The Least We Can Do Is Wave to Each Other by Van Der Graaf Generator

There are many reviews and analyses of the albums, as well as articles on Peter Hammill, analysis of his solo works, such as Chameleon in the Shadow of the Night and The Silent Corner and the Empty Stage, milestones of "Psychological Prog".

The site also includes photo galleries of the covers and details on the line-ups and tracklists of each album reviewed.

"The Least We Can Do Is Wave to Each Other", released in February '70, is their second album and is considered their turning point record, the one that led them to a more complex, dark and experimental sound, a real precursor of British progressive rock of the '70s.

Although it is the second album, it was the first to be officially released in the UK (the first, "The Aerosol Grey Machine", was only released in the US due to contract problems).

Recorded in just four days (from 11 to 14 December 1969) at Trident Studios in London with producer John Anthony, it was one of the first albums released by the new Charisma Records label.

With this album comes saxophonist David Jackson, whose unique style has become a real trademark for the band, in what is considered the first "classic" line-up of Van der Graaf Generator, thanks also to the arrival of Nic Potter to complete the historic group.

Here's who was in the band:
Peter Hammill: lead vocals, acoustic guitar and piano (on "Refugees").
Hugh Banton: Hammond and Farfisa organ, piano and backing vocals.
David Jackson: Tenor and alto sax, flute and backing vocals.
Guy Evans: Drums and percussion.
Nic Potter: Electric bass and electric guitar.

And what were they doing before this record? Well, everyone had a different path, between studies and first experiences in the psychedelic and jazz-rock scene:

Peter Hammill: A science student at Manchester University, he had founded the group in '67 with Chris Judge Smith. Prior to this album he had already recorded "The Aerosol Grey Machine" (1969), which was born as his solo project but then released under the band's name due to contract problems.

Hugh Banton: Classically trained, he started playing the piano at 4 years old and the organ at 7. Before joining VdGG in '68, he worked as a television technician for the BBC in London. His ecclesiastical and classical background greatly influenced the gothic atmospheres of the group.

David Jackson: Graduated in Psychology and Economics in Scotland, he played in several local jazz-blues and rock bands. Before joining VdGG, he was a member of Heebalob, a jazz-rock band led by Chris Judge Smith (co-founder of VdGG).

Guy Evans: With experience in university and psychedelic bands, he had joined Hammill and Banton as early as '68, participating in the first sessions and the debut album.

Nic Potter: The youngest of the group, he joined in '69, after the dissolution of the first line-up and the departure of bassist Keith Ellis (who went to Juicy Lucy). Potter brought a more solid, rock-like sound to the rhythm section.

A curiosity: David Jackson was invited to join the band precisely because Peter Hammill was looking for someone who could "fill" the sound in a wilder way than a normal guitar. A brilliant intuition.

The album and its title reflect Peter Hammill's existentialist and sometimes apocalyptic vision, a mix of cosmic pessimism and a pinch of human solidarity. The title is a quote from the British painter and illustrator John Minton, as Hammill himself explains in the liner notes.

The full sentence is: "We are all immersed in a sea of blood, and the least we can do is wave to each other".

In short, despite the suffering and chaos of existence (the "sea of blood"), the only important gesture we have left is to recognize and greet each other.

Although it is not a concept album with a story that unfolds from beginning to end, there are themes that come back often, creating a homogeneous atmosphere.  The album deals with global catastrophes and the collapse of humanity (also citing Einstein and his concerns about weapons), moving from existential anguish to melancholic hope, but also analyzes the contrast between spiritual research and the cruelty of history (citing the Malleus Maleficarum and the witch hunt).  Many songs show the individual as a fragile figure trying to understand an illogical or supernatural world, a theme that will become a mainstay for Van der Graaf Generator.

We are talking about a true jewel of British Progressive Rock, with a soul of its own, different from Genesis or Yes.  The atmosphere is dark, tense, almost gothic, a unique experience.  No lead guitar, unlike almost all rock bands of the time, VdGG did not have a lead guitarist.  The sound is dominated by Hugh Banton's distorted Hammond organ and David Jackson's saxophones, who are the star of the show.

Jackson, a true genius, invented a unique style by connecting his saxophones to wah-wah amplifiers and pedals (typical of the guitar, to be clear).  He often played two saxes at the same time (tenor and alto), creating dissonant and powerful harmonies that replaced guitar riffs.  A crazy "Wall of Winds".

And then there is Peter Hammill, the voice.  He doesn't sing, he performs!  A theatrical performance, almost operatic, which goes from confidential whispers to desperate screams.  His lyrics are dense, poetic, no obvious "pop" refrains.

My version is the UMC – 089 615-0, a vinyl reissue released in 2022 by Universal Music Group (UMC). This edition is based on the new 2021 remaster, made from the original master tapes. It faithfully reproduces the original 1970 Charisma Records LP, finally allowing the contribution of each individual musician to be precisely isolated, revealing details that were lost in the original 1970 mix.

"Darkness (11/11)" is a psychedelic, tense and claustrophobic thriller, which represents the essence of "Dark Prog". David Jackson is the centerpiece of the song, with his distorted tenor sax that resembles an electric guitar thanks to the use of the wah-wah pedal. Hugh Banton creates a ghostly atmosphere with the organ, while Guy Evans on drums avoids regular tempos, preferring taut jazz accents. Peter Hammill's voice is theatrical, moving from whispering to shouting, making the piece an intense and engaging experience.

"Refugees" is a delicate and melancholic ballad, which highlights the most "romantic" and sensitive side of Van der Graaf Generator.  Here the classical formation of Hugh Banton stands out, who takes care of the cello arrangements and plays an imposing but sober organ. Nic Potter on bass supports the song with a warm melodic line, while Jackson's flute adds a pastoral touch, making it a true classic of British prog. Masterpiece.

"White Hammer" is a narrative piece that evolves from an almost "ancient" jazz-rock to an oppressive proto-heavy metal finale. The finale is a real display of collective power: Banton pushes the Hammond organ towards extreme distortion (the "hammer" effect), while Peter Hammill uses his voice as an instrument of torment. Guy Evans bangs on the plates creating a sense of impending disaster. A perfect example of how VdGG knew how to use silence and noise to create a special atmosphere.

"Whatever Would Robert Have Said?" is the most technical and fragmented track, with continuous tempo changes and edgy riffs. Nic Potter and Guy Evans show incredible rhythmic cohesion, handling complex stop-and-gos. Potter also plays electric guitar with a scratchy sound, a rare thing for the group. Jackson inserts sax riffs that intertwine with Banton's organ in an almost contrapuntal way, creating an intricate and interesting atmosphere.

"Out of My Book" is an acoustic and dreamlike interlude, which serves as a final "calm before the storm". An opportunity to breathe and reflect before the return to the strength of rock. Peter Hammill on acoustic guitar gives us a light folk touch, while David Jackson stands out with his soft, ethereal flute. Banton completes the atmosphere with delicate touches of electric piano, creating a suspended and soothing atmosphere.

"After the Flood" is an apocalyptic 11-minute suite, the most experimental track on the album. Here free-jazz, avant-garde and electronic come together in a unique combination. Guy Evans is simply imposing with his fast-paced drumming, which perfectly represents the chaos of a flood. Banton adds an extraterrestrial touch with the oscillators, while Hammill's cry "Annihilation!" is electronically processed to inhuman effect. Thanks to the quality of this UMC edition, we can appreciate every single note of Jackson's baritone sax roaring into the finale.

The songs are a journey through extreme contrasts: from acoustic and sweet ballads (like "Refugees") to chaotic, jazz-rock and almost noisy sections (like "After the Flood").  A continuous explosion of emotions.
And the influences? Classical and sacred music (thanks to Banton's training as a church organist), avant-garde jazz and darker psychedelia.  An explosive mix.
In short, while other prog bands sought technical and sunny perfection, VdGG on this album explored restlessness and chaos, creating a sound that many critics today define as "proto-punk" for its emotional intensity.  An album to listen to and listen to again!

Excellent!

My Version

Label: UMC – 089 615-0
Format: Vinyl, LP, Album, Reissue, Remastered, Stereo, Pink Scroll Labels
Country: Europe
Release date: Apr 8, 2022

Tracklist

A1 Darkness (11/11) 7:11
A2 Refugees 6:13
A3 White Hammer 8:08
B1 Whatever Would Robert Have Said ? 5:50
B2 Out Of My Book 3:58
B3 After The Flood 11:34

LineUp

- Peter Hammill - lead vocals, acoustic guitar, piano (2)
- Hugh Banton - Farfisa organ, piano, backing vocals- 
David Jackson - tenor and alto saxophones, flute, backing vocals-
 Nic Potter - bass, electric guitar
- Guy Evans - drums, percussion

With:
- Mike Hurwitz - cello (2)
- Gerry Salisbury - cornet (3)

Listening link on the main streaming platforms at the following links:

Spotify: The full album is available to stream on Spotify.

YouTube: You can find the entire album collected in dedicated playlists or individual remastered songs.

Apple Music: Available in both standard and Deluxe versions.

Amazon Music: The album is included in the Amazon Music Unlimited catalog.

Note: All links to the musicians’ works are in the TAGS under the article title or on the "Artists"