Gentle Giant

Artist: Gentle Giant
Label: Vertigo
Catalog#: 6360 020
Format: Vinyl
Country: United Kingdom
Released: 1970-10
A1 Giant 6:23
A2 Funny Ways 4:23
A3 Alucard 6:01
A4 Isn't It Quiet And Cold 3:50
B1 Nothing At All 9:08
B2 Why Not 5:31
B3 The Queen 1:40

Bass [Most], Violin, Guitar [Some], Percussion, Backing Vocals – Ray Shulman
Cello – Claire Deniz (tracks: A4)
Cello, Keyboards, Bass [Some], Lead Vocals, Backing Vocals, Percussion [Tuned] – Kerry Minnear
Design [Cover Artiste Extraordinaire] – George Underwood
Drums, Percussion – Martin Smith (12)
Engineer – Roy Baker*
Horn [Tenor] – Paul Cosh
Lead Guitar, Twelve-string Guitar – Gary Green
Lead Vocals, Backing Vocals, Bass [Some] – Derek Shulman
Liner Notes – Tony Visconti
Producer – Tony Visconti
Saxophone, Trumpet, Recorder, Lead Vocals, Backing Vocals – Phil Shulman*
Written-By – Shulman*, Minnear*, Shulman*, Shulman*


Released on a ''swirl Vertigo label in a fold-out cover. The Vertigo wording on the label is located under the spindle hole. First cat.nr. variation on label, second on cover. A3 appears on the label erroneously as ''Alcard''.

Strawberry Bricks Entry: 
Gentle Giant rose from the remains of the Shulman brothers' pop group, Simon Dupree & the Big Sound. That band had some minor chart success when the single "Kites" b/w "Like the Sun, Like the Fire" broke into the UK Top 10 in late 1967. More surprisingly were the legions of teenage girls that the band attracted, as documented in the British television show Man Alive. But at the turn of the decade, the three Shulman brothers-Derek, Ray and Phil-were ready to make the switch over to a more serious, progressive sound and show the world their considerable musical talents. They teamed up with Royal Academy of Music graduate Kerry Minnear on keyboards and drafted Gary Green to play guitar, while Martin Smith would be the band's first drummer. Their first album was released on the Vertigo label, one of the new labels catering to the burgeoning progressive sound. An auspicious debut, Gentle Giant would become one of the more celebrated and cerebral bands of the progressive era, with their complex arrangements, shifting time signatures and expansive artillery of instruments all trademarks of the band. Some of that is here in their debut; particularly on "Giant," with its excellent keyboard break, and "Alucard" ("Dracula" backwards), with its huge Minimoog bass line. Composition would also remain Gentle Giant's strong suit. Take "Nothing at All"-gentle folk number? Not really. It breaks down into a cacophony of phased drums and piano. The bluesy digression of "Why Not" offers some of the same, but also reveals another Giant tradition-the ability to rock out-something the band (but not the genre) would never forget. Charting, however, would always be a problem, especially in their native England.
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