Emerson, Lake and Palmer are quite possibly the world's most reviled band. Now, they were extremely popular in the early 70's among those who 'took themselves seriously' (especially college students), and even today they maintain a sizable cult following, so it would be unfair to say that absolutely nobody likes them. Regardless, however, this is a perfectly legitimate statement on the general level. Fans of punk have always detested them as they would any prog band, but this extended far beyond normal levels of loathing; as an example, one of the staples of late 70's Sex Pistols shows was to burn life-size statues of Keith Emerson in effigy.

Now, this normally wouldn't be such a bad thing, since after all hatred of art-rock and prog-rock was one of the most important principles upon which the punk movement was founded. No, what distinguished ELP was the amount of venom spewed upon them by other "high-brow" artists and their various followers. Fans of classical music absolutely despised them for "butchering" various well-known pieces in their attempts to interpret these standards in a rock idiom. There is a nugget of truth to this, of course (Pictures at an Exhibition is often quite a stretch from the original Mussorgsky piece, to put it mildly), but ... I dunno. I'm sure that a good number of the band's fans became fans of classical music due to their efforts, so that should be worth something. Or maybe the older generation was just mad about all these young whippersnappers infiltrating their societal niche ....

The greatest insult of all, of course, is that even among some prog lovers, they're hated like crazy! Now, prog is often considered a relatively open-ended term, and many are eager to classify any band with the least bit of 'artsy' leanings as one. Hence, many groups are GROSSLY misclassified in this genre. Styx, Journey, Kansas ... all are talentless (well, ok, they're talented at their instruments, so if you want, let's say tasteless instead) buffoons with large egos but little else, and let's face it, you really need compositional talent to be a decent prog group (though I guess Kansas and Styx can technically qualify as prog. Ehn). The Moody Blues and Procol Harum often get the tag, but that's only because of the slight symphonic elements in their sound (from mellotron in the former, organs in the latter); both are most definitely rooted in pop, and it should definitely be noted that the former's concepts are never as overwhelmingly bizarre as one would expect from a true prog band (not to mention that the chord progressions are never in the least bit intimidating). Jethro Tull ... well, Jethro Tull was a prog band for the bulk of the 70's, sure, but with a couple of MAJOR exceptions, their progressive stuff was extremely second-rate; I vastly prefer to think of Tull in terms of Teacher and the like as opposed to garbage like Minstrel in the Gallery. And finally, it is highly tempting to refer to Pink Floyd as progressive, but ... avant-garde yes. Artsy, yes. Pretentious, yes. But the lyrics are, again, always either psychedelic, folk, pop, or hyper-angsty. They weren't really prog outside of Meddle and Animals, if you ask me. Anyway, the whole point of this is that among English speaking groups (I'm not even going to try and fake any knowledge about German prog or anything like that), there are really five widely acknowledged "classic" prog groups (and yes, I'm aware of the existence of Gentle Giant and Van Der Graff, but I'm speaking of widely acknowledged groups, groups that a casual rock fan who may know vaguely enough about prog to have made some level of judgement will recognize): Yes, ELP, Rush (though that's debatable), Genesis (the Gabriel-era stuff plus Trick of the Tail and Wind and Wuthering, that is), and first-period King Crimson (later incarnations of King Crimson were certainly prog, but not in the "classic" definition of the word, nor did they strive to be after the initial incarnation). And almost universally, ELP is considered the worst of all of these.

Now, for many, a sufficient explanation of this is simply, "ELP sucks!". Needless to say, I think that is a grave mistake (myself, I would rate them third on the list, behind Yes and Genesis - note, however, that I now consider King Crimson on the whole to be far superior to ELP, even though first-period KC only has two albums worth caring about), but I think I can make a good estimation on the real reasons people despise this band. The first, and the most obvious, was the group's relatively heavy emphasis on classical music in their sound. Yes, progressive rock almost always has at least a tinge of some classical elements, but ELP's music had the greatest concentration of it in their music, BY FAR. Now, it's not as if that was the only type of music they did, not at all, but among their discography you can find covers of Copeland, Holst, Bartok, and they even did a full album rendition of Mussorgsky's Pictures at an Exhibition. Their self-penned material would also sometimes have a pure 'orchestral' feel as well, and they even managed to create a new and totally bizarre genre, the 'rock-symphony.'

The band's classical leanings, however, are not the only significant difference between ELP and the others on the list. A key thing to note about ELP is that, besides King Crimson, none of the others on the list were prog-groups from the get-go. Yes started as a jazzy, psychedelic rock band, and it wasn't until their third LP that they really became Yes as we know them. Rush began as a hard-rock garage band, modeling themselves after Led Zeppelin and Cream. And Genesis, well, Genesis started as a bunch of teenagers trying to sell pop songs to the public and not succeeding one iota (which is a shame, seeing as there are tons of great melodies on their debut). ELP, however, was pretentious and progressive from the very beginning, which makes sense. Both Keith Emerson (The Nice) and Greg Lake (King Crimson) were former key members of groups that had pretty much created the genre, and as such one could only expect them to continue what they seemed to have a knack for. Add in Carl Palmer's technically perfect drumming, and you have a group created for pretentiousness and lots of it.

There is one more aspect that sets ELP apart from the other groups, and that deals with the center of the band's sound. Rush focused on the blistering chops of their guitar and bass players. Yes, regardless of Wakeman's presence, rotated around their amazing bassist, Chris Squire. Genesis tried to emphasize Peter Gabriel's vocals and his bizarre fantasies over the less-than-stellar chops of the rest of the group. In the Court of the Crimson King, regardless of all of the mellotrons, was extremely guitar heavy, not to mention the saxaphones and other reed instruments. ELP, however, did not revolve around a guitar or bass player like the others. ELP was always centered on the keyboards of Keith Emerson. Now, it's not that he was a bad player, FAR from it. It's just that, well, he could be a bit too showoffy. Plus the fact that he often employed some extremely bizarre and occasionally annoying synth tones that few others would even touch. And since most people would rather hear guitar wanking than synth wanking, it's only natural that there would be a huge turn-away from this group.

I think I have made it sufficiently clear that ELP is not for everyone. The thing is, for the longest time I refused to give them even the slightest chance, and that's a shame, because they really aren't bad! For starters, each of them was a highly talented and extremely professional musician, and even haters of the band have to give them that. Keith Emerson, let's face it, was almost indisputably the greatest keyboardist on earth, hands down (I think he was officially given the title by some renowned magazine twenty five times in a period of thirty years). Hence, he was often able to make large parts of the group's compositions come alive by the sheer force of his talent alone, whereas in the hands of any lesser player it might have been deadly boring. Meanwhile, just as important for the group was vocalist/guitarist/bassist Greg Lake. With the exception of Justin Hayward, NOBODY was a better rock singer than him in the 70's. He was always able to add incredible power and powerful emotional content to the highly abstract and bizarre lyrics that always accompanied the group's music. And one should certainly not minimize his guitar and bass playing, not at all. And finally, there was drummer Carl Palmer, as fine a prog drummer as one could find in the world; with an impeccably fluid and solid playing technique, his playing abilities in the prog universe were surpassed only by Bill Bruford himself.

The fact remains, however, that impeccable instrumental technique is not the only requirement for being a good and distinctive progressive rock band. After all, if all I cared about was great playing abilities, I would be sitting here reviewing various jazz recordings rather than talking about rock and its various forms. You see, it's a common misconception that the band was primarily a medium for the grandiose ambitions of Emerson. Now, don't get me wrong, the man could write an excellent and supremely catchy synth jam (Karn Evil 9.1 in particular), but in NO WAY was Keith the creative epicenter of the band's music. No, that honor fell to Lake, who was an extremely talented pop song and ballad writer. I mean, grandiose and overblown as Tarkus is, it's really just three short, very catchy Lake numbers whose various musical themes are expanded upon with the help of Keith's synths and are reprised in just the right amounts. And that's hardly the only example, as great songs like Lucky Man or Epitaph (from his King Crimson days) will show.

In any case, the point I'm trying to make is that the music of ELP, in general, is nowhere near as intimidating as it is often made out to be. If you're looking for solid pop and rock embellished with a bit of jazz and a healthy amount of classical and symphonic aspirations, you shouldn't be afraid to give them a try. I used to rate them as a two-star band, but surprisingly found that my enjoyment of the band has only increased over time (in particular, the debut REALLY grew on me, as you'll see in a bit), so a three-star rating (out of five) seems appropriate enough. Now go ahead and flame me for liking them as much as, say, Led Zeppelin.

What do you think of ELP?

Barry Allen Schnorr (bas29@cornell.edu)

Also, I'd like to respond to a few things on your general discussion of ELP...right or wrong, King Crimson is my favorite band, and I hope that by the time you get around to reviewing them, I will have forgotten who you were and say "John McFerrin? He was the quarterback for the Baltimore Orioles back in the 90's, wasn't he?" What on earth were you thinking when you called '80s crimson "primarily New Age"? It bears no more similarity to New Age (author's note: that's WAVE Barry, New WAVE) nonsense than Yes's foray into '80s pop, and maintains the band's old artistic sense. As to the latest incarnation, THRAK included Soundscapes and songs like "Inner Garden"--not their best work, I admit, but to call it "progressive-*gasp*-punk"...I can't ask what you were thinking, I must ask what you were _smoking_.

And limiting the number of aceepted progressive groups to 5? I can understand your leaving out the Moody Blues and Procul Harum and even Jethro Tull (though I don't) but calling Pink Floyd not-prog? I simply cannot agree with you there, and neither can the people who compiled The Progressive Rock Era. When people ask me for examples of prog, I always mention Pink Floyd because they may be the only group the ignoramuses have heard of. Gentle Giant is too obscure to make the list? What about early period Alan Parsons Project, which even Dr. Evil's kid knew was a progressive rock band? Well, my point is not to disagree with what you said about the bands, it's just that to say there was only 5 "widely acknowledged" progressive rock groups sounds kind of silly. And, of course, just to contradict for the sake of it, because I'm an agressive, objectionable prick, just like all ELP fans.

George Starostin (gstarst@yahoo.com)

I'd just like to mail an objection to Barry Allen Schnorr...

I think, Barry, that it all boils down to what one actually calls 'progressive' music (or progressive rock). Why argue about the term with foam at your mouth when it's obvious that you and John mean different things under it? Apparently, you use it in the broader term, that's rather the equivalent of 'art-rock' in general. John, on the other hand, is limiting the term to a specific genre of music - rock music with a very heavy classical influence and an overall obscure, mystical, and most often bombastic atmosphere around it. That's what I usually understand as 'progressive' as well; it's better to limit the term so that it wouldn't be confused with 'art-rock' in general, which, in my understanding, is a far wider sphere of music (basically, 'prog' is one of the numerous form of 'art-rock').

In this respect, Pink Floyd are certainly NOT prog-rock: they had glimpses of prog in the early Seventies around them, like with Atom Heart Mother, for instance, but since Dark Side, they abandoned all prog in favour of a more commercial, simplified approach. I do not make any positive/negative statements here, mind you, just telling facts as they are.

Also, John is right in saying there are only five 'widely acknowledged' prog bands. If you are a prog lover, you'll be offended by this, of course; but I'm sorry, the name 'Gentle Giant' says nothing to the general public (a shame, but so it is), and Alan Parsons Project is crap, so it SHOULD say nothing. As for Jethro Tull, they certainly were a prog-rock band, too, but only somewhere in between 1972-79. And, of course, it's ridiculous that you should confuse 'New Age' with 'New Wave'. And what do you mean by 'New Age nonsense'? Have you ever listened to Brian Eno?

George Starostin

Barry Allen Schnorr (bas29@cornell.edu)

OK, I'm sorry I parsed "New Wave" as "New Age". I don't use the term "New Wave" very often, even though I do like some New Wave music and, now that I think about it, '80s King Crimson could definitely be said to be New Wave. When I originally read your site, I had King Crimson's Three of a Perfect Pair in my CD player with "That Which Passes, Passes Like Clouds" playing and I parsed your phrase as "New Age" and thought, "This song for one is kind of ambient and a half assed attempt to be trippy, kind of like Enya, so maybe you could call this version of Crimson New Age BUT ONLY BY AN EXTREME STRETCH OF THE IMAGINATION. Which is true. But irrelevant. I missed the boat on that one. Then again, I may have a completely wrong idea of what the definition of New Age is, but I don't care.

By the way, I'm not budging on this "progressive punk" thing. Whether you use a more narrow definition of 'prog' or a broader one, I think you have to agree that prog and punk are not only opposites but mortal enemies.

(author's note): In theory yes, but on the other hand, we did have groups like Metallica, who in their early days could certainly have been called both a progressive and a punk (well, thrash actually, but thrash is more or less descended from punk) band. Also, Barry, you should know that before I said anything about Crimson, I made sure to consult with my brother, a HUGE fan of the Fripper gang, and it was he who proposed the punk-prog idea. I merely agreed with him.

Maybe Fripp has said that he admires punk, but that is just one more reason why I cannot take seriously anything he has said since about 1989.

Fleetwood the Artistite (fleetwoodwm@yahoo.com)

We, as with anyone else agree and disagree on ceratin points, such as what we like and dislike about particular ELP songs. I shan't argue that. Opinions are opinions. However there are a few factual flaws and points that need mentioning:

- "various tones he could coax out of his mellotrons and keyboards" Keith Emerson never played a mellotron - it would be interesting to know why he never did
- besides, you're not the first person to metion mellotrons sepaearately from keyboards. On King Crimson's first album, Ian McDonald is credited with playing "keyboards and mellotron" I thought the mellotron is, without doubt, a keyboard instrument, and therefore needn't be mentioned sepearately.
- I never before thought of "The Three Fates" and "Tank" as being one large piece, but as sepearate tracks. I listened to the CD and realised that the continuity and lack of space (which exists between most tracks on CDs) would suggest such. The fact that a CD is divided into distinct tracks emphasises...anyway - the clavinet on "Tank" has a fantastic sound!

jesusmyth@arabia.com

Ich habbe gelost ein fohrtz. I had one grunch but the eggplant over there. Close cover before striking. 5 years or 50,000 miles. No interest until February. Accept credit cards at your website! Toora Loora Loora, it's an Irish melody.

Your opinions ain't worth shit, buddy.

(author's note): And yours are? At least I don't sit at my computer and write e-mails of incomprehensible jibberish.

ELP and Brain Salad Surgery is up there among the gods of Rock.

Kerry Canfield (keriz@teleport.com)

Don't know how long your site's been going, so I don't know if this is new news or not. While we were listening to "Emerson, Lake & Palmer" (that is, the first album) at my parents' house, my mom told me that much of "The Barbarian" is adapted from Bela Bartok's piece called "Allegro Barbaro" (seems I had even played the original at one time myself and had forgotten about it!). Then a year or so later I happened to check out of a library a classical album with a Hindemith piece on one side and some piece called "Sinfonietta" by some Hungarian guy named Janacek of whom I'd never heard. Just for the heck of it I listened to the Janacek first. When I heard the first few chords, my jaw dropped--it sounded like the opening to "Knife Edge." The further I listened, though, I realized it was definitely not coincidence; except for the Bach excerpt in the middle and the organ soloing, the entirety of "Knife Edge" was lifted--melody, harmony, and rhythm--from the first section of the Janacek piece.

And yet Mr. Best Rock Keyboardist never gave these composers he RIPPED OFF (and how can one call it anything else?) until years later in "Keyboard" magazine, where he admitted when questioned by a reviewer that, yes, he'd used someone else's music, but he'd thought his "borrowings" were sufficiently removed from the originals not to be plagiarism. Interesting, though, that he credited Copland on other recordings, and Mr. Copland happened to be alive at the time--whereas Bartok and Janacek were definitely long dead (and presumably their estates lacked the international clout to claim their due).

It gets worse (though going back in time). Emerson had the unmitigated gall to state in the same interview that he "thought" that "Rondo" by the Nice had "contained some quotes." Not even one oblique reference to the fact that the core of the piece (and the unfortunate excuse for several minutes of additional keyboard wankery) was an unabashed reworking into 12/8 meter of Dave Brubeck's "Blue Rondo a la Turk," which was in 9/8 time. To add insult to injury, then, not only did he not credit the true composer, he turned a piece with a truly captivating meter and rhythm (especially when considered in the context of most jazz of the time) into a pointless, heavy handed 4/4 jig!

I've been an Emerson fan ever since the first LP, but this business always sat wrong with me, and since I've seen no one else mention it on this page, I felt compelled to do so. Thanks for listening.

Eric Williamson (erwill@suitandtieguy.com)

I think that one of the things your forget to mention is that ELP had a shameless sloppiness about them that was not present in any other prog bands, the exception being the Islands-period King Crimson.

The sloppiness is one of the things I find charming about the band. The other is their extreme emotional dynamic, half the time super-serious and half the time super-ridiculous.

John Capogreco (capogreco@CIDTEC.COM)

You were correct when you stated that Keith Emerson has played a Mellotron. If anyone doubts this, just check out the intro to "Eruption" on Tarkus. Those layered human voice "ahhh's" that slowly fade in are indeed played on a Mellotron. Besides, the instrument is listed in the liner notes along with all the other keyboards used.

For what it's worth, I think that it's impossible for anyone who doesn't personally know Keith to say with certainty that he "has never played" any particular instrument.

rob kipp (rkipp@si.rr.com) (8/25/01)

Firstly, Keith Emerson has NOT used a Mellotron.  Tarkus was recorded in 1971, there were no choir sounds on the Mellotron at that time (The M400 came out at the end of 1971, Tarkus was recorded at the beginning).  Keith has said that he does not use it because it is playing playing back what someone else recorded, which would go against his "principles." (I don't understand why, that's what he said though).  However, Greg Lake used one on stage only once or twice in 1972 when they tried to play "Abaddon's Bolero" live, which obviously did not work.  All of the choir or string sounds used up until "Works" (where he used a whole orchestra) came from the Modular Moog or Minimoog.

  Having said that, some people have complained about the narrowing down of the important prog groups to only five.  I think the list is pretty good.  These five band have had the most commerical influence on other groups, so they are the most important, but not necessarily the best.  (My favorite is Genesis personally).  I could not count Pink Floyd under the criteria of quasi-orchestral fullness and bombast, but in terms of sheer ambition, I don't think any other band has released FIVE concept albums, one a double!  Lyrically, their scope is as far-reaching as the "real" prog groups, if a little more direct.  Jethro Tull I wouldn't consider as well, because their influences came not from European classical music of the 19th and 20th century, but from folk and Renaissance music influences, which is not classical in the sense that we use it in now.

  I do enjoy ELP's music, but I think their instrumental virtuosity was definitely overpowering, and sometimes overbearing, when compared with the virtuosity of Genesis and Gentle Giant (sort of middle-ground) and Pink Floyd (no real virtuousity, though I love David Gilmour as a guitarist).  They were the most directly classically influenced-group, and were very important in bringing some classical music to a mainstream audience.   Keith Emerson, like it or not, has to be regarded as the best keyboard player ever to emerge from the rock era, no "rock" musician has ever attempted anything like their own piano concerto!?  Greg Lake is a distinctive bassist and unbelievable singer (though I still believe he never sounded as good as he did on "In the Court of the Crimson King") and Carl Palmer is an unbelievable drummer.  It's a shame their output since 1977 has been so spotty, unlike Crimson or Yes or Genesis.  They are very much an important part of prog-rock who deserve respect at least if not the adoration of music fans or prog fans alike.

Steven Knowlton (knowstev@med.umich.edu) (10/11/01)

To weigh in on the "is a mellotron a keyboard instrument" issue, I'd like to say: The mellotron is not a musical instrument at all - it's a form of tape recorder. The playback function is controlled by a keyboard, and the tapes can be arranged to play a pattern like that of a keyboard instrument, but technologically, it's still a tape recorder. The same effect could be achieved, much more laboriously, by splicing tape together.

john sieber (oneofakind151@hotmail.com) (10/15/01)

Mr. Knowlton:
A Mellotron is indeed a tape recorder. And both the Synthesizer and Hammond organ are computers. And the piano and pipe organ are machines. Please.

No offense intended here, but... please.

TheeRubberCow@aol.com (12/28/01)

It is a shame that they get so much hatred.  I don't like when they do classical pieces like "Fanfare For the Common Man" and stuff like that, but they have got some great stuff!  "From the Beginning" has some of the best sounds I've ever heard on the radio, and the really electronic sounds that Keith uses on "Brain Salad Surgery" are awesome.  Not to mention some good songwriting, and a great singer....esp. on "The Enless Enigma."

splazo@telus.net (1/08/03)

I often hear the claim that Keith Emerson is the best rock keyboard player of all time, but I have yet to figure out why people say such things. For starters, he can't really play a decent solo. Perhaps the fact that he's tone deaf is the thing holding him back. Just listen to the rubbish solo in lucky man. He's sliding the pitch bend on his synth allover the place and never really hitting an in tune note. I'd always figured that being the petulent wanker that he is, he was simply trying to sabotage Lake's pretty little ballad, but maybe that's just really the best he can play.

Another serious shortcoming of his playing is that he can't really play all that quickly. Not that I put much stock in sheer speed as a redeeming feature of music, but it seems a fairly objective measure of chops. It's pretty obvious that when he's getting himself all worked up into a lather in one of his frenzied wankathons that he's playing as quickly as his big dorky hands will carry him, and that speed simply isn't up to par compared to the competition.

Also, his melodic sense is more than a little lacking. Just listen to the solo in Tiger In A Spotlight for instance. It's like he's used up everything he meant to play before the allotted number of bars had elapsed and he's just stuck there without a plan running down the clock. Best keyboard player in the world and he can't count to 16. Then consider all the sheer crap that he dared to slap on a record and try to pass off as music on Pictures At An Exhibition. Shameless meowling without metre melody or chops.

I'm not saying he outright sucks. Just that he's far from head and shoulders above the competition. Rick Wakeman at full gallop is easily 50% faster than Emerson at full throttle. Compare the solos from White Rock to those on Karn Evil 9. No contest. Also notice that Wakeman can bend the pitch all over the place and land on in tune notes at will. That's the difference that having an ear makes. ( White Rock, imho, isn't an especially good Wakeman record, just one where his synth soloing admits of direct comparison to those of Emerson, much to the disadvantage of the latter. Almost any Wakeman album will have solos beyond the technical abilities of Emerson.)

Tony Banks can only play a solo at about the same speed as Emerson, but his melodic sense and ability to ration his chops evenly over the time allotted for the solo similarly leaves him as an overall more impressive soloist. As an accompianist his chops put those of Emerson to shame. ( Well, not really since Emerson is totally shameless, but if he were capable of shame they would. ) Check out the intricate overhanded tremello chording throughout The Lamb Lies Down On Broadway for instance. A truly amazing display of virtuosity if you take the time to notice. The nice thing is though, that you don't have to notice, because the song works just fine without drawing your attention to the incredible workout that Banks is getting on the song. What strikes the listener is a richly textured song rather than some hyperactive prima dona who has to keep his hands busy.

Given that Emerson simply doesn't measure up when compared to either of his chief prog rival keyboardist, I'd have to conclude that the wildly hyperbolic claims as to his abilities arise more from the manner in which his sub par skills have been packaged. While Wakeman ( even on his solo outings ) and Banks are generally presented in the context of a full 5+ piece band, Emerson was only able to hog the amount of ice time he wanted by dispensing with all other treble clef instruments in his band. ( In fact, when Lake left King Crimson to join ELP, Fripp offered to come along too, but Emerson nixed that proposal on the grounds that he wasn't interested in working with a guitarist. ) It's pretty easy for a keyboard player to shine when he's just working with bass and drums, even a tone deaf noodler like Emerson.

phil robertson (philrobertson@shaw.ca) (9/02/03)

haha man you sure put a lot of energy into hating a band!  Whatever, thats your perogative I guess.  They were pretentious yes but at least Keith Emerson was a great musician on a technical level, you have to give him that.  They had a few nice accoustic ballads too here and there.

Marie (marie@xpressweb.com) (9/08/03)

"Styx, Journey, Kansas ... all are talentless buffoons with large egos but little else,"

  I'll grant you Styx, but Journey and Kansas talentless? Steve Parry is possibly the greatest male vocalist of the late 70s and early 80s. Journey's talent wasn't in the writing, it was in the execution. They were excellent on stage, and their playing was about as perfect as any artists could hope.

  Kansas was the opposite. Not that they were bad musicians, but their talent was in their songwriting. They were superb song-smiths. From simple pieces like "Dust in the Wind" to complex creations like "The Wall" and "Play the Game Tonight," listening to Kansas was always an emotional experience.

  You may not like the mainstream rock musicians from the late 70s and early 80's, but please give credit where credit is due. Were Journey and Kansas over-hyped? Probably. Talentless? Not even close.

PAUL RASANEN (rasanenp@gte.net) (8/07/04)

I saw ELP in 1977 at the coliseum in Seattle.  I believe their concert was about a month after I saw Led Zep in the Kingdome.  ELP was a far better concert than Zep put on that year.  Actually it was one of the best I've seen.  How you can rate Bill Bruford over Carl Palmer is beyond me.  I have not seen a better drummer ever!  Emerson, well, lets just leave that!  There's no one close to him.  Lake is awesome.  Why do you think the Who used him for their latest release!  There's my two cents!  I like their music!  I like a hell of a lot of other rock music.  I'd probly say The Who is my favorite.

Joshua Raisen (joshuaraisen@comcast.net) (12/09/04)

Stumbled across your page on them, and I bet you wrote all that ten years ago, but hope you don't mind if I felt like writing.   Wouldn't know a mellotron if it bit me in the ass, but I always thought Wakeman was a better keyboard player than Emerson, and never thought Greg Lake was anything better than an average guitarist.  I dug some of his bass lines, though, and I have to mention the little screeching fills in "Stones of Years," probably the most gut-wrenching thing he ever played. Loved Tarkus. Fucking loved it.   Man that album is great alll the way through, and I like side one better than side two.  When I was like 19 or 20 I once played side one all the way through and then dd it again before playing side two.  Wouldn't even do that with Close to the Edge.  Trilogy and Pics at an Exhibition are excellent in my bag, too, but the first one is only OK, and everything else is totally boring.  ELP sucked in 1977 like Yes wouldn't suck until 1984, and King Crimson has never sucked that bad, unless maybe 1971.

Kansas were a great prog band who rocked like none other (coz they weren't English Art School wankers, of course).

  I always thought Genesis were more boring than golf. 

  Great story about the Sex Pistols burning effigies of Keith Emerson (and I'm sure you know that John Lydon wore (I Hate) Pink Floyd T-shirts as early as 1975), but in the end ELP made three great records and the Pistols made one.

  I liked those stupid Eglish pub rockers like "Are you Ready Eddie" and "Jeremy Bender.  Didn't you?

  Listened to all this prog stuff in high school, when I ranked them Yes, Kansas, ELP, King Crimson, then got into Iron Maiden and Metallica, and did up the punk and hardcore thing  in college.  Listen to Godpeed you Black Emperor and 90 Day men now.  But I'll still pull out Trilogy from time to time.

sailing2427 (sailing2427@rogers.com) (12/16/04)

Bill Bruford a better drummer than Carl Palmer; man you are out to lunch!!!!

Steve Winkler (spwinkler@hotmail.com) (03/06/04)

So you don't like prog rock as a style of modern music? Fine, but what I'd like to know is how many of you are serious musicians? What I have typically found is that those who are the most critical of prog rock musicians can't even play chopsticks on the piano. Back in the day, prog rock groups tended to be the favorites of a lot of serious rock musicians because of the technical structure of the music and the challenge it presents to write and play it. Look, Led Zeppelin was a great rock band but you gotta admit, the stuff that Zeppelin wrote was a heck of a lot easier to write and play than say what ELP, Yes, Kansas or Rush wrote. And speaking of groups like Kansas, have you lost your (#$%#*@$) mind? Give a listen once again to songs like "Spider" or "Paradox". Prog rock players/writers like Keith Emerson, Steve Howe, Greg Lake, Steve Walsh, Bill Bruford, Alex Lifeson, Rick Wakeman, Kerry Livgren, Chris Squire etc. could WRITE AND OR PLAY "circles, squares, rectangles etc." around 95% of the NO TALENT feces of today who try to pass themselves off as musicians. I mean you have got to be kidding me! Let any one of your suck ass punk band no-counts come to one of my rehearsals and just see how lost they would be. "duhhhhhh, what's a DMaj7? Sharp, what's that mean?". "I'll tell you what it means, it means get the (#$^%) outta' here and go get yourself some lessons or a chord book and learn how to play your ($#%&*#@) intrument!"

SolomonsOther@aol.com (03/15/05)

I admit it. Keith Emerson can PLAY! Greg Lake can SING! Carl Palmer can DRUM!

I just... god, I just get bored with Emerson's technique so quickly. The man has a lot of energy and can write seriously complicated music... I just wish he'd have been more interested in jazz and not classical music. That rapid fire style of his would've done wonders. Procol Harum and the Moody Blues (two awesome yet underrated bands) have proven than you can blend classical and popular influences and yet not overwhelm the listener. The thing about Emerson is that he rarely takes the time to write out interesting melodies and instead piles layers of keyboards on eachother. Works some of the time, but usually I feel the need to put on Simon and Garfunkel to remind myself of the power of simplicity or something really nasty by Zappa to remind me great art doesn't need to be grandiose... just interesting.

  Oh, and I wish Greg Lake would play something more often. He's shown himself to be a pretty decent instrumentalist, whenever Emerson is too tired to more or less perform EVERYTHING in a particular song.

Pedro Andino (pedroandino@msn.com) (06/25/05)

why don't ya' shut your fucking mouth fagwads! buncha 50 cent loving cocklicking fags! nothing like a little prindle styled humor to start your fucking day, bitches! I say the 5 synth players it had to be wakeman! I like wakeman! and trust me his goofy soloing in the song golden age was pretty funny! but when songs like and you and I came out his solos are tastefuly done. tony banks is the best. the intro to firth of fifth was the most beautiful intro by tony. emerson was good but guys I'm sorry I must say love beach is better than failed flops like black moon and calling all stations and union. I like the sound of mellotrons. journey rocks you fag! kansas rocks to! 50 cett is a faggoty CONSUCKING PIECE OF SHIT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! fuck off ya' trendwhores!

Trfesok@aol.com (06/07/06)

The thing about ELP, I think, is that they became victims of their own ambitions. Particularly Emerson's.  They were willing to try anything at least once, continually pushing at the boundaries between rock, classical and jazz. Part of the problem is that most of the fans were not willing to go the distance. Not everybody wanted to hear a full length piano concerto on one of their albums, for instance. They were bound to, sooner or later, run up against the limits of their deep talents sooner or later, and unable to go backwards into standard pop territory too well. Nonetheless, they did come up with some music that still is mind-boggling today.

  You do point out one thing -- that they steered a lot of listeners towards the classics. By starting to look for "real" versions of the pieces that ELP used, I began to develop appreciation for and enjoyment of classical music. Even today, I'm still seeking out some of the more obscure ones!

delettao@peoplepc.com (06/07/06)

ELP was/is the absolute pinnacle of ostentatiousness and pretention!  I find all of their material to be thoroughly unlistenable and almost everyone I knew back in the seventies that was a big fan of this band was a pen clicking self-important quasi-intellectual blacklight poster trip art bongbrain asshole as well. I find their keyboard oriented progressive rock approach to be sterile, boring, extremely condescending and just basically full of shit. I also agree with your estimations of Kansas, Journey and Styx, three other godawful reasons to avoid classic rock radio stations. Give me the Circle Jerks or something, please!  This band was never any good or any fun. And I don't want to be "coaxed" into listening to revamped classical music compositions by Mr. Emerson either...go to hell!

Pedro Andino (pedroandino@msn.com) (07/24/06)

shut the fuck up!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! goddamn I am tired of faggots like you insulting my band. hey! faggot just bought the new 50 cent album! eat cock you fucking trendwhores!!!!!!!!!!!

Ray Worden (rworden@inebraska.com) (01/30/07)

Well I just stumbled across this site. So I will offer my opinion on Emerson Lake and Palmer as band, and how this band impacted my life and musical career. I should say at this point that I am a professional musician, and I earn my living making music. I was exposed to Emerson Lake and Palmer in the 70's. I must tell you that I had never heard music like this before. It just blew me away, it was so different than anything I had heard before. I had been listening to the Beatles and the Stones which I really love to this day. Yet in the 70's we were exposed to all that disco crap ! When I heard Emerson lake and Palmer it was breath of fresh air ! Trilogy  and Brain Salad Surgury just blew me away ! I wore out those records because I listened to them so many times. I really think that was their best work. So Creative ! Lucky Man, well that was their big hit, yet not my favorite song.

  Maybe these guys were not the best musicians on the planet, yet they created something special for us back then. One of the reasons that I do what I do now is because of that band !! And Maybe that is the endless enigma !!  :-)

---

Birth Of A Band - Isle Of Wight Festival - 2006 Eagle Vision
7 (10

Best song: Rondo (minus the drum solo)

Send me your thoughts

Daniel Bosch (bicycle_legs@optusnet.com.au) (09/29/07)

Couldn't agree more. Thankfully I picked this up cheap. I think it's a matter of expectation - I was expecting a concert DVD, what I got was a documentary. There is a CD version of the actual concert, and it's pretty neat, but I would love to see ALL the footage of the performance. It must exist.

---

*Emerson Lake And Palmer - 1970 Atlantic*
10 (13)

Best song: Lucky Man or anything on side one

Send me your thoughts

Barry Allen Schnorr (bas29@cornell.edu)

You gave ELP a 7? A mere 7? Is that the same 7 that you gave to Octave? The Three Fates is an interesting piece and does not drag the album down as much as you say. And Tank kicks ass! I'm not a fan of drum solos either, and I love it! C'mon, borrow another point off of Pictures at an Exhibition and give it to this album. I'd give it a high 8, maybe even a 9.
(On your system, I'd rate them: ELP-8, Tarkus-7 (maybe high 6), Trilogy-10, PaaE-4, BSS-9, don't have any albums from then on, I'm told they're so-so, I might get them eventually but not before finishing off the Moodies' first 7)

Daniel and Corine Bosch (dcbosch@optusnet.com.au) (6/17/02)

A good debut, but they would do better. To be honest, it has a feeling of "we need to get something into the marketplace to establish our new group in the public eye". Still, some great stuff here. "The Barbarian" is a fantastic opening, and still my favourite on the album. "Take A Pebble" does drag in the middle a bit but the piano  is wonderful - one of these days I would love to hear an album of Keith Emerson solo piano pieces. "Knife Edge" rocks, "The Three Fates" is indulgent but still cool and "Tank" rocks - Carl's drums solo is relatively brief and very tasteful, if a little uninventive. "Lucky Man" is typical Greg Lake - a nice acoustic ballad with Keith just coming in on the end. I'd give it 8 out of 10.

Meldrain@aol.com (9/15/03)

Wow, a 13 for the debut? Can't say I agree with that one. To me their eponymous debut is an exercise in frustration, featuring the best and worst sides of the band (the latter, predictably, manifesting itself in the forms of extreme self-indulgence and unbearable pretentiousness, elements inherent to prog yet not so noxious if a band can control them). Three songs are undeniably (well, technically anything can be denied, so don't take it literally) amongst the trio's best; obviously I'm referring to Lucky Man, Take a Pebble and (especially) Knife Edge. These three alone guarantee a high rating (and Barbarian's good too, of course) but the rest of the album conspires to consign the CD to the chthonic abyss of prog hell, a much nastier representation of it than the mild Vangelis version. The Three Fates suite isn't bad per se, but it is rather tedious. If I want to hear Emerson noodle around I'll listen to the awesome Rondo, or, well, anything that cultivates at least a modicum of excitement. Tank is, of course, atrocious, as is par for the course for drum solos. It's depressing that such an abomination can exist on an album that contains sporadic instances of prog nirvana. In other words, a bipolar album, and Lithium wouldn't help because grunge is incompatible with prog anyway. If the entire album were up to the standards of the three peaks I'd give it at least a thirteen (bad movie, haven't played the videogame). As it is it barely manages to secure a twelve. I'd say their best album is the uber pretentious but immensely enjoyable Brain Salad Surgery, followed by Tarkus. Speaking of that, if you see him would you ask Carl Palmer who'd win in a fight between Tarkus and an Atomic Rooster?

"Akis Katsman" (watta502@yahoo.gr) (2/11/04)

Excellent debut. Not 'perfect' by any means (perhaps the two instrumental tracks on side B should have been shorter), but there are some real gems here. "Take A Pebble" might be my second favourite ELP composition ever (after KE9), awesome. Greg Lake is a godlike singer. And what about the notorious epics "The Barbarian" and "Knife Edge"? Essential for any serious prog fan. There's also "Lucky Man", a great ballad which was one of the first songs ever to have a synth solo on it. Second best ELP album, after Brain Salad Surgery. 9/10.

Finbar Conlon (finbar.conlon@gmail.com) (10/12/05)

On your review of ELP's first album, (http://www.johnmcferrinmusicreviews.org/elp.html) I agree with your rating of 10 out of 10. Everything you said about side 1 is right on the money, and your review of Lucky Man, couldn't have said it better myself. A good friend of mine, who got me into ELP (and prog) in the first place, despises that song and anything that has "Greg Lake" and "ballad" in the same sentence. As such, when he was originally getting me into the band, it was with prog-themed mix CD's, and I got a very skewed picture of the awesomeness of ELP. (Not to mention hearing Karn Evil 9 out of context in a whole new way! Third impression alone!) But yes, bravo. Everything you say about Lucky Man and side one, right on the money.

The difference here, I guess, is I loved the CD instantly, track to track, more so with each note. Particularly the Three Fates, which is probably my favourite track, and Tank. We'll get to Tank in a second, but first, c'mon! What exactly is everybody's problem with the Three Fates!? That track is pure evil! (Which I mean in a good way.) Sure it's long, but I think the length can be savoured rather than sighed through much like the deserved length of a Pink Floyd solo section or Bach dabbliness. You just gotta listen right, and it's sweeter than sugar.

Tank, I think, is actually the balancing track of this album. It's unmatched here, or on any of the other definitive ELP albums, for that matter, in structure. If it isn't to your taste, I guess that really can't be helped, but it's awesome for what it is, plain and simple.

I take issue with you commending Keith's "organ solos" on Knife Edge. If the "organ solo" that I'm supposing is in question is the Bach-ish stuff over the cowbell in the bridge, it's not an organ solo at all. It's Bach-ish because, well, it IS Bach. Knife Edge, being one of the first ELP tracks I ever heard was, I thought, an amazing example of creativity. It is. Just, Janacek's and Bach's. Not Emerson's.

All in all, yes, production-wise and creativity-wise, the album sounds rushed, which it is. But it's the good kind of rushed.

dsn2@Lehigh.EDU (04/25/06)

With regards to the extensive ELP review, the author says in the review of the first side of ELP's first album: "an adapation of a classical piece (the name and author of which escapes me at the moment), this track is a nearly perfect summary of all of ELP's talents..."

that piece is a Bach French Suite. It's the first half of the Allemande that opens the piece. I just learned it in my piano studies.

---

Tarkus - 1971 Atlantic
8 (12)

Best song: Tarkus

Send me your thoughts

Mike DeFabio (defab4@earthlink.net)

Wow! Somebody out there actually likes Tarkus! I'm sure there are plenty of people out there who love this song, but besides me, I haven't come across one. The thing is that people are simply scared by pretentiousness, which makes no sense. I love bombast, as long as the songs are good (it's the song quality, not the pomposity, of Tales from Topographic Oceans that make it a bad album.) I'm not sure why, but I just have an uncanny affection for songs in danger of sinking under their own weight. I enjoy a speedy punk number as much as anyone, but I just love it when a song jumps out at you in an overly-theatrical manner. This is quite definitely my favorite ELP album after Brain Salad Surgery. I absolutely love all those crazy noises Keith squeezes out of those keyboards. Aquatarkus, for example. I LOVE that synthline. It actually sounds like it's underwater. He even makes typical everyday organs sound bizarre. In Eruption and Iconoclast, the organ sounds less like an organ and more like bones hitting each other. The song parts are good too.

And hey! There's a whole nother side! Those songs are pretty good too, INCLUDING Are You Ready Eddy?. It's a perfectly good boogyin' rock song that closes the album in a completely different way than it began. And that's Tarkus.

And how bout that cover, huh? Gotta love it!

Echo Albarn (whoneedsthisreality@hotmail.com)

"Are You Ready, Eddy?" is an ode to the sound engineer/sometime producer Eddy Offord, who's worked with both Yes and ELP, in addition to some other bands whom I've forgotten just now.

Robert Grazer (xeernoflax@jack-the-ripper.com)

Is that the greatest album cover or what? I mean I love the covers of Atom Heart Mother, Sgt. Pepper, and most Iron Maiden and Yes albums, but Tarkus is my all time favorite. The inner art is also great.

But there is more than great artwork on this album, we got some good songs too. The "Only Way" and "Infinite Space" thing is great, containing some great bass by Lake.

BEST TRACK: "Tarkus" is, of course, the greatest thing on this album. However my experience with this song differs very little from everyone else's so I will not comment too much on it. It's great.

COMPLAINTS: This may be the only album that I like that I will end up spending more of the review writing in this section than the others. You see, the problem with Tarkus is that after such a spectacular opener (apart from "Only Way" and Infinite Space") the rest of the album ends up sounding like filler. It might not be, but that is how it sounds. Even though I like a lot of these little songs like "Jeremy Bender," I still get the feeling that ELP was rushing to make the album full length and show the world how great "Tarkus" the song is. Think about it, "Bitches Crystal" and "Are You Ready Eddie?" are really pretty stupid. They aren't terrible, but it is a rather big let down to hear those cheap attempts at songs after such a spectacular side-long. It doesn't ruin the album, but if the entire second side came out as good as "Only Way" and "Infinite Space," this could have been an easy 14.

RATING: My Scale: John McFerrin's Scale: 9(12) Maybe a *10(12)*

Awake600@aol.com

I think your review here is pretty much right on the money. "Tarkus" is an absolutely great epic, mainly because it merges a few awesome pop songs ('Mass' especially - how could anyone NOT love that one to death??) together with gripping instrumental 'battle' interludes to create an impressive experience that even me, who's not really a great fan of Keith Emerson's style, can appreciate. Plus, the whole piece has a humorous concept behind it that many epics just don't have. In fact, I enjoy this album as a whole a lot because of the entertainment it provides. "Jeremy Bender", though later eclipsed by "Benny The Bouncer" in the department of 'bizarre lightweight songs', is quite amusing, and "Are You Ready Eddy?" is even more so - you're not the only one that can get such a kick out of a serious vocalist singing parody-ish stuff like this. To a lesser extent, "Bitches Crystal" and "A Time And A Place" are impressively energetic listening experiences. I'd give this a 9, but I'm forced to drop it a point because, like you, I'm also very bored with "The Only Way/Infinite Space" suite. A high 8 it is though. I'm also in possession of Brain Salad Surgery, but I don't know about that one yet - it seems to be really good (possibly also 8 worthy), but one thing's for sure, it very much lacks the excitement of Tarkus at the expense of overly bloated songwriting.

"O'Brien, Mike" (mobrien@JJC.CC.IL.US)

The very first thing that attracted me to the "Tarkus" album was the cover art, which is highly unusual for me. The very first time I listened to it, I thought it to be nothing more then noise. As you put it, it is definately an aquired taste. But it did not take ma long at all to be totaly into it.

I was a sophmore in High School when I first clapped eyes on the ARMIDILLO TANK on the front cover. Since then, "Tarkus" had been some what of an inigma to me. I finaly did tind a web site that had the lyrics printed to the different songs, and as you said, they had nothing to do with this 'epic' about these animal cyborgs that terrorize the world. At first I thought it was an anti war statement. Then I thought it was a dig against technology and how it's taking over the world. The third theory I thougt up is how we became so advanced in our machines, yet socialy we are still in the stone age. Perhaps it's about all three, or maybe it's just an attempt at originaly. Originaly is certainly the order of the day where "Tarkus" is concerned.

Upon reading your opening paragraph, I finaly did figure out the 'epic' about the great struggle between all these animal cyborgs. The only thing that still evades me is t he very word "TARKUS" itself. I hav enot seen it in any dictionary. Is it suposed to have some specific meaning, or was it contrived by ELP in order to lend more originality (or mystery) to the album. What, prey tell, is a "TARKUS?"

TheeRubberCow@aol.com (12/28/01)

I can understand you saying "Tarkus" is your favorite ELP track.  It's so good that it actually makes me a big fan of an album that I would otherwise really not like.  I don't like side two much at all, except "Bitches Crystal," which is very exciting. I think some of the reason, though, is that it sounds like it was recorded really bad.  But the title track, yes, that is one o' their best.  There's just so many good things about it, I feel helpless trying to explain, besides, some people here already have.

Daniel and Corine Bosch (dcbosch@optusnet.com.au) (6/17/02)

Well, they sure hit their stride here! "Tarkus" is still MY favourite ELP track (there you go John, you're not alone!), it is the perfect sidelong epic. Great songs, great instrumentals, Some of Keith's best playing ever, it is majestic, ambitious, and absolutely perfectly executed. As with so many albums with an epic on one side and short stuff on the other, the 2nd side pales in comparison. I share your sentiments about the lyrics of "The Only Way" but Greg is entitled to his opinion, even if it is absolutely not mine. 9 out of 10 from me.

"Fernando H. Canto" (sirmustapha@ig.com.br) (2/26/03)

Alriht, I admit I never heard the B-side of this LP, but I did get the title track. And I must be very frank... It doesn't entertain me that much. I mean, the Eruption intro is absolutely fantastic, very energetic and very important-sounding. But aside from that, I don't really see much. Stones Of Years is rather boring. The melody doesn't thrill me that much, and the organ break doesn't do anything to me, either. Mass is kinda good, but doesn't really thrill me that much. Know what? I think the problem here is that the sound is way TOO EMPTY. I mean, drums, bass and one or two quiet layers of synths/organs aren't enough! Come on, Greg, gimme some guitars, or tell Keith to wake up and make those organs and synths sound fuller. The organ break in Mass is cool, but that empty sound on the verses annoy me. The same thing with Stones Of Years, and it's boring. But the instrumental breaks are great, because there's a lot of movement. And I *love* those melodies on Battlefield - the chimes and that *buzz-buzz-buz-buzz* synth melody, though the verses also go back to the "empty" thing again. But yeah, the instrumentals are cool, but the rest... ehhn, doesn't justify its length. It's interesting that George Starostin says Tarkus justifies its length, while Close To The Edge doesn't. But I think the exact opposite. Ain't it weird? Anyway, I don't know about the B side, so I shouldn't rate it. I think I won't even bother about the B-side, I'll just jump right into Brain Salad Surgery... or To The Power Of 3 - Just kidding! :-) I rate Tarkus a 6 out of 10, and that's it.

"Akis Katsman" (watta502@yahoo.gr) (2/11/04)

Alright, what can be said about the infamous prog suite "Tarkus" that hasn't already been said? Not much. A lot of people complain that it relies too much of keyboards, but as a keyboard fan, I adore it. Too bad the rest of the album isn't as good. I like "The Only Way" and "Infinite Space", but the rest isn't among ELP's best work. "Are You Ready Eddy?" is a little funny, but it has no place on an album with the "Tarkus" suite on it. Maybe it should have been on Works Vol. 2 instead. Anyways, I'd rate Tarkus a high 8 overall.

mgpickens (mgp1205@chilitech.com) (4/29/04)

Tarkus is definitely the best song of all time. From the first time i heard it i was thinking of how funny this song was and the art drives me crazy man.  Its freakin awesome.                        SUBMIT TO THE TARKUS!!!!

Mit (micromooge@comcast.net) (09/05/05)

This album was definatley Keith Emerson evolved. I liked your review on this one. I always thought Tarkus was an amazing composition , however; once I learned how to play it ( on keys) I came to appreciate it that much more. Although the band tends to jam around on a few figures here and there, the overall piece is extroardinary and takes mucho chops to play. 

  This is the definative ELP whose roots were being planted and developed for their ultimate commercial success..Brain Salad Surgery.

---

Pictures At An Exhibition - Atlantic 1972
8 (11)

Best song: The Sage or The Curse of Baba Yaga

Send me your thoughts

Barry Allen Schnorr (bas29@cornell.edu)

I gave Pictures at an Exhibition a few more spins, and maybe it's not the piece of unpolished garbage that I originally thought, but I still think you're overrating it.

What's there to like about The Sage? It's a very deceptive song--you get all these zany synths kicking around and sounding great at the beginning, and they go building up to a climax that sounds as if it's going to kick off the song--and suddenly everything goes quiet and Lake starts singing rather tiredly with a very thin instrumental backup which adds nothing to the song, a big disappointment in my opinion. It doesn't stack up to his other ballads.

(author's note): I disagree here. Sure, from a pure complexity standpoint it's lame, but the vocal melody is BEAUTIFUL.

With the exception of the Sage, the other tracks which Mussorgsky had no part in writing are the best songs on the album. The Blues Variations which they spin into from Mussorgsky's "The Old Castle" are surprisingly groovy, and I love The Curse of Baba Yaga--its fiery energy and scary, coming out of nowhere lyrics and changes in sound remind me of 21st Century Schizoid Man or The Barbarian, and the 2 speedy performances before and after it are also excellent. Also, The Nutrocker sounds like a quintessential ELP classical adaptation--lively, not-very-true to the original--it's surprising that it's not their own arrangement, they were covering a version originally performed by Bumble B. & the Stingers.

But the rest of the album isn't the greatest. My ears can't follow The Gnome, adding lyrics to Procession didn't help it much (although I admit, they were trying to do something to add variation.) And as to The great Gates of Kiev...I like ELP enough to have a VERY high tolerance for bombast and pretentiousness, but hearing this drag on and Lake bellow "deeeeeaath iiiiiisss liiifffe" is too much for me.

(author's note: I actually disagree on the last comment; I wish Lake would have really BELTED that last line, and in fact that is one of the aspects of the album that slightly disappoints me).

Still, it's not a truly bad album. The Curse of Baba Yaga alone makes it worthwhile. I don't think it's as enjoyable as any of their first four studio albums, though. Then again, I may be prejudiced against live albums, while you may be prejudiced towards them.

Echo Albarn (whoneedsthisreality@hotmail.com)

I wish to take a moment and disagree with the commenter who said that Modest Mussorgsky had nothing to do with "The Curse of Baba Yaga". Let it be noted that Lake's solo at the beginning (before the bass line that goes into Carl & Keith's part) is a mostly-direct transcription of the bassoon solo from Modest's "The Hut on Hen's Legs".

Steve Barber (drumrolls1@aol.com)

I just checked out your website. Pretty Cool!! I was pretty amazed at the guys who like "The curse of Bab Yaga". I was wondering if anyone of these people might have tried eciphering the lyrics to it?

I only cannot make out two parts of it, and will leave a blank where I cannot figure out that lyric or lyrics.

"Terrible faces try defense talk a lot but talk no sense_____smiling lies cut us up with smiling knives!"

"_____to raise the dead, feeding those who are fed, drain the blood from hearts of stone, whores and hustlers pick the bones!"

Can you or anyone fill in those blanks? This is very frustrating!

Kerry Canfield (keriz@teleport.com)

I don't object to the general idea of ELP doing even a half-faithless adaptation of Mussorgsky nearly so much as I object to Lake actually making up "lyrics" to "The Great Gate of Kiev"--and then not even singing the complete melody correctly! Did he jot those insipid high-school rhymes down a few minutes before the band took the stage? Aauugghh! What a WASTE of good music!

Daniel and Corine Bosch (dcbosch@optusnet.com.au) (6/17/02)

Good, but not great. And, in support of your general comments about ELP at the top of the page, it was through this album that I discovered Mussorgsky's original as a teenager, and my CD with both original piano and orchestral versions is one of my prized possessions. Back to ELP's version, I would have preferred if they used one or two more of Mussorgsky's original Pictures, but this is nit-picking. "The Sage" is the best Lake ballad of all, I don't care what you all think! You agree with me, don't you John? It is an exquisite melody, evocative lyrics, it is a great calm before the storm that comes in the form of the noise-fest of "The Old Castle" (can't see what Keith's synth squiggles have to do with Mussorgsky's piece of the same name, they bear no relation to each other whatsoever!) and the really cool jam of "Blues Variation". Side two isn't as good for mine, "The Curse Of Baba Yaga" is OK and "The Great Gates Of Kiev" has the majesty of the original. The encore, "Nutrocker" takes me back to my childhood - here in Australia (Brisbane to be precise) there was in the 70's a show called "Boris' Breakfast Club" and it used "Nutrocker" as its theme. 7 out of 10

m (coyote-1@rocketmail.com) (10/29/02)

Hi,

It should be noted that Deep Purple produced the first piece written specifically for a rock group+orchestra; the Jon Lord-penned "Concerto for Group & Orchestra" preceded Emerson & The Nice's "Five Bridges Suite" by a few months.

Paul Escamilla (peskypesky@earthlink.net) (11/20/02)

I really dig ELP's "Pictures at an Exhibition" too. In fact, it's probably my favorite ELP album. Don't ask me why, but I like it. Mussorgsky is one of my all-time favorite Classical composers and I just love the way ELP rock his shit up.

Call us dorks, but we're right about this one.

-Paul

P.S. I have to disagree with you about King Crimson's "Lizard" and "Islands". I really enjoy both of those albums. Even more so than "Red". Yep, it's true. I mean, "Red" is a monster, but it's too dark and metallic and menacing for my tastes. I like my discord with a bit of sugar, thank you. :)

Ethan Rasmussen (ethanrsmssn@yahoo.com) (02/28/07)

I think that I might know the first line from The Curse of Baba Yaga, I think it says:

  "Terrible faces try defense, talk a lot but talk no sense, caught up in those smiling lies, cut us up with smiling knives!"

  Sorry, but to me the second line sounds like it says:

  "Try to put you into bed, feeding those who are fed, drain the blood from hearts of stone, whores and hustlers pick the bones!"  

Doesn't make much sense, but that's what I heard.

  Hope I could help!

---

Trilogy - 1972 Atlantic
7 (10)

Best song: Abaddon's Bolero

Send me your thoughts

KZ1000PS@aol.com

I think that you just explained what I've been trying to figure out for a while. I couldn't quite figure out why I didn't like Trilogy as much as Tarkus or ELP, and it's because it lacks the energy and more or less the freshness of the previous two. Granted, I like most of the congs on there, but there's nothing new. Keith's only new sounds from the Moogs are the spacey, atmospheric stuff you hear in Endless Enigma suite and From the Beginning.

Speaking of the Endless Enigma, I'm glad it does end. It's pretty and won't offend anyone, but then again I like the stuff that might offend someone else (i.e. AquaTarkus). From the Beginning I think is very pretty and don't mind it at all. The Sheriff is alright, nothing great, but I like the warp speed rag time segment at the end. Hoedown I feel the same about as with the previous few, although I think it lasts about a minute too long. And then there's Trilogy. Although it's a little too long, I like this song. The opening third is delicate and Lake sounds very sincere in his lyrics. The other two parts are ok, but again last about a minute too long each. However, I love the closing coda to it, adds a nice little touch. Now I don't know why people hate Living Sin so much. Greg tries something different with his voice, and although it sucks, I don't think the nstrumental part of the song is bad at all. This perhaps has the most energy of all the songs on this album (Hoedown could be the one exception) and I like the beat. And lastly, I agree fully with you on Abbadon's Bolero. I myself am a classically trained percussionist/drummer and love the little details and nuances that are added on to that basic synth line. It almost always has my interest, and it does get you stomping along at the beginning of every new phrase.

If there's one thing that I notice looking at the album as a whole, it's that, although Keith doesn't do much new, and Greg and Carl don't expand their ideas much either, this album has a sense of better quality and refinement (not so much sound-wise) than the previous two did. Just listen to the Endless Enigma. And this is then taken another step further with Brain Salad Surgery.

nicholas.green@ntl.com

completely disagree with you re:Trilogy i'm afraid....Abaddons Bolero is one of the most stupefying wastes of vinyl ever..utterly dull and worthless where as the Endless Enigma is a bombastic masterpiece...fantastically unsubtle and all the better for it!!!

Art Jones (ajones@saatchiny.com) (7/17/01)

To quote Greg Lake, 'You just couldn't be more wrong.' Trilogy( and especially The Endless Enigma) is ELP's finest hour. The lyrics, for once, read like spoken English, in spite of the ubiquitous rhyming couplets. There is no ' Someone get me a ladder' to be found on any of the tracks, with the possible exception of 'Living Sin', the one throw-away on this disk ( I agree with you on that).

Melodically, it's accessible without being too simple, and the production, even by today's standards, is absolutely transparent. The band sounds full, but at the same time ( except for 'Abaddon's Bolero' and parts of 'Trilogy') it still sounds like a three-piece band-- an exceptional three-piece band.

Even the order of the tracks and the amount of 'dead-air ' between each track is perfect on this album / CD.

'Brain-Salad Surgery' by comparison, sounds muddy and overdubbed, and Lake's voice sounded over-processed and too low in the mix throughout. While I liked the first movement of 'Karn Evil 9', the subject matter and lyrics of the 3rd movement were when I realized that possibly ELP weren't the geniuses I thought-- a disappointing moment for me. The third movement sounds like a tinny, toy-soldier march, and it's too lyrically dense to be sung, which is why Lake always sounds like he's struggling to catch up. Even in the 70's, the concept read like a corny-rehashed sci-fi B movie. It was the beginning of didactic, preachy lyrics instead of lyrics that expressed feeling simply, directly and seemingly un self-consciously. I've never understood the fuss over BSS.

TheeRubberCow@aol.com (12/28/01)

hmmmm.......I don't know if I can explain why this is my favorite.  "The Endless Enigma" is just so emotional and dramatic, especially pt. 2.  Doesn't the hair raise on the back of your neck when it slows down as Greg is singing "Ive begun to see the  reason   why I'm  heeeeeere!!!!"  and they play that last dramatic chord with the heralding synth notes at the end?  I will always be devoted to "Supper's Ready" as having my favorite ending, but this one actually makes me think twice.  I like "In the Beginning" because first of all, it's a good song, and secondly, it has one of the best guitar solos I've ever heard.  The tone is so  "green" if that makes any since.  I love hearding that old 60's reverb with the way he's playing, and the keyboard sound afterwards alyways makes me picture an alien, or a space level from a MegaMan game or something.  The only thing! I'm really bored by on this album is your favorite, "Abadon's Bolero."  I usually even like long songs, even if they're repetitive, and I think it does sound good by the time it gets to the end, but for some reason it reminds me of music from the Andy Griffith show.

Daniel and Corine Bosch (dcbosch@optusnet.com.au) (6/17/02)

I thought you were a little harsh with this one. No, it's not their best (that's Brain Salad Surgery for mine) but it is worthy. "The Endless Enigma" is cool, I like the piano and bongos intro, but the best part of the piece is "Fugue" for mine. "From The Beginning" is pleasant but, like any of Lake's acoustic pieces ("The Sage" and "Still.... You Turn Me On" possibly excepted), not essential. "The Sheriff" is ELP having fun, which is cool but, again, not essential ELP for mine. "Hoedown" is great, and I think it has plenty of energy. I love all of "Trilogy", especially the piano Keith plays after Greg's ballady bit at the beginning, and in the bit where Greg is singing "Goodbye" there is a synth that sounds so much like a French Horn that it fooled me at first. And I LOVE the corny ending, after such a serious piece to just take the starch out, as it were, just fantastic. Believe it or not, these guys could laugh at themselves. "Living Sin" is a throwaway, and as for "Abbadon's Bolero" well, if you like the bolero form you will love this piece, if you don't it will bore you silly. This is how boleros work people, they have a melody and then build, and build, and build on it. It is as much an arranger's art form as a composer's and I think Keith pulls it off with style. 8 out of 10.

"Akis Katsman" (watta502@yahoo.gr) (2/11/04)

This is, for me, the worst 'classic' ELP album. There's nothing here I can say I adore (although the first part of "The Endless Enigma" comes close). "From The Beginning" is cool, but somewhat overrated. I don't care too much for "The Sheriff" or "Hoedown", they're just ok. The title track has some very good moments, but the 'overproduced' part is somewhat annoying. As for "Living Sin" and "Abaddon's Bolero", they're just filler. Especially the latter, which is this album's "Moonchild" (on King Crimson's debut). I give this album a very very low 7.

Mit (micromooge@comcast.net) (09/05/05)

I agree with you to the point that this album (Trilogy) was a bit self indulgent and that they recklessly ruined some good material with those inflated repetative synth jams.

  However, on the other hand..listen to the end of the Endless Enigma ( from the fanfare on ) and that has to be one of the best and most exciting analog synth arrangements ever recorded. Besides compositional brilliance and taste, it marked the final step to the creation of their next work..Brain Salad Surgery. 

  Abbadins Bolero also enters into the realm of brilliant synth arrangement. Just to note..Keith Emerson is a classically great composer.

---

Brain Salad Surgery - 1973 Atlantic
9 (12)

Best song: Karn Evil 9 1st Impression

Send me your thoughts

Galvao (Danibabi@correionet.com.br)

(Jerusalem) - Milton, from Willian Blake and not a hymn as you thought. It is even credited in the sleeve, "Jerusalem: Lyrics by Blake Arrangement by Emerson" or something like that.

(author's note): Actually, we are both correct here. According to the expanded liner notes in the reissue, "Brain Salad Surgery opens with ELP's take on Jerusalem, 'which is basically a hymn that everybody sang in school and is played at the end of every Royal Albert Hall Promenade concert in England,' notes Keith Emerson. With suitably Anglo-centric, Christian mythic lyrics by poet William Blake, it had long since become a revered British anthem second only to God Save The King."

Echo Albarn (whoneedsthisreality@hotmail.com)

The album cover, it should be noted, was done by H.R. Giger, Oscar-winning designer (Alien, 1979). Yes, *that* Alien.

Lee Smith (LeeS@portlandoutdoor.com)

Just a quick note - the "Up and down synth arpeggio" is percussion Moog. I have a bootleg which features Karn Evil 9 which finishes with Carl playing a lot faster than the album.

Daniel and Corine Bosch (dcbosch@optusnet.com.au) (6/17/02)

This is their masterpiece. "Jerusalem" is an intriguing start, a religious song sung by the same guy who wrote the lyrics to "The Only Way"?!!? I like it, but it hardly prepares you for what's to come. Maybe that's the point. "Toccata" is possibly their best classical adaptation, it certainly impressed the original composer. Carl shines here. He is normally an excellent technical drummer without the inventiveness of a Bill Bruford but on "Toccata" he has possibly his finest hour."Still.... You Turn Me On" is one of Greg's best, and it is nice to hear the keyboards integrated through one of his songs rather than just tacked on at the end like normal. "Benny The Bouncer" is cheerful fluff. And "Karn Evil 9"? Well, what to say, this still takes my breath away. "1st Impression" is the best amalgamation of Keith and Greg's talents, as writers and musicians, that ever there was, the most "group" piece ELP ever did I feel. Greg's guitar soloing is revelatory - that guy could play! "2nd Impression" is a typical Emerson instrumental piece, and that suits me just fine! As much as the Hammond was his primary piece, I'm always a sucker for Keith on piano (you may have noticed that by now in my reviews!) and this piece has that by the barrelful. "3rd Impression" is the weakest of the lot, but still a good piece. The sci-fi lyrics don't really work, but the music is well played (as always) and Greg sings the bad lyrics really well. 10 out of 10!

"Akis Katsman" (watta502@yahoo.gr) (2/11/04)

Wow! Excellent album! ELP's best, hands down! Well, I could live without "Benny The Bouncer" (which sounds like Super Mario Brothers Nintendo music) or the so-so ballad "Still... You Turn Me On", but the rest is just AWESOME! The cover of "Jerusalem" is overlooked for some reason, but I love it. The melody is great and Lake sounds like an ancient God (okay, I'm stretching here). "Toccatta" is an instrumental I hated at the first listen, but then I realised it's genius. Nobody plays the keyboard like Keith Emerson! And what about Palmer's synth drums at the middle? Weird, eh? Sure! After "Toccatta" we get the two songs mentioned above, which are not bad, but they sound totally out of place on this album, and then... Hooray! A prog rock suite! And what prog rock suite!!! "Karn Evil 9", the BEST composition of the trio, and it totally kicks ass! I like all the three 'impressions', especially the first with the great grooves. The second 'impression' is a GODLIKE piano solo from Emerson, from which I don't want to remove or add even a single note. Then comes the third impression, which many people seem to hate, but I love it. It has a sci-fi style with the cold synths and the 'computerised' voices, that remind me of... maybe Star Trek? Cool! Not a boring moment in the entire suite and it was almost 30 minutes!!! Brain Salad Surgery gets an easy 10 from me.

Sales (Sales@HYPACK.com) (6/16/04)

Go listen to the DVD-AUDIO of Brain Salad Surgery

Best Regards,
Rik

Pedro Andino (pedroandino@msn.com) (07/19/07)

beautiful album. beautiful production. revolutionary stuff right there. let me do this track by track. JERUSALEM. THE BRITISH NATIONAL ANTHEM DONE BY THE 3 KINGS OF ROCK. TOCCATA. THE SONG IS AN ADAPTATION OF THE PIANO CONCERTO AND DONE BY THE 3 KINGS OF ROCK. BLAZING ORGAN SOLOS AND A DRUM MACHINE. YES AN ELECTRIC DRUM KIT THAT GOES BOOM. THIS REMINDS ME OF THE OLD VIDEO GAME I USED TO PLAY AS A KID BUT WITH A KEYBOARD BACKING IT UP. CRAZY STUFF. STILL YOU TURN ME ON. CUTE BALLAD. THIS IS THE 3 KINGS OF ROCK AT IT'S MOST SOFT AND I AM NOT TALKING ABOUT JOHN DENVER!. BENNY THE BOUNCER. COWBOY SONG THAT SHOULD HAVE BEEN IN... BLAZING SADDLES! HA HA HA HA HA HA HA HA HA HA HA!. FIRST IMPRESSION PART 1. WE BEGIN THE SECOND SIDE WITH AN ORGAN WARMING UP THEN ALL HELL BREAKS LOOSE AS THE SPEED OF THE KEYBOARDS ZOOM AND THE MANIA THAT GOES AROUND. THEN CAME FIRST IMPRESSION PART 2. WELCOME BACK MY FRIENDS TO THE SHOW THAT NEVER ENDS. I WISH I WILL CREATE BRACE YOURSELF............ AN ANIME MUSICAL! BASED UPON THIS ALBUM BUT WITHOUT THE STUPID TALKING AND SHIT AND MAKE IT A BEAUTIFUL PICTURE. ANYWAY HERE COMES THE SECOND IMPRESSION. IT IS LIKE THE MOVIE CHICAGO WITH ALL THE PIANO PARTS. THEN CAME THE THIRD IMPRESSION. CALL THIS A ODD TRACK BUT IT REMINDS ME OF STAR TREK OR PERHAPS THE ONE ANIME YOU HAVE NOT SEEN. GHOST IN THE SHELL. THE THEME MAYBE A BIT STRANGE BUT THE JAM DOES NOT AFTER THE JAM ENDS WE GET AN ODD DRUM MACHINE SPUTTERING WEIRD SOUNDS AND STOPS!.

YOU MAY CURSE THE ENTIRE GENRE AS PRETENTIOUS BUT WHO GIVES A SHIT! I GIVE THIS A 10 UNLIKE ASSHOLES LIKE BRAD WHO GAVE IT A FOUR I CHOP HIS DICK OFF NOW!!!. ANYWAY I LIKE THE ALBUM MORE THAN YOU SO I HOP THIS WILL GO DOWN ON YOUR PERMANENT RECORD AND LET THE OTHER REVIEWERS DECIDE. THANK YOU.

---

Welcome Back My Friends to the Show That Never Ends - Ladies and Gentleman Emerson Lake and Palmer - 1974 Atlantic
9 (12)

Best song: Tarkus

Send me your thoughts

Robert Shave (beau@rshave.fsnet.co.uk)

Hi,

Just read your words on the ring about 'welcome back my friends..' by ELP.

I agree with you whole heartedly except for one major thing... the sound is APPALING. I have never heard such a terrible mix,which was an extreme dissappointment to me as I went to see this tour. In fact I had 2nd row seats in Wembley Empire Pool (as it was then). Anyway,just thought I'd let you know. Otherwise they were and still are in my mind probably the best band that ever was (except maybe for Yes)

R. Cat and Roxanne Conrad (rcatconrad@home.com) (10/27/01)

You may not be aware of this, but the "Welcome Back..." release uses some of the very same performances recorded during the '74 Tulsa show that King Bisquit recorded for FM radio! I had trouble believing this myself, because the "Welcome Back..." recordings were so badly mic'd on every version I've ever owned of this live tour (3 LP & 2 CD sets respectively) that the two versions seemed irreconcilable.  However, if you compare specific nuances, like Greg's vocal inflections, crowd noises and the occasional gaff or unique instrument variations which certainly varied from show to show, you'll reach the same unavoidable conclusion I did that both King Bisquit and the band's record company were recording the performance that night.  The most astounding aspect of this is how superior King Bisquit's recording and engineering skills were to those of the Atlantic/Cotillion/Manticore label! Karn Evil 9 may be a rather pompous exercise, but it's one of the most majestic moving pieces of all their repetoire which I listen to from the progressive side of my collection (i.e., at least as strong as say, "Heart of the Sunrise" from Yes).  Over a good system the King Bisquit release is almost audiophile quality, which unfortunately, is something I'm unable to say about "Welcome Back My Friends...!" Oh well, perhaps I'm rather pompous myself! ;^)

Daniel and Corine Bosch (dcbosch@optusnet.com.au) (6/17/02)

Yes, OK, a three album live album is indulgent (still, Chicago did a 4 album set in 1971!) but, hey, this is ELP!!! They are great live for the most part. "Hoedown" is ruined, though, by the fact that Keith is just showing off by going too darned fast and poor ol' Carl just can't keep up! "Tarkus" is cool live, as is "Toccata". Me being me, I love Keith's "Piano Improvisations" and "Karn Evil 9" is lively. 8 out of 10.

Simon Brigham (slb23@shaw.ca) (4/07/04)

ELP's "Welcome Back My Friends . . ." isn't bad, but Yessongs by Yes is better (IMHO). The sound quality isn't the best, but the song selection is generally good.

Best Tracks: "Hoedown", "Still You Turn Me On", "Lucky Man", "parts of "Tar