Van Der Graaf Generator is sort of an oddity among progressive rock groups. Back in their 70's heyday, they were a band that was just as likely to get props from the punk scene as they would from fans of Keith Emerson's noodling. In a day when prog rock was reviled, they were respected.

With their recent reformation, EMI seized the opportunity to remaster and reissue the band's back catalogue as well as lead singer Peter Hammill's solo debut. These nine offerings offer vastly improved sound quality over their previous CD releases as well as bonus cuts and interesting essays and liner notes.

The Least We Can Do Is Wave At Each Other

Actually Van Der Graaf Generator’s second album (1969’s Aerosol Grey Machine was the first, though that was essentially a Hammill solo release in all but name), 1970’s The Least We Can Do Is Wave At Each Other brilliantly sets the course for all future VDGG outings. The disc contains some of the band’s best work, including the moody opening number, “Darkness (11/11)” and the stunningly beautiful “Refugees.” Hammill’s dark lyrics and distinctive though highly imitated vocals, Hugh Banton’s solid contributions on organ, Guy Evans’ jazzy drumming and David Jackson’s blaring sax are all present here, as is Nic Potter’s bass. Bonus tracks on this remaster include the single version of “Refugees” and its b-side, “Boat Of Millions Of Years.”

H To He Who Am The Only One

Midway through the recording of the band’s third album, H To He Who Am The Only One, Potter left the group. The versatile Banton took over Potter’s parts by playing both bass guitar and the bass pedals on his organ. Another strong release, the band’s second of 1970, H To He… isn’t quite as good as its predecessor, though it still boasts impressive tracks in “Killer” and “House With No Door.” Bonus tracks here are the original version of “The Emperor In His War Room” and a previously unreleased “Squid 1/Squid 2/Octopus.”

Pawn Hearts

Despite originally containing only three tracks, 1971’s Pawn Hearts is considered by many fans to be Van Der Graaf Generator’s crowning achievement. All three tracks are classics – the brooding “Lemmings,” the lovely “Man-Erg” and the epic, 23-minute “Plague Of Lighthouse Keepers, a track where the remastering really stands out. Of interest is that part of this track would be prominently sampled 20 years later on Porcupine Tree’s “Voyage 34.” Bonus cuts here are the original mix of the band’s instrumental take on George Martin’s “Theme One,” the stellar b-side “W,” and a trio of unreleased songs – “Angle Of Incidents,” “Ponker’s Theme” and “Diminutions.” Following Pawn Hearts, the band called it quits for a couple of years.

Godbluff

After returning from a four-year break, Hammill, Banton, Evans and Jackson reformed to release the superb Godbluff. All four tracks here are gloom-ridden standouts – “The Undercover Man,” “Scorched Earth,” “Arrow” and “The Sleepwalkers.” Hammill’s voice is at its menacing best on this release, and the playing is stellar. Two songs that would find their way on to Hammill’s solo album, The Silent Corner And The Empty Stage, are represented here in “Forsaken Gardens” and “A Louse Is Not A Home.” Here in live form performed by Van Der Graaf Generator, the sound quality of these two tracks is far from the majestic quality of the remastered studio cuts, but the energy the band brings to them easily compensates.

Still Life

1976’s Still Life continues in the nihilistic tone of Godbluff. The title track is a flat out creepy tune which is highly effective due to Hammill’s chilling vocals and the sparse instrumentation. “My Room” has a sort of whimsical feel to it with Jackson’s floating sax, Evans’ percussion and some thrown in piano notes. A live rendition of future Hammill solo track “Gog” is the bonus track. 

World Record

World Record marked the last release by the classic lineup of Hammill, Banton, Evans and Jackson, at least until 2005’s Present disc. And this 1976 disc is one of the more underrated in the Van Der Graaf Generator canon. The first thing noticeable is Hammill’s usage of electric guitar, which adds considerably to the instrumentation. The standout is the stunning “Meurglys III,” a 21-minute track filled with Hammill’s excellent lyrics, some previously unheard of crunching guitar riffs, Banton’s solid organ playing and an extended, reggae-ish playout. The gothic “When She Comes” and the majestic “Wondering” are also great tracks with the former also included as a live bonus track, along with a live rendition of “Masks.”

The Quiet Zone/The Pleasure Dome

Following World Record, Banton and Jackson left the band and the group’s name was shortened to just Van Der Graaf. Potter rejoined the fold on bass and the band recruited Graham Smith, whose violin would take over for Jackson’s saxophone. While the songs on this 1977 effort are much shorter in length than on previous releases, they’re every bit as sinister. Smith’s demonic violin and Hammill’s menacing vocals make “Cat’s Eye/Yellow Fever” a standout. “Door,” the b-side “Ship Of Fools” and a demo of “The Wave” make up the demos.

Vital

To end the Van Der Graaf saga, Hammill, Evans, Smith and Porter teamed up with Jackson and cellist Charles Dickie to record the live Vital. A solid 1978 release, it’s probably the least essential of the remasters. The performances are as good (and dark) as could be expected, but it would have been very interesting had a live album from the Hammill/Banton/Evans/Jackson lineup been released in its place. And due to a recording problem, Jackson’s saxophone was lost and had to be added in from the other instrumental tracks from the recording, thus burying it in the mix. “Sci-Finance” and “Nadir’s Big Chance,” both originally released on the Japanese CD, represent the bonus tracks. 

Fool’s Mate

To round out the remasters, Hammill’s debut 1971 solo effort, Fool’s Mate, has also been reissued. A remarkably strong inaugural release, Fool’s Mate sees many guest appearances, namely from Banton, Jackson, Evans and Potter as well as King Crimson’s Robert Fripp and a host of others. Hammill’s original Van Der Graff partner Judge Smith co-wrote a few of the tracks, including the bizarre “Imperial Zeppelin.” The music is far less bleak and much more accessible than Hammill’s Van Der Graaf work, but it’s quite strong nonetheless. Definitely a worthy remaster to pick up. Demos of five of the tracks comprise the bonus tunes.

In Conclusion

So where to start? Since all of the Van Der Graaf Generator material is worth picking up, you might as well start at the beginning. If you already own the non-remastered discs, do yourself a favor and trade those in in favor of these remasters as your ears will thank you for it. If you’re only springing for a few of the reissues, I’d suggest Pawn Hearts and Godbluff. And as I mentioned, Vital is ironically the least important to pick up.