Customer Reviews

Illusions on a Double

5 star:		(13)
4 star:		(6)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

...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.

The remix clears up the inherently muddy sound of these vintage instruments, and gives a vivid sense of depth to the music. Fritz had a lot of talent and this is his best work. "Illusions" is a classic progressive rock album, and one that should be part of anyone's collection of that much-maligned but secretly well-loved genre.

"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". "Spartacus" was followed by a series of albums "Pompeii" (1977), "A La Carte" (1978) and "Russian Roulette" (1980), each of which contain a few brilliant moments surrounded by mostly mundane attempts to recapture the magic of their previous success.
Triumvirat never again caught the lightning in a bottle of "Illusions". They didn't have the radio-frindly songs of Yes or Genesis, the instrumental virtuosity of ELP, the quirky arrangements of King Crimson, or the rock appeal of Tull or Rush. Nonetheless, in "Illusions" they captured perfectly a previously untapped balance of musical styles unheard-of before or since. "Illusions" and "Spartacus" deserve a spot on the top shelf of any prog rock fan. I've waited years for this record to be released on cd, and it's been well worth the wait. The bonus tracks are not up to the quality of the original album, but they're interesting to hear, if only to expound upon the direction the band was attempting to forge. I wish the cd allowed for individual selection of passages rather than album sides, so new listeners could skip to "songs" they enjoy rather than having to fast-forward through instrumental movements they may not appreciate. But when all is said and done, "Illusions On A Double Dimple" is as magnificent as it was when it was first released, and I'm glad to finally have it in my cd player. GET THIS RECORD NOW!

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.
Unfortunately, the progressive rock audience, being very opinionated, are just too hard to please. Either a piece of music is too bombastic or overwrought, or it is too commercial sounding, or God forbid, features a choir! Or reminds them of another band. (Face it, music is all about emulating things. Other music, other styles, other techniques. Live with it.)
Double Dimple is a target for criticism because it is the epitome of all those things. The final analysis is what happens when one puts on those headphones and hits play. And something really special happens with Illusions. A musician's job is to make you like their product using whatever tools they feel like using. When an album is simply entertaining using very plain or common ideas, that is a good album. When something has more focus, detail or that special magic about it, that is a great album. And a great album will always withstand more repeated listenings and invoke more awe and respect. I can listen to Illusions for a millionth time and notice something I did not notice before. Not specificaly in the notes played, but in the emotion or in the feeling a song may give off. I want to FEEL something when I listen, not just HEAR something. Triumvirat certainly hits bullseye with Illusions. One of my personal favorite albums, not just because I like it, but because it is clearly meticulously written, performed, and delivered in a way that makes the PUNCH work. This one's good start finish. (NOT regarding the bonus material, but the original LP release.) I would say that Illusions ranks as one of progressive rock's top ten best albums.

Triumvirat's second album was both a progression and an improvement over MEDITERANEAN TALES. The two suites comprising the original LP each have some nice passages, and each is marred by clumsy transitions and musical non-sequiters . . . pretty typical of a lot of bands of the era (you know who I mean). 'Illusions On A Double Dimple' (the allusion is hazily alchoholic) in particular has some fabulous parts. Much has been made of similarities to (all right, I'll say it) ELP, and at the time as many ELP fans lauded Triumvirat as berated them as imposters to ELP's throne. There were similarities to be sure, both in format and in the music, but to my ears Triumvirat was earthier and closer in spirit to rock-as-rock'n'roll than their English counterparts, which makes for a far more pleasurable listening experience. Jurgen Fritz may not quite have had Emerson's technical prowess, but Triumvirat were decidedly less flashy and a hell of a lot more fun. Besides, ELP could never have released a series of such un-self-consciously brilliant singles as are included as extra tracks on this series of reissues, of which ILLUSIONS ON A DOUBLE DIMPLE is the second. 'Dancer's Delight' merges 'Crocodile Rock'-era Elton with The Sweet, and sounds like 1978 English pop-punk years before its time; and while its B-side 'Timothy' may have copped its acoustic-guitar chord progression from Steve Winwood's 'Can't Find My Way Home' and is similarly doleful, it boasts a most offhandedly catchy middle-eight and fade-out. Good album, great single and awesome remastering. Cute little dude on the cover, too.

Let's say it: this is not only Triumvirat's best album, but one of the greatest recordings in progressive rock's history. The line-up (keyboardist Jürgen Fritz, drummer/lyricist Hans Bathelt and bassist/guitarist/vocalist Helmut Köllen) is simply perfect, and the music really shines from the first to the last second. The bonus tracks are interesting, but the two suites (one for each side, when vynil ruled the Earth) are simply wonderful. If you like prog-rock, don't miss this album.

I have to agree with some of the other reviewers that this is an album for prog rock fans. Others will likely be put off by the time signature changes, synthesizer and piano solos and just the sheer length of the two major suites. The last couple of songs on the album - Lucky Girl and Millionaire - really have more of a pop structure, though and I would say are very accessible. Don't be scared off by the mention of choirs - it's just a couple of brief interjectioins and some background ala ELO. The musical style is, in my opinion, borrowed directly from ELP. I could see where ELP fans might just call it a rip-off, but for me, it rates up there with their best. The piano and drums are especially good on this one. Very little guitar - really just a 12-string on Lucky Girl, zero solos. Also, the synthesizer parts sound dated, but what do you expect for prog? Forget about the lyrics, as with most prog - it's all about the music. If you somewhat like the ELP style and if you're a prog rock fan, I'd have to rate this as a must have. There really isn't a dissappointing moment on the whole album. As a point of reference for my tastes, some of my favorite music is from Gabriel-era Genesis, early Yes and early Tull. One of the all time great album covers, too.

I have owned this album on vinyl and have been waiting for a long time for the remasters. I am somewhat dissapointed re the quality of the remaster. The keyboards and vocals and guitar are great, really great, but if only the drums had been as good as the bass lines. This cd deserves 5 stars due to content but I have to deduct for the remaster failing. It is a marked improvement but again the drums sound like they pop or someone is beating the heck out of cardboard box. My favourite of their collection, way better than Spatacus, which is quite good.

this album finds the band pushing itself to expand the texture and sweep of it's graceful music.Jurgen Fritz and his wonderful technique keep the melodies floating effortlessly moving along . Like all of the bands releases,the quality and care of the production,will assure even the most jaded of listeners a pleasent hour or two.Kudos Mister Fritz.

MR. Heald's review is absolutely on-track. Let me simply add that this is the greatest progrock album in history. More beautiful than Emrs.Lk.Plmr., more soulful than Krftwrk., more blue-collar than Ys., more sophisticated than Kns., with "Illusions On a Double Dimple" Fritz, Bathelt, and Kollen produced the ultimate progrock album. One Sin has been committed...it took this long for "Illusions" to make it back to CD. In the history of Rock keyboard wizards, we have the Father (Keith Emerson), the Son (Juergen Fritz), and the Holy Ghost (Rick Wakeman). This is Juergen's finest hour. I think you'd like a Double Dimple. Experience, and enjoy.

This 1973 release by German group Triumvirat is heavily influenced by ELP, yet has its own stamp of originality. Overall, I generally liked the sound on Illusions on a Double Dimple - in fact, when combined with the follow-up Spartacus (1975), the two albums found the group at a peak.

Although there is lot of intricate ensemble work on the two 20+ minute long pieces (song-cycle/multi-movement suites) that comprise "Illusions...", in addition to some very agile and creative keyboard work (including loads of Hammond organ and moog synthesizer), the high point for me is the trebly Rickenbacker 4001 bass sound that Helmut Kollen manages to crank out. It is also worth noting that his bass work is also reasonably interesting and does not simply follow the left-hand piano part. The vocals (in English) are also good and suit the material. Although I enjoyed the record, there were a few weak moments including poorly integrated female backup singers and the banal lyrics. Fortunately however, these moments are brief and did not totally ruin the listening experience.

The sound quality on this remastered CD is pretty good and the booklet features lyrics, photos of the group, and some historical tidbits. The bonus track "Dancers Delight" is horrendous, while the remaining bonus tracks are OK.

If you are interested in music that resembles Tarkus-period ELP, without the emphasis on the sophisticated quartal harmony and bitonality present throughout a lot of "Tarkus", and the ridiculous songs that ELP decided to include on that album ("Are you Ready Eddy?") then you might like "Illusions...". Also recommended is "Spartacus" which is a much more even effort.