Gentle Giant

"Proclamation" This was the first Gentle Giant song I ever heard, and the first time I heard it, I
thought to myself, "What the hell am I listening to?" I was so dismayed that I had bought their
previous album that same day! The truth about Gentle Giant for many people though, I suspect, is
that their constant eccentricity makes them quite an acquired taste (no pun intended). For a young
man with preferences of symphonic and heavy progressive rock, this album took a few listens to
really appreciate and enjoy. The first thing one hears on this album is the cheering of a large
crowd, setting the stage for a popular leader's ascension to power over a nation, which are exactly
what the lyrics describe (from the perspective of the new chief). The music relies on piano, both
electric and otherwise, a grooving bass and drum pairing, and some peculiar arrangements, including
something like "Flight of the Bumblebee" in the middle. After a frightening and commanding vocal
section, the music becomes hushed and a bit disturbing, until the final verse comes in, much faster
in tempo than the two that came prior. The song ends with further applause- the coveted approval of
the people.

"So Sincere" Naturally, this was the second Gentle Giant song I ever heard, and my reaction was
even more pronounced then when I'd heard the previous song. I was positive that Gentle Giant was
just some weird band I would never like; remarkably, this proved not to be the case, and even this
strange little number (which I had skipped over multiple times in the past) grew on me. It begins
with an awkward riff that relies heavily on strings. The vocal melody is even weirder, but is an
integral element of the song, which is about the genuineness of the leader. It is telling that the
word "sincere" is cut off at times to produce the phrase, "so sin." The guitar solo is highly
enjoyable, highlighting Gary Green's crucial role in fitting in with such unusual arrangements.

"Aspirations" The only quiet and straightforward song on the album, "Aspirations" features quiet
electric piano, acoustic guitar, and Kerry Minnear's soft, lovely singing voice. The mildness with
which this song is performed reflects the meekness of the populace, entreating their leader to lead
them to glory, and assuring him that they are behind him. They express their complete assurance
that their leader will make all their "sorrows gone forever."

"Playing the Game" The crowning moment of the record, "Playing the Game" has a couple of recurring
themes that use Gary Green's guitar to great effect, one of which is situated after each verse, and
one that starts off the song and serves to bridge the verses. The ascending bass played during
certain repetitions of the first theme is a good approach and lends variety to a musical motif that
could have otherwise become stale. Kerry Minnear has a brief and quiet vocal part as the song fades
out in the middle before a bass riff explodes into an excellent organ solo. In the lyrics, the
leader asserts his invulnerability, pointing out that everything else exists for his purposes.
Derek Shulman gives an energetic but controlled vocal performance, demonstrating both the
authority's unbridled confidence in himself and his exacting strategies.

"Cogs in Cogs" Despite the leader's efforts, he confesses that his empty promises have not paved
the way, and now the cogs of discontent are turning. The music is fast paced and frantic,
reflecting the mounting panic of the person in charge. The piece is tightly orchestrated, and,
along with the songs immediately before and after, was one that kept me returning to this album
until it all "clicked" with me.

"No God's a Man" The music features some springy clean guitar and intriguing arrangements. It is
another highlight. The lyrics describe the cyclical nature of power, how, even after the rise of a
great and popular leader, the vacillation of the minds of the people can quickly result in a
revolution. In typical Gentle Giant fashion, the vocals overlap one another, here giving the
impression of the general population (many people out on the street, for instance) speaking about
their current state of affairs and being in agreement.

"The Face" A Cajun feel accompanies the beginning of this piece, with violin and tambourine, and
guitar and bass accompanying. The instrumental section is incredible, yet another example of Gentle
Giant's creative greatness. Green gives a respectable guitar performance, also. The words describe
a leader who realizes how unpopular his direction has become, but still urges his associates to
"wear the face that is sorry."

"Valedictory" This is a heavy rock number that reprises the melody from the first song. The
lyrics, however, reflect the opposite idea: The leader establishing his authority in "Proclamation"
is pleading with his uprising people that "things must stay; there must be no change." The very end
of the song is the sound of a tape player rewinding, perhaps inducing us to return to the beginning
and listen to the album again- or maybe reminding us that whoever assumes power after this leader is
deposed will experience the very same cycle.

(Bonus Track) "The Power and the Glory" Typically I do not review bonus tracks, but I'll make an
exception here. This short piece carries the classic Gentle Giant sound, but is much less complex.
According to one source, it didn't make the album because it had not yet been written (and Ray
Shulman thought it was the worst of three "atrocious" "commercial" songs they'd written for the
record company). Regardless of his opinion, the song is well worth having if you can get the 35th
anniversary release.