Gentle Giant
The Power And The Glory

THE REVIEW

In 1974, "The Power And The Glory" was born. It was recorded between December 1973 and January 1974, although many fans are convinced that the album was recorded in a single evening. Knowing Gentle Giant, I wouldn't be surprised. Following in the footsteps of "In A Glass House", it can be said to be another masterpiece.

A stunning cover seals the triumphant symphony of sounds that the turntable needle seems to unleash. "Proclamation" is the masterpiece that opens the album, with that stunning organ riff and the great voice of Derek Shulman, not to mention the excellent almost choral interlude, with catastrophic tones. "So Sincere" is perhaps the most complicated track on the album, with complex choruses and the use of a dozen musical instruments, alongside the great work of the superb drummer John Pugwash Weathers. "Aspirations" is a beautiful slow track, with a great slide guitar in the background, just as beautiful is the sound of the electric piano and the progressive transitions between verses. "Playing The Game" has a markedly different cut: more agitated rhythms and beautiful organ parts in the central variation of the theme that create magical atmospheres. And then there's Shulberry's genius, which I’ve already mentioned in the review of "In A Glass House". "Cogs In Cogs" is one of the most extraordinary tracks the band has ever recorded, where the intricate web of rhythms forms the ideal backdrop for the vocal convolutions of the great Derek Shulman. In the central part, even a 6/4 rhythm intertwines with a 15/8. The keyboards of the legendary Kerry Minnear work miracles as usual, particularly with the harpsichord and organ later, although the melodic line followed by Gary Green with his guitar should not be underestimated.

Again complex rhythms and powerful vocals in "The Face", where the violin of bassist Ray Shulman flows fast and dominates the whole piece. The guitar solo is also beautiful. And once again the somewhat heavy guitar opens "Valedictory", which is nothing but an alter ego of "Proclamation", with the same vocal line and the same interlude, but a different melodic dress. Beautiful. Fundamentally, "The Power And The Glory" is a concept album that talks about how power influences and changes human relationships and consequently people's behaviors within society. The saga of a political character is particularly considered, who at the beginning of the album, in "Proclamation", is on the side of the people, "proclaiming": "It can change, it can stay the same", only to switch to the concluding Valedictory where he instead asserts: "Things must stay, there can be no change", thus serving his own interests. The rise to power is synonymous with degeneration. Power and glory, therefore, can also generate evil, an evil called corruption or dishonesty.

At the time, many fans thought that Gentle Giant wanted to subtly point to the Watergate scandal, in which President Nixon was implicated during that same period, but the band has always denied any reference. Finally, for those who also have the remastered version, there is also a song that only appeared as a single. It is the title track, and it has a rather commercial cut, something quite strange for a band like GG. Ray Shulman said at the time:

"Our record label insisted that we be more commercial and produce some singles. We were practically forced to enter the studio and wrote three atrocious songs. The song that seemed to us to be the least worse of the three was recorded, and the tape was delivered to the record label. They released it as a single, we ranted and raved, cursing them, and they in turn took it off the market. That was the first and last commercial experiment of Gentle Giant."

Honestly, I like everything that Gentle Giant produced in that period because they are unique: even in a 2-minute-long throwaway piece produced reluctantly to satisfy the odious show business bears their unmistakable touch, with a hint of folk. The failure of their single was an example of coherence with the themes of their latest conceived album, keeping intact the glass house built earlier and thus achieving, if not power, true glory.