b o b

If you've read my other Gentle Giant reviews here on Ground and Sky, you probably know that I'm not quite as enthralled with the band as most prog fans seem to be. That said though, this first album isn't bad. Closer to straight rock (or I guess I should say straight prog) than any other GG I've heard so far (but then I haven't heard the last couple where everyone says they sold out). This disc doesn't show many signs of the counterpoint-heavy style the band later became famous for. Several songs on this disc have a somewhat "precious" feel to them, either featuring overly-delicate melodies or goofy lyrics about giants, vampires or "funny ways". Oddly, it's a couple of the most musically twee tunes that are my favorites from the disc - "Isn't It Quiet And Cold" and "Nothing At All". I never noticed the similarity to Queen in the former until I read Eric's review, but now that he mentions it that song really does sound like it could have been done by Queen. As a side note - does anyone know what the deal is with the little keyboard riff that pops up here and there on the album? It first appears before track three, then again at the beginning and end of track four, and finally one more time at the very end of the disc. It's not connected to any particular song, it just flits in and out between tracks like it's haunting the album. Very odd. review by Bob Eichler — undated —

m a t t

Gentle Giant's first recording — like the debuts by numerous other prog bands in 1970, Year One post-In The Court of the Crimson King — is formative but not too far removed musically from their later, better-known albums. This is because, in addition to providing the inspiration, Crimson King started a movement and lent a purpose and structure to the ambitions of many an early progressive-minded rocker. That album's influence can be heard on dozens of releases from 1970, debuts or otherwise. A contemporary listener will likely find the packaging of Gentle Giant either quaint or cringe-inducing, probably depending on that person's age: the cover, the gothic script and the corny story about a rehearsal session at a "cottage in the countryside" being crashed by "a Gentle Giant" are likely the products of youth, too many bong hits and the pastoral fantasies of the 1960s counterculture. That aside, I find the music on this album to be generally very good. One thing I admire most about it is how they managed a steady control over the dynamics of their sound — the bluesy rock riffing doesn't sound like a crutch and the more "progressive" elements aren't merely window-dressing even if this is an area that would see fast development on later releases. "Giant," a majestic-sounding song with soft-loud dynamic shifts, is probably the best example on the album of the kind of music that Gentle Giant would later be known for, although Derek Shulman clearly enunciates the lyrics, so exhortations to "See the Giant/Feel the Giant/Touch the Giant/Hear the Giant" don't go unnoticed. Tommy, it isn't. "Funny Ways" is a fairly strong ballad (though the "I Talk to the Wind" comparisons are valid) with a really neat instrumental middle section. "Alucard" is an aggressive, arty, Crimson King-inspired piece that contends for my favorite on the album, even if the lyrics are again kind of weak (about being accosted by a vampire). I especially like the rubbery, sinister synth tones used on this track. "Isn't It Quiet and Cold" is evidence that, like pretty much every other English band of their day, Gentle Giant were influenced by the Beatles; the track sounds like a bit of White Album-era Paul McCartney whimsy, all the way down to the vocal harmonies. Other than an unexpected xylophone solo, I find it to be a throwaway. "Nothing at All," and "Why Not," in my opinion, make the most out of Gentle Giant's strengths at this stage of their development. They are both overtly rock-based; indeed, each song has some heavy riffs supplied by Gary Green that sound as if they were mined from a similar source as Tony Iommi's in Black Sabbath. "Nothing At All" contains a boring drum solo, but other than that I think it is very good. "Why Not" finishes with a nice instrumental rave-up that reminds me of an Allman Brothers jam. The finale — a short rendition of "God Save the Queen" — is a silly idea that should never have made it onto the record. All in all, though, I think this album is very good and should not be overlooked. The band got more "proggy" and sophisticated on later releases, but I think a good number of the songs here are keepers. And where else are you going to see the words "Frank the Roadie" written in gothic script? review by Matt P. — 3-7-05 —

e r i c

Gentle Giant's first release is a mixture of rock, blues, and the progressive music the band would be known for. With the three Shulman brothers and keyboardist Kerry Minnear at the helm, the band comes out with an eclectic debut. The horns are more prominent here than on any release after this. "Giant" opens the record and is the most adventurous track, and my personal favorite. From the opening organ strains, this song would comfortably fit in with their most progressive songs. The song features a variety of changes, and I especially like the use of the mellotron in the midsection of the song. The choir-like vocal that leads out of this section and back into the song is also chilling. "Funny Ways" became a feature in the band's concert repertoire for years to come, and though a relatively mellow song, it has some very powerful moments. The samba-like piano section provides a real surprise. The band combined a variety of instrumentation on this release as well, showing talent with woodwinds, violins, cellos, etc, along with typical rock instrumentation. "Alucard" again hints at things to come, with more progressive arranging, including some interesting vocal effects in the verses. "Isn't It Quiet and Cold" is a very charming acoustic number that gets the toes tapping, and sounds like something Queen would do. A short xylophone solo from Minnear makes this one just plain fun. "Nothing At All" opens with a melancholy musical setting of 12-string guitars and harmonized vocals. Suddenly, the band adds a bluesy riff that appears throughout the song. I have little use for drum solos at live shows, and there is no need for one on a studio record, but nevertheless there is one in this song, which ruins any momentum the song may have had up to this point. "Why Not?" adds the bluesy rock formula including some room for guitarist Gary Green to stretch out. The softer parts with recorders and Phil's vocals are really great in this one, again a large contrast to the songs blues rock feel. "The Queen" is just a humorous instrumental. This does show the inventiveness the band would continue to use to expand and ultimately perfect their sound. Gentle Giant was never a band that you can pin down to a specific sound, and they continued to evolve throughout their career. A decent debut. review by Eric Porter — undated —