My Growing Distaste and Intolerance for Preachy, Bombastic NeoProg and its Homogeneity

As much as I admire the kind of music that artists like Peter Gabriel, Mark Trueack, Marco Bernard, Galahad, Big Big Train, Arjen Anthony Lucassen and many others seem compelled to make in this, the 21st Century, more and more I am finding it all quite homogenous and interchangeable, and, thus, rather boring. It has become virtually impossible for me to listen to an album of this type of music straight through because I get so antsy--I'm ready to move on to something different (something I like); the music just drives me away! Plus, these artists are the type that like to put out these monstrously long albums. I've found that I can get into a 40 to 45 minute long album much more easily than I can anything longer than that. (Is my nervous system conditioned from the thousands of vinyl albums I owned in the 1970s--albums whose hand-held liner notes were as valuable to the listening experience as the expensive needle and speakers I had to deliver it?) 

It seems that my recent years of deep dives into the musics of the 1960s and 1970s (Prog Folk, the Psychedelic Rock movement, Jazz and the birth of Jazz-Rock Fusion with its successive rapid evolution) has left me even more annoyed and unmoved by these bombastic, manifesto-delivering world NeoProg artists and their moralizing albums. I am VERY much of their globally-empathetic mindset and greatly admire their fortitude to carry on their personal crusades, but I just don't find the music enjoyable or the messages necessary for me. This makes me sad for I know that these artists are working very hard--that they are very serious in their compositional discipline and artful expression of the conscience-raising messages that compel them to create. I'm just not there anymore. (I see Collapse as inevitable: the consume-and-throw-away mentality is too inextricably ingrained within our species' deepest consciousnesses.) So I apologize. Perhaps these are the artists and albums that I should simply stay away from; I should just let others be, give them the freedom to travel their own path without having to face the negativity of a nay-sayer like me. Hmm. Something to seriously ponder. 

As U2's Paul Hewson ("Bono") was able to convince me back in the 1980s, music cannot, in fact, effect significant social-political change. No matter how much you think John Coltrane or Bob Dylan or The Who or Gil Scott-Heron and Marvin Gaye changed your life, their music did nothing to assuage or change the self-destructive trends in human behaviour. If the studies/findings of scientists like Heinrich Wilhelm Dove, Robert Monroe, Alfred Tomatis, Masaru Emoto, Don Campbell, Jonathon Goldman, Deepak Chopra, and a whole host of New Age musicians have any bearing on the discussion, it would be an incontrovertible conclusion that the vibrational patterns of music have very direct effects on health and well-being--for all species! However, the chaotic cacophony of sound constantly bombarding the first world human since the takeover of the Industrial and consumer-capitalist world has created such a barrage of dissonance that patterns of self-destruction fed by the individual's and collectives' reflective internal and mental/psychological chaos is the pervasive result. 

The dissonant sound of our 21st Century surroundings are, in fact, causing dis-ease. Human health--on all levels: physical, emotional, mental, psychological, social, and even spiritual--is being not only affected by the pervasive dissonant cacophony but it is being dictated by it. The Monroe Institute--one of America's longest-running human health research academies--has concluded many times over that the healthiest vibrational milieu for humans to exist within is one in which the natural sounds and rhythms of Nature predominate: anything else is disruptive, stressful, and probably deleterious. Many pre-Industrial cultures spent significant time and effort developing health-enhancing musical traditions--often within the Nature-immersed surroundings of monastic life circumstances. It seems that the musical traditions of the 20th Century exorcised some kind of a demonic Shadow, dumping this archetypical god of chaos and gluttony out into the visible world for every one to see, hypnotically seducing people to act according to its will: willing people to act from increasingly lower levels of vibrations--from increasingly haphazard and disorderly fields of chaos and mayhem. Where it may be healthy to recognize and discourse with one's Shadow, the dance did not really come with an instruction manual. Addiction and depravity have been loosed to run rampant, openly, throughout society, in the public eye and full media endorsement, with less and less restrictions (spiritual practices) and an alarmingly increased number of vehicles and tools for expression. (If I sound like a preacher-zealot it is because I feel it is a lack of spiritual focus in our lives that is the key and missing element to provide balance to our Shadow side--that the Shadow is running free and unrestricted because capitalist hedonism has distracted and disconnected us from any awareness of our spiritual core. A return to the personal search for a "spiritual path" is essential to a return to health of our selves, our communities, our species, our planet.)  

Art and music reflect our needs. (In fact, our entire field of conscious and unconscious perception is a reflection of the state of our Innermost Being.) We need Beauty, Truth, Harmony, and Love in our lives. Our more-pragmatic ancestors understood the human need for an understanding and acceptance of our species' place within the circle of life, within, not above or separate from, Nature and the natural order of things. The admirable trend in musical commodities to employ instrumentation and traditions of the world's myriad and diverse folk or traditional musical traditions is something I highly applaud. To then subjugate these "innocent" somewhat-natural sounds and forms to exist within, or coincide with, the structures and weaves of modern electrically-produced or -enhanced instruments is, by definition, a debasement, a dilution, of the "purity" of the Natural conditions from which the original instruments arose. This effort and instinct is arrogant in the typical human way of hubris; this "disturbance" of the natural order ("dissonance") only contributes to the entropic, chaotic effect trend toward disharmony and dis-ease (a term that is here intended to include the tendencies toward an accrual of and invitation to tension, struggle, conflict, and war). While the hidden implications of these artists' intentions are obvious to me, I still commend them despite their ignorance and naïveté.

I would like, therefore, to offer my sincerest apologies to all artists whose works have become boring or irksome to me. I had embarked upon this mission to hear and review musics of 21st Century artists with the pure intention of extolling and promoting the new (young) talent of this era. My allegiances and objectives have shifted. As I have reached the twilight years of my life, I feel that there has been some kind of subconscious alarm going off which is warning me against the wasting of my time; I am finding myself increasingly intolerant of that which I feel "wastes my time." You, my devoted reader, for whom I am very grateful, may be seeing/reading a far more selective list of albums and artists in my future pages. in fact, I can already see a wheedling down of the presence of many representatives of the subgenres of progressive rock music that ProgArchives and I have been espousing over the past 15 years. Sorry! That's just a reflection of my own evolution: my own return to a more spiritually-centered life. Praise be to Me!

Gentle Giant

I have been thinking of posts like this before, and now I have the impetus: I want to commit, to a single page, a collection of reviews of single band's discographies--especially the peak years of each band. I'm going to include England's GENTLE GIANT as they have a limited and fully accessible discography, having only produced albums over a brief period of eleven years--from 1970 through 1980. Plus, their string of seven albums, from their debut through Free Hand, represent perhaps the greatest sustained level of top notch progressive rock music production of all-time.

Gentle Giant (1970)

First released in the UK on Phillips Records subsidiary Vertigo on November 27, 1970.

Line-up / Musicians:
- Derek Shulman / lead (1-3, 5, 6) & backing vocals, bass (4)
- Gary Green / lead guitars, 12-string guitar (2, 4)
- Kerry Minnear / Hammond, Minimoog, Mellotron, electric, acoustic & honky-tonk pianos, timpani, xylophone, vibraphone, cello, bass, lead (3, 6) & backing vocals
- Phil Shulman / alto & tenor saxes, trumpet, recorders, lead (2-5) & backing vocals
- Ray Shulman / bass, violin (2, 4), electric (5-7) & acoustic (5) guitars, triangle (2), backing vocals
- Martin Smith / drums, percussion
With:
- Paul Cosh / tenor horn (1)
- Clare Deniz / cello (4)

1. "Giant" (6:22) swirling organ opens this before heavy jazz-rock fusion weave bursts on the scene with Derek Shulman's raspy voice screaling away like Judas on JC Superstar or THREE DOG NIGHT's lead singer, Danny Hutton. There are elements of this song that remind me of URIAH HEEP, THE MOODY BLUES, and even GRAND FUNK RAILROAD. The horns are fun but it's the sophisticated organ work and the unusual stop-and-go nature of the music that really surprise one--especially for a debut album. If there's a weakness it's in the bass play and mix and vocals. The "mellow" or more aptly put, "airy" B part is hard to get used to, but then the extended instrumental passage in the fourth and fifth minutes--with its dominant Mellotron and almost-funky GENESIS-like jazz weave--kind of help ameliorate the odd discrepancies. (8.875/10)

2. "Funny Ways" (4:21) chamber strings open this one before the angelic Kerry Minnear-led "boys choir" vocal weave is entered and added The music turns full rock in the third minute for an instrumental passage that features a very bluesy electric guitar solo, but then everything returns to the chamber palette of the beginning for the choir's send off. Fresh and innovative. (9.25/10)

3. "Alucard" (6:00) organ, rock band with horn and organ accents over which fuzzy low-end Minimoog gets to lead the train. Things quiet down for the entrance of the group vocal--which have BEATLES-like reversed singing mixed into the choir-like weave. The third minute quickly brings in an instrumental passage (one that reminds me very strongly of the modern music of Norwegian band SEVEN IMPALE), taking the listener down all kinds of lanes of differing speeds, volumes, and dynamics. So many twists and turns that it comes to feel like a Dickensian chase scene. (9.125/10)

4. "Isn't It Quiet and Cold?" (3:51) using a sound palette that seems to mimic a cross between a cabaret/troubadour showpiece and THE BEATLES' "Being for the Benefit of Mr. Kite." Brilliantly constructed and realised. Worth far more attention and discussion than it ever gets. (8.875/10)

5. "Nothing at All" (9:08) Again, the orchestral influence of visionary forefathers like THE MOODY BLUES and THE BEATLES come through fairly strongly, and fairly often, throughout the course of this masterful epic. (19/20)

6. "Why Not" (5:31) the heavy blues of JETHRO TULL, URIAH HEEP, and any band that has benefitted from the presence of STEVE WINWOOD come through over the first 90 seconds of this one. Then it all goes surprisingly anachronistic with a weave of recorders playing with the organ, electric bass, and drums. The influence of LED ZEPPELIN becomes quite obvious for the blues-rockin' minute after 2:30 (and so long as the LZed riff continues to carry the song forward. At 4:15 there is a shift into straight on SPENCER DAVIS BAND/GRAND FUNK RAILROAD blues-rock--culminating in an awesome ALLMAN BROTHERS/ZZ TOP-like guitar solo in the last minute. Masterful song-making if highly derivative. (9.5/10)

7. "The Queen" (1:40) a blues rock instrumental rendition of the UK's national song. (4.375/5)

Total Time 36:53

After listening to the Phil Shulman interview series of podcasts as collected by Phil's son, Damon, and grandson, Elliot, I felt inspired to review all of the Phil-era Gentle Giant albums, starting with this one. Then I was surprised to find that I had never written a review of this album.

My impressions, as I now listen to this debut album, cover how I can now hear the acknowledged influences of bands like The Beatles, King Crimson, Jethro Tull, and Black Sabbath (and even uncredited bands like Led Zeppelin, Deep Purple, Crosby, Stills, Nash & Young, as well as standard blues and blues-rock bands--especially when guitarist Gary Green is given the front-and-center position). I can also hear, at times, the incredible diversity of influences/training in Kerry Minnear's background coming out in the music here.

What I hear that is so innovative is the intricacies and subtleties in the music, instrumental performances, and multi-voiced vocal arrangements. Like listening to the youthful exuberance of contemporaries, Mont (later "Dirk") Campbell, Clive Brooks, and Dave Stewart in the band EGG, I am blown away by the vision and virtuosity of these musicians. I like the lyrical content, too, literature-inspired as they are. As always, I feel so blown away and privileged to hear the vocal and compositional talents of Kerry Minnear. He should be revered as an Olympian--maybe Orpheus.

The talent and innovative courage of these artists, as expressed collaboratively in these eight songs, I feel are fully deserving of a five star rating; there are not many debut albums in history that are as polished and groundbreaking as this one--yet one can also feel how all of these experiments and adventures are being pieced together by youths who were trying to find their style, their voice--who were fully aware of the experimental nature of their song productions--perhaps even experimenting for the sake of experimenting. Also, with the advantage of hindsight (knowing the band's full discography and, thus, arc of evolution), I know that the music on this album is very loose and unpolished when compared to the songs to come on future albums. Again, when you get virtuosos collaborating and performing together, there are bound to be impressive and magical moments and passages.

While I appreciate the talent and skill of blues-trained guitarist Gary Green, I am not a fan of this Martin Barre sound/style in progressive rock music. The final two songs of this album, therefore, are, to my tastes, the two weakest songs on the album--despite "Why Not?"'s virtuosity and innovative splicing together of multiple styles.

I actually really like the flanged drum solo in the middle of the otherwise gorgeous Crosby, Stills, Nash & Young-like "Nothing at All." Also, as I listen to this song, I lose a little respect for the band Wobbler because of the obvious fact of their lifting parts of this, almost note for note, for use on several songs on their "Rites at Dawn" album (especially considering these passages happen to be the absolute high points for me on that album).

Had this been the band's only album, we may all be talking about the "untapped potential" exhibited herein. If this were The Beatles' final album, I have no doubt that we would be lauding it as "yet another masterpiece." I feel thankful that Gentle Giant stuck together another ten years (even making it through eldest brother Phil's departure in 1973). The fact that the Shulman brothers, Kerry Minnear, and Gary Green were able to find common enough ground to produce eight masterful albums over the decade is not only remarkable in and of itself but also a gift to posterity whose value is, in my opinion, of inestimable value. And it all starts here!

As evidence of the genius of the creative spirit of the "new" progressive rock music "movement," I cannot see calling this landmark album anything less than "essential" and, therefore, it must also be considered a masterpiece.

92.0 on the Fishscales = A-/five stars; a minor masterpiece of early progressive rock music and an absolutely stunning debut album. Often I find myself thinking that this is might be my favorite Gentle Giant album.

Acquiring the Taste (1971)

First released in the UK on Phillips Records subsidiary Vertigo on July 16, 1971. This is the album that proclaims rather convincingly that Gentle Giant is at the very heart of the progressive rock movement.  

Line-up / Musicians:
- Gary Green / 6- & 12-string (1) electric guitars, 12-string wah-wah guitar (7), mandolin & bass (3), donkey's jawbone & cat calls (7), voice (8)
- Kerry Minnear / piano & electric piano, Hammond organ (1-3), Mellotron (1, 5, 6), vibraphone (1, 7), xylophone (2, 3), Minimoog (1-5), celesta (3), clavichord (3), harpsichord (2, 5, 6), tympani (2), maracas & tambourine (7), cello (2, 3, 7), string quartet arrangement (7), lead (1, 2) & backing vocals
- Derek Shulman / alto saxophone (1,6), clavichord & cowbell (3), lead (3, 5, 6) & backing vocals
- Phil Shulman / alto (6) & tenor (1, 6) saxophones, clarinet (2, 3), trumpet (1, 3), piano (3), claves, maracas, lead (5, 7) & backing vocals
- Ray Shulman / bass, violin & electric (8) violin, viola (7), Spanish (2, 3) & 12-string (6) guitars, organ bass pedals (6), tambourine, skulls, backing vocals
- Martin Smith / drums, tambourine (1), gong & side drum (2)
With:
- Tony Visconti / tenor, treble & descant recorders (3, 5), bass drum & triangle (7), producer
- Paul Cosh / trumpet & organ (3)
- Chris Thomas / Moog programmer (1-5)

1. "Pantagruel's Nativity" (6:50) a peak song in the GG catalogue. Kerry Minnear's angelic choir boy voice is a bit pitchy but such a cool sound to employ within a rock song--definitely a progressive idea! The use of multiple motifs to create a kind of suite-like effect was also quite ingenious (something Italian band Premiata Forneria Marconi would soon pick up and perfect). Horns, choir, Peter Giles-like drumming, wooden flutes, Mellotron strings, virtuosic jazzy bass play and catchy earworm guitar riffs all merge into this Prog World classic. (14.25/15)

2. "Edge of Twilight" (3:47) Kerry Minnear is given the lead vocal in the second song in a row, this one using sounds and spaciousness to convey a moody, ancient stone castle (or monastery) feeling. Could this song have been an inspiration for the soundtrack music that Monty Python created for their 1975 film release, Monty Python and The Holy Grail? (9.125/10)

3. "The House, the Street, the Room" (6:01) Derek Shulman's grating scream-voice is quite a contrast to the one we heard from Kerry Minnear (and continue to hear as the antiphonal choir voices in the B-response to Derek's leads). The intermittent dispersal and use of many old and classical instruments throughout this song is interesting--giving the "house" an authentic feeling of having a multiplicity of themes for its rooms. The loud guitar wailing away with the Hammond and low bass notes in fourth and fifth minutes must represent the chaos of the street noises. Interesting and inventive if not exactly always pleasing to the ear or flowing smoothly. Like a house, a street, and even a room! (8.875/10)

4. "Acquiring the Taste" (1:36) Kerry experimenting with some of his new keyboards' sound settings, all with the obvious intention of creating a little song of "faux" anachronistic instruments. Clever if not exactly pleasant. (4.375/5)

5. "Wreck" (4:36) the band's attempt at trying on the mantle of bands like URIAH HEEP and BLACK SABBATH? But then in the second minute they shift into an entirely contrary motif of mediæval-sounding music. Part of the band provide backing chorus vocals that give an almost sea shanty feel to the music. And then surprise of surprises, the band moves from anachronistic music into a bombastic orchestra-embellished motif before finishing the song with the shanty-like motif. Interesting! (8.75/10)

6. "The Moon Is Down" (4:45) this song opens like an old-time café bar scene with its small "big band" sound, but then moves into some odd palettes for some "old" and yet Baroque 1960s-sounding motifs. Fascinating group vocals with some heart-wrenching melodies. Then, in the first half of the third minute, Gary Green's gorgeous GENESIS-like finger-picked acoustic guitar takes us into another world--a very pleasant, festive yet-bucolic world of mixed-styles (like visiting the harvest markets seeing men and women with their excited children and wise elders all interacting.) An absolutely stellar storytelling song.   (9.75/10)

7. "Black Cat" (3:51) another song that surprises for its intricate and subtle strings contributions. Lead singer Phil Shulman has a voice as pleasant and beautiful as Kerry Minnear's. Gentle  (9.3333/10)

8. "Plain Truth" (7:36) a song that sounds and feels firmly rooted in the same blues rock that JETHRO TULL had been exploring through their Aqualung albums (which was released in March, during the time of the initial studio recording sessions for this album). Even the open use of humour in the song's construction is so Tull-like. Meanwhile, it's the gentle guitar picking backing Ray's electric violin solo in the middle of the song that is the highlight for me. The alternating heavy and light dynamics for the band's song structures (and Derek's vocal stylings) begins with this song. (13.25/15)

Total Time 39:02

While a very enjoyable softer, more melodic, bluesy side of GG is present here, something about the sound recording--especially the vocals and drums--turns me off. Still, there are some great songs here--some of GG's most accessible ones, too.

91.42 on the Fishscales = A-/five stars; a minor masterpiece of innovative and intricately-composed progressive rock music that announces rather assuredly that GG is in a league all their own.

Three Friends (1972)

First released in the UK on the Philips Records subsidiary Vertigo on April 14, 1972.

Line-up / Musicians:
- Derek Shulman / lead vocals (3-6)
- Gary Green / guitars (w/ Echoplex on track 4 solo), mandolin (2), tambourine (2, 5)
- Kerry Minnear / piano, electric piano, Hammond (1, 3-6), Mellotron (2, 6), Minimoog (1, 4, 6), clavinet (2,3), electric harpsichord & vibraphone (2), bongos triangle (2), lead vocals (2, 6)
- Phil Schulman / tenor (1, 3, 4) & baritone (1, 3) saxophones, lead vocals (1, 2, 4, 6)
- Ray Shulman / bass, fuzz bass (1), acoustic (4) & electric (5) violins, 12-string guitar (1), vocals (6)
- Malcolm Mortimore / drums, concert snare & hi-hat & bass drum (2)
With:
- Calvin Shulman (Ray's son) / boy's voice (2)

1. "Prologue" (6:12) a mature, intricate composition that displays the band members' training in the world of classical music. Even the vocals are arranged in choir-like patterns that seem to recall ancient masters like Thomas Tallis or Henry Purcell. The courage it must have taken to meld these "ancient" forms and designs with modern electronic sound producers! (9.125/10)

2. "Schooldays" (7:33) despite expressing nice sophistication in the song's overall construction, I find myself totally unengaged with this one. (13.375/15)

3. "Working All Day" (5:07) interesting guitar sound coupled with baritone sax and chunky bass leads into Derek's vocal--one of my favorites of his because of the lesser use of force. Kerry manages an impressive Hammond solo in the fourth minute--one that rivals if mimics those of Steve Winwood. Overall, however, the song lacks something convincing me of the band's enthusiasm; more like work and rote playing off of the charts. (8.875/10)

4. "Peel the Paint" (7:25) on odd song that sounds and feels as if it is being played without an audience in an Elizabethan church--at least, that is, until 2:30 launch into a VAN DER GRAAF GENERATOR-like power passage--one that culminates in a rather awesome JIMI HENDRIX-like guitar solo (and trio passage) from 4:10 to 5:15 when it then shifts into a ROYE ALBRIGHTON Journeyt to the Centre of the Eye kind of sound for what sounds like a precursor to future ROBIN TROWER song styling. Weird but compelling. (14/15)

5. "Mister Class and Quality?" (5:51) this is the song in which Gentle Giant's music starts to sound like tidings of things ahead, but I fail to connect with Derek's instrument-led vocal (perhaps because of the way it is doubled up and mixed kind of back, behind the instruments. I really enjoy the interplay and intricate weave of the instruments except for the boring two-step drum beat. (8.875/10)

6. "Three Friends" (3:00) this song helps the album end on a high note with its nice organ, Mellotron, and masterful choir vocals supported by some excellent guitar, bass, and drumming. (9.33333/10)

Total Time 35:08

One of the 'classic' GG albums that I had never heard until recently--and a real surprise: I was not expecting such accessibility and song style consistency. The songs are much more played out, following consistent themes and styles for each song's duration--and absent are the amazingly quick and virtuosic turns and changes that become so familiar with the next three albums. Listening to "Three Friends" is like listening to Haydn compared to the Chopin or Liszt that is "In A Glass House"; the songs are rock-like--more akin to Yes ("Prologue" sounds like it came from "Time and a Word" or "The Yesterdays") and VDGG (especially "Working All Day" and "Peel the Paint") than anyone else. While Gary Green's guitar commands a lot of the attention on this album, Kerry Minnear's keys, Ray Shulman's bass and violin are all polished and profiled nicely. 

90.95 on the Fishscales = A-/five stars; a minor masterpiece of quintessential progressive rock music. While I like this album a lot and think it an excellent addition to any prog rock music collection, I much prefer the quirky, jaw-dropping constructs of the next four albums (Octopus, In a Glass House, The Power and the Glory, and Free Hand). This is an album that illustrates Gentle Giant's uniquity while at the same time serving notice that this is still a band in the upswing of its evolutionary process.

Octopus (1972)

First released in the UK on Phillips Records subsidiary Vertigo on December 1, 1972.

Line-up / Musicians:
- Derek Shulman / lead vocals (1-4, 8), alto saxophone (5)
- Gary Green / guitars, percussion
- Kerry Minnear / piano, electric piano, Hammond (1-5, 7, 8), MiniMoog (1, 3, 5, 8), Mellotron (2, 7, 8), clavinet (1), harpsichord (4), vibraphone (4, 8), regal, cello (2, 6), percussion, lead (1, 4, 7) & backing vocals
- Philip Shulman / tenor saxophone (4, 5), trumpet (1, 2), Mellophone (7), lead (1, 4, 6, 8) & backing vocals
- Raymond Shulman / bass, violin, electric violin, viola & acoustic guitar (6), percussion, backing vocals
- John Weathers / drums, bongos (3, 8), varispeed cymbal (4, 8), xylophone (4, 6)
With:
- Martin Rushent / variable speed oscillator
- Mike "Viccars" Vickers / Moog operator

1. "The Advent of Panurge" (4:41) a song that is part Renaissance traveling minstrel show, part church choir, part CSN& Y, part jazz fusion (JACO PASTORIUS-like bass), part space-psychedelic trip, all Gentle Giant. Astounding! (9.5/10)

2. "Raconteur, Troubadour" (4:01) a classic Gentle Giant that is one of my favorites that the band ever did. It's another courtly diversion--quite British in its intended audience as evidenced in its themes and instruments used. Quite lovely. A quintessential Prog Rock song. (9.75/10)

3. The heavy BLACK SABBATH/BLUE ÖYSTER CULT-like electric guitar chords render "A Cry for Everyone" (4:04) a bit of a laugher--so out of place are these sounds (trying on the JETHRO TULL hat again, are we?) Gary Green playing his Martin Barre-like riffs and sounds. Did Phil and the boys really like this one? Not even Kerry Minnear's funky keyboard play can save this one. (8/10)

4. The much-written-about "Knots" (4:11) is next. What I love about this song--besides its giving arise to an entire movement of music--called Rock In Opposition or Avant Garde--are the interesting and diverse effects on the vocals as well as its high pitch toms. Otherwise, it's kind of a skipper. (8.666667/10)

5. "The Boys in the Band" (4:34) brings us round again to full-force GG music. Up beat and up tempo, this has a rather rockin' feel to it--besides Ray's amazingly jazzy bass work. Odd that it's an instrumental cuz it feels ripe for some great vocals. I'm coming to the conclusion that, depsite his mastery of syncopation, keyboard maestro Kerry Minnear never really grasped (or liked) the true essence of funk. He is much better.more comfortable inside his dreamy, scholarly chioir-boy mind. (8.75/10)

6. "Dog's Life" (3:11) is a complexly-constructed BEATLES/HERMAN's HERMITS-esque song about one of their roadies! All in good fun (as it was received). This is actually a very cute song which must have been very fun to see/hear in concert. Nice lead vocal from Phil Shulman. (8.75/10)

7. "Think of Me with Kindness" (3:34) begins with an emotional feel not unlike an early BILLY JOEL song (first three albums)--though, of course, this pre-dates BJ by a couple of years. Very tenderly written and rendered--especially by Kerry's frail, almost-breakable vocal. Beautiful. (9.5/10)

8. "River" (5:53) starts--and stops--and starts--and stops again--like an XTC train trying leave the station (Yes, I believe Andy Partridge got much of his license from GG.) Kerry's organ play is so like that of Hugh Banton from Van Der Graaf Generator! The gentler, spacey-psychedelic parts of this song are, once again, my favorites. Very interesting drumming and special effects employed on the cymbal sounds. The blues guitar solo is also an interesting surprise. These guys are so diverse! (8.8755/10)

Total Time 34:15

While not my favorite GG album, Octopus is, indeed, a classic. I agree that this period from 1970's eponymously-titled debut (through?) 1976's Interview is among the most highly sustained in rock history. Six, maybe seven, great albums! In a row? Who else can lay such a claim? Not Hammill, not Rush, not Yes or Genesis, certainly not Crimson, Steven Wilson, Neal Morse, Devin Townsend or Toby Driver. Only Gentle Giant.

89.74 on the Fishscales = B+/4.5 stars, rated down for inconsistency: while I appreciate the virtuosity and adventurousness of these song constructs and performances, they are not always to my liking; that is, my brain is awed by what I'm hearing while my heart is not always connecting.

In a Glass House (1973)

First released in the UK on Phillips Records subsidiary Vertigo on September 21, 1973. 

Line-up / Musicians:
- Gary Green / 12-string (1, 5, 6), steel (6) & electric guitars, mandolin & tambourine (6), recorder (3)
- Kerry Minnear / piano, electric piano, Moog (1, 3, 6), Hammond (1, 3, 4, 6), clavinet (1, 4, 6), Thomas organ (3, 4), clavichord (4), celesta (2), glockenspiel (1, 2, 4), marimba (1, 2), vibes & tympani (2), cello (5), descant recorder (1, 3), lead (1, 3-6) & backing vocals
- Derek Shulman / alto & soprano saxes (6), descant recorder (1), lead (1-4, 6) & backing vocals
- Ray Shulman / bass, acoustic & electric violins, tambourine (4), acoustic guitar & backing vocals (1, 6)
- John Weathers / drums, bass drum (5), cowbell (6)

1. "The Runaway" (7:15) talk about some mathematically constructed music! Even the marimba solo has a 'pre-planned' feeling to it. Still, this song has a very (misleadingly) easy going feeling to it--and the vocals make for one of the most melodic and accessible songs in the GG catalog. (9/10)

2. "An Inmate's Lullaby" (4:40) presents itself as almost a Mother Goose nursery rhyme like children's song. But it's not. It is a very jazzy percussion-oriented song. I think both Miles Davis and Harold Budd would be quite proud to have composed this song. Very clever and unique--and pretty! (9.5/10)

3. "Way of Life" (7:52) is a bluesy vamp with a pre-disco beat/sound (reminiscent of The Four Seasons' "O! What a Night!" and Madness' "Our House"). The first motif of over two minutes is not much to my liking, but the delicate choir-boy theme that follows (which turns rather regal) is cool. Rather brilliant organ and lead guitar work offer the listener an alternative to the rather poor vocals and rhythm structure. (13.125/15)

4. "Experience" (7:50) is an anachronistic troubadour song using modern instruments that, frankly, doesn't work. The a cappella vocal (gorgeous!) alternating with silly bass line section (later repeated with organ alternating with same silly bass line) is an excellent example of what's wrong with this song: excellent & beautiful playing along side poor and almost laughable. It's intricate and demanding of the performer but it's not very engaging to me (the listener). (13.25/15)

5. "A Reunion" (2:11) is a pretty little folksie Renaissance fair song. This one works better than the previous song (thanks to Kerry's delicate voice and vocal). (4.425/5)

6. "In a Glass House" (8:26) illustrates how GG can hit on all cylinders: amazing keyboards, JTull-like guitar sections, folksy vocals and acoustic guitar picking, all woven together quite masterfully--like a church dialogue. (18/20)

Total Time 38:14

Gentle Giant has been one of my favorite re-discoveries of 2011. Brilliant composition and performance with often quirky and unsustained or more intellectual or mathematical melodies. One of the most highly acclaimed GG discs has moments of sheer brilliance, but, IMHO, not enough to be able to claim true masterpiece status.

89.7333 on the Fishscales = B+/4.5 stars; a minor masterpiece of consummate progressive rock music. This album opens and closes with four stellar songs (two at each end), yet somehow this fails to offset the let down of the middle two; "Runaway" and "In a Glass House" are two of my favorite GG songs, but the album cannot quite earn me the full 5 star "masterpiece" designation. Still, In a Glass House is an excellent addition to any prog lover's music collection.

The Power and the Glory (1974)

First released in the UK on Phillips Records subsidiary Vertigo on September 22, 1974.

Line-up / Musicians:
- Derek Shulman / lead (1, 2, 4-8) & backing vocals, tenor saxophone (2)
- Gary Green / electric & acoustic (3, 4, 6) guitars, backing vocals
- Kerry Minnear / piano, electric piano, Hammond (1, 2, 4-8), Minimoog (2, 4, 5, 8), Mellotron & marimba (4), clavinet (2, 4, 6, 7), vibes (6), cello (2), lead (2-4) & backing vocals
- Ray Shulman / bass, acoustic & electric violins, acoustic guitar (6), backing vocals
- John Weathers / drums, tambourine (2, 5, 7), sleigh bells (6), cymbals (1), backing vocals

I'm sad to see this band not getting its due--even sliding down the ratings/charts of several rock and progressive rock users sites. There can be no doubt that they are a very influential and well-emulated and -referenced band with obvious virtuosity pouring forth from its musicians. While their songs don't always please or make it easy for the listener, I truly admire their compositional intelligence, skill, and courage--they were always pushing the envelope. Even this more sedated, straightforward version of GG is outside the norm of pop or even prog music. For these reasons I could never imagine giving them less than three stars and maybe even four stars. They are an excellent albeit challenging musical experience--but, like Caravan, Gong, VDGG, echolyn, and maudlin of the Well, one that every so-called 'prog lover' should try to experience. IMHO, GG is the most intellectual band out there! What Magma is to the spiritual side of prog rock music, GG is to the mental side.

1. "Proclamation" (6:47) has a great jazzy beginning followed by some very enjoyable two-line concurrent singing. The song continues to develop but never quite strays into the dissonance or freneticism of their previous catalogue of unthinkably complex song structures. (13.375/15)

2. "So Sincere" (3:51) begins in such a cool Avant/RIO way but then diverges at the 1:25 minute mark into the B part--which turns out to be the chorus. I find it quite abrasive. Reminiscent of the choruses of Ancient Greek stage plays. The bridge to the part in which an electric guitar solos is also quite irritating and the actual solo is almost embarrassing when compared to the virtuosity demanded of normal GG song structures. A weird song--too weird for my tastes--though I get (and truly admire) its creative genius. It tests the very willingness of the human brain to "like." (8.66667/10)

3. "Aspirations" (4:40) is an unusual GG song for its simplicity, slow pace, and pop-ness. It is, like a MAMAS & THE PAPAS song, quite gorgeous. There is also an undeniable similarity to some Van Der Graaf Generator music. Hearing the tender, masterful vocal performance on this song makes me question once again Kerry Minnear's well-documented dislike and near-shame of his own voice--though in contrast to Derek's power and force one can see the problem in miking the two diametrically opposite dynamics for live performances. (9.375/10)

4. "Playing the Game" (6:46) is straightforward and melodic enough to, at times, even conjure up some BURT BACHARACH familiarities. There is some funk here, as well--thanks more to Ray and John than Kerry's marimba. Part 2 of the song, instrumental in its start, becomes somewhat JETHRO TULL & BRIAN AUGER-play-GENESIS-like! Again, GG seems sedated, more conscious of listener accessibility--which obviously helps this album gain its (much deserved) popularity. But, at the same time, it is also somewhat sad in that they have had to seemingly 'dumb down' or 'dilute' their music in order to try 'please' or 'access' the masses. Are they giving up on their 'challenge' to their audience of listeners to 'rise' to their level of sophistication? 'Perhaps!' but, 'Too bad!' The keyboard play in Part 2 shows Kerry might be finally getting the funk as well as the fact that his soloing can rival anyone, even Rick Wakeman. (13.75/15)

5. "Cogs in Cogs" (3:07) is very sophisticated rock--almost jazzy--but, truly, rooted in rock and roll. Quite similar to parts of TODD RUNDGREN'S UTOPIA's "The Ikon." (Which came first?) Great instrumental arrangements: very sophisticated. A truly great song that just keeps getting better as it thickens and evolves. (9.125/10)

6. "No Gods a Man" (4:27) totally hits the mark for me because of its accessibility. (Probably due to its rather subdued pace as well as to the presence of some truly great melodies.) I love the CSN&Y-like vocals. Verily a GG favorite for me. (9.5/10)

7. "Face" (4:12) is filled with some GG 'challenges' but is still much more straightforward and even-tempoed than their previous three albums. The vocals are more accessible but a little grating in their dynamic delivery. Great violin and bass play from Ray Shulman, and Gary Green's guitar play is breathtaking. (9/10)

8. "Valedictory" (3:12) has a bit of a FRANK ZAPPA/MOTHERS OF INVENTION feel to it--bluesy, loud, and in your face. Perhaps the GG sound is getting a bit stereotypic and, thus, stale. Perhaps there is not enough change and quirk despite its odd meters and pacing. (8.75/10)

9. "The Power and the Glory" (2:53) is a fairly straightforward song which sounds as if it comes right out of the ANDY PARTRIDGE/XTC catalog. In fact, it would be a wonder to me to find that Andy was not highly influenced and inspired by GG. (9/10)

Total Time 37:16

Not many bands have had the run of excellent album releases that GG did in the 1970s and this album is right in the middle of it (#5 of 7). Were I attuned to lyrics, this album might rate higher for me, but as it is, I consider it as a 4.5 star near-masterpiece of progressive rock music.

7/5/21 amendment: Now that GG music has been absorbed and assimilated into my DNA, I have been able to really deeply engage, enjoy and appreciate the stupendous genius and mastery of these song crafters. Result: Upgraded to five stars; this is a masterpiece of progressive rock music.

90.54 on the Fishscales = A-/five stars; a minor masterpiece of true progressive rock music; highly recommended for any self-proclaiming "prog lover."

Free Hand (1975)

First released in the UK on their new label, Chrysalis Records, on August 22, 1975.

Line-up / Musicians:
- Derek Shulman / lead (1-4, 7) vocals, treble recorder (6), alto saxophone (1)
- Gary Green / electric & acoustic (5,7 ) guitars, descant recorder (2, 6), co-lead vocals (2)
- Kerry Minnear / piano, honky-tonk piano (7), Wurlitzer electric piano (3, 4), Hammond, clavinet (3, 5-7), Minimoog (1, 2, 4), synthesizer (1, 3, 6), harpsichord (2,6), celesta & glockenspiel (2), vibes (1, 2, 5), marimba & tympani (2), harp & cello (2), tenor recorder (6), lead vocals (2-5)
- Ray Shulman / bass, violin & electric violin (7), viola (2), co-lead vocals (2)
- John Weathers / drums, percussion

1. "Just the Same" (5:34) displays some new instruments (mostly through Kerry Minnear's keyboard play), the best recording/mix/engineering to date on a GG album, as well as a more laid back feel to the band's song delivery, yet all of the band members' virtuosity remains on full display--especially Ray Shulman at his absolute best on bass. (9/10)

2. "On Reflection" (5:41) is not as overboard or "masturbatory" as some reviewers complain. It is tidy, melodic, makes lyrical sense, and does an amazing job of transporting one to a time long past. I find this one much more accessible than "So Sincere." (9.25/10)

3. "Free Hand" (6:14) founds itself on such a nice little weave--complex but subdued, never over-powering or overwhelming, and the vocal part is, for me, one of the most powerful and emotional of the GG repertoire. (9.3333/10)

4. "Time to Kill" (5:08) is kind of an early version of the music brought to us by Fripp-Levin-Belew six years later on the song, "Discipline." A maturely constructed and performed song, it does get a bit boring and/or tedious from time to time. The sound palette may be experimental (some Steely Dan-like sounds and stylings working their way into the band's music) but the virtuosity is undeniable. (8.75/10)

5. "His Last Voyage" (6:27) is like Steely Dan supporting a monastic choir--so well paced and subtly constructed. Definitely a band at their most mature, most composed and confident--with nothing left to prove. Mastery has been achieved and here are the just desserts. (10/10)

6. "Talybont" (2:43) is a very fun little jaunt through the medieval world--like going to a Renaissance Faire. Well mete, lads! (9.25/10)

7. "Mobile" (5:05) feels older--as if it came from the Three Friends or Octopus recording period. A little more youthful rock 'n' roll-oriented, less-mature and introspective. (8.66667/10)

Total Time 36:52

It has taken me quite some time to re-immerse myself into the GG catalogue. I have enjoyed every minute of it. Especially with this one. IMHO, Gentle Giant peaks with this album. The compositions and performances are so masterful and mature, so polished and sublime. Gone are the flashy, cerebral, ever-so complicated, show-off-your-virtuosity-because-you-can songs; here the songs are unique and so intricate--even subtly nuanced.

Kerry Minnear's keyboards, Ray Shulman's bass, and John Weathers' drumming have never been better than they are on Free Hand. While I can hear the uniformity of sound and styling that many reviewers complain of as "growing old" or "feeling like a tired band mired in its own rut" I cannot deny that this album is a true masterpiece of one of the most truly masterful bands in rock music history. 

91.79 on the Fishscales = A-/five stars; a masterpiece of progressive rock music of the highest, finest caliber. 

Interview (1976)

First released in the UK on Chrysalis Records on April 23, 1976.

Line-up / Musicians:
- Derek Shulman / lead vocals, alto sax (5, 6), percussion (3)
- Gary Green / electric and acoustic (5, 7) guitars, alto recorder (7), backing vocals
- Kerry Minnear / piano, RMI electric piano & clavichord (2, 7), Hammond, clavinet, MiniMoog, synth (1, 5), marimba (2), percussion (3), lead (3, 7) & backing vocals
- Ray Shulman / bass, violin (7) & electric (5, 6) violin, 12-string guitar (5), percussion (3), backing vocals
- John Weathers / drums, percussion, co-lead (1) & backing vocals

1. "Interview" (6:54) this one opens with studio sounds/conversation left on tape before the band starts playing. The music is every bit as sophisticated and unique in its GG quirk but does seem to be displaying some newer advances in keyboard sound and overall engineering. The imaging and panning effects of the final mixes are particularly noteworthy as being different as well as the Gary Katz/Steely Dan-like clarity. Not a particularly favorite GG song for me, but a very interesting and enjoyable aural/listening experience. (I LOVE Gary Katz' sound realization). (13.375/15)

2. "Give It Back" (5:08) interestingly, this song sounds, to me, very much like a STEELY DAN song circa 1975--both stylistically as well as sonically. (8.75/10) 

3. "Design" (4:59) another Beatles-esque "silly interview" segment opens this song before an a cappella barber-shop quintet song opens and develops. Household-sounding percussion joins in and participates throughout the song in various places and quantities giving it an even odder sound. This is definitely quintessential Gentle Giant but it's not my favorite. I hear a lot of what will become Andy Partridge's edgy XTC music in this song. (8.75/10)

4. "Another Show" (3:29) more sophisticated percussive weaving of all instruments in some odd meter while Derek's voice and Kerry Minnear's organ lead above Gary, Ray, and John's complex rhythm play.  A song I like more intellectually than heartily. (8.75/10)

5. "Empty City" (4:24) opening with gently-played 12-string guitar is never going to be dissed by me; from the very first listen of this album this was my favorite song (and, for a long time, the only song I included in GG mixes and playlists). I feel that it's very rare for GG to present the listener with very engaging melodies but this one does so in several parts of the song. (8.875/10)

6. "Timing" (4:50) more typical GG with melodies that are challenging to get into; one can, instead, focus on the interesting Hammond play from Kerry Minnear as well as Ray Shulman's Jean-Luc Ponty-like electric violin. When Kerry switches to bluesy piano in the instrumental section, it feels again like STEELY DAN's Donald Fagan, but then he reverts to the loud Hammond for a Rick Wakeman-like finish. (8.75/10)

7. "I Lost My Head" (6:58) a return to a more anachronistic sound palette over which Kerry Minnear leads an airy English folk-sounding tune with his delicate psalter's voice. I love this style of music though it is rarely my stylistic choice for background music. There is a very inteeresting exchange/duet with Gary Green's acoustic 12-string ghitar and Kerry Minnear's clavichord in which a keyboard is used to create the flute/recorder sound of the lead instrument. A sign that the world is ending? (13.25/15)

Total Time: 36:22

This album was, in fact, my first GG acquisition. I'd seen their album covers for years and had even been recommended their albums by my younger brother, but somehow never had the courage to try anything. Plus, none of my proggy friends at college were listening to them, so there was none of that spillover effect.

      I had, literally, never heard a song of Gentle Giant's before buying this album (as a new release). While I didn't dislike it upon first listen, it was more jagged and angular than I expected. Successive listens helped it earn some respect--and the song "Empty City" the "reward" of being something I rendered to one of my tape collages. But, soon I gave up on the album--and sealed myself off from trying any of the band's back catalogue. (I have to admit that the album art also kind of repelled me as being too silly or infantile. Perhaps the Saturday morning children's show of the similar title, "The Friendly Giant," had skewed my thinking in this way. I remember thinking that the band was trying to attract a crowd from a children's point of view--not unlike the soon-to-arrive band They Must Be Giants.)

Anyway, as I've finally vanquished my bias against GG, I've come to know all of their albums fairly well and this one still does not "feed me"--in fact, it rates as among their poorer productions from their ten year output. Not bad, just not anything here that I'd write home about.

88.125 on the Fishscales = B/four stars; an excellent exhibition of adventurous, experimental progressive rock coming from an era that was more distracting for the advances in computerized sound, sound engineering, and recording choices. Not GG's best but still of a quality that few other bands were matching at the time. Recommended. 

Playing the Fool - The Official Live (1977)

First released in the UK on Chrysalis Records on January 18, 1977.

Line-up / Musicians:
- Gary Green / electric guitar, acoustic guitar, 12 string guitar, alto recorder, descant recorder, vocals, percussion
- Kerry Minnear / keyboards, cello, vibes, tenor recorder, vocals, percussion
- Derek Shulman / vocals, alto saxophone, descant recorder, bass, percussion
- Ray Shulman / bass, violin, acoustic guitar, descant recorder, trumpet, vocals, percussion
- John Weathers / drums, vibes, tambour, vocals, percussion

1. "Just the Same / Proclamation" (11:17)
2. "On Reflection" (6:27)
3. "Excerpts from Octopus" (15:39)
4. "Funny Ways" (8:31)
5. "The Runaway / Experience" (9:31)
6. "So Sincere" (10:19)
7. "Free Hand" (7:40)
8. "Breakdown in Brussels" [a.k.a. "Sweet Georgia Brown"] (1:22)
9. "Peel the Paint / I Lost My Head" (7:27)

Total Time 78:13

An amazing live album, catching the essence and distinctiveness of this band far more than any of their studio albums. This was the album that "let me in" to the GG world--allowed me to really understand their talent and genius.

Five stars; capturing the essence of all that was Gentle Giant makes this one of the best live albums from the 1970s.

The Missing Piece (1977)

First released in the UK on Chrysalis Records on August 26, 1977.

Line-up / Musicians:
- Derek Shulman / lead vocals
- Gary Green / electric & acoustic (7) guitars
- Kerry Minnear / Hammond, piano & electric piano, synth (1, 4, 7), Minimoog (3, 6, 8), percussion (8), clavinet & backing vocals (6)
- Ray Shulman / bass, 12-string guitar (7), percussion (8)
- John Weathers / drums, tambourine, percussion, rhythm machine (8)

1. "Two Weeks in Spain" (3:00) Not a bad song despite the obvious employment of the latest popular sounds and technologies. (8.75/10)

2. "I'm Turning Around" (3:54) foreshadowing the shift that prog-lite bands like AMBROSIA, JOURNEY and And Then There Were Three-era GENESIS made from prog sophistication to radio-friendly Yacht Rock. (8.666667/10)

3. "Betcha Thought We Couldn't Do It" (2:20) Trying to harness the energy of Punk? My Sharona! There's even a little pre-Caddyshack and Footloose Kenny Loggins in here! (8.25/10)

4. "Who Do You Think You Are?" (3:33) a little sophisticated saloon Country-Western anyone? Not terrible--especially instrumentally--just a little laughable. (8.75/10)

5. "Mountain Time" (3:19) more piano-based salooon-style music that could have been impressive (and popular) in the US's Wild West of the 1890s or the Prohibition era swamp bars of the 1960s. (8.5/10)

6. "As Old as You're Young" (4:19) trying to be anachronistic with modern synths is interesting (and, ultimately, a bit of an impossibility). Still, this quirky Kerry Minnear-led is interesting and entertaining if sadly making clear the band's departure from the sophisticated prog of the past. (8.875/10)

7. "Memories of Old Days" (7:15) picked and strummed treated six- and 12-string guitar with various accompanying keyboard sounds opens this bucolic song that conjures up the Prog Folk elements of the  previous years of progressive rock music explorations. So nice to hear Gary Green displaying his acoustic guitar talents. Kerry Minnear's use of keyboard sounds to generate instrumental sounds that the band would formerly have performed on period instruments like recorders is a bit disheartening. Still, this is a very fine song (if a bit Genesis-ian). (13.75/15)

8. "Winning" (4:12) "kitchen sink"-like percussion play opens this one before the (poorly engineered!) music kicks into a more typical GG, if WAR-"Cisco Kid"-inflected, sound. Interesting. The instrumental interplay is not unlike that of the Steve Howe-dominated era of YES going on Relayer through Drama. Not bad. Derek Shulman's singing is a bit strained though stereotypic for the uniquely GG melodies used.(8.875/10)

9. "For Nobody" (4:00) true GG music of the purest and most peak-era kind. Great guitar play--especially the way Gary's melody making previews and then mirrors the vocal Derek gives. Not a huge fan of the flanged vocal chorus, but, overall, the song is a great one. Also, Ray Shulman's work on the fretless bass is quite captivating. (9.25/10)

Total Time 35:52

The music is much more pop-poriented (warning the world of the coming of instrumentally-proficient and technologically-savvy bands like XTC, Toto, and Modern English), but it's still filled with tight instrumental play, Derek Shulman's usual vocals and lyrics, and plenty of sounds and moments of anachronistic influence.

89.39 on the Fishscales = B+/4.5 stars; not the brilliant shining masterpiece like the band's previous nine albums but not too far off track. I find that I have quite a little affection for this album. The band obviously is trying new things and, perhaps, hoping for a little more radio and sales exploitation. 

Giant for a Day! (1978)

First released in the UK on Chrysalis Records on September 11, 1978. Perhaps an ode of regretful reflection upon the circumstances surrounding the departure of co-founding bandmate and, for the Shulmans, brother Phil five years before. Derek and company may also be acknowledging Phil's wise choice in preparation for their own demise and doom. (It would seem that the writing was on the wall.) 

Line-up / Musicians:
- Derek Shulman / lead vocals
- Gary Green / electric, acoustic (2, 7) & slide (2) guitars, backing vocals
- Kerry Minnear / piano & electric piano, MiniMoog (3-5), Hammond (2), clavinet (1), synth & xylophone (4), bass (2, 7), co-lead (1) & backing vocals
- Ray Shulman / bass, 12-string guitar (2, 7), backing vocals
- John Weathers / drums, percussion, lead (7) & backing vocals

1. "Words from the Wise" (4:10) opens with some surprisingly poorly-produced music that sounds more like a bootleg of XTC, KANSAS, or even YES demo music. It does, however, benefit from a somewhat memorable earworm of a melody and lyric. Too bad about that sound! (8.666667/10)

2. "Thank You" (4:45) as if the band had suddenly taken to covering American Country-Rock songs (Both "Rhinestone Cowboy" and the Ozark Mountain Daredevils come to mind.) Weird to hear such straightforward music and rhythms coming from these guys. Also weird to hear George Harrison-like guitar and music dominate the second half. (8.375/10)

3. "Giant for a Day" (3:45) so weird to hear GG doing BILLY JOEL-like "Rock and Roll" with a little Ska injection. Just not right! (8.375/10)

4. "Spooky Boogie" (3:31) the band here seems to reverting once again STEELY DAN style--here very much like a slightly more sophisticated (with the tuned percussion) variation of the "East St. Louis Toodle-Oo" style. (8.75/10)

5. "Take Me" (2:45) a percursor to GENESIS' "Is That All?"? (8.666667/10)

6. "Little Brown Bag" (3:32) slashing away at 70s Rolling Stones and future 1980s heavy metal, almost Rockabilly. Again, it is so surprising to hear the great rhtyhm section of John Weathers, Ray Shulman, and Kerry Minnear resorting to straighttime simple rock forms! (8.666667/10)

7. "Friends" (1:58) Wow! Pure XTC--of the Colin Moulding form and persuasion. John Weathers in the lead vocal department sound so much like Colin! (4.5/5)

8. "No Stranger" (2:27) Derek is back fronting a Steely Dan-like song like the Donald (Fagen) or Old McDonald (Michael). Well put together, Andrew Gold is just not the direction I ever expected of these musicians. (4.25/5)

9. "It's Only Goodbye" (4:16) a song that sticks out for me due to the inclusion of so many familiar lines and phrases from the band's entire back catalogue: it's as if Derek and crew are thinking nostalgiacally of their elder brother and former co-founder Phil Shulman and the conditions of his lamentable and, perhaps (if the lyrics of this song are to be interpreted correctly), misinterpreted departure in 1973 from the band after the production of the Octopus album. Still so weird to hear such mainstream rock music accompanying a GG song. (8.75/10)

10. "Rock Climber" (3:50) though I am well aware that the classically-trained musicians that formed Gentle Giant had emerged from a cauldron of blues and rock, it still shocks me to hear such music that represents such a blatant descent into the idioms of T. Rex, The Rolling Stones, Kiss, Lynyrd Skynyrd, and Billy Joel. (8.5/10)

Total Time 34:59

I'm not sure what effect the band was hoping for by including all of the "incidental" spoken word interludes before or at the end of each song.

86.111 on the Fishscales = C+/3.5 stars; a collection of good songs that would be acceptable from many other bands but not from Gentle Giant. A sign that the end is nigh. 

Civilian (1980)

First released in the UK by Chrysalis Records on March 3, 1980

Line-up / Musicians:
-Derek Shulman / lead vocals
-Gary Green / electric guitars
-Kerry Minnear / synths, piano (3) & electric piano, Hammond (2, 3, 9), clavinet (7), lead vocals (3)
-Ray Shulman / bass, acoustic guitar (5, 6), backing vocals
-John Weathers / drums, percussion, backing vocals

1. "Convenience (Clean And Easy)" (3:14) with an opening like this, I might think I was going to hear some A-ha, Go-Go's, or The Buggles. (8.5/10)

2. "All Through The Night" (4:20) like a neophyte classic rock wannabe-band. Other than in Derek vocals, where is the amazing spirit of bull-headed pioneering and independence? Where is there any evidence of the band members' training in classical music. (8.125/10)

3. "Shadows On The Street" (3:18) at least it's engaging, pleasant, melodic, and interesting. (8.666667/10)

4. "Number One" (4:39) more radio-minded straight-laced arena rock. Another lyric based on reaction, reflection and anger (at the fans' accusations of the band's selling out to the record companies and music industry)? Perhaps the music itself is intended as a "fuck you" to critics, the record industry, and "fans." (8.666667/10)

5. "Underground" (3:48) a song that feels like something from YES Drama or Asia's first album. A nice musical weave with some nice instrumental performances, it's just that the MOODY BLUES-like choral vocals feel weird. (8.75/10)

6. "I Am A Camera" (3:33) this is not the Buggles/Yes song, despite the odd coincidence that all three came out in 1980. It sounds more like a combination of The Who and Asia. Not a bad song for 1980 but just so sad for all the talent this band had demonstrated from 1970 to 1977. (8.66667/10)

7. "Inside Out" (5:51) another song that feels quite fitting for the time and musical sounds and styles being published in 1980, even opening with a very pleasant proggy-like sound--like something from a UK or early AMBROSIA song. The band even released it with a pretty cool sci-fi/futuristic "official music video" version! It kind of mirrors Talking Heads' "The Overload" in mood and sonically. (8.875/10)

8. "It's Not Imagination" (3:59) Ending of the album ("That's All There Is") Early Brian Eno?! Roxy Music? No: Robert Fripp?! Previewing the Flock of Seagulls. (8.75/10)

Total time 32:42

In my opinion, this album is an indicator that the band could have been a great contributor to/elevator of the "New Wave" music of the 1980s. But they were done; the spirit of their totally unique progressive rock soul had moved on long before this album came about. 

86.25 on the Fishscales = C+/3.5 stars; in my opinion this is not a totally dismissive contribution to Prog World, it is merely a reflection of the direction prog-inspired artists would be taking over the next few years.  

My Favorite Original Soundtrack Music of the 21st Century

 I'm a sucker for heart-wrenching soundtrack music--especially of the fully-orchestrated, classically-oriented kind. The following movie soundtracks served the magical purpose of sucking me deeply into the films they accompanied, making these films better, even more memorable, than they already were.

HANS ZIMMER The Last Samurai (2003)

Once in a great while a film is so enhanced by its musical soundtrack as to make it bigger, better and more impactful than it would be without it. Such was the case with Hans Zimmer's amazing soundtrack to the film The Last Samurai. So many scenes were emotionally and even visually enhanced by the incredible presence of Zimmer's masterful musical contributions.

1. "A Way Of Life" (8:04)
2. "Spectres In The Fog" (4:08)
3. "Taken" (3:36)
4. "A Hard Teacher" (5:44)
5. "To Know My Enemy" (4:49)
6. "Idyll's End" (6:41)
7. "Safe Passage" (4:57)
8. "Ronin" (1:53)
9. "Red Warrior" (3:56)
10. "The Way Of The Sword" (7:59)
11. "A Small Measure Of Peace" (8:02)

ALEXANDRE DESPLAT  The Danish Girl (2015)

Once in a great while a film is so enhanced by its musical soundtrack as to make it bigger, better and more impactful than it would be without it. The The Danish Girl is truly a cinematic marvel--the acting, cinematography and editing are truly exquisite--but Alexandre Desplat's brilliant soundtrack is gorgeous beyond words. Each scene is enhanced artistically--in beauty, and in emotional power and depth--by the melodic, sometimes minimalist jazz contributions of Maestro Desplat. From the very first opening theme of the movie I knew I was in for something special: that the music was going to suck me into this film as deeply as I can go. And it did. Without question or hesitation I can say that The Danish Girl was both my favorite and the best movie that I saw from 2015--and the soundtrack lives on as one of my all-time favorites.

1. "The Danish Girl" (2:10)
2. "Lili's Dream" (5:23)
3. "Watching Ulla" (2:07)
4. "Gerda" (1:58)
5. "Make-up & Costume" (3:15)
6. "Watching" (3:28)
7. "The Mirror" (3:56)
8. "Einar Returns Home" (1:37)
9. "To Dresden" (2:21)
10. "Aggression" (3:35)
11. "Radiation" (2:21)
12. "Gerda In The Rain" (4:01)
13. "Fonnesbech" (1:42)
14. "Schizophrenia" (2:01)
15. "One Step At A Time" (3:57)
16. "Lost Blood" (2:15)
17. "Lili's Death" (4:44)
18. "Roses Of Picardy" (4:38)
19. "Danish Waltz 1" (Bonus Track) (1:48)
20. "Danish Waltz 2 (Bonus Track) (1:33)

CLINT MANSELL The Fountain (2006)

Though Hugh Jackman and Rachel Weisz give commanding performances, it is the scenery, cinematography, and moving soundtrack that made this film one of the most wonderful art experiences of the second half of my life. I also love the treatment in the subject of man's obsession with defeating Death while discounting the fact that the Other Side is one of the most beautiful, liberating "places" one can exist. 

1. "The Last Man" (6:09)
2. "Holy Dread!" (3:51)
3. "Tree Of Life" (3:44)
4. "Stay With Me" (3:36)
5. "Death Is A Disease" (2:34)
6. "Xibalba" (5:22)
7. "First Snow" (3:08)
8. "Finish It" (4:25)
9. "Death Is The Road To Awe" (8:25)
10. "Together We Will Live Forever" (5:01)

HANS ZIMMER Interstellar (2014)

Once in a great while a film is so enhanced by its musical soundtrack as to make it bigger, better and more impactful than it would be without it. Such was the case with Christopher Nolan's epic sci-fi movie, Interstellar. Special recognition must be extended to London virtuoso organist Roger Sayer who brilliantly interpreted the final versions of Hans Zimmer's notations and ideas for the film's actual soundtrack. Organ was the central, most significant instrument in this soundtrack, so, Maestro Sayer's contribution was no little thing. 

1. "Dreaming Of The Crash" (3:55)
2. "Cornfield Chase" (2:06)
3. "Dust" (5:41)
4. "Day One" (3:19)
5. "Stay" (6:52)
6. "Message From Home" (1:40)
7. "The Wormhole" (1:30)
8. "Mountains" (3:39)
9. "Afraid Of Time" (2:32)
10. "A Place Among The Stars" (3:27)
11. "Running Out" (1:57)
12. "I'm Going Home" (5:48)
13. "Coward" (8:26)
14. "Detach" (6:42)
15. "S.T.A.Y." (6:23)
16. "Where We're Going" (7:41)

DARIO MARIANELLI Atonement (2007) featuring Jean-Yves Thibaudet

One of the most gorgeously cinematic movies I've ever been exposed to, with so many unforgettable scenes and colors, Dario Marianelli's soundtrack music is so perfectly fitting that one can't be quite certain if the two can be extracted from one another.

1. "Briony"1(:44)

2. "Robbie's Note" (3:06)

3. "Two Figures By A Fountain" (1:16)

4. "Cee, You And Tea" (2:26)

5. "With My Own Eyes" (4:40)

6. "Farewell" (3:32)

7. "Love Letters" (3:11)

8. "The Half Killed" (2:11)

9. "Rescue Me" (3:20)

10. "Elegy For Dunkirk" (4:16)

11. "Come Back" (4:27)

12. "Denouement" (2:28)

13. "The Cottage On The Beach" (3:25)

14. "Atonement" (5:22) 

15. "Debussy: Clair De Lune" (4:51)

ABEL KORZENIOWSKI A Single Man (2010)

Tom Ford's film is not only one of the most gorgeous, innovative, and compelling films I've ever seen in my life but blessed in being graced by some drop-dead gorgeous original soundtrack music. Colin Firth's performance is flawless and incredibly engaging despite his suicidal mission, but it's the use of a spectrum of color, full and bright to dull and sepia-like, coordinated with Firth's character's mood that is one of the most memorable and ingenious effects I've ever experienced from a film. 

1. "Drowning" (1:48)
2. "Snow" (1:15)
3. "Becoming George" (3:51)
4. "Gun" (0:51)
5. "Daydreams" (1:59)
6. "Mescaline" (3:12)
7. "Going Somewhere" (2:00)
8. "Christopher" (0:39)
9. "Swimming" (1:39)
10. "Stillness Of The Mind" (3:55)
11. "And Just Like That" (4:53)

HANS ZIMMER Inception (2010)

Christopher Nolan's conceptually fascinating film journey can be quite confusing and even obtuse but it is made eminently more engaging and enjoyable by it wonderful soundtrack.

1, "Half Remembered Dream" (1:12)
2. "We Built Our Own World" (1:56)
3. "Dream Is Collapsing" (2:24)
4. "Radical Notion" (3:43)
5. "Old Souls" (7:44)
6. "528491" (2:24)
7. "Mombasa" (4:54)
8. "One Simple Idea" (2:28)
9. "Dream Within A Dream" (5:04)
10. "Waiting For A Train" (9:30)
11. "Paradox" (3:25)
12. "Time" (4:36)

NICHOLAS BRITELL - Original Soundtrack Music to the Netflix Film The King (2019)

Another film viewing experience in which I knew from the music of the opening scenes that I was in for something very memorable. 

1. Ballade in C# Minor: Coronation (2:28)

2. Estampie – Eastcheap (1:16)

3. Song of Hal: Strings in C# Minor (5:12)

4. Tetrachord – War and Fate (2:14)

5. Canticle in E Minor (1:58)

6. Hymn – Mvmt 1: Prelude (3:53)

7. Ballade in F# Minor: Trebuchets (1:56)

8. Song of Hal: Strings in B Minor (4:20)

9. Ballade in B-flat Minor: Descent (2:23)

10. Antiphon (2:16)

11. Marche – Agincourt (2:46)

12. Hymn – Mvmt 2: Lament (3:41)

13. Tetrachord – Rex (1:26)

14. Hymn – Mvmt 3: Elegy (2:46)

15. Song of Hal: Conclusio in C Minor (4:50)

JOE HISAISHI Spirited Away (2002)

From the simple melody strains of the film's first notes I could feel that I was in for a very special adventure. One of the most amazingly harsh and challenging animated films I've ever experienced, it was greatly tempered and, thankfully, woven into a seamless journey by Studio Ghibli's music master.

1. "One Summer's Day = Ano Natsu E" (3:09)
2. "A Road To Somewhere = Torimichi" (2:07)
3. "The Empty Restaurant = Daremo Inai Ryoriten" (3:15)
4. "Nighttime Coming = Yoru Kuru" (2:00)
5. "The Dragon Boy = Ryu No Shonen" (2:12)
6. "Sootballs = Boira Mushi" (2:33)
7. "Procession Of The Spirits = Kamisamatachi" (3:00)
8. "Yubaba = Yubaba" (3:30)
9. "Bathhouse Morning = Yuya No Asa" (2:02)
10. "Day Of The River = Ano Hi No Kawa" (3:13)
11. "It's Hard Work = Shigoto Wa Tsuraize" (2:26)
12. "The Stink God = Okusaregami" (4:01)
13. "Sen's Courage = Sen No Yuki" (2:45)
14. "The Bottomless Pit = Sokonashiana" (1:18)
15. "No Face = Kaonashi" (3:47)
16. "The Sixth Station = Rokubanme No Eki" (3:38)
17. "Yubaba's Panic = Yubaba Kyoran" (1:38)
18. "The House At Swamp Bottom = Numa No Soko No Ie" (1:29)
19. "Reprise = Futatabi" (4:53)
20. "The Return = Kaeru Hi" (3:20)
21. "Always With Me = Itsumo Nandodemo" (3:35)

ALEXANDRE DESPLAT Girl With a Pearl Earring (2004)

Colin Firth, nubile Scarlett Johansson, Vermeer and Delft, Holland! How could you go wrong?! But then add the gorgeous original soundtrack music of a relatively- young and virtually unknown composer in Alexandre Desplat and you got something ever bit as engrossing as the worldwide bestselling book.

1. "Girl With A Pearl Earring"
2. "Griet's Theme"
3. "A New Life"
4. "The Master's House"
5. "Camera Obscura"
6. "The Birth Feast"
7. "Cornelia"
8. "Vermeer's Studio"
9. "Winter Nights"
10. "Van Ruijven"
11. "Home"
12. "Colours In The Clouds"
13. "The Master Is Painting"
14. "By The Canal With Pieter"
15. "Catharina's Pearls"
16. "Colours In The Clouds (Strings)"
17. "Girl With A Pearl Earring (Reprise)"
18. "Silence And Light (Piano Solo)"
19. "Griet's Theme (Reprise)"
20. "Griet Remembers"

Television series occasionally generate notice for their music. The one that comes to mind first is the first season of the 2013 British series Broadchurch with a soundtrack by Ólafur Arnalds. 

ÓLAFUR ARNALDS Broadchurch (2013)

My introduction to this electronic keyboard artist from Iceland, it was my then-79-year old mother who kept watching and rewatching this series claiming that it was the soundtrack that kept drawing her back (not to mention the compelling story). Now I understand why (but, also: What a cast! What a story production!)

1. "Main Theme" (3:05)
2. "Danny" (4:23)
3. "The Journey" (7:05)
4. "So Close" (3:51)
5. "Suspects" (2:46)
6. "What Did They Ask You?" (2:40)
7. "She’s Your Mother" (1:58)
8. "Excavating The Past" (5:36)
9. "The Meeting" (5:11)
10. "Broken" (4:19)
11. "I’m Not The Guilty One" (2:03)
12. "So Far" (4:32)
13. "Beth’s Theme" (5:15)