Throughout his career with the Nice, Emerson, Lake
& Palmer, and as a solo artist, Keith Emerson has proven
himself perhaps the greatest, most technically accomplished
keyboardist in rock history. For all his reputation as an
innovator and master of classically influenced rock, Emerson
(born November 1, 1944, in the English town of Todmorden)
began his career playing R&B; the Nice got their first
big break backing soul singer P.P. Arnold in 1967. Independently
of Arnold, the Nice carved out a niche in the fledgling prog
rock movement, with Emerson's classical flourishes and flamboyant
showmanship (flinging knives at his keyboard, etc.) leading
the way. After the Nice's dissolution, Emerson fleshed out
his musical ideas to their fullest with Emerson, Lake &
Palmer, which debuted in 1970 and had a series of highly successful
albums throughout the decade. Emerson made his solo debut
in 1976 with the single "Honky Tonk Train Blues,"
which hit the U.K. Top 30, but did not pursue a solo career
in earnest until after ELP's 1980 breakup. Emerson first scored
the films The Inferno (1980) and Nighthawks (1981), but did
not return until 1985, when he released Honky. 1986 found
Emerson participating in a revamped ELP -- this time with
drummer Cozy Powell -- but still finding time to record the
solo LP Murderock. In 1987, Emerson released Harmageddon/China
Free Fall, and the following year, he undertook a project
with Carl Palmer and songwriter Robert Berry. Emerson, Lake
& Palmer reunited in 1992 to record new material and tour,
but when this venture proved less successful than hoped, Emerson
announced his retirement from the music business in 1994.
That retirement was short-lived, though, as Emerson went on
to release the occasional collection of new material or appear
on-stage. He even reunited with Nice bandmates Brian Davison
and Lee Jackson for a show in Glasgow, Scotland, in 2002 (Vivacitas).
He penned an autobiography, Pictures of an Exhibitionist,
in 2004 and received the compilation treatment from Castle
Records in 2005 with the two-disc Hammer It Out: The Anthology..--Bio
Courtesy of allmusic.com
EMERSON, LAKE and PALMER: Trilogy -- Trilogy
finds ELP at a more harnessed, yet still experimental and progressive
format, as this offering is not as harsh and abrasive sounding
as Pictures at an Exhibition. It seems more clean, crisp and
refined, yet still encompassing the complex and manic keyboard
flourishes of Keith Emerson. It also has the more elegant Greg
Lake pieces (In The Beginning), and Carl Palmer's fabulous drumming.
You get quirky numbers like The Sheriff, which features a crazed,
yet humorous piano solo what I would describe as "wild
west ragtime" at the end. Man, Keith Emerson can play the
hell out of his instrument. Hoedown, if you remember the "Beef,
it's what's for dinner" commercial, then you'll know this
is a unique remake of a classical piece. This one is a more
rocked up version. Trilogy is one of the prog-rock epics on
the disc. It almost has a latin-like feel to it in the way Greg
Lake delivers his vocals against Keith's synths and the percussion
used in the last few minutes. Living Sin is a great tune. My
only complaint is the annoying dark-pitched vocals. Abaddon's
Bolero is a synth experiment and is all instrumental clocking
in at 8 minutes. And it all starts out with The Endless Enigma,
a 10 minute prog fest spread across the first three tracks.
This is my favorite from the disc. This truly has some creepy
parts in it. Not the least of it is brought on by Keith Emerson's
synths. It truly has a creepy last second synth echo that you
just can't get out of your head, at least for me. --shamhot
EMERSON, LAKE and PALMER: Tarkus -- The Tarkus
suite remains one of the most indispensible tracks in progressive
rock history. All three musicians are at the top of their game.
Palmer never ceases to amaze with his fabulous and inventive
rhythms,while Lake is the glue that holds it all together. But,
Tarkus above all else is a Keith Emerson record. Tarkus remains
Keith Emerson's shining moment as he dominates the suite from
the opening notes of Eruption to the end of Aquatarkus. I have
never heard such complete mastery of an instrument as Emerson's
domination of his keyboards in Tarkus. However, all members
shine inevitably at multiple points during the suite. Lake's
vocals are stellar as is his bass and guitar work. Palmer simply
had mastered all facets of percussion before ELP even started
recording Tarkus. ELP could have just released Tarkus as an
ep but they chose to include a number of shorter tracks toward
the end or second side of the recording. Jeremy Bender remains
one of ELP's stronger tracks to date and probably the most radio
friendly. Bitches Crystal is an overlooked gem in the ELP catalogue.
Overall, you can't go wrong by purchasing this album. Masterful
musicianship, excellent lyrics and concept, you need to own
this. P.S. What ever happened to the double cd "ELP: The
Atlantic Years?" luckily I got a copy back in the early
'90's, it remains the most complete look at ELP for both the
casual and hardcore ELP fan alike. -- J. Brittman
Check
out this rare live footage of Emerson, Lake, and Palmer rehearsing
"Karn Evil 9"
If
you are a Keith Emerson fan then perhaps you will enjoy my CD as
well.
Innocent
Bystander is my alter ego of hardcore funky electronica.
Released in 2000, this CD was featured prominently in MTV
Road Rules.
The music infuses elements of Drum-n-Bass,
Techno, Reggae, and Funk
all with a unifying B-3 organ throughout.
Innocent Bystander transcends the space time continuum from
70's funk to the new millennium by perfectly melding the computerized
sounds of the new electronica with the raw human feel of old
school soul and funk.
It's as if Sly Stone and Jimmy Smith
were genetically combined with the Chemical Brothers
and Fat Boy Slim! There is even
a cover of Sly Stone's "Sing A Simple Song". The
result is music for your mind and your ass. It's Medeski,
Martin, and Wood on a futuristic tour around Jupiter.
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