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Overall, an awesome record from a very capable and under appreciated band. Not quite up their with some of my favorites, as it lacks some of the redeeming qualities I find in those albums.

The deflagrating guitar solos and the drums solos of the previous albums are totally missing. The dominance of Minnear is complete: instrumental variations even those hard rock are completely entrusted to his keyboards, which more often have math rock little pieces.


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Four Victoria BC bands do a song each: The Hanson Brothers, Show Business Giants, Shovlhed and the Vinaigrettes. Ramones and Dickies inspired punk to twisted, funked-up jazzcore to cynical acoustic pop.

Elsewhere on the album a surplus of confidence and audacity resulted in at least two undisputed Gentle Giant classics: "The Advent of Panurge" (with its ghostly medieval mid- section and killer bass guitar riff), and the fan favorite "Knots": the vocal equivalent of an Olympics-level gymnastics exhibition. The simpler songs are no less impressive, in particular the album closer "River", a small miracle of strength and ingenuity throughout the flowing middle verses.


But, it can definitely be achieved and Gentle Giant demonstrate this to telling effect on Octopus

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I love Gentle Giant, I think they are one of the most creative and talented bands of all time, and this album is a great statement of what Gentle Giant was all about. It contains 8 songs and each one is a gem in its own little way. I love how Gentle Giant doesn't have to have big long epics in order to showcase all their progressive elements.


More elaborate music immediately follows the first verse like an extended interlude leading up to the second. After a slightly funky section, there is a brief synthesizer solo.

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I understand that this was not a very gentle review of the Prog rock giant's supposed masterpiece. But even if it is a bit charming and has a couple of good songs I cannot elevate this giant octopus even to a three start rating.

After a clever coin-toss introduction, the instrumental that is "The Boys in the Band" ensues and it's a high-spirited conglomeration of fast-moving, ever-changing musical ideas that are very Zappa-like in their intricate intensity without ever sounding like a rip-off of that genius' magic. On this track everything compliments everything else in a way that I never thought possible.


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Gentle Giant is not a huge personal favorite but I respect them very much. This was the album that always grabbed me the most as I recall. Here they put the various pieces together, their trademark quirkiness injected with levity and melody, while the musicianship just kept excelling to new heights. Their 4th album was the last with brother Phil Shulman who wanted more family time.


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A wild, complex ride, Octopus is a succinct album, packing in as much punch as it can in its short 34 minute duration. The album is a great starting point for those new to Gentle Giant as it marks a turning point between the band's two stylistic eras. Each track bears elements of both the bluesier, soulful early days of the band as well as their jarringly complex later albums.

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It's my favorite off here and one of the songs that planted me in camp Gentle Giant to begin with. Skillfully situated piano, violin, krumhorn and 12 string make this a classic for all time. The echoey harmonies and vibes section is nothing that the band hasn't offered before, but here it's so vibrant.


And IMHO, it is the crazy Welsh's arrival that helped GG to really go on to the next gear, his powerful playing really allowing much more options for Minnear and the Shulman bros to expand their playing. From the opening Rabelaisian Panurge to the medievalesque Troubadour to the incredible almost/mostly a cappella Knots (where each verse is sung by a different band member taking turns) and the more standard (for GG) Cry For Everyone, the first side is absolutely awesome in execution and inventiveness. The second side pales a bit in comparison with the middle two tracks being noticeably weaker, but nothing bothersome. The record ending with a fitting résumé of the themes developed in the album.

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It seems there's a surprise lurking around every twisting turn and soon they reprise the bizarre melodic theme, ending with an electric piano riff retarding like a wind-up toy coming to rest. The tune's words describe the life of a traveling minstrel but who has time to pay close attention to the lyrics when the music is making your mind swirl like a carnival ride?


Up to this point, GG had not done a 'beautiful' song. Think Of Me With Kindness was an attempt to change this. As a result, the group sound a lot less technical on this track, and far less obtuse. The result is a really pretty track that you could easily play on the radio. There are a couple of sneaky time signatures thrown in, but this track sounds gloriously simple, and is very moving.

By that measure, the near-miss of Octopus was another milestone for Gentle Giant

A whole bunch of Spanish bands do songs inspired by the films of Jess Franco, the Roger Corman/Russ Meyer of Europe. Mostly punk ranging from melodic to thrash and garage, with a little pop and some unclassifiably strange stuff, this has great songs and playing, and a truly inspired concept.


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From all albums GG made, I like Octupus best, as GG made with this album the most versatile one. The most variation in use of instruments, in moods.

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The layered a capella vocals are difficult to wrap one's ears around, frankly, and the whole piece may induce headaches. What little music is involved in this piece is some of the zaniest Gentle Giant has ever produced. It's probably the definition of a hit-or-miss song, but among Gentle Giant fans, this off-the-wall song is a great moment. I sometimes enjoy it, but I have to be in the mood for it.


But for those of you who demands a little more emotion there really is no point getting the album for its 'essential' status. An interesting and demanding listen from beginning to end, but for me it leaves something to be desired.

But the key to this band's success and appeal is not in complexity alone - that is, this music isn't complex for complexity's sake. And unlike so many of their more modern progeny, there can be no doubt that what Gentle Giant created was music, first and foremost, not a challenging sequence of mathematically-selected, emotionless notes.


The title track is particularly goo. J and CTOD Estimation Procedure for Circumferentially Cracked Pipes Based on Fully-Plastic Solutions. Offer: A Orquestra do Candomble da Nacao Ketu - Ile Oxumare (DVD) Hank Schroy, Bira Reis & Alabes do Ile Oxumare.

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Octopus is full of quirky details and melodies. A mix of pastoral church music, symph prog, quirky jazz and folk rock.


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Van Der Graaf Generator most prominently comes to mind. Dog's Life doesn't exactly paint a very pretty picture of their fellow business travelers. I wonder whether, after the equipment managers realized this, Gentle Giant were thought of with kindness.


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But before I knew it, I was walking through school with "Theeeere, coming over Char-a-ton Briiidge" in my head. How it happened, I haven't got a clue, but I'm thankful it did, and I don't think there's ever been a band which rewards patience and repeated listening the way Gentle Giant does (and they knew it just as well as the fans did, of course, naming their second album "Acquiring the Taste").

Definitely an acquired taste (acknowledge by the band in essence with the title of their second album Acquiring the Taste), sometimes this reviewer wonders if this band made idiosyncratic and bizarre music simply for the sake of being idiosyncratic and bizarre. Highly unusual rhythmic meters, instrumental choices and medieval singing reinforce this. Classical and jazz influences are heard, and the music ranges from soft ballad to hard rocker. Octopus is composed of eight different tracks (hence octo + opus = Octopus) that serve as an excellent document of the band's stylistically unique sound and is a great starting point for anyone looking to learn more about Gentle Giant's music. Listen with an open ear and an open mind and formulate your own conclusions regarding the cohesiveness of the musical concepts and aestetic choices and don't be unduly influenced by my review or those of others.


Raconteur Troubadour probably wouldn't be out of place at a renaissance faire. There is some wonderful violin work that really stands out to me. This is probably my least favorite track of the album, but I still enjoy it emmensely, which shows how great this album truly is.

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I really can't hear the inspiration of the previous two albums. The band seems to go through the motions without any new ideas and without much enthusiasm for the old ones. The opening track and Knots do still wet my appetite with some intriguing riffs and eerie vocal harmonies, but most tracks leave me untouched. The musicianship is excellent of course but seems to serve little other purpose then to entertain the band members. I sure do miss the out-worldly atmospheres and catchy hooks from the two preceding albums.


It's like a soup of the best ingredients of the golden age prog. The only negative thing that I can find are the tracks fading out. Something absolutely not needed in an album that's 35 minutes long. Regardless this, and because of the huge variety of sounds and ideas, this is a milestone of progressive rock.

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However, I feel compelled to rhetorically ask: Is he a one-handed keyboard-player? If you want a heart-felt piece of romance music with good piano, listen to Turn of the Century on Going for the One by Yes. Think of Me with Kindness also features the only segment of 'non-robotic' saxophone tooting on this disc. So I'll say that this track is a highlight (which still doesn't say much, bearing in mind the over-all off-putting tenor of Octopus).


The highlight of the album is probably 'Knots' which features the the complex vocal harmony the band is so well known for. It's Very difficult to listen to, but a very influential song nonetheless.

Very dissonant and rather unpleasant this one is. "Knots" is viewed by some retrospective critics in the progressive rock community as something of a high watermark. It is a signature GG tune, but not especially significant given that Yes had been writing such music since 1970's The Yes Album. I would recommend listening, instead, to Starship Trooper, Your Move, We Have Heaven, South Side of the Sky, the middle-eight to Close to the Edge, or I. Cord of Life from And You and I; these are each individually more beautiful to my ear than "Knots". And those are just examples from the music of Yes, let alone all rock music of the period. Let's digress with a bit of a history lesson: Have you ever heard of Philippe de Vitry? The man lived from 1291 to 1361, and is widely acknowledged as the greatest musician of his time. He has also been hailed as one of the most accomplished, influential, and innovative composers in his day. Philippe is accredited with having written chansons, and motets, though only several motets are known to have survived to the present. One should research the genre of music fathered by this man, called Ars nova, before acclaiming this song as strikingly progressive.


The drummer Malcolm Mortimore left the band and was replaced with John Weathers - an experienced multiinstrumentalist, who allowed the band to go to real musical extremes. With little concern for fame, the band decided to conquer forgotten areas of music.

Helio was another one of those “in between” guitarists, younger than the old guys and older than the new guys. It sounds like it might sound like a brasilian version of the Jazz Messengers. Paulo is the elder statesman clarinet player and Yamandu is the 20 something wunderkid who posses unbeleiveable chops on the 7 string violao guitar.


Begins with laughing and a coin spinning. Great interplay between the instruments. I wish this track didn't fade out.

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I like the vocal and cymbal effects in this song: they sound varispeeded or some other form of tape manipulation. Sounds like a wah-wahed electric violin is being played.


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Others would argue that "Free Hand" or "In a Glass House" are stronger but I believe "Octopus" is right up there as well. This album is definitely a great starting point for those barely getting into Gentle Giant due to the shorter songs and the overall mood of the album.

Normally I like instrumental tracks a lot, and even skip over the vocals to get to them, but The Boys in the Band, the only instrumental number here, unfortunately disappoints. The rapidly changing characters of the piece don't really compare to Knots, and the solos border on cheesy. The ensemble is tight, but I would have sacrificed it for a bit more improvisation. The electronics would have been interesting here, but for once in the whole CD, Gentle Giant loses control and there's so much stuff going on its hard to pick out even when we try.


It starts with a laugh and a tossed coin tossed rolling, all its spinning carefully captured. I have been listening to this one a long time too and it is brilliant for sure. It is complex, almost indescribable: a rapid cascade of piano, krumhorn, drums, bass, synthesizer, an avant garde excursion with all the fanfare of the Renaissance and little touches that glue it in one's brain far more than any of the band's other atonal offerings.

Gentle Giant - Octopus CD cover

A rounder sound might have brought out better the clever mix of two main themes towards the end. I felt it a pity that with so many acoustic instruments and references to the troubadour's lute, that Gentle Giant didn't experiment with a more acoustic guitar sound. On the other hand perhaps the slightly distorted guitar was instead an effort to marry the old and the new into one song. I would give them this benefit of the doubt if only it weren't for those silly liner notes.


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There is, to be sure, some crossover, but all the big bands can be lumped primarily into one or the other, with the understanding that the very nature of the beast keeps them from being totally confined. On the symphonic side of things, you have groups like Genesis, Pink Floyd, and Magma. Somewhere in between are Yes and King Crimson, who can achieve one or the other or both at the same time. And all the way to the far extremities of complexity, the world of dissonance, disjointedness, and time changes, lies Gentle Giant.

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Then comes "Knots" in the vein of what they started at "Acquiring the Taste" searching a new sound, the inter-layered tempo changes of this songs provides a new style for the upcoming material of the band. At first completely a Capella, some percussion and keyboards put some color, then the refrain blends into a much more rocker sound without missing the vocal experimentation.


As a trombone player, I can only laud the trombone solo half-way through, trombone solo, though I would have kept the energy down a little to keep the beautiful simplicity that opens the work. For the first time on this CD, we have an effective ending, with the words "Think of me" echoing past an unfinished musical phrase.

Think Of Me With Kindness (3:31) - (9/10) though much more simple in structure than most of the rest of the songs, this is a beautiful ballad that does not seem out of place at all. One of my favorite prog ballads.


My first GENTLE GIANT album, from the time I began to venture into prog. Back then I was so foolish I dismissed CLOSE TO THE EDGE as "yeah, kinda cool", but even that dumb kiddo was able to perceive on his first listen the quality of this band which would, fast forward a year, become his favorite. In every way, I consider it a great introduction to GG.

I suppose they got this inspiration from early 20th century composers who experimented with clashing dissonances and such. I also identify that the band went back to the Middle Ages and picked up church modes. Something which 20th centaury composers also did, they experimented with the Lydian, mixolydian, Dorian ( there are several more modes I cannon remember) and most of all the pentatonic scales. These experimentations changed the course of modern music in my opinion. Gentle Giant also use these modes.


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However, due to the fact that I am a big fan of the songs here that are good, I would still say that this album is one to listen ot at least once, as when it's good, it's really good. I personally believe that the band would move on to make the two best albums of their career past this point, and this album is definitely responsible for sowing the seeds that would eventually grow into those absolute gems, showing greater prominence in rhythmic interplay and all around instrumenal weirdness. Definitely an interesting album for sure, just not one I personally can enjoy to its fullest extent.


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Since hearing this album for the first time, I have moved on and found better Gentle Giant albums, but I do occasionally listen to these tracks. This is one of GG's most eclectic albums as there are just so many different styles on the album, and many intriguing (and often successful) fusions of musical genres.


A Dog's Life shows the bands sense of humor, and the lyrics are funny. The acoustic guitar is very unique as well as the violin. It perhaps isn't the most complicated Gentle Giant song, but it is still fun and an enjoyable listen.

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The album is comprised of 8 songs. Each song is at least good. Some of the songs are absolutely spectacular. The first song is called the Advent of Panurge. This song is a really good way to start off the album. This song is really complex and progressive, but not as complex or progressive as one of the songs later on in the album. This song is a good mix of progressive elements and medieval qualities. The next song is called Raconteur Troubadour.

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It's a forceful rocker (these boys have backbone aplenty) that features a marvelous kaleidoscope of musical instrumentation including some arresting synthesizer settings (especially for 1972). One of the many admirable traits this group possesses is their ability to never let the gourmet fare get overdone. However, when exciting movements like the conga-led sonic tour-de-force that rises up towards the end of this song come along I selfishly want them to go on and on. They're that cool. The words are somewhat deep and philosophical but they have no sobering effect on the unbridled enthusiasm of the band's performance here.

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What I mean is that it goes places I don't expect it to go to but once I'm there it makes all the sense in the world. Having said that, it ends in a classic, grand symphonic prog way that melts my heart almost as much as the emotional, heartbreaking words about lost love do.


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Frankly, I find some of these songs more than a bit silly and even goofy. Almost as if they are (very complex and sophisticated) children's music, or even comedy music or cartoon theme music or something similar! I just cannot fully take them seriously on Knots, for example. It's ok to have a bit of fun, but for almost half an album it becomes too much for my taste.

Originally released in 1984, this hilarious, tasteless punk rock homage to the films of Russ Meyer featured a classic soundtrack that's been out of print for ages, here reissued on CD for the first time. Lots of songs by REDD KROSS, plus tracks by LA's vintage punk bands BLACK FLAG, THE BAGS, SIN 34, NIP DRIVERS, WHITE FLAG and members of BAD RELIGION.


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Songs like "Knots" left me confused yet satisfied. After several listens, I can state with confidence that this album is a must- have for every prog fan out there. Gentle Giant is one of the most underrated prog bands, and one of the most talented too. This album is the apex of the bands talents and creativity.

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It's full of wild experimentation, a great number of instruments, strange vocal arrangements and a bunch of guys who obviously know how to handle their gear. It's in other words all that a prog lover should like, at least on the technical side of things. On the other hand it just feels cold and almost contrived at times. Overdone xylophone parts, abundant counterpoint melodies and pure strangeness seem to loose me as I listen to the album as a whole. I try to like Knots, but I still prefer Gibberish by Spock's Beard when it comes to the use of fugues and as Gibberish can be seen as a tribute, it's hardly a good thing.


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This town of just under 150,000 people may’ve had the highest (literally and figuratively) per capita output of heavy 45s. Blue Amber recorded this in 1971 at Gary Rhamy’s analog Mecca, Peppermint Recording Studios. This two-riff boneheaded banger sounds like a caveman protest song with an extraordinary amount of delay on the vocals. No wonder this 45 fetches three-figures on the rare occasion it comes up for sale.

Raconteur Troubadour, Knots, Dog's Life, Think of Me with Kindness. This is the Giant that initially turned me off.


Then, at 00:50, the song just took off. The bass and piano interplay was captivating. Trying to follow the counterpoints in there had me intrigued.

Dog's Life is a fun little song with interesting instrumentation. Unfortunately, this song feels more like filler.



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It is indeed a rare occurrence when I must confess that words are failing me, but as I was jotting down notes during a recent spin of "Octopus" I realized that I was being confronted with sound manipulations that are darn near indescribable. This music is so unique, so novel that I'm afraid my review will be irritatingly circumlocutory instead of direct. For that I apologize in advance. I can only say I'll do my best to convince prog explorers that this is music for those of you who love to experience something wholly different from the norm. Who admire aural art that comes straight out of left field. Who appreciate challenging compositions and arrangements loaded with substance and forethought, not just weirdness for weirdness' sake. If that's you then this album is right up your alley and you'll be glad you found it.

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One example is this Swedish 45 by Zane. These crazy Swedes did one incredibly damaged (hence the title) record on the MM label in 1976. These proto-punkers relied heavily on synth for this tune and mixed the drums so obnoxiously loud, you might think the kit is in the room with you. This is a weird one that somehow sounds like Zolar X covering Wicked Lady. Brown Acid material all the way!


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Nothing could have prepared me for "The Advent of Panurge" so all I can do is relate my reactions. It starts with some kind of a medieval madrigal chorale singing over electric piano, then the band blows in like some abstract Dali sandstorm filling up the sky.


The Boys in the Band shows where they would be going with a fantastic progression supplemented by some rather weaker breaks (this song would work far better in the live context). River is something of a studio experiment which features a very nice guitar solo from Gary Green, but does not succeed as well as other song on here.

A Cry For Everyone (4:06) (6/10) My least favorite track on the album. GG's heavy guitar riffs almost never do alot for me and this is no exception.


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The overall approach was a bit more direct than on Acquiring the Taste (1971), but there's the great favourite of mine, the complex and emotionally powerful 'Schooldays' with Kerry Minnear's lead vocals and featuring Phil Shulman's son Calvin on choirboy vocal part in the middle. The drummer on Three Friends was young and unexperienced Malcolm Mortimore, whose stay remained short due to the motorbike accident. John Weathers from Wales proved to be the ideal man til the end of GG's career.

I keep being strangely reminded of this album lately. A friend of mine was interested in hearing it (via his dad) and a guy I work with mentioned it again today. So, I felt compelled to listen to it again. After all, it's a very interesting piece of work.


Every song on here is perfect and instantly sucks you in with a catchy hook and then throws curve ball after curve ball incorporating more polymeters, vocal counterpoints and mixing of classical and modern sounds. Beginning with "The Advent Of Panurge" we get a strange new sound in the musical world that wraps your soul with their sucker cups and only releasing after the very last nanosecond of "Rivers" is complete. The result is an accessibility that you can relate to instantly and a complexity that keeps this music fascinating on repeated listens.

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The title of the album is a pun for 'octo-opus' since it has eight songs. The original cover artwork was done by Roger Dean but the US release had the cover changed.

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A fab tribute to the king of surf guitar, Dick Dale! Ten great songs including "Misirlou," "Surf Beat," "Banzai Washout," "Nite Rider," "The Wedge" and "Mr. Eliminator," by great bands like Thee Phantom 5ive, the Car Thieves, the Neptunas, the Galaxie Trio, the Penetrators, the Quadrajets, the Cowslingers, the Woggles, Cruncher, and the Daytonas.

I think this diverse album is well-done. This was the album that got me into Gentle Giant, and I'm glad it was this one. I think this is the best album for new GG fans. The 'sampler', you could say.


Totally freaked noise from Monoshock, a track from Fruitcake spinoff Garment Bladder, some tuff, gritty rock from Switzerland's psychos Designer, and New York's headbanging noisemakers Unholy Swill nearly round it out. I say nearly because there's a mystery track of intense, thrashy grind at the end.

Their style includes significant use of counterpoint. For anyone who doesn't know, counterpoint is basically the use of multiple voices that are completely independent in rhythm and harmony. To pull this off successfully is quite a feat, and Gentle Giant does it better than most artists out there.


The question that immediately arises is if the songs are short and do not attempt to break out of pop structure, how is it still prog? The answer to that is the essence of prog has always been an investigative, exploratory approach to music.

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Octopus or Octo-opus, as some might call it, is exactly what the title implies. Namely an opus consisting of eight parts!

I also feel like the song ends up meandering quite a bit, with the middle section transitioning right back into more off key singing that's just retreading the opening section, which also wasn't particularly great. Overall, while the song is definitely interesting, I can't say it works particularly well on a level beyond this.


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This album is of the same caliber than its predecessor on my scale of value; meaning a good album. Their inimitable vocal style is now well under control and their music probably at its peak.

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Pushing the boundaries of composition meant adopting ever-more complex time signatures, faster lines and phrasing, and 'untraditional' choral harmonies and medieval stylings. This is perhaps most extreme here on Octopus. It seems in many places that the pieces were composed on paper perhaps without regard to how they might sound, in order to make them that-much-more complex and different. In places it works well, creating novel kinds of sometimes brilliant music. In others, it just sounds forced and pretentious. This album is a mix of both, often within the same piece. For me the most musical tracks are the third song "A Cry for Everyone" (great melodies, excellent odd-timing instrumental breaks, etc), and track seven "Think of Me with Kindness", which is the tune here that comes closest to sounding like it was not written on paper. The opener ("Advent of Panurge") and the closing track ("River") also work on balance - there is enough real music here to justify repeated listenings. Other songs, like the three middle tracks of "Knots", "Boys in the Band" and "Dog's Life", or the second song "Raconeteur Troubadour", meanwhile, just don't work as well for me. Despite being clearly inventive, they are just not sufficiently musical. I certainly applaud GG's original and innovative approach to composition, and I really like some of these tracks.

Octopus may be the best GG album among many of their greats. Octopus is complex but also pretty accessible in some weird way.


Those guys could easily fall in the long jams/endless nooding trap, but they escaped all that concentrating in making good, strong, not very long compositions that few artists could match, even in 20 minute suites. GG members were maybe the most accomplished musicans ever to grace a 'rock' band, but they didn't have to prove it at the songs expenses. They were a rare case of complexity meets good melodies. A delicate, difficult formula they masatered.

So, this is possibly the greatest album of all time. Hard call to make, but it is undeniably one that should not be ignored.

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The Advent of Panurge is one of my favorite Gentle Giant songs of all time and includes all the wonderful elements that makes me love this band. There is singing by both Kerry Minnear and Derek Shulman. There is some wonderful vocal interplay. There is some great grooving and jazzy moments. It has a medieval feel to it that makes it a lot of fun. It is just a joyful song to listen to.


Notable musicians like King Curtis (sax) and Jimmy Spruill (guitar) give these recordings a great instrumental impact. Compilation and liner notes by Clive Richardson.

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Seemingly innocuous and proceeds to suck you into uncomfortable aural territory. And in contrast to the approach generally favoured in the avant garde world, Gentle Giant don't force disruptive or disorienting changes to the music. A strong sense of intuition binds together their audacious experimentation. Even Knots resolves into a Black Sabbath-like riff so that the experiment makes sense. Gentle Giant do not only adopt complex compositional techniques from classical music; they proceed to demonstrate how they could find a place in rock music.

This album begins what I feel is Gentle Giant's holy trinity of albums. I can not deny the influence this album has had on my life by introducing me to prog rock which has been one of the greatest joys of my life. I feel Gentle Giant stated their purpose simply through this album and made 8 songs full of beauty and complexity that really showcased everything they were about.


I can see where this sort of musical collage that sometimes borders on dissonance and abstraction-by-design might not be everyone's cup o' tea but that's what sets these guys apart from the herd. I, for one, am hooked on this album and I know without a doubt that it will continue to entertain and amuse my insatiable desire for adventure for many years to come. I also now know why the fans of Gentle Giant are so loyal.

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Then Derek chimes in with a brief snippet of the vocal melody over this groove, and then, oh man. The "look at my friend look around my friend" mid-section, with trumpets, all sorts of tempo and meter changes, then dissolving into another jam (with the band members muttering a bunch of random foreign words) is undoubtedly my favorite passage in any GG track. I find it fascinating when it's on, but even more impressively I easily find myself able to remember all the great themes when it's over, and will even find myself humming them on many an occasion.


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This is non-crazy, actual soft, pretty track on this album (My friend and I actually jam this song when we're bored). Although this song probably gets looked over, I think this song is wonderful. Well-written lyrics, piano work is brilliant.

But seriously; am I missing something here? Even the band themselves (Ray Shulman, to be precise) stated that it "was probably [their] best album"- he's not alone in saying that either. In a way, it is the album that most fittingly demonstrates their modus operandi. Rampant eclecticism, incredibly tight and busy arrangements, and the general 'weirdness for weirdness' sake' that coloured every Gentle Giant album (arguably excluding Giant for a Day) are central to Octopus. As a technical accomplishment, Octopus may very well have dwarfed the three albums that preceded it. Indeed, the part of me that loves 'hard/cold prog'- the part that would declare King Crimson to be the undisputed champion on progressive rock- is right at home and wholly satisfied with Octopus.


Far and away the most well known song on the album, Knots was the most complex song Gentle Giant had put together to date. In this song, the group sing a cappella, and most of the time there are at least 4 voices all singing different things. Amazingly, it all comes together and sounds fantastic with the music in the background. Even though the members are singing at different pitches and at different speeds, the music fits together like a 'musical jigsaw', as the liner notes describe. One of the most memorable GG songs.

Octopus is often said to be GG's biggest classic. I can't say it's my favourite album, a bit too much emphasized on the rough and hard-rocking side of their eclectism. Derek Shulman's vocals are quite aggressive in songs such as 'A Cry for Everyone' or 'River', and Kerry Minnear's ethereal style is less heard here, apart from his dreamy and romantic 'Think of Me With Kindness' which I like a lot.


All band members are going nuts but the work is integrated and purposeful instead of "insert part 16 here" which is how some of the previous album felt to me. These highly constructed, complex vocal arrangements just keep coming back on every track, they must have spent hours coming up with this stuff. John Weathers wastes no time in stamping his drumming on this group. I'm hooked after one track, but all eight are exhaustingly interesting and good! Listen to the strings at the opening of "Raconteur Troubadour" so flawlessly arranged. This is so saucy it could be Italian Prog! Just needs some operatic Italian vocals.

The strongest cut here have to be "The Advent of Panurge" which is easily in my GG top-three, a very inventive piece that set the standard both for this album and later Gentle Giant albums. It's a very refreshing song that is heavy on the rhythm section but so wonderfully eclectic, adventurous and playful at the same time and will surely provide hundreds of great listening experiences alone.


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Queen, one of my all time favourite bands, really mastered the craft of successfully incorporating some silly moments on their albums. For example, on A Night At The Opera (which I consider a masterpiece) there are Lazing On A Sunday Afternoon, Seaside Rendezvous and Good Company. The only reason these numbers work at all on that album is that they are put side by side with hard rockers like Death On Two Legs, I'm In Love With My Car and Sweet Lady and ballads like Love Of My Life. It doesn't quite work that way for Gentle Giant, I'm afraid.


It is indeed strange and alien to my ears but the complex counterpoint they indulge in is captivating. About the time I think I've heard it all John Weathers comes out of nowhere and turns in a blistering solo on the xylophone that leaves me shaking my head. Speaking of John, don't overlook the incredible drum work he provides throughout this album because there's nothing about it that could be called easy.

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But whatever, "River" closes things out, and whatever potential for a feeling of second-side letdown there might have been is, um, washed away (stupid unavoidable puns). The mix of an electric violin in my right ear and a wah-wah'd guitar in my left ear is definitely a sound I could stand to hear more in my life, and all the other elements, from vocal melody to great guitar soloing to production to nice "rivery" atmosphere, help make the album close out with a flourish.


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So, is it possible to acknowledge an album's greatness in some respects, yet entirely disagree with the 'masterpiece' recognition that gets tossed Octopus' way. Apparently so. In terms of technical proficiency, Gentle Giant had outdone the good lot of their contemporaries, and even today it's tough to find a band with the guts to compete with this album's sheer busyness.

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One instrument would play a theme then later in the song it would be another and so on. Kind of like a rotation. GG would take this approach to the extreme when performing Octopus live.


Un-elaborated/ornamented monophonic acoustic guitar lines introduce this track. Then the music proceeds into the first verse accompanied by violin, and emotionless, dry-sounding saxophones from R. Shulman and P. and D. Shulman, respectively. And the lyrics aren't anything to write home about, either.

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The song picks up very quickly however, with a groovy bassline backed up by what almost feels like random piano keys being played, some moments with high energy, others being soft and dreamy, right before kicking back in with another idea, all around very jazzy, never sitting still, but with a great central melody. Raconteur Troubadour is a more conventional song in certain respects, with a more focused central theme and a more beautiful, heavily medieval sound. As with the previous song, this one quickly picks up as well, briefly becoming frantic before settling right back down with its main verse, the chorus being rhythmically interesting as it constantly sounds as if it's lagging slightly behind, before making a quick sprint to catch up, repeating this process many times over.


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Raconteur Troubadour (4:03) (8/5/10) Continues the medieval flavor, but is a little mellower. The odd rhythm feel remains and the song feels like it is tripping over itself. It takes a few listens to enjoy, but is an excellent continuation and shift from the opener.


I recommend you to play him/her Gentle Giant's Octopus

Unfortunately, it contains a few filler tracks which fail to excite. Gentle Giant are the only prog band from which I have burned a personal best of CD. They are too good to ignore but need a bit of weeding. If you like Jethro Tull you might find some common ground in Giant's music.

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It mixes Medievil into rock into odd time signatures with effortless ease; shifting from such folky song like Raconteur Troubador into a hard-hitting piece like A Cry For Everyone. This album definatly has some of GG's more interesting and complex songs, and I, as many might agree, think this is GG's best album. In some sections you might here some Yes influences, in some sections a touch of ELP, and so on and so forth. This album never goes stale, as some might, and always challenges the listener to hear new, interesting sections within the piece. Definatly a 4 for this, or perhaps a 4/5!


This was my first GG album, and I was taken in by the intriguing song-writing and the astonishing technicality of their musicianship. For more prog-points, the artwork was done by none other than Roger Dean. The funny title is, of course, a play on words where "Octo-opus" refers to the fact that there are 8 songs on the album. One of my favourite things about this album though, is that for each song there is a brief note about the music in the liner notes (on any version I believe).

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Then arrive one of the most romantic songs of the GG, Think of Me With Kindness, which has moments of great pathos, this is a song that speaks to the heart, but when the melody become too much pathetic arrive the cerebral math rock variations of Minnear, that partially ruins the pathos. Anyway, a very romantic and delicate song. The second side in this way is very melodic but in the end arrive The River, the only track of long duration: not a particular inspirend song but with great instrumental passages, that make more heavy the final of the album.

This is just a completely seductive rock massage. Giant has attempted this before, but it all comes together here. I have never heard a bass guitar add such an undercurrent of movement. The virtuosity on this song is enthralling.


That sounds weird, but it's true once you get used to the music. At first it might seem like the most overly-complex music ever conceived, but (and the cliche works for this band) after repeated listens, the brilliance of it is revealed. Every noise that seemed abrasive at first becomes a necessary part of the whole. Octopus is probably the finest example of GG's music, and also the hardest to get into. The Advent of Panurge is one of the most twisted (musically and lyrically) songs ever recorded. The instrumentation goes from noodling acoustic guitar to heavy piano riffage and the lyrics are some of the weirdest ever. A Cry for Everyone is a great catchy metal track with an epic riff and some good keyboardage too. The Boys in the Band is an instrumental with great melodies. River, possibly my favorite track on the album, has a mellow keyboard melody and some very relaxing vocal melodies and lyrics.

The songs provide a singular travel on the mind of his principal composers, the Shulman Brothers and Kerry Minnear; is a record that with the exception of the ballad Think of me with kindness any other band of the progressive fo the 70´s cannot create. Is a beatiful album, faithful - yet - to the goal of the band; compose complex, sincopated and polyrythmic melodies that create the perfect ambient to hear this great band.


Surely this is also one of the most influential albums as well, with artists such as Echolyn and Spock's Beard creating musical ideas inspired by these guys. Musically, it has the complexities the band is known for, but isn't over-the-top unlistenable.

Weathers brought that realization a lot closer, filling what had always been an insecure gap in the line-up. His solid, swinging rhythms would anchor the band's more complex arrangements in years to come, but he wasn't fully integrated into the emerging Gentle Giant sound just yet: listen to him struggling with that nearly impossible beat at the top of "The Boys in the Band".


The Boys In The Band is an instrumental track with alot of busy sections that feed off each other and mix very well. It's clear the musical knowledge of this band is quite strong by this point. The positive here is that no instrument dominates the others. It's clearly balanced and very well mixed.

Think Of Me With Kindness is an attempt to become a bit more serious and making a ballad, and it works surprisingly well. This is also one of the better songs here, and one of the few numbers that doesn't feel cheerful and jolly! I definitely feel that too much of this album is too cheerful.


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You know, this kind of nervous laugh that shows you don't really know what's going on in your head. I can confirm now that this album caused me bad bad brain injuries. This was the first prog album I listened to and this was pure magic in my ears. I 've had never heard anything like this before. I got hooked by the song's complex architectures, each tune was different and intrigating. Gentle Giant is definitely my favourite rock band.


The next song is called A Cry for Everyone. This song is very complex and progressive. Gentle Giant also uses very odd time signatures in their music. They are in my opinion: one of the most complex bands out there. The next song is called Knots. This is the one of the best tracks of this album. This song is very complicated and not very easy to get into. Once you get into this track, you can see how unique of a band Gentle Giant are. The next song is the Boys in the Band.

OCTOPUS is one of those premiere prog rock albums that can take some time to grow warm towards. No doubt looking at the barrage of instruments played that you're going to go for one hell of a thrill ride, but the way the tracks flow together really arouses a euphoria that I cannot explain.


Their creativeness and energy was at their peak. The clashes between Phil Shulman (who saw himself as the leader fo the pack) and the rest of the band would eventually end with him leaving the group and thus finishing this first phase in Gentle giant's career.

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Raconteur Troubadour was even better song with its waltzy character. The absence of downtime between these tracks and maintainence of the energy and flavor of the first track told me that this band knew how to construct an album. As track 2 had more renaissance leanings (and lyrical content), track 3 (Cry For Freedom) brought in the hard rock style. For 1972, this track was keeping pace with anything Led Zeppelin ever wanted to do while blowing them out of the water with the added instrumentation and interplay. Knots is simply a magnificent, daring work of vocal ingenuity. The contradictory riddle in the style of a 4 part vocal fugue is something you'll hear few bands attempt.


Astonishing in it's diversity, array of instruments and complexity. And surprisingly, like the Beatles used in some parts - a lot of polyphony techniques are applied.

Initially based around an extremely loose concept (the original idea was to write one song to represent each of the members of the band), the album eventually developed into the group's most powerful and forceful album yet. Raconteur Troubadour is a case in point; beginning as a medieval-tinged mostly-acoustic number, the song becomes more and more frantic as it goes on, building up to the electric rock number A Cry For Everyone, which manages to combine prog rock complexity with a ballsy, muscular delivery. Knots begins with a capella rhythms combining wonderfully before breaking out into full instrumental complexity, and The Advent of Panurge likewise begins with quiet synthesiser melodies and gentle, almost whispered lyrics before breaking out into more complex fare.


Dog's Life is charming, beautifully paced, complex: irresistible. Think of me with kindness is just about the perfect balance between sentimentality and charm.

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Try and leave this world a little better than you found it and when your turn come to die, you can die happy in feeling that at any rate you have not wasted your time but have done your best. Jim R, I see that you mentioned them in the first post. After a minute interruption, Gilberto resumed playing and quickly re-established a magical feeling, alternating languid slow tempo ballads with uptempo songs, mixing his unique interpretations of more obscure older tunes by Brazilian composers, such as Geraldo Pereira’s syncopated “Bolinha de Papel,” with the more familiar Jobim bossa nova songs.


If you consider to buy this one, you have to keep it in your mind that this is not at the melodic or symphonic side of prog at all. Songs like "knots" can be very confusing and irritating for a symphonic progger. Actually the songs doesn't remind me of anything from the same era. But if you like complex songs that doesn't stay very long at any part of the composition and at the same time and at the same time has a "soul", you should consider buying this.

One day, while playing with his ocean friends, Panurge happens to pass by a fishing boat. There he hears the singing of a Raconteur Troubadour. From then on, Panurge dreams of being human. He lets out A Cry For Everyone, and ties himself in Knots. Finally, he locates The Boys In The Band, who introduce him to a wizard, who grants his deepest wish. He is now a human, with big Disney eyes (nowhere near as big as anime eyes, but you get the idea). But after joining the band, he befriends a dog. He sees the cruel way people treat the dog, and pities the Dog's Life. He begins to regret his wish, leaves the band, asking the group to "Think Of Me With Kindness".


Very interesting drumming and drum effects. The blues guitar solo is also an interesting surprise.

A Cry For Everyone is more up to date with a heavy guitar sound. The lyrics, apparently inspired by Albert Camus, do nothing for me. There are some very good technical moments in this song though, especially in the instrumental.

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The one instrumental on the album, this song is, along with Knots, one of my favourites on the album. This song is my definition of 'Musical ADHD'. This song is absolutely all over the place. But this song comes screaming in full-force and holds me the whole time.

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My favorite song is the tranquil and melodic "Think of Me With Kindness". It is a straight forward ballad that conveys a nice feel. A "gentle" moment, should I say.


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I have to say I like the contrast between some parts of 'reverence worthy of a British Court' and the rock'n'roll colours in another parts. Always, the melodies are great.

Piano and trombone, the two featured instruments here rank among those I like to see least in rock. Gentle Giant can work absolutely anything into the mix.


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The last track on the album, also one of my favourites. The use of emanating the intro theme with violin and wah guitar was, I think, a brilliant touch. The vocal melody flows nicely over this song, making it semi-catchy, but it's the riff that's catchy in my mind. The flow-y sound effect throughout the song is an interesting effect. Does nothing to really enhance the song overall, except when it's used to transition to the main riff.


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I'm an absolute sucker for GG's vocal counterpoint pieces. This song either slaps you in the face or it binds you. Along with the quirky instrumentation between vocal passages, the first little bit can be jarring for anyone who doesn't know who GG is. But when the melody breaks out into the nice piano melody, people may start to "get it" at that point. This is my favourite song on the album though.

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Modeling Cd(II) adsorption to heterogeneous subsurface soils in the presence of citric acid using a semi-empirical surface complexation approach. A A", irreirk, Francisco Bexa, V&ld6fi, Anto- El julclo del proctao contra dollo Torreira Alto conLra Hacienda la Pederaci6n de Radioemiaorafi*, In dustrias qua tengan mts de 200 obre- OtrR parte no funcion&n Constante. I've got to say that this cd was a very pleasant surprise.


I think this album is conceptually original because of the diversity of sounds and sonorities. This condition add to this album.

It all starts with The Advent of Panurge, which continues the theme from Pantagruel's Nativity about giants. When I first heard this, I was shocked at just how proggy a 4:45 song could sound. This is a wonderfully complex song with cleverly written parts. This song encouraged me to buy the album and see how the rest sounded.


Listen Em Ritmo de Seresta by Osvaldo Lemos on Qobuz.com

Open your closet, put on anything that can get you back to the '60s and '70s, and drive your Fiat 1100 over to Cocktail's Avenue for the hippest party in town! Sung in Italian, irresistibly danceable and exuding tremendous flair, there's jungle-go-go-rhythm, comical R&B, an exotic take on "Surfin' USA", surreal latin pop, Italian Northern Soul, blue bossa, and irreverent lolli-pop, from JOHNNY DORELLI, BRUNETTA, I BARONETTI, I COLOURS, BRIAN AUGER & THE TRINITY, CHRISTY, and more.

Chess Software - The House of Staunton House Of Staunton

Don't let the short times of these songs fool you. They are packed with detail and are very fun to listen to. The ensemble playing is on another level. GG didn't do jazz, what they did was construct songs in a hyper organized way. Like a highly complex puzzle where everything just fits. No loose jamming or solos just incredibly structured music. Amazing juxtaposition of instruments and voices. No other band does it like GG and Octopus is the pinnacle of that direction.


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Indeed, every album the band released had revealed new musical avenues to explore. The band could go from folk, hard rock, progressive rock, blues, you name it. After three excellent records under their belts already, Gentle Giant released a gem of an album that's a bit overlooked these days: 1972's Octopus.