The Power And The Glory (Steven Wilson Mix)

*CD in a Digipak with the new Steven Wilson Stereo Mix plus two bonus tracks.
To celebrate the 40th anniversary of their landmark progressive rock album the members of Gentle Giant joined forces with producer and Porcupine Tree-mastermind Steven Wilson to present these remix/remaster versions of ‘The Power And The Glory'.Wilson has already produced fantastic new mixes of seminal albums by the likes of Yes and King Crimson - now prog fans eagerly await the result of this collaboration with Gentle Giant! Ray Shulman: I like the way he pays respect to the past but using todays technology probably gets closer to the intended result. His 5.1 mix really shows off some of the more intricate arrangements. This expanded version will give the Gentle Giant fans a whole new listening and viewing experience for the music that has become so near and dear to their hearts..

The group's first U.S. release in two years featured ornate playing from Kerry Minnear on keyboards and Gary Green's loudest guitar work up to that time. The Power and the Glory is also a fairly dissonant album, yet it made the charts, albeit pretty low. There seems to be a unifying theme having to do with one's place in the social order, but it's very vague in contrast to Pink Floyd's re-creations of the post-'60s drug experience, Yes' sweeping album-length suites, and ELP's sci-fi epics. "No God's a Man" is an infinitely more challenging piece of music than anything on Jethro Tull's Aqualung, but that wasn't a commercial virtue; nor could the electric violin break on "The Face" or the rippling electric guitar passages throughout cover the effort involved in absorbing these songs. The Power and the Glory vaguely resembled Genesis' early art-rock albums, but without any presence as charismatic as Peter Gabriel. "Playing the Game" and "So Sincere" were the most accessible tracks and ended up as key parts of their concert set. ~ Bruce Eder|

The group's first U.S. release in two years featured ornate playing from Kerry Minnear on keyboards and Gary Green's loudest guitar work up to that time. The Power and the Glory is also a fairly dissonant album, yet it made the charts, albeit pretty low. There seems to be a unifying theme having to do with one's place in the social order, but it's very vague in contrast to Pink Floyd's re-creations of the post-'60s drug experience, Yes' sweeping album-length suites, and ELP's sci-fi epics. "No God's a Man" is an infinitely more challenging piece of music than anything on Jethro Tull's Aqualung, but that wasn't a commercial virtue; nor could the electric violin break on "The Face" or the rippling electric guitar passages throughout cover the effort involved in absorbing these songs. The Power and the Glory vaguely resembled Genesis' early art-rock albums, but without any presence as charismatic as Peter Gabriel. "Playing the Game" and "So Sincere" were the most accessible tracks and ended up as key parts of their concert set. ~ Bruce Eder