Free Hand (Gentle Giant, 1975)

Luckily one of the most devilish prog rock songs ever, based on jazzy (and also folkish) keys and a fast tempo ballad, but also including an amazing series of changes, interludes, musical instruments and variations on the main theme. It is almost impossible to label such a song (and any GG's song, as to that), but "Free Hand" has what I call a touch of magic, with all those luna park sounds and syncopated rythms.

"Free Hand" was the seventh studio album by Gentle Giant.

The unifying sung theme dances between the incredible list of instruments required by this track, things like clavinet, synth, electric piano, woodbklock, cowbell... simply anything they could get their hands on! This is Gentle Giant, my friends: nothing is predictable or usual, still such a challenging music is never unpleasant. As they say: Now my hands are free from the ties!

Playing The Game (Gentle Giant, 1974)

"The Power And The Glory" comes from Gentle Giant's intermediate era, between the unpredictable early albums and the more mainstream rock late ones. Maybe that's why songs like this "Playing The Game" still have an everchanging structure, including tempo changes, enjoyable sounds, jazz-rock switches and melodic passages, but also are fully enjoyable by all publics. The sung theme is pleasant and original, while the long instrumental passages include progressive interplays and improvisation-like moments.

"The Power And The Glory" was the sixth studio album by GG.

The main theme comes back here and there, and so does the starting riff, giving a well structured plot to the track. As usual with the Giant, the rythm is irregular and the drums include many innovative solutions. The lyrics show the political side of the band, via the character of the King and a coherent metaphor comparing social life to a card play, a concept you'll also find elsewhere in the album. In short, these are Gentle Giant in all their power and glory!

Isn't It Quiet And Cold? (Gentle Giant, 1970)

You'll find many tracks from Gentle Giant's debut album in my blog and this happens for very good reasons. First of all, this self-titled LP features all the diversified and unexpected souls of the band, then it also includes some of their most memorable melodies. This is the case with "Isn't It Quiet And Cold?", belonging to the acoustic and almost medieval side of the Giant.

In the hands of the Giant...

 

The delicate vocals, the rich choice of acoustic instruments and the hironic lyrics are but three of the many virtues of this short and effective track. I also recommend the string intro, the pizzicato accompaniement and the vaguely Beatles-like main theme. That said, I'm sure you don't need any encouragement to listen to this. You know its trademark, so...

Funny Ways (Gentle Giant, 1970)

The very roots of progressive rock are in a bunch of songs released between 1969 and 1970. This one definitely belongs to such a noble club. "Funny Ways" comes from the Giant's first album and explores both the folk and jazzy moods, two essential elements in prog. It also features an electric guitar solo, so that we can't forget progressive rock is rock, after all.



A very early press photograph of the band.

 

The vocal harmonies, the creative drumming and the beautiful melody are other good reasons to listen and re-listen this track. The abundance of acoustic and electric instruments and their perfect mix are Gentle Giant's trademark: violin, trumpet, cello, sax, a collection of drums, guitars and keyboards... all is there for the listener's pleasure. So, why are you wasting your time reading my silly introduction? Go and enjoy "Funny Ways"!

Nothing at All (Gentle Giant, 1970)

This is exactly what I call a prog song. A gentle ballad, featuring a well found melody, with a good deal of vocal harmonies too. Then, a series of isnstrumental parts, ranging from the most structured ones to apparent improvisations.  In their first album, Gentle Giant were already fit for the great prog game, as this song proves too well. Guitar strong riffs, heavy rock vocals, drum solos, fully melodic themes, classical music quotations, free jazz passages go side by side in a single track.

Gentle Giant's first album was a real prog Landmark.

Unpredictable is the word to describe such an ever changing song... nine minutes of musical adventures! If the Giant's name is so popular today among all prog fans, whatever their favourite sub-genres are, is for this fantasy-driven kind of compositions. Many bands tried to re-create a song like "Nothing at All", some actually succeeded, but no one did it better than the Giant, believe me.

The Moon Is down (Gentle Giant, 1971)

This track comes from "Acquiring The Taste" and is one of my favourites ever in the Giant's eclectic production. There's anything Giant-esque in it: the medieval choir arrangements, the risch and even unusual instrumentation, some sudden tempo changes, instrumental passages and so on. I like very much the sung theme, but I'm especially charmed, as usual, by the inexhaustible fantasy of this band.

A milestone in prog history: "Acquiring the Taste".

This song is like an ever changing water, including dozens of good ideas and never lingering on them. I bet many other artists could get ten good songs from this material, such it is abundant, but this was the most challenging phase in Gentle Giant's career, a real blast of creativeness and unpredictability. In a word, prog at its best.

Memories of Old Days (Gentle Giant, 1977)

This is a song I like very much for his folk roots and for the slightly acid sound the band found out for it. Taken from "The Missing Piece" album, this song features only acoustic instruments, apart for the keys here and there and the bass guitar. There's a flavour of Middle Ages meet the Far East. Derek Shulman's vocal performance is tight and perfectly fit in the sharp sounds dominating the beautiful arrangement.

Not a great album, "The Missing Piece",

but with some hidden treasures for you to discover.

The melody is captivating but not at all a trivial one and the whole song has a movement like waves on the shoreline. All is fluid and flowing, but never too sweet, in an admirable balance between old and new, easy and daring. 7'44" of heavenly music, if you ask my advice. One of the last Giant's pearls.

In A Glass House (Gentle Giant, 1973)

The title track of the Giant’s fifth album is one of the best is one of the richest and most intriguing prog tracks I've ever heard. All the album is a very ambitious one, but this song is an evergreen favourite. Played with basically acoustic intruments, not only this 8 minute song displays an astonishing variety of instruments, many complex plots and beautiful choral arrangements, but it's an astonishing exemple of what progressive rock is.

Gentle Giant's line-up for "In A Glass House".

All genres melt here: prog, classical, jazz, baroque and plain rock follow one another in such a natural way one understands musical genres are but a make-believe and this is another little miracle by the Giant. Some passages (especially the violin ones) are simply perfect and even if Kenny Mennear's voice isn't up to Phil Shuman's, this intricate fast tempo song really is one of the most acclaimed standards of the band. What else should a poor prog fan ask for?

On Reflection (Gentle Giant, 1975)

As always, Roberto Rizzi reads my mind and delights me. This track, taken from Gentle Giant's "Free Hand" album, is one of my favourites ever. A dreaming jewel, I daresay quoting a famous novel by Theodore Sturgeon. Thank you once more, Roberto (and thank you Giants, of course!).

“On reflection” is a wonderful tune from Gentle Giant. It begins with a flute riff, accompanied by violin, violoncello and xylophone. It's also a reference to classical music and Gentle Giant does it very well. The instruments follow one another in a very intricated way and this type of composition is the signature of the group. At the end of the riff, Gentle Giant start to sing and no instruments are involved. The Shulman brothers, Minnear and Green sing in a peculiar way, because they do not sing the same vocal line, but, as in the overture riff, every voice sings a singular tune, setting up a wonderful atmosphere. The track is reminiscent the way Genesis played their 12 strings: same sounds, but played differently.

 

Richard Evans' cover reminds me something about the Addams Family...

After this splendid virtuosism, the flute riff is repeated with more typical rock instruments: electric guitar, bass, drums and keyboards. Then, on this riff, Gentle Giant sing the vocal line, previously played without instruments. With “On riflection”, Gentle Giant show great musical talent once again. Another pearl of the progressive rock!

Roberto Rizzi

Think of Me with Kindness (Gentle Giant, 1972)

I like this song very much. The melody is so well found and the sweetness of the scoustic arrangement is powered by the softness of Ray Shulman's vocals. Just a simple ballad, "kept simple to retain the essentially intimate mood of the piece", as the group say in their liner notes. The "Octopus" album features more structured and also well known songs, but this one's a little and bright jewel, IMHO.

Gentle Giant at their best.

Now, the lyrics. The song is about a fading away love, and I never read such a tender text. When a love comes to an end, there's still so much to remember and so many reasons to think of the other "with kindness". Prog meets love song.