Concept albums were definitely a "thing" with prog bands. It seemed to fit well with the idea that the music is more than just a collection of songs. Gentle Giant's concept albums were of the truly conceptual type: there weren't many recurring musical motifs and the songs didn't flesh out a coherent narrative or story. The songs themselves, however, fit a concept.
In this case, the concept was power, political power. Over the course of eight songs, we meet a ruler who has every intention of using his power for the good of the people, and see how things do not always turn out the way we planned.
There is
a book with the same title by British author Graham Greene, but while Derek Shulman knew of the novel, this album was not inspired by it.
Gentle Giant tried to capture a more immediate, direct feel for this album by trying to nail all the songs in one or two takes. With most bands, that would necessitate reducing the complexity of the songs at least a little bit. That is not the case here. The songs do sound a bit more "live" than previous albums, but complex rhythms and the intricate interplay between parts, with instruments finishing each other's riffs and everything fitting together like pieces of a puzzle, are in full force as only Gentle Giant can do.
The Power and The Glory (1974)
Gary Green: Electric Guitars, Acoustic Guitar, Vocals
Kerry Minnear: Hammond Organ, Piano, Minimoog, Clavinet, Electric Piano, Mellotron, Marimba, Vibraphone, Cello, Lead Vocals
Derek Shulman: Lead Vocals, Tenor Saxophone
Ray Shulman: Bass, Violin, Electric Violin, Acoustic Guitar, Vocals
John Weathers: Drums, Tamrourine, Sleigh Bells, Cymbals
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1 Proclamation (6:47)2 So Sincere (3:51)3 Aspirations (4:40)4 Playing the Game (6:46)5 Cogs in Cogs (3:07)6 No God's a Man (4:27)7 The Face (4:12)8 Valedictory (3:21)----------
The album opens with the ruler issuing his
Proclamation. The current situation is neither good nor bad, things can change or stay the same. We must find strength in unity. Musically, it's one of those songs that starts with a riff, a pattern, but you can't tell where the downbeat is until more instruments come in.
So Sincere takes that a bit further with a rhythm so odd that it's not obvious where the downbeat is even after the rest of the band and vocals have come in. A complex tune, both in structure and arrangement, it's actually in 4/4. Really!
Aspirations is the mellow Kerry piece, appearing a bit earlier on the album than has been the tradition of late, but that's because this is where the song fits lyrically. One of my favorite Gentle Giant songs, this one is haunting and beautiful and completely driven by Kerry Minnear's work on the Wurlitzer electric piano. He goes into a solo at the end that fades out far too quickly. Lyrically, this song is from the viewpoint of the citizens, who have their hopes and dreams, and depend upon their leader to help make them a reality.
Playing the Game is an odd one for me. The longest track on the album (actually it's tied with the opening track, but the opening track features some sound effects that add to the track length), it's the most musically complex and goes through the most changes. But for me it's ruined by the pentatonic main riff which reminds me too much of the stupid ditties that kids used to tease me with when I was growing up. (Presumably most people will not have that issue.) Conceptually, the king is starting to see how difficult his task truly is, and how in many ways it's a game which must be played. There is opposition to face, strategy to employ, and it's important to stick to one's philosophy if one expects to win.
Cogs in Cogs is the fast-driving, hard-rocking song with the break where the instruments and vocals weave around and through each other, reminiscent of the various sized wheels in a great machine. At barely three minutes, it is the shortest track on the album, but Gentle Giant at this intensity level is perhaps better appreciated in smaller doses.
No God's a Man of course turns the old adage on its head. The message is the same, however, as our benevolent ruler is starting to see that he may not be up to the task entrusted to him.
With
The Face, things are getting kinda bad. But don't hide behind a face, don't try to minimize things. To overcome, you must recognize the work that needs to be done, acknowledge the mistakes, own up to them, stay true to yourself.
Valedictory is like a reprise of "Proclamation" but with a heavier, driving beat. These are tough times. And yes, it's my fault and I'm sorry, but please believe me, I have always had the best interests of our nation at heart, and still believe that we can persevere. There must be no change. Things must stay the same. (And that, of course, is the problem. Thing cannot get better if you insist on not changing anything.)
"Valedictory" ends with the sound of a tape rewinding very quickly. It is actually the entire album being played backwards.
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Some versions of the CD include the title track "The Power and The Glory" as a bonus track. It actually was not written for the original album and doesn't fit into the concept. It therefore isn't really a proper title track. The suits insisted on something that they could release as a single, and none of the eight tracks here fit that bill. Ray Shulman: "So we did three atrocious numbers. This song's the worst."
And when the suits heard it: "You've got it, lads!"
Gentle Giant's sound continued to streamline, with only the occassional saxophone or string parts adding a bit of color to the basic rock structure of vocals, guitar, keyboards, bass, and drums. The band insist that they were not intentionally trying to dilute things, and the fact that the suits insisted that the band go back and write a single, because nothing they'd recorded fit that bill, would seem to support that. Perhaps it was simply a natural evolution of the band. This was their sixth album in four years. Were they burning out already? Or did their drive to recapture some creative energy unconsciously lead them to simplify things?
Either way, supporters of this album (of which there are many) point to it as both quintessential Gentle Giant and among the more accessible Gentle Giant albums. That would seem to be a contradiction, but oddly enough, I can see both sides of it. Even as they were stripping away the "weird" stuff (recorders, winds, and strings) their bread and butter has always been the intricate, meticulous interplay between the instruments, and they're still bringing it here. Musically, this album has great flow. I'm always surprised when "Valedictory" comes up because that means the album is almost over, then I remember how short Gentle Giant albums are. But it's about quality, not quantity.
Topic: The Gentle Giant Discography (Read 13606 times)
