ELP Digest Friday, 23 August 1996 Volume 6 : Issue 21 The "Close To Home" Edition Today's Topics: The "Close To Home" Page Taken from Microsoft Network iQVC chat stuff... QVC Web site ELP release elp at goff profssional.. ELP Collectables What is Keith Emerson doing these days? Guitar Magazine ELP Transcription ELP digest (ELP Stuff available) Emerson/classical connection (for Digest inclusion) September Popular Music Conference at Eastman ELP Digest follow-up Analysis of Karn Evil 9 Lee Jackson Question Re: Question ELP's Hoedown on BBC Radio 1 Emerson Sound Card and Samples Keith "interview" Greg Lake's " Daddy" Song Musical quote alert (fwd) Prelude ======= Back again so soon..... Yes, I was waiting for one final official word from Will Alexander on the launch of Keith Emerson's "Close To Home" page but finally decided that (1) Will's too busy with the tour for me to expect mail from him and (2) I've now seen the URL for "Close To Home" in 2 other places and (3) I got a release from the Web Provider of "Close To Home". So.... it is my pleasure to include in this ELP Digest the official launch of Keith Emerson's "Close to Home" Page. Details in the release I received from the folks at interstellar9. And, I decided to clear out some of the backlog while I was at it. This issue also contains the official word on ELP's appearance on QVC tomorrow straight from the QVC web site. Thanks to those who sent it along to me! Till next time, - John - ------------------------------------------------------------ Date: Wed, 21 Aug 1996 19:47:44 -0800 From: Richard Stellar To: arnold@dartmouth.coordinate.com Subject: The "Close To Home" Page Dear John: Finally I am allowed to give you the following release: August 21, 1996 EmerSonics along with Interstellar9 announces the location of KEITH EMERSON'S CLOSE TO HOME world wide website at www.interstellar9.com/emerson. KEITH EMERSON is best known as the driving force behind EMERSON, LAKE and PALMER, a power trio best known for defining the term `progressive rock' in the seventies and early eighties. Emerson's use of classical themes and soaring anthems combined with rock and blues pioneered the group's trademark sound. Today, Emerson composes for both film and orchestra, and has recently performed with his band, ALIENS OF EXTRAORDINARY ABILITIES. Currently, Emerson is touring with ELP in the United States and Japan. KEITH EMERSON and executive producer Will Alexander commissioned Richard Stellar to design and implement CLOSE TO HOME as a resource for music lovers and Emerson enthusiasts of all ages. Links to synthesizer and piano manufacturers and resources, along with biographical information on Keith is presented in a graphically rich cyber setting. KEITH EMERSON'S fans today span a widespread demographic: from college students to physicians - agriculturalists to commercial airline pilots: most share not only an appreciation of Emerson, but also a knowledge of the internet. Keyboard Magazine dubbed Keith as `...the most influential rock keyboardist of our time.' His internet site promises to follow suit. CLOSE TO HOME will be an interesting and informative site on the information superhighway. ------------------------------ Date: Fri, 23 Aug 96 17:38:27 UT From: "Charlie Green" To: arnold@dartmouth.coordinate.com Subject: Taken from Microsoft Network iQVC chat stuff... Hello,,, it's been a while since I've posted here, but when I read the QVC references I couldn't resist and I looked at the Microsoft Networks QVC site. This is what I found... Enjoy..... Charlie Green tarkus@msn.com Tune in ASAP for SRO with ELP on QVC! Stop channel surfing! You won't find the popular 70's group of Emerson, Lake and Palmer on either of those bee-bopping, rock-and-rolling music channels. Tune in to QVC on August 24th at 7pm ET and August 25th at 1am ET for an exclusive one-on-one with members of the supergroup, Keith Emerson, Greg Lake, and Carl Palmer. In the late 1960's, Emerson, Lake and Palmer abandoned promising careers with other musical groups to start a band that would challenge their talent, and push their music to a new level. The result was ELP. They debuted their music in 1970 with a self-titled album, Emerson, Lake & Palmer, and a live performance at the Isle of Wright festival. The album was the perfect introduction to the diverse elements that made up the band's unique style: dissonance and harmony; acoustic emotions and electronic aggression. In 1974, the triple live album, Welcome Back, My Friends, To The Show That Never Ends - Ladies and Gentlemen, that documented their spectacular 1973-74 world tour. It was a fitting tribute to the first phase of the ELP saga. Throughout 1975 and 1976, the trio stayed out of the public eye, honing their musical skills and undertaking individual projects. 1977 saw the release of Works, Volume 1, a unique and ambitious album. Rather than release solo efforts, the trio complied their works into this double album. Three sides of this set were devoted to individual recordings, a fourth side to new ELP music. The Works album also broke down traditional music barriers, seamlessly integrating an orchestra with the trio's performances (as opposed to the slapped-together approach of other bands of the era). Works, Volume 2, a single album of solo and group pieces, followed in late 1977. It included some new recordings, as well as a number of collectible tracks previously unavailable on vinyl. 1978 saw the release of Love Beach, which turned out to be the last ELP album of all-new material for 15 years. In the 1980's, all three ELP members were involved in a variety of projects. Emerson released two solo albums, Lake pursued a solo career, and Lake co-founded Asia, a popular rock-n-roll band. Emerson and Lake even reunited in 1986 for the Emerson, Lake & Powell album, substituting Cozy Powell for Carl Palmer on drums. All three musicians believe this time apart helped the band. According to Carl Palmer, "...we were able to bring those outside experiences back into the band." In the 1990's, ELP released a new album called Black Moon, as well as a comprehensive box set of their work, Return of the Manticore. Combine those works with the eagerly awaited return of Emerson, Lake & Palmer to the stage, and it's no wonder fans are joyously exclaiming, "Welcome Back, My Friends, To The Show That Never Ends". For more information on the band and its music, tune in to QVC on August 24th at 7pm ET, and August 25th at 1am ET. QVC will be featuring ELP's boxed set, Return of the Manticore (E11726), during the show. Emerson, Lake, & Palmer fans may also want to browse through Keith Emerson's web site at http://www.interstellar9.com/emerson. ------------------------------ Date: Fri, 23 Aug 1996 16:00:49 -0400 From: Brian Reasoner To: arnold@dartmouth.coordinate.com Subject: QVC Web site ELP release Hi John-- Here's the QVC web location for ELP's QVC appearances this weekend: http://www.qvc.com/speelp.html Brian Reasoner ------------------------------ Date: Sun, 11 Aug 1996 14:31:59 -0400 From: "bri.." To: John Arnold Subject: elp at goff profssional.. john, a little bit of elp news: yesterday i was down in newington, ct visiting al goff at goff professional.. i went with a few other guys from the area because hammond-suzuki just released their latest rackmount b-3 clone, and we wanted to do some tests between it, the xb-2, and voce's v3.. all wired to al's prototype midi'd b-3.. while i was there and poking around, i spoke with al's wife who was busy cleaning up the a-100 guts they were installing into a chopped c-3 case for use on keith's tour! the c-3 case was the original tarkus c-3's case (i got to touch it :), the original c-3 innards long since dead and residing in boxes at al's house.. al was busy working on the percussion circuit in the a-100's pre-amp, and a friend of mine who was there soldered a capacitor into the amp - i guess he can say he's worked on keith's organ now.. haha.. so, al said that the a-100/c-3 would be ready for the start of the u.s. tour, and when i asked if keith would have an l-100, he replied with a `yes'.. now, i'm not sure if this means he'll disect the old l' on stage again, but i've also heard through other mailing lists that gene stopp -- the guy who's supplied keith with sacrifices before -- was looking for one for this tour earlier in the year.. al said that he and his brother were going to reinforce an l-100 with sheetrock screws and such, so it sounds as though keith will not dissappoint this year! while i was at goff's, i browsed the pictures on the wall of celeb's at his place, or al on stage before a show or something, and there were ones of keith, will, and al standing around the goff c-3 from the black moon tour, along with a picture of keith under the l-100 with knives in place.. so, let's hope he feels up to trashing a spinet once again! bri.. ------------------------------ Date: Sun, 11 Aug 1996 17:30:55 -0400 (EDT) From: Steven Dubofsky To: arnold@dartmouth.coordinate.com Subject: ELP Collectables Hi, I'm wonder about the worth of a couple of items.I have a copy of the Manticore 45 RPM Brain Salad Surgery B/W Still You Turn Me On autographed by the band as well as a second copy of same that has never been played.Both have original BSS cover art and shipping envelope from Manticore.If anyone has any idea what,if anything they are worth,please let me know.Thank You Steven Dubofsky skullsaw@gti.net ------------------------------ Date: Mon, 12 Aug 1996 14:11:29 -0300 (EST) To: arnold@dartmouth.coordinate.com From: agorni@dialdata.com.br (Antonio Augusto Gorni) Subject: What is Keith Emerson doing these days? Arnold: My permanent ELP Internet search find this message: ------------------ Hit-Number: 3 Article-ID: 08_1996&1071642 Score: 94 Subject: Re: Opening act? - was: Finyl Vinyl From: Jim Amentler Date: Thu Aug 8 13:29:30 1996 Message-ID: <320A4E2A.6984@loop.com> Newsgroups: alt.music.deep-purple Dave Hodgkinson wrote: > > In article <4u76ld$c4@castor.utu.fi> heisil@utu.fi "Heikki ?s" writes: > > > BTW: What is Keith Emerson doing these days? > > Playing with Stuart Smith? > Keith and Stuart have a band together called "Aliens Of Extraordinary Talent". They are playing this Friday night in Hollywood at a place called Martini's. Keith is also in the midst of rehearsals with Greg Lake and Carl Palmer fot the upcoming tour with Jethro Tull in the US. Then they go to Japan for a short tour there. Then Keith and Stuart are going to resume the "Aliens..." thing. I have to shoot the ELP rehearsals for Keyboard magazine. I guess I'll know by next week how the guys are getting along. :-) Jim ------------------------- All the best, Antonio --------------------------- Antonio Augusto Gorni, Materials Engineer, M.Eng. Researcher, COSIPA Steelworks Professor of Polymer Science - FEI E-Mail: agorni@dialdata.com.br Home Page: http://www.geocities.com/SiliconValley/5978 Fax: +55 13 362-3608 "The Weaver in the Web that He Made!" (Emerson, Lake & Palmer: Tarkus) ------------------------------ Date: Thu, 15 Aug 1996 23:04:01 -0400 From: Rene Berube To: arnold@dartmouth.coordinate.com Subject: Guitar Magazine ELP Transcription Hi John, I would like to report two ELP related items in the current (September 1996)issue of GUITAR magazine U.S. --- A complete transcription of STILL...YOU TURN ME ON, transcribed by Jeff Jacobson. --- A short Q&A PROFILE of GREG LAKE written by Pete Brown. Enjoy... Rene Montreal ------------------------------ From: starpainter@cyberportal.net Date: Sun, 18 Aug 1996 23:06:25 -0500 To: arnold@dartmouth.coordinate.com Subject: ELP digest (ELP Stuff available) I will be moving very soon and going through my old LP's. I came across a few that I thought some members of this list might like to have. These are FREE for the cost of postage. I've taken care of them for years and I just want them to go to a good home. If you reply for these, please want them for personal collecting and not to sell them OK? In Hearing of Atomic Rooster, (no Carl) Elergy - The Nice The Crazy World of Arther Brown I also have almost the complete catalog of ELP releases - condition on these vary. Please e-mail me - it would be easier to send all of it to one place. Susan Brown starpainter@cyberportal.net ------------------------------ Date: Mon, 19 Aug 1996 11:00:13 -0400 (EDT) From: Samuel H Theiner Subject: Emerson/classical connection (for Digest inclusion) To: arnold@dartmouth.coordinate.com I'm not sure whether this has been mentioned before, but I just discovered this completely by accident over the weekend. Many people have expressed interest in finding "classical quotes" used by Keith. This weekend I discovered that the melody and most of the arrangement of The Nice's Diary of an Empty Day is (not derived from, but IS) the fifth movement of Eduard Lalo's Symphonie Espaniole in D Minor. Lalo's symphony is in a semi-concerto format featuring violin; the fifth movement opens with the chords used by Keith and then the violin plays the melody that makes up Diary of an Empty Day. I listened to this in A/B comparison several times; there's no mistaking it. Sorry if this has been pointed out before. Even if someone has posted this info before, I'd still like to hear what people think about this. -Sam ------------------------------ From: Bjorn-Are.Davidsen@s.prosjekt98.telenor.no Date: 22 Aug 1996 12:52:38 Z To: arnold@dartmouth.coordinate.com (Receipt notification requested) Subject: September Popular Music Conference at Eastman If David Palmer has not mailed this to the Digest already, I take the liberty to do so, especially as the conference also foucusses on prog and "Classical Music and Rock in the 1970s: Synthetic and Syncretic" which may have some relevance to ELP fans... Bjo/rn Are Bjorn-Are.Davidsen@s.prosjekt98.telenor.no ------------------------------------------------------------------- The Weaver in the Web that he made - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Our minds were moving parallell, Because they never met ----------------------------------------------------------------------------------------------------------------- START of remailed message (from Gibraltar Magazine): From: David Palmer Subject: Eastman popular music symposium (fwd) Date: 8 August 1996 I thought some of the subscribers to Gibraltar might be interested in the mini-conference on progressive rock which is part of a larger conference to be held at the Eastman School of Music later this year. Keep in mind that the speakers necessarily take an academic approach to the subject, a fact (along with the rather steep price) which may discourage some from attending. Forwarded message: > > I'd like to alert you to a symposium we're holding at the Eastman > School of Music on the topic, "Popular Music and the Canon: Old > Boundaries Reconsidered." The events of the symposium include an internal > conference, "Cross(over) Relations: Scholarship, Popular Music, and the > Canon," organized by Robert Fink and Dan Harrison. I hope you find the > contents of both conference and symposium interesting, and I apologize for > the long-ish message. > > Dave Headlam > dhlm@theory.esm.rochester.edu > > Popular Music and the Canon: Old Boundaries Reconsidered > Eastman School of Music, Rochester, NY > September 26-29, 1996 > > The Eastman School of Music is hosting a symposium on popular music in > September 1996 on the subject: "Popular Music and the Canon: Old > Boundaries Reconsidered." This four-day event will bring together current > Eastman students and faculty along with alumni and other interested > musicians and community members in a series of concerts, master classes, > lectures, conference papers, and panel discussions. The many activities > in the symposium are intended to provoke and inspire ideas and to create > an awareness of the realities in the polystylistic musical world > confronted by today's musicians. The symposium includes a conference, > alumni sessions, a record company marketing forum, technology trade show, > student recording and multi-media, and concerts. > > Cross(over) Relations: Scholarship, Popular Music, and the Canon > This Conference will bring together scholars from many fields to explore > the intersections and interactions of the musical worlds commonly known as > "popular" and "classical." Presenters will consider everything from Barry > White to Kurt Weill and Mozart to Kurt Cobain. The keynote speaker is > Susan McClary and sample sessions include "Selling Out: The Marketing of > 'Classical Music'," "Hooks and Grooves: Theories of Popular Song," and > "The Music of Frank Zappa." > > Alumni Sessions > In a series of talks and master classes, Eastman alumni will discuss > their own experiences in relation to their Eastman training and their > subsequent career choices and opportunities. Participants include Jeff > Beal, Bill Cahn, Ruth Cahn, Ned Corman, Tony Caramia, Andrew Dabczynski, > Michael Davis, Jim Fogelsong, Tony Levin, Bob Ludwig, Don Puluse, Tim > Riley, Kim Scharnberg, Charles Strouse, Chris Vadala, Michael Walsh, and > Artis Wodehouse. > > Concerts > A series of nightly concerts will present jazz, crossover classical, and > rock music in varied settings. The Thursday night jazz concert features > "Carry the Three" with Eastman faculty Ralph Alessi and Michael Cain, > along with Jeff Beal and Chris Vadala. The Friday night concert > highlights electric guitarist and composer Steven Mackey, and the Saturday > concert combines the talents of guitarist Steve Vai and conductor Joel > Thome in an orchestral concert of music by Vai, Thome, and Frank Zappa. > > Registration and Hotel Information > We require all participants to register. The symposium fee provides > access to all symposium activities except concerts. Registrees will > receive a packet with tickets and information at the symposium. > The Symposium hotel is the Hyatt Regency, 125 East Main Street, > Rochester, NY; for reservation information call 716-546-1234 and mention > the Eastman Popular Music Symposium. For the conference discount ($92 for > single or double) call by Friday September 6, 1996. The hotel provides an > airport shuttle, and is a 10 min. walk from the Eastman School. Other > hotel possibilities are Day's Inn 716-325-5010 ($54 one/$58 two, 10 min. > walk), Holiday Inn 716-546-6400 ($68 one/$74 two, 15 min. walk), and the > Strathallan 716-461-5010 ($89 for one/two, 20 min. walk). > > For More Info > Try our web site at http://www.rochester.edu/Eastman/popsymp or contact > Dave Headlam, Chair, Symposium on Popular Music, Eastman School of Music, > 26 Gibbs St., Rochester NY, 14604; 716-274-1550 (Dept.) 716-274-1088 > (fax); dhlm@theory.esm.rochester.edu. > > ******************************************************** > > Symposium Fee: $50.00 ___ > > Concerts > Thursday September 26, 8:00 pm, jazz with Alessi, Cain, Beal, Vadala > $ 6.00 ___ > Friday September 27, 8:00 pm, Musica Nova with Steven Mackey > $ 6.00 ___ > Saturday September 28, 8:00 pm, Vai/Thome and orchestra, > Eastman Theatre > (upper balcony) $20.50 ___ > (balcony, back floor) $25.50 ___ > (main floor) $29.50 ___ > > Total: $______ > > Please make check payable to "PopSymp: Eastman School of Music." Return > bottom portion of form and check to "Registration: Popular Music and the > Canon," c/o Dave Headlam, Eastman School of Music, 26 Gibbs Street, > Rochester, NY 14604. > > CONFERENCE > > Cross(over) Relations: Scholarship, Popular Music, and the Canon > Thursday-Sunday, 26-29 September 1996 > Eastman School of Music > Rochester, NY > For conference information: contact Robert Fink (rfink@frontiernet.net) > or Dan Harrison (hrsn@uhura.cc.rochester.edu). > > Mini-Conference on Progressive Rock > > THE HISTORY AND POETICS OF PROGRESSIVE ROCK [Friday, 9-12] > Progressive Rock: An Overview > John Covach, University of North Carolina at Chapel Hill > The Politics and Poetics of Brit-Pop > Andrew Goodwin, San Francisco State University > A Battle of the Bands: The Beatles and the Beach Boys in the mid-1960s > David Brodbeck, University of Pittburgh > > ROCK, OPERA, ROCK-OPERA [Friday, 1-4] > Bohemian Rhapsodies: The Influence of Opera on Rock Music > Ken McLeod, McGill University > Classical Music and Rock in the 1970s: Synthetic and Syncretic > Combinations > Brian Robison, Cornell University > Concept Albums, Cult Theatre, and the Popular Music Canon: Rock musicals > in the 70's > Michael Eigtved, University of Copenhagen > > GENESIS [Friday 4:30-6:45 pm] > Large Scale Strategy and Compositional Design in the Early Music of > Genesis > Mark Spicer, Yale University > "You ain't seen nothing like it": Concept and Context for Genesis's > Selling England by the Pound > David Montgomery, University of Toronto > "Your own special way": Text and Harmony in Songs from Genesis's Wind and > Wuthering > Les Black, McGill University > > ROCK AND/AS MODERNISM [Saturday, 9-10:15] > Captain Beefheart Meets Moment Form: Aspects of Time in Trout Mask Replica > Peter Silberman, Eastman School of Music > Rock and Russolo's The Art of Noises > Andrew Fowler, University of North Texas > Irony and Authenticity: Modernism in the Mosh Pit > Warren Zanes, University of Rochester > > THE MUSIC OF FRANK ZAPPA [Saturday, 1-4] > Large-Scale Compositional Organization in Two Works of Frank Zappa > Jonathan Turner, Eastman School of Music > "One of these days, I'm going to erase every tape in the world - all the > Frank Zappa masters - nothing but blank, empty, space -" > Stephan D. Lindeman, Rutgers University > The Musical World(s) of Frank Zappa: Dupree's Paradise as a Composed > and/or Improvised Work > Jonathan W. Bernard, University of Washington > Zappa's Orchestral Transcriptions and the Idea of the Artwork > Arved Ashby, Ohio State University > > > -- > Dave Headlam dhlm@theory.esm.rochester.edu > Eastman School of Music 716-274-1563 (office) > 26 Gibbs St. 716-274-1088 (fax) > Rochester, New York 14604 ----------------------------------------------------------------------------------------------------------------- ------------------------------ Date: Thu, 22 Aug 1996 14:25:26 +0100 To: John Arnold From: Peter Wilton Subject: ELP Digest follow-up Dear John, It was interesting to read the Keith Emerson interview from the Black Moon tour. In it I saw attitudes in Emerson which may explain what has always drawn me to his music. Whereas there are often endless discussions in the Digest about the technical side of modern keyboard instruments, Emerson seems to have remarkably little interest in this. It seems significant that he constantly referred to the fact that he had other people to worry about how to programme the machines for him. His interest seems to be in the resulting timbres, not in the process of obtaining them for their own sake. How refreshing! The aspect of the music with which he is evidently most concerned is what I think of as being the primary elements of music: its melodic, harmonic and rhythmic content, the sorts of thing that you write down in a score, before you have decided how it is to be orchestrated. Modern compositional techniques for the new technology tend to break down the barrier between music and sound, so that what is created cannot necessarily be captured in a score, and the way the sound is designed is both the piece and the composition process. For Emerson, however, the "piece", recordable as a score is written, and then the timbres can be decided. If two versions are done, it is still the same "piece". And furthermore, he would be as happy to play a piece on the nineteenth century technology of the pianoforte as on anything more modern, and perhaps happier. And I am certainly more happy to hear him playing a piano than anything else! Emerson is not, therefore, the groundbreaking discover of new compositional techniques with new technology, he is a traditional composer who uses technology (as an alternative to an actual orchestra) to "orchestrate" his works. For those of us who want harmony and counterpoint, and do not consider that we have music if it is absent, this is far from being a disadvantage! -- Peter Wilton ------------------------------ From: "ALAN GINMAN" To: arnold@dartmouth.coordinate.com Date: Wed, 17 Jul 1996 14:21:10 +0000 Subject: Analysis of Karn Evil 9 Someone on re.music.progressive found a book with a lengthy analysis of Karn Evil 9. It is called 'Rock and Roll: Its History and Stylistic Development' by J Stuessy (Prentice Hall). This is the US publisher. Neither the poster nor myself have read it, but it might be worth keeping an eye out for it. Alan ------------------------------ Date: Thu, 18 Apr 96 11:30:22 UTC From: "Nigel Hobday" To: arnold@iii.net Subject: Lee Jackson John Something for the Digest.... I write this in praise of someone whom I regard as the finest singer of all time - no, not Greg Lake, but Lee Jackson. As everybody knows, it would have been impossible to dominate The Nice with the showmanship of Keith Emerson evident in both the studio and especially live on stage. However, the fact is that to a large extent it was the tough melodramatic vocals of Lee that kept The Nice together as a coherent unit. The early years of 'Emerlist Davjack' & 'Ars Longa' provided the base on which Lee matured to produce such deep mahogany vocals as anyone who has heard '5 Bridges' and 'Elegy' must agree. After the demise of The Nice, Lee progressed onto Jackson Heights in two versions. The initial line-up provided the platform that The Nice couldn't provide for Lee to show exactly what a talented musician and singer he really is. The version of 'The Cry of Eugene' on the 'King's Progress' album demonstrated that the mahogany vocals of The Nice had now been gently sandpapered with mellowness to provide a version of 'Eugene' that is light-years better than anything The Nice could have produced. To paraphrase the sleeve notes - a writer stops using a typewriter and uses a quill pen. To many people the quill pen is the finer instrument. Jackson Heights version two, with John McBurnie sharing vocals & Brian Chatton on keyboards defined Lee with his brand of popular music, and away from the acoustic playfulness of the initial line-up of version one. The development of the tight harmonic vocals between Lee & John McBurnie which became evident on Ragamuffins Fool (which contains a beautiful version of 'Chorale' from 5 Bridges) and 5th Avenue Bus, was developed almost to a classical artform on their finest musical work - Bump'n'Grind. The title track must be the most haunting, dynamic, harmonic musical composition that has ever been produced. Couple this with the guest drumming of Michael Giles (In The Court of the Crimson King drummer), the fluent keyboard style of Brian Chatton, who has much to owe Keith Emerson as the sleeve notes depict, and even a young guest violinist called Godfrey Salmon, we have one of the finest albums ever issued. The return of Lee & Brian Davidson with Patrick Moraz in Refugee was really an experiment to return to the glory days of The Nice. I read somewhere that when The Nice split up Keith had recommended Patrick Moraz to Lee & Brian as his replacement. The result is certainly not The Nice mark 2, but a worthy attempt at bringing the sounds of The Nice to an eighty's audience. (As an aside, John McBurnie went to perform vocals on a couple of solo albums that Patrick Moraz did after Refugee. The 'Story of I' is well worth a listen). Sadly I know not of what has happened to Lee since Refugee. A great pity as we are missing one of the greatest vocal talents that has existed for many a long year. Nigel Hobday nige@vnet.ibm.com ------------------------------ Date: Wed, 17 Apr 1996 21:17:36 From: wizeguy@gnn.com (john winecker) To: arnold@iii.net Subject: Question Is it true that there was once discussion of Jimi Hendrix joining the band and renaming it HELP? ------------------------------ Date: Thu, 18 Apr 1996 09:08:31 -0400 From: arnold@kilsythe (John Arnold) To: wizeguy@gnn.com Cc: arnold@dartmouth Subject: Re: Question >>> Is it true that there was once discussion of Jimi Hendrix joining >>> the band and renaming it HELP? Keith Emerson has told this story on a radio interview at least once. I think he was being serious that there was some consideration given to trying to get a band going with Jimi. (I think Keith and Jimi had seen and heard each other play back in the days of The Nice.) I think the "HELP" part was mostly in jest, though. - John - ------------------------------ To: arnold From: Timothy M Holmes Date: 19 Apr 96 15:07:02 EDT Subject: ELP's Hoedown on BBC Radio 1 I noticed Danny Baker occasionally play this track on his saturday afternoon slot as "happy" background music to some wild and wacky comedy section and was this morning mildly suprised when Chris Evans played it today (Friday) at about 0645 in a similar vein (i.e. uncredited, and unannounced - and followed by various other instrumental tracks, mostly sport programmes theme music). However at 8am he played it again, this time announced by "Emerson Lake and Palmer, back on the scene with Hoedown...fabulous driving music...we're going to play it EVERY friday morning at the same time...get those bongos out...". Back on the scene? Hoedown? Is this ELP's new UK single??? (It *was* the Trilogy version BTW). Tim. ------------------------------ Date: 19 Apr 96 15:13:09 EDT From: "Plotczyk, Steve" To: John E Arnold Subject: Emerson Sound Card and Samples Emerson Sound Card Some of you may already know that Eye & I Productions has plug-in sound cards for the Roland D-50 synthesizer. They have a series of 6 "Voice Crystal" cards and number 3 is the "Emerson Sound Card". It has just come to my attention that the original version of the "Emerson Sound Card" was a RAM card with only 32 of the 64 available sounds programmed. At some point they expanded it into a ROM card with all 64 sounds programmed. Those of you with the original card can mail the card in to be ungraded with all 64 sounds for a very small nominal fee (to cover shipping) of $4. The current cost of ROM cards is $79.95 for one and $300.00 for the entire set of six. I also just found out that card number 5 and number 6 from this set also have some Emerson sound patches on them. Interested individuals can contact: Eye & I Productions 1250 Kay Lane Oakley CA 94561 tel (510)625-7888 fax (510)625-7999 web http://www.voicecrystal.com In related news... Will Alexander has moved the Akai S1000 format Emerson sound samples and program patch setups CD-ROM to the Ensoniq ASR sampler format. This is now released and should be at your local Ensoniq dealer. Will says: "Go check it out! It really sounds great and has sequenced versions of 1st Impression Pt.2 and Eruption/Stones of Years". The original Akai S1000 format CD-ROM does not have these sequences. There is also a possibility that in the future the CD-ROM might be ported over to Roland and/or Emulator formats. Also, at some point there might be an "Emerson" sound card for the Alesis Quadrasynth too. Does anyone know of any other Emerson-related factory or third party sound cards, sound disks, patches, demos, etc... for any current or previous synthesizers? I was thinking of compiling a master reference list for the benefit of all of the ELP fan musicians out there. Steve Plotczyk ------------------------------ Date: Fri, 19 Apr 1996 21:49:43 EDT From: PMJJ26A@prodigy.com (MR ROBERT J GATTO) To: arnold@iii.net Subject: Keith "interview" OK Gang, Here's the news. [ Editor's Note: Sorry this is so late. It got stuck in the backlog so it's pretty old news by now. - John - ] Keith reported the following major points during his "interview" on WPYX radio on Tuesday, April 16, 1996. It was broadcast in Albany, NY (taped live) from LA Blues Club. - ELP will tour with J. Tull. First date is August 18th from Darien Lake near Rochester. Also date at "NYS Park," in Hartford + others he didn't mention. - He was hoping to have the book out by August - but - kidding I think said he may wait since its a "tell all book" and doesn't want Greg pissed at him during the tour. I'm paraphrasing. - Tommy Shaw of Styx played a little of From the Beginning on acoustic guitar. - Some old "history" of how Greg, Carl and Keith they all met...... Joked that he met Carl through Gardeners Weekly. That in England band called Tommy Rooster rather than Atomic. - Keith is living in LA. He says he loves it and has his Harley. - Fanfare was one in one take with just came simple. - Mentioned the reissue C/D with Rhino. BSS with interview. Bob ------------------------------ Date: Mon, 22 Apr 1996 00:39:04 -0700 From: Yurij Pencak To: arnold@iii.net Subject: Greg Lake's " Daddy" Song By coincidence, as I was watching America's Most Wanted, Sunday night, a story on the Sara Wood case was shown, and in the background I heard Greg Lakes version of "Daddy". ------------------------------ Date: Tue, 30 Apr 1996 20:51:55 -0400 (EDT) From: Eric Frias To: arnold@dartmouth.banyan.com Subject: Musical quote alert (fwd) I was listening to the Piano Concerto no. 3 by Bela Bartok, and I noticed something that sounded familiar. It is about one minute into the third movement on my CD. It starts in the piano and is then picked up by the whole orchestra, and lasts about a minute. It sounds strikingly similar to the end of "One By One" on ITHS. Four minutes into "One By One" they go into the final instrumental portion, featuring a melody that seems to be based on the one in the piano concerto. Has anyone else noticed this similarity? Eric Frias efrias@vt.edu ------------------------------ Digest, mailing address, and administrative stuff to: arnold@dartmouth.coordinate.com | +=> The same for now... ELP-related info that you | want to put in the digest to: arnold@dartmouth.coordinate.com 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 21] *************************************