TARKUS

Fortunately, the studio where Emerson, Lake & Palmer (ELP) would record their second album was already booked; otherwise, the band might have become a one-hit wonder in 1971. Everything seemed fine, but still, something was amiss. Keyboardist Keith Emerson had invited his bandmates to listen to the Tarkus suite he had composed for their new album. Right after the 5/4 time signature opening part, Eruption, things went awry with conflicting visions. 'If this is what you want to play, find someone else,' Greg Lake remarked irritably about the inaccessible complexity of the section. The band's survival hung by a thread for a moment. Eventually, it all ended with a whimper, and the world of progressive rock has been under the spell of the iconic album for over half a century.

Sometimes I struggle with the immense bombast the trio typically produces, but on "Tarkus," everything fits perfectly. The section that troubled Lake might have been shocking at the time, but nowadays, it's commonplace. Who loses sleep over a bouncing rhythm these days? It certainly launches the 20-minute suite on the A-side in a formidable way. This 7-part tour de force is the cornerstone of the album, as its concept, the senselessness of war, permeates everything, including the artwork by William Neal. The unmissable creature on the front cover, a combination of an armadillo and the chassis of a tank, goes into battle.

The opening part smoothly transitions into the mostly calm Stones Of Years. This excellent composition features Lake's vocals in a somewhat sultry setting with a sixties feel. Emerson's brilliant organ playing is never far away, and his star shines brightest during the solo spot in this section. He is also exceptionally inspired in the short Iconoclast and the flashy Manticore, basically everywhere. However, I want to tap the brakes on myself; ELP deserves praise primarily as a trio. Mass features delightful guitar and bass playing, excellent vocals, and next-level drumming. The highlight of the suite must be Battlefield. Lake's guitar playing is once again beautiful, and the numerous rolls set the perfect mood. The final part of this epic, Aquatarkus, brings as much tumult as in the beginning. I love this approach tremendously. The strength of the A-side is that you feel like you're listening to a group of pioneers who helped build the genre.

The B-side is a different story. ELP presents six songs where the intensity of the suite is traded for a certain lightness. On the positive side is The Only Way, played first on the church organ and later on the piano. Another interesting track is A Time And A Place, where lightness is absent, and the bombast is significant. What I don't connect with is the merriment in the closing track, Are You Ready Eddy? However, in this rock & roll track, it's evident that we're dealing with extremely talented musicians.

It's, of course, a question why this senior prog rocker felt the need to pull out this album for writing a review. Well, you don't often hear musicians who demand so much of themselves. That must be acknowledged.

Originally posted on www.progenrock.com

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