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Emerson, Lake & Palmer - The Japanese SHM-CD Reissues (2008)

Emerson, Lake & Palmer - The Japanese SHM-CD Reissues (2008)

Genre: Progressive, Art Rock | Label: Victor Entertainment | 10 Albums | MP3 320 kbps | 1367 MB

Emerson, Lake & Palmer - Emerson, Lake & Palmer (1970)

With former members of King Crimson, The Nice, and Atomic Rooster, Emerson, Lake & Palmer were a veritable supergroup, and the 1970 release of their debut album, ELP, was the first step for a band that went on to define progressive rock. With capable Keith Emerson at the controls of the Moog synthesizer and the Hammond B3 organ, Greg Lake on guitar and vocals, and talented Carl Palmer on drums, the debut release leaned heavily toward a new technical wizardry that became the band's halmark.

1. BARBARIAN,THE

2. TAKE A PEBBLE

3. KNIFE EDGE

4. THREE FATES/A.CLOTHO B.LACHESIS C.ATROPOS,THE

5. TANK

6. LUCKY MAN

Personnel

Keith Emerson: organ, synthesizer, piano, clavinet, keyboard, Hammond organ, Moog synthesizer

Greg Lake: acoustic guitar, bass, electric guitar, vocals

Carl Palmer: drums, percussion

Emerson, Lake & Palmer - Tarkus (1971)

Emerson, Lake & Palmer's 1970 eponymous LP was only a rehearsal. It hit hard because of the novelty of the act (allegedly the first supergroup in rock history), but felt more like a collection of individual efforts and ideas than a collective work. All doubts were dissipated by the release of Tarkus in 1971. Side one of the original LP is occupied by the 21-minute title epic track, beating both Genesis' "Supper's Ready" and Yes' "Close to the Edge" by a year. Unlike the latter group's cut-and-paste technique to obtain long suites, "Tarkus" is a thoroughly written, focused piece of music. It remains among the Top Ten classic tracks in progressive rock history. Because of the strength of side one, the material on the album's second half has been quickly forgotten -- with one good reason: it doesn't match the strength of its counterpart -- but "Bitches Crystal" and "A Time and a Place" make two good prog rock tracks, the latter being particularly rocking. "Jeremy Bender" is the first in a series of honky tonk-spiced, Far-West-related songs. This one and the rock & roll closer "Are You Ready Eddy?" are the only two tracks worth throwing away. Otherwise Tarkus makes a very solid album, especially to the ears of prog rock fans -- no Greg Lake acoustic ballads, no lengthy jazz interludes. More accomplished than the trio's first album, but not quite as polished as Brain Salad Surgery, Tarkus is nevertheless a must-have.

1. TARKUS A.ERUPTION B.STONES OF YEAS C.ICONOCLAST D.MASS E.MANTICORE F.BATTLEFIELD G.AQUATARKUS

2. JEREMY BENDER

3. BITCHES CRYSTAL

4. ONLY WAY(HYMN),THE

5. INFINITE SPACE(CONCLUSION)

6. TIME AND A PLACE,A

7. ARE YOU READY EDDY?

Personnel

Keith Emerson: organ, synthesizer, piano, clavinet, keyboard, Hammond organ, Moog synthesizer

Greg Lake: acoustic guitar, bass, electric guitar, vocals

Carl Palmer: drums, percussion

Emerson, Lake & Palmer - Pictures At An Exhibition (1971)

One of the seminal documents of the progressive rock era, a record that made its way into the collections of millions of high-school kids who never heard of Modest Mussorgsky and knew nothing of Russia's Nationalist "Five." It does some violence to Mussorgsky, but Pictures at an Exhibition is also the most energetic and well-realized live release in Emerson, Lake & Palmer's catalog, and it makes a fairly compelling case for adapting classical pieces in this way. At the time, it introduced "classical rock" to millions of listeners, including the classical community, most of whose members regarded this record as something akin to an armed assault. The early-'70s live sound is a little crude by today's standards, but the tightness of the playing (Carl Palmer is especially good) makes up for any sonic inadequacies. Keith Emerson is the dominant musical personality here, but Greg Lake and Palmer get the spotlight enough to prevent it from being a pure keyboard showcase.

1. PROMENADE

2. GNOME,THE

3. PROMENADE

4. SAGE,THE

5. OLD CASTLE,THE

6. BLUES VARIATION

7. PROMENADE

8. HUT OF BABA YAGA,THE

9. CURSE OF BABA YAGA,THE

10. HUT OF BABA YAGA,THE

11. GREAT GATES OF KIEV,THE

12. NUTROCKER

Personnel

Keith Emerson - Pipe Organ, Hammond C3 and L100 Organs, Moog Modular Synthesizer, Ribbon controller, Clavinet

Greg Lake - bass, acoustic guitar, Vocals

Carl Palmer - percussion, drums

Emerson, Lake & Palmer - Trilogy (1972)

For an album that begins with an extended two-part piece called "The Endless Enigma" (bifurcated by something called "Fugue") and closes with a rock bolero, TRILOGY is surprisingly song-oriented and accessible. As usual, the long instrumental sections are dominated by Emerson's madman organ work and monophonic synth lines. These are interspersed, however with strong melodic/lyrical statements from Greg Lake, making the whole thing cohere more than anyone had any right to expect. The light-hearted Old West motif of "The Sheriff" (complete with honky tonk piano) and an Emersonized version of Copland's "Hoedown" add valuable humor. The ominous "Living Sin" features one of Lake's nastiest vocals, and the title cut ranks among ELP's finest pseudo-classical moments.

1. ENDLESS ENIGMA(PART ONE),THE

2. FUGUE

3. ENDLESS ENIGMA(PART TWO),THE

4. FROM THE BEGINNING

5. SHERIFF,THE

6. HOEDOWN(TAKEN FROM RODEO)

7. TRILOGY

8. LIVING SIN

9. ABADDON'S BOLERO

Personnel

Greg Lake: Vocals, Electric & Acoustic Guitars, Bass, Producer

Keith Emerson: Hammond Organ C3, Steinway Piano, Zoukra, Moog Synthesizer III, mini Moog model D

Carl Palmer: Drums, Percussion

Eddie Offord: Engineer

Barry Diament: Mastering

Emerson, Lake & Palmer - Brain Salad Surgery (1973)

1. JERUSALEM

2. TOCCATA(AN ADAPTATION OF GINASTERA'S 1ST PIANO CONCERTO,4TH MOVEMENT)

3. STILL...YOU TURN ME ON

4. BENNY THE BOUNCER

5. KARN EVIL 9 A.1ST IMPRESSION B.2ND IMPRESSION C.3RD IMPRESSION

Personnel

Keith Emerson organs, piano, harpsichord, accordion, custom-built Moog synthesizers & Moog Polyphonic ensemble, computer voice on Karn Evil 9: 3rd Impression

Greg Lake vocals, six and twelve string acoustic & electric guitars, bass

Carl Palmer drums, percussion, percussion synthesizers

Emerson, Lake & Palmer - Welcome Back My Friends To The Show That Never Ends (1974)

Upon its release, the 1973 LP Brain Salad Surgery had been hailed as Emerson, Lake & Palmer's masterpiece. A long tour ensued that left the trio flushed and begging for time off. Before disbanding for three years, they assembled a three-LP live set (something of a badge of achievement at the time, earned by Yes in 1973 with Yessongs and, somewhat more dubiously, Leon Russell with Leon Live). Welcome Back My Friends to the Show That Never Ends gives a very accurate representation of ELP's shows at the time, including their uncertain sound quality. It isn't that the group didn't try hard to give a good show; they did, but left to just his two hands, without the use of multi-tracking and overdubs to build layer-upon-layer of electronic keyboard sounds, Keith Emerson was at a singular disadvantage on some of the boldest material in the trio's repertory. And even allowing how far the art and science of recording rock concerts had advanced in the 1970s, there were still inherent problems in recording a fully exposed bass -- Greg Lake's primary instrument -- in an arena setting that couldn't be overcome here. Even the most recent remastered editions could not fix the feedback, the occasionally leakages, the echo, the seeming distance -- the listener often gets the impression of being seated in the upper mezzanine of an arena. That said, the group still had a lot of fire, enthusiasm, and cohesion at this point in its history, and that does come through. And if they don't solve every problem with the sound, the remastered editions from Rhino, Japanese WEA, and Sanctuary do give Lake's voice and Emerson's piano their richest, fullest possible tone and a fighting chance in these surroundings, and bring Carl Palmer's drumming much more up close and personal than it ever was on the LP. On the down side, the division into two CDs (as opposed to three LPs) means that the 26-minute "Take a Pebble"/"Piano Improvisations"/"Take a Pebble" chain -- complete with Lake's excellent acoustic guitar spot for "Still You Turn Me On" and "Lucky Man" -- is broken up between the two discs. The song selection -- if not quite the career-ranging array of repertory that Yessongs was for Yes -- is stellar and features all the material from Brain Salad Surgery (with the exception of "Benny the Bouncer"), including a complete 36-minute rendition of "Karn Evil 9," which filled both sides of the third LP in the original set. The latter is thoroughly bracing, with a level of visceral energy that was lacking in some moments of the original studio version, and is also almost as good a showcase for Lake, whose singing and playing here are better than they were on the studio original, as it is for Emerson and Palmer. Add to that a 27-minute "Tarkus" -- complete with one Pete Sinfield-authored verse from King Crimson's "Epitaph" (which they'd been adding to the piece in concert at least since the Trilogy tour) -- and you now have three quarters of the music. Hearing any of those three pieces (and the stunning "Toccata") performed live, obviously without any overdubs, makes one realize how accomplished these musicians were, and how well they worked together when the going was good. This was the group's last successful and satisfying tour, as subsequent journeys on the road, in association with the Works album, were mired in acrimony about expenses, repertory, ego clashes, and the decision about going out with an orchestra (or not), or were motivated purely by contractual and financial obligations, whereas here they proved that even their most ambitious ideas could work musically, done by just the three of them. The sometimes disappointing sound quality should not be too much of a turnoff for fans, but newcomers should definitely start with the studio albums, and make this the third or fourth ELP album in their collection. And it should be listened to loud.

CD1

1. HOEDOWN(TAKEN FROM RODEO)

2. JERUSALEM

3. TOCCATA

4. TARKUS A.ERUPTION B.STONES OF YEAS C.ICONOCLAST D.MASS E.MANTICORE F.BATTLEFIELD G.AQUATARKUS

5. TAKE A PEBBLE

CD2

1. PIANO IMPROVISATIONS

2. TAKE A PEBBLE

3. JEREMY BENDER

4. KARN EVIL 9 A.1ST IMPRESSION B.2ND IMPRESSION C.3RD IMPRESSION

Emerson, Lake & Palmer - Works, Volume I (1977)

The larger-than-life music created by ELP was dependent upon the equally sizable musical/personal egos of its members. By 1977, the inevitable acrimony between the three had caused an aesthetic and spiritual decline. On the two separately issued volumes of WORKS, we can see a band on the verge of coming apart. Though the songs and arrangements are uniformly strong, there's precious little interaction. Ironically, this allowed the members' individual styles to be seen that much more clearly.

The double-length WORKS VOL. 1 is arguably ELP's last great album. Taking the personal segregation to extremes, each member of the group was given one solo side (ah, vinyl) and they participated on one group-oriented side. Emerson is represented by a self-penned piano concerto, his finest straight-classical composition up to that point. Palmer exploits the full range of his percussive abilities on six varied instrumental tracks. Lake naturally offers up some impressive romantic balladry. The group side features the album's highlight; an orchestral epic tale called "Pirates," its intrigue-on-the-sea lyrics written by former King Crimson lyricist Pete Sinfield, and its music some of the most sophisticated ELP ever produced.

CD1

1. PIANO CONCERTO NO.1 A.FIRST MOVEMENT:ALLEGRO GIOJOSO B.SECOND MOVEMENT:ANDANTE MOLTO CANTABIL/ KEITH EMERSON

2. LEND YOUR LOVE TO ME TONIGHT/ GREG LAKE

3. C'EST LA VIE/ GREG LAKE

4. HALLOWED BE THY NAME/ GREG LAKE

5. NOBODY LOVES YOU LIKE I DO/ GREG LAKE

6. CLOSER TO BELIEVING/ GREG LAKE

CD2

1. ENEMY GOD,DANCES WITH THE BLACK SPIRITS,THE

2. L.A.NIGHTS

3. NEW ORLEANS

4. TWO PART INVENTION IN D MINOR

5. FOOD FOR YOUR SOUL

6. TANK

7. FANFARE FOR THE COMMON MAN/ EMERSON,LAKE & PALMER

8. PIRATES/ EMERSON,LAKE & PALMER

Emerson, Lake & Palmer - Works, Volume II (1977)

The larger-than-life music created by ELP was dependent upon the equally sizable musical/personal egos of its members. By 1977, the inevitable acrimony between the three had caused an aesthetic and spiritual decline. On the two separately issued volumes of WORKS, we can see a band on the verge of coming apart. Though the songs and arrangements are uniformly strong, there's precious little interaction. Many songs seem to feature only one member of the band at a time, the other two presumably having little use for their mate's ideas. Ironically, this allowed the members' individual styles to be seen that much more clearly.

Emerson's pianistic roots are made plain on impressive and unprecedentedly faithful renditions of "Maple Leaf Rag" and "Honky Tonk Train Blues" as well as an original tune--"Barrelhouse Shake-Down"--in a similar mold. Lake's balladic leanings are eloquently expressed in the poignant, devotional "Watching Over You." Palmer's precise polyrhythmic capabilities and previously underexposed compositional talents are seen on the instrumental "Close But Not Touching."

1. TIGER IN A SPOTLIGHT

2. WHEN THE APPLE BLOSSOMS BLOOM IN THE WINDMILLS OF YOUR MIND I'LL BE YOUR VALENTINE

3. BULLFROG

4. BRAIN SALAD SURGERY

5. BARRELHOUSE SHAKE-DOWN

6. WATCHING OVER YOU

7. SO FAR TO FALL

8. MAPLE LEAF RAG

9. I BELIEVE IN FATHER CHRISTMAS

10. CLOSE BUT NOT TOUCHING

11. HONKY TONK TRAIN BLUES

12. SHOW ME THE WAY TO GO HOME

Emerson, Lake & Palmer - Love Beach (1978)

Don't be fooled by the Bee Gees-esque cover photo, LOVE BEACH is not really ELP-gone-pop. True, many of the songs are more concise and accessible than those on previous albums, and there are a couple of Greg Lake-dominated "romantic" tunes, but those had always been part of the deal. They're still at their classical-rockin' best on "Canario," and half the album is dominated by the 20-minute epic "Memoirs of an Officer & a Gentleman," which stands up well alongside such long-form ELP classics as "Trilogy."

1. ALL I WANT IS YOU

2. LOVE BEACH

3. TASTE OF MY LOVE

4. GAMBLER,THE

5. FOR YOU

6. CANARIO'FANTASIA PARA UN GENTILHOMBRE'

7. MEMOIRS OF AN OFFICER AND A GENTLEMAN A.PROLOGUE/THE EDUCATION OF A GENTLEMAN B.LOVE AT FIRST SIGHT

Personnel:

Keith Emerson: keyboards

Greg Lake: vocals, guitar, bass

Carl Palmer: drums, percussion

Peter Sinfield: lyrics

Jack Nuber, Karl Pitterson - engineers

Emerson, Lake & Palmer - In Concert (1979)

Emerson, Lake and Palmer In Concert is a live album by Emerson, Lake and Palmer, recorded at the August 26, 1977 show at Montreal's Olympic Stadium which is featured on the album cover. It was released by Atlantic Records in October 1979 more as a contract-fulfilling album, since the band had broken up before then. It was later re-released and repackaged as Works Live in 1993...

1. INTRODUCTORY FANFARE

2. PETER GUNN

3. TIGER IN A SPOTLIGHT

4. C'EST LA VIE

5. ENEMY GOD,DANCES WITH THE BLACK SPIRITS,THE

6. KNIFE EDGE

7. PIANO CONCERTO NO.1 THIRD MOVEMENT:TOCCATA CON FUOCO

8. PICTURES AT AN EXHIBITION(PROMENADE-CURSE OF BABA YAGA-GREAT GATES OF KIEV)

Personnel

Keith Emerson / keyboards

Greg Lake / vocals, bass, guitar

Carl Palmer / drums, percussion

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