SPARTACUS

Much like Spartacus, I will undoubtedly be condemned to being impaled on a cross for saying the following but hey, you got to have courage. I prefer this album by Triumvirat to any ELP album! The reasons are numerous but mostly because the style here, while very technical is not as ego-laden as Emerson's occasional flippant follies. Also the entire disc is purely epic both in structure and in scope with a certain "cinematographic" feel that is hard to put into words. Jürgen Fritz has certain similarities (mostly on organ) but his piano and synthesizer work are way more "romantic" perhaps even more "feminine" as opposed to Keith's rather more technical and muscular delivery. Admittedly Lake is a better bassist and more of an exemplary vocalist than Helmut Köllen but the sadly departed one really was no slouch (singing phonetically is ballsy and tough). Palmer is in another league but Hans Bathelt bashes his Slingerland drums with Bonhamesque aplomb, loaded with spirit if not tornado chops. "The Capital of Power" initiates with a zipping rhythm, laying down the initial main theme that will evolve over the course of the epic story, bass pummeling, drums thwacking, organ chomping and synthesizer blaring, this is a pleasant overture that sets the tone appropriately, laying the groundwork for the fist stunner, "The School of Instant Pain" , elegant and ornamental piano and the vocalized outposts of the Spartakian legend: a gladiator that had the audacity to rebel against the imperial Power of Rome. The organ here acts as a grandiose background to the furious piano-led pace, with Bathelt's locomotive drums leading the charge. The 'liquid' synth solo is legendary in originality, alternating with a Hammond extravaganza that is even more jaw-dropping, a brief rigid drum solo finale. "The Walls of Doom" has some funky moments, chugging along with utter simplicity, a very cool 2 minute of bliss followed by another 2 minutes of synth-fueled mood swing (a tad reminiscent of Emerson). "The Deadly Dream of Freedom" tosses in a more accessible ballad-like segment where the vocals and the accompanying piano set the table for an almost radio-friendlier opportunity that remains nevertheless very proggy (a very common trait back in 1975) . "The Hazy Shades of Dawn" has an almost whimsical air of playfulness that evokes the optimism of every new day and the lads certainly express it delightfully. Very upbeat, almost cocky Celtic/Irish at times, with whistling synths and a very brief hint of an upcoming whopping melody. "The Burning Sword of Capua" is sheer genius, a bold, brash, epic and brilliant piece of progressive that even ELP would have been proud of, sweeping yet funky, technical yet evocative, masterful and also loose. These German musicians were no slouches. "The Sweetest Sound" delectably establishes the main vocal melody with unreserved gusto, the lyrics leaping out thanks to a rather convincing voice performance that displays some pretty and "sweet" pipes. "The March to the Eternal City" is the crown jewel here, a simple steady beat aided by tempestuous synths whirling away and the organ swells stamping the ground, creating the image of soldiers marching into conflict , horses snorting as they trudge through the mud and the defiant troops singing the battle hymns. You can smell the anticipation of blood, sweat and tears. This is simply an extraordinary arrangement and when the pace suddenly heightens and quickens, the bass galloping with the drums, a slash of mellotron adding emphasis, the repetitive theme then explodes into a whopping Fritz Moog solo that seems more Manfred Mann inspired than anyone else. The final vocal lament is of infinite beauty. The disc ends with the title piece, with more thumping musical glory, unshakable playing (some supremely funky piano) and a general feeling of amazed wonderment. The rebellion fails, the Roman army crushes the uprising, Spartacus is punished and the rest is history, as the final majestic synth solo blares eternally on like a flame that cannot die (a wink at Jesus Christ Superstar). While I am no huge fan of keyboard led trios anyway, this really remains a most enjoyable joy ride that has all the ingredients to please the most discerning fan. Easily among my top 20 albums all time as the emotional attachment at the time was just huge. 5 fiery Roman candles