LIVE AT MONTREUX 1997 (DVD)

Of all the prog super groups and major title holders, ELP has always seemed to espouse a certain illness in me, never really knew why, having never seen them in concert. Until this DVD showed up in my collection. Yes, their first 5 albums are meritorious classics and have undoubtedly shaped the things to come but I always had the impression, perhaps erroneously, that the trio were surfing after BSS (as the Love Beach album would highlight) and living handsomely off their glorified reputations. Of course, Genesis, Yes and Tull were all guilty of the same lackadaisical affront to their fans and their second wave recordings are marginally interesting at best. So with almost 40 years of at times grudging respect, I have finally seen the light and can now properly vent my long dormant feelings. Emerson is a fantastic player that somehow eschews any kind of elegance and grace, a superb yet some how soulless technician. His "antic-waited" buffoonery is legendary and yet comes across as cold and humorless (he should have taken lessons from Ian Anderson, Fish or Peter Gabriel). These comments also revive my thoughts about Palmer, a fascinating drummer technically but missing a certain humanity, always having the impression that a drum clinic is taking place. As for Greg Lake, the man with the once gifted voice has constantly disappointed me in terms of his drafty solo work and his job-like lack of performance on this DVD is rather proof positive. Going through the motions with little regard for the audience or his band mates, nary a smile or warmth, rather surprising for such a powerhouse musician, he seems only to shine on tracks that are purely his ("From the Beginning" and "Take a Pebble" are very successful only because they are classic tracks). The opening track is a clear example of their duplicity (Welcome Back my Friends is a crass dynamo at best), a stiff entrance from the wooden Lake and Emerson noodling to no effect, Palmer at least keeps things vibrant. The dull and tired "Tiger in the Spotlight" is laughably lousy, while the pedant "Hoedown" was never more than slightly clever. Prog by numbers, exercise 14, with some lewd pyrotechnics to boot. Visually totally silly! Oddly, the Emerson, Lake and Powell track "Touch & Go" is where the situation improves, as if some hidden spark had emerged from the ether to warm the Swiss audience. The grandiose 'running with devil' theme is energetic (hmmmm!) and convincing, a true fanfare to the glories of synthesized orchestral rock music. While Lake looks unconvincing in his retirement Caribbean resort shirt , "From the Beginning" comes across live with the same genial magic that made it such a monument back in 1972 and hence a DVD highlight , the whistling synth solo still magnificent after all these years. "Knife's Edge" retains its original debut album eloquence, symphonically gloomy and lyrically austere as Emerson's hairy arms rummage through the black and white jungle as Palmer hacks away machete- like. "Bitches Crystal" is just so-so while "Dance Creole" and "Honky Tonk Train Blues" are more Professor Emerson solo spots , where he shows off (exact term, BTW) his considerable piano chops, leaving this uncanny impression of "Korn Evil" egotism. Ballroom to Saloon in a turn. Darn, are you ever fast, the Alvin Lee of Ivory. Wow! Really not my cup of tea and remindful of those clinics we talked about earlier. Allelujah! From now up to the end, we finally return to real music with the majestic "Take a Pebble", a classic prog epic which in many ways was closer to early King Crimson than anything remotely trio- esque. Moody piece with more evidence that Lake's voice has lost a lot of its knife edge, missing quite a few high notes throughout. Emerson's piano work is scintillating though, because he instills some heady jazzy fantasy that suits the arrangement perfectly, a definite voyage into the Pleasuredome! "Lucky Man" remains the Big Hit and a smirking Lake does not do it fully justice, too close to the studio version but I guess that's precisely what the people want. Could have used some more inspired Palmer work here IMHO. "Tarkus/Pictures At An Exhibition "reverts to what they do best, just pure no holds barred Hammond rampages, driving bass and pounding drums, ruined by a few more very wonky vocals to fret about . The final medley is the hallmark bright spot and redeeming finale to this uneven performance and hence somewhat unhinged review. In parts, this show is utterly brilliant, in others mundane and drab, musical masturbation at its finest. I am reminded of Robert Fripp's comment when asked what was the hardest note he ever played? He replied "silence" as an answer and admonition. Cheeky bastard! Three solo egos doing their solitary thing in 1997 Montreux , in a country renowned for its cheese and clockwork, how befitting! As our kenethlevine so correctly stated today, with his "too much cheese" volley, no one really wants to disparage such a stalwart icon but the dispassionate proof is visually apparent here, for all to see. Too many holes in this Gruyère for this fan! 3 Smokes on the Water