TARKUS

This is one of those cases where one masterpiece carries an entire album, not just making it worth having, but making it essential. This is not to say that there is nothing noteworthy on the second half, however.

"Tarkus Medley" Rivaled only by the incredible "Karn Evil 9," the title song is their musically tightest composition. Even though the title would suggest that the song features several distinct but related pieces strung together, it is sometimes difficult to know when one segment ends and another begins. The song begins in a deceptive way: A smooth wall of Greg Lake's vocals build tension until the volcano gives birth to Tarkus, a half-tank, half-armadillo monstrosity. This birth is represented by a bombardment of keyboards, bass, and drums in 5/4. The first verse is somewhat sedated and immediately memorable. Emerson's organ runs clicks away in a percussive frenzy. Lake's bass notes are appropriate for each and every chord. There are brief but pleasant electric guitar bends with a tone that would be heard again on their hit "From the Beginning." Palmer bashes away. When not relying solely on organ, Emerson pulls some attention-grabbing sounds out of his Moog. Thirteen minutes in begins what I would consider to be the most fascinating part of this song; the recurring motif between verses is one of the best bits of music ever composed in progressive rock history. A variation of that melodic idea is used to usher the song to its conclusion, which is a reprise of the beginning. While the mythology behind this song may not be all that clear, what is perfectly clear is that this piece is an extraordinary example of progressive rock of an epic magnitude.

"Jeremy Bender" This extremely short song has honky-tonk piano playing throughout, with Jim Croce-like lyrics, only more flippant. The words are about cross-dressing, and after listening to the giant wonder that came before, it makes one question how the band could reasonably follow it up with this.

"Bitches Crystal" Had the band put more effort into it, this song could have been reworked to be a shining example of progressive rock. The makings are there- groovy bass, ranting lyrics, powerful drumming, excellent keyboard work in between lines. Throughout the verses, the piano is repetitive, and would have worked better as an organ part. Most of the time, the band would have been better served if Emerson's contribution consisted mainly of organ and Moog instead of tacky chorused piano.

"The Only Way (Hymn)" Lake sings a pleasant melody over Emerson's church organ. The anti-theistic lyrics are cynical, almost to the point of being snide ("Can you believe God makes you breathe? Why did He lose six million Jews?). Soon after, the group plays together, a lively bass and piano part, but there's little more to this one.

"Infinite Space (Conclusion)" Compared to everything surrounding it, this "conclusion" is rather plain, mostly using a 7/4 structure for Emerson to tinker with the piano over. There are some interesting runs, both on the piano and the bass, but overall, this is a tedious track.

"A Time and a Place" Like "Bitches Crystal," this song could have easily worked as part of a longer piece. Emerson is back on his percussive organ, and they give a sound similar to the Tarkus Medley. This is a very good effort.

"Are You Ready Eddy?" This tribute to their producer is, frankly, a terrible way to conclude the album. If someone had heard this before anything else, they would likely assume that ELP were clones of Jerry Lee Lewis. With its boogie-woogie piano playing and cheesy reverb on the vocals, this song can't be taken seriously.