Gracious!
This Is... Gracious!

I am literally fascinated by that musical period from the late sixties to the mid-seventies. An incredible hotbed of talent, but above all, an explosion of enthusiasm and creativity. I’ve always thought that the beauty of life, and music specifically, lies in exploration and open-mindedness. Progressive rock, whether you love it or hate it, was a seminal movement in the evolution of rock. A phenomenon far more extensive than many think, which is not limited to the usual big names, but on the contrary, has given us a series of lesser-known but equally valid episodes. Among these, I feel compelled to highlight Gracious! As the name itself suggests, a pleasant surprise. The band formed in the season of love and, after an initial period influenced by British blues, decided to move into progressive territories. The music that Gracious! presents is complex and symphonic in nature.

A splendid example of contamination that succeeds in combining that rock blues imprint from its beginnings with the psychedelia of early Pink Floyd, while also recovering the melodic lines (especially vocal) of the beat.
The band produces two very interesting albums: the self-titled debut album from 1970, more experimental but also less cohesive, and the subsequent and more mature “This is... Gracious!” from 1972. The latter, incidentally, was released posthumously after the band’s dissolution due to poor sales. The tours with King Crimson and The Who, who had glimpsed the potential of this group, did little to help.
The album contains five tracks, among which the long and intricate “Supernova: Arrival of the Traveller” undoubtedly stands out. A suite divided into four movements that encapsulates all the eclecticism of this band. From the psychedelic opening to the vocal parts reminiscent of Genesis in their best days. But in reality, the listener can find the most varied ideas in these twenty-five minutes, from jazz rock to symphonic pop. 

An oneiric journey alternating whimsical atmospheres, dreamy melodies, and more aggressive moments. Memorable. The second part of this work is equally interesting, although the tracks present a decidedly more linear structure. “C.B.S.” is an energetic composition with an engaging groove, at times decidedly hard. The track develops on dynamic rhythms and remarkable instrumental digressions. “What’s Come To Be” is instead a delicate ballad enriched by the sound of a mellotron, which leads us by the hand into the dream of the Crimson King. Following is a more cheerful and lively track, “Blue Skies and Alibis”, which plays between instrumentals of funky matrix and more melodic vocal parts. Another peculiarity of this group is the choruses, really well thought out and with ever-changing structures. To close the album is “Hold me Down”, a more immediate and typically rock song. The least original track on the album, but not to be overlooked because of it.

Ultimately, this is a work recommended for those who love elaborate music, but that knows how to be simple at the same time. For those who believe in music without constraints, but thoughtfully crafted. Discovering gems of this caliber is priceless. For everything else, there's Mastercard.