Power of Love (Hour Glass album)
| Power of Love | ||||
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| Studio album by Hour Glass | ||||
| Released | March 1968 | |||
| Recorded | January–February 1968 | |||
| Genre |
Blues-rock Southern rock |
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| Length | 33:51 (1968 release) / 53:04 (1992 re-release) |
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| Label | Liberty | |||
| Producer | Dallas Smith | |||
| Hour Glass chronology | ||||
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| Source | Rating |
| Allmusic |   |
Power of Love was the second studio album by Hour Glass, issued in March 1968 on Liberty Records, the final by the group with the namesakes of The Allman Brothers Band. After the failure of their first album, Liberty Records allowed a greater independence for the group, who had been virtually shut out of the decision making for their first album by the label and producer Dallas Smith. However, with the label's decision to retain Smith as producer, the group, especially Duane Allman, once again felt constricted by their label's expectations for the album.
With Smith behind the boards, Gregg Allman was still the focus. The younger Allman, who had seen only one of his compositions on the previous album, contributed seven of the twelve tracks. The remainder were two from Marlon Greene and Eddie Hinton and one each from the teams of Spooner Oldham and Dan Penn, John Berry and Don Covay, and John Lennon and Paul McCartney. The group performed all of the instrumentation, with Duane Allman adding electric sitar to their cover of The Beatles' "Norwegian Wood (This Bird Has Flown)", a staple of their live act.
Neil Young of Buffalo Springfield wrote the liner notes, describing his experience sitting in on the session for the album track "To Things Before", watching Gregg Allman leading the group through the number.
After the failure of the album to enter the chart, the Hour Glass traveled to Fame Studios in Muscle Shoals, Alabama, in an attempt to further refine their sound. However, Dallas Smith and Liberty Records were displeased with the group-produced blues-fueled rock tracks that the group returned to Los Angeles with, as they were light years away from the pop music Smith envisioned them performing. Additionally, seeing himself cut out of the group's picture was not ideal for Smith, even if his relations with the group had been strained.
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