Lisa Sawyer 7. Flowers 8. Pull Away 9. The music is full of early Motown doo-wop backing vocals, Stax-y horns and churchy organ.
Even the cover is completely retro and Bridges' sharply dressed in a retro style look and typical early 60s pose. It is so refreshing to hear a contemporary soul album with no drum machines, no huge manufactured overwhelming bass sound, no synthesised vocals, no syrupy vocals using quavering vocal tricks.
This is just straight up early 60s soul with music played by a proper band and sung by a completely authentic voice. There is an effortless groove to some of the tracks - just listen to "Brown Skin Girl" and the sumptuous "Smooth Sailin'". None of the tracks on here burn the house down but they get into a laid-back soulful but subtly upbeat rhythm. While the music is obviously revivalist, there is a modern vitality and, of course, improved quality sound to it all that makes it most appealing.
This is a most enjoyable, quietly uplifting album. I was introduced to River by Leon Bridges y one of my daughter's a couple of weeks back and I can't get enough of him! I can't believe the album Coming Home is now a few years old Some of the songs are reminiscent of the great Sam Cooke..
Would definitely recommend. One person found this helpful. Favourite tracks have to be Coming Home, Pull Away and River but all the tracks are great, none have to be skipped through. Report abuse. I love this album. When my friend first played a track from this album for me I thought it was something from the 60s or 70s. Very soulful and a little bit of swing too. I love listening to this, especially when I'm reading or relaxing.
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Back to top. But then of a sudden Mr Belew's girly vocals are at the forefront. What the? Who the? Why the? I think King Crimson's big problem at this point was everything to do with Fripp - as soon as he had a stable band they repeated themselves in the form of 'Court of Poseidon' and 'Thrak The whole album sounds very disjointed and uneven but quite powerful at the same time - is it metal, prog, pop or what?
I'm left scratching my head like Stan Laurel watching the piano fall down the stairs. Am I happy? Am I sad? Am I pleased? Unlike The ConstruKction Of Light which featured a very dark and technical approach to the band's sound, The Power To Believe actually manages to concentrate itself on the individual compositions and bring out their standout qualities.
The sound might still be technical, but now this approach generates sounds and patterns that are quite memorable and make for great bookmarks on our journey through this recording. There's just no comparison between the two albums for me since this release clearly shows an improvement of the themes without pushing them too far into the extreme. But there are a few somewhat questionable instances here as well.
For instance, I really see no point in the four The Power To Believe pieces that for most part are pleasant, but lack the intensity and instant recognizability that most of the stand-alone compositions here possess.
Another nice surprise comes towards the end with the weirdly titled tune Happy With What You Have To Be Happy With which happens to make a lot of sense to a metalhead like myself.
I also like that Dangerous Curves sounds almost like a tune written by Steve Wilson, simply a great treat for all the Porcupine Tree fans out there! With such a strong release like The Power To Believe I'm really surprised that King Crimson have not yet followed it up with another studio album.
But I'm not going to count out the mighty Crim just yet. Still, even if this release would happen to be their final I doubt that any other band can compare with King Crimson's track record in terms of releasing quality material over the course of so many decades! I haven't been to much into the modern versions of Robert Fripp's King Crimson, but once in a while I'm willing to try something new.
Thrakk left me a bit shattered, some tracks were pretty good and other tracks seemed to be a bit pointless to me. The effort 'The Power to Believe' shows a more consistand, yet equally challanging King Crimson. The sound of the band in this stage is pretty spectacular. The drums of Pat Mastelotto are very modern to say the least.
This isn't my kind of style at all, but somehow the Crimsons make it work very well with their abstract compositions. The bass and warr guitar by Trey Gunn also sound very modern and appropriate for this kind of style. The warr guitar gives the music an aggresive touch, whilst the rubber bass sound helps to evoke the electronic sound the band has acquired itself.
Adrian Belew his voice seems to have grown a bit and he even sounds agressive on 'Happy With.. His electronic voice effects are important for the atmospheres and science-fiction sound of the album. Robert Fripp's guitars sound thick and distorted most of the time, whilst having subtle spacey solo's for the easy-listening moments like the accesible wave-song Eyes Wide Open.
His symphonic land-scapes are daring and never too resembling to other synth- moments of other bands. So, to sum it up. This album shows King Crimson playing a bland of styles. The band also tries to implement modern styles.
I actually love this instrumental, mainly the long guitar-synth chord progressions with the excited rhythms on bass an guitar beneath it. Other compositions have that sophisticated King Crimson sound in which the strange percussive sounds are quite important. This is not the kind of album that will make King Crimson be the commonly accepted leader of the progressive genre again, but from an artistic point of view it actually does it quite a bit.
Such an modern view on progressive rock in which the band embraces te coming of modern electronic music and it's abstract drum'nbass sound. Though influenced by modern music with it's possiblities, the band doesn't give up the slightest bit of masterfull musicianship. A big four stars for this one. Recommended to fans of the harder forms of progressive rock. It's as if King Crimson had been listening to the bands that they influenced Tool, Porcupine Tree, etc.
A good chunk of the album is metallic and abrasive. Best yet, the title project feels more of a successor to ''Larks' Tongues in Aspic'' than the actual sequels created over the years; the ''Power to Believe'' parts revive old aspects of KC without sounding tributary. We get the melodic percussion workout in the second part, only extended and far more exciting. That's very difficult to pull off when you've heard every prog band and their brother use the thing.
This is the King Crimson album that fully balances their artistic vision and pure enjoyability. I cannot think of another King Crimson album that does this mix and does it well.
This segues seamlessly into 'Eyes Wide Open', with Adrian Belew sounding clear and pleasant on vocals. The melody is catchy, Fripp's riff is complex, the harmonies are perfect, and it veers the album in a new direction; this is one of the Crim's more consistent albums and is accessible for the majority. There is a passage of competing rhythms as the guitarists execute unusual figures with eighth and sixteenth bars.
These instrumentals are stunning, very irregular patterns over crunching off beat rhythms. The symphonic strings are drowned out by a cavalcade of guitars and drums that pound like sledgehammers.
This is one of the greatest King Crimson instrumentals. There are returns to the trademark polyphonic or mixolydian style that have made the band unique, and the guitars ascend during the chorus in contrast to the monotone melody. I love the raspy vocals akin to the style of '21st Century Schizoid Man' in some respects; "six million ants crawling on a plate" and "it doesn't mean you should just because you can".
The lead solo has the guitar fuzzed up to maximum distortion and it grinds along with powerful strokes over the quirky tempo. This is one of the best King Crimson songs, a wonderful dark blockbuster with an infectious melody and intricate playing. Trey Gunn on rubber bass is an incredible force here joined by the masterful drumming of Pat Mastelotto.
The music is liquid like dripping over those course Arabian vocal intonations. The bassline over the Oriental guitars is effective. It is more keyboard driven than others here, and has a chilling edge. It builds up then releases with some creepy sonic atmospherics. The lyrics are sung through a distorted box, as the lyrics state; "Then I'm gonna have to write a chorus, We're gonna need to have a chorus, And this seems to be as good as any other place to sing it till I'm blue in the face".
Fripp's guitar work is out of the box, he is really vibrant throughout this recording, the band seem inspired and it is a pleasure to listen to when they are in this mood. The monochromatic basslines and sporadic drumming are complimented by the screaming axe of Fripp. It is followed by 'The Power to Believe IV: Coda' which is an instrumental bookending the opening of the album with the same style, and it reminds me of the sweeping synth style of Vangelis, with elongated synth pads and high string sounds, decidedly spacey and celestial.
Overall, this is a powerhouse album from King Crimson and surprised me somewhat as I had been a bit disillusioned by the efforts of the last three albums such as "The ConstruKction of Light" that were not easy to digest. King Crimson are always a challenge but if it is not compelling and entrancing my ears soon give up. On "The Power to Believe" everything strikes the right chord and it has a style all of its own, unique to the band and a musical journey that will give you the power to believe.
Is it a towering classic reconfiguring the way we think of rock music in general and prog specifically like their debut, or Red, or Larks' Tongues In Aspic, or Discipline? But you don't expect a band that's been operating as long as Crimson has to reinvent the wheel every release.
And when it comes to integrating more modern sounds into the Crimson template, and offering up a set of songs ranging from metal-bordering hard modern prog a la Tool or Porcupine Tree on the one hand to updated ambient-tinged takes on some of the more experimental material from the s lineup, the album does a damn good job of it.
Should this be their studio swan-song, we can be pleased that it was this good; it'd have been a shame to go out on The ConstruKction of Light.
Should the current incarnation of the band have plans for a studio followup, they'd be well advised to regard this as setting the bar. King Crimson has well and truly hit the phase of their career where they are contemplating their long-term legacy as well as enjoying their rich heritage witness the return of some early s material to the live repertoire which hasn't had an airing since the Earthbound tour at least!
Guys at the peak of their powers after 8 years. Compositions are well crafted unlike on Construkction of light and experimenting is still present. Mastelotto provides killing drum patterns and modern electronic drums with touchs of electronica and even drum'n'bass.
Two guitar dueling are powerfu Belew's Last with Crim. Not really a return to form, this album allows Mastellotto to demonstrate his strong technical skills to good effect, and once again leans on Belew's stro Now this is an album I'm glad KC released. In all honesty, this is my favorite album of theirs outside of the Wetton years, with the exception of Lizard.
It really is that good. This album confirms one of the most respectable facts about KC: they didn't stagnate.
Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. A legendary concert hall that bands like Cream, Hendrix, The Who and many others played. Third Power has been compared to Cream and sometimes they do sound similar but the Third Power are more than that with complex vocal melodies and solid guitar work. I still can't understand how this didn't do better. It's an impressive debut by any band and a great part of Detroit Rock History.
Great pressing and the sound quality is Fantastic. Happy to have these Detroit rockers in my collection again. Jem Targel was my old neighbor in the '70's Love it. Awesome Detroit Rock! One person found this helpful. I was lucky enough to obtain a used vinyl copy of this lp in the 70s. I certainly find the above 3 reviews an accurate description of the one and only release by the band.
What was very unfortunate for me is that in April of Third Power was the opening act for Canned Heat, but we got lost en route and missed their show. Some of the attendees whom I spoke with liked the band, and others did not, likening them to Blue Cheer, since this type of rock was not in vogue at that time.
Detroit was a mecca for heavy bands back then! This is a wonderful recording by one of the best bands of the era. These songs have been near impossible to find for years. The song Snow was often played on Detroit radio in the late 60's, but was only issued in a very limited release. Saw them in Clawson, Mi many times. Despite the intense touring schedule Kiss maintained in , Hotter Than Hell failed to outperform the band's first album and fared considerably worse.
This was due partly to the fact that Casablanca's distribution deal with Warner Bros. Records had ended. The publicity push behind the album was not nearly as strong as it had been for the debut album. One notable exception was a television commercial aired to promote the album.
The only single released from the album, "Let Me Go, Rock 'n' Roll", was distributed in low numbers and failed to chart. Four months after the album was released, Kiss were pulled off tour and called back into the studio to record a follow-up. Musically, Hotter Than Hell is darker than the band's first album. The original title was "Little Lady". Hotter Than Hell featured many more overdubs than the first album. While Kerner and Wise wanted to produce a record that captured Kiss as a live act, they decided to take advantage of the experience the band had gained as recording artists.
This would have made a perfect single. Makes me wonder what the people at Vanguard Records were thinking. The band displays its versatility playing this delicate tune with zest equal to its heavier numbers. Abbott contributes a jaw dropping solo driving this rocker to a close. The most beautiful song on the LP it should have filled the newly emerging FM airwaves at the very least, if not seeing release as a single.This album gave me that feeling I get so rarely with new music - where I'm completely obsessed and can't listen to it enough. "River" has given me goose bumps every time I've listed to it. "Coming Home" and "Better Man" were the first two songs I listened to (heard on Pandora's Alabama Shakes radio) and are what caused me to buy this album/5(1).