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Illusions on a Double Dimple Extra tracks, Import, Original recording remastered

35 customer reviews

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Audio CD, Extra tracks, Import, September 30, 2002
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Editorial Reviews

Germany.

1. Illusions On A Double Dimple
2. Mister Ten Percent
3. Dancer's Delight (Non Album Track)
4. Timothy (Non Album Track)
5. Dimplicity (Edit)
6. Million Dollars (Edit)

Product Details

  • Audio CD (September 30, 2002)
  • Number of Discs: 1
  • Format: Extra tracks, Import, Original recording remastered
  • Label: EMI Europe Generic
  • ASIN: B000068QEM
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (35 customer reviews)
  • Amazon Best Sellers Rank: #5,964 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

55 of 58 people found the following review helpful By Mark D Burgh on September 1, 2003
Format: Audio CD Verified Purchase
...with our English dead. In 1974 English Progressive Rock was over. Sure there were some late comers, but the masterworks that define the genre were all done, toured, and live-albumed. Most of the first line Prog bands were taking a breather around this time; Yes, ELP, and Genesis all had to stop for various reasons, mainly having recorded and toured for six straight years.
And into this gap came Jurgen Fritz. Fritz, had he been born in England, would have been regarded along with Wakeman as a competitor to Keith Emerson, but unlike other Proggy keyboard wizards, Jurgen Fritz did not quail from emulating his master. "Illusions on a Double Dimple" is one of the few direct decendents of "Tarkus" and compares rather well to that piece. Fritz and his interchangable bandmates don't create a science fiction vision here; side one is the story of a failure having a drink on a hopeless afternoon. You may debate whether the technical prowess of this band and the heavy-duty musical technology employed is what is called for, but "Illusions on a Double Dimple" manages to move along quite nicely, with snatches of strings, and even some soaring melodies.
Side two, another long suite, addresses the rock industry, and gives us more of Jurgen Fritz's Emersonalia.
Back in the day, I listened to this album with a religious intensity owing to this being the only thing out there that satisfied my desperate hammond/moog jones. Fritz had a solid background in classical music (which Emerson did not) and created succinct, useable, and variable themes that move through the highly orchestrated pieces in ways that are more Yes-Like than ELPish; however, the sonic landscape never vears away from the heavy percussive organ, piano, and overactive drums of the Nice or ELP.
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27 of 28 people found the following review helpful By Girl.Scout.Heroin on January 8, 2004
Format: Audio CD
Contrary to belief, a double dimple is not LSD. The "illusions" are on a double of Dimple Pinch as experienced by a poor dude in a bar lamenting on his misfortunes in life. Starting with childhood, "So sorry teacher, I don't know the things you made me learn for today. We've got ten kids at home, our living room's full, our daddy's gone away..." We then learn our poor sap is out of a job and reflects to himself, "mine is the road to nowhere. No light, no signs to guide me. Who could describe my anger, when I was sacked last Friday..." We later are treated to similar grievances about the music industry "Hands off, Mr. Ten Percent, we've got a gig tonight! Do ya think we're gonna pay your rent? How could you say you're still a friend? You'll make it fifty in the end!..."
Jurgen Fritz has created a concept album dedicated to the working class. Anyone who has ever felt underpriveledged or gets a feeling of worthlessness upon receiving a paltry paycheck has an excellent album just for them. Anyone in a gigging band or signing a contract with Capitol records. Anyone driven to drink after being sacked at work, anyone not born with a silver spoon up their butt.
This album is just fantastic. The idea was to make a BALANCED album that would please on musical levels as well as finding favor with a more traditional pop audience without venturing far from the progressive parameters. Not 40-odd minutes of uninspired technical musical self-indulgence, and not a bunch of boring balladry. There are melodic moments where true songwriting genius is exemplified mixed with competent progressive song structure and a few moments that, without fail, are guaranteed to spike my adrenaline levels. Quite a rush! Many of the ideas are sort of trippy, in a euphoric way.
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21 of 21 people found the following review helpful By G H on October 9, 2002
Format: Audio CD Verified Purchase
"Illusions On A Double Dimple" is Triumvirat's masterpiece, and the high point of their recording career. The band, formed in Cologne, Germany, in 1971 by Jurgen Fritz (keyboards), Hans Bathelt (drums), and Hans Pape (bass, vocals), had previously released an album, "Mediterranean Tales" in 1972, to mostly poor reviews and lukewarm response by the public. After Pape left the band, they returned to the studio with his replacement Helmut Kollen (guitar, bass, vocals) to spend five months recording "Illusions" with horns, a string quartet and choir. The resulting record, released in March of '74, was a resounding success, earning Triumvirat an audience among prog fans world-wide. As a "concept" album, "Illusions" is breathtaking in scope and ambition, incorporating classical elements, pop balladry, joyous rock riffs and even occasional strains of jazz. Hard-core prog enthusiast will find plenty of dazzling musical interludes, and mainstream rock fans will enjoy the melodic movements encapsulated as conventional songs.
Sadly, and perhaps with a grain of truth, Triumvirat never quite shook the mantle of "Poor man's ELP", though the discerning listener will find them far more accessable and less heavy-handed. As well, they came on the scene during the waning days of the prog movement, and were thus forever in the shadow of established acts such as ELP, King Crimson, Yes, Rush, Genesis, and Jethro Tull.
They quickly recorded their following album, "Spartacus" (1975), another concept piece, which is itself a masterful work, more confident and assertive than "Illusions", but relying more on synthetic textures and instrumental virtuosity than "Illusions".
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