Gentle Giant - Acquiring the Taste ( D2 )

 

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Gentle Giant - On Reflection ( S1 )

 "On Reflection" is a song by the progressive rock band Gentle Giant. It was released on their 1975 album Free Hand.

Composition

"On Reflection" is in the key of B-flat major.

Bruce Eder of AllMusic wrote that the song had "medieval-style a cappella vocals", while The Great Rock Bible described the song as a "folk rocker".

Reception

Robert Taylor of AllMusic wrote that "On Reflection" was revolutionary for its time, due to the band's vocal approach. Taylor also wrote that the song was one of prog-rock's defining moments.

Music webzine Sea of Tranquility called the song a classic, and wrote that "On Reflection" probably never appealed to non-progressive rock fans, but that most fans of the genre considered the song "a remarkable achievement."

uDiscoverMusic also commented on the song positively, writing that the song's opening four-part fugue remains one of Gentle Giant's and the progressive rock genre's defining moments.

Paul Stump in the 2005 book Acquiring the Taste wrote that the song was an example of the band's "mastery of writing and performing intensly complex contrapuntal music", and that it was an instant hit when they performed live.

Other appearances

A live performance of the song (recorded in 1976) is also included on the 1977 album Playing the Fool.

"On Reflection"
Song by Gentle Giant
from the album Free Hand
Released	July 1975
Recorded	April 1975
Genre	Progressive rock
Length	5:43
Label	Chrysalis (UK)
Songwriter(s)	Kerry Minnear, Derek Shulman, Ray Shulman
Producer(s)	Gentle Giant
"On Reflection"

Gentle Giant - All Through The Night ( L1 )

Everyday they clock me, everyday is just the same.
And the people I see, wear the same face as me.
As I turn the handle, time goes slowly by.
Is that all that there is until the day that I die?

[Chorus]
All through the night.
Through the night.
All through the night.
I can't believe I'm free til morning.

If I wipe the dirt and sweat,
Then I find that more's still there.
If the summer don't get you,
Then the winter always will.
Try not to think, it never gets nowhere.
But at least everyday ends, and the night's always there.

[Repeat Chorus]

Gentle Giant - Gentle Giant ( D1 )

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Gentle Giant ( B23 )

• I Lost My Head – The Chrysalis Years (2012)
• Memories of Old Days (2013)
• Three Piece Suite (2017)

Bootlegs

• Playing the Foole (Bootleg) (recorded in 1974)

For many years this remained the only Gentle Giant bootleg and no others appeared before the Compact Disc era. No other bootlegs have since been seen on vinyl. The album achieved such fame, however, that the band decided to adopt the title for their official live double album Playing the Fool (omitting the final "e"), released two years later.

Despite the sleeve description, the bootleg album is not live and was not recorded during any "American tour".

Filmography

• Giant on the Box (DVD, 2004)
• Giant on the Box – Deluxe Edition (DVD + CD, 2005)
• GG at the GG – Sight and Sound in Concert (DVD + CD, 2006)

Gentle Giant ( B22 )

• Endless Life (2002, recorded at Music Hall, White Plains, NY, 3 October 1975 and at Community Theatre, Berkeley, CA, 28 October 1975)
• The Missing Face (2002, recorded at the Ballroom, Cleveland, OH, November 1977)
• Prologue (2003, recorded at the Munsterlandhalle, Munster, Germany, 5 April 1974 and at the Spectrum, Philadelphia, Pennsylvania, 10 October 1975)
• Playing the Cleveland (2004, recorded at the Agora Ballroom, Cleveland, 27 January 1975 and at Academy of Music, New York City, 5 November 1975)
• Live in New York 1975 (2005, recorded at Music Hall, White Plains NY, 3 October 1975)
• Live in Santa Monica 1975 (2005)
• Live in Stockholm '75 (2009, recorded at Club Kåren (Kårhuset), Stockholm University, 12 November 1975)
• King Alfred's College, Winchester 1971 (2009)
• Live at the Bicentennial (2014, recorded at Calderone Theatre, 3 July 1976; Hempstead, New York)

Compilations

• Giant Steps – The First Five Years (1975)
• Pretentious – For the Sake of It (1977)
• Champions of Rock (1996)
• Edge of Twilight (1996, 2CD)
• Under Construction (1997, 2CD box set of unreleased material, demos, outtakes and odd live recordings)
• Scraping the Barrel (2004, 4CD box set of unreleased material, demos, outtakes and odd live recordings)

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Gentle Giant ( B21 )

UK singles

• "The Power and the Glory" / "Playing the Game" (1974)
• "I'm Turning Around" / "Just the Same" (1977)
• "Two Weeks in Spain" / "Free Hand" (1977)
• "Thank You" / "Spooky Boogie" (1978)
• "Words from the Wise" / "No Stranger" (1978)

Live recordings

• Playing the Fool - The Official Live (1977) Chrysalis, Capitol; recorded (au naturel) on European tour, September to October 1976 - [US #89]
• In Concert (1994, recorded at the Golders Green Hippodrome, London, 5 January 1978)
• Out of the Woods: The BBC Sessions (1996, re-released in 2000 under the name Totally Out of the Woods with additional tracks)
• The Last Steps (1996, re-released in 2003, recorded at the Roxy Theatre, Los Angeles, 16 June 1980)
• Out of the Fire: The BBC Concerts from 1973 & 1978 (1998)
• King Biscuit Flower Hour Presents Gentle Giant (1998, recorded at the Academy of Music, New York City, 18 January 1975)
• Live Rome 1974 (2000, recorded at the PalaEur in Rome, Italy, 26 November 1974)
• In'terview in Concert (2000, recorded at Hempstead, New York, 7 March 1976)
• In a Palesport House (2001, recorded at Palazzo dello Sport, Rome, 3 January 1973)
• Artistically Cryme (2002, recorded at Olympen, Lund, Sweden, 19 September 1976)

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Gentle Giant ( B20 )

Personnel

Members

• Gary Green – guitar, mandolin, vocals, recorder, bass, drums, xylophone (1970–80)
• Kerry Minnear – keyboards, lead vocals (on recordings only), cello, vibraphone, xylophone, recorder, guitar, bass, drums (1970–80)
• Derek Shulman – lead vocals, saxophone, recorder, keyboards, bass, drums, percussion, "Shulberry" (3-string custom electric ukulele) (1970–80)
• Phil Shulman – lead vocals, saxophone, trumpet, clarinet, recorder, percussion (1970–73)
• Ray Shulman – bass, trumpet, violin, vocals, viola, drums, percussion, recorder, guitar (1970–80)
• Martin Smith – drums, percussion (1970–71)
• Malcolm Mortimore – drums, percussion (1971–72)
• John "Pugwash" Weathers – drums, percussion, vibraphone, xylophone, vocals, guitar (1972–80)

Discography

Studio albums

• Gentle Giant (1970) Vertigo
• Acquiring the Taste (1971) Vertigo
• Three Friends (1972) Vertigo, Columbia - [US #197]
• Octopus (1972) Vertigo, Columbia - [US #170]
• In a Glass House (1973) Vertigo/WWA
• The Power and the Glory (1974) Vertigo/WWA, Capitol - [US #78]
• Free Hand (1975) Chrysalis, Capitol - [US #48]
• Interview (1976) Chrysalis, Capitol - [US #137]
• The Missing Piece (1977) Chrysalis, Capitol - [US #81]
• Giant for a Day! (1978) Chrysalis, Capitol
• Civilian (1980) Chrysalis, Columbia

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Gentle Giant ( B19 )

• frequent use of syncopation and non-standard time signatures, including polymeters (two or more time signatures played simultaneously)
• use of complex melodies, frequently contrasting harmonies with dissonance
• extensive use of instrumental and vocal counterpoint
• use of musical structures typically associated with classical music (for example, madrigal form on "Knots", fugal exposition in "On Reflection" and the consistent use of stated, exchanged and recapitulated musical themes exchanged between instruments)
• use of classical and medieval instrumentation not generally associated with rock music

However, it has been noted that in spite of the comparatively complex initial sound, Gentle Giant's music is in fact fairly traditional in terms of harmony and features relatively few complex chords. In common with most 1970s progressive rock, Gentle Giant compositions are closer to early 20th century neoclassicism than to contemporary classical music (some Gentle Giant songs, such as "Black Cat", "Experience" and "So Sincere", do utilise more complicated modernist harmonics). In general, the band relied on sudden and unexpected compositional twists and turns to stimulate their audience, including:

• polyphony
• hocketing
• unusual chord progressions
• breaking up and tonally re-voicing patterns of initially simple chords (with the chords subtly altering from repetition to repetition)
• accelerating and decelerating duration of musical themes
• rapid and frequent key changes (sometimes within a single bar)
• division of vocal lines between different singers (including staggered rhythms)
• clever handling of transitions between sections (such as a hard-rock guitar riff being immediately substituted by a medieval choral)

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Gentle Giant ( B18 )

In 2017, "Three Piece Suite" was released. It contained tracks from the first three albums: "Gentle Giant" 1970 "Acquiring the Taste" 1971 "Three Friends" 1972. These tracks were re-mixed by Steven Wilson from the available multi-track tapes. Some songs from the first three albums were not included in the set as the multi-tracks for those specific songs have been lost. The set was available as a CD of the re-mixed songs and a Blu-Ray disk. The BluRay disk had 96/24 Stereo LPCM and DTS-HD 5.1 Surround Sound versions of the re-mixed tracks, additional bonus tracks, instrumental versions of some tracks, and Original Album Mixes from Flat Transfers of Mint Condition Original LPs. There were also new video animations included on the 5.1 Surround tracks. This release came packaged as a single Digipack with the two disks, a 16 page booklet, new artwork and was approved by the band for release.

Musical style

Gentle Giant's music was mostly composed by Kerry Minnear and Ray Shulman, with additional musical ideas contributed by Derek Shulman (who was also known to contribute entire songs). Lyrics were mostly written by Phil Shulman and Derek Shulman (Kerry Minnear wrote some lyrics) up until Phil's departure following the release of Octopus (1972) – subsequent lyrics were mostly written by Derek Shulman, with help from Kerry Minnear. By the standards of progressive rock, Gentle Giant's music is generally considered to be particularly complex and demanding. It shares several aspects with that of other progressive rock bands, including:

• multi-part vocal harmonies
• complex lyrics
• organisation into concept album form (on occasion)
• frequent changes in tempo

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Gentle Giant ( B17 )

In 2005, to celebrate the band's 35th anniversary, a series of digitally remastered and specially packaged CDs of their later albums were released by Derek Shulman's company, DRT Entertainment. They all featured unreleased live tracks (of varying quality) as bonuses. Many of these albums (most notably, In a Glass House) were previously difficult to purchase in North America without resorting to imports. The re-released albums are: In a Glass House (1973), The Power and the Glory (1974), Free Hand (1975), Interview (1976), The Missing Piece (1977), Playing the Fool (1977, live), and Giant for a Day (1978).

A reissue series on CD and, with bonus tracks, as digital downloads was begun in 2009/2010. In a 2009 interview Derek Shulman also indicated that plans were in the works to put out an animated film based on The Power and the Glory (this has yet to come to fruition). In 2011 the original mastertapes for Three Friends (1972) and Octopus (1972) were located and Alucard Music reissued each album with a bonus live performance of material from each respective album. Each album was remastered by Ray Shulman and Francis Kervorkian (both of whom worked on the 2009 remasters).

Free Hand (1975) and Interview (1976) both get re-issued in 2012 on CD/DVD & Vinyl. The CD/DVD features a previously unreleased lost quadraphonic mix. The special 4.1 Surround Sound mix (audiophiles note it's DTS 96/24 and Dolby Digital 48 kHz/24bit) has been adapted from the original Quad mixes. The band members have written new sleevenotes for both albums.

2012's I Lost My Head - The Chrysalis Years is a 4-CD set rounding up all of Gentle Giant's Chrysalis albums with bonus tracks including John Peel sessions, 7" mixes, live tracks & 'b' sides etc.

In 2014, The Power and the Glory (1974) was re-released as a CD/DVD set with new mixes by Steven Wilson (of Porcupine Tree) from the multitrack masters. The DVD contains new 48 kHz/24-bit Stereo LPCM, DTS 96 kHz/24-bit 5.1, and Dolby AC3 5.1 mixes, as well as a 96 kHz/24-bit LPCM transfer of the original 1974 studio mix.

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Gentle Giant ( B16 )

Minnear later revealed that the split was amicable and that he had left for reasons of respect (as the Shulman brothers had "not been particularly enthusiastic" about the existence of Three Friends). Carey, Williams and Donaldson have subsequently left the band and been replaced by Lee Pomeroy (bass), Gary Sanctuary (keyboards) and Charlotte Glasson (violin, baritone sax, alto sax, recorder).

Minnear has also recently announced plans for him to collaborate with Ray Shulman on a new writing project.

Reissues

There has been renewed interest in Gentle Giant since 1990, with new fan clubs, new releases of live concerts and previously unreleased material, and several tribute albums. Sadly for fans, the rights of the band's catalogue are scattered among many companies, not all of which are keen on re-releasing the albums properly. In particular, the first four albums have yet to receive definitive CD releases. For example, the title track on Acquiring the Taste (1971) begins with an obvious defect, possibly from a damaged master tape, on all current CD and vinyl releases. The 1996 compilation Edge of Twilight includes a corrected version of the song. Conflicting evidence sometimes reports that this defect exists on the original 1971 vinyl release of the album, with the opening note bending up as the tape comes up to speed - probably an engineering error.

In July 2004, the first eponymous album was re-released by Repertoire; in December, 2005, they released Acquiring the Taste (1971); in December, 2006, Octopus (1972) in a mini-sleeve with the original design of Roger Dean was released, and in December, 2007, German label Repertoire released Three Friends (1972) in a mini-sleeve with the original British release design. Although not widely distributed, these re-issues have been praised for their production quality and remastering. Before that, all first four albums have been re-released on Universal Japan label.

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Gentle Giant ( B15 )

Asked about a possible reunion in 1995, Phil Shulman replied: "We lead such disparate lives now and different lifestyles, different attitudes... I think it's impossible." In 1998, Ray Shulman asserted: "For me and Derek, the disruption to our lives now, I can't see how it would be worth it. It would be very difficult. The whole process would take such a long time and you would have to give up what ever you are doing. We both have careers independent of GG." 

There have been two partial reunions, both featuring between two and four of the band members and with neither event being identified as a formal reunion of Gentle Giant. The first of these took place in 2004 and the second in 2008 (developing further in 2009).

The 2004 partial reunion featured four former Gentle Giant members - Kerry Minnear, John Weathers, Gary Green, and Phil Shulman (who only participated as a lyricist). This quartet reunited as a studio-only project solely in order to record three new compositions for the Scraping the Barrel box set ("Home Again", "Moog Fugue", and "Move Over"). There was no live activity and the quartet disbanded immediately after the recordings.

A 2008 partial reunion involved the creation of a new band called Rentle Giant in order to play Gentle Giant material. This band featured two other former members of Gentle Giant (guitarist Gary Green and drummer Malcolm Mortimore) who recruited three noted jazz-fusion musicians to complete the band - Roger Carey (bass and vocals, from Liane Carroll's band), Andy Williams (guitar, collaborator with Carey in the Engine Clutch And Gearbox trio), and John Donaldson (piano and keyboards). Green also contributed lead vocals to some of the songs.

In March 2009, Green and Mortimore were joined by a third Gentle Giant member - Kerry Minnear - and Rentle Giant consequently changed its name to Three Friends. At the same time, the band expanded to a seven-piece by adding current 10cc vocalist Mick Wilsonas dedicated lead singer. About six months later, it was announced that Minnear was leaving the band for personal reasons, and that Three Friends planned to continue as a six-piece. 

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Gentle Giant( B14 )

John Weathers went on to drum for Man (an association that lasted until 1996) and most recently was spotted playing drums for Glenn Cornick's Wild Turkey again (2006). Gary Green (having settled in America, near Chicago) went on to play with various Illinois bands (including Blind Dates, The Elvis Brothers, Big Hello, and Mother Tongue) and guest on recordings and at concerts by Eddie Jobson and Divae. Kerry Minnear returned to the UK and settled in Cornwall, spending many years working in gospel music He now runs Alucard Music, the organization supervising the legal and royalty issues regarding Gentle Giant's music.

Phil Shulman retired entirely from the music business following his time in Gentle Giant. He subsequently worked as a teacher, in retail, and ran a gift shop in Gosport, Hampshire, UK before his retirement. He was briefly in a band with his son Damon Shulman and recorded several pieces with him. Several of these (under the collective title of Then) were spoken-word pieces in which he reminisced about his upbringing in the Glasgow slums. One of these pieces - "Rats" - appeared on Damon Shulman's solo album In Pieces (2003) and can be heard as an audio stream on Damon Shulman's homepage and MySpace page (made available in April 2008).

Original Gentle Giant drummer Martin Smith settled in Southampton and drummed with various bands there - he died on 2 March 1997. Second Gentle Giant drummer Malcolm Mortimore has continued to work as a successful sessions drummer in the rock, jazz, and theatre fields.

Reunions

Despite having seen many of their progressive rock contemporaries reunite for moneyspinning tours, Gentle Giant are notable for having consistently refused to reunite as a full band. In 1997, the Gentle Giant fanbase unsuccessfully attempted to persuade the members to perform a reunion concert. Reasons cited by members for their rejection include busy schedules, health problems, lack of practice on instruments, and other personal reasons.

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Gentle Giant ( B13 )

Gary Green's opinion of the split differs. In 2003 he commented: "My own personal opinion is that the band broke up because Derek really wanted a hit album, and I think Ray did too, and they were fed up. They had been musicians longer than I had, and they had tasted it pretty good when they were with Simon Dupree, at least in Britain. And they were looking for some of that in Giant too. My feeling is that we could have continued on as PFM did, or Yes, and still continue. If we had adhered to the statement we started out with, we could still be playing that, and still be earning a reasonable living. That's all water under the bridge and that's fine now. It seemed a bit silly to cut off your creativity for that kind of thing.''

Gentle Giant played their last gig at the Roxy Theatre in West Hollywood, California on 16 June 1980.

Post-split

Following the dissolution of the band, Derek Shulman went on to a highly successful career in the organisational side of the music business (initially promotion and artist development for PolyGram, followed by A&R at Mercury Records, becoming president of Atco Records, after which he became President of Roadrunner Records. He now is the owner of new music company 2Plus Music & Entertainment). Ray Shulman moved into soundtrack work for television and advertising before becoming a record producer (working with, amongst others, Echo & The Bunnymen, The Sundays, and The Sugarcubes). He has written soundtracks for computer games, as well as producing DVDs for artists such as Genesis and Queen.

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Gentle Giant ( B12 )

While Kerry Minnear would pronounce himself far more satisfied with this album and its songs, Ray Shulman would eventually state "I hated making (that) last record, I hated being involved with it." In 2005, Derek Shulman reflected "Civilian was done with less passion than some of the other albums. As it turns out we as a band were just not good at being rock or pop stars. We would have loved to be as popular as a Genesis or Rush or Yes. In hindsight, I sometimes think that Gentle Giant was wrongfully put into the progressive rock category. Much of what we did was very clever, but we certainly didn't do these long complex tunes like Yes or Genesis did."

Split

In the summer of 1980, the group quietly disbanded. In 2005, Derek Shulman recalled that "the creative juices just weren't flowing. I was living in Los Angeles at the time when we broke up. We weren't really sure what direction to take. I don't regret the decision we made to disband, and I'd do it again if we were to do the whole thing all over again.''' Ray Shulman has commented: "There was definitely the decision that the last tour would be the last tour. Once we knew that, we enjoyed ourselves. We decided to quit then rather than let it go on too long." In an interview with Mojo in 2000, Kerry Minnear asserted "(the split) wasn't because of punk, it was because we had lost our way musically."

'' We had a meeting in New York when we started the tour over here. We met in New York to get together and see it as a launch-off place. Kind of had a talk about what we were going to do. At that meeting Kerry and Derek said this was going to be the last tour and they didn't want to be on the road anymore. And you understand it; they had families. Kerry had just had a baby and Derek was just getting married. But having said that, I was married and so was John. You can change things like that; there are ways to work around that. You don't have to tour. I don't think we really toured an awful lot as Giant. I think we could have worked a lot harder at touring. We toured perhaps five or six months of the year. The rest of the year we didn't tour, which seemed a bit silly if you really want to make it or break the market. So let's go ahead and do it and capitalize on this rush we got. So it all seemed a little odd to me. It was sad.

Gary Green reflects on the final Gentle Giant split
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Gentle Giant ( B11 )

The Missing Piece (recorded in the Netherlands and released in 1977) was a transitional album reflecting this new approach. While the second side featured longer and more eclectic songs reminiscent of the band's earlier work, the first side featured outright examples of pop-rock, blue-eyed soul and even an attempt at punk. Three singles ("Two Weeks in Spain", "Mountain Time" and "I'm Turning Around") were released from the album, but failed to become hits: the album itself performed disappointingly in the marketplace, failing to win new fans or find favour with the band's existing fanbase.

Despite this setback, the band pursued their course to its conclusion on 1978's Giant for a Day!. All progressive rock stylings were purged in favour of radio-friendly soft rock and further unsuccessful attempts at hit singles: in order to present a more straightforward group identity, Derek Shulman handled all lead vocals and the band abandoned their usual battery of string instruments, wind instruments, tuned percussion and vocal interplay in favour of a straightforward guitar/bass/keyboards/drums/lead singer arrangement. Giant for a Day! was another poor seller, later recognised by the band as a creative mistake. Derek Shulman eventually remembered it as being "real contrived'' while Kerry Minnear would confess to having felt unsure as to whether he had anything to contribute to the album (although he did make an attempt to write a commercial single, "It's Only Goodbye").

The Chrysalis years, part 3: Civilian

In 1979, Gentle Giant relocated their centre of operations to Los Angeles in order to record their eleventh album, Civilian. This was a record of short rock songs with a strong New Wave influence. While keeping the reduced instrumental approach of Giant for a Day!, the band allowed themselves far more freedom of arrangement and vocal work than they had for the previous album, and despite its relative simplicity the songwriting and execution were more reminiscent of earlier Gentle Giant work.

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Gentle Giant ( B10 )

Gentle Giant's next release was 1976's Interview - another concept album, this time based around an imaginary interview with the band. The music pointedly poked fun at the state of the music industry and at the silly questions that rock stars are repeatedly asked in order to construct an image for marketing. Ironically, this more satirical and subversive approach ultimately proved to be a symptom of the undermining of the band's work and artistic integrity. Derek Shulman later admitted "I think Interview was the start of the erosion. I think the creative juices were starting to wane a little bit... I think Interview was the start of the slide towards the realization that this is a business now, and that's also a part of what the business had become. I was managing the band at the time and music business became a major business." Despite this approach, the album did not repeat its predecessor's American chart success, peaking at No. 137.

By this time, Gentle Giant had become a well-established live act in America and Europe, touring persistently and sharing stages with anyone from Sha Na Na to progressive rock contemporaries such as Jethro Tull and Yes. The band's notoriously virtuosic live act (featuring rapid-fire instrument swapping and equally demanding rearrangements of the already complex studio pieces) made a powerful impression on audiences, meaning that Gentle Giant could equal almost any act on the bill. One 1975 show (at Detroit's Cobo Hall) saw them steal the show from both Gary Wright (debuting his Dream Weaver album) and Rick Wakeman (headlining with the touring version of The Myths and Legends of King Arthur and the Knights of the Round Table). In 1976, this side of the band was captured on the live album Playing the Fool, recorded during the European tour for Interview.

The Chrysalis years, part 2: The Missing Piece and Giant for a Day!

While Gentle Giant's skill as performers remained undiminished, their creative peak was now behind them. Affected by changes in popular style (including the growth of punk rock), the band made a mutual decision to refine their writing and performance style in pursuit of a broader market, particularly in America. Over the next two years, the band gradually jettisoned many of their complicated stylings in order to attempt to write simpler pop music and attempt to create hit singles.

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Gentle Giant ( B9 )

The Power and the Glory followed in 1974. This was Gentle Giant's third concept album, this time taking power and corruption as the linking theme. The band also wrote a separate single with the same title. According to Derek Shulman, "WWA said, "Now boys, you've got to be commercial, you've gotta make singles. Now you run away and write us a single." So we did three atrocious numbers. This song's the worst - "You've got it lads!" - and we went into the studio and handed over the tapes when we came out. They put it out, we yelled at them, and they gave it back - took it off the market." (The single was added to CD reissues of the album).

The Chrysalis years, part 1: Free Hand, Interview & Playing the Fool

Dissatisfied with their deal with WWA, Gentle Giant signed a new deal with Chrysalis Records, with whom they'd stay for the rest of their career. Although the band were still writing and performing some of the most complex rock music of the period, it was at this point that they began to polish and slightly simplify their songs for accessibility, in order to reach a wider audience (in particular an American one). Their efforts seemed successful enough to get 1975's Free Hand into the Top 50 album chart in the USA. Strongly influenced by the music of the Renaissance and Middle Ages (as well as by the then-current vogue for jazz-rock), the album's songs reflected on lost love and damaged relationships, including the breakdown of the band's relationship with their former manager. It became one of the band's most popular and accessible releases.

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Gentle Giant ( B8 )

"John (Weathers) and I really pushed for the band to continue at that point because it looked like we were going to fold. And that seemed just ludicrous – I mean we had Kerry at full strength and Ray writing great. We were really strong live and we were about to get stronger. I think we became a stronger band after Phil left. And that's nothing against Phil. We had just been just hitting our stride as players."

Over thirty years later, Phil Shulman expanded on his reasons for departure in a 2008 podcast interview conducted by his son Damon and grandson Elliot. In the interview, he stated that his main motivation for leaving was because he had realised that the lifestyle of a touring musician was damaging his family life. The two blocs of Shulman brothers - with Phil on one side and Ray and Derek on the other would eventually resolve their differences and heal their relationship, although Phil neither rejoined the band nor returned to music as a career. Ray Shulman has subsequently assisted Phil's son Damon Shulman with his own music.

In a Glass House & The Power and the Glory

The remaining quintet regrouped to record the harder-rocking In a Glass House, which was released in 1973. They played their first gig as a five-piece at King Alfred's College, Winchester. In a Glass House is a complex and determined concept album - named for the aphorism that "people who live in glass houses shouldn't throw stones" - it was the band's most directly psychological effort to date. The album was also notable for its three-dimensional cover, using a cellophane overlay (replicated using the CD jewel case on the Terrapin CD reissue, and via a custom digipak for the later Alucard CD reissue). In a Glass House was never released in the USA, but was in great demand as an import.

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