EMERSON LAKE & PALMER

Review Nº 903

"Emerson Lake & Palmer In Concert" is the third live album of Emerson, Lake & Palmer and was recorded at the 26 August 1977 at the Olympic Stadium, Montreal, Canada, which is featured on the front cover of the album. However, "Emerson Lake & Palmer In Concert" was released in November 1979, following Emerson, Lake & Palmer's break up.

"Emerson Lake & Palmer In Concert" is an album taken from their "Works Vol. 2" live tour, the last live tour released by Emerson Lake & Palmer before the breakup of the band. So, this is a live album that, consequently, features essentially tracks that were released on their two last studio albums, at the time, "Works Vol. 1" and "Works Vol. 2", both of 1977.

Emerson, Lake & Palmer hired a 70 piece orchestra for some concerts of this tour, but eventually they had to dismiss the orchestra due to budget constraints that almost bankrupted the band. On this live release, the orchestra performs on tracks "C'Est La Vie", "Knife Edge", Keith Emerson's "Piano Concerto No. 1" and on "Pictures At An Exhibition".

"Emerson Lake & Palmer In Concert" has eight tracks. The first track "Introductory Fanfare" is a very short track composed by Keith Emerson and Carl Palmer and represents the theme to open the concert and is pleasant enough to introduce the live show to the audience. The second track "Peter Gun (Henry Mancini)" is a version of a classic TV theme song of an American private eye television series which aired from 1958 to 1961. It was never released on any of their studio albums and frequently the band opened with this song on the "Works Vol. 2" live tour. A slightly edited version of this live recording was included on the 1980 "Best Of" compilation and released as a single in some countries. The third track "Tiger In A Spotlight" was originally released on their sixth studio album "Works Vol. 2". The fourth track "C'Est La Vie" was originally released on their fifth studio album "Works Vol. 1". The fifth track "The Enemy God Dances With The Black Spirits (Excerpt From "The Scythian Suite" 2nd Movement - Prokofiev)" was originally released on "Works Vol. 1". The sixth track "Knife Edge (Adapted From Janacek's "Sinfonietta" was originally released on their eponymous debut studio album. The seventh track "Piano Concerto No. 1 (Third Movement: Toccata Con Fuoco)" was originally released on "Works Vol. 1". The eighth track "Pictures At An Exhibition" was originally released on their debut live album with the same name "Pictures At An Exhibition".

We can analyse "Emerson Lake & Palmer In Concert" by two different and distinct perspectives, the choice of the tracks that were taken from their musical repertoire, and the live performance itself. So, in relation to "Introductory Fanfare" I don't have anything special to say about it except that it represents a very nice introduction to the show. About "Peter Gun" I really like it. This is a piece very interesting and pleasant to hear and represents a new and fresh way to represent a song so famous at the time that it was made. "Tiger In A Spotlight", is a live version leftover from the "Brain Salad Surgery" sessions and despite being taken from "Works Vol. 2" is a fun Rock'n'Roll and blues tune, interesting and pleasant to hear. Still, it doesn't bring anything new and exciting to this live show. "C'Est La Vie" is a great track, a very well known track, one of the most known of the band. As we know, this is a Lake's song, one of his best contributions to the band. It represents probably the highest point on the album and this live version is also, in my humble opinion, slightly better than the original studio version. "The Enemy God Dances With The Black Spirits" is, as I mentioned above the band's treatment of a Prokofiev's suite, is also a very nice track. This is a very storming and dramatic interpretation by the band. Although this isn't properly a brilliant piece, we can say that it brought, somehow, a breath of fresh air to the show. "Knife Edge" represents another great choice because finally we have a live version of a song chosen from one of their greatest masterpieces, his debut eponymous studio album. This always was a very exciting track to hear. "Piano Concerto No. 1 (Third Movement: Toccata Con Fuoco)" was also a great choice because it represents, for me, one of the few highest points on "Works Vol. 1". Sincerely, I always loved this piece. "Pictures At An Exhibition" undoubtedly represents another great moment on this live show. "Pictures At An Exhibition" represents one of their finest moments. This is a very interesting version because it's performed with the addition of the orchestra.

Conclusion: "Emerson Lake & Palmer In Concert" isn't really a bad album as some say. But, it has mainly three problems. First, it was released before the breakup of the band. Second, it was an obligated release by their record label. Third, it was taken from a "Works" live tour. And as we know, the "Works" albums aren't properly the best and most representative of their career. Still and despite all this, I really think that we are in the presence of a good live album. The choice of the songs is very good and balanced, since we are in the presence of a live album that represents a "Works" live tour. However, in my humble opinion, the live performance, despite being good and very professional, isn't as brilliant as it should be, lacking some energy and some ability to improvise. Still, I think it deserves 3 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

In the gates of Kiev

When an artist appropriates another's work with such mastery and respect that you end up believing it's their original creation, well, that's what happens to me with Emerson, Lake & Palmer's live version of Pictures at an Exhibition.

The piece was originally composed by Russian composer Modest Mussorgsky in 1874 as a piano suite in ten movements, plus a recurring and varied theme from Promenade. Inspired by the work of his friend Viktor Hartmann, Mussorgsky created one of his most enduring works.

Emerson, Lake & Palmer began performing their rock version of the suite live in 1970 after Keith Emerson, inspired by an orchestral version, proposed the idea to Greg Lake and Carl Palmer. Both agreed and added their own interpretations to the piece. Although the band first filmed the suite in December 1970 at London's Lyceum Theatre, they were dissatisfied with the result. They opted to re-record the performance at Newcastle Town Hall on March 26, 1971, a venue known for its excellent acoustics and the presence of a pipe organ. The band funded the recording, determined to produce a version that lived up to their vision.

The band's version uses only four of Mussorgsky's original ten movements, along with variations on the Promenade theme. To connect them, the trio composed new sections, fusing classical motifs with blues, hard rock, and synthesizer-driven soundscapes. The result feels like a single, cohesive suite, performed without interruptions. Highlights include Lake's medieval-style acoustic piece "The Sage," Emerson's wild Moog solos and pipe organ interludes, and the powerful finale, "The Great Gates of Kyiv," transformed into an emotional rock anthem with added vocals and stagecraft.

Initially, Greg Lake was hesitant about releasing the album, fearing comparisons to Emerson's previous band, The Nice, and concerned about the commercialization of such a classically inclined work. Atlantic Records struggled to categorize the album (rock or classical) and even considered releasing it on its classical sub-label, Nonesuch. Plans for a budget release were blocked by the label, and the album was shelved. However, following full airplay on New York's WNEW-FM and an avalanche of fan requests, Atlantic finally agreed to release it at full price. The UK price was higher than the band had intended, but demand was strong enough to justify it. They had originally considered a double LP, combining Pictures with the early Trilogy sessions, but decided the suite deserved a space of its own.

Pictures at an Exhibition was originally intended to be the band's debut album, but Greg Lake wanted to shelve it in order to release original material first. Still, this album stands as another great release during ELP's most creative years, between 1970 and 1973, a period in which they released their most iconic works. And with all due respect to the Russian composer, this cover is a knockout: it's bold, explosive, and far better than the original. In my opinion, it's one of the best covers ever made.

That's it. No other band could have pulled it off like ELP.

In 1969, King Crimson, The Nice, and Jimi Hendrix shared the stage at the Fillmore West. During the soundcheck for that concert, Greg Lake and Keith Emerson met for the first time and jammed together. That night, the two began talking seriously about forming a new band. After witnessing the power of the Jimi Hendrix Experience, they agreed that their group should follow a similar trio format. At one point, they even considered Mitch Mitchell for drums?it would have been incredible.

Back in England, both Emerson and Lake left their respective bands to pursue this bold idea of a supergroup. When Mitch Mitchell didn't work out, a friend suggested Carl Palmer, the drummer from Atomic Rooster, whose style shared much of Mitchell's energy and flair. And with that, Emerson, Lake & Palmer was born.

Once in the studio, ELP began working on their self-titled debut album?a mix of unfinished Greg Lake songs and Keith Emerson compositions that fit together perfectly. An energetic Carl Palmer brought everything to life, making the band sound like a tight and powerful unit. The album was recorded in a short time, and the result was impressive: an album that was both easy to enjoy and deeply complex?avant- garde yet accessible. And it featured a hit that would follow them throughout their career: "Lucky Man."

Musically, Emerson, Lake & Palmer is an eclectic and ambitious debut. "The Barbarian" reworks Béla Bartók's Allegro Barbaro, delivering a heavy and aggressive opener. "Take a Pebble" blends Lake's folk sensibility with Emerson's jazz-inflected piano and Palmer's subtle percussion. "Knife-Edge" draws on Janáček and Bach, merging classical themes with rock dynamics. Side two opens with "The Three Fates," a keyboard-driven suite inspired by Greek mythology, showcasing Emerson's virtuosity. "Tank" offers Palmer a moment to shine with a fiery drum solo and experimental synthesizer work. The album closes with the haunting and melodic "Lucky Man," written by Lake at age 12, featuring one of the first iconic Moog solos in rock.

The album was produced by Greg Lake and recorded by Eddie Offord. Nic Dartnell painted the cover. It was a chart and sales success, reaching gold status in several countries, including the United States.

What was once seen by some as a one-hit album revealed itself over time as ELP's most enduring work? the one that aged the best and launched one of the greatest progressive rock bands in history.

In 1970, Emerson, Lake & Palmer helped spark a progressive rock movement in countries like Italy and Scandinavia. Perhaps thanks to the massive success of "Lucky Man," they managed to draw in a wider audience and open minds to more ambitious music. For me, it's the beginning of one of my favorite bands. And they only needed a couple of years?Tarkus, Pictures at an Exhibition, and Trilogy?to cement a success that would be eternal.

The War Of Tarkus

Emerson, Lake & Palmer had all the media attention after their bombastic self-titled debut. The band found themselves with everything in their favor: the hit Lucky Man was one of the most listened-to songs in the U.S. and much of the world, and the album was a surprising commercial success for such non-mainstream music. With momentum on their side, the band seized the opportunity to do something more ambitious. With carte blanche from the label, they began working on something bigger, something conceptual: an idea by Greg Lake and Keith Emerson the story of the iconoclast Tarkus, an armadillo-tank hybrid who battles his nemesis, the Manticore. Defeated, Tarkus evolves into his aquatic form, Aquatarkus, and returns to conquer. The concept explores the futility of conflict, all expressed through a 20-minute piece that became the centerpiece of the album.

The title track was built around a 10/8 rhythm Palmer improvised backstage. Emerson composed the suite in less than a week at his London flat. After another six days of rehearsal, the band recorded it. The piece includes a brief motif from Prokofiev's Piano Concerto No. 3 and features a Moog "snorkel" effect in "Aquatarkus," inspired by Emerson's passion for scuba diving.

Side two features six unrelated songs. Jeremy Bender channels honky-tonk and Stephen Foster, while "Bitches Crystal" blends 6/8 boogie-woogie with Brubeck-style jazz. The Only Way (Hymn) includes themes by Bach and controversial lyrics recorded on a pipe organ at St. Mark's Church in London using a mobile studio. It's followed by the contemplative "Infinite Space (Conclusion)," a piano-driven piece meant to contrast the intensity of its predecessor.

Led Zeppelin loosely inspired A Time and a Place, which was recorded in just a few takes and has a heavier, more direct feel. Are You Ready, Eddy? was an impromptu jam recorded in one take to celebrate completing Tarkus, drawing inspiration from Bobby Troup's "The Girl Can't Help It." The title refers to engineer Eddy Offord, and the track includes playful spoken lines like Palmer mimicking a sandwich shop worker with a Greek-Cockney accent which baffled many American fans.

Two outtakes were left off the original album. Oh My Father, an emotional acoustic ballad by Lake about the loss of his father, was withheld for being too personal, though it appeared on the 2012 reissue. Another track, Just a Dream, was recorded during a session without Emerson and Palmer. It featured Lake on piano alongside Gary and Tris Margetts of Spontaneous Combustion, and offered a more introspective tone that could have balanced the album's dense, keyboard-driven style.

The album was well received?though not as widely as their debut?but it reached number one in both Italy and the UK. Many bands across Europe found inspiration in ELP's bold fusion of classical music and hard rock, drawn to the sheer virtuosity of its members. The striking cover art was created by Scottish illustrator William Neal, who also designed a comic-style gatefold that visually narrates the Tarkus story. The eleven-panel sequence begins with a volcanic eruption, from which Tarkus hatches, and follows his battles against cybernetic foes, culminating in a dramatic fight with the Manticore, who wounds him and sends him bleeding into a river. Eddie Offord's production is impeccable, and the mix remains one of the technical highlights of ELP's career.

1971 was undoubtedly the year of Emerson, Lake & Palmer. Not only did they release Tarkus, but also the ambitious live album Pictures at an Exhibition. While Tarkus was a triumph, it left the label uneasy?there was no new Lucky Man. That pressure strained the band's relationship with the label and pushed them to seek greater independence. Still, with Tarkus, they delivered another masterpiece, solidifying their place as the most important progressive rock band of that moment.

Emerson, Lake & Palmer's Finest Hour

The magic worked once again. After two powerful albums, Emerson, Lake & Palmer released Trilogy for me, their most complete and refined work. It followed the successful formula of their earlier records but pushed the band's musical ambitions even further. It was also the last album released under Atlantic and distributed through Cotillion.

In 1972, ELP were among the biggest names in rock. They topped charts, dominated the scene, and had no real competition by that time ELP was over Yes and Genesis in terms of popularity. More than just successful, they were admired and imitated across the globe.

Keith Emerson may not have been the most beloved figure in progressive rock, but he was arguably its most important an architect of the genre's ambition and scale. After the Tarkus tour and their daring rendition of Pictures at an Exhibition, the trio was riding high on acclaim and momentum. But tensions were building behind the scenes. Carl Palmer sought more influence in arrangements, and Emerson, weary of internal disputes, considered leaving. He even planned a solo jazz album that never materialized. Around the same time, the band declined a lucrative offer to score a racing film titled Fangio.

Ultimately, friendship and creative chemistry prevailed. The name Trilogy symbolized more than the album's structure it captured the unity of three musicians bound by loyalty and shared vision.

Recording Trilogy was no easy task. Greg Lake found it particularly demanding, calling it a precise and detail-heavy effort. It featured more overdubs than any other ELP album, resulting in lush, layered arrangements that proved difficult to replicate live?especially tracks like "The Endless Enigma," "Trilogy," and "Abaddon's Bolero." Emerson praised the album's variety and contrast to Tarkus, and Lake would later call it his personal favorite. Frustrated by the challenges of bringing it to the stage, the band agreed their next record would be fully performable live.

The original Trilogy album showcases the band's remarkable range. It opens with "The Endless Enigma," a three-part suite fusing eerie sound design, classical fugue, and bold synth fanfares. "From the Beginning" is a gentle acoustic ballad that became a U.S. hit and one of Lake's defining songs. "The Sheriff" embraces a Western theme with honky-tonk piano and quirky percussion, leading into "Hoedown"?a thrilling adaptation of Aaron Copland's ballet piece and a live staple. The title track, "Trilogy," moves from introspective piano to a furious 5/8 synth workout, ending in grand theatrical flair. "Living Sin" delivers a darker, hard rock edge, while "Abaddon's Bolero" builds like a military march into a layered orchestral climax.

Trilogy elevates everything that made ELP special: the emotional depth of Lake's lyrics, the complexity of Palmer's percussion, and the inspired virtuosity of Emerson's keyboards. The album's striking cover was designed by Hipgnosis, and production was handled with precision by Eddie Offord.

Commercially, Trilogy matched the success of its predecessors. ELP stood among Atlantic Records' top acts just behind Led Zeppelin, but ahead of Yes in terms of impact and visibility. Their influence rippled across Europe, inspiring a new wave of progressive bands like PFM, Le Orme, and Banco del Mutuo Soccorso in Italy, Triumvirat in Germany, Refugee and Greenslade in the UK, and many others. Their daring blend of classical ambition and rock spectacle became a blueprint for the progressive scene to follow.

What set ELP apart was their fearless fusion of styles: classical, rock, jazz, and pop?blended into something uniquely their own. At the heart of it all was Emerson: the eternal showman, the boundary- pushing composer, and perhaps the most imitated keyboardist in rock history.

For me, Trilogy isn't just the high point of ELP's career it's one of progressive rock's purest triumphs. A bold, inventive, and beautifully executed album that remains remarkably fresh. The record has aged incredibly well listening to it today feels like discovering a new release. In a genre defined by excess and ambition, Trilogy stands as a perfect storm of precision, passion, and imagination.

That Old Brian Surgery

Is this ELP's best album? No, it isn't. But it remains one of the most important records in progressive rock, both in its time (1973) and even today. It's a cornerstone of classic prog, an inspiration for hundreds of bands. That said, it hasn't aged well in some respects. The production is flawed?often sharp, overly saturated, and at times downright abrasive. Still, it features one of the most iconic album covers in rock history.

Brain Salad Surgery was created at the peak of the band's fame. I first knew ELP through their hits, and you can tell the success had given them a sense of overconfidence. The album leans heavily into experimentation, blending free jazz, prog, and extended improvisation. It has a raw, almost garage-like aggression to it.

Especially when I listen to "Toccata" today, it feels heavy and boring?very experimental and out of place. I admire the work of Ginastera, but this adaptation was too much. That was the overconfidence of Keith Emerson in full display. The album is a monument to the ambition and excesses of a band flying high at the time. Then again, Emerson, Lake & Palmer were always a supergroup?and with each album, they pushed their sound and compositional style further. That boldness surrounded the band from the beginning. It couldn't be any other way. That much was already clear with their 1971 interpretation of Pictures at an Exhibition.

During the writing sessions for Brain Salad Surgery, Greg Lake invited Pete Sinfield, his former collaborator in King Crimson, to join the project as a lyricist. Sinfield co-wrote the lyrics for "Karn Evil 9" and "Benny the Bouncer," helping shape the sci-fi concept of the suite and giving it the name "Karn Evil 9." At the time, Sinfield was working on a solo album, and Lake offered to release it through their new label, Manticore, in exchange for Sinfield's contribution to the lyrics. The famous line "Welcome back, my friends, to the show that never ends?" came from these sessions and became one of the band's most enduring phrases. Sinfield's presence added depth to the album's themes and helped balance the complexity of Emerson's music with a strong conceptual thread.

Although the band was dissatisfied with the demands of the Atlantic label, that frustration led them to form their own label, Manticore. But once independent, the pressure shifted inward. They now had to deliver something truly worthwhile in a limited time, since a gigantic tour was already planned to promote the album?along with a setlist that included all their past hits. At that moment, many of their peers were releasing hugely successful live albums, and ELP was falling behind. The band felt the urgency to catch up and outdo everyone, and Brain Salad Surgery was the product of that ambition.

Brain Salad Surgery was released in the UK on 7 December 1973 through Manticore Records, The band released "Jerusalem" as a single, backed with the outtake "When the Apple Blossoms Bloom?", but it was banned by the BBC and failed to chart. Despite its ballad potential, "Still?You Turn Me On" was not chosen as a single because Carl Palmer didn't appear on it.

The structure follows a familiar ELP formula: long epics, a softer pop ballad, a country-style piece, and a single aimed at being a hit. But unlike earlier works, this one feels strangely rushed?as if it was put together quickly despite its complexity. That tension between polish and chaos is part of what makes it unique, but also why it divides listeners.

I'm not going to tell the story of the H.R. Giger cover?everyone already knows it. And I'm not going to do a song-by-song breakdown for obvious reasons. I just want to say that this is the last great studio record from Emerson, Lake & Palmer. The album has a lot of great moments and a few letdowns. It may be the weakest of their first cycle, but it remains a strong, essential record. It hasn't aged very well, yet it's still a masterpiece and one of my all-time favorite listens.

What became the final studio album by this '70s prog trio was an album more shamelessly commercial than 'Love Beach' but better than that album by a whisker due to 'Hand Of Truth', 'One By One', 'Street War' and the studio re- recording of 'Pictures At An Exhibition' (which itself was a bonus track recorded in 1993 for a box set).

All of the aforementioned tracks are ELP songs in spirit and performance. The rest of the album however, is sketchier. Greg Lake's heartbreaking ballad about a lost- presumably murdered little girl- called 'Daddy' feels too heavy to be on an ELP album and as effective as it is, seriously disrupts the momentum. 'Heart On Ice' is syrupy, lame AOR which also feels like fodder for a Greg Lake solo project while 'Give Me A Reason To Stay', 'Change', and 'Gone Too Soon' don't fare much better- the latter being particularly devoid of character. ' 'Thin Line' does offer Palmer a chance to show some chops but as a song, is more reminiscent of 'The Gambler' from 'Love Beach' in its use of female backing vocalists. 'The Man with the long black coat' is a cinematic take on a Bob Dylan song and if nothing else, it does suit Lake's darkly nicotine affected voice. A very sad ending whimper for a once restlessly energetic supergroup.

Black Moon is by no means 'classic ELP' but it does contain elements of the trio's classic sound in the cinematic title track, funky Hammond workout 'Paper Blood', the Prokofiev appropriation 'Romeo And Juliet' and some pleasant, acoustic numbers from Greg Lake- 'Affairs Of The Heart' being the most memorable. The instrumental 'Changing States' has its moments too but is diminished somewhat by Palmer's over-reliance on electronic drumming while 'Better Days' feels like an attempt to modernise the band-with mixed results. The album is slickly produced and the material is largely streamlined AOR infused with liberal dollops of Hammond and String synth pad but Palmer's watered-down percussion and Lake's darkly broken voice may spoil enjoyment for some of the older fans.

Review Nº 883

Emerson, Lake & Palmer was the progressive rock first super group. Greeted by the rock press and the public as something akin to conquering heroes, they succeeded in broadening the audience for progressive rock from hundreds of thousands into tens of millions of listeners, creating a major radio phenomenon as well. Their flamboyance on record and in the studio echoed the best works of the heavy metal bands of that era, proving that the classical rockers could compete for that arena scale audience. They were also responsible for bringing classical music to the public in general, making them a great ambassador of classical music. Over and above their own commercial success, the trio also paved the way for the success of such prog bands as Yes, who would become their chief rivals for much of the 70's.

"Live At The Royal Albert Hall" (DVD) has twelve tracks. So, we have, "Karn Evil 9 (1st Impression ? Part 2)" from "Brain Salad Surgery", a medley taken from the title track suite "Tarkus" from "Tarkus" with "Eruption", "Stones Of Years" and "Iconoclast", "Knife Edge" is from their eponymous debut studio album, "Paper Blood" is from "Black Moon", "Creole Dance" is based on the Alberto Ginastera's "Suite De Danzes Cirallas", "From The Beginning" is from "Trilogy", "Lucky Man" is also from their eponymous debut studio album, "Honky Tonk Train Blues" is from "Works Vol. 2", "Romeo And Juliet" is also from "Black Moon", "Pirates" is from "Works Vol. 1", "Pictures At An Exhibition" is from "Pictures At An Exhibition" and the final medley with parts of "Fanfare For The Common Man" is also from "Works Vol. 1", and "America" is an extract of a piece by Leonard Bernstein and "Rondo" is an extract t of a piece by Brubeck.

About the pieces, "Knife Edge" is a great piece with emphasis to the bass lines. "Lucky Man" is a great acoustic ballad, beautifully sung. "Pictures At An Exhibition" is an re-arranged piece that stays true to the original, but played with the rock energy. The medley of "Tarkus" is a short part of a complex piece with great creativity. "From The Beginning" is a very beautiful acoustic song with a very simple musical structure. "Karn Evil 9 (1st Impression ? Part 2)" is one the four parts of the piece. It's from one of their best pieces and can only be compared with the suite "Tarkus". "Fanfare For The Common Man" is a great re-arranged piece, one of the best on "Works Vol. 1". "Pirates" is another great composition on "Works Vol. 1" too. "Honky Tonk Train Blues" is a re-arranged nice and funny song played in a boogie-woogie and jazz style. "Paper Blood" is a simple commercial rocker but damn good for what it is. "Romeo And Juliet" is a superb re-arrangement of "Dance Of The Knights" from Prokofiev's ballet "Romeo And Juliet". This is an amazing version of an amazing piece. "Creole Dance", "America" and "Rondo" are all great, especially the last two that were played together.

With this show, Emerson, Lake & Palmer showed that they had not lost anything in the 14 years of absence and performed as a group, and their new material kept up with their tradition of blending the lines of classical music and rock. This DVD showcases the power and majesty that made this band such a force in the 70's. It has the power and majesty of the symphonic and the energy of rock. It's hard to imagine this power coming from only three people. But, when one sees the vast array of keyboards that Emerson plays, mostly analog but with some concessions to digital modernity, it's perfectly understandable. Emerson with his freewheeling and his devil may care style of playing, is magnificent on the keys, whether prodding them to full power or showing off the subtle nuances that demonstrates his prowess to coax the most subtle sounds from them. Palmer, whose work on the drums is equally amazing and subtle, but with grace at the same time, showed why he is a power in the rock circles. Lake was captured in finer voice and his nuanced playing bass and occasionally guitar stands out and the force of the other two never overshadows his playing.

Conclusion: This DVD shows, to me, a great live gig. Emerson is, as always, the master showman. For the encore, Emerson pulls a few The Nice era numbers out, and, as expected, he brings out the knives. The stage spins to reveal a poor hapless Hammond spinet organ. Emerson proceeds to abuse the instrument within inches of destruction. When he pins himself under the organ and plays it, this after spray painting an ELP's logo graffiti style on a faux brick wall. He can't help thinking of the originality and grandiosity of this amazing super group. This 70's odd minute DVD is a wonderful addition to the musical library for a far ranging variety of reasons, not the least of which is for historical purposes. Here, you can see where the prog rock music you are listening today had some of its roots. There is the power and the majesty of the music that these three great musicians generated, and for what was, and still is, some of the finest blending of classical music with rock. Don't be fooled and check, soon as possible, this amazing live concert.

Prog is my Ferrari. Jem Godfrey (Frost*)

Tarkus is a good album because of one thing: the title track. This sprawling composition with an avant-garde sound overshadows all the other tracks of the album, and they simply feel optional to listen to after this. In short, I haven't listened to the album completely more than once. I listen to the title track and that's it. Compared to this masterpiece of a composition, the other songs simply feel like filler tracks, as no doubt others have said before. It isn't to say that these other tracks are bad, they're not. However, they feel like simple, mainstream classic rock songs for the most part. In this way, they feel almost out of place when included in an album with a track like Tarkus, which is really its most important part; the album is named after it. Because this album only has one truly impressive, masterful track, and because the other might as well not have been included here, this album cannot be called a masterpiece.

The song Tarkus is arguably one of the greatest pieces of progressive rock ever composed. At first, it feels more complicated and leaning into the avant-garde genre than other long, sprawling progressive rock ballads. For this reason, it may not be as accessible as some other progressive rock songs are, especially to people who are new to the genre. ELP always did make music that was edgy and even a bit pretentious. While some may say that it's a bad thing, I feel like that "pretentiousness" only serves this record, not hinder it. With Tarkus, they composed something truly amazing and that's - at least partly - thanks to their will to go beyond what's accepted, even in progressive rock. An amazing showcase of first-rate synthesizer-playing and outstanding lyrics, Tarkus will probably remain in my top 5 progressive rock songs list for a long time to come.

Therefore, Tarkus still remains an essential record in progressive rock because of the title track alone, but that's about the end of the album's magnificence.