GENTLE GIANT

Complex, singular, it goes all over the place! I have trouble with this group so I start.

1. Giant beautiful intro and immediately something that bothers me, brass... which breaks the contribution of Mellotron and other Hammonds from Kerry; well if not yes a little Haken in the background, that reassures me a little, phew! the declination that follows has everything it takes to capsize me, latent organs, majestic, grandiloquent choirs, great art, more art-rock than eclectic prog; seen from the distant time it must have really been revolutionary yes, but the sound is so made that my hairs stand on end anyway 2. Funny Ways ... in two notes I have a King Crimson and Beatles title, staggering there; 3 different singers here Phil; good I think of Kansas which had to come to seek elements for its future discography; limit country I like and then... those damn sax, trumpets that sound too 60 and that almost make me forget this beautiful solo by Gary; Indian pads reassure me a little but it's already the end 3. Alucard sends me back to my first listening... my sensitive memory hairs of my poise/ability to listen suddenly bristle; well I thank my friends who forced me to listen again, one time too many.. I am quite allergic to brass instruments and Brand X gave me a booster shot a few years later; the progression with a floydian sax is okay, alto & tenor sax is too much; however the crescendo is not badly screwed up far from it, however the cover is avant-garde by proposing a proguous head with a few more decades!! Barred, crazy, syncopated title that sends me back to the King Crimson on 'Red' too experimental and the sax end makes my last row of hair fall out, a sign 4. Isn't It Quiet and Cold? phew! a melody as I like them, the violin goes well, the voice juggles well with the cello, I have the impression of being on a title of the Beatles again, tune which refers to prog recklessness, proto even considering the age when the pleasure was to play and have fun, a vibraphone solo had to be dared; the banjo sends you back to the bar where you sip a Stickman on the rocks, oh no at the time it was already dry, the class; personally I'm more Tennessee me 5. Nothing at All tumbles side B requires, yes the time when we took the time to get up the cu... from the chair; I like dark folk guitar arpeggio; a slow rise, the bass well in place, I have the impression of listening to a Crimsonian and Tullian fusion track; the guitar caught in the wind is almost hard rock, I like it, it's rough, without artifice; good used yes but good 70 as my girlfriend says ... I was not born; the drum solo in the middle that swells, that's stamped prog and I like it phew! the piano suddenly, great musical paradigm between tambourine violence and sonata, well I'll see if I still have a little bit of beu; King Crimson did jazzy jam sessions unscheduled and borderline out of tune, so why not them? Back to the end as if nothing had happened, a musical extrasensory adventure 6. Why Not? wow, Led Zep, Deep, Jethro, but not Gentle, the album is coming to an end and frankly becomes... listenable; I guess the reaction of the proguists of the cover... the folk transverse flute is just superb; the keyboard which follows idem and raises the title to a high point; the booming guitar solo even more, great art in fact; well let's be pragmatic, we are much closer to a Deep Purple here and that's what makes me vibrate, when the brass well they are tidy, where they should have stayed from the beginning 7. The Queen for the outro which I find much more positively reworked than that of Queen on 'A night', now I find something positive, like the fast, fleeting but devilishly prog synth ends.