EMERSON LAKE & PALMER

This is probably one of the best debut's in the history of mankind. To it's heavy keyboards, awesome basslines, and sweet drumming, this has it all. ELP managed to be the first ever progressive rock supergroup ever, everyone coming from different bands. Greg Lake is the bassist, acoustic guitarist, Keith Emerson is the keyboardist, and Carl Palmer is the drummer for the band. They make some amazing music if you are concerned.

"The Barbarian" is simply stunning. Lean and mean basslines and keyboards, and some fast drumming make this song simply beautiful. The organs are really prominate in this song, and it's a good substitute for an electric guitar, though Lake plays an acoustic in some tracks. Amazing instrumental opener. "Take a Pebble" is one of Lake's moments, where his sappy songwriting comes in, talking about love and romance, nothing that interesting. It has some nice musical moments. The vocals are amazing, of course, thanks to Lake of course, the bassline is soothing, though Lake isn't an amazing bassist, the drumming is very nice. Emerson is playing very well on this piano for the most part. "Knife Edge" gets back to rocking out, honestly. The lyrics are much better than the previous track, and the overall music moves much faster. The bassline is pretty nice and slow paced for this song, specially written and written very well for this song. The keyboards are really upbeat and get you in the groove. "The Three Fates" is a mostly keyboard/piano solo. It's stunning, to say the least, and it's one of the best things ever written. Keith Emerson really can play those things very well, it's beautiful the music that he can make on it. "Tank" has some nice rhythm section, drummings and bass pumping out really hard. After the storming intro, the keyboards enter and start to take control, as the bass and drums seem to come natural for Palmer and Lake. After that intro, the drum solo starts to kick in, and let me tell you, it's pretty good. Mezmorizing, to say the least. Though I don't think that Palmer is along the lines of, lets say, Neil Peart, but he is pretty close. "Lucky Man" is kind of weak with it's acoustic intro, but I find it a bit uplifting. The vocals of course are simply stunning, to say the least.

Though are a few parts that are definatly not amazing, they are definatly good to say the least. This is filled with prog to spare, but not as much prog as their next few albums would contain, but this is where it all began. 5 stars for the supergroup.

Emerson, Lake & Palmer - Emerson, Lake & Palmer (3.77/5 stars) Original Release: November 00, 1970

Songs:

The Barbarian (3 stars) Instruments combine to evoke the image of a heavy, plodding Barbarian moving across the landscape. The quick work of the drums, however, evoked a sense of listening to the soundtrack of a silent film however. The busy-ness of the instrumentation on this instrumental tends to tire the ear and detract from the passages that creatively evoke the mood that the song aims at.

Take a Pebble (4 stars) The bass and a profound piano accompany the haunting vocals in the first part of this song. Then with a cascading rhythm layered piano takes over. In the middle of this there is a quiet section with a thoughtful acoustic guitar playing amidst the sounds of water drops. the lyrics are difficult to interpret but I suspect that what they are getting at is how the moments of our lives, successive moments in time, disturb, distort and destroy our memories causing them to fragment and to dissipate as the force of the latest experience propagates in our minds like a pebble thrown into a pool. The quiet mid point of this song might represent a moment when the knower achieves a reflective clarity regarding this relentless process and finds a place of stillness within the perpetual succession of time. Layered piano work has both a timeless cascading part and an ever changing timely part. The end of the song concludes this pleasant and disturbing journey with further descriptive words.

Knife Edge (4 stars) The menacing lyrics walk you through a mad world with a mildly hypnotic rhythm. The instrumental middle section expands the musical theme and moves briefly to a more ethereal passage. Then its back to the plodding guitar-organ of the openning hard rock theme.

the Three Fates: Clotho/Lachesis/Atropos (4 stars) Big evil organ opens the song. After a while a piano emerges. The piano playing is strong, colorful, then quiet, gentle. Then the piano swells with a rising passion like ocean waves. Emersons piano work moves through many themes and takes you in many directions with skillful ease. There are lots of interesting textures and moods painted in succession by Emerson in this instrumental. There is a good balance of variety without becoming a tedious jam session. The song ends in an explosion that dissipates just as the next song kicks in.

Tank (3 stars) In this instrumental the percussive melody paints the picture of some persistent machine moving over the landscape. A drum solo appears which seemlessly fits into the feel of the song as a whole but sounds still like a drum solo. I have a sense of a tank negotiating in its plodding yet nimble way an obstacle course of a landscape as I listen to this song. In the last half of the song a sinister rhythm of synthesizer, drums and and bass kicks in. Then a high-pitched harmonica synthesizer sound plays a strange blues. It is as if the tank has done something of consequence and now lumbers on in some new realm or mad reality. Although the song did engage my imagination it was more difficult to connect with emotionally.

Lucky Man (4 stars) the lyrics describe a man with women and wealth who performed his duty for his country and found death as ready to take him as anyone else less fortunate. The haunting chorus underscores the lyric's irony. The vocals sound Beatlesque. The song ends as a synthesizer comes in and brings an electric energy that is taunting and haunting all at once.

Album: The often dense style of Emerson, Lake & Palmer is the best asset and greatest liability. The songs on this album tend to succeed in balancing these things but not always so well. The band's style of play lends itself to themes of madness and relentless motion. The imaginative lyrics and themes seem concerned with dark spirits. The darkness in this album is akin to that of King Crimson's "In the Court of the Crimson King". Lake's vocalizations help to cut down on the density of the instrumentation. This density tends to soure me to their music over time but I have found this album one that has suffered less from than than there other albums from the 70s.

This album is an early progressive rock classic with exceptional musicianship combined with fantasy sound textures that transport you to another world and I recommend the album as a whole to prog rock fans.

MP3 recommendation:

4 Star Songs (4/5 stars) 1. Take a Pebble (4 stars) 2. Knife Edge (4 stars) 3. The Three Fates: Clotho/Lachesis/Atropos (4 stars) 4. Lucky Man (4 stars)

The beginning of the end.

ELP recorded double album in a manner of "Ummagumma": each member has his part. Pity, but it didn't work.

First part is dedicated to Emerson, there you have mainly Emerson composed pseudo- classical Concerto without traces of rock. And classical piece is really boring.

Second part ( by Greg Lake) is a bit better. Some more usual short songs, incl. great ballad C'est La Vie. In some songs Lake voice is terrible.

Palmer's part is more drum dedicated, but again very faceless.

At the end they put just few ELP more usual songs. Fanfares for The Common man is great.

All double album is huge and uninteresting. Few attractive moments. I prefer Works Vol.2. But generally starting from that point ELP started their way down.

ELP reworked Mussorgsky. Brave idea, but the result is mixed. To be honest, I liked that album more some time ago. But now it sounds a bit boring.

ELP idea attracts me much, but the realisation isn't what I would like to hear. It is not jazzy improvisation on classic theme. It is just ambitious and bombastic in moments playing of classic thing at unnaturally prog-rock way.

I want to say, that if Palmer still sounds competent, Emerson just plays too far from real music. Yes, he demonstrates unusual keyboard technique ( and technical keyboard possibilities), but it doesn't catch you. In moments it's interesting , often boring, but in both cases has no musical magic at all!

The idea to put lyrics on Mussorgsky classic is attractive again. But result doesn't work.

All in all, very ambitious album with only average realisation. Last song - Tchaikovsky "Nutcrucker" is a fun, but absolutely out of place.

I think it's one of the weakest ELP album from their early "golden age".

I just received the Japanese Super High Material version of this recording and wanted to compare it to the re-release of the Shout version that was re-mastered. I think it is a preference matter than any version being better than the other. Overall the Shout version seems to have more bass response than the SHM version but the SHM version is more true to the original recording. I personally prefer the better articulation of the instruments on the Shout version. But, there is nothing wrong with the other. A matter of choice.

I started this review on this note as a lead-in to why I decided to write this in the first place. I guess I found myself drawn to writing it to express my satisfaction with the performances presented by the band again and that it has some historical significance to me, as it is the case for other reviewers. But, let's make it clear that this is not a "you had to be there" recording to appreciate it. Far from it, this is a recording that is a near perfect example of what rock music was about in the early to mid-1970's, when progressive / symphonic rock ruled the world.

I saw ELP only once in concert and that was in 1974, when the tour came around the second time. Brain Salad Surgery was released in the fall of 1973 with the tour immediately followed it. I caught up with the band during the summer of 1974 at the Philadelphia Spectrum. Seats were general admission of approximately $5.00. It was first come, first seated. In my case it was the floor of the stadium, near one of the quadraphonic corners, where there was a tower of speakers and 10 (I think) Carver amplifiers turned to maximum volume. That was at least 5,000 watts of power in each of four corners. I managed to get to stand on a chair, used by a roadie to turn on the equipment, in front of the speakers.

The band came out .and the opening strains of 'Hoedown' began. Everyone began to cheer and then Carl Palmer (sporting a 'perm' hair style, by the way) and Greg Lake burst out of the speakers and there went my left ear. For the remainder of the concert it felt like someone stuck a cotton ball into it.

During that time, quadraphonic recordings were the rage, touted as being able to surround the listener with sound. ELP used it to also provide some amazing effects ? the most notable being the ending of 'Karn Evil 9' when the synthesizer's sequencer was allowed to run amok, gradually increasing the tempo of the sequence as it went from one corner of the quad system to the next in ever increasing speed.

The concert itself was phenomenal. It was the exact set on this fine recording, plus the encore of 'Pictures at an Exhibition' (with Keith guzzling a bottle of Jack Daniels, I think). It was an abbreviated version, but still a great way to end the concert. It left a lasting impression, in more ways than one, if you know what I mean.

In any case, 'Welcome Back My Friends to the Show that Never Ends' is simply a superb representation of the band at the height of their career. While every song is an excellent version, there are three standout tracks that are far above their studio version counterparts.

First is 'Hoedown'. This is the version that you need to hear and have in your collection. The version on 'Trilogy' is as Greg Lake called the album, an egg. I think he meant that everyone in the band wanted the songs on the album to be perfect and in doing so the final version were a little tame, maybe fragile, like an egg. There are no eggs here. This version (and my left ear will attest to it) had all the power and punch hinted at on Trilogy. It was delivered at an incredible pace. I think I remember Keith Emerson mentioning that the pace was from the energy he and the other band members had at the beginning of every concert. It is certainly the best rendition.

The second, and in my opinion, the best song on the entire recording, is 'Tarkus'. I no longer own a copy of the LP 'Tarku's as I think it is superfluous to have it when this version is in your possession. Hands down, this is the best, comparing to what I thought was a tepid studio version. This kicks butt! Seeing it in concert, you can see and hear what years of performances can do to improve the quality of a composition. The improvised solo of Emerson on a small handheld keyboard (sounds like a heavily processed Farfisa organ, passed through a synthesizer and visually performing some interesting antics with it) was great. Carl Palmer holding the song together during this improvisation is a testament to his power as a performer who could manage to keep the proceedings from falling to pieces. Greg Lake's inclusion of a segment of Epitaph was a stroke of genius, modifying the song to provide a short quiet respite before Keith returns with another longer, more intricate and ultimately more satisfying solo that leads to the end. The whole composition is breathtaking. It is the reason for me to having this CD.

The third is 'Karn Evil 9'. The distinction between this version and the studio version is not as clear as Tarkus. In some respects it is better ? most notably on the second movement with the steel drum section. That is not Carl Palmer. It is Keith Emersion with a Mini-Moog that rested just above the piano keys. Standing up, there was one hand playing the Mini- Moog and one on the piano keys. Truly a brilliant choice of sound (he was entranced with the Caribbean). I know that the key was changed during the beginning of the first movement to accommodate Greg's change in voice, about a half step lower. When the instrumental section of the first section appears about midway of the first movement you can hear the key change back to the original key. Why the whole composition was not changed to a different key I do not know. But this is a minor distraction. In my mind I rate both versions on par with each other and great music, overall.

The rest of the tracks are superb. Incorporating 'Piano Improvisations' into 'Take a Pebble' (along with 'Lucky Man' and 'Still?You Turn Me On') was a great move. 'Take a Pebble' on its own would not have worked with the tempo of the concert. Combining all of it as they did work.

The medley of 'Jeremy Bender' and 'The Sheriff' did provide some lighthearted relief to the proceedings. I would have liked to have heard 'Benny the Bouncer' during the encore. I think that would have been the cherry on top of this magnificent cocktail.

To forget 'Jerusalem' and 'Toccata' would be a sin. The two go hand in hand and the live versions are great. Carl's solo in 'Toccata' was a grand experiment to combine synthesizers and drums together. I only wished that more could have been done throughout the years (and I am not talking about electronic drums that were popular at one point).

Should have there been other songs during the concert? Sure. I think 'The Barbarian' could have been placed just prior to 'Karn Evil 9'. Again a quibble.

Overall, this is a tremendous set and one that I have tried to have younger people listen and also enjoy. It would be a shame if another generation did not feel the same exhilaration as many who lived this era of rock music felt and still feel when they hear this music. Pompous and bombastic are the proper adjectives and this music and band are all the better for it.

As an aside, there was a bit of a competition going on, I think, at the record label between Yes and ELP. Both were on Atlantic in the United States and both were at the top of the progressive rock mountain at the same time. So, if there was a three CD set from ELP, there has to be one for Yes and Yessongs was released around the same time frame. Both also came out with double LP's following their respective live releases, too. Coincidence? I don't think so.

Wow! So many one-star reviews there on PA for that album! And even some wishes for using 'Zero" mark, if it will be possible! Is this album really so bad? No way!

You can hear plenty of jazzy tunes, jazz fusion, some ragtime and big band sounds as well. There are some weak songs, but many of strong songs as well. More or less, as on any average album of great band. So, what is the reason some fans hate it?

I think, the answer is easy. Many fans like overproduced pseudo-orchestrated keyboards based synth scented symphonic rock. And it's always strange for me, how very average bands, playng this kind of music, receive high rates there in some reviews. OK, let say it's a question of taste.

So, I always liked ELP for their kind of symphonic rock - often bombastic, but always acoustic, never overproduced. In other words, played by musicians, not produced in studio by engineers and producers. This album is even bigger example of that kind of music: in fact all record is based in old-fashioned acoustic big band/jazz/ragtime/early r'n'r sound. No Philarmonic Orchestra imitation, no-one pretends he's a Frantz Lizt there. So, I believe, some part of public didn't find there their awaited desert of second-class provincial symphonic orchestra sound. And many hate this music because of that.

I never thought progresive rock should be based on simplified version of classic music. And it's even pity to hear, that sometimes people, who think that classic al music is to serious and complex, think, that one of the prog function is just to adapt ( read -simplify) that music to unprepared listener. I will never agree with that!

So, almost no chance to hear orchestra sound on that album, sorry. But for real fans, who likes acoustic sound of jazzy arrangements, plenty of moody pieces, this album should be really interesting. In total 3,5.

Second ELP album isn't as good as the first was. First album part is all "Tarcus" medley - long 7-pieces composition in ELP classic tradition. It means, based on keyboards sound with some piano and bombastic drumming. Being a best album part, this composition for me isn't all bad, but is too cold and uninspired. And often too long.

Another LP side is filled by six short and more simple and rhythmic compositions. Still nice in some instrumental places, they are all r'n'r, jazz or even rag-time based,sometimes King Crimson alike sounding. Common sound in general and Lake's vocal in particular is more energetic,even aggresive, but it isn't for band's good.

Still strong album, but step back from great debut.

Great debut album from the first prog Supergroup. Playing just in power trio format, they 're maiking impression of full orchestra added, Album songs are very different in melodies,styles and arrangements, so you wouldn't be boring during listening. Main album sound is Emerson keyboards,for sure, but pleasantly total sound is acoustic enough ( I hate all this over- produced sympho-rock bands filling all the space not with music, but with pseudo-classic keyboard's sound).

The Barbarian is a gem, classic ELP song for years. Longest composition " Take The Pebble" contains Greg vocal ( I have nothing against it, but some people don't like his voice). Long construction contains classic piano sound mixed with jazzy drums and bass line, and I like it!

Knife Edge and The Three Fates ... demonstrate nice neo-classic piano technicue both. Again, in combination with jazzy drumming and some synth effects it give really nice result.

Tank is synth-based instrumental with characteristic sound of early seventies and long drums solos.

All album is still not as bombastic as later ELP works ( for good). Palmer's drumming is more jazzy there,and it really gives some air to total sound. "Lucky Man" is traditional ballad ( many critics hate it because of simplicity and lyrics, but I prefer this naive song against complex songs about dragons and elves so popular between pseudo sympho-proggers).

I am sure, that it is very strong debut and one of the best ELP album. Absolutely recommended to everyone interested in sympho-prog roots and one of the best bands for years.

I hadn't listened to this album for years and I was kind of expecting the worst. But see, a pleasant re-discovery it turned out to be.

Aeons ago, I used to be quite fond of this album and it kicked off a year of intensive listening to Mussorgsky operas and other heavy romanticists, which was kind of a geeky thing when you're 15 and all your classmates are raving about U2, the Cure, Sisters of Mercy, Talk Talk and other stuff that I then considered as stupid pop. Still, they thought my Bonnek-goes-classic was quite an improvement over the overdose of Yes and Rush that preceded it :-)

So ELP goes classic. Nothing new, Emerson had been doing that rock take on classic right from the start of his career. Generally their adaptations are gruesome to listen to. They are examples of pure kitsch: bad taste mixed with a fixation on self-indulgent bragging that has no concern at all for delivering something with any sense or substance.

However, on Pictures at an Exhibition most of what they try turns out for the good. The opening Promenade works quite well for organ, and so does the 2nd Promenade with Lake's vocals. In between sits the first gem. On The Gnome Carl Palmer shows what an excellent drummer he is. He boosts the band through this piece and while maintaining some of the basic melodies, they achieve something that is entirely ELP.

The Sage has nothing to do with Mussorgsky but is one of Lake's best ballads. The Old Castle is a nice moog solo propelled by an excellent Palmer again. Blues Variation is a forgettable piece of honky tonk that has been stripped from any kind of emotion and bluesy feel that you would expect from that music. Wears thin after less then 30 seconds.

The Hut of Baba Yaga is more to my liking. Mussorgsky's melodies lend themselves quite well to rock as it turns out. Unfortunately, that can not be said from the Great Gates of Kiev which is a dreadful experience. The music is powerless and Lake is downright annoying. So fares the next piece Nutrocker. Horror.

A little math proves that this leaves me with hardly 20 minutes of enjoyable music. That is a bit poor for 4 stars but since this album introduced me to the wonderful world of Mussorgsky it has been absolutely essential for me and so I will be generous in return.

Here we find the step between Love Beach and Black Moon. If you hadn't heard the origimal ELP albums, you might think this album had more merit than it actually does. The songs are so-so. The Score is over nine minutes long, and although it has some passable, but not fantastic keyboard work by Emerson, it's pretty much a forgettable song. Touch And Go, the single from the album, has a listenable hook, but I wouldn't call it prog. It sounds more like arena rock to me.

Really, the only song I like a lot on this album is their version of Mars, The Bringer Of War from Gustav Holst's The Planets. It's not bad, but it seems an obvious choice for Emerson to want to cover. Nowhere near as obscure as Janacek or Ginastera.

2.5 stars.