ELP Digest Friday, 19 Aug 1994 Volume 4 : Issue 13 The "Easy Come, Easy Go, Never Wanted to be Wealthy" Edition Today's Topics: Announcing the ELP Home Page (for WWW/Mosaic users)! On The Progression of Progressive Music New price for "A Time and a Place" (listing of ELP source material) Re: 3/17/93 tape Greg's politics AOL rumors, etc. More In The Hot LoveBeach,BlackMoon&Live at the RAH In The Hot? Tarkus - Mobility (Mobile Fidelity) Mobility (more on Mobile Fidelity) Keith Emerson interview - 11/05/92 In The Hot Seat - A Newspaper Review In the Hot Seat release delayed... ELP album cancelled?? Any Release Date for 'In The Hot Seat'? Prelude ======= This seems to be a good news, bad news edition. The good news is that there's finally an ELP Home Page on the net that I'll maintain as the Internet source of ELP news and information. Most importantly, it houses all the ELP Digest back issues for those of you who want to know what kind of banter went on here in the "early days" of the ELP Digest (1991 and later). The bad news is the rumors surrounding the delay (or even cancellation) of the new release. I hope this gets cleared up soon. Anyway, this empties out my collection of ELP Digest submissions and I'm getting ready for a vacation. I'll be back with more news in early September. Till then, keep those cards and letters coming! - John - [ See disclaimer/contact info/etc. at end. - John - ] ------------------------------------------------------------ To: arnold Subject: Announcing the ELP Home Page (for WWW/Mosaic users)! Reply-To: J.Arnold@ma30.bull.com Date: Fri, 19 Aug 94 09:56:28 -0400 Finally, a home for the ELP Home Page. Many thanks to ELP Digest reader Christian Plaunt for providing a home to the ELP Home Page! Thanks, Christian! For those of you anxious to try it out, the URL is: http://bliss.berkeley.edu/elp/ But I'd also like to explain the ELP Home Page. It is a work in progress that I hope to eventually populate with information about ELP including pointers to other places that have ELP information and other things that, winthin the context of copyright laws, are allowable to put up on the Internet. Most importantly, this is the place to find BACK ISSUES of the ELP Digest. I've put my whole collection of ELP Digest back issues there for your reading pleasure. In the long haul, we hope to provide some sort of WAIS service or other such beast that can help people find information that they are interested in. (E.g., which issue had reviews of the Black Moon tour?). Anyway, think of it as a work in progress. And feel free to send me ideas, comments, compliments, complaints, etc. to me. I'm relavtively new to this and would love to hear what people like, don't like, etc. about it. Enjoy! - John - P.S. For those of you who don't know about World Wide Web, the Mosaic interface to it, etc., I'd suggest you try to track down some recent publications that talk about the Internet (including things like MacUser, PC magazine, etc. that are getting into topics of how users of these kinds of machines can access this kind of thing). Look for buzzwords like WWW, Mosiac, the Web, http, html, etc. That should give an idea of what it's like. ------------------------------ Date: Mon, 8 Aug 1994 13:39:24 +0200 From: bjorn-are.davidsen@s.televerket.tele.no To: J.Arnold@ma30.bull.com (Non Receipt Notification Requested) Subject: On The Progression of Progressive Music Some comments on the discussion on Prog rock in Gibraltar (which contained some replys to my letter quoted in ELP Digest Vol 4; Issue9) : Paul Cohen quite rightly corrects my "plain bull" that none of the progressive bands in the early seventies were inspired by one another. To clarify what I meant (which perhaps could have been discerned from the context ?) I should say that what I talked about was the groups as such and not things like lenghts of pieces or that no piece ever were influenced by another group. Of cource there were influences! Apart from the two you mentioned (Yes' "Soundchaser" having an awfull lot of Crimson - but still being unmistakable YES, and Genesis being led by Van der Graaf to do a side long piece as "Supper's Ready", which, however, still was unmistakable Genesis), one could pick the coincidense that Jethro Tull after extensive touring with Gentle Giant came up with "A Passion Play" (which, however, still was unmistakable Tull). However my point was that (to quote myself): > It was meaningless to say that ELP was a "YES-clone" or vice versa. Today's prog scene is too full av clones or half-clones, and have too little originality. It's seldom a bad thing if a song or two could remind you of another group, but if almost everything sound as leftovers from a Crimson or Giant session in 1974, one could kind of question the value of it. And of course there were other influences, from outside the prog bands themselves. The classical influence was strong in the seventies, as I think I mentioned in my attempt to describe the background to various groups, as well as jazz, folk, free-jazz and pop! All the same, I agree very much with your observation that the fault very much is on the side of the music industry. That is at the same time a bit strange as e.g. ELP (always my favorite example) sold very much both of their Works Vol 1 album (which still had some of their old quality left) and drew large crowds on their much underrated 77/78 Tour (the concert with an orchestra at Montreal drew 80 000). And Giant was on the verge of a breakthrough after "Free Hand" and "Interview" until really bad judgement from their business advisers strangled them. I have always thought that the main reason was that the music industry always is looking for quantity rather than quality. It is always easier to form another "New Kids on the Block" than ELP, Genesis or Anglagard. Even if the seventies were not all that bright (one should not forget that most of the music scene consisted of things like Gary Glitter, Sweet, Abba, Gilbert O'Sullivan, Status Quo, The Osmonds a.s.o.), there at least was room for and even encouragement of the more creative bands. But the critics and consultants which defined the "paradigm" of how rock should sound like was more concerned with the beat and beer than with chords and creativity. Instead of writing about and showing real insight on instrumentality, compositions, chord schemes a.s.o. they chose a much easier path with undefinable words like "honest music", "has true feelings", "kicked my guts", "real rock" a.s.o. ad nauseatum (or how it's spelt). That kind of critic establishes a very difficult barrier to cross for groups which has a high level of instrumentality ("not honest"), put real effort into their compositions ("no true feelings"), changes the rhytm and tempo through the piece ("did not kick my guts") etc. The result is that the music scene today swarms with garage and grunge, or hip hop and rave, and has little patience with alternatives, except for political correct things like "world" or "native" music. And no song can be longer than three minutes, if it shall be allowed radio time. Even Techno is mainly left to the House Parties and gets little radio time as the "songs" go on infinitely with almost no variation. Therfore it was a pleasure to see the book by Copland which was rather extensively refered to in one ot the latest Gibraltars! To Adrian: I think you understand my point that the early Prog was in touch with "the times and the music scene". It was quite natural that ELP was one of the leading bands at the Isle of Wight Festival in 1970. Today it would be a sensation if a Prog band should play at one of the two Woodstock festivals. So, critics and composers out there, it would be a difficult, but good move if one could make music which is not automatically labeled as "prog" (and hence "not relevant" in the eyes of the Music Press), but has a touch with the contemporary scene of rave and grunge and tecno and whatever, as well as having all the musical quality of Prog. And perhaps it could be a good idea to make at least SOME of the songs into strong pieces of three minutes duration, which is rather strategic if one wants radio or video time! It is possible to make short pieces which still are superb, as Gentle Giant consistently managed to show (no peice longer than ten minutes!) and ELP occasionally did (e.g. Greg Lake's ballads) Today Floyd and Genesis have declined "compositionally" (or what it is called) but still sell records by the millions, as they manage to touch today's listeners (and have a lot of bucks to market their albums) with music which is not ALL that bad. ELP has also declined, but even if (or perhaps because?) they still show more creativity than Floyd or Genesis, does unfortunately not manage to sell very much (let's hope their new album "In the Hot Seat" which is out late August will do better, as it has a more heavy and bluesy sound, and consists mainly of short pieces). However, I am not really talking about these prog groups (if so it should be called), as they the last 15 to 20 years have shown too many compromises. What I want is someone who can revolutionize the business, like The Beatles, and still keep their musical integrity, like The Beatles. We should aim for nothing less, and even if we propably would fall rather short of it, we may do better than at the moment! Or we may keep on as today where the fans (like me) happily buy our favorite prog artist and all their clones and sit down in our easy chairs to enjoy it (at those precious times when our small children allows us)! Bjorn-Are Davidsen, Oslo, Norway. ------------------------------ Date: Tue, 9 Aug 1994 14:13:05 +0200 From: bjorn-are.davidsen@s.televerket.tele.no To: J.Arnold@ma30.bull.com (Non Receipt Notification Requested) Subject: New price for "A Time and a Place" (listing of ELP source material) Hello everyone! After having checked the weight on the new edition of the " A Time and a Place" ELP Reference List, I am sorry to say that I'll have to charge 6 IRC's for it. It has simply grown bigger than expected! Then again, it's still a very, very good bargain as it contains more info on ELP on video, MC, LP and CD than ANYWHERE else!!! The content is given at another place in this Digest. You will not be disappointed. Bjorn Are (slash that o, please). ------------------------------ From: Maureen@eworld.com To: j.arnold@ma30.bull.com Date: Tue, 09 Aug 94 00:46:41 PDT Subject: Re: 3/17/93 tape >From Digest 4/11: EM> Hi! I'm looking for a copy of the 3/17/93 radio broadcast. Can EM> anyone make me a copy of it if I send a tape & postage money? EM> I was at the Wiltern for that show and I really want a copy of EM> it!!! I'd like a copy, too; money is burning a hole in my pocket. What I'd really like is the CD (money is still burning! ;-) The Wiltern concerts were splendid; it would be spectacluar to have the recording, too. Sla/n, Mo! Maureen@eWorld.com ------------------------------ Date: Wed, 10 Aug 1994 10:00:59 +0200 To: j.arnold@ma30.bull.com From: pal.gjortz@samfunnsmed.uio.no (Paul Giortz) Subject: Greg's politics First of all, I must fully agree with Ron Chrisley in the last Digest on the use of the shuffle key. I hate the shuffle key at my CD player, never using it, and it gives me a ackward feeling the producers of CD-players think that an album this just a free collection of "songs" - as it also seems to be with lots of the crap that is made around. Nevertheless, It would be very interesting to have a discussion on the Digest about the philosophical/political/ethical messages that ELP are presenting. I will try to give my contribution to help to kick off such discussion. Some points: 1. Basically and generally spreaking, when I listen to the music, the lyrics are just a part of the total impression. Artists do have other means to express a message than just simple plain words. This gives them an opportunity, but also a risk the message will drown. I do, however, enjoy it if it is a good artistic expression, even if I should disagree with for instance a political view or expression. To me, a guy like Peter Gabriel really manages to present his messages through his music. 2. If the views are too disgusting, intolerant, devil-loving racism/fascism and maybe actually a little helpless provocative, I might have been in trouble, but to put it this way: With that music, it is not only the lyrics I dislike. 3. One should be careful to "over-interpret" the lyrics, also Greg's. As my vanishing memory tries to recall, I think that also Greg was warning against this in an interview back in the early Seventies, when people were talking about a whole, extended philosophy behind everything they did. 4. I fully follows Mark McCarron-Fraser in the last Digest, when he stresses Greg's environmental engagement and with a social conscience. Greg as a liberal guy. However, on the "Wellcome Back"-video, he talks about "Paper Blood" that was inspired by the incident with the homeless and the dog in the limo. 5. As a Catholic, I do not feel alienated by for instance "Infinite Space/The Only Way", regardless my point in 1. I heard from Greg more questions than fixed answers. Questions to make you think. Searching. As I heard Greg in lot of his production, it seems to me to be summed roughly up to something like this: Trust yourself, use your brain and listen to your conscience, not be ruled by (religious or other) doctrines and authorities. Find your own way. Take the responsibility for your acts and your life yourself and give love a chance. That is definately not far away from my own views (and are not un-christian !) but I am still sorry to see that many people in today's society are not able to stick to those rather simple rules. This might be a little too rough, but I will love to see other people's view on this item in the Digest. Paul Giortz Instituttgruppe for samfunnsmedisinske fag Postboks 1130 Blindern 0318 Oslo, Norway Telefon (+47) 22 85 05 81 eller (+47) 22 85 06 00 Fax (+47) 22 85 05 90 E-post paalgj@samfunnsmed.uio.no ------------------------------ From: WayneTC@aol.com To: J.ARNOLD@ma30.bull.com Date: Wed, 10 Aug 94 19:26:44 EDT Subject: AOL rumors, etc. John, First a quick and long belated thanks for sending and creating the digest. I'm on AOL and the latest rumor is that ITHS has been delayed for US release again (late sept, is what we've heard ) and not only will it include the pieces that were posted in the digest a few weeks ago, but the remake of Pictures as well. (same as the recording on Return of the Manticore. It sounds as if this could be a 2 disc set, lets hope it doesn't arrive with a 2 disc price. In the last issue you mentioned that a review of Live at Albert Hall, hadn't been in the digest, All I can say is that it is one of my favorite recordings of ELP and to sum it up is very powerful. I have given that CD to friends as gifts and it has turned people who once liked ELP many moons ago, back into fans. As for the other victory reissues etc. I'm slowly replacing the old albums and can honestly say that the reissue of Trilogy is phenomenal!! I use a high end cd player for critical listening with headphones and the people at victory responsible for that remix deserve and A+. I wasn't as happy with Works vol1. In a nut shell there is a certain hollowness throughout, that does exist on the vinyl but is much more noticeable here. I'm still torn about ROTManitcore, after going back and forth with the last Atlantic reissue "The Atlantic Years". I think that Atlantic did a better job than victory, at a much lower price too. The odd thing about ROTM is that the mix sounds different than the other reissues I've purchased from victory I.E. Trilogy on ROTM is good, but on the victory disc shines. One last item: I have a recording of ELP live from the late seventies from Maryland I think(works tour W/O orchestra) It opens with P.Gunn If you'd like a copy let me know, I'll put it on metal cassette. WayneTC ------------------------------ Date: Thu, 11 Aug 1994 09:22:59 +0200 From: bjorn-are.davidsen@s.televerket.tele.no To: J.Arnold@ma30.bull.com (Non Receipt Notification Requested) Subject: More In The Hot After having had private discussions on the net on In The Hot Seat, I think I'll post some of my comments after having heard the music about 10 times: I think the main differences between the new album and Works vol 2 and Love Beach may be summed up to that "In The Hot" does not consist of odds and loose ends from various dubious solo efforts (as on W2), nor do they try to make concept pieces which fail miserably (as "Officers and G." on LB) or soft/soapy tunes as on most of the rest of LB. What they have chosen to do is to move in another musical direction, with a lot more weight on the rocky/bluesy/soully side of rock than the classical/symphonic. One could like it or not, but (with in my opinion 2 exceptions), I think they have succeeded! Again, all this may be due to me being rather too kind with the group, however, the tape with ITHS has been rolling for several weeks and I still am not tired of it (with W2 and LB I was more than fed up after the first three hearings). I still discover new details, which to me is a kind of quality sign. Well, it must be frustrating to read and discuss something one has not heard! So far a few of us can say all we want without being gainsaid (I like that!), but I fear the CD will be out soon and everyone can put some more weight behind any misgivings... Bjorn Are ------------------------------ Date: Thu, 11 Aug 1994 10:04:08 +0200 To: j.arnold@ma30.bull.com From: pal.gjortz@samfunnsmed.uio.no (Paul Giortz) Subject: LoveBeach,BlackMoon&Live at the RAH Dear friends, In the Digest V4, issue 11, Maureen wants to know what's wrong with Love Beach and Black Moon. You have had some entries at the Digest lately, Maureen, and I like those. Keep up. I would like to go shopping music with you (re V4#11). Well, all this is very subjective. To ME, what is wrong with Love Beach is that it seems to be made in a hurry. I think personally there are many parts in Love Beach that have good potentials, but the good ideas are not further developed. I feel cheated because it is not keeping up with what I regard as a ELP-level to be expected. Both the music and the lyrics, the last is too wet and too simple from time to time. And we all feel, I guess, a little embarassed on behalf of the boys for the silly cover picture, which in a way underlines the unseriousness of the album (too suntanned and too satisfied). But I still listen to Love Beach because of those good parts that are in there anyway. I think Back Moon is basicly good. It came out in what was an important period to me, and have inspired me in a very positive way in my private projects (not musical projects !). It was very good to have new material from the boys after waiting so many years. But all this waiting-time rises expectations so high, and also in probably many different directions among us fans so there will always be critizism for that reasons. I plays it a lot, and many of the tunes there are among my favorites. Those tunes which appeared on the 92-tour, I think worked very well. In the same issue, Frank a Conte (right spelling ?) is asking for a review of Live at the Royal Albert Hall. I fully agree with your favorites, Frank. I also like "Pirates...", even though the best version is from the Montreal Olympic Stadium in 1977. To me, the album works as a reminder and re-capsurer of the mood and the great time we had during their concert here in Oslo, Nov 10th, 1992 (Greg's birthday - Keith (!) was heading our "Happy Birthday" song to him.) and my own meeting with the boys after the concert, which I have "reported" to the Digest on in a earlier issue. Since this is the only live apparence I have attended, it means much to me. I like the energy of the album, but I miss Carl's drum solo and "The Great Gate(s) of Kiev" which I think worked at the concert. I hope other people at the Digest gives their comment on LatRAH. If we come up with a discussion on this album, I would like to contribute with a more thorough review. This was some quick remarks. Take care ! Paul Giortz Instituttgruppe for samfunnsmedisinske fag Postboks 1130 Blindern 0318 Oslo, Norway Telefon (+47) 22 85 05 81 eller (+47) 22 85 06 00 Fax (+47) 22 85 05 90 E-post paalgj@samfunnsmed.uio.no ------------------------------ Date: Thu, 11 Aug 1994 14:37:38 +0200 From: bjorn-are.davidsen@s.televerket.tele.no To: J.Arnold@ma30.bull.com (Non Receipt Notification Requested) Subject: In The Hot? I forgot to mention that a Norwegian newspaper ("Dagbladet") yesterday reported on CD's in August and mentioned (among about forty others...) Emerson, Lake and Palmer: "In The Hot" (no "seat"!). I think this must be a typo, however there is perhaps a slight possibility for them to have changed the title again? Bjorn Are ------------------------------ Date: Fri, 12 Aug 1994 13:24:17 +0200 From: bjorn-are.davidsen@s.televerket.tele.no To: J.Arnold@ma30.bull.com (Non Receipt Notification Requested) Subject: Tarkus - Mobility [ Ed. note: Bjorn-are is referring to the "Mobile Fidelity" high end CD re-issue of Tarkus on gold CD, etc. It's good, though expensive. The URL referred to below is maintained by the Mobile Fidelity company (not me!) as part of their "Internet awareness/marketing presence. - John - ] I was just surfing on the net today (lunch time!) and found two entries on the new edition of Tarkus. This may have been reported on earlier, however, if not it may be nice to see that someone puts info of ELP into the World Wide Web (is it you John?). It is found on http://192.190.21.10/meta/internet/mkt/mfsl/catalog/main.html The info consisted of a nice colour image of the cover (front page) and the following texts (there were two entries): Mobile Fidelity Sound Lab: Emerson, Lake & Palmer: Tarkus New Release: January 1994 Mastered with The GAIN System This recording has all the sonic capabilities to make it one of the top contenders for any "audiophile's top 10" list. Mobile Fidelity's mastering techniques and new equipment have revealed for the first time the potential and quality of the sonics of this recording -- making it a perfect tool for A/B comparisons. The second title by the originators of "classical rock," Tarkus was originally released domestically in 1971 by Cotillion/Atlantic. Engineer Eddy Offord (known for both the ELP material and the classic Yes albums) was at the helm, accompanying ELP to new sonic heights. Eruption, Stones Of Years, Iconoclast, Mass, Manticore, Battlefield, Aquatarkus, Jeremy Bender, Bitches Crystal, The Only Way (Hymn), Infinite Space (Conclusion), A Time And A Place, Are You Ready Eddy? The second entry went: Mobile Fidelity Sound Lab: Emerson, Lake & Palmer: Tarkus New Release: March 1994 Mastered with The GAIN System Supergroup ELP's second title, Tarkus, was recorded and released less than one year after their acclaimed debut disc. The melding of Keith Emerson/ former keyboardist for The Nice, Greg Lake/bassist and vocalist for King Crimson, and Carl Palmer/drummer for Atomic Rooster was a gamble, but one that proved in the long run to be magical. Tarkus, recorded under the same conditions as their self-titles debut at Advision Studios and under the engineering guidance of Eddy Offord (of Dixie Dregs) resulted in bigger and more adventurous themes and much sonic growth as they captured experimentations in the studio. The inclusion and mixing of classical themes had become an ELP trademark (and would result in the recording and release as their third album the entire Mussorsky's Pictures At An Exhibition). For Tarkus, Emerson chose to include Bach's Toccata in F and Prelude VI as a theme to the intro and bridge to The Only Way (Hymn). Tarkus, Eruption, Stones of Years, Iconoclast, Mass, Manticore, Battlefield, Aquatarkus, Jeremy Bender, Bitches Crystal, The Only Way (Hymn), Infinite Space (Conclusion), A Time And A Place, Are Your Ready Eddy? Bjorn Are (still jamming the Digest line) ------------------------------ Date: Fri, 12 Aug 1994 14:18:17 +0200 From: bjorn-are.davidsen@s.televerket.tele.no To: J.Arnold@ma30.bull.com (Non Receipt Notification Requested) Subject: Mobility For those of us (like me) who wonders what all the hype about Mobile Sound and Gold Discs are, the following info may be usefull (gathered along with the Tarkus info from WWW - BTW Tarkus is among the (not more than!) 120 titles available from Mobile Sound), on the techniques used by the COMPANY Mobile Sound: Further refinements to the OMR compact disc resulted in the 1987 launch of the ULTRADISC -- a limited edition, collectible, 24-karat gold plated, audiophile CD which quickly became the audiophile standard among industry leaders, a reputation which remains undisputed as the ULTRADISC series continues to the present day. Responding to a growing unrest with traditionally produced CDs, the ULTRADISC was developed after years of research which yielded the most advanced, sonically accurate CD available on the market. In addition to proprietary mastering techniques, perfected through thousands of hours of listening evaluations, and custom-designed equipment, Mobile Fidelity engineers added perhaps the most essential ingredient of all - -- time. Then, as now, engineers worked solely on one project at a time, paying meticulous attention to every phase of the mastering process, beginning with a careful inspection of the original master tape. Tapes exhibiting extensive degeneration through improper storage were rejected and, eventually, special restoration techniques were developed which resulted in the salvaging of many otherwise unusable master tapes. Custom-designed equipment included a playback machine which was aligned to mirror the recording-heads of the equipment used in the original mastering process. Other refinements involved the use of music itself as a test signal to adjust the reproducing machine, as opposed to commonly used test tones which were incapable of revealing the delicate spectral balance required for exact reproductions. Advanced manufacturing methods involved custom-pressing discs in a carefully controlled, limited output CD ROM pressing plant which adhered to Mobile Fidelity's exacting standards of production. The use of 24-karat gold as a CD coating was the result of extensive research which revealed that gold naturally resisted the oxidation sometimes associated with aluminum discs, thereby ensuring that the ULTRADISC virtually lasts forever. Gold coating also eliminated the pinholes common to aluminum discs, which require error-correction on the part of compact disc players. As a natural outgrowth of ongoing research, in September of 1992 the company launched ULTRADISC II, a new and improved ULTRADISC formulation which boasts an advanced bonding process as well as a thicker gold coating. Today Mobile Fidelity continues to test the limits of existing audio technologies with the development of the new GAIN System of mastering equipment. This new technology affects both analog and digital products from Mobile Fidelity, and has led to startling advancements in the impact of recorded sound. Bjorn Are ------------------------------ Date: Tue, 16 Aug 94 14:38:17 +0200 From: putaux@cermav.grenet.fr (Jean Luc Putaux) To: J.Arnold@ma30.bull.com Subject: Keith Emerson interview - 11/05/92 Here is my first posting for the readers of the ELP digest. I thought that you might be interested in reading an interview of Keith that was done in 1992, when the band came in France to play a unique gig in Paris. The promoters had booked "Le Zenith" which had a capacity of 4000 to 6000 people. Sadly, at the last minute, due to low advance sale, they decided to move to the Elysee Montmartre, a smaller venue (capacity: 2000). At one moment, the band even wanted to cancel the show but thanks to the insistant promoter, the concert was maintained. I'm part of Entr'Rock'N'Roll, a non-profit association dedicated to the organization of progressive rock concerts in Paris with young and promising non-professional prog bands. We had proposed to the french promoters of the ELP concert to do some free mail promotion among our "registered" prog rock fans. In exchange, they had accepted us to arrange some interviews for french prog rock fanzines. So it was a good opportunity to meet some of our musical heroes. After having aknowledged our help, the very nice tour manager invited us to wait for Carl in the dressing rooms. We were told that Greg was resting at the hotel and that Keith was probably stuck in a taxi somewhere between the airport and the venue (two hours only before the show !!). Needless to say how nervous we were waiting in the dressing rooms. After a while, the door suddenly opened and Keith himself came rushing in !! The manager introduced us and asked Keith if he was OK for a short interview. "Sure", he answered. So we discussed with him during half an hour. He was nice, simple and patient, actually very different from a capricious rock star or from the image we usually have of himself on a stage. It will definetely remain a wonderful memory for us. This interview was conducted by Jean-Luc Putaux + Sandrine Culin (Entr'Rock'N'Roll) and Olivier Bourdin (Rocktime Magazine), on the 5th of November 1992, at the Elysee Montmartre, in Paris. It has been first published in french in the newsletter of our association (# Jan.93) and in Rocktime magazine (# 20). These ARE NOT the *real* words of Keith. The interview had been directly translated in french and the tape has since been deleted. So, I have translated it back in english, trying my best to preserve Keith's thinking. I apologize for the english mistakes. Some of you may already know the following pieces of information. Please keep in mind that ELP come to France only once in 18 years so we (french fans) were clearly underinformed about the band. =========================================================================== Q.: Listening to "Black Moon", one can notice that the band's sound has changed quite a lot. However, your Hammond organ is back. Many people say that this instrument is a symbol of the past. What do you think about it ? K.E.: The keyboards I'm using reflect the evolution of this type of instrument from the moment I started being interested in it, back in the sixties. Among them, you will find the Hammond organ, the modular Moog synthetizer, the piano, some recent digital synthetizers, etc... Well, if you take a look at my keyboards, you can contemplate the history of the instrument and its technological developments. During my career, it is probably not in the Hammond organ that I took the closest interest. I've been more interested in the GX1, for instance. Some fans have been disappointed and blamed me for having lost a part of my musical personality. I suppose that at this time, the Hammond organ did not really fit in my compositions. During the preparation of "Black Moon", we have decided to bring it back to the front, most certainly because it has more character than programmed sounds. Q.: Some songs, such as "Paper Blood", for instance, have a particular "bluesy" feeling, probably because you play the Hammond organ. This blues aspect seemed to have disappeared from your music and sometimes, you seemed more interested in jazz, as in "Step Aside". K.E.: That's true but you have to understand that I began playing blues with T-Bone Walker, at the Marquee Club. Blues was what interested me most. It has really been my first motivation. Jazz was secondary then. Q.: And what about classical music ? It alwasys seems to be in your heart since, once more, you have adapted a classical piece, "Romeo and Juliet" by Prokofiev. K.E.: I think that it's something that our fans expect us to do. Since our beginnings, we have been trying to prove that classical music and rock could be perfectly blended. When we were adapting a classical piece, when that was possible, I always tried to meet the original composer to have him listen to our version and be sure that he would not disown us, that he would not feel betrayed. Q.: Which composer did you meet ? K.E.: Ginastera and Aaron Copland who did not seem too shocked by our adaptation of "Hoedown". Now, regarding what the piece looks like onstage, it is another story (laughs)... Q.: I think we must acknowledge that ELP have played a important role in classical music vulgarization for the young. You certainly had opened new ranges of interest for progressive rock fans. I remember that many years ago, I was very surprised listening for the first time to the orchestral version of "Pictures at an Exhibition" and thinking that this Mussorgsky guy had ripped ELP off !! ----------------- Q.: We have been said that many songs from "Black Moon" were written during the Gulf War. Is this for this reason that the album has sometimes a more agressive tone ? K.E.: No because the major part of the music had already been composed before the war actually. I don't think that our role is to do political statements in our songs. Greg just made some allusions to this war in "Black Moon"-the song. Q.: However, this album is different from the previous ones in the sense that the lyrics are more realistic and more closely connected to the current events. Is it the end of the big epics such as "The Miracle" or "Tarkus" ? K.E.: It is not a deliberate choice. I think that it is more because of an evolution in Greg's interests. We work hard to offer the best music with intelligent lyrics. One can hear so many silly songs today ! We don't write having in mind the desire to break in the charts and we have never done so. Regarding the length of the songs, in a way, "Black Moon" is similar to our first album which was a collection of independant and rather short songs. At one time, we have thought about developping a concept in "Black Moon". Maybe we will do so with the next one. Q.: You have composed several soundtracks. Listening to "Changing States", one can believe that it comes from a movie score. More generally, this taste for the epic style is one of your "trademarks". "Pirates", for instance, which is very visual, illustrates this perfectly. Where does your inspiration come from ? K.E.: I composed film scores at a time when the band had broken up. I accepted this work because I was given the means to work quite freely and to compose for an orchestra. Regarding my way of working, I don't sit behind my keyboards with a particular image in mind. I let the inspiration come without knowing precisely whether it will lead to a dynamic piece or a quiet ballad. Moreover, the lyrics aree generally written after the music has been completed. Ragarding "Pirates", I had originally composed some music which should have been the score of an adaptation of Frederic Forsyth's novel, "Dogs of War", which was about mercenaries. When we have decided to include the song in "Works Vol.1" and after Greg had written the lyrics, we have judged that the subject had too pronounced political connotations. He has finally chosen to write some good old pirate story, which suited us better. Q.: Do you remember on which occasion you have met Greg and Carl ? K.E.: Yes. It happened in the USA, in 69 and King Crimson opened for The Nice. I heard Greg singing "Cat Food" and I liked his voice a lot. After the show, we have discussed together and I told him that I planned to form a new band. He said that he was OK to join me. Then, we auditionned several drummers (Mitch Mitchell was one of them) but it is finally Carl Palmer who corresponded better to what we wanted to do. Q.: ELP have done vey few concerts in France. The last ones goes back to 1974 ! Do you have any particular memory related to a french concert ? K.E.: I only remember one anecdote but not with ELP. It must go back to 67 ! The band I was in had just played somewhere in Germany and everybody wanted to party in a bar where there were plenty of prostitutes. As I was still in rather good form, I was chosen to drive the van. Somebody had given me some kind of pill (I don't remember what drug was in it though !) which should have prevented me to fall asleep while driving. I think that I did not sleep during two days actually ! We arrived in France and during the gig, I was still so excited that I really went crazy with the organ, jumping everywhere, climbing on it. The following gig was in London and our manager came and told me: "What you did the other night was terrific ! Could you do the same thing tonight and for the other gigs ?" (laughs). Q.: ELP have always been considered as a band of over talented musicians. Back in the 70's, the qualities of an instrumentist were particularly respected. Do you think that it is still the case today ? K.E.: On one hand, I don't have the impression that young musicians spend enough time to make full use of their instrument. They prefer to make money quickly. On the other hand, from the fan point of view, it seems to me that today, we don't really hear about "heroes" as far as musicians are concerned. In the 70's, it was common to admire such-and-such guitar hero, for instance. Q.: Do you receive letters from bands asking you to give some advise to break in the music business ? K.E.: Yes, I receive a lot of mail and tapes too. I don't really have time to answer them all and to listen to all tapes. I even received a letter from a guy who wanted me to be his piano teacher (laughs) ! Of course, I said no. I don't see myself as a music teacher at all. One day, I received a letter from a 6 year-old girl. I had just released an album of christmas songs, "The Christmas Album". That girl wanted me to send her the lyrics of the songs. It was clear that the letter had been written with the help of her father who seemed to be a great fan of ELP. Some times later, during one of our shows, I saw someone just in front of the stage waving at me. I just realised that it was the little girl climbed on his father's shoulders who came to see us ! Q.: Progressive rock never stopped having fans. In many countries, dozens of bands have been inspired by seventies bands such as ELP. They don't want this music to disappear even though it doesn't seem to interest record companies and can only have a non-profesionnal status. Do you know some of these young bands and do you feel any responsibility for them ? Q.: I know that such bands exist and the tapes that I receive prove it. Even if it is very difficult for me to help them directly, I can say that if ELP are still here, it's to be their banner and to show them that the flame is still alive. What was new in the 70's was the notion of "art" in rock and pop. Our music has often been called "art rock". Many bands wanted to show that art and popular music could be blended. But the time was different. We use to take drugs (laughs) ! Nowadays, the market is only driven by the idea to make money very quickly. One other aspect that changed a lot is the radio. In the 70's, radio stations played an essential role in the success of the progressive rock movement. In those days, they used to play the whole "Tarkus" or even "Pictures..." and sometimes even play them one after the other ! Q.: You should try and rearrange "Tarkus" to fit into 3 mn (laughs)! K.E.: It certainly would be difficult (laughs) ! If the radios would accept to play longer and more "musical" songs, progressive rock might find a new interest. Q.: To conclude, I will read you an extract of a review of one of ELP's recent concert at the Royal Albert Hall of London. You will surely like it a lot. These few sentences reflect rather well the biased opinion of the journalist. We would like to have your comments: "(...) And here are Keith, Greg and Carl, on the run from the taste police, ready to perpetrate new aesthetic crimes in the name of pomp rock" (Ben Thomson - early November 92 in The Independent). K.E.: It's incredible to read such things !! But, sadly, we are used to it. During our career, we got very violent reactions and we have probably been more severely attacked than The Sex Pistols ! There always have been rock critics to hate us and I have never really understood why. I don't have the impression that we are pompous persons. I feel that many artists are a lot more pompous than us. For instance, I find Prince to be pompous, a guy who sings "My Name Is Prince" ! Moreover, I can assure you that the public of the Royal Albert Hall has been tremendous, very enthousiastic. We have really been surprised by the response in England. We always want to offer a good show. That people enjoy themselves is the only thing that really matters to us. ===================================================================== ------------------------------ Date: Wed, 17 Aug 1994 14:06:35 +0200 From: bjorn-are.davidsen@s.televerket.tele.no To: J.Arnold@ma30.bull.com (Non Receipt Notification Requested) Subject: In The Hot Seat - A Newspaper Review John! As there has been no Digest out as yet, the punishment is another message to put it! The following is a (not too bad, I hope) translation of my review of ITHS, sent to a Norwegian newspaper (with good hopes of having it printed!). I have very intentionally given it a rather positive angle, choosing not to focus on the misgivings ELP fans (like me) may have to this new direction and the unfortunate lack of new, long, aggressive, creative, ground breaking, immortal, shattering, pioneering, intricate, hammering, showmanshipshowing and overwhelming compositions. Here it goes: BACK TO THE ROOTS It is very rare for a rock group to change it's style completely. However, the English "supergroup" Emerson, Lake and Palmer has had an amazing development. From being perhaps the greatest sympho-rockers with their five groundbreaking albums from 70-73 - even if many felt them to lack somewhat in musical warmth and honesty - they have now returned to the roots of rock. With "In The Hot Seat" ELP does the completely unexpected. After gigantic live shows in the 70's - and a long break - they have now returned with warm and down to the earth music, with unmistakeable traces of gospel and Bob Dylan. And it really does swing! The first piece - "We have the Power" - shows that Keith Emerson has not forgotten how to handle piano and keyboard. With a fresh air of gospel and a bluesier voice from Greg Lake than 20 years ago, this is a piece of music one soon gets to enjoy and late will forget. In the next piece - "Daddy" - we get a sad meeting with a father who has to live through his daughter getting killed on her way home from school. A proper video may perhaps turn this into a hit. On the song "One By One" we return partly to 70's ELP with aggressive symphonic chords, however, the refrain leaves us in no doubt that we are in the 90's. The CD goes on alternating between ballads and rougher pieces, where in fact the lyrics are more important than we are used to from veterans of the 70's. In "Changes" we hear cries for "More Truth and Honesty", and "Street War" deals with the problems in the large Ameircan ghettos. That Lake from time to time moves into Dylan's way of singing, let's us never be in doubt of the inspiration. But then again, ELP also does a rather good interpretation of his "The Man in the Long Black Coat". After 10 short pieces based on the rock's roots, ELP let themselves loose on their own roots. They round up the CD with a very interesting 17 minutes new recording in five channels Dolby Surround of their classical interpretation of Mussorgski's "Pictures at an Exhibition", and makes it enjoyable to more than the hi fi enthusiasts. 70's puritans may appreciate more the intense live version of 1971, however, ELP shows with "In The Hot Seat" that they at the same time can return to the roots of rockn' roll and at the same time be a driving force behind new musical technology. Bjorn Are ------------------------------ Date: Wed, 17 Aug 94 12:35:36 CDT From: Suzanne Subject: In the Hot Seat release delayed... To: john arnold I've just been told by my local CD store that the release of "In the Hot Seat" will be delayed and the album will _not_ be in stores on the 23rd. This is according to a call from Polygram. The clerk was unable to give me an exact release date. Has anybody else heard this, and/or does any- body know WHY? Any info out there as to when the new release date might be? ~~~Suzanne ------------------------------ From: wcsanil@ccs.carleton.ca (Anil Prasad) Subject: ELP album cancelled?? To: j.arnold@bull.com (elp) Date: Wed, 17 Aug 94 18:30:06 EDT I've heard rumblings that Victory may not be releasing the new ELP CD at all. Further, I've heard an industry rumour that Polygram is planning to pull the plug on Victory Records because it's been losing big money. Again, these are all rumours, and I'm hoping someone out there has some concrete information. -- Anil ------------------------------ Date: Thu, 18 Aug 94 17:42:00 EDT From: Brian=Podesta%IRD%UMASS@BANYAN.UMMED.EDU Subject: Any Release Date for 'In The Hot Seat'? To: arnold@cyclades.ma30.bull.com Hi John, Is there an official U.S. release date for "In The Hot Seat"? Hope you're having a nice summer. Brian P. [ Editor's note: As you can read above, there is much confusion over the fate of the next ELP album. I hope this all gets sorted out soon. Perhaps after my vacation, I'll try calling Victory again and see if they have any information. Sorry to not know more. - John - ] ------------------------------ Digest, mailing address, and administrative stuff to: J.Arnold@ma30.bull.com ==\ => the same for now ELP-related info that you / want to put in the digest to: J.Arnold@ma30.bull.com =/ Back issues available via World Wide Web: URL of the ELP Home Page: http://bliss.berkley.edu/elp/ OR by anonymous ftp: ftp site: ftp.uwp.edu user name: anonymous password: provide a full email address path: /pub/music/lists/elp/digests/1991/elp-digest-1.* /pub/music/lists/elp/digests/1992/elp-digest-2.* /pub/music/lists/elp/digests/1993/elp-digest-3.* /pub/music/lists/elp/digests/1994/elp-digest-4.* Note: The opinions, information, etc. contained in this digest are those of the original message sender listed in each message below. They are not necessarily those of the mailing list/digest administrator or those of any institution through whose computers/networks this mail flows. Unless otherwise noted, the individual authors of each entry in the Digest are the copyright holders of that entry. Please respect that copyright and act accordingly. I especially ask that you not redistribute the ELP Digest in whole or in part without acknowledging the original source of the digest and each author. Thanks! End of ELP Digest [Volume 4 Issue 13] *************************************