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.