Emerson and Wakeman

 

One thing to keep in mind is how much Emerson adapted (whether you want to say "plagiarized" is up to you) to a rock context for ELP. Some of this material was credited to the original composer, some it was solely credited to ELP, like Janacek's "Sinfonietta" for "Knife Edge." Other composers Emerson adapted or "borrowed" from are Ginastera, Bartok, Copland, Bach, and so on. Apart from Mussorgsky, I was unaware of this when I first started listening to ELP. After I learned of it, I was still alright with it, it didn't intervene in my enjoyment of the music to any degree.

 

I do have to admit being slightly disappointed when I learned Emerson didn't write the keyboard melody that anchors "Touch and Go," though.

 

Wakeman had to share the spotlight with three other writers in Yes. ELP is by and large the "Keith Emerson Show," except where they made room for Greg's ballads.

 

IMO, Emerson never recorded anything under his own name that can match Wakeman's Six Wives of Henry VIII or Criminal Record (which I think is even better).

 

 

Comparing the two keyboardists is really a case of apples and oranges - they are both top-flight virtuosos, but each has a completely different style. Wakeman was amazing to see solo during the mid '70s - his playing was so fluid and effortless, and the jokes and stories he told between pieces were a blast. Emerson was something completely different - controlled chaos, a Moog modular wired to blow, and that poor abused organ that got tossed all over the stage. 

Those were fun days, indeed, and each left me with vivid memories of their performances that I expect will stick with me for the rest of my life.

 

That organ 'popping' was one of the things that excited me about ELP at first. SO original and only a very gifted organist could pull that off imo

 

However that section was smoothed out somewhat on the live version from the triple album and in fact just about all the live versions I've heard. I guess Emerson may have come to the same conclusion.

 

Back on the general subject ELP was Emersons band while Yes clearly wasn't Wakemans. I think this made a massive difference to the creative output where Emerson was able to express himself fully in ELP while Wakeman did it as a solo artist. I must admit Six Wives shocked me when I first heard it (because it was so good) and I've always wondered what Emerson thought of that album. Wakeman did steel Emerson's thunder but then future solo album never quite hit that level again (again imo). I would however favourably compare Judas Iscariot to Piano Concerto No 1 , both being highly accomplished classical works by super talented rock musicians. I wonder where can you go from there?