My first reaction to Love Beach (purchased at the Grosse Pointe location of Harmony House, after hearing “The Gambler” on Detroit rock radio in November 1978) wasn’t about the music. It was about the merchandising insert included with the first pressing. I think my actual thoughts were something along the lines of, “They’re selling satin Love Beach jogging shorts?!?”
by Rick Krueger
When I picked up Works Volume 2 (on the day after Thanksgiving 1977, at Hansen’s Music Store in Greenville, Michigan — thanks for taking me along, Mom!), it didn’t feel like a disappointment. In fact, on first listen it was a nifty change of pace from the orchestral bombast of Volume 1 — 12 shorter tracks, all new to me, exploring the jazz, blues and boogie that only occasionally showed up on ELP’s earlier records.
by Rick Krueger
“The word ‘bombastic’ keeps coming up as if it were some trap I keep falling into … when I’m bombastic, I have my reasons. I want to be bombastic. Take it or leave it.” – Dave Brubeck
What were they thinking?
You’re Emerson, Lake & Palmer, coming off a three-year layoff — though admittedly, you were at the top of the charts and your game when you downed tools. To regain your fan base and add to your audience, would you come back with a double album that had one side of material by each band member (with guest players and full orchestras) and only one side of ELP playing together? And then, would you take a 59-piece orchestra and 6-voice choir on the road with you? To most people, that would sound like a recipe for disaster.
Bruce Frohnen has an essay over at TIC about ELP, arguing that they are “the most important musical group of the rock era.” Here’s part of his argument:
“Karn Evil 9” is not overblown, it is genuinely and intentionally music on a grand scale, combining classical techniques with multiple, interlacing rhythms, and polyphony to immerse the listener in a web of sound that for a time creates its own reality.
“Counterpoint” is a concept (not to say a reality) little understood among most rock musicians; but it was crucial to ELP’s ability to produce sounds that made sense at a level frankly higher than can be achieved in most blues-based music, with its emphasis on a single, simple melody underscored by rhythms deeply rooted in a single beat. At their usual best, Emerson, Lake, and Palmer performed according to a vision of rock music as rooted in the classical past. They produced both direct classical adaptations (“Fanfare for the Common Man” being the most famous) and original compositions that likewise combined modern rhythm and technique with melodic sophistication to create genuine art—pieces of beauty capable of affecting the souls of listeners.
Two things that confuse, perplex, and worry me in this world: depression and suicide. In no way would I ever consider myself above such things or not harassed by such demons. But, obviously, I’ve never allowed (the right word?) either to plague me enough so that I’m not typing this at the moment.
Ray Bradbury—who probably felt almost nothing but highs most of his life—once claimed that the worst thing an artist can do after experiencing a strong emotion is express it verbally. Instead, the artist should allow it to become the inspiration for whatever art he/she is at the moment creating.
You’ll excuse me if I’m mixing prog metaphors, but right now I feel like Fish (of Marillion fame) in the first line of Script for a Jester’s Tear: “So here I am once more … in the playground of the broken hearts.” It wasn’t that long ago I was here, writing about the tragic and untimely loss of Riverside’s Piotr Grudzinski. And now, here I am again, for one of the giants of the first wave of prog, Keith Emerson.
I really, really don’t want to get good at writing these things.
In the heyday of the 1970’s prog scene, the relative merits of Emerson and his Yes counterpart Rick Wakeman were the subject of numerous debates among prog fans. But Wakeman was the only one ever mentioned in the same breath with Emerson, as the duo stood head and shoulders above other keyboardists of the day (no disrespect to Tony Banks, Patrick Moraz, Eddie Jobson, et al.). And make no mistake about it, Emerson was a giant among keyboardists, one to be admired and emulated by all those who followed. His work, first with The Nice, and later with Emerson, Lake, and Palmer (or ELP as they are more affectionately known) made an indelible mark on the music world. He made being a keyboardist every bit as cool as being a guitarist.
Earlier today I saw where someone described Emerson as “the Hendrix of keyboardists.” And of the many suitable descriptions, this one certainly fits. Emerson did things with keyboards that nobody else had done. He almost single-handedly made the synthesizes of Robert Moog an indispensable instrument for any band that includes keyboards, prog and non-prog alike. He brought a multitude of keyboard styles into rock, from the jazzy piano interludes in ELP’s Take a Pebble, jazz organ, honky tonk, and, most notably, classical.
Nobody prior to Emerson, first with The Nice and late with ELP, did more for fusion of rock and classical music. Emerson took it even further, with ELP, taking classical pieces and making them into rock – first with Modest Mussorgsky’s Picture’s at an Exhibition. Later, ELP did their own versions of Aaron Copland’s Hoedown and Fanfare for the Common Man. And in one of ELP’s most unusual and spectacular interpretations, they did their own version of Alberto Ginestera’s Toccata on the Brain Salad Surgery album.
I’ve said before that symphonic prog was a gateway drug to classical music. If so, Emerson was the lead pusher. The reason I have Aaron Copland disks in my CD collection can be narrowed down to two words: Keith Emerson. The first time I heard so much as a note of Leonard Bernstein’s West Side Story was when I heard the version of America performed by The Nice – with Emerson’s keyboards playing the staring role.
Recently, on YouTube, I stumbled across a video of an orchestra doing a version of Tarkus (link here). I love the symmetry of that – an orchestra taking Emerson’s progressive rock, and making it into a full-blown classical piece. Beautiful … just beautiful.
The mind boggles at the band being assembled in Heaven right now … Emerson on keyboards … Chris Squire on bass … Piotr Grudzinski guitar … and perhaps, Emerson’s one-time band mate, Cozy Powell on drums. But to the, ahem, management up there putting this thing together, can we maybe keep this as an instrumental band for a while? Please?
Rest in Peace, Keith.
A tragic loss for the prog world. Keith Emerson, one third of the great trio Emerson, Lake, and Palmer, passed away last night at the age of 71. More information in the link below.
Last year was an incredible year for Progressive Music (note: upper case), but in my opinion, 2013 has been even better. Thanks to this community (Progarchy) and the ever-lively Big Big Train Facebook group, I have been exposed to more new prog in 2013 than in any year since the halcyon days of the early 70s. As a result, my wallet has been considerably lightened, but my musical universe has been enriched way beyond mere monetary value.
What follows is a brief review of my top ten purchases in 2013 – albums received for review or borrowed from friends are not included, however much I enjoyed them. The list is alphabetic, as each of these albums is my favourite when I’m listening to it, depending on my mood.
Steven Wilson – The Raven That Refused To Sing: A superb album from start to finish, replete with powerful, hard-rocking passages, beautiful melodies, jazzy interludes, lush arrangements, and oodles of emotion (not something SW is renowned for). Much as I enjoy SW’s guitar playing, I’m delighted that he has handed over most of the guitar work to the incredible Guthrie Govan and stepped back to be more of a musical director – he has always been an excellent songwriter, but I think his compositions have benefitted greatly from this change of focus. I also think this is Wilson’s strongest and most confident vocal performance ever. Of course the rest of the band members are all outstanding, but in particular I love Wilson’s use of Theo Travis’ woodwinds to add an extra dimension that was sometimes lacking in the Porcupine Tree soundscape.
Spock’s Beard – Brief Nocturnes and Dreamless Sleep: I love Nick D’Virgilio’s singing and drumming and was concerned when I heard that he’d left Spock’s Beard, but I needn’t have worried. I thought X was an excellent album, but Brief Nocturnes is even better. Ted Leonard not only brings his powerful and emotive vocal delivery to the band (I think he’s the best vocalist the Beard have had to date), but also his strong compositional skills, which were always evident with Enchant. And Jimmy Keegan is a monster drummer, a worthy full-time successor to the vacated “batterie” stool (he’s been touring with the band for years). Ryo’s keyboard work has also been going from strength to strength since Neal Morse, the uber-controlling force, left the band, while Alan Morse and Dave Meros seem to be even more energised by the injection of new blood into the band. A strong set of songs, powerfully delivered by a great band.
Sanguine Hum – The Weight of the World: Sanguine Hum are one of my favourite “new” finds. This Oxford-based band deliver layered and beautifully structured compositions with plenty of dynamics, which never fail to surprise and delight. One reviewer described their approach as “polymath”, but I think this may give the wrong impression – while their music is precise, it is never clinical, and while complex, it is never complicated for the sake of it. Although I slightly prefer their first album, “Diving Bell”, “Weight of the World” is an excellent album that gets repeated listening, and will continue to do so.
Riverside – Shrine of New Generation Slaves: “SoNGS”, to my ears, is the best Riverside album since their impressive debut “Out Of Myself” in 2004. With greater emphasis on songwriting rather than thrash, and more varied textures that their last few albums, this album is imminently listenable, apart from the rather tiresome first few minutes of the opening song, which seems to stutter along for ages before it gets going. Mariusz Duda’s side project, Lunatic Soul, is definitely bleeding back into Riverside, which I’m delighted about. More, please Mariusz…
Haken – The Mountain: For me, the find of the year. Two months go I’d never heard of this band, but now I have all three of their albums and can’t stop listening to them. “The Mountain” is a real tour de force, with light and shade, strong melodies, excellent harmonies, tight ensemble playing and impressive pyrotechnics that are just right in context of each song, when they explode. I think their “Gentle Giant” moment (The Cockroach King) is one of the finest since the great band themselves were performing – far better than Spock’s Beard’s efforts (which are nevertheless uniformly good), and rivalling Kevin Gilbert’s genius in his “Suit Canon”. This band has everything (except a permanent bass player – sad that I’m living on the wrong continent, too old and simply not talented enough to audition for the post… !). Great album, and great band with a stellar future.
Cosmograf – The Man Left In Space: I’m a sucker for good sci-fi – combine it with superb songwriting and musicianship from wide range of musicians and I’m in there, lead boots, space suit and all. The first time I heard this album, I thought some of the the interludes caused the album to lose momentum musically, but repeated listening has completely dispelled that impression. I now think this is a beautifully balanced album, lyrically and musically, and I’m really looking forward to the next Cosmograf album (which is always a good sign).
Big Big Train – English Electric Full Power: “English Electric”, parts 1 and 2, were already two of my all-time favourite albums, but the combined and expanded package, “Full Power”, has raised the bar even higher. I have already written full reviews of the individual albums (here on Progarchy and elsewhere), so suffice to say that the re-ordering of the songs and the additional material has created one of the most satisfying listening experiences I’ve had since I first became “aware” of music. Brilliant songwriting, meaningful lyrics, exemplary delivery, superb, lush production. And of course, there’s also the magnificent packaging…
Ayreon – The Theory of Everything: Two adjectives often associated with Ayreon are “bombastic” and “overblown”, but I prefer to use adjectives such as “majestic” and “melodic”. Arjen Lucassen has more musical ideas than is reasonable for any single human being, and he seems to be a helluva nice guy as well. “The Theory of Everything” is his best work, including side projects, since “The Human Equation”, which was my first encounter with his music and still my favourite. However, I’ve only had TTOE for two weeks, and already it is threatening to nudge THE aside. With a stellar cast of musicians and singers, including major prog alumni John Wetton, Rick Wakeman, Keith Emerson, Jordan Rudess and Steve Hackett, he’s created another intense epic work that soars and delights, while examining the very human themes of genius, deception, ambition, pride and love. As a scientist, I also appreciate the recurring symbol of the lighthouse, representing intellect and science casting illumination through the gloom. Brilliant album.
The Aristocrats – Culture Clash: This band has literally blown my socks off (it’s OK, it’s summer in the southern hemisphere, so I’m not too uncomfortable). I bought the “Boing! We’ll Do It Live” DVD earlier this year, and was mesmerised by the incredible technical abilities of the three musicians, Govan Guthrie (guitar), Marco Minnemann (drums) and Bryan Beller (bass). But this is not just a musical show-off band – not only do they write splendid (instrumental) music that crosses a vast range of genres (truly Progressive), but their obvious enjoyment of the music, and each other, is completely infectious. “Culture Clash”, their second album, sees them settling into their relationships and interactions, and writing music specifically for each other – and it’s a sheer delight. Want more!
Antione Fafard – Occultus Tramatis: I get to listen to a lot of new music while I’m working, putting science textbooks together. Much of it tends to slip by me while I’m concentrating on the work, but every now and then an album wrests my attention from whatever I’m doing and forces me to focus on the music. “Occultus Tramatis” was one of those albums. Canadian bassist Antione Fafard has put together a star-studded cast of jazz, jazz-fusion and progressive rock performers including Jerry Goodman and drummers Simon Phillips, Chad Wackerman, Terry Bozzio and Gavin Harrison, and produced an outstanding album of prog fusion, which despite its musical complexity and ever changing time signatures is nevertheless fresh and rewarding, revealing different possibilities every time you listen to it. Each track has its own feel, with changes of pace, a variety of complex rhythms and contrasting instrumental arrangements, but the album still still has an organic flow. I listened to my review copy twice straight through, and immediately ordered the CD. Challenging, but excellent.
Thieves’ Kitchen – One For Sorrow, Two For Joy: I marginally prefer The Water Road, but this is a strong collection of jazzy prog songs.
Roy Harper – Man and Myth: Powerful, emotional work.
The Flower Kings – Desolation Rose: Their darkest album to date, but a real return to form. May have made it into my top 10 if it had arrived earlier.
Amplifier – Echo Street: Gorgeous guitar-based, atmospheric music.
Airbag – The Greatest Show On Earth: Only arrived last week. Excellent album that is rapidly growing on me.
Lifesigns: This is a strange one for me. I really like the instrumental work, but some of the compositions seem to meander for long periods. And I can’t get into the vocals – the delivery seems flat and unidimensional to me. Sorry.
Not considered (see above, but added to my wish list):
Comedy of Errors – Fanfare & Fantasy
Days Between Stations – In Extremis
Dream Theater – Dream Theater
KingBathmat – Overcoming the Monster
Levin Minnemann Rudess – LMR
Magenta – The Twenty Seven Club
Moon Safari – Himlabacken Vol. 1
Persona Grata – Reaching Places High Above
PFM – Da Mozart A Celebration
Shadow Circus – On A Dark and Stormy Night
Sound of Contact – Dimensionaut
The Tangent – Le Sacre Du Travail
TesseracT – Altered State
Verbal Delirium – From The Small Hours of Weakness
Von Hertzen Brothers – Nine Lives
So much to listen to, so little time. Prog has never been healthier.