Gentle Giant Discography (1970-1980) Re-up

Formed at the dawn of the progressive rock era in 1969, Gentle Giant seemed poised for a time in the mid-'70s to break out of its cult-band status, but somehow never made the jump. Somewhat closer in spirit to Yes and King Crimson than to Emerson, Lake & Palmer or the Nice, their unique sound melded hard rock and classical music, with an almost medieval approach to singing.

Gentle Giant was born out of the ruins of Simon Dupree & the Big Sound, an R&B-based outfit led by brothers Derek, Ray, and Phil Shulman. After switching to psychedelia in 1967 and scoring their only major hit that year with "Kites," as Gentle Giant the group abandoned both the R&B and psychedelic orientations of the previous band; Derek sang and played guitar and bass, Ray sang and played bass and violin, and Phil handled the saxophone, augmented by Kerry Minnear on keyboards, and Gary Green on guitar. Their original lineup also featured Martin Smith on drums, but they went through several percussionists in the first three years of their existence.

In 1970, Gentle Giant signed to the Vertigo label, and their self-titled first album – a shockingly daring work mixing hard rock and full electric playing with classical elements – came out later that year. Their second effort, 1971's Acquiring the Taste, was slightly more accessible and their third, Three Friends, featuring Malcolm Mortimore on drums, was their first record to get released in the U.S. (on Columbia). Their fourth album, 1973's Octopus, looked poised for a breakthrough; it seemed as though they had found the mix of hard rock and classical sounds that the critics and the public could accept, and they finally had a permanent drummer in the person of John Weathers, an ex-member of the Graham Bond Organisation.

In 1974, however, Gentle Giant began coming apart. Phil Shulman decided to give up music after the Octopus tour, and became a teacher. Then the group recorded the album In a Glass House, their hardest-rocking record yet, which Columbia's U.S. arm rejected as too uncommercial. The two-year gap in their American release schedule hurt their momentum, and they weren't heard from again until the Capitol release of The Power and the Glory in 1975.

Gentle Giant released Free Hand, their most commercial album, in 1976, but then followed it up with the jarringly experimental Interview. After the 1978 double-album Playing the Fool, the group went through a seeming change of heart and issued a series of albums aimed at mainstream audiences, even approaching disco, but by the end of the 1970s their popularity was in free-fall. Gentle Giant called it quits in 1980. Ray Shulman later became a producer and had considerable success in England working with bands like the Sundays and the Sugarcubes, while Derek Shulman became a New York-based record company executive.

by Bruce Eder, AMG

Astonishingly daring debut album, not as focused or overpowering as King Crimson's first but still crashing down barriers and steamrolling expectations. The mix of medieval harmonies and electric rock got stronger on subsequent albums, but the music here is still pretty jarring. Kerry Minnear was probably the only prog rock keyboard player of the era who allowed his synthesizers to sound like themselves and not mimic orchestras; Gary Green's guitars are alternately loud and brittle or soft and lyrical, and always surprising; and the presence of saxes and trumpets (courtesy of Phil Shulman) was unusual in any rock band of the era – all of which explains how Gentle Giant managed to attract a cult following but hadn't a prayer of moving up from that level of recognition. "Funny Ways" was the softest prog rock song this side of Crimson's "I Talk to the Wind," but a lot of the rest is pretty intense in volume and tempo changes. "Nothing at All" by itself is worth the price of purchase.

by Bruce Eder

Tracklist:

1. Giant (6:22)
2. Funny Ways (4:21)
3. Alucard (6:00)
4. Isn't It Quiet And Cold? (3:51)
5. Nothing At All (9:08)
6. Why Not (5:31)
7. The Queen (1:40)



Musicians:

- Gary Green / lead guitar, 12 string guitar
- Kerry Minnear / keyboard, some bass, cello, lead vocals, backing vocals, some tuned percussion
- Derek Shulman / lead vocals, backing vocals, some bass
- Phil Shulman / sax, trumpet, recorder, lead vocals, backing vocals
- Ray Shulman / most bass, violin, some guitar, percussion, backing vocals
- Martin Smith / drums, percussion

The band's second album is a major advance on its first, featuring superior singing, playing, and songwriting, as well as a more unified sound, without sacrificing the element of surprise in the first record. Many of the melodies and even the riffs here (check out Gary Green's first guitar flourish on "Pantagruel's Nativity") have a pretty high haunt count, and all of the musicianship displays an elegance seldom heard even in progressive circles – but the record also, amazingly enough, rocks really hard as well. Elements of hard rock and Gregorian chants mix freely and, amazingly enough, well throughout this album.

by Bruce Eder

Tracklist:

1. Pantagruel's Nativity (6:50)
2. Edge Of Twilight (3:47)
3. The House, The Street, The Room (6:01)
4. Acquiring The Taste (1:36)
5. Wreck (4:36)
6. The Moon Is Down (4:45)
7. Black Cat (3:51)
8. Plain Truth (7:36)



Musicians:

- Gary Green / 6 string guitar, 12 string guitar, 12 string wah-wah guitar, donkey's jawbone, cat calls, voice
- Kerry Minnear / electric piano, organ, mellotron, vibraphone, Moog, piano, celeste, clavichord, harpsichord, tympani, maracas, lead vocals
- Derek Shulman / alto sax, clavichord, cowbell, lead vocals
- Phil Shulman / alto & tenor sax, clarinet, trumpet, piano, claves, maracas, lead vocals
- Ray Shulman / bass, violin, viola, electric violin, Spanish guitar, tambourine, 12 string guitar, organ bass pedals, skulls, vocals
- Martin Smith / drums, tambourine, gongs, side drum
- Assisted by Paul Cosh (trumpet, organ) and Tony Visconti (recorder, bass drum, triangle)

Gentle Giant's third album (and their first self-produced effort, Tony Visconti having run the sessions on the two previous records) was another advance, this time in the direction of a harder rock sound – everything sounds turned up here, especially the guitars, the bass, and the electronic keyboards. Three Friends hardly sacrificed any of the group's progressive intentions, however, and there are some softer moments here, such as the playful, sprightly first half of "Schooldays"; the harmonies and arrangements still had a distinctly medieval feel, and the melodies, though a little harder to discern here (which made them even more appealing when they did become obvious), were quite engaging. This is supposed to be a concept album, about the relationship between three friends across a lifetime, and the original notes and lyrics have been reprinted, but none of that is necessary in order to enjoy the songs here.

by Bruce Eder

Tracklist:

1. Prologue (6:12)
2. Schooldays (7:33)
3. Working All Day (5:07)
4. Peel The Paint (7:25)
5. Mister Class And Quality? (5:51)
6. Three Friends (3:00)



Musicians:

- Gary Green / guitars, percussion
- Kerry Minnear / keyboards, vibraphone, percussion, Moog, vocals
- Malcolm Mortimore / drums
- Derek Shulman / vocals
- Phil Schulman / sax, vocals
- Ray Shulman / bass, violin, 12 string guitar, vocals
- Assisted by: Calvin Shulman, Ray's son (boy's voice on Schooldays)

Returning to Gentle Giant's fourth album after any kind of lengthy absence, it's astonishing just how little Octopus has dated. Often written off at the time as a pale reflection of the truly gargantuan steps being taken by the likes of Jethro Tull and Barclay James Harvest, the band's closest relatives in the tangled skein of period prog, Gentle Giant often seemed more notable for its album art than its music. Octopus, however, marries the two seamlessly, with the cover speaking for itself, of course. And the mood continues within, the deliciously convoluted opening "The Advent of Panurge" itself riding waves of sonic tentacles as Gary Green's guitar shrieks short but so effective bursts around the thundering bass and, occasionally, churchy organ. Against the pulsating volume of the album's heavier tracks – "Panurge" is joined by "A Cry for Everyone" – the band's excursions into less excitable territory are never less than captivating. Twiddly though they are, the sometimes a cappella "Knots," the lilting "Dog's Life," and the Yes-with-fiddles-ish "Raconteur Troubadour" all have moments of sublime sweetness, while the instrumental "The Boys in the Band" is a succession of quirky showcases for, indeed, all the boys. Occasionally arrangements do get overly cluttered – with each of the six bandmembers doubling up on at least three different instruments, there's a distinct sense of overdubs for overdubbing's sake. Follow the key instruments alone, however, and the soundscapes not only make perfect sense, but so do the flourishes and intrusions that rattle around. And the end result is an album that has withstood the test of time a lot better than anyone might have expected.

by Dave Thompson

Tracklist:

1. The Advent Of Panurge (4:45)
2. Raconteur Troubadour (4:03)
3. A Cry For Everyone (4:06)
4. Knots (4:11)
5. The Boys In The Band (4:34)
6. Dog's Life (3:13)
7. Think Of Me With Kindness (3:31)
8. River (5:52)



Musicians:

- Gary Green / guitars, percussion
- Kerry Minnear / all keyboards, vibraphone, percussion, cello, Moog, lead and backing vocals
- Derek Shulman / lead vocals, alto saxophone
- Philip Shulman / saxophones, trumpet, mellophone, lead and backing vocals
- Raymond Shulman / bass violin, guitar, percussion, vocals
- John Weathers / drums, percussion, xylophone

Gentle Giant was reduced to a quintet on In a Glass House with the departure of elder brother Phil Shulman, but its sound is unchanged, and the group may actually be tighter without the presence of his saxophones. The time signatures are still really strange, and the tempo changes are sometimes jarring, as is the wide range of dynamics, but this is also one of the group's most pleasing records – they rock out in various places, and elsewhere perform all kinds of little experiments with percussion instruments ("An Inmate's Lullaby"), or create a strange, otherworldly sort of modern medieval-style music ("Way of Life"). None of it except possibly "A Reunion" is light listening, but the challenge does yield some rewarding sounds.

by Bruce Eder

Tracklist:

1. The Runaway (7:15)
2. An Inmate's Lullaby (4:40)
3. Way of Life (7:52)
4. Experience (7:50)
5. A Reunion (2:11)
6. In a Glass House (8:26)



Musicians:

- Gary Green / 6 & 12 string guitars, mandolin, percussion, alto recorder
- Kerry Minnear / keyboards, tuned percussion, recorder, vocals
- Derek Shulman / vocals, alto sax, soprano sax, recorder
- Ray Shulman / bass guitar, violin, acoustic guitar, percussion, backing vocals
- John Weathers / drums, percussion

The group's first U.S. release in two years featured ornate playing from Kerry Minnear on keyboards and Gary Green's loudest guitar work up to that time. Power and the Glory is also a fairly dissonant album, yet it made the charts, albeit pretty low. There seems to be a unifying theme having to do with one's place in the social order, but it's very vague in contrast to Pink Floyd's re-creations of the post-'60s drug experience, Yes' sweeping album-length suites, and ELP's sci-fi epics. "No God's a Man" is an infinitely more challenging piece of music than anything on Jethro Tull's Aqualung, but that wasn't a commercial virtue; nor could the electric violin break on "The Face" or the rippling electric guitar passages throughout cover the effort involved in absorbing these songs. Power and the Glory vaguely resembled Genesis' early art-rock albums, but without any presence as charismatic as Peter Gabriel. "Playing the Game" and "So Sincere" were the most accessible tracks and ended up as key parts of their concert set. The CD's sound is more than decent.

by Bruce Eder

Tracklist:

1. Proclamation (6:48)
2. So Sincere (3:52)
3. Aspirations (4:41)
4. Playing the Game (6:46)
5. Cogs in Cogs (3:08)
6. No God's a Man (4:28)
7. The Face (4:12)
8. Valedictory (3:21)
9. The Power And The Glory (2:53)



Musicians:

- Gary Green / guitars
- Kerry Minnear / keyboards, cello, vocals
- Derek Shulman / vocals, saxes
- Ray Shulman / bass, violin, vocals
- John Weathers / drums, percussion, vocals

Free Hand is perhaps Gentle Giant's most realized effort. After the excellent In a Glass House, the group further developed its Renaissance-medieval approach, producing one of the most creative and complex recordings in progressive rock history. Their vocal approach to the four-part fugue "On Reflection" was revolutionary for its time and is looked upon as one of the genre's defining moments. Despite the complexity of the arrangements, the music never sounds academic and in fact is very accessible thanks to several melodic hooks. The combination of superb musicianship, dry wit, and creative compositions make this an essential and historical recording.

by Robert Taylor

Tracklist:

1. Just The Same (5:34)
2. On Reflection (5:41)
3. Free Hand (6:14)
4. Time To Kill (5:08)
5. His Last Voyage (6:27)
6. Talybont (2:43)
7. Mobile (5:05)



Musicians:

- Derek Shulman / vocals, recorders, sax
- Ray Shulman / bass, violin, recorders, vocals
- Gary Green / guitars, vocals
- Kerry Minnear / keyboards, vocals
- John Weathers / percussion

Generally considered to be the last must-have recording from these progressive rock giants. Recorded at a frenetic pace, the band had the impossible task of topping their classic, Free Hand. While they didn't surpass the success of previous efforts, they did continue to propel their unique brand of complex music into surprising new directions. Interview is actually a concept album centering on a fictitious interview based upon the music business. There are the typical complex harmonies and intricate musical passages, but the real progress is in the group's expanded sound, thanks in large part to Kerry Minnear's stellar keyboard innovations. Although the songs are not as memorable as those on Free Hand, there isn't a weak one in the bunch, with the reggae-styled "Give It Back" being a standout. Unfortunately progressive rock was nearing its initial run as a popular form of music, forcing most prog bands to either adapt to the changing times or simply fade away. Unfortunately, Gentle Giant tried their hand at pop for a short and embarrassing time before disbanding. Gentle Giant's legacy began with their eponymously titled debut and ended with this one.

by Robert Taylor

Tracklist:

1. Interview (6:54)
2. Give It Back (5:08)
3. Design (4:59)
4. Another Show (3:29)
5. Empty City (4:24)
6. Timing (4:50)
7. I Lost My Head (6:58)



Musicians:

- Gary Green / guitars
- Kerry Minnear / keyboards
- Derek Shulman / vocals, saxes
- Ray Shulman / bass, violin
- John Weathers / drums

The Missing Piece was Gentle Giant's last album to chart in the U.S. Until 1977 Gentle Giant's complicated music won them fans all over the world, but as market tastes changed, their fan base ceased to grow. In an attempt to attract a wider audience, the band decided to streamline its sound with simpler styles and a more "live" sound. There were always distinctions between their complex studio work and their concert arrangements, so they now brought the two together by testing material on the road that might work well both live and in the studio. Compared to previous albums, The Missing Piece is an imbalanced effort. New styles from the band included the unconvincing "Betcha Thought We Couldn't Do It" ("proof" that they could pump out power chords like anyone else); the cute "Two Weeks in Spain," a feel-good ode to working-class vacationing; and "I'm Turning Around," an effective and poignant power ballad. The rest of the album is more in line with the band's classic topsy-turvy, contrapuntal arrangements. "Winning" sounds like a leftover from the previous album, while "For Nobody" delivers a nice blend of punk aggression and prog dexterity. Apparently the band thought the pop experiment required a second album, the more consistent but oft-flogged Giant for a Day.

by Patrick Little

Tracklist:

1. Two Weeks In Spain (3:00)
2. I'm Turning Around (3:54)
3. Betcha Thought We Couldn't Do It (2:20)
4. Who Do You Think You Are? (3:33)
5. Mountain Time (3:19)
6. As Old As You're Young (4:19)
7. Memories Of Old Days (7:15)
8. Winning (4:12)
9. For Nobody (4:00)



Musicians:

- Gary Green / guitars
- Kerry Minnear / keyboards
- Derek Shulman / vocals, saxes
- Ray Shulman / bass, violin
- John Weathers / drums

This live album (originally a double LP but put onto one CD) was released in the wake of a single-disc bootleg of the same name taken off of an FM radio concert. The repertory includes lots of stuff off of their early albums, including the never-released-in-the-U.S. In a Glass House. The sound is very vivid and close, whether the band is rocking to "Just the Same" or recreating the medieval-style a cappella vocals to "On Reflection." One Way has done an unusually good job with the sound on this album, and the original art has also been nicely recreated. This disc will obviously appeal to serious fans most of all, but even neophytes might consider this as an early acquisition.

by Bruce Eder

Tracklist:

1. Introduction
2. Just The Same
3. Proclamation
4. Valedictory
5. On Reflection (rearranged)
6. The Boys In The Band
-Raconteur Troubadour (acoustic guitar instrumental)
-Acquiring The Taste (rearranged for acoustic guitar)
-Knots
-Organ Bridge
-The Advent Of Panurge
-The Famous Recorder Quartet
-The Advent Of Panurge (contin.)
7. Funny Ways
8. The Runaway
9. Experience
10. So Sincere
11. Drum And Percussion Bash
12. Free Hand
13. Sweet Georgia Brown
14. Peel The Paint
15. I Lost My Head



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 sax, descant recorder, bass, percussion
Ray Shulman - bass, violin, acoustic guitar, descant recorder, trumpet, vocals, percussion
John Weathers - drums, vibes, tambour, vocals, percussion

When one considers the musical achievements of Gentle Giant – the composition and execution of some of the best progressive rock from 1971-1976 – one wonders why this talented band would lower themselves to 4/4 rockers and five-minute ballads. The fairytale "rise of punk/fall of prog" of the '70s led to The Missing Piece (1977), which found the band testing the waters with more "normal" songs and a diluted complexity. Outside pressure for sales and a dwindling market forced the band to reconsider their future, and Gentle Giant took nearly a year off. They played only one show in 1978 (filmed and recorded by the BBC) and delivered Giant for a Day! by the year's end. With the cartoon-cutout album cover, the band trumpets their new makeover from the get-go. Its playfulness matches the straightforward, bright sounds of the music found inside. Although Gentle Giant was shooting for mainstream, fans can grab on to occasional moments of delight, such as the ensemble singing of "Words from the Wise," a cute instrumental (the almost too-cute "Spooky Boogie"), and the mature pop complexity of "No Stranger," where you'll think the band were listening to too much Steely Dan the day they wrote it. Two rockers on the album, "Rock Climber" and "Little Brown Bag," are probably the most effective cuts, with lean arrangements, tasty edges, and Derek Shulman's powerful lead vocals. So did it work? Of course not. The album failed in the charts and is now the laughing stock of the Gentle Giant discography. It only proved that the few souls who actually bought the band's albums should never have been sold this. But this band is too good to laugh this one off completely.

by Patrick Little

Tracklist:

1. Words From The Wise (4:10)
2. Thank You (4:45)
3. Giant For A Day (3:45)
4. Spooky Boogie (3:31)
5. Take Me (2:45)
6. Little Brown Bag (3:32)
7. Friends (1:58)
8. No Stranger (2:27)
9. It's Only Goodbye (4:16)
10. Rock Climber (3:50)



Musicians:

- Gary Green / guitars, vocals
- Kerry Minnear / vocals, keyboards
- Derek Shulman / vocals
- Ray Shulman / bass, vocals
- John Weathers / vocals, drums

Taking a not so successful pop detour with 1978's Giant for a Day, Gentle Giant was quite unsure where to turn with their follow-up. Lead singer turned manager Derek Shulman hoped that a change of environment would help them tap the American market, so he moved the band to Los Angeles to rehearse and record the new album. Whereas bassist Ray Shulman had dominated the straightforward writing of the previous album, keyboardist Kerry Minnear was given the reins here. The result was a fusion that actually worked: Minnear's busy notation, new wave sounds, and driving tempos.

At the end of the '70s, many of Gentle Giant's progressive rock contemporaries were looking for new directions that would sell. With its darker outlook and hard-hitting sound (it is the only Gentle Giant album without acoustic guitar), Civilian was definitely a turn for the better. But unlike Genesis, Gentle Giant never made it over the hump; it was announced that the tour that followed would be their last, and they disbanded.

by Patrick Little

Tracklist:

1. Convenience (Clean And Easy) (3:14)
2. All Through The Night (4:20)
3. Shadows On The Street (3:18)
4. Number One (4:39)
5. Underground (3:48)
6. I Am A Camera (3:33)
7. Inside Out (5:51)
8. It's Not Imagination (3:59) Ending of the album ("That's All There Is")
9. Heroes No More (4:25) [bonus track]



Musicians:

- Gary Green / all guitars
- Kerry Minnear / keyboards, vocals
- Derek Shulman / vocals
- Ray Shulman / bass, acoustic guitars, backing vocals
-J ohn Weathers / drums, backing vocals

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