ELP Digest Monday, 19 February 1996 Volume 6 : Issue 3 The "Light a Lover's Fire" Edition Today's Topics: New ELP sheet music book is out ELP sheet music Need Sheet Music for "The Score" From Emerson Lake & Powell Karn-evil 9 oncert Video Please!!!! information (about lyrics) EP-Videos available in Germany Copy of letter to WIll Alexander re: music, .MID files DISCOGRAPHY! EL & Powell -string bass Emerson Surgery Controversy. How Is This Done? ELP FAQ Carl Palmer interview Valentine's Day letter in support of Greg Lake Prelude ======= Hi! This was to have been the Valentine's Day edition. But troubles getting a stable connection to my Internet service provider put the damper on that. So, here it is... Better late than never, I hope. Big news in this edition is the arrival of a new ELP sheet music book and a translation of a Cral Palmer interview from an Italian publication from the "In the Hot Seat" era where Carl talks about his drumming, the making of ItHS, Keith Olsen, etc. Pretty good stuff! I'll try to resume a weekly schedule until I finally tame the wild backlog. - John - ------------------------------------------------------------ Date: 09 Feb 96 09:58:40 EST From: "Plotczyk, Steve" To: John E Arnold Subject: New ELP sheet music book is out New ELP sheet music book is out! My good friend Pete Ford was at a music store last week browsing through the music racks when he happened upon, of all things, a new ELP sheet music book! It's called "Emerson Lake & Palmer - Greatest Hits" with the ELP round insignia in fire in the middle of the page. The tunes in it are: C'est La Vie Still... You Turn Me On -different from Anthology book The Endless Enigma part 1 -same as ELP book The Endless Enigma part 2 -same as ELP book From The Beginning -different from Manticore Music version Take A Pebble -same as ELP book I Believe In Father Christmas -different from Manticore Music version Lucky Man -different from Anthology book Trilogy -same as ELP book Karn Evil 9 1st Impression part 2 Any sheet music store should be able to get: Emerson Lake & Palmer Greatest Hits Amsco Publications AM 934494 The USA distributor is: Music Sales Corporation 257 Park Avenue South New York NY 10010 The England distributor is: Music Sales Limited 8/9 Frith Street London W1V 5TZ The Australia distributor is: Music Sales Pty. Limited 120 Rothschild Avenue Rosebery NSW 2018 The USA retail price is $14.95. Pete had some comments about Karn Evil 9 1st Impression part 2: Karn Evil 9 is surprisingly complete; it wasn't truncated too much from the original, but there are some notational errors: the sample and hold on E-flat instead of A-flat; some G-flat chords used intead of B chords, and on the last page a D(flat5, no 3rd) has an A natural instead of an A-flat. But hey, who's complaining? All in all they've done a pretty good job of transferring this awesome music to piano. My hope is that this is only the beginning of many sheet music books to come! Many thanks to the people who brought this book to market. Steve Plotczyk ------------------------------ From: KGreene173@aol.com Date: Fri, 2 Feb 1996 15:33:14 -0500 To: arnold@iii.net Subject: ELP sheet music You probably know by now, but a book of ELP songs has just been published by AMSCO Publications, entitled "ELP Greatest Hits." It has a lot of stuff previously published, but long out of print. And a rather unfortunate hack-job on KE9 1st Imp. (Pt.2) The publication # (ISBN??) is AM 934494. No idea if this publisher has a Website. [ Editor's note: I see there is a difference of opinion on the quality of the Karn Evil 9 music. I guess we'll have to wait until more of us have copies to form a consensus. - John - ] ------------------------------ Date: Sun, 04 Feb 1996 14:50:33 -0800 From: bobg@freenet.scri.fsu.edu Subject: Need Sheet Music for "The Score" From Emerson Lake & Powell I am a senior in high school in Tallahassee, Florida and I plan to do a recital at my school. In this recital, I plan to perform music that I have written and music from other artists that have influenced my writing over the past 5 years. One of those groups of artists is ELP. I have decided to begin my "concert" with an ELP song called "The Score," which is from the Emerson Lake & Powell album. However, after carefully listening to the piece, I have concluded that I will need to use the sheet music to be able to play the song. But, there is one problem: I haven't been able to find it. I have searched for weeks, trying to find the sheet music of the song or even the book itself of the album Emerson Lake & Powell, but to no avail. So, I am asking you if you have any information as to how I can obtain the sheet music of "The Score" or the fake book of the album Emerson Lake & Powell. If you know of anyplace else where I can possibly order the sheet music or the book, I will greatly appreciate it. Thank you for your time. Tony Giordano [ Editor's Note: Tony may not be an ELP Digest subscriber since he's used a friend's account to send me his request via the web. Therefore, if you reply, please reply to him at the email address at thetop of his message as well as sending me a copy for the Digest. Thanks! - John - ] ------------------------------ Date: Thu, 26 Oct 95 15:29:32 -0400 Sender: rporcari@acsu.buffalo.edu From: Richard J Porcari To: arnold@iii.net Subject: Karn-evil 9 What does Karn-evil 9 stand for? Is "the show" a freak show representing modern society? [ Editor's Note: I think the one-line summation of "the show" representing modern life as a "freak show" is the most succinct description. And I'm sure the topic could be discussed ad infinitum by some of us. To answer the first question, I think "Karn Evil" is indeed a pun on Carnival with the KE being Keith's initials an extra added bonus. Readers??? - John - ] ------------------------------ Date: 27 Oct 95 01:35:29 EDT From: Tom McConica <74415.602@compuserve.com> To: "John E. Arnold" Subject: Concert Video Please!!!! Can anybody give me one good reason that ELP has never had a good concert video for sale in the local store? After listening to WBMFTTSTNE and the Impressions CD, I find this without excuse! It seems to me that about 20 years ago there was a movie called "ROCK AND ROLL YOUR EYES" about ELP. The PICTURES and MONTREAL videos are too hard to find and not of the best quality. We as fans should stress this need so the rest of the world will know why we are crazy about this band! [ Editor's Note: The Pictures video is the "Rock and Roll Your Eyes" movie though only the Japanese import seems to have retained the entire movie (with Knife Edge, Rondo, and Take a Pebble). Perhaps enough sales of the new sheet music book could convince some marketers to take a chance on the ELP market with some more merchandise. - John - ] ------------------------------ Date: Fri, 27 Oct 95 13:39:49 -0100 From: NetScape Organization: INSA Centre Informatique 1er Cycle To: arnold@iii.net Subject: informations I wanna now where I can find on INTERNET the lyrics of ELP.Thanks! [ Editor's note: Lyric on-line is one of thoseareas where copyright concerns come into play. However, I've recently found a few places with ELP Lyrics on-line that don't require me to put the lyrics on the server at Berkeley (where the fols are nice enoguh to host us as long as we're not a bother). So, look at the ELP web site for some pointers to thoer places on the web with ELP and related lyrics. - John - ] ------------------------------ Date: 28 Oct 95 10:43:06 EDT From: Ralph Sommer <100767.3270@compuserve.com> To: John E Arnold Subject: ELP-Videos available in Germany Hello ELP Fans, Just new here in the fantastic ELP Digest I started to read the former issues. As I did not find a letter about the following theme I have a question: Can anyone help me to find an adress where ELP-Videos are available? I do not think of the "Pictures", filmed at the Lyceum, directed by Nicholas Ferguson and the new "Welcome back" videos, but I know that there has been, for example, a 16mm film some years ago with "Pictures" and "The Barbarian" and a very good drum solo. There must also be a lot of other videos as I have heard. I am looking for all videos about ELP on european VHS-system and would be very happy if anyone can help me. "This Company Will Return One Day." Ralph Sommer ------------------------------ Date: Mon, 30 Oct 1995 10:37:05 -0500 To: arnold@iii.net From: sni@localnet.com (Seneca Nation of Indians) Subject: Copy of letter to WIll Alexander re: music .MID files John: Here's a letter I sent Will Alexander. Feel free to post it if you think it's worth others seeing it. ..Joe Mr. Alexander: After reading the articles in the ELP digest about the bootleg transcriptions, I decided to write you personally. As a classically trained musician, I, like many others don't have the ears necessary to figure out the music, having been taught to read rather than listen, but do have the chops (I hope) to play it. I remember back in the 70's that I and about 6 others would group together and spend hours figuring out the licks so that our respective bands would be able to play this music on stage. I no longer have the time now that I did as an adolescent to figure this stuff out (who does?) so I thought that I'd come to the source. If Mr. Emerson is up to the task (ie. if the right arm is feeling OK) perhaps he can create .MIDs of his own works and you folks could sell them through EmerSonics on the net or by US Mail. This way, no copyright laws are breached and KE is guaranteed royalties (and profits) rightfully due him. Additionally, it guarantees that proper transcription of his music are out there, not 26 different "correct" versions. Also, there can be all the the different arrangements of the music that exist (eg. the 1st impression solo: in A on the studio record and Ab on the live album and with a slightly different arrangement, or the "Welcome Back Tarkus Stones Of Years solo which, IMHO, is better than the original) there would be no end of musicans out there that would be interested in purchasing these transcriptions: witness the row going on with the bootlegs. The sequencer could be a great help to KE and perhaps not create any more damage to the arm, and all the frustrated players like myself can revel in the excitement of playing this music correctly and with all the energy and excitement it deserves. Please forgive me if I've taken too much of your time. I hope to hear from you soon. Joe Gerardi Manager of Information Systems Seneca Nation of Indians, Keyboardist and Emerson afficionado and fan ------------------------------ From: Bjorn-Are.Davidsen@s.prosjekt98.telenor.no Date: Thu, 2 Nov 1995 14:00:16 +0100 To: John E Arnold Subject: DISCOGRAPHY! Here's a message from the great ELP collector: CAVALLUCCI MASSIMO Via Rapisardi,15 05100 - T E R N I I T A L Y 1- The new up-date "Take a Ladder !" audio/video collection is available with new entries; to receive it,send 3 IRC's at my adress. 2- For all ELP's collector and fans are olso available : - ELP & Related LP LIVE Discography - " CD LIVE Discography - " 7"/12"/CDsingle/ Discography - " LP/CD Discography - " Tours dates schedule '69-'93 (attempt !) To receive the above lists send 2 IRC's per list; for complete set lists (inc. Take a ladder !) send : 6,00 USA $ or 4 UK L or 8 Irc's at my adress. 3- Dear friend, I M P O R T A N T !!!! I'm working on "ELP & Related" 7"/12"/CDsingle/Mcassette discography. My project is to release (hopefully in 1996) an "artigianal" illustred booklet with A side cover of above items mentioned : I'm looking for ALL ELP's COLLECTOR for their HELP! I'm intersted to receive the photocopies in b/w reduction at 50%,of a-side illustrateded picture sleeve. Sorry, I cann't to pay, but only mentioned your name on booklet! On request I can send you the provisional list with the title that I HAVE. Hope for your help, ELP collector ! 4- I'm looking for the following recordings ON TAPE : Tim Hardin : "How can we hang on to a dream" Kim Fowley : "Nutrocker" Sonny Rollins : "St.Thomas" Henry Mancini : "Peter Gunn theme" Mario Pelchat : " C'est la vie" Elton John : " Don't let the sun go down on me" Grand Funk Railroad : " Locomotion" Bob Dylan : " Country pie" " " : " Man in the long black coat" " " : " My back pages" " " : " She belongs to me" Roger Chapman : " Lucky man" (4 version from cdsingle) Dokken : " From the beginnings" ? : Dance version of "Lucky man" I can to trade with others audio items at your choise. (olso Progressive in genral) 5- Also, I'm looking for rare E.L.P. & Related items (as lp boot,cdlive, cd single 7",12".....); if you have any for sale, but better for trade, LET ME KNOW ! 6- For all AUSTRALIAN ELP'S COLLECTORS AND FANS :if you are interested in ELP & Related videos in PAL VHS system (European and Australian are the same !), let me know : " Take a ladder !" list includes a lot of rare videos 7- In December 95 or January 96 there will come out an italian magazine "RARO!", (The italian equivalent of UK's RECORD COLLECTOR and USA's GOLDMINE) It contains an article with review,discography,history and photos of ELP & Related : if are interested let me know in time. Massimo ------------------------------ Date: Thu, 2 Nov 1995 18:42:19 +0800 From: John.Lukes@Ebay.Sun.COM (John Lukes) To: arnold@iii.net Subject: EL & Powell Is the re-released EL&Powell -- with the extra tracks -- worth re-buying the CD? (I already have the "original" CD without the extra tracks -- nor their listing, either!).... I guess my question is, are the extra tracks "worth it" -- I know, it's probably a "dumb" question, not unlike...is EL&P a good group?! Thanks, -JOHN [ Editor's Note: I think you're right that the "beauty" of these tracks lies in the ears of the listener. I, for one (and I may be the ONLY one), was disappointed that "The Locomotion" was an instrumental. I would have loved to hear a complete rave-up of this old classic. I'd liken the version on ELPowell to the "Eight Miles High" cover on the Three album but without vocals. Vacant Possessions is pretty good. Whether it's worth it to buy another copy (if you've got the original ELPowell) is a coin toss unless you're a real collector. But it's worth it if you don't have the album on CD since it's a good record to have. - John - ] ------------------------------ Date: Thu, 2 Nov 1995 23:26:24 -0600 X-Sender: jkanable@students.wisc.edu To: arnold@iii.net From: jkanable@students.wisc.edu (jason kanable) Subject: 8-string bass Greetings fellow Digest readers! As this is my first official post to ELP Digest, I feel compelled to introduce myself. My name is Jason Kanable, I am 19 years old, a sophomore at the University of Wisconsin in Madison. I play bass and sing in a keyboard-dominated band, and have been an ELP fan for about three years (I feel like I'm at an AA meeting). Anyway, my only live experience, and it definitely was an experience, with ELP was during the Black Moon tour in February '93. If you're wondering what makes a teen throw himself to the graces of ELP when there's so much other music to listen to, it's the same reason as anyone else: there are only so many different ways you can play the same three chords before they get really boring. When was the last time you heard Green Day's 15-minute blues/jazz improv incorporating classical elements? Probably never, because they'd have to change key. Or how about Bush's three-movement piece following the domination of the world by computers? I haven't heard that one either. Maybe I expect too much from musicians to change key or tempo, or heck even lyrics. Oh, well, I've always been strange. Good old ELP, they always deliver. All of you who fear for music fear not, there are younger people, like myself, who value good music, and will do all in their power to get a recording contract to help out the music world. Anyway, back to why I'm posting. I was watching my "Welcome Back" video the other day, and couldn't help but think that it appears (and sounds like) Greg is playing the 8-string Alembic bass for the song "Watching Over You". Can anyone confirm this? ---------------------------------------------------------------------------- --------------------------------------------------------------------- "Guardians of a new clear dawn" ---------------------------------------------------------------------------- --------------------------------------------------------------------- jkanable@students.wisc.edu [ Editor's Note: Yes, Greg Lake used a 8-string bass as one of his main basses back in the Works era tours. I think he had a 4-string and an 8-string along for those tours and would use the 8-string for things like Pirates and a few others. Nice sounding bass, that's for sure! - John - ] ------------------------------ From: mathias thallmayer Subject: Emerson Surgery Controversy. To: arnold@iii.net (ELP Mail List) Date: Fri, 3 Nov 1995 11:15:50 -0500 (EST) Here is an interesting blurb from Keyboard, Dec. '95. Keith's Cure by Greg Rule Much has been said about Keith Emerson's hands of late, and readers continue to write us regularly asking about his progress. It may too early to declare victory, but Keith made an apparent stride forward after checking in with Kate Montgomery, a San Diego-based muscle therapist. "I worked on him for about two hours," she tells us, "and in that time-frame he went from a grip strength of, say, a seven to a ten in a matter of 30 seconds." What magic spell did she cast to cause such progress? The answer, according to Montgomery, is detailed in her book, Carpal Tunnel Syndrome--a Non-Surgical Approach (Sports Touch Publishing, Box 221074, San Diego, CA 92192-1074). A video from Montgomery should also be in stores by the time you read this. "What's sad about Keith's situation, and what I want to say to all musicians," she conveys, "is he didn't need the surgery. He has a lot of things that need to be dealt with, but he will be okay." ______________________________________________________________________________ So, what's the deal? Was Emerson's doctor an overzealous scalpel jockey who thinks surgery is the solution to every problem? Is Montgomery a pseudo-medico with some wacky alternative therapy who preys on desperate people looking for help and uses a famous person to help hawk her wares? Did she actually even work with Emerson? And what about Keith? Is he artist so driven to regain lost glory that he is willing to consult with any crackpot with a pet theory or is he a valiant fighter trying to find a cure when mainstream medicine has failed him? Also, it would have been if Keyboard had talked Emerson's surgeon. As it stands, the featurette is little more than an advertisement for Montgomery's book. All they have is her comments. "Go from 7 to 10 in 30 seconds!" Sounds like an advert to me! And, what does Keith have to say? -- Mathias iconoclast@tarkus.ocis.temple.edu ------------------------------ From: ASchulberg@aol.com Date: Sat, 4 Nov 1995 07:34:55 -0500 To: arnold@iii.net Subject: How Is This Done? JEEP4KEEPS@aol.com wrote: >>They told me the can get any record (CD) in print out of print and just >>about anything else. I have gotten some out of print stuff from them in >>the past (and have gotten out of print stuff on cd that was never released >>on cd). Pretty neat. How is something like that done? [ Editor's Note: This refers to something published last fall. I don't know if the service in question is legitimate or not and would advise people to beware of things that sound too good to be true. - John - ] ------------------------------ Date: Mon, 06 Nov 1995 15:20:24 -0800 From: stanforc Subject: ELP FAQ To: arnold@iii.net So what the heck are "Tarkus" and "Karn Evil 9" about anyway?!? [ Editor's Note: As mentioned earlier, this could be discussed for a long time. I don't have a nice summary of the general consensus of Tarkus like the earlier summary of Karn Evil 9. Any one want to try a 1 (short) paragraph description of Tarkus? - John - ] ------------------------------ From: Adriano Melis Subject: CP intw To: arnold@iii.net Date: Tue, 7 Nov 95 10:58:12 MET John, here's the interview to Carl issued on the Italian PERCUSSIONI magazine in NOV 1994, which I had from Bjorn-Are at the beginning of the last summer. I apologize for my English, I'm pretty sure Carl doesn't talk a so bad English, anyway it's the best I could do. Enjoy it! -----Adriano----- The Italian Carl Palmer Interview! After an introduction based on a synopsis of the career of CP from the early days with Crazy World of Arthur Brown to the most recent release with ELP (ItHS) the interview begins... PERCUSSIONI: First of all, tell us something about the new ELP album. CARL PALMER: "In The Hot Seat" is the title of the album, it has been produced by Keith Olsen and it contains 11 tracks; Keith is an expert, well-known producer, he has worked with Fleetwood Mac, Whitesnake, and other artists. When we first met we suddenly liked his method of working. We immediately cleared up that we would have like to obtain the drum sound as "live" as possible, with one or two overdubs max., to keep the environment sound live too; to get this we chosen carefully the studios too. Part of the material was recorded in L.A. and the rest in England. It has been a working experience very useful and in part difficult for the band; one could think that the music is a bit too commercial for ELP, but the album really contains the kind of music we are playing in this period. There is a song by Bob Dylan, "Man In The Long Black Coat", which contains in my opinion a very interesting combination of drum machine, the kind I define "real drummer"; it's a very successful experiment. The album needed many hours of work, we are glad it's finished, but as usual is very hard to say if we are happy with the result. Personally I'm very happy, but in general I like to re-listen the final product only after a while, because of the many times I have listened the music during the recording sessions! P: What has been your direct relationship with Keith (Olsen)? I mean, did he give you some particular directives or advises? CP: In fact, we members of the band had played together for so many times, so we had clear in mind what to play and what we wanted to get in terms of musical quality. Keith (Olsen) obviously contributed not only about the drums, but more from a "general" point of view. Personally I found Keith very easy, compatible with our vision of music. For this work I really wanted to play "a tempo", so I used the click, I mean only me, and when some time happened I was a little late we used a digital machine and corrected for a few milliseconds, to obtain a perfect synchronization of time on every song. Keith gave a great contribution in terms of experience on the finished work, he produced many pop records so he is able to work in a very accurate way, especially on rhythms and so on. For him has been as many useful comparing himself with a progressive band! P: BTW, Carl, do you consider yourself a progressive rock drummer? CP: I think that when ELP began to play together could be considered a progressive rock group; but nowadays ELP, maybe like Genesis, cannot be considered as such. You see, is the word progressive that maybe is not fitted to what's happening today. I mean, that word means to propose or follow something totally new, never heard before, but this is really difficult to obtain, because all has been said or proposed before. When the word 'progressive' was used for ELP, we played pieces of 20, 25 minutes, and it's a time unusual in length for the one who listens. For instance I don't think the same label could be used for Pink Floyd, maybe their music is more moody, very good songs, sometimes long; perhaps we were progressive because of what we proposed, in comparison to what was happening in the 70s, today all is so different, even if we did enough at the time! I like to think myself as a jazz-rock-drummer, or rock-jazz-drummer, but with classical influences, because I studied classical percussion with James Blades at the Royal Academy. To me was very useful to play with a band like ELP, their classical adaptations did perfectly integrate with my drumming style, and vice versa. My classical percussionist culture contributed greatly to the musical proposal done by the band. So, I guess is hard to define me as a drummer, I'm a rock drummer who likes to play jazz and who studied classical music, it's up to you! (laughs) P: Can you speak about your work relationship with Greg Lake, after all you two are the rhythm section of the group! CP: To be honest we don't work as close as one could guess, even because I try to go beyond the commercial or general idea of rhythm section; in fact first comes the melodic idea, Keith is the first, then come drums with parts that make the most of the melodic structure, then comes Greg with new colors, the basic notes. In fact Greg always tries to play the 'root notes', but we try to distribute the drums and bass parts in function of the general structure of the song, so first come keyboards, then drums and finally bass! P: And how happens your collaboration with Keith in rehearsals? CP: In the most constructive way: often I suggest notes or chords to Keith and Greg, and they happen to have in mind accents or fill-ins that they would like to insert in some sequence; I always try to interpretate what they 'hear in mind'. To be sincere I think that the best things I played were suggested by them, but that I was able to re-interpretate in my own way, and make them more easily applicable to the basic idea: I always like to listen what someone suggests, everything starts from there, then the energy melts and the two ideas become one. Generally at that point comes up something good, something new! P: Why do you re-release "Pictures at an Exhibition" on the new album? CP: We decided it deliberately: "Pictures" is recorded in Surround Sound, is the only part of the repertoire that we have played live for almost 23 years, so we thought we could improve it, if re-recorded, but trying to giving to it a modern taste, as we would play today, after all to us it is like some a trade mark! People identifies ELP as 'the band who plays Mussorgsky', so we tried to improve the musical proposal which form long time characterized us. First this version was on the 4-ple CD "The return of the Manticore", we thought to put this version on the new CD since the boxed set was pretty expensive! P: What are exactly the differences in your drumming style between ELP and Asia? CP: Probably Asia was a more direct rock band, closer in musical terms to bands like Foreigner or Toto, sort of a melodic rock band; it was a proposal of the 80's, in a moment in which progressive was not broadcasted on the radio, and the need was for an immediate music, with shorter songs; in this sense I guess it was the correct choice, so I left apart the style closer to progressive trying to play in a more basic style, but more immediate at the same time, fitted with that kind of musical contents. Now in the 90s, coming back with ELP times have changed another time, people don't like to listen long musical sequences from disc or radio, maybe live, so my style cannot be defined 'progressive' like in the 70s, but certainly is more accurate, more defined, effective, thanks to new technologies, to click, to the perfect sounds available. Now all is 'metronomic', in fact, even when we recorded "Black Moon" the songs were short, something like 7 minutes, compared to 25 minutes of 23 years ago! Unfortunately now the discographic industry in Europe and in the States has strongly changed direction, so my way of playing has changed to be tuned to the moment P: To this point, how do you see the musical scene from a player point of view? CP: There are a lot of very skilled people, and everyone plays very well, without regard to their musical style. For instance I think Guns'n Roses' and Pearl Jam's drummers do a very good work, like Pantera's drummer, I've listened just one of their songs but I guess he's doing very well. I think drumming standards have reached a real higher level compared to times ago! Anyway it looks like European drummer's level is somewhat higher than Americans', in the States everything is greater and so it looks for the reviews, one year everyone talks about Vinnie Colaiuta and the next year he's gone, the same thing happens to Dave Weckl and so on, in Europe the same thing has happened to Simon Phillips and to Big Country's drummer, but in Europe I think there is more room for personality, we try to be different from American standards. P: Carl, I saw you recently in Italy [It seems like this interview was done in England, Translator's note] and your good shape seems to be unchanged by time, how do you keep yourself so "young"? CP: Thanks!(laughs) For real, I've a secret, it'is fencing, I'm a fan of this sport, anyhow I do lots of sports, today I ran for 5 miles, yesterday I swam an hour, I think is very important keeping an eye on physical shape, anyhow you don't have to forget to practice: I practice on drums every day at least for 2 hours, and before touring I spend a lot of time rehearsing with the band. P: What's your opinion on the great number of didactic publications nowadays? Videos, schools, teaching, seminars, stages...? CP: Absolutely good, it would have been very good if those things were around when I begun: I like in particular didactic videos, even if many of them look similar; some are very good, the ones by Joe Di Franco and Deen Castronuovo, they are real good drummers. Personally I did a book distributed by Modern Drummer, and I've just completed a new one! P: Do you plan to release a video? CP: I'd like it; but I would like to make something different to those issued until today. I wish to do something 'entertainment-oriented', I mean something beyond didactics and more entertainment based, every solo I released, never recorded on video, naming it "the drum solo", and showing my tecnhiques, how I played some sections, how I progressed through time and so on, because I think the videos available today cover every technical part of this instrument. Now it's time to think to the repertoire, the sides of being an artist and a player, that is applying techniques but sowing the ideas too! During my clinics everyone waits for my solo to understand how I play some particular section, so this type of approach colud be very useful, in fact I'm working to a project in this direction. [The Drum Solo: a video of Carl Palmer's drum solos, whaddyathink about it, ELP fans? - adrix' note] P: What advice do you give to a young guy who wants to enter rock music world to become a drum hero? CP: It's hard, if you consider what's happening nowadays. Fisrt of all, let's consider a band point of view: I have ever thought of me as a drummer since I was 11: , I never tought "I'm going to be popular, I'll be with a band", but I always tried to improve, to become skilled on my instrument. I have been lucky too, you won't forget that is important being lucky: 50 % and 50 % talent is the combination. I'm sure in Italy , like in the rest of the world are good drummers, bat maybe they are not luky, it's necessary being in the right place at the right time! Originality and talent will do the rest. P: The last question: who are your favorite drummers? CP: I can't say to have a favorite drummer, I like many, for example the drummer from Pearl Jam... Guns 'n Roses got a solid drummer, too. You won't believe it, apart from some European drummer from obscure bands I still like to listen two of my major influences: Elvin Jones and Buddy Rich! [Translator's note: Elvin Jones was the drummer in the most important bands of John Coltrane in the last part of his career, approx. from 1960 to his death, Buddy Rich has been one of the most important jazz drummers ever] (end of intw.) ------------------------------ Date: Sun, 11 Feb 1996 23:37:33 -0600 (CST) From: Whitley Jeralyn A To: arnold@iii.net Subject: Valentine's Day letter in support of Greg Lake Fellow ELP Enthusiasts: I write to you today to express my support on behalf of a fine man who truly is one of the preeminent figures in music today. I'm referring to the "L" in ELP, Mr. Greg Lake. In all fairness, we must admit that there's been no shortage of "Greg-bashing" in recent issues of the ELP Digest, and I hope to rectify what I feel is unwarranted negative criticism toward him. Listening to Greg Lake's music is like reading a lost love letter found hidden within a dusty old romance novel, or watching an exceptionally beautiful fireworks display fade out, only to suddenly re-burst into a pyrotechnic extravaganza, or discovering a resilient wild-flower thriving underneath a heap of refuse, or catching the first brush of a slight, cool breeze pregnant with the scent of oncoming rain at the approach of a long-awaited storm...you get the picture. Greg's voice isn't just a voice, it is indeed a force to be reckoned with. After hearing it, you're never quite the same again. It's "a vocal heartlight set to glow" -- one of those rarities where you know you are truly missing something if you don't get to experience hearing it at least once in your life. At it's best, Greg's guitar playing is physically stirring and affective (it makes me blush), and is what Greg would sound like if he were a guitar -- and not all musicians achieve this. To the less gifted, a music instrument almost has to become an object of attachment (the less they play, the harder it is to maintain the ability). Not so with Greg. The guitar, any guitar, is an extension of him in the best sense of the term. Moreover, Greg doesn't just play the guitar, he vitalizes and invigorates it much like Edgar Bergman, the great ventriloquist, once vitalized "Charlie", his faithful, belligerant companion. And as with Charlie, one must listen carefully to catch his sly witticisms lest they quickly vanish overhead. Greg has a very distinctive, original music style -- I can only describe it as one Awesome Lake Effect infused with Random Acts of Gregness -- and I imagine it's very difficult to emulate. In a recent interview, Rush's Geddy Lee made an excellent remark about finding the heart of the song; Greg not only finds it, he lives it and then brings it to life. What's genuinely amazing, however, is that with a voice like Greg's, one doesn't HAVE to play a guitar that well. Indeed, one doesn't have to play AT ALL. He just does. Greg is one of those rare, exceptional, fortunate souls who does several things excellently and the rest very well while the majority of us poor sops struggle to achieve excellence SOMEWHERE. We're all the beneficiaries of his ability and skill in performance. But to me, what's most exhilarating is knowing that, along with Keith and Carl, this incredibly gifted entity is about to truly "come into his own" as both a musician and an individual. Sorry -- no re-invention needed here. I honestly believe that Greg's next decade among us will be his finest in terms of professional growth and achievement, and to us it will be like watching a well-endowed comet blaze across the evening sky. You know, I suspect that what sustains our continued collective enthusiasm for ELP music is our eagerness to hear the record that we all know they're capable of making, but have yet to make... At any rate, I'm certain I'm but one of many aficionados who will unequivocally support Greg's efforts in the months to come. Having said this, I must now address ELP/G.L. lyric content (with a particular song in mind for now). Although the song "Daddy" is an outstanding, gut-wrenching appeal to all potential perpetrators to reconsider their actions, it did not stop an individual or individuals from destroying Amber Hagerman's life (I trust you all are familiar with her story by now; it made national headlines). On the day of her funeral, I attempted to contact a certain local radio station by telephone to request that "Daddy" be played that day in Amber's honor, but the phone line remained busy all day. So I asked myself, "What would prevent this outrageous tragedy from happening again, or at least minimize it?" As a vitally important contribution, songs certainly can draw attention to social issues. But songs cannot alter or constrain the human predaceous instinct. They can't even slow it down. If art(ifice) changed human behavior, then Shakespeare's seminal "Romeo and Juliet" would have eliminated class conflict long ago. Mind you, I fully believe that if anyone could make a difference and effect positive social change through songs, Greg could. But what I believe it will take to minimize this tragedy is: 1) effective treatment of offenders (one must effectively defuse within an individual the human impulse to act out through predation), 2) greatly increased and enhanced awareness and education in sound parenting skills and practices, including the prevention of unwanted pregnancy and of children having children, and 3) the ability and willingness of human society to treat our children with utmost care and respect and to recognize their rights as human beings to be cherished, nurtured and lovingly guided rather than controlled, coerced and objectified (or worse). It will also take direct, persistent citizen participation and involvement. For example, if I were at a park and I witnessed suspicious behavior between any adult and child, such as an obvious stranger attempting to speak to a child, my first reaction is to quietly walk toward them, attempt to make direct eye contact with either of them, get within earshot of them and listen in on their conversation. That alone is usually enough to deter a potential perpetrator. I also look around me to see how many other people are around, ready to yell out if necessary. If that's not enough, I then initiate a conversation and begin asking questions while filing a mental description of them, and I look around for a pay phone. At any rate, I NEVER blow it off and assume that I'm being snoopy and over-reactive, because I know that my "overreaction" could be saving a life. CAUTIOUS, vigilant, proactive citizen participation can save lives. If enough people follow and maintain this philosophy, we can make it so difficult for predators to perpetrate that they'll think twice before acting. I know this is John Walsh's basic philosophy and I'm sure that active viewer participation contributes to the television show "America's Most Wanted"'s continued success. One can summarize the gist of Greg Lake's lyrics and music as being one prolonged appeal for human sanity, and the degree to which his fans respond to this appeal remains the criteria by which one can measure his eventual success. And although I remain adverse to the concept of "celebrity" as presently utilized in our social Darwinist, political-economy embracing, negatively competitive, exploitative capitalist society (wake up, people -- the profit imperative is brutish and enslaving and the ideas driving "capital" and "currency" are obsolete, for we have outgrown them), I know that for Greg, "Celebrity" is an unyielding paradox, an evil necessity rather than a necessary evil, and a tool to subvert for higher purposes rather than a purpose for higher subversion. Because of this, I celebrate his "lifesong", for it uplifts and enhances the collective human spirit. We are blessed by his public presence and "outspokenness", and I am honored to support and uphold him. There are still more stars in the heavens than people to count them. I long for the night when starshine will no longer be eclipsed by the harsh glare of street lamps and spotlights, when the faintest of heavenly bodies once again become visible to all of Gaia's inhabitants who seek them. Hearing Greg Lake's music reminds me that those stars shine on, that all is not lost, that the night I'm longing for will surely arrive soon...very soon. I wish the very best to all of you. Happy Valetine's Day! Please pray for the cessation of suffering and for sanity to prevail in the world, in Northern Ireland, in Bosnia, and everywhere. Jeralyn Whitley ------------------------------ Digest, mailing address, and administrative stuff to: arnold@iii.net ==\ \ => The same for now... ELP-related info that you / want to put in the digest to: arnold@iii.net =/ Back issues are available from the World Wide Web ELP Home Page: URL: http://bliss.berkeley.edu/elp/ Note: The opinions, information, etc. contained in this digest are those of the original message sender listed in each message. 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 6 Issue 3 ] *************************************