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EMERSON LAKE & PALMER

Symphonic Prog • United Kingdom


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Emerson Lake & Palmer picture
Emerson Lake & Palmer biography
Formed in London, UK in 1970 - Disbanded in 1979 - Regrouped between 1991-1998 - Reunited briefly in 2010

ELP revolutionized the 70's rock scene by introducing a new line-up format. This fact really mattered due to each musician's geniality and unlimited talent that, put together, generated a level of music never achieved by anybody else as of yet. All of the musicians came from established bands before joining forces together: Greg LAKE came from KING CRIMSON, Carl PALMER came from ATOMIC ROOSTER, and Keith EMERSON came from THE NICE.

They explored their capabilities to an extreme, even with the technology limitations of the early 70's, breaking ground, setting the new parameters for a new vein in the english pop music (at the time) which would be called progressive music. ELP released 10 outstanding albums during the 70's, and after a long break, they got back in the 90's with a new approach, but still making good music. In 1986 Cozy POWELL replaced PALMER and they put together EMERSON, LAKE and POWELL, a good effort as well.

They've pushed their ambitions over-the-edge. On "Tarkus" the title suite was an inventive and edgy suite revolving around jazzy textures. Their most popular album "Brain Salad Surgery", was their most grandiose and refined. Next, the more adventurous listener might try "Trilogy" or ELP's self-titled first album. In my opinion, these four albums form the core of ELP's best material. Other good ELP albums include "Pictures at an Exhibition", their provocative, fiery and intense take on a classical work. and "Welcome Back My Friends To The Show That Never Ends", a triple-live album (now on double-CD) with some absolutely stunning playing.

2016 was a sad year for Prog fans, because Keith and Greg left us, Rest in Peace and thank you for everything

Being that some albums belong to a different band with only two members of ELP, we have to make this addition:

Emerson, Lake & Powell (Active between 1985-1986)

Emerson, Lake & Powell, often abbreviated to ELPowell, were an offshoot of a classic prog band Emerson, Lake & Pa...
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EMERSON LAKE & PALMER discography


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EMERSON LAKE & PALMER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.24 | 2370 ratings
Emerson Lake & Palmer
1970
4.06 | 2087 ratings
Tarkus
1971
4.14 | 1847 ratings
Trilogy
1972
4.17 | 2129 ratings
Brain Salad Surgery
1973
2.96 | 898 ratings
Works Vol. 1
1977
2.45 | 737 ratings
Works Vol. 2
1977
2.12 | 797 ratings
Love Beach
1978
3.13 | 553 ratings
Emerson, Lake & Powell: Emerson, Lake & Powell
1986
2.77 | 545 ratings
Black Moon
1992
1.78 | 462 ratings
In The Hot Seat
1994

EMERSON LAKE & PALMER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.89 | 1117 ratings
Pictures at an Exhibition
1971
4.28 | 648 ratings
Welcome Back My Friends to the Show That Never Ends
1974
2.78 | 239 ratings
Emerson Lake & Palmer In Concert
1979
2.96 | 177 ratings
Live At The Royal Albert Hall
1993
3.37 | 177 ratings
Works Live
1993
3.32 | 55 ratings
Emerson, Lake & Palmer - King Biscuit Flower Hour [Aka: Live]
1997
3.43 | 78 ratings
Live At The Isle Of Wight Festival 1970
1997
3.14 | 7 ratings
Live in Poland
1998
2.78 | 77 ratings
Then And Now
1998
2.82 | 17 ratings
The Show That Never Ends
2001
4.03 | 38 ratings
Original Bootleg Series From The Manticore Vaults Vol. 1
2001
3.70 | 33 ratings
Original Bootleg Series From The Manticore Vaults Vol. 2
2001
3.24 | 25 ratings
Original Bootleg Series From The Manticore Vaults Vol. 3
2001
3.27 | 49 ratings
Live In Poland
2001
2.27 | 22 ratings
Best of the Bootlegs
2002
2.90 | 12 ratings
Lucky Man (Live) (Re-released as " Fanfare: The 1997 World Tour")
2002
3.63 | 24 ratings
Emerson Lake and Powell: Live In Concert - Lakeland Florida, 1986 (An official bootleg)
2003
3.15 | 21 ratings
Emerson Lake and Powell: The Sprocket Sessions (An Official Bootleg)
2003
2.38 | 14 ratings
The Best Of Emerson Lake & Palmer
2003
3.43 | 32 ratings
A Time And A Place
2010
2.66 | 47 ratings
Live at High Voltage 2010
2010
3.73 | 48 ratings
Live At Nassau Coliseum '78
2011
4.21 | 67 ratings
Live at the Mar Y Sol Festival '72
2011
3.75 | 12 ratings
Emerson, Lake and Powell - Live In Concert and More...
2012
1.40 | 6 ratings
Live in California 1974
2012
2.76 | 26 ratings
Live in Montreal 1977
2013
3.50 | 12 ratings
Once Upon A Time In South America
2015
3.69 | 21 ratings
Live at Montreux 1997
2015
3.08 | 6 ratings
Live at Pocono International Raceway, USA, 1972
2019

EMERSON LAKE & PALMER Videos (DVD, Blu-ray, VHS etc)

2.75 | 21 ratings
Welcome Back
1992
3.76 | 46 ratings
Live At The Royal Albert Hall (DVD)
2001
3.59 | 95 ratings
Pictures At An Exhibition - 35th Anniversary Collectors Edition
2002
3.12 | 21 ratings
Inside Emerson, Lake & Palmer 1970-1995
2003
4.56 | 38 ratings
Works Orchestral Tour/Manticore Special
2003
3.60 | 60 ratings
Live at Montreux 1997 (DVD)
2004
4.08 | 35 ratings
Masters From The Vaults
2004
3.20 | 5 ratings
Live In Concert (DVD)
2004
3.83 | 79 ratings
Beyond The Beginning
2005
2.64 | 37 ratings
The Birth Of A Band - Isle Of Wight Festival 1970
2006
4.03 | 15 ratings
Rare Broadcasts
2007
3.87 | 59 ratings
40th Anniversary Reunion Concert (High Voltage Festival 2010)
2011

EMERSON LAKE & PALMER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.47 | 78 ratings
The Best of Emerson, Lake & Palmer
1980
2.03 | 6 ratings
Emerson, Lake & Palmer
1980
3.09 | 3 ratings
The Best of ELP
1984
4.21 | 56 ratings
The Atlantic Years
1992
3.60 | 77 ratings
The Return Of The Manticore
1993
1.76 | 10 ratings
Classic Rock Featuring "Lucky Man"
1994
3.89 | 40 ratings
The Best of Emerson, Lake & Palmer
1994
1.45 | 14 ratings
Extended Versions: The Encore Collection
2000
2.61 | 18 ratings
The very Best of Emerson, Lake & Palmer
2001
3.49 | 18 ratings
Fanfare For The Common Man [The Anthology]
2001
3.17 | 4 ratings
History Of Rock
2001
1.40 | 27 ratings
Re-Works
2003
3.74 | 15 ratings
The Ultimate Collection
2004
3.07 | 10 ratings
An Introduction To... Emerson Lake & Palmer
2004
4.33 | 33 ratings
From The Beginning (5CD+DVD)
2007
3.58 | 18 ratings
The Essential Emerson, Lake & Palmer
2007
3.29 | 12 ratings
Come And See The Show: The Best Of Emerson Lake & Palmer
2008
2.10 | 11 ratings
High Voltage
2010
2.87 | 10 ratings
The Essential Emerson, Lake & Palmer
2011
1.88 | 8 ratings
From the Beginning - The Best of ELP
2011
4.42 | 12 ratings
The Anthology
2016
4.00 | 2 ratings
Lucky Man
2018
3.83 | 6 ratings
The Anthology (4LP)
2019
4.05 | 10 ratings
The Ultimate Collection
2020
4.17 | 6 ratings
Out of This World: Live (1970-1997)
2021

EMERSON LAKE & PALMER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.56 | 26 ratings
Lucky Man / Knife Edge
1971
4.67 | 3 ratings
Stone of Years / Time and a Place
1971
4.00 | 4 ratings
Nutrocker / The Great Gates of Kiev
1972
3.47 | 23 ratings
From the Beginning
1972
2.59 | 20 ratings
Brain Salad Surgery/ Excerpt From Brain Salad Surgery
1973
4.14 | 45 ratings
Jerusalem
1973
3.10 | 15 ratings
C'est La Vie / Hallowed Be Thy Name
1977
2.48 | 12 ratings
Tiger in a Spotlight / So Far to Fall
1977
3.38 | 20 ratings
Fanfare for the Common Man
1977
2.40 | 17 ratings
Canario / All I Want Is You
1978
4.25 | 12 ratings
Peter Gunn
1980
3.08 | 18 ratings
Touch and Go
1986
1.88 | 12 ratings
Affairs of the Heart
1992
2.45 | 14 ratings
Black Moon
1992
3.67 | 6 ratings
Farewell to Arms (promo)
1992
1.63 | 8 ratings
Affairs of the Heart
1992
2.71 | 6 ratings
Affairs Of The Heart (limited edition collectors doublepack)
1992
3.33 | 6 ratings
Gone too Soon (promo)
1994
2.52 | 34 ratings
I Believe In Father Christmas EP
1995
4.42 | 12 ratings
Fanfare For The Common Man
2002
3.67 | 3 ratings
Black Moon - Rough Mixes (December 1991)
2017

EMERSON LAKE & PALMER Reviews


Showing last 10 reviews only
 In The Hot Seat by EMERSON LAKE & PALMER album cover Studio Album, 1994
1.78 | 462 ratings

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In The Hot Seat
Emerson Lake & Palmer Symphonic Prog

Review by Brush Of Chaos

1 stars Emerson, Lake and Palmer are their own worst enemy. Though some of the most talented individuals in prog, they had hugely inflated egos, especially Keith Emerson who thought of himself as more than just a musician, he thought of himself as an artist. By the time the prog rock boom had ended in the 70s, ELP was long gone. Then in 1992, they returned with Black Moon and the end result was shocking. Greg Lake's voice had changed drastically, and ELP's pompous attitudes took a backseat in favor of putting together an album that was reflective of the 90's. A case could have been made for late-stage ELP to have longevity, but at this point in the story, things are not looking good. Emerson's right arm is completely shot, Greg's voice is diminishing, and Palmer has carpal tunnel. As their label Victory fails to find hits from Yes and David Bowie, it is now ELP who find themselves in the hot seat. Hence the album title, In The Hot Seat. And the end result is arguably one of the worst records I've ever heard, right up there with Summer In Paradise by The Beach Boys.

The 90's saw prog get its mojo back. Though never likely to hit mainstream again and make a ton of money, prog got its mojo back. They had survived the 80's. ELP, as a group, never had to worry about navigating the 80's, despite the fact that era was ripe for ELP to make a comeback after Love Beach. In The Hot Seat sees ELP decide not to go prog, but instead attempt to find some kind of commercial hit. They threw everything possible at the wall in the hopes something on this album would be a hit. So, why don't I stop delaying the inevitable, and take you on a journey through this album track by track.

We begin with Hand Of Truth, often regarded as the best song on the album. Now at first, with the bombastic keyboards, I thought this was going to be a pretty good banger, and then Greg Lake starts singing and all the issues with this album come front and center. Palmer's drumming sounds more like a drum machine, Emerson's keyboard sounds it's been ADRed at points, and Greg Lake's voice has diminished and he sounds hoarse to the point he can't hit the right notes. Now I'm willing to put up with all of that if the songs are there, but Hand Of Truth, lyrically and sonically, is more of a Mike + The Mechanics song. I hear this, and just beg for Mike + The Mechanics to be playing this song.

Next is Daddy, a fairly dark song about a girl from upstate New York who goes missing. I've seen people say this is off-brand for ELP, and frankly, I think it sounds right for them. Unfortunately, this doesn't come out sounding like an ELP song, but instead this is something I would expect to hear from Peter Gabriel. But you want to know what the biggest problem is with this song? It sounds like Emerson and Palmer are missing, and instead been replaced by session musicians. Say what you will about Love Beach, that at least had ELP, and wasn't reliant on session musicians. This is a Greg Lake solo song at the end of the day, it is not an ELP song.

Then we get to the most bizarre song on the album, One By One, an attempt by Keith Emerson to show he is a true artist and composer among mere prog rockers like Steve Hackett, Yes, and Dream Theater. And I have no idea what Keith was on when he made this song. It sounds like it's trying to be for some sort of Disney soundtrack, complete with that honking synth sound that was a bad idea in the 80's when The Clash abused the hell out of it on their final studio effort. I expect a song like this to be overproduced, but truth be told, the end result is really flat and dry. It lacks the bombastic sound ELP is known for, and this becomes apparent throughout the album. There's no power behind it. This should have been the fun song on the album, but there are so many missed opportunities, and again, this is something I expect on a Disney soundtrack.

Then we come to Heart On Ice, a corny ass Phil Collins style love ballad that even Phil Collins would have thrown out. By this point, Adult Contemporary had lost its luster, so songs like this were not in demand. This feels like a desperate move by a desperate band who are desperate to fill their bank accounts. But more importantly, I can't hear anything that sounds like Emerson, or Palmer performing. Much like daddy, it feels like session musicians with Greg Lake performing solo, but unlike Daddy, Greg Lake's voice is shot to the point he just doesn't have the vocal range necessary to make this corny song work. Why is ELP performing this? I'd more sooner pass this one off to Peter Cetera, because at least he would jump at this song, and make it work for him.

Next up we come to The Thin Line, and you must be joking. That's right, ELP are trying to get some serious street cred by performing a conscious hip-hop R&B inspired song about the line between love and hate. There's just one problem... ELP have no street cred. They were, for the longest time, up their ass yuppies who had money to burn, and flaunted it during their live shows. Greg Lake's voice, again, is not built for this sort of thing. He doesn't have the soulful voice of somebody like Paul Carrack, who could probably make this work. This song can be best described as career suicide. ELP were once one of the most respected prog rock acts around, and any momentum they had after Black Moon crashed and burned with this singular song.

Normally, a sane person would stop there, but we're only half way there. Next we have Man In The Long Black Coat, which is a cover of a Bob Dylan song. I'll admit, I like this version of the song. It comes the closest to finding something that works for Greg's diminished vocals, and in fact, he does hit a few high notes on this song. But AGAIN, this is a solo Greg Lake song that sounds like it's being backed by session musicians and a drum machine. Why isn't this a Greg Lake solo album?...

Then there's Change. A pop-standard style song of the 90's. Now, I had hopes for this song, because Greg Lake's voice seemed fitting for it, but the song itself is just ASS. We get what is possibly one of the saddest keyboard solos from ELP, but at least it sounds like Emerson and Palmer are on here, but the production makes this song flat, and loses any sort of power. This is not the song to inspire change in the world, basically.

We come to yet another ballad, this one is called Give Me A Reason, and it is not written by Emerson, Lake, or Palmer. It instead comes to us from renowned songwriter Steve Diamond. The session musicians and drum machine are back for this Peter Cetera style number, and again, Greg Lake's voice just isn't working on this one. It's outside of his range, and Greg is putting in no effort to try and push his voice higher. Oh, and this one comes complete with a cheesy guitar solo. Greg Lake's attempts to break into adult contemporary are feeble, and pathetic.

Next we come to Gone Too Soon, a blues-rock style song. Frankly, I think Greg Lake's hoarse voice actually works here. The problem is, like most songs on this album, are flat and under produced. By this point, I'm pretty sure you can tell the obvious problem here. Yep, session musicians are backing the song. Oh, but we do get a keyboard solo this time, and it did nothing for me. If this were a Greg Lake solo song, I'd probably like it, but because it's on an ELP album, I have to use that context. This just doesn't do it for me.

I am glad to say we are on the last song of this album, Street War. Has ELP saved the best for last? Nope! In their continued effort to sell out and go every possible direction, ELP sees themselves trying to imitate Billy Idol and go punk. There's just one problem with that... Billy Idol's career was killed by the trainwreck he released in 1993, Cyberpunk. Billy Idol wasn't cool, and ELP trying to go punk just sounds like the biggest joke since trying to get street cred with The Thin Line. This is just wrong. This whole album is just wrong.

And this is why I will be one of those people who will continually say Love Beach is not the worst Emerson, Lake and Palmer album. Despite Love Beach being an absolute mess, I can at least hear Emerson, Lake and Palmer in Love Beach. ELP deserved to go out on a better note, but sadly this was their last studio effort. This was historic for ELP as it marked the first time the band did not chart in the US, or the UK. While Black Moon was low on the charts, that album at least charted, and had songs that stayed in ELP's set list. In The Hot Seat is the one album the group absolutely hated to make, and you can tell they just wanted to have this one done with. And that is what In The Hot Seat represents, a sad, broken way to end a recording career.

 Emerson, Lake & Powell: Emerson, Lake & Powell by EMERSON LAKE & PALMER album cover Studio Album, 1986
3.13 | 553 ratings

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Emerson, Lake & Powell: Emerson, Lake & Powell
Emerson Lake & Palmer Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Ask any fan of Emerson, Lake & Palmer what was the worst album they released in the Seventies and the answer will be the contractual obligation, 'Love Beach'. Not long after, Palmer formed his own band, PM, and even though there was no official announcement it was obvious ELP was over. Given their huge success, it is no surprise that in 1984 talks were held about reforming, but by then Palmer was in the hugely successful Asia and did not want to be involved. After auditioning a series of drummers, Emerson asked his old friend Cozy Powell if he wanted to be involved, which by happenstance also allowed the band to retain the ELP abbreviation. Their sole album was released in 1986, going Top 40 in both America and the UK, but after a disastrous tour, during which they fired their management, they split up. Palmer would come back to the fold and with Keith Emerson would form the new band 3 with Robert Berry, who would also last for just one album, before the classic line-up came back together in 1990.

I have always felt the two trio releases involving Emerson in the Eighties are somewhat overlooked by fans of ELP, yet they are both excellent, as this new 3-CD boxed set displays so well. What we have here is the album (with three bonus tracks), their live album, 'Live In Concert' and a CD of rehearsals, 'The Sprocket Sessions'. All material included in the box set has been re-mastered by renowned engineer Andy Pearce which also includes an enhanced booklet with sleeve notes written by Prog Magazine editor, Jerry Ewing.

I fully remember this being released and picked up the pre-recorded cassette (those were the days) as soon as I could. I did not know what to expect but was fully aware of Powell's work with Rainbow and Whitesnake, and even remembered him performing "Dance With The Devil" on TOTP. I certainly did not expect an album which commenced with classic ELP sounds and styles with "The Score", and when Lake got to the chorus and sang "It's been so long you're welcome back my friends, To the show that never ends" I was ecstatic. It didn't matter we had a different "P", the band were back and playing classic music, linking back to "Karn Evil 9" for their fans. The music had shifted in that it was more commercial, especially "Touch and Go", yet not so overtly as Asia, somehow bridging the Seventies and Eighties. Emerson was also convinced by Powell to undertake a recording of "Mars, The Bringer of War" which is one of the standout tracks, albeit the style being somewhat different from other classical covers the band did in the past.

Years after this was originally released I went to see the wonderfully bawdy musical 'Sinderella' featuring Jim Davidson, and I was somewhat surprised to hear some of these songs played during the performance (Davidson and Emerson were friends, hence the use of "Karn Evil 9" for 'The Generation Game'), yet I was also pleased as I felt this album was overlooked by many. The rehearsals and live recording add to the overall story in that we hear Cozy performing on some classic numbers (his style is very different indeed to Palmer), and overall this set brings back to life an album from a band who deserved to be around for much longer than the short time they were.

 Black Moon - Rough Mixes (December 1991) by EMERSON LAKE & PALMER album cover Singles/EPs/Fan Club/Promo, 2017
3.67 | 3 ratings

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Black Moon - Rough Mixes (December 1991)
Emerson Lake & Palmer Symphonic Prog

Review by BCook1014

4 stars I know little about the album but the song AFFAIRS OF THE HEART, is one of my favorites from ELP. While not a classic like more of their well-known hits, this ballad absolutely floored me when I first heard it; it is the most beautifully haunting song I think I've ever heard, at least I've never heard another one that reached out & grabbed me like this one. It reflects the pleasure & pain that comes from a great love affair, it tells of a once great love which now becomes a "lethal weapon" as he succinctly calls it, one that is sharper than a dart. We've all been there, unless we've ice water in our veins, we all know that sometimes unbearable heartbreak that comes from the end of something that once defined your very soul. I saw how this site's main contributors ravaged this song, assigning it to the list of some of the 80's Asia & Moody Blues (my addition) attempts to be relevant in a music world that has changed so drastically, & not for the better. I take extreme issues with their negativity, while it's not, as stated earlier, a classic ELP progressive classic, it stands alone in a subgenre of ballads that are themselves timeless.
 An Introduction To... Emerson Lake & Palmer by EMERSON LAKE & PALMER album cover Boxset/Compilation, 2004
3.07 | 10 ratings

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An Introduction To... Emerson Lake & Palmer
Emerson Lake & Palmer Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 719

"An Introduction To...Emerson, Lake & Palmer" is a compilation album of Emerson, Lake & Palmer released in 2004. It has tracks from almost all their studio albums. The exception is their last studio album "In The Hot Seat". So, it has one track from their debut, one track from "Tarkus", one track from "Trilogy", two tracks from "Brain Salad Surgery", one track from "Works Vol. 1", one track from "Works Vol. 2", one track from "Love Beach", one track from "Black Moon" and one track from their debut live "Pictures At An Exhibition". It has also two tracks only released as live versions.

So, "An Introduction To...Emerson, Lake & Palmer" has twelve tracks. "Introductionary Fanfare" was never released in studio. It's a little curtain raiser penned by Emerson and Palmer to get us on our way as an overture to a live concert. It's a very pleasant overture with the necessary intones to the introduction of the band with the traditional "Ladies & Gentlemen...". It was taken from "Works Live". "Peter Gunn" was never released in studio too. It's an instrumental by the American composer Henry Mancini. The song was written for the television program of the same name. Emerson, Lake & Palmer decided to release a cover of it in their live album "Emerson, Lake & Palmer in Concert". It's a great cover. It was taken from "Works Live" too. "Hoedown" is from "Trilogy". It's an interpretation from the ballet "Rodeo" of Aaron Copland. Instead of violins we have Emerson's Hammond and synthesizers taking the lead. It's a fantastic piece, a perfect way to bring the classical to rock. "Benny The Bouncer" is from "Brain Salad Surgery". It's a comedic rocker on the same mould of "Are You Ready Eddie?" and "Jeremy Bender/The Sheriff". It's hardly considered a great song. But, it indicates some of their influences and shows they aren't properly frightened to attempt something more vulgar and simple. "The Gambler" is from "Love Beach". It isn't a great song. It's a groovy blues tune that doesn't sounds like ELP. It reminds me some other silly tracks like "Jeremy Bender", "Are You Ready Eddy?", or "Benny The Bouncer". This is certainly no worse than any of those tracks. Still, I never liked this kind of songs on a band like them. "Tiger In A Spootlight" is from "Works Vol. 2". It's a leftover track from "Brain Salad Surgery" sessions. It's a fun rock'n'roll/blues tune with a nice beat and a strange keyboard work. It's interesting, but it doesn't mean anything more than that. "Take A Pebble" is also from "Emerson, Lake & Palmer". It's a beautiful ballad by Lake. It's a magnificent song with powerful vocals by Lake. His singing is simply amazing, with the final line of the verses building on the legacy of King Crimson's "Epitaph", which sounds even better. "Romeo And Juliet" is from "Black Moon". "Romeo And Juliet" is Emerson's arrangement of the superb "Dance Of The Knights" from Sergei Prokofiev's score for the ballet "Romeo And Juliet". It's a classical epic majestic piece full of a bombastic genius and majesty. The synths forward with bold, swagger and utter poise, a modern rock interpretation on Prokofiev's classical piece. This a perfect piece for the bombastic rock of ELP. "Pirates" is from "Works Vol. 1". It was originally written for the soundtrack of a cancelled film version of the Frederick Forsyth's book "The Dogs Of War". It has a great mix of contemporary classical epic music, melodic, progressive, dynamic, charming and complex. Even Lake sings with passion here. It's an epic tale filled with great Emerson, Lake & Palmer's moments and a full orchestra. This was ELP's last great epic and I really love it. It's not one of their best, but it's still great. "The Sage" is from "Pictures At An Exhibition". It's a Lake's original composition usually mentioned as one of his best. It has some of his best lyrics. It's the only track on that album not contributed by Mussorgsky. It's a gentle and delightful acoustic piece. Some may find it pretentious, but it works well and I don't see why it shouldn't be there. "Jeremy Bender" is from "Tarkus". It's a comedic rocker in the same mould of "Benny The Bouncer". Sincerely, the song is pleasant to listen to, but hardly worthy of an Emerson, Lake & Palmer's album. Sincerely, I'm not a great fan of these kinds of songs, really. It's not bad but it's nor great too. "Jerusalem" is also from "Brain Salad Surgery". It's a classical British church hymn. This is the band's arrangement of Charles Hubert Parry's hymn, based on the prologue of William Blake's poem "Milton". It was the only single taken from that album. This is really a great version of the original piece. This is a version taken from their live album "Welcome Back My Friends To The Show That Never Ends".

Conclusion: "An Introduction To...Emerson, Lake & Palmer" is really a good compilation album of the band. At the first sight it seems to be weaker than most of their compilation albums. However, if we see it more carefully, and especially, according to its name, we can really say that it's a good introduction to the career of Emerson, Lake & Palmer. So let's see it. This is a compilation album were almost all their studio albums are represented with one track, except "Brain Salad Surgery" with two tracks. It has also one track from "Pictures At An Exhibition". Only "In The Hot Seat" isn't represented here. Besides, some are live versions of the band, which are nice. ELP always was a great live band. So, we can say that "An Introduction To...Emerson, Lake & Palmer" is a good introduction to the band living up to its name.

Prog is my Ferrari. Jem Godfrey (Frost*)

 History Of Rock by EMERSON LAKE & PALMER album cover Boxset/Compilation, 2001
3.17 | 4 ratings

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History Of Rock
Emerson Lake & Palmer Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 715

"History Of Rock" is a compilation album of Emerson, Lake & Palmer and that was released in 2001. It has tracks from seven studio albums of Emerson, Lake & Palmer. It has two tracks from their eponymous debut studio album, one track from their second studio album "Tarkus", three tracks from their third studio album "Trilogy", two tracks from their fourth studio album "Brain Salad Surgery", two tracks from their fifth studio album "Works Vol. 1", two tracks from their sixth studio album "Works Vol. 2" and one track from their ninth studio album "Black Moon". So, their albums "Pictures At An Exhibition", "In The Hot Seat" and the Emerson, Lake & Powell's album aren't represented here with any track.

So, "History Of Rock" is a compilation album with thirteen tracks. "From The Beginning" is from "Trilogy". It's a beautiful acoustic song featuring Lake on vocals and guitar with some participation of Emerson on the end of the track. It's a song with a simple structure. We can say this is one of the best compositions written by Lake for the band. "Still... You Turn Me On" is from "Brain Salad Surgery". It's the obligatory acoustic number on that album. It's a Lake's classic acoustic ballad in the vein of "Lucky Man" and "From The Beginning". It's one of Lake's best ballads. It was a big radio hit in U.S.A. "Fanfare For The Common Man" is from "Works Vol. 1". This is a great interpretation of a classical piece of Aaron Copland re-arranged for rock. Copland's original is great and ELP didn't make a bad job with the arrangements. Synths are heavily used, especially in the later sections. It sounds like early ELP, being experimental and heroic. "Knife-Edge" is from "Emerson, Lake & Palmer". It's based on the first movement of the Leos Janacek's "Sinfonietta" classical piece. This is another piece with a great showcase by all band's members, with the particular emphasis on great bass lines. "Tarkus" is from "Tarkus". It's divided into "Eruption", "Stones Of Years", "Iconoclast", "Mass", "Manticore", "Battlefield" and "Aquatarkus". This is a very complex fantastic piece with great creativity, experimental, and certainly, avant-garde for those times. This great epic is their lengthiest studio song until "Karn Evil 9" of "Brain Salad Surgery". It remains a favourite song for the fans and was consistently played live by the band. "Karn Evil 9" is from "Brain Salad Surgery". "Karn Evil 9" is a great opus that is divided into three movements or impressions. This is an instrumental epic track featuring Emerson on piano sounding like jazz and Palmer's drumming showing his percussion skills. "C'Est La Vie" is from "Works Vol. 1". This is a very well known acoustic song. It's probably the most similar in style to Lake's ballads on their earlier albums. I like it a lot, especially the amazing voice of him. "Hoedown" is from "Trilogy". It's an interpretation of the band from the ballet "Rodeo" of Aaron Copland. Instead of violins we have Emerson's Hammond and synthesizers taking the lead. It's a fantastic piece, a perfect way to bring the classical to rock. It was one of their most popular songs when performed live. "Trilogy" is from "Trilogy". It's one of the highest moments on that album and it's also one of their best and most beautiful compositions. It's largely an instrumental piece very much over piano in the beginning, heavily influenced by the classical music. In the middle, the music blasts with all instruments playing in continuo. "Honky Tonk Train Blues {Meade (Lux) Lewis}" is from "Works Vol. 2". It was written by Meade Lux Lewis and it's in the same vein of "Barrelhouse Shake-Down" of that album. This is Emerson having fun with the grand piano in a boogie-woogie style while the rest plays in a swing jazz style. "Black Moon" is from "Black Moon". It was inspired by the Gulf War with the burning Iraqi oil fields. It opens with a tense dark atmosphere created mostly by Emerson's shimmering keyboard choices, including a brief crashing piano solo. The lyrics are biting and the synths give a certain strut to the political lyrics. "Lucky Man" is from "Emerson, Lake & Palmer". It's a ballad for acoustic guitar. It's a song with acoustic guitar, beautiful singing and a great synthesizer solo towards the end. It's one of the best songs written by Lake. It became as one of the band's most commercial and accessible tracks in their career. "I Believe In Father Christmas" is from "Works Vol. 2". It's a beautiful song, a ballad based on the Sergei Prokofiev's theme with great arrangements and also with good, ironic and controversial lyrics about the negative effects of commercial Christmas.

Conclusion: "History Of Rock" is another great compilation album of Emerson, Lake & Palmer. It's very similar to other compilation album from the band named "The Best Of Emerson, Lake & Palmer", which was released in 1994. It has almost the same tracks and even the alignment of the tracks is also very identical. Thus, as happened with that compilation album, "History Of Rock" is also interesting and has tracks that belong to some of their most iconic, best and most progressive albums. The four first, best and most progressive studio albums of the band are all represented here at least with one track. My only regret is the non inclusion of any of the tracks of their debut live album "Pictures At An Exhibition". Anyway, this is a compilation album without weak points, really. So, we can say that "History Of Rock" is a well representative compilation album and a good starting point for those who aren't familiar with the band.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Works Vol. 1 by EMERSON LAKE & PALMER album cover Studio Album, 1977
2.96 | 898 ratings

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Works Vol. 1
Emerson Lake & Palmer Symphonic Prog

Review by shantiq

4 stars I have recently obtained 2 8-track albums of Works Vol 1 and 2.I think I have to say that number one is far superior to number two which is a collection of basically offcuts and bits and pieces which were never really designed for a specific album also the second part of Works is really a lot of ragtime music which clearly Keith Emerson enjoyed. Not a huge fan of ragtime myself I don't really rated it that much; but Works Vol. one is really something the long piece which starts the album written by Emerson the classical number which we read elsewhere Leonard Bernstein thought was mildly childish or words to that effect I personally find really excellent in a sort of classical but not quite classical vein.

I then realised that he Keith Emerson often wrote pieces of that sort which are really classical but not classical and not modern classical they are really pieces of rock music deeply infused with classical culture and music and yet not of it. Never was really a fan of Emerson, Lake & Palmer in the 1970s I had an LP of Trilogy and was aware of the music on Pictures From an Exhibition but really I was a lukewarm fan I knew who they were I knew what the music was like but I never paid that much attention.

Fast forward to 2022/3 and I have decided to really look into them . What I find there really amazes me; musically they are really really excellent the interweaving of the three very different elements in the group really works exactly what the word chemistry means you have the slightly out of control keyboard man Keith playing some pretty crazy stuff more often than not fast like a quicksilver snake . And then you have Carl whose drumming basically sounds like furniture being thrown down the stairs repeatedly at different angles in different directions; never subtle always present like a marble spine. Then we have Gregg Mr Lake who to me and I really have listened to a lot of singers over the years has one of the most emotional emotive voices ever, his work in King Crimson already moved me and so many others time and time again and once he joined the other two his elegant voice and sometimes interesting lyrics combined with the other two really created something special.

There is much talk online of which album by ELP is the best. I read most of the ones I could. And the amusing thing here is that they do not agree what they do agree on is that at the number one place there is always one of three albums: The first album the eponymous one, Trilogy, Brain Salad Surgery. I think only once or twice it is not one of these which is number one. I personally would be unable to say which one is the best. Out of the 1970s albums to me they are all masterpieces in some way. First of all they are unique none of the other bands from that time let us say Yes or King Crimson or Van Der Graaf Generator or Genesis have a sound that is anywhere near them it is completely and utterly unique. So if ever asked a question what is the best album my answer will be: all of the 1970s albums every single one of them.

But yes Works Vol. 1 for me is definitely close to the very top.

 Love Beach by EMERSON LAKE & PALMER album cover Studio Album, 1978
2.12 | 797 ratings

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Love Beach
Emerson Lake & Palmer Symphonic Prog

Review by Hector Enrique
Prog Reviewer

2 stars The place once occupied by the vigilante armadillo tank, or the disturbing and controversial female cadaverous image, is suddenly occupied by the smiling, tanned and semi-shirtless musicians. What happened? That is the question that the puzzling cover of "Love Beach" raises. Understanding that evolution is a natural process that occurs in the diverse manifestations of human nature, many times these processes take unthinkable paths, and beyond the legitimate right of E,L&P to take the path they consider pertinent, whether by individual decision, group disagreements, or contractual agreements, it is surprising that the result has been "Love Beach", their seventh album,

On the one hand, simplified and unpretentious developments, from the superficial "All I Want Is You" to the soporific and inconsequential "For You", where a very loquacious Greg Lake seriously assumes the role of lead singer and main figure, and both Keith Emerson and Carl Palmer, keyboardist and percussionist respectively, resign their protagonism and limit themselves to being mere accompanists, something unthinkable given the dynamics of all the band's previous albums.

And, on the other hand, a glimmer of the band's past appears in the outstanding "Canario", an adaptation of the orchestral work "Fantasía para un Gentilhombre" by Spanish composer Joaquín Rodrigo, in which Emerson raises the level a little, to finally decline again in the long and dreary "Memoirs of an Officer and a Gentleman", which pretends to be an epic suite, but lacks spark and magic, beyond some salvageable notes from Emerson on the piano. Too little for the size of the band.

"Love Beach" was a blow to E,L&P's reputation and, beyond the rumours of how frayed the interpersonal relationships of its members were, the album probably accelerated their separation process, until their reunion more than a decade later.

2/2.5 stars

 Love Beach by EMERSON LAKE & PALMER album cover Studio Album, 1978
2.12 | 797 ratings

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Love Beach
Emerson Lake & Palmer Symphonic Prog

Review by [email protected]

4 stars This is a very strange album. At first listen it comes over as plodding, boring, lacking in melody and lacking in a certain kind of genius. But repeated listenings have revealed to me a late 1960's kind of art rock sound, as if it were just there at the beginning of progressive/psychedelic rock. I've come to really like this album. Not because it's full of bombastic symphonic prog rock but because I find it rather quaint and attractive in a completely different way. I'm aware that it was recorded just to comply with contractual obligations but I think that inadvertently ELP have come up with an enjoyable little gem. Remember, these guys were very talented musicians/composers and that's not something that will desert them, no matter how rushed or carelessly they might have thrown this album together. Music tastes and directions in the late 1970's had changed (as is also evidenced by "And Then There Were Three" by Genesis) and perhaps ELP were trying to move with the times, albeit maybe sounding a bit dated. I'm tempted to give this album just three stars because but because it's really grown on me over the years I'm giving it four stars.
 Brain Salad Surgery by EMERSON LAKE & PALMER album cover Studio Album, 1973
4.17 | 2129 ratings

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Brain Salad Surgery
Emerson Lake & Palmer Symphonic Prog

Review by Hector Enrique
Prog Reviewer

4 stars At the height of the shock wave generated by the progressive explosion, one of the representatives who most pushed the limits of the genre, taking it to new dimensions, was Emerson, Lake & Palmer, and probably "Brian Salad Surgery", their fourth album, is the one that most faithfully represents it.

Starting with the controversial cover, excessive to the point of being vetoed and retouched due to the demands of the record label, up to the musical experimentation with all the imaginable instruments, and also the unimaginable ones, that could be used by Keith Emerson and Carl Palmer to add textures and spices to the increasingly ambitious creation of proposals, "Brian Salad Surgery" is the maximum point of sonorous boiling point of the band.

From the adaptations of the powerful hymn "Jerusalem" by British composer Hubert Parry as well as the classic and at times psychedelic "Toccata" by Argentine composer Alberto Ginastera, through the stealthy ballad "Still... You Turn Me On" and "Benny the Bouncer", the third and final chapter of the tavern rock started in Tarkus with "Jeremy Bender", the fundamental protagonist of the album, the extensive and overwhelming "Karn Evil 9", makes its way.

A fundamental contribution to progressive rock from its most symphonic side, "Karn Evil 9" is a compendium of what three virtuoso musicians working in harmony can generate. The suite in its thirty minutes, unfolds in an ocean of effects and instrumentation, highlighting in the 1st First and 3rd Impression above all, Emerson's moog synthesizers, which include more variants than ever, the hyper active percussion of Carl Palmer, and a Greg Lake much more settled to give the tone in the most vocally demanding parts, besides dispatching with a very successful guitar solo in the 1st Impression. Unknown at the time, "Karn Evil 9" not only closes "Brian Salad Surgery", but also the most splendid cycle of the British trio.

Excellent.

4/4.5 stars

 Tarkus by EMERSON LAKE & PALMER album cover Studio Album, 1971
4.06 | 2087 ratings

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Tarkus
Emerson Lake & Palmer Symphonic Prog

Review by Hector Enrique
Prog Reviewer

4 stars Less than a year after the successful and homonymous debut album, and, after some skirmishes between Keith Emerson and Greg Lake regarding the musical direction they should follow, Emerson, Lake & Palmer releases "Tarkus". Conceptually very disparate, "Tarkus" brings together the extensive and powerful suite that gives the album its title, with a handful of songs that have no visible connections between them.

The suite "Tarkus", which occupies the first half of the album, composed of seven intertwined segments, is a constant back and forth of intense instrumental developments and paused vocal parts, where Emerson's display of virtuosity with his arsenal of pianos, hammonds and moogs, at times giddy and anxious as in "Eruption" and "Manticore", constantly take the lead. With the super active and masterful Carl Palmer and his very jazzy percussion, and Lake's bass and deep voice, especially in "Mass" and in the hypnotic "Battlefield", where he surprises with a calm and deep electric guitar solo (a very rarely used resource), the British trio completes one of their best compositions, if not the best. The fantasy story of the heroic armadillo-tank victor over the mythological villain Manticore in the perennial struggle between good and evil, concludes after almost 21 minutes with the agonizing "Aquatarkus".

The second half fails to sustain the brilliance of the first, and except for the brief and fun tavern rock of "Jeremy Bender", and the celestial and imposing organ in "The Only Way (Hymn)", the rest of the songs do not add much to the album: "Infinite Space" is a bit monotonous, Lake is heard too vocally forced for the demands of "A Time and a Place", and finally the fifties rockabilly "Are You Ready Eddy? "a joke on the famous sound engineer Eddie Offord (also a former Yes engineer), is out of context.

While the "Tarkus" suite is one of the proud emblems of the genre, a slightly more elaborate second half would have made the album a masterpiece for sure. But that's pure speculation.

4 stars

Thanks to Ivan_Melgar_M for the artist addition. and to Quinino for the last updates

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