The signature Van der Graaf Generator sound in the 1970s was a combination of Peter Hammill's distinctive and dynamic voice and David Jackson's electronically-treated saxophones, generally playing over thick chordal keyboard parts (such as Hammond organ and/or clavinet). Van der Graaf Generator albums tended to be darker in atmosphere than many of their prog-rock peers (a trait they shared with King Crimson, whose guitarist Robert Fripp guested on two of their albums), and guitar solos were the exception rather than the rule.
Hammill is the primary songwriter for the band, and the line between music written for his solo career and for the band is often blurred.
The band first formed in 1967 while its members were studying at Manchester University. The three-piece was comprised of Peter Hammill (guitar and vocals), Nick Pearne (organ) and Chris Judge Smith (drums and wind instruments). The group was named after a piece of electric equipment designed to produce static electricity, the Van de Graaff generator. The name was suggested by early member, Chris Judge Smith (the misspellings are accidental). On the basis of a demo, this blues- and jazz-influenced first incarnation were offered a recording contract with Mercury Records.
In 1968, Pearne was replaced by Hugh Banton. The band were able to secure Tony Stratton-Smith as a full-time manager. Through him, the band acquired a bass guitar player, Keith Ian Ellis. Drummer Guy Evans joined not too long afterward. This line-up recorded a series of demos for Mercury, before releasing a single ("People You Were Going To" b/w "Firebrand") on Polydor Records. The single was withdrawn under pressure from Mercury, since it violated the contract band members Hammill and Smith signed the previous year. Judge Smith left the band, amicably, shortly after the recording of the single.
Although the band performed on BBC Radio 1's Top Gear radio show in November, and was touring successfully, it broke up in June 1969. Pressures leading to this included financial difficulties, the theft of the band's gear and transport in London, combined with Mercury's refusal to let the band record and Stratton-Smith's refusal to let the other members of the band sign to Mercury too (only Hammill remained now of the original three who had signed with Mercury).
In July 1969, Hammill went to record his first solo album at Trident Studios. Banton, Evans, and Ellis joined him as session musicians. Through a deal worked out by their manager, Hammill's intended solo album, The Aerosol Grey Machine, was released by Mercury under the band's name in return for releasing the band from their contract. The album was initially only released in the United States with hardly any promotion at all, so sales were minimal.
Ellis left (eventually joining Juicy Lucy and a very brief incarnation of Iron Butterfly among others) and was replaced by Nic Potter, and David Jackson (saxophones and flutes) was added to the line-up. Tony Stratton-Smith formed Charisma Records and signed the band as his first act. Before recording their second album, The Least We Can Do Is Wave To Each Other.
A new sound was established, leaving behind the psychedelic influence of The Aerosol Grey Machine in favour of darker textures influenced by jazz and classical music. The Least We Can Do Is Wave to Each Other was well received, and was swiftly followed by H to He, Who Am the Only One. Potter left mid-way through that recording, and the band decided to carry on without a bass guitarist, with Banton on hand and feet bass pedals. Robert Fripp of King Crimson contributed guitar on the song, "The Emperor in His War-Room".
The Hammill/Banton/Jackson/Evans quartet that resulted from H to He, Who Am the Only One is now considered the 'classic' line-up, and went on to record Pawn Hearts. The album contains just three tracks, "Lemmings", "Man-Erg" and the twenty-three-minute concept piece "A Plague of Lighthouse Keepers". Fripp again provided a cameo appearance on guitar. The album proved highly successful in Italy, topping the chart there for twelve weeks. The single "Theme One" was a success in Italy too, an instrumental piece, originally written by the Beatles producer George Martin as a fanfare for the BBC radio station Radio 1, later to appear on U.S. pressings of Pawn Hearts. They toured Italy for a while, but the shows were plagued by different extremist organizations from Red Brigade to neo-fascists. The band toured extensively from 1970 to 1972, but a lack of support from the record company and also financial difficulties caused the band to implode, and Hammill left to pursue a solo career.
The three remaining members recorded an instrumental album with Nic Potter, Ced Curtis, and Piero Messina, under the name The Long Hello. Their self-titled album (The Long Hello) was released in 1974.
Hammill's split with the group was amicable, and Banton, Jackson and Evans, among others, all contributed to his solo work at various times. By 1975, the members of the band were ready to work with each other again, and they recorded three new albums in just twelve months. The sessions were produced by the band themselves (all previous Van der Graaf Generator albums had been produced by John Anthony at Trident Studios), and displayed a somewhat tauter, more streamlined sound. Godbluff in particular saw Hammill making significant use of the Hohner clavinet keyboard. Still Life followed within the same year.
At the end of 1976, following World Record, first Banton and then Jackson departed in 1977. Nic Potter returned to replace Banton, and in a typically eccentric move Jackson was replaced by a violinist, Graham Smith (formerly of Charisma folk-rock band String Driven Thing). This line-up produced the album The Quiet Zone / The Pleasure Dome. The band also shortened its name to Van der Graaf. Charles Dickie then joined the band on cello, documented on the live double-album Vital. By the time Vital was released, in the summer of 1978, the band had already split, because of lack of record company support in the United States and financial difficulties.
In 1982 a collection of out-takes and rehearsal recordings from the period 1972-1975 was released (initially on cassette only), called Time Vaults. These are not studio-quality recordings.
Banton, Jackson and Evans all made occasional appearances on Hammill's solo albums following the 1978 split, and the classic line-up also played occasionally together. In 1996, the quartet appeared on stage during a concert by Hammill and Evans at the Union Chapel in London to perform "Lemmings" (the whole recording was released as The Union Chapel Concert in March 1997). In 2003, Banton, Jackson, and Evans joined with Hammill to perform the song "Still Life" at the Queen Elizabeth Hall in London. Both of these appearances were unannounced to the audience in advance.
Following the Queen Elizabeth Hall performance, discussions between the band members led to writing and rehearsal of new material in mid-2004. A double CD, Present, containing this material was released in April 2005. A reunion concert took place at the Royal Festival Hall, London, on the 6th May 2005, followed by several European dates in the summer and autumn of 2005. The concert in Leverkusen, Germany on the 5th November 2005 was filmed for a TV show ("Rockpalast") and was broadcast on the 15th January 2006. A DVD from that concert had been announced on Hammill's website in 2006. However, so far only one track thereof, "Wondering", has been officially released (on a DVD that came with the Rockpalast anniversary edition of the German magazine Eclipsed in June 2007).
Hammill stated in a December 2005 newsletter that there were no plans for further recordings or performances by the classic Van der Graaf Generator line-up. In September 2006, Hammill announced that the band would be continuing as a trio, for live and studio work, without Jackson.
A live album, Real Time, was released on the 5th March 2007 on Hammill's label, Fie! Records. It contains the entirety of the band's 2005 concert at the Royal Festival Hall.
In April and July 2007 the band played as a trio in different places in Europe. A concert on the14th April 2007 in the Melkweg in Amsterdam was recorded and streamed on the FabChannel website.
The first trio recording, Trisector, was released on the 17th March 2008. Live concerts were played in Europe in March and April, and in Japan in June, among them, one at the Gouveia Art Rock Festival. There were further concerts in January 2009 in Europe, and it was announced that the band would play several concerts in Canada and the United States in 2009, among them one at NEARfest in 2009. It was the first time Van der Graaf Generator had visited the United States since 1976.
La Rossa
Van der Graaf Generator Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Here I am again, encamped upon your floor,
Craving sanctuary and nourishment,
Encouragement and sanctity and more.
The streets seemed very crowded,
I put on my bravest guise
I know you know that I am acting,
I can see it in your eyes.
That I cannot deny that I have wasted time,
Have frittered it away in idle boasts
Of my freedom and fidelity,
When simpler words would have profited me
Most
It isn't enough in the end, when I'm looking
For hope.
Though the organ-monkey screams
As the pipes begin to spit
Still he'll go through the dance routines
Just as long as he thinks they'll fit,
Just as long as he knows that it's dance, smile-
Or quit.
Like the monkey I dance to a strange tune
When all of these years I've longed to lie with you,
I've bogged myself down in the web of talk,
Quack philosophy and sophistry
At physicality I've always balked,
Like the man in the chair who believes it's
Beyond him to walk.
I've been hiding behind words,
Fearing a deeper flame exists,
Faintly aware of the passage
Of opportunities I have missed.
But the nearness and the smell of you,
La Rossa from head to toe
I don't know what I'm telling you,
But I think you ought to know
Soon the dam wall will break, soon the water
Will flow.
Though the organ-monkey groans
As the organ-grinder plays
He's hoping, at the most,
For an end to his dancing days;
Still he hops up and down on his perch
In the usual jerky way.
Though it might mean an end to all friendship
There's something I'm working up to say.
Think of me what you will;
I know that you think you feel my pain
No matter if that's just the surface.
If we made love now would that change all
That ahs gone before?
Of course it would, there's no way it could ever
Be the same
One more line crossed,
One more mystery explained.
Now I need more than just words, though
The options are plain that lead from all
Momentary action.
If we make love now it will change all
That is yet to be
Never could we agree in the same way again.
One more world lost,
One more heaven gained.
La Rossa, you know me, you read me as though
I am glass;
Though I know it there's no no way in which I can
Pass
Though it means that you'll finish my story
At last I'd trade all the clever talk,
The joking, the smoking and the quips,
All the midnight conversations, all the friendship,
All the words and all the trips
For the warmth of your body,
The more vivid touch of your lips.
All bridges burning behind me,
All safety beyond reach,
The monkey feels his chains out blindly,
Only to find himself released.
Take me, take me now and hold me deep
Inside your ocean body,
Wash me as some flotsam to the shore,
There leave me lying evermore!
Drown me, drown me now and hold me down
Before your naked hunger,
Burn me at the altar of the night-
Give me life!
The lyrical content of Van der Graaf Generator's La Rossa is complex and multi-layered, dealing with themes of alienation, desire, regret, and surrender to physical love. The singer, lacking sleep, food, and vision, seeks refuge and comfort in the presence of La Rossa, their object of desire. They acknowledge that their freedom and outspokenness have led to wasted time and missed opportunities, and that their intellectual posturing has kept them from fully embracing physical intimacy. They feel like a monkey dancing to a strange tune, performing for the pleasure of others, while secretly longing for a deeper connection with La Rossa. In the end, they express a desire for intimacy and the abandonment of all pretense, offering themselves entirely to La Rossa's passion.
The central metaphor of the song is the comparison of the singer to an organ-monkey, performing for the audience's enjoyment while secretly longing for escape. The monkey's dance symbolizes the singer's social performance, while the organ-grinder represents the societal expectations and pressures that keep them trapped. The singer ultimately longs to break free from these constraints, to surrender to their physical desire, and to find refuge and comfort in La Rossa's embrace.
Overall, La Rossa is a profound and thought-provoking meditation on the complex interplay between physical desire, intellectual pretense, and societal expectations. It is a passionate, introspective, and deeply vulnerable song that speaks to the universal human longing for intimacy and connection.
Line by Line Meaning
Lacking sleep and food and vision
I am physically and mentally exhausted
Here I am again, encamped upon your floor,
I am seeking refuge in your company
Craving sanctuary and nourishment,
I need comfort and sustenance
Encouragement and sanctity and more.
I am seeking emotional support and peace
The streets seemed very crowded,
I am overwhelmed by the world outside
I put on my bravest guise
I am pretending to be strong and confident
I know you know that I am acting,
I am aware that you see through my act
I can see it in your eyes.
Your eyes give away your thoughts and feelings
In the harsh light of freedom I know
When I face the reality of my choices
That I cannot deny that I have wasted time,
I have spent my time unwisely
Have frittered it away in idle boasts
I have talked when I should have acted
Of my freedom and fidelity,
I believe in my independence and loyalty
When simpler words would have profited me
I should have spoken plainly and directly
Most
That would have been the best course of action
It isn't enough in the end, when I'm looking
I realize that what I have is not sufficient
For hope.
I need something more to believe in
Though the organ-monkey screams
Like the monkey in a street performance
As the pipes begin to spit
As the organ starts playing
Still he'll go through the dance routines
He will continue to perform his act
Just as long as he thinks they'll fit,
As long as he believes it will work
Just as long as he knows that it's dance, smile-
As long as he acknowledges it is just a show
Or quit.
Otherwise he would need to stop
Like the monkey I dance to a strange tune
I feel like I am performing a pointless act
When all of these years I've longed to lie with you,
I have wanted to be intimate with you for a long time
I've bogged myself down in the web of talk,
I have distracted myself with meaningless conversation
Quack philosophy and sophistry
I have fooled myself with shallow thinking
At physicality I've always balked,
I have avoided physical intimacy
Like the man in the chair who believes it's
Like someone who thinks they cannot do something
Beyond him to walk.
As if it is impossible for them to achieve
I've been hiding behind words,
I have been using words to hide my true feelings
Fearing a deeper flame exists,
I am scared of being emotionally vulnerable
Faintly aware of the passage
I have some knowledge that time is passing
Of opportunities I have missed.
I have not taken advantage of chances presented to me
But the nearness and the smell of you,
Your presence and fragrance affect me deeply
La Rossa from head to toe
You are beautiful and irresistible
I don't know what I'm telling you,
I am not sure what I am saying
But I think you ought to know
I believe it is important for you to hear
Soon the dam wall will break, soon the water
I am about to reveal something significant
Will flow.
I will finally let my emotions out
Though the organ-monkey groans
Even though I feel like I am performing
As the organ-grinder plays
As if someone else is controlling me
He's hoping, at the most,
I am just hoping for the best possible outcome
For an end to his dancing days;
That I can stop performing and be true to myself
Still he hops up and down on his perch
Still, I feel like I must put on a show
In the usual jerky way.
In a way that feels awkward and unnatural
Though it might mean an end to all friendship
Even if it means we cannot be friends anymore
There's something I'm working up to say.
I am preparing to reveal something important
Think of me what you will;
You can interpret my feelings as you like
I know that you think you feel my pain
You empathize with me, but cannot fully understand
No matter if that's just the surface.
My emotions run much deeper than what you see
If we made love now would that change all
If we were intimate, would it alter everything
That ahs gone before?
That has happened until now?
Of course it would, there's no way it could ever
It would have a significant and lasting impact
Be the same
Our relationship would be forever altered
One more line crossed,
One more boundary would be transgressed
One more mystery explained.
One more unanswered question would be answered
Now I need more than just words, though
My need for emotional and physical connection is strong
The options are plain that lead from all
I can see where my actions might lead
Momentary action.
My decision will have long-term consequences
If we make love now it will change all
Our relationship will be permanently altered
That is yet to be
Everything that has yet to happen
Never could we agree in the same way again.
We would never be able to view each other the same way
One more world lost,
A world of possibilities would be lost
One more heaven gained.
But a new realm of possibility would open up
La Rossa, you know me, you read me as though
You understand me better than I understand myself
I am glass;
I am transparent and easy to see through
Though I know it there's no no way in which I can
Even though I realize this
Pass
I cannot change who I am
Though it means that you'll finish my story
Though you might have to finish the story without me
At last I'd trade all the clever talk,
I would give up all my words and intellect
The joking, the smoking and the quips,
All my humor and cleverness
All the midnight conversations, all the friendship,
All our discussions and camaraderie
All the words and all the trips
Every conversation and adventure we've shared
For the warmth of your body,
In exchange for your physical presence
The more vivid touch of your lips.
The experience of being intimate with you
All bridges burning behind me,
I am leaving my past behind
All safety beyond reach,
I have no safety net
The monkey feels his chains out blindly,
I am trying to leave a life of performance
Only to find himself released.
And hoping to find true freedom
Take me, take me now and hold me deep
I want to be close to you
Inside your ocean body,
I want to be immersed in you
Wash me as some flotsam to the shore,
Cleanse me of all that has weighed me down
There leave me lying evermore!
Let me stay with you forever
Drown me, drown me now and hold me down
Consumed by our passion
Before your naked hunger,
Satisfying our desires
Burn me at the altar of the night-
Sacrifice everything for our lovemaking
Give me life!
Revitalize me with your passion
Lyrics © O/B/O APRA AMCOS
Written by: HAMMILL
Lyrics Licensed & Provided by LyricFind
@Fatgeologist
Everyone seems to be talking about the lyrics and the singing, and this is perfectly understandable, but what a kick-arse performance by the band too! All of them totally on fire!
@johnhouse9983
No shit
@steendeertz1996
Hammill writes the brilliant songs and the band plays them brilliantly. A one of an kind writer with a one of an kind band.
@honzivideos1471
Absolutely fantastic chord progression in the end!
@lastrada52
There are great songwriters and then there is Peter Hammill. He will always stand alone because no one can pen a lyric like he does. Most heavy metal bands and Goth bands try but none have come close. Along with his Van der Graaf Generator musicians -- all incredible performers -- Guy Evans' intricate and creative drum patterns right up there in the tradition of the great B.J. Wilson of Procol Harum. David Jackson's otherworldly saxes. This was a band that was even admired by King Crimson's leader Robert Fripp who played with them. And VDGG have been doing it since 1967. Rock & Roll Hall of Fame couldn't shine their shoes. "La Rossa," "Scorched Earth," "Killer," "When She Comes," the now classic punk track that superseded all punk "Nadir's Big Chance," "Mr. X," "Faculty X," "Darkness," "A House With No Door," "Cat's Eye," "Modern," "Theme One," -- astonishing songs and performances. I do not believe any band or musician ever tried to imitate Van der Graaf or Peter Hammill. There was only one Rembrandt. There is only one Hammill.
@mikereiss4216
+John LaStrada They were also admired by punk/post punk icon John Lydon(aka Johnny Rotten). How many prog bands and artists can you say that about?
@AlbertoVO5
John LaStrada you tube has connected hammill/ VDGG fans who, for years, were unknown to me. Before you tube I new about three people going back to, like '79, that dug this scene. I am SO GLAD to read things like this. Right on! Rock and roll hall of fame? Fuck that shit man. Industry tools like them and Rolling Stone magazine will be wondering why they didn't know jack and offer up some pathetic little token of recognition way too late. Hammill is a Shakespeare-like talent to be reckoned with, learned from and intensely enjoyed.
@TechnicolourMan
Love Hammill and VDDG but the same could be said of Neil Peart. No one writes as intelligent lyrics as Neil.
@itkojecockot
@Mark Woollon Peart and Hammill are both amazing, but there is no comparison with Waters...... at least not when it comes to political content...... listen to his lyrics on his "Amused To Death" track...... pure masterpiece
@itkojecockot
@Mark Woollon not talking about music, but lyrics..... and "The Final Cut" is the only Floyd record which I do not own...... it's pure garbage...... that album only showcased, how lost Waters is musically without Gilmour...... pure nonsense :D:D