GENTLE GIANT

"Giant for a day" is again a wrongly chosen album title that suggests a good familiar progressive music by the band. It starts on a relatively good note by strongly reminding of the modern Yes (vocals, rhythm section) but the music gets even more straightforward (and boring) after that. GG produce mildly memorable melodies and vocals got more digestible ("It's only good-bye" is a good attempt). Apart from 2-3 songs, the album is really bland. The lyrics could not have been earnest after years of high standards. This is best to be avoided or forget about the Gentle Giant moniker to avoid disappointment.

Gentle Giant really started to cut down on their ambitions and aspirations on the deceivingly ambitiously titled "The missing piece". Music gets less complex, somewhat more accessible but in the end, none of the audience may be happy. It's not that the band cannot produce memorable radio friendly cuts - listen to "I'm turning around", the band seems awkward at merging pop with prog unlike Genesis, Yes and Camel did it, more naturally. Vocals were already an acquired taste and even more so for the pop material. The only mastermind who still deserves high praise is the keyboard player who still tastily supports the overall band sound. The rhythm section sounds bored. "Memories of old days" is far away from their previously complex suites but let's recognize the band for attempting to create a listenable epic. Not recommended to anybody but GG fans.

One of the most complex 70's prog rock live albums out there? Possibly. GG proved to be compelling live players (I would love to have a single camera on the keyboard player who must have done a lot of context switching). The choice of material is great, focusing on the the material before 1977 and preferring variety rather than full length. There is also a good level of improvisation on the drum/guitar solo pieces. Naturally, vocals aren't overdubbed and thus more down to earth but still impressive. The band succeeds in creating a dense yet music friendly atmosphere. The sound is OK, does not overwhelm the listener but the instruments can be distinguished, otherwise I would have given it 5 stars.

The band was confronted with a daunting task of matching the previous masterpiece "Free hand" (it wasn't possible to overachieve it in 1976) and they didn't lack experimentation on the 1976's "Interview". The band is still deeply rooted in complex progressive rock and medieval music but allowing new synths and beats to appear. The first track is astonishing work on the organ/piano, typical GG vocals, rhytmical complexity (not sure how to play this cut live), this is still GG at their best. Simplification signs arrive with the reggae workout "Give it back" which is still more complex than 99% reggae works in the world. It is more accessible and still contains tons of keyboards. "Design" is a step in avantgarde with vocals providing tempo, background and lead melody whereas "Another show" has a whole lot of dynamic pyrotechnics in the 3,5 minute. "Lost my head" alongside the first track match the GG best of material although with the latter it is more for its execution than invention. GG playing is no worse than before but let's admit it, the compositions are less memorable and inventive. 3,5 stars

Many early 70's prog bands hit their most mature and sometimes also the best album between 1974-1975. Gentle Giant had arguably several very strong albums and it is difficult for me to pick the best one, but "Free Hand" is in the Top 3. The band developed from "The power and the glory" by relying more on synths/moog rather than organ, suppressing the hard rock element slightly and also creating more coherent listening experience. The most important contributor though - the compositions are not only elaborate, they are well thought out and developed. Saxophones soften the vibes. Medieval elements are very present and they almost get at the level of "Gryphon" apart from vocals which are much more advanced. "On reflection" is an extremely well executed medieval-inspired piece. The title tracks marries airy moody keyboards with funky clavinet. "Mobile" leaves the album on the active challenging note that brings promises to the future. I'm very thankful, once again, for all the keyboardist contribution which really create the backbone of the instrumental sound and moods. One the best prog masterpieces of '75 and a crowing achievement by the band.

And there goes the album with the most decent prog rock cover and title! GG took their mission and chops seriously once again and deliver the album which is, in my opinion, little surprising and rather, continues in their mid 70's slightly streamlined but still very powerful and unique maze of complex rhythm changes, brilliant vocal exercises and excellent symphonic moments. The first track, "Proclamation" can be a suitable representative track of the album with all traits I've mentioned above. It is also less repetitive that what you hear later through the album. "So sincere" can be rhythmically one of their most challenging track, sounds very incoherent at first listens but you'll hear the binding motive later on. "Aspirations" has a modern facade with lush keyboards, simplified drumming and greater accessibility. "Playing the game" is the second great epic on the album with typical GG motives. The second half of the album is slightly worse but all in all, it is still a very strong album.

Gentle Giant being down to 5 musicians do not let the listener notice it too much. The sound is still very rich mainly thanks to the myriad of keyboard sounds and the keyboardist mastery of complex arrangements and hooks. Drumming has become a bit more streamlined (at least they sound more contemporary). Guitar playing gives harder edge to the music but can become quite muscular and supports the progressive direction. As usual with GG, the first track blows me away, this time it is less because of vocals and more because of very complex rhythm structure and subtle keyboard workouts. "An inmates lullaby" is an impressive lush vocal driven lullaby, maybe the most sophisticated one you've ever heard and you won't feel asleep easily ;). "Way of life" combines disco-like beat with a high number of rhythmic shifts and even medieval mini-suites with symphonic moments. This piece is overfilled with progressive moments and becomes to the best tracks by GG. It proves that even though GG could be dissonant, they could also bring harmonies together. "Experience" is perhaps the most known composition with a catchy hard-rock hook. "In a glass house" deserves the same merits as "Way of life", full excellent upbeat playing, energy and even guitar riffing.

Gentle Giant released to excellent albums in 1972 and I find "Three friends" to be a better one because of its soundscape, it is very experimental and no signs of compromising yet. It also has longer compositions to immerse in than "Octopus". "Prologue" has an ominous start and reminds a bit of King Crimson and Magma but no way ripping anything off, the rhytm is very irregular, the bass sets the tension and keyboards greatly fill the space with Hammond/synths/moog. "Schooldays" brings alteration with medieval vocals and jazzy keyboards. How they managed to combine this masterfully with the evil seemingly unrelated piano chords is beyond my understanding. The third part of the composition is a venture into a fast honky-tonky territory. Incredible amount of ideas. "Peel the paint" is one of the most successful GG hard rock composition, but don't think of a few-second riff, this one has a complex and long hook, I also love the raw guitar and intensive drumming. "Three friends" is a beautiful symphonic composition with semi-church organ/melotron and excellent vocal harmonies. It has a majestic chord sequence that Focus wouldn't be ashamed of. Excellent GG album, once again.

The band does not make any trade-off in creating another ultra-complex, non-commercial output that few other bands could match. Using no conventional song format and also not relying on loose jamming, crafting music filled with so many ideas is a very daunting task. Nevertheless, I still thing that this one is more memorable mainly thanks to the developed classical music inspired singing that has become GG's trademark. The first composition is already a masterpiece (primary falsetto vocal reminding of Focus), great elegant chord sequences. The second track is not that distinctive but what an achievement on the King Crimson heavy-like "The house, the street, the room". The chorus is excellent with great riffing and then mellow keyboard/vocal led movement. "Wreck" is another distinctive number with folk main motive and Renaissance thanks to intelligent harpsichord and flute intermezzos. The soaring guitar complements the emotional track. "The moon is down" is notable for its keyboard-heavy footprint be it elegant or playful. Gentle Giant were in lead in 1971 when it comes to compositional complexity. While other progressive rock bands may have had better playing abilities or create more symphonic pieces, GG were the most elaborate and dense.

Gentle Giant started strong and aimed at on their debut album. They are certainly among TOP 10 UK progressive bands of the 70's yet underrated by anyone but prog-lovers, probably because the high complexity and lower accessibility. A large line-up from the first album with multi-instrumental capabilities opened wide door to the progressive rock realm. At a relatively young age, the band displays familiarity with hard-rock, classical music, folk music and 60's psychedelia. The first track is absolutely amazing, very complex but perhaps the only catchy one. GG as no fear of going through irregular rhythm, adding exotic instruments, change styles abruptly and create sonically rich portraits (especially when keyboards are involved). "Nothing at all" at its 9 minutes could be mistakenly considered to be a complex opus but it is a rather pleasant psychedelia number that is interrupted by drum soloing and avantgarde dissonant experiments. Astonishingly strong debut!