"The Power and The Glory" - No God's Man

“Power tends to corrupt, and absolute power corrupts absolutely,” said the English historian Lord Acton. This timeless observation is one of humanity’s most painful truths, a reality that has functioned and will continue to function across all over the areas and systems—from state level to a group of a few children, from ancient empires to modern “democratic” republics. Julius Caesar, Napoleon Bonaparte, Adolf Hitler, and Joseph Stalin—these are people whose initial patriotic ambitions were consumed by the intoxication of power and ultimately led them to either their downfall or the destruction of their nations, or both. This universal problem, or what is more correct—this universal truth, has fascinated humanity for centuries. It is perhaps no coincidence that chess, a game invented in 7th-century India, quickly gained popularity and till nowadaysremains beloved worldwide. In chess, every piece—weak or strong—exists to protect the king, the weakest yet an irreplicable piece, sometimes even at the cost of its own life. Numerous works of literature, cinema, and art have explored the impact of power on individuals, and its consequences. It is only natural that “Animal Farm,” “1984,” “Lord of the Flies,” “Lord of the Rings,” and “The Song of Ice and Fire” are among the most read and sought-after books. Considering all this, one may be surprised that the album “The Power and The Glory” by the British progressive rock band Gentle Giant, released in 1974, did not receive the same recognition and was not discussed as much.

This conceptual album originally consisted of eight songs, but with the arrival of digital media era, a ninth song—an eponymous one—was added as a bonus track. Together, these songs compose a narrative about the rise and fall of a ruler, a story brought to life through the band's intricate musical structures, instrumentation, and creative techniques that heighten the tension that fits the album's theme. However, before diving into the music and the lyrics, the first point of contact with the album is its cover. This visual element is an essential piece for the album. Here, we will explore the profound connection between the album cover and its conceptual core, shedding light on how a thoughtfully chosen cover enhances the presentation and cohesion of the entire album.

Let’s begin by exploring the album's content and how its lyrics and music work together to create this story. The journey opens with the track "Proclamation," a majestic and commanding proclamation delivered by the nation’s newly elected leader to his people. The citizens respond with unwavering admiration. However, even in this opening song, subtle hints of the ruler’s manipulative nature begin to surface through rhythmic changes and syncopations. Just as these musical tricks are hard to understand for the listener, so are the ruler's lies for the people. Next comes the satirical song “So Sincere,” a song filled with contradictory lyrics, shifting rhythms, and dissonant vocal harmonies—all of which reflect the government's deceit and often the government’s own misleading words. The song “Aspirations” shifts the perspective to the people, expressing their hopes and dreams for the future. A very calm and serene harmony was chosen for this song, with relatively simple instrumentation. Notably, it is the only track in a clear 4/4 time signature. This choice effectively conveys the people's sincere and unshaken faith in their leader, as they project their aspirations onto him, believing his promises. The lyrics of “Aspirations” have an ambiguous addressee and arecarefully crafted with vocabulary and phrasing that create the tone of a prayer. This religious parallel becomes especially evident in the repetition of the word “forever,” which, when combined with the album’s title, forms a clear biblical reference. Remarkably, the final line of the “Lord’s Prayer” reads: “For thine is the kingdom, and the power, and the glory, forever and ever. Amen.” This connection is far from coincidental. The frequent allusions to religion and divinity likely underscore the tension between secular and spiritual authority in human history. At the same time, they may serve as a subtle critique—mocking how people often elevate their ruler to a godlike status, placing boundless faith in him while overlooking the reality that he is merely human, just like them. Next comes "Playing the Game,"a track that shifts the perspective to the ruler’s inner monologue. Here, he begins to grasp the extent of his power, believing that only he possesses true knowledge and that he is capable of anything. From this moment on, ruling is no longer a duty—it becomes a game. The song draws a clear parallel to chess, as reflected in the lyrics: "I'm the king in fighting competition, and the other pieces are there for my art and my tactics now."  In this metaphor, every piece on the board is merely a tool, manipulated at the king’s will to serve his strategy. The music seems to reveal the opportunities that open up before him, and creates the image of the game. Midway through the song, a quiet section emerges, revealing the ruler’s secrets and anxieties. 

The fifth and central track of the album, "Cogs in Cogs," portrays a government that clings to power while failing to bring meaningful changes. Musically, it is the most complex and multi-layered piece on the album, filled with polyrhythms and metrical modulations—a reflection of the ruler’s calculated tactics for maintaining control. Yet, beneath the surface, there is discontent among the people, even as the ruler remains convinced that everything is in its place. This song marks the turning point—the beginning of the ruler’s fall. The next song, “No God's a Man,” returns to biblical themes. The very people who once exalted their leader now turn against him, realizing that he is not an almighty God but merely a man. This marks the moment when the ruler descends from the sky and finds himself in the midst of discontented people. The song carries a tone of disappointment and disruption. Next, “The Face” captures a moment of reckoning. The ruler is forced to confront the irreversible consequences of his rule— he must hold on to power at all costs and admit the mistakes he has made, changinghis face. The song is told from the perspective of his advisor, who urges him to reshape his public image in order to maintain control. Musically, the track is tense and harsh. 

The final track, “Valedictory,” is a grittier, more distorted, and slower recapitulation of the album’s opening song. It serves as a sobering conclusion, reflecting on how the ruler’s grand vision has ultimately failed. Now, he scrambles to justify himself, insisting that meaningful change takes time and convincing himself that he has, at the very least, achieved something. The additional track, “The Power and the Glory,” the album’s title song, introduces a new ruler who seizes the throne, overthrowing the previous leader. He appears certain to correct the mistakes of his predecessor, yet the cycle of power begins anew. The song carries a sense of triumph, with a clear 4/4 time signature and an uplifting tone celebrating the removal of the old regime. However, beneath this hopeful facade lies an unmistakable sense of irony—implying that history is doomed to repeat itself.

Compared to their previous albums, Gentle Giant has filled this work with a heightened sense of roughness and tension, while still incorporating the Celtic, medieval, and Renaissance influences that define their signature sound. These historical elements reinforce the album’s timeless quality, emphasizing that the album is about all times and nations. The album’s changing dynamics, complex layering of melodic material, and unique instrumentation vividly portray the intricacies of political power—the rise and fall of rulers and the transformation of the people's hopes into disappointment. Thus, the album embodies Machiavellian philosophy and serves as a critique of modern politics: the idea that a leader’s primary goal is to maintain power, using propaganda and manipulation as tools to do so—justifying any means necessary for the sake of the end result.

Now, let’s turn to our central question: how does the album's content connect to its cover? The cover features a king—presumably the protagonist of this story. While the artwork presents a monarch, the album itself never specifies a time period, location, or the manner in which this ruler came to power. This is a brilliant choice, ensuring that the listener understands that the story is not confined to a single medieval king, shah, sultan, khan, or even a modern "democratic" ruler who was chosen by the people. Instead, it underlines an universal issue—one that transcends specific circumstances and has existed throughout history, continuing to repeat itself across different eras and societies. Returning to the cover, and following its visual cues, we will refer to the ruler as a “king” for now. He wears a magnificent golden crown, a suit of armor draped with a red cloak, and carries a shield on his left shoulder. In his right hand, he grips the hilt of his sword, drawing it slightly from its sheath. His expression is serious, contemplative, and stoic—conveying the image of a ruler with strength and determination. His proportional, well-defined features make him quite handsome—an important trait for a leader, as physical appeal can evoke sympathy and admiration. His furrowed brows and piercing gaze suggest that he is watching over his kingdom, his demeanor carrying an air of authority and subtle intimidation. He appears composed, as if ready to unsheathe his sword at any moment—perhaps to display his strength to his enemies or to defend his realm when necessary.

At first glance, the image appears striking, yet a closer look at the raven symbol reveals a deeper meaning. The raven signifies that the picture originates from a playing card—specifically, the Raven King of cards, painted by Austrian artist Hans Prinz and produced by Bernhard Dondorf GmbH between 1926 and 1933 (see the image below). The king’s solemnity and wisdom seem to be at odds with the game. However, there is a small hint here.  Power, when placed in the hands of a ruler, often turns into a game of strategy and manipulation—just as we noted when analyzing the song “Playing the Game”—while to the people, itappears as a flawless, authoritative figure. Now, the presence of the raven, almost as large as the king’s head, on the album cover begins to make sense. But there’s another intriguing detail: a playing card always has a mirrored image, yet here, only one side is depicted. This is where the genius of Gentle Giant lies. The answer is revealed not visually, but through the music itself. As we listen to the album, we come to see the other side of the king—the shadow. At first, he appears strong and confident. But gradually, the full picture emerges: in the listener’s mind, the king is turned upside down. By the end of the album, everything falls into place—especially when the last song reflects the first song from an opposing perspective. Now, we understand the true nature of this ruler: he does not spread fear to his enemies, but tohis own people. He grips his sword tightly, desperately trying to hold on to power.

If we project all of this onto the global situation at the time of Gentle Giant’s album release, we can find clear historical parallels. The album came out in the very year when the Watergate scandal reached its peak. In fact, it seems to directly reference those events, as U.S. President Richard Nixon was forced to resign just a month after its release. His infamous phrase, "I am not a crook," had already become a subject of global ridicule, leading many to believe that the album was, in part, a reflection of the scandal. Beyond Watergate, this was also a particularly intense period of the Cold War, with superpowers locked in a fierce military and economic struggle—often at the expense of their own people, who were subjected to manipulation and hardship. Ironically, even the album’s production was not free from the influence of power and authority. The WWA label, which released the album, pressured the band to alter songs against their wishes in an attempt to boost sales. Lead vocalist Derek Shulman later confirmed in an interview that these very events had a direct impact on the album’s concept. “Power and money always win, no matter what, and people who expect the best usually don’t get it,” he remarked, summing up the album’s central message.

Summarizing our musicological analysis, we can clearly conclude that the album is one of the most conceptual and ideologically rich works in the history of music: it combines music, visual art, history, philosophy and literature. It is thought out down to the smallest detail to serve its purpose—to show the influence of power, strength and glory on a person. The message of the album is to be more vigilant and conscious in choosing rulers, not to unconditionally accept their every word and not to consider them perfect, to always keep in mind the truth that they are ordinary humans, who have access to unlimited information and power, which are difficult to properly manage and in the end will change the ruler. This is one of those works that is relevant at all times, as long as humans exist. Even if you populate two people on an island, one of them will try to take a dominant position—this is the nature of a human being. Of course, it is impossible not to draw parallels with Armenian history, especially with our authorities of the last 30 years and especially the last 6 years. The similarities are obvious. An individual comes to power with the support of the people, presents clean programs aimed only at the welfare of the nation, and the people demonstrate great love and faith, hopes and expectations toward that person. Time passes, but no good changes are visible, and the situation only worsens. Discontent among the people grows, and the ruler begins to insist that it is difficult to change things, and tries to justify themselves. In their place comes another one, with greater support, and the same thing repeats. Of course, it is a familiar scenario.

The album is a perfect example of how its cover art and the music itself work together to form a cohesive and meaningful whole. I truly believe that if people take the time to understand and analyze this work deeply, it can influence both the internal and external dynamics of a country. Even years after its release, I remain hopeful that the album will gain the recognition it truly deserves.

Author: Harutyun Kocharyan