Author: Peter Podbrežnik
Artist: Gentle Giant
Label: 57 Records
Release: 1974
Runtime: 40:09
Rating: 5/5
The sixth album from the prog rock legends, “The Power And The Glory”, is a concept album about corruption and abuse of power, with lyrics that keep nudging us to think about how good our social order really is. These highly intelligent, literary-minded musicians, who already wowed us in the past with their witty lyrical sharpness, borrowed the album title and the inspiration for most of the lyrical themes from the novel of the same name by the famous British writer Graham Greene. That way, the masters of eclectic forms of progressive rock once again proved how unique they are at subtly weaving socially aware themes into their highly complex sonic schemes.
True to their name and philosophy, on “The Power And The Glory” they again put their enviable virtuoso chops to work building eclectic compositional mosaics, mostly marked by playful, I’d even say cheeky rhythms and signature dissonant harmonies. Whereas the excellent predecessor “In a Glass House” (1973) put somewhat more emphasis on hard rock finesse, this time they once again made room for more jazzy arrangements. Within the signature polymetric schemes and unexpected time changes, there’s again no shortage of baroque-pastoral folk rock motifs, avant-garde elements and good old jazz rock fusion.
Guitar master Gary Green doesn’t skimp on his blues roots here and satisfies the appetites of music gourmets with massive hard rock riffs and striking solos. The Shulman brothers are as consistent and inventive as ever on winds and strings, while Kerry Minnear wins us over with angelic vocal harmonies at least as much as with his colorful keyboard arrangements. Together with the charismatic saxophonist Derek, who in my opinion, despite being overlooked, ranks among the best singers in the history of prog rock, he forms an inseparable vocal duo that gives the compositions an even greater measure of contrast. John Weathers, with his massive yet highly dynamic fills, brings outstanding rhythmic playfulness, which has always played a hugely important role in their music.
The whole album is steeped in a playful, cheeky yet remarkable sarcasm aimed at the mighty and their institutions. They keep that unmistakable British humor in their satire, so there’s no need to go hunting for any kinship with the socially critical gags of the immortal Frank Zappa. The opening “Proclamation” is a biting satire of dictatorship and absolutism, built on mischievous jazzy rhythm patterns, bluesy guitar phrases and signature dissonant vocal harmonies. Derek’s vocal, backed by dramatic multi-part harmonies, radiates tragicomedy and meshes beautifully with the lyrical attack on tyranny and conservative institutions. In keeping with their best tradition, there’s no shortage of unpredictable shifts and complex instrumental sections that every prog rock fan with a big appetite for virtuoso nourishment will applaud.
On the melancholic “So Sincere”, witty baroque motifs courtesy of Ray’s violin come to the fore, keeping company with Green’s shamelessly high falsetto. Scattered rhythms are laced with plenty of jazzy, avant-garde keyboard arrangements and massive guitar riffs. Green’s angelic singing also shines on “Aspirations”, a jazz-leaning ballad that’s among the most beautiful things they’ve ever done. For a change, there’s none of the usual Gentle Giant tomfoolery in its tender melody. Still, they stay firmly grounded in the lyrics, which are an uncompromising satire of empty (pre-election) political promises. Next up is the unforgettable Gentle Giant classic “Playing the Game”, which in my view is the peak of the whole album, since it embodies everything that’s best about this band. Derek’s theatrical performance, in which he fully slips into the role of a self-satisfied ruler with absolutist appetites, is backed by quirky rhythm patterns on vibraphone, thickened bass lines and well-timed drums that instantly evoke the clumsy lumbering of a friendly giant. Green’s witty, hard rock guitar phrases glide through the quirky rhythmic patterns with incredible fluidity. A shorter pastoral interval with Kerry’s vocal also delights, followed by a heavenly jazz rock fusion section.
“Cogs in Cogs” is yet another beloved classic. This totally unhinged piece oozes rhythmic mischief, crazy vocal improvisations and killer guitar phrases. Bouncy folk rock arrangements paired with paranoid vocal harmonies are a must on any decent Gentle Giant album. A similar recipe is followed by the folk-rocking “No God’s a Man”, where they allow themselves a witty jab at church institutions. Within the pastoral, acoustic-leaning arrangements they deftly worked in juicy hard rock guitar passages and sacral textures from Minnear’s organ. “The Face”, which doesn’t lack solo spots, comes with delicious string arrangements on violin, eclectic guitar phrases and yet another theatrical vocal performance. The closer “Valedictory” is a full-on experimentalist orgy where countless sonic motifs intertwine. Hard rock phrases are followed by fierce fusion rhythmic bursts, while the dissonant vocalizations hit their peak amid the crazy tempo.
Some versions of the album end with a bonus track, “The Power And The Glory”, which was also released as a single. The band wasn’t too proud of it, as it’s one of their most commercial pieces, made purely at the label’s request. In the following years the label would push them more and more toward writing tracks with commercial punch but well below the band’s instrumental and intellectual potential, which would eventually make the whole thing collapse.
“The Power And The Glory” ranks among the studio peaks of the legendary jesters of eclectic progressive rock. With their unique sonic combinations and vivid philosophy, they warned here of the pitfalls of absolute power and of putting too much trust in social institutions. By holding on to their trademark, highly eclectic and unpredictable sonic finesse, “The Power And The Glory” is yet another thoroughly one-of-a-kind album in Gentle Giant’s studio catalog. Even decades later, listeners can always find something new in its endless musical dimensions, which in my view is the greatest quality of their best work. Right up until they gave in to the demands of a greedy corporation, they were peerless in their unique sonic-lyrical vocabulary. Later in their career, the example of their own label, which would start pushing them toward ever greater commercialization, would show them plainly that absolute power corrupts absolutely.
Lineup
Derek Shulman – vocals, saxophone
Gary Green – guitar
Kerry Minnear – keyboards, cello, backing vocals
Ray Shulman – bass guitar, violin, backing vocals
John Weathers – drums, percussion, backing vocals
Production
Gentle Giant
Track List
1. Proclamation
2. So Sincere
3. Aspirations
4. Playing the Game
5. Cogs in Cogs
6. No God’s a Man
7. The Face
8. Valedictory
9. The Power And The Glory (2:53) [bonus track, only on Terrapin and One Way CD releases]
