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IN A GLASS HOUSEGentle GiantEclectic Prog4.35 | 1953 ratings |
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Sean Trane
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Special Collaborator Prog Folk |
If GG had done a tour without brother Phil, buying a Moog to fill-in his parts, it was another thing to do an album without him, but again, this proved to be a non-issue with Derek playing sax and singing as had Phil. In fact this proved to be their better album (IMHO but also for many other) although this album never got a US release - something rather odd since Octopus had encouraging sales there. This is one of the many kind of strange decisions that probably stopped GG to become a household name among rock fans. Actually, they had different labels handling the album on each side of the pond, and by now, their contract with Vertigo had run out and they had signed to Iommi's WWA label, prompting their US Columbia label to pass up on this one. By the time this album did get a US release in 78, this album had become their best-seller over there as an import. Are you sure you are following this? Anyway, GG purist will scream scandal at this album and its so-called blatant attempt at commercialism, but if the album is more accessible (a bit easier on minds like the debut or Three Fiends) this is hardly a sell-out, being their longest record and four tracks above 7 minutes and three of those around the 8 min mark. From the breaking of glass becoming the rhythm of the opener to the all-percussive astounding Inmate Lullaby , to the very classic GG Way Of Life , this album is strictly in line with all other albums , the main difference is the gradual decrease of acoustic instruments (a consequence of Phil's departure) , here being kept in a role of anti-climatic response to the more energetic moments of the songs. The second side is not be shamed either with the aptly-titled Experience with its constant twists and changes to the driving title track with its never-ending tempo changes with superb harmonies but the tedious but short Reunion does bring the only damper on an otherwise almost flawless album. Why Mr; Stump and Mr; Joynson do not appreciate this album to the fullest is beyond me. Nevertheless, this album will set the template for the following albums with lesser acoustic instruments and more mechanical tempo changes (both flaws increasing with time) , but also increasing commercial success to the bring of stardom. Certainly my favourite album , this album now fetches small fortunes for a mint copy with its transparent gimmicky window-shadow trick.
Sean Trane |
5/5 |
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