginative live shows, album cover art, philosophical lyrics and experimental music.

Pink Floyd have sold more than 200 million albums globally making them one of the most successful rock acts of all time and they have also been an influence to many 1970s bands such as Yes and Genesis. Pink Floyd enjoyed relative success in the late 1960s especially in the London underground music scene before Barrett’s erratic behavior led to him being replaced by David Gilmour. Bass player Roger Waters then became a tour de force within the band and remained dominant until his departure in 1985.

'The Piper at the Gates of Dawn', released in 1967, was the band’s debut album and was well received at the time and is now considered a prime example of British psychedelic music. The reason Barrett was let go from the band was for his excessive use of LSD causing him to spend concerts staring into space or playing one chord for the whole performance.

After Barrett’s departure and the introduction of David Gilmour the band released the album 'A Saucerful of Secrets' which reached No.9 in the UK charts and is the only Pink Floyd album not to chart in the US. It featured the 12 minute epic title track and hinted at what was to come from this band. They were then recruited to produce the soundtrack for the film, ‘More’, which was released in 1969. The music was released as an album in its own right called 'Soundtrack from the Film More'. They then released the double album, 'Ummagumma' which was an avant-garde mix of solo projects, studio experimentation and live recordings. The album was critically acclaimed and proves Pink Floyd’s most popular release yet charting at No. 5 in the UK. Their next album, 'Atom Heart Mother'. proved a great success and reached No.1 in the UK and No. 55 in the US. This allowed Pink Floyd to embark on their first full US tour.

1970-75 was the bands big breakthrough period and produced what many consider the band’s two masterpiece albums, 'The Dark Side of the Moon' and 'Wish You Were Here'. 'The Dark Side of the Moon' became the band’s first No.1 in the US and is the third highest selling album of all time (behind 'Thriller' and 'Back in Black') selling over 45 million copies worldwide. It stayed in the US Billboard Top 200 for 741 weeks. It only ever reached No. 2 in the UK but staying in the charts for an incredible 301 weeks. 1975 saw the release of 'Wish You Were Here' which was just as well received by critics and fans alike and is the only Pink Floyd album to chart at No.1 in both the UK and the US.

'Animals', their next album release was a highly political album and although reaching No. 2 and No. 3 in the UK and US charts respectively it wasn’t well received by critics. 1979 saw the release of “The Wall” which gave Pink Floyd new acclaim and included the likes of 'Another Brick in the Wall (Part 2)', 'Comfortably Numb' and 'Run Like Hell'. It sold over 11.5 million copies and was certified 23x platinum by the RIAA.

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1985 saw Waters leave the band and Gilmour take up the leaders mantle and enjoyed success with the release of “A Momentary Lapse of Reason” which charted at No.3 in both the UK and US and then in 1988 released the double album, 'Delicate Sound of Thunder'. In 1994 the band released 'The Division Bell' which was the 2nd Pink Floyd to reach No.1 in both the UK and US. 1996 saw the band inducted into the Rock and Roll Hall of Fame. Pink Floyd appeared at Live 8 and it was hoped that the band would take up a $250 million dollar offer of a world tour but they refused.

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