In the early 70's, the music scene it seemed small and the potential U.S.and English (the world's leading exponents of rock).'s thirst for the industry to seek more and more fads and trends, which were not invented at that time (rock, pop, beat, folk, psychedelia, hard, progressive ... etc) are not stopped and dived all over the world in search of something new.The tentacles of the Phonographic impressive machinery had set eyes on Europe and itsmusicians musical tradition, not in vain Europe is home to musicians of the first order through the historia and a school inherited from the great classics of past centuries, except that Europe itself lived not only with the British market if it possessed its own market to a huge musical variety and quality, although quite distant from the English and Yankees primates based on language and reasons for industry (it is clear that the major producers and companies were Anglo-Saxon)Before any group here could enter a U.S. or English rancking, which is much like enteringin a country if that country did not want it to be very good for the artist, group or disk.But in 1973 all that changed radically, if on one hand things were to be different inconcerning the musical (large companies seeking a panacea) in social and political changes were very favorable towards the music, England's entry into the European Common Market, and this managed to bring a number of advantages exploited by the music immediately.As I said before Europe had a wide and rich musical sense but also had something that had not whites: Vanguard changed obviously in England progressive rock and psychedelia hadperhaps this was too avant-garde, but it was very rock, ie rock formula first and thensymphonic and psychedelic, but not musical experimentation and research, something that if groups possessedEuropeans.By the end of 1972 the international music press headlines highlighted with a singularBritain's traditional, so long accustomed to sweep in, completely closed to allthat was not British or American (except for isolated cases, such as Los Bravos,James Last and others who had some hits in the British charts) ... that England then placed in Pop Polls (charts) to an incredible number of Dutch and German groups like Focus, Can,Amon Duul, Tangerine Dream etc ...The whole world began to open their eyes and think that single detail, why this massive irruption of European bands in the UK charts closed?. It was clear that the interest was Anglo-Saxon industrial Lizard everything music and give money out, except that there was a very different European rock English and American, while retaining some similarities, the product of years of subjugation to the rise anglosajon.De then suddenly a world that was destined to be the receiver, began to be in first emitter potential.A group that has the merit of breaking down the walls Focus was British and American, who was elected Group of the Year 72 (which is like signing a statement of principles on next hits) and a couple of months later placed two LPs at the same time (one double) at the top of the UK charts, something awesome to not be an Anglo-Saxon group, then no one is surprised when the albums Can, Guru Guru, Floh de Cologne, Neu Faust ... break into the UK charts to the disbelief of European public.While this was happening Focus had already reached the top-100! American, breaking new ground for salto.Pero others attempted the course that things are not as easy as they seem to a group edit your LP's in England or America, has signed a separate contractwhich is taken into the country of origin with the editor of naturally sing in English mismo. but fortunately the music was instrumental vocal.Es why many countries, thegroup albums German, Dutch or Italian came through his English publisher, ma-imported manner (in Spain) not by their respective companies in the country of origin, another ArtimaAnglo NAS, which the Americans and British was still a business, even if they had give money to people who were not British or Yankee.Soon the demand for European groups came to be so strong that there was no British publisher that had no his group ¨ aleman.De rock quality that way soon came to be used as a business, but 1973 he met musically so the rise of a good number of ideas and sounds, either through policy market or swallowed everything.But what they thought the British and American musicians, figures and names as heavy gauge to shake an economy so strong (the royalty income from Anglo groupsimpacted so important in the U.S. and England) the ¨ European ¨ meddling?veterans were able to appreciate the opening, so that could mean for further expansionthe sonic possibilities in the context of the 70, but was unable to be at stake the supremacy of British rock, which no one argued otherwise.Viewing this vision today of what has been the story did not really realize what we reallytant was then, so at that time the impact that caused the findingpotential was truly unique European relief, then speculated several optionsthe German rock boom (curiously labeled most of the European rock in this term)would be a simple further step in development of musical concepts, encrypting only the change in search for novelty by the industry and the public, who were looking events ...and they saw beyond the Anglo-American platform.If that whole European movement increased its expansion, it was clear that they could be potential CIA autonomasia rock (though that was really almost impossible), and decreased on the contrary, barrier control and ideology of white supremacy was unquestionable. But now with the passage of time we can not imagine what might have happened had it not been for the great energy crisis in 1974 just maybe they were cut from the root expansion ...?But that's a story that will see much later, Europe's main musical block isGerman, Deutsch Rock named as ¨ ¨ is more strong consolidated and influences from other groups European countries, their names are Karl-Heinz basic Stockhausen who managed the music-machine link in full, the inventor of electronic music, and Rolf Ulrich Kaiser German scholar of rock or Meisel, Korber and Wendel, creators of the first avant-garde labels Germans.But the German machinery was founded and since 1968, the beginning of the movement bavaro with the help of the creators previous · ¨ and other musicians, but with a standard group that Amon Duul opened the way for all others and culminating with the most advanced in full explosion of the genre:Can and Tangerine Dream.Only in the year 72 were issued about 500 LP's of music avant-garde, with a supremacy of some already established as Agitation Free, Faust, Kraftwerk, Tangerine Dream, Neu, Can and Amon Duul 2 (other version of the Amon Duul). This power of the development of German industry, shows the organization media, selectivity and quality of their music, something that has not escaped the eye of the media communication around the world (perhaps with less impact in the English media) for reasons obvios. Las Germanic foundations based on Wagner, the great leader, his violent music, sound huge, Sonic the baroque, all joined the Germans in the spectacular use of rock music is bursts becomes instrumental in lavish trimmed with deep emotional development of rivers-music them, some groups of subjects developed 30 minutes! stunning apocalypse tumultuous all sounds dimensionalizado in space and time, with a combination of inventiveness and fusm in complete concentration, to freedom for improvisation and research, something sublime, in fact some British progressive rock musicians were astonished to hear these issues.A producer of great prestige in the London area of the era named Alan Parsons (not yetwas dedicated to releasing albums under his name) came to declare that never would have thought to do that music, particularly the atonal sounds so rich and they produced, and that was one of the Wizards of the Anglo-Saxon era technology, as producer of Pink Floyd, Al Stewart and others ... and head of production of the legendary Abbey Road studios Emi.That was the main source of attraction of German rock, his character spatial infinity, which captured the cosmos and your fantasy on each disk.But among the great crisis and the convenience of English and American markets were destroying little by little initial revival, the dollar slowed the expansion, or at least softened, many of the bands were sold and the quality fell slightly below the international market, but and this what distinguished them was the movement with respect to others, never came to disappear swallowed by the Anglo-Saxon industry, but it surguiendo the following years new groups and new works with a more advanced approach around the electronics and space, but keeping in the specifically European market, where it is a movement widely accepted and admired.In cities like Berlin, Frankfurt, Hamburg, Cologne, etc ... is very common today to attendavant-garde music sessions with musicians from the likes of Hans Peter Klaus Shulze-Scheme or between others still retain an era that flame which surfaced in the world but through no fault of the music and the big dollar industry complete never ceased, although perhaps someday returning to resurface with other iquietudes and ambitions, time will tell.