Escrever sobre Free Hand do Gentle Giant é uma experiência tanto desafiadora quanto gratificante. Este álbum é mais uma joia na coroa da banda, evidenciando mais uma vez a sua intrincada e fascinante interação musical. Se você é fã de rock progressivo, este disco não pode ser considerado nada menos que essencial e obrigatório em sua coleção. Para quem está começando a explorar o gênero, Free Hand é um dos melhores pontos de partida. Mesmo que você não seja cativado de imediato, insista e ouça novamente. A música do Gentle Giant é única; apesar de ter inspirado inúmeras outras bandas, nenhuma conseguiu replicar seu som singular. A complexidade e por vezes o caráter "assustador" da música podem não atrair o ouvinte à primeira audição, mas com o tempo, as nuances se revelam de maneira fascinante.
Free Hand marca uma mudança no som da banda, apresentando uma atmosfera um pouco mais voltada ao hard rock, algo distinto dos álbuns anteriores, onde a música era mais suave e acústica. Essa direção musical contribuiu para o maior sucesso comercial da banda. Derek Shulman, com sua voz sempre excelente, soa mais como um cantor de rock tradicional neste disco, algo incomum se comparado a trabalhos anteriores. As harmonias vocais, embora menos complexas, continuam sendo um dos grandes atrativos da banda. A instrumentação também é menos aventureira, mas sem sacrificar a complexidade e profundidade características do grupo.
A abertura com "Just the Same" é um exemplo perfeito do virtuosismo da banda. Começa com um solo de piano que evolui para uma introdução de guitarra, até ganhar força em uma linha vocal e instrumental vanguardista. A faixa tem uma sonoridade relativamente discreta que se transforma em um interlúdio espacial e atmosférico adornado por "brincadeiras" de guitarra e harmonias de teclado e saxofone, que conferem uma aura jazzística à música. "On Reflection" é talvez a faixa que mais representa a essência do Gentle Giant. Começa com uma polifonia vocal a capela, inspirada na música renascentista, complementada por percussão e vibrafone. A música varia entre momentos acústicos e elétricos, com vocais que se destacam do coro para criar passagens delicadas e complexas, além de várias influências medievais. A entrada da bateria dinamiza ainda mais a música, que se desenvolve para um final brilhante. É uma composição de primeira grandeza e estruturada de forma magistral.
A faixa-título, "Free Hand," mantém a qualidade elevada do disco, apresentando melodias intrigantes e uma sonoridade divertida. A harmonia entre teclados e guitarra, junto com as criativas linhas de baixo, destaca a habilidade da banda em criar música complexa que é ao mesmo tempo cativante. O interlúdio possui uma sonoridade característica do grupo e apesar da complexidade, todos os instrumentos se harmonizam perfeitamente. "Time To Kill" segue um caminho semelhante, sendo uma faixa agitada com ritmos complexos e uma vibe jazzística. As harmonias de baixo, teclado e bateria se destacam, enquanto a linha vocal mantém a música fluindo de forma envolvente, com transições que às vezes trazem uma sonoridade mais silenciosa.
"His Last Voyage" é uma obra-prima dentro do álbum, começando com um tom vanguardista e lindas linhas de baixo, vibrafone, violão e belíssimos vocais de Kerry Minnear. A música segue em um ritmo lento e fluido, com solos de guitarra e órgão que demonstram o talento subestimado de Gary Green. A faixa retorna ao ritmo original novamente destacando os lindos vocais de Kerry. "Talybont" é uma faixa instrumental curta, mas vibrante, dominada por teclado, clavinete e madeiras, sempre acompanhados por uma percussão e baixo robustos. A música tem uma forte influência da música clássica e é a mais "colorida" do álbum em termos de humor. O álbum termina com "Mobile," uma faixa que já começa de forma criativa com o uso de teclado, violão e violino. Mais uma vez, a banda demonstra sua capacidade de compor música complexa com uma harmonia impecável, onde cada instrumento parece seguir seu próprio caminho, ao mesmo tempo em que se encontram em uma coesão perfeita.
Free Hand é uma obra-prima recomendada sem reservas. Cada faixa se destaca, tornando o álbum um exemplo de perfeição do primeiro ao último acorde. Para novos admiradores de rock progressivo, a complexidade elevada pode parecer um desafio, mas não há motivo para preocupação. Com o tempo, o disco certamente conquistará o coração de quem se permitir por ele.
================================Writing about Free Hand by Gentle Giant is both a challenging and rewarding experience. This album stands as yet another gem in the band's crown, once again showcasing their intricate and captivating musical interplay. If you're a fan of progressive rock, this record is nothing short of essential and a must-have in your collection. For those just beginning to explore the genre, Free Hand is one of the best starting points. Even if it doesn't captivate you immediately, give it another listen. Gentle Giant's music is unique; despite inspiring countless other bands, none have managed to replicate their singular sound. The complexity and, at times, "intimidating" nature of their music may not appeal to every listener at first, but with time, its nuances reveal themselves in a fascinating way.
Free Hand marks a shift in the band's sound, introducing a slightly more hard rock-oriented atmosphere, different from their earlier albums, which leaned more towards acoustic and softer tones. This musical direction contributed to the band's greater commercial success. Derek Shulman, with his always excellent voice, sounds more like a traditional rock singer on this record, a contrast to previous works. The vocal harmonies, though less complex, remain one of the band's major attractions. The instrumentation is also less adventurous but without sacrificing the group's characteristic complexity and depth.
The album opens with "Just the Same," a perfect example of the band's virtuosity. It starts with a piano solo that evolves into a guitar introduction, building up into a powerful vocal and instrumental line. The track has a relatively understated sound that transforms into a spacey, atmospheric interlude, adorned with playful guitar work and keyboard and saxophone harmonies that lend the music a jazzy aura. "On Reflection" is perhaps the track that best represents the essence of Gentle Giant. It begins with an a cappella vocal polyphony inspired by Renaissance music, complemented by percussion and vibraphone. The music shifts between acoustic and electric moments, with vocals standing out from the chorus to create delicate and complex passages, along with various medieval influences. The entrance of the drums further energizes the music, leading it to a brilliant conclusion. It’s a first-rate composition, masterfully structured.
The title track, "Free Hand," maintains the high quality of the album, offering intriguing melodies and a playful sound. The harmony between keyboards and guitar, along with the creative bass lines, highlights the band's ability to create complex music that is also captivating. The interlude has a signature sound of the group, and despite the complexity, all the instruments blend perfectly. "Time To Kill" follows a similar path, being an energetic track with complex rhythms and a jazzy vibe. The bass, keyboard, and drum harmonies stand out, while the vocal line keeps the music flowing engagingly, with transitions that sometimes bring a quieter sound.
"His Last Voyage" is a masterpiece within the album, beginning with an avant-garde tone and beautiful bass, vibraphone, guitar, and stunning vocals by Kerry Minnear. The song flows at a slow pace, with guitar and organ solos that demonstrate Gary Green's underrated talent. The track returns to the original rhythm, once again highlighting Kerry's beautiful vocals. "Talybont" is a short but vibrant instrumental track, dominated by keyboard, clavinet, and woodwinds, always accompanied by robust percussion and bass. The music has a strong classical influence and is the most "colorful" track on the album in terms of mood. The album ends with "Mobile," a track that starts creatively with the use of keyboard, guitar, and violin. Once again, the band demonstrates their ability to compose complex music with impeccable harmony, where each instrument seems to follow its own path while achieving perfect cohesion.
Free Hand is a masterpiece, highly recommended without reservations. Each track stands out, making the album an example of perfection from the first to the last chord. For newcomers to progressive rock, the high complexity may seem daunting, but there's no need for concern. Over time, the album will undoubtedly win the hearts of those who give it a chance.
NOTA:10/10Tracks Listing
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)
Ouça, "Just the Same"
Writing about Free Hand by Gentle Giant is both a challenging and rewarding experience. This album stands as yet another gem in the band's crown, once again showcasing their intricate and captivating musical interplay. If you're a fan of progressive rock, this record is nothing short of essential and a must-have in your collection. For those just beginning to explore the genre, Free Hand is one of the best starting points. Even if it doesn't captivate you immediately, give it another listen. Gentle Giant's music is unique; despite inspiring countless other bands, none have managed to replicate their singular sound. The complexity and, at times, "intimidating" nature of their music may not appeal to every listener at first, but with time, its nuances reveal themselves in a fascinating way.
Free Hand marks a shift in the band's sound, introducing a slightly more hard rock-oriented atmosphere, different from their earlier albums, which leaned more towards acoustic and softer tones. This musical direction contributed to the band's greater commercial success. Derek Shulman, with his always excellent voice, sounds more like a traditional rock singer on this record, a contrast to previous works. The vocal harmonies, though less complex, remain one of the band's major attractions. The instrumentation is also less adventurous but without sacrificing the group's characteristic complexity and depth.
The album opens with "Just the Same," a perfect example of the band's virtuosity. It starts with a piano solo that evolves into a guitar introduction, building up into a powerful vocal and instrumental line. The track has a relatively understated sound that transforms into a spacey, atmospheric interlude, adorned with playful guitar work and keyboard and saxophone harmonies that lend the music a jazzy aura. "On Reflection" is perhaps the track that best represents the essence of Gentle Giant. It begins with an a cappella vocal polyphony inspired by Renaissance music, complemented by percussion and vibraphone. The music shifts between acoustic and electric moments, with vocals standing out from the chorus to create delicate and complex passages, along with various medieval influences. The entrance of the drums further energizes the music, leading it to a brilliant conclusion. It’s a first-rate composition, masterfully structured.
The title track, "Free Hand," maintains the high quality of the album, offering intriguing melodies and a playful sound. The harmony between keyboards and guitar, along with the creative bass lines, highlights the band's ability to create complex music that is also captivating. The interlude has a signature sound of the group, and despite the complexity, all the instruments blend perfectly. "Time To Kill" follows a similar path, being an energetic track with complex rhythms and a jazzy vibe. The bass, keyboard, and drum harmonies stand out, while the vocal line keeps the music flowing engagingly, with transitions that sometimes bring a quieter sound.
"His Last Voyage" is a masterpiece within the album, beginning with an avant-garde tone and beautiful bass, vibraphone, guitar, and stunning vocals by Kerry Minnear. The song flows at a slow pace, with guitar and organ solos that demonstrate Gary Green's underrated talent. The track returns to the original rhythm, once again highlighting Kerry's beautiful vocals. "Talybont" is a short but vibrant instrumental track, dominated by keyboard, clavinet, and woodwinds, always accompanied by robust percussion and bass. The music has a strong classical influence and is the most "colorful" track on the album in terms of mood. The album ends with "Mobile," a track that starts creatively with the use of keyboard, guitar, and violin. Once again, the band demonstrates their ability to compose complex music with impeccable harmony, where each instrument seems to follow its own path while achieving perfect cohesion.
Free Hand is a masterpiece, highly recommended without reservations. Each track stands out, making the album an example of perfection from the first to the last chord. For newcomers to progressive rock, the high complexity may seem daunting, but there's no need for concern. Over time, the album will undoubtedly win the hearts of those who give it a chance.
Tracks Listing
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)
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