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In fact, most anybody would easily mistake the sound with that of ELP's most ambitious tracks. It definitely has the pompous style of an introduction to a larger work.

Coming up next is the first of the multi-movement tracks 'The School of Instant Pain' which begins with 'Proclamation', which begins with a nice, rhapsodic piano and then brings in the vocals.

Kollen sounds nothing like Greg Lake in that his voice isn't quite so flourishing, but it is good enough for the music. Things soon change as the tempo picks up with a new meter and some complex passages before returning to the main theme, but with a very dynamic accompaniment, never relying on the same background just like you would expect from ELP.

The suite slips into 'Roman Entertainment' which features some fancy organ playing and Palmer-like percussion. The drums are definitely more like Palmer's percussion than the previous album thus making it even harder to distinguish between the two bands especially on the instrumental sections.

Bathelt really gets to show off with a great drum solo known as the fourth section called 'The Battle'. This eventually becomes more progressive and complex as the music builds up to a more promenade style. Things slow down a bit for 'The Deadly Dream of Freedom', a more ballad-like track with a lot of piano, acoustic guitar and vocals, later with symphonic elements brought in by synths.

This has a nice melody, not very progressive, but it still fits in nicely for what could have been a single.

It begins with 'Dusty Road' fading in on a solid moderate beat with a darker atmosphere as danger seems to lurk. The music soon becomes reliant on piano and vocals, a lovely melody again with a lot of drama attached. The blues-based motif returns between verses and builds to the 2nd part 'Italian Improvisation'.

The bass builds tension with a catchy riff that eventually brings in a synth solo based around the heavy riff, a great and exciting highlight for the album. The tension is released as the original blues-style returns bringing back the heaviness at the first of the track and making up the 3rd sub-section called 'First Success' with vocals coming back in towards the end.

Finally, the album closes with the last of the multi-movement suites, the title tracks 'Spartacus'. Starting with 'The Superior Force of Rome', you can feel the entire concept wrapping up with a variation of the themes that have appeared throughout.

Starting with a vocal section, it soon gathers a lot of energy as the synths and a honky-tonk styled piano comes in. All of the themes come together creating the epilogue to the story and things get tied together.

Synths and piano trade places as the vocal sections are tied together with some fast-paced interludes, soon the instrumental sections take over for 'A Broken Dream' and 'The Finale', these tracks showing off Fritz's keyboard talents as the keys get to show off. The overall feeling of the album isn't quite as heavy as that of 'Tarkus' by ELP, but it still gives you all of the excitement of that album. It might not be quite as complex either, but you may not even notice that.

But you will notice how the sound is very much like ELP, and those that love the more progressive and complex music of that band will definitely be impressed by this album and the previous one for that matter by Triumverat.

Yes, they might be considered a clone band, but they were definitely capable of producing music that at times can be mistaken for ELP quite easily, the main difference being the vocalist. Speaking of Kollen the vocalist , this would be his last album with the band. He decided to go solo at this point. However, both Fritz and Bathelt would participate in his solo album in part to show that there were no hard feelings.

Kollen returned to Triumverat at that time, but soon figured out that his voice couldn't handle the range in the new songs, so he decided to concentrate on his solo career. Barry Palmer was brought in to sing on the next album and original bassist Werner Frangerberg also came back. Sadly, Kollen would later be found in his car dead from carbon monoxide poisoning that he suffered while listening to his own demos.

The band after this just couldn't get settled as the lineup continued to change and they also started to sound more commercial. But, at least, they carved their own niche in progressive music history and have been remembered quite fondly for this album and their previous one, albums that can easily stand up next to ELP's best works, thus also creating an alternative for those that can't get enough of that sound. Triumvirat's heyday was limited to just two or three albums from the early to mid 's before Helmet Kollen's departure , and "Spartacus" was their magnum opus.

Despite other reviewers' unjustified complaints that they were simply an ELP ripoff band, Triumvirat proved with "Spartacus" that they c The tale of Spartacus is an epic and bloody one. In ancient Rome, an escaped gladiator slave leads an uprising of slave rebels to fight in the war against the oppressive higher powers. Meanwhile in , a German trio of Emerson, Lake and Palmer impersonators were looking for a concept to hang th This album could easily be confused as an ELP record.

You can't deny that it's got all the trademark elements; booming bass, ferocious drumming, Hammond organ and moog swells; it's ELP in all but name. Maybe I'm being too harsh; this is my first listen. I don't hate it; The ballads are a nice in When a friend of mine actually played me the album, I was excited. Triumvirat had an undeserved reputation as an ELP knockoff - only in the fact that they were a keyboard led three piece band were they actually similar.

I've always Spartacus is considered to be the best album of the German threesome Triumvirat. However, at times the title track of this album is very close to The missing ELP album. This is Triumvirat's third album and their most commercially successful album too.

Triumvirat was never as successful as ELP and Nice though. This despite of the undeniable similarities in both sound and music. It is almost a waste of time to even start to describe This type of progressive music was As the first synths are silently heard at the start of the album,one might just wonder what comes next. As the band quickly introduces it's music in the first two compositions,the profile of Triumvirat is reflected already:massive use of synthesizers in all tracks,cutted by generally brief vo It's no wonder that Triumvirats Spartacus is hailed as the high point in this copy-cat bands career.

Keith Emersons keyboard riffs and runs and are practically cut and pasted by Jurgen Fritz into many of the tracks on this album. This particular album really should have been designated as a tr One of the best German bands, but always considered only as ELP clones, and so unjustly underestimated.

In my opinion, Triumvirat have nothing to do with ELP, except for some keyboard scores. In any case the great Jurgen Fritz, although using various Hammond, Moog, etc.. Far away, the best Triumvirat's album. I can't understand why some people don't like this band. They say that's because the similarity of Emerson, Lake and Palmer's sound. Well, I really think their sound is almost the same, but I don't see that's a reason to hate this fantastic band.

That's wha Report this review Posted by ProgPeter! Sunday, September 30, Review Permanlink. This album provides typical sound of Triumvirat with domination of Fritz's keyboard and a lot of nice melodic passages. Compared to the next album Old loves die hard, this album looks more integrated with very similar a This is, in my humble opinion, probably the best keyboard driven a la ELP prog album I've ever listened to. Many people decry the band as being a ELP clone - which simply isn't true.

They just happen to be another band centered around an incredible keyboardist in this case the classically tra Ok, so a band named Triumvirat walks into a recording studio and picks up their instruments which happen to be similar to the gear that ELP uses and then proceed to record some fun symphonic prog rock.

So what's all the fuss about? Maybe because note that I have been an ELP fan for almost 30 y I learned about this album when it came out in the mid-seventies. At that time, I thought the concept was great and I listened to that record many many times.

And I enjoyed it greatly: well sung, very well played, a good concept. Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Tuesday 28 April Wednesday 29 April Thursday 30 April Friday 1 May Saturday 2 May Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Friday 29 May Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Streams Videos All Posts.

Styles Prog-Rock. Track Listing. The Capital of Power. The Walls of Doom. The Deadly Dream of Freedom. Hans Bathelt. The re-mastered version included two additional tracks: a live version of "The Capital of Power" and a previously unreleased song called "Showstopper". From Wikipedia, the free encyclopedia. Retrieved 5 September Spartacus in fiction and media. Spartacus

Triumvirat was a German progressive rock band, founded in in the town of Cologne, Germany By keyboardist/composer Hans-Jürgen (later simply Jürgen) Fritz, drummer/lyricist Hans Bathelt, and bassist Werner Frangenberg. During its early years, Triumvirat initially played Top 40 songs at local venues in Cologne. The Nice and Emerson, Lake & Palmer heavily influenced Triumvirat.

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oohani_s comments
  1. This issue features a GLOSSY BLACK inner sleeve - other versions with same cover and labels but different inner sleeves exist. With matte black inner found here: Spartacus With a different white inner with pictures found here: Spartacus This album was recorded at EMI Electrola Studio 1, Cologne, between February 3rd and March 4th, /5(21).
  2. View credits, reviews, tracks and shop for the Vinyl release of Spartacus on Discogs. Label: Harvest - SHSP ,Harvest - OC • Format: Vinyl LP, Album • Country: UK • Genre: Rock • Style: Prog Rock/5(17).
  3. Vinyl being vinyl, much of the sound quality has suffered. We searched for a couple years to find replacements on CD and were at last delighted to find that Triumvirat was releasing remasters on compact disc. We pre-ordered Spartacus, our favorite album of the bunch, and received it at long last. It was worth the wait/5().
  4. Spartacus was their most enduring and successful album ever. It graced the upper rungs of the album charts for the better part of and gave this act a home forever in the progressive rock movement. The album based itself on the story of the historic Roman gladiator and the trials and tribulations of his war against his country/5().
  5. Find album reviews, stream songs, credits and award information for Spartacus - Triumvirat on AllMusic - - Spartacus may not be as progressively strong as.
  6. Triumvirat - Spartacus: Tracklist (Vinyl) A1: The Capital Of Power: The School Of Instant Pain: The Hazy Shades Of Dawn: B1: The Burning Sword Of Capua: B2: The Sweetest Sound Of Liberty: See more tracks * Items below may differ depending on the release.
  7. The sweetest Sound of Liberty is another beautiful and powerful ballad where the rhythm section provides unusual power and strength for a soft and beautiful tune, a song of contrasts, simply delightful/5(52).
  8. Spartacus, an Album by Triumvirat. Released in on Harvest (catalog no. 1C ; Vinyl LP). Genres: Progressive Rock, Symphonic Prog.
  9. Spartacus is the third album by the German group Triumvirat. It is a concept album based on Spartacus, the Thracian gladiator who led the 3rd slave uprising in 73–71 BC. The lyrics were written by Hans Bathelt, with contributions by Jürgen Fritz. It was originally released in on the EMI label, and later distributed in the U.S. by Capitol.

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