ELP Digest Friday, 13 December 1996 Volume 6 : Issue 29 The "Decided By Limits Drawn" Edition Today's Topics: Intermanual Rescue - ELP Auction Re: ELP Digest V6 #28 (Keith's keyboards) Emerson's Keyboards What's that instrument? ELP article in Goldmine ELP interview in Goldmine magazine ELP Interview at Goldmine Goldmine story Nighthawks Attention Composers: Nagoya and Tokyo late input ELP Music Sheet Info Greg Lake solo project release date Greensleeves ELP Ripped in Denver, Colorado Rag need help with Toccata ELP Squired Re: ELP Digest V6 #25 (NPR and Hoedown) BSS-deluxe-in-germany Brain Salad Surgery Random Thoughts Re: Tarkus question Re: End of Show Music Re: ELP Digest V6 #27 (one fell swoop) Mojo music! inquiry and statement Re: ELP Digest V6 #28 (more on the instruments) Prelude ======= Sorry once again for the long delay. Winter weather, work, and holidays have led to the "too much to do and not enough time to do it" routine once again. Anyway, lots of good stuff here. Will Alexander provides a "Keith's eye view" of some equipment talk that's gone around and others have chimed in, too (though they hadn't seen Will's response when they wrote to the Digest so we'll have to see how that goes!) Anyway, as Hanukkah concludes, the Solstice approaches, and Chritmas, New Year's, etc. not far behind...... hope all is well with you and yours. I'll get at least one more issue out before Volume 7 (!!) is upon us. Take care, enjoy, and break out the ELP Christmas music (solo or group)! - John - ------------------------------------------------------------ From: estazz99@intonet.co.uk Date: Fri, 22 Nov 1996 09:54:40 -0800 To: arnold@dartmouth.coordinate.com Subject: Intermanual Rescue - ELP Auction Dear John, Could you please put the following message in the NEXT ELP Digest for my friend Chris Newman (of IMR), who is doing an auction for ELP. Thanks. Liv G. Whetmore. IMR - OFFICIAL ELP AGENT On behalf of their client Emerson, Lake & Palmer, an auction is NOW on for ELP instruments and memorabilia - lots of rare items available. For complete list, please contact Chris Newman on tel. 44-1842-862620 or e-mail: imr@intonet.co.uk NOT TO BE MISSED! ------------------------------ Date: Fri, 22 Nov 1996 12:14:13 -0800 From: Will Alexander To: arnold@dartmouth.coordinate.com Subject: Re: ELP Digest V6 #28 (Keith's keyboards) DEAR JOHN, RE: jc Harris-Keith's Keyboards in the Mid 70's I have read some outrageous stuff (BS) here on the board, but this takes the cake.... Since I have worked with KE for over 14 years, here is my 2c's worth. The "Moog Polyphonic Ensemble" was actually two separate keyboard synth units. The Constellation was the prototype of the PolyMoog upon which KE played "Benny the Bouncer" and parts of KE9. It was a completely handwired prototype. The upper unit which sits on top of the Constellation is a "super MiniMoog" called the Apollo. It has a larger 4 1/2 octave pressure sensitive keyboard and an expanded modulation capabilities. It is also a handwired prototype. The solo lines in Jerusalem and KE9 pt.3 were played on this instrument. I know this for sure because I have this instrument in my possession. Now to the GX-1........ It is as close to the CS series of Yamaha synthesizers as you can get. It uses the similar analog oscillators,filters, and VCA circuits (some of the component circuits were developed into chips for the CS's). The GX-1 has absolutely NO similiarity to the DX-7 whatsoever other than they both have Yamaha printed on them somewhere. The GX-1 was developed by the Electone Organ Division of Yamaha in 1975 and is completely analog in nature. The DX-7 was developed by the Yamaha Combo division and was not released until about 1983 and uses custom digital FM processors. John Chowning did not license his patent on Digital FM to Yamaha which he developed at Stanford University until 1981.The GX-1 sounds completely unlike the DX-7. Yamaha made a FX-1 Electone Organ that used FM technology in 1985, but KE never used it. You might be able to make "similar" sorts of sounds on a DX-7 with MIDI, but the GX was a completly different beast unto itself. As far as the tech.... the tech that I know who worked for KE, Nick Rose, had an excellent understanding working of the GX-1 and did extensive modifications to the instrument which Yamaha said could not be done. Hope I have set the record straight, Will Alexander/EmerSonics ------------------------------ Date: Fri, 22 Nov 1996 15:14:59 -0500 To: DavBryant@aol.com From: mglnsky@magicnet.net (Mark Glinsky) Subject: Emerson's Keyboards Cc: arnold@dartmouth.coordinate.com Dave Bryant asked: >What's that instrument at a right angle to the left of the piano on the photo >on the "Welcome Back" album? It looks like a little spinet piano. Baldwin >and Gretsch both had electric instruments that looked like that out around >that time. Is that what Keith used to play the "Jeremy Bender/Sheriff" >medley? Hi Dave - yes, this was a Baldwin (as I recall) electric upright piano that Keith used to play the Jeremy Bender / Sheriff medley. It may have had tacks put on the hammers to get more of that hard honky-tonk sound, plus some flanging effect. >Also, is that the instrument Keith used for "Nutrocker" even though he said >in his KEYBOARD magazine column that he used the Clavinet? No, he always used the Clavinet for Nutrocker. On the other side of his Hammond C3 / Modular Moog stack, Keith used a Hammond L100, the Clavinet and a MiniMoog. On the other side of the L100 stack, with the keyboard facing towards Carl and Greg was the Baldwin electric piano. At the back was the Steinway grand with Helpinstill pickups with a Minimoog on top of it for the "steel drum" sound in Karn Evil 9, 2nd Impression. And then there was the Moog "Constellation" Polyphonic Ensemble which was brought out for Karn Evil 9, had on top the "LYRA solo synthesizer" - a repackaged Minimoog with touch sensitive keyboard and phase-lock features. Under that was the "APOLLO polyphonic synthesizer" (the precursor to the Polymoog) "...at the heart of the ensemble - a true polyphonic synthesizer and electronic piano. The Apollo will play all the notes and produce a wide spectrum of synthesizer or electronic piano sounds. The design of the Apollo - preset voices (there were 4) with variable controls - combines ease of playing with true synthesizer versatility. One new feature will remember and sustain every note played - "superchords" over four octaves can be played; individual articulators and voicing circuits for each key create subtle tonal effects. The Apollo supplies what performers are asking for: synthesizer control over sound with polyphonic capability." The final part of the "Constellation", which Emerson did not use, but became a successful instrument on its own was the floor: "TAURUS bass synthesizer". _____________________________________________ Mark Glinsky -Orlando, FL Email: mglnsky@magicnet.net Home Page: http://www.magicnet.net/~mglnsky/msg.html "Be seeing you...." [ No. 6 - The Prisoner ] "So long and thanks for all the fish!".... [Hitchhiker's Guide] ----------------------------------------------------------------------------- ------------------------------ Date: Mon, 25 Nov 1996 04:24:50 -0600 From: tim siefkes To: John Arnold CC: DavBryant@aol.com Subject: What's that instrument? Dave Bryant wrote: >What's that instrument at a right angle to the left of the piano on the photo >on the "Welcome Back" album? It looks like a little spinet piano. Baldwin >and Gretsch both had electric instruments that looked like that out around >that time. Is that what Keith used to play the "Jeremy Bender/Sheriff" >medley? Dave, I believe you are quite right that it looks like a "little spinet piano" because it basically is. I'm certain it's the Lawrence Audio acoustic/electric piano. I remember being fascinated by it in the early 70's, and I wanted to get one really badly just because it was pretty much the only way to get a good piano sound live without miking up a real one. (Yamaha's CP-70 and samplers were still years away!) I think you're right too, that the Jeremy Bender/Sheriff is the only place he used that instrument on the BSS tour. I sat in the eighth row back for BSS in '73 and I couldn't help but notice the Lawrence Audio piano. I recently saw one for sale in a used shop, going for something like only US$400. Probably little demand for these things nowadays! -Tim Siefkes Minneapolis, MN http://www.visi.com/~timsks ------------------------------ Date: Mon, 25 Nov 1996 00:10:12 -0800 From: Russell Hall To: arnold@dartmouth.coordinate.com Subject: ELP article in Goldmine Hi John, The ELP Goldmine issue is on the stands. The issue also contains a column (called "Line Noise," I think) which gives substantial mention of your Web Site. If you'd like to post my e-mail address in the Digest somewhere, feel free (it might be fun to read the critiques). Thanks once again for your help. Hope you enjoy the article. Russell [ Editor's Note: Russell is the author of the article about ELP in the december 6 issue of Goldmine magazine (which, unfortunately, I still haven't read yet). - John - ] ------------------------------ Date: 27 Nov 96 23:39:00 EST From: John Cornicello <76702.1410@CompuServe.COM> To: John Arnold Subject: ELP interview in Goldmine magazine Hi John. I don't recall seeing any mention of the big interview with ELP in Goldmine magazine (Dec. 6, 1996, Vol 22, No 25, Issue 427). Just picked it up at Tower Books in Seattle, and I see you listed in the "thanks" in the last paragraph of the interview. In case you haven't seen it yet, it is 6-1/2 tabloid size pages, and is very well balanced. For people who can't find it locally, they do have a web site at http://www.krause.com/goldmine And their office is at 700 E. State Street, Iola, WI 54990-0001. Fax # is 715-445-4087. Take care.... ------------------------------ Date: Thu, 28 Nov 1996 12:10:51 -0200 (EDT) To: arnold@dartmouth.coordinate.com From: agorni@dialdata.com.br (Antonio Augusto Gorni) Subject: ELP Interview at Goldmine John: One more finding from my permanent ELP Internet search: Begin quote ------------------------------------------- Article-ID: 11_1996&4436266 Score: 90 Subject: ELP article in Goldmine From: MHB@mitvma.mit.edu Date: Mon, 25 Nov 1996 13:07:45 -0800 Message-ID: <1784AE2D1S85.ELVIS@mitvma.mit.edu> Newsgroups: rec.music.progressive Got an unsolicited free issue of Goldmine in the mail recently, with a fairly sizeable interview with ELP (actually the interviewer spoke with E, P, & P separately and interwove the conversations). Has anyone else received this bounty? There were a number of revelations I found interesting: (1) Emerson wanted the orchestra in part because he thought his sound was too thin. Me, I think a Hammond B-3 at Emo's overdrive level has way more impact than any string section. I remember the first time I heard the synthesizer banshee wail in "Tarkus" (ELP played a free concert on the Esplanade in Boston before the album had come out), and I thought that was quite possibly the most substantial musical noise I'd ever heard. Of course he'd emasculated that sound by the time _Welcome Back My Friends_ got recorded. (2) According to Lake, the music on the first few albums was mainly composed in the studio, then shedded by the band. He hated the first run-throughs of "Tarkus." (3) They credit Palmer with jazz roots. (4) They're happy with Black Moon, but In the Hot Seat was a mistake. My impression was, they're trying to be polite but they still hold grudges-- against each other, against critics who dissed them, and Emo snuck in a little dig at Rick Wakeman. End quote ---------------------------------- 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: Tue, 26 Nov 1996 15:56:01 -0800 From: larry buchalter To: arnold@dartmouth.coordinate.com Subject: Goldmine story Why does the goldmine piece stop its discography after 1980? thanks:) Larry:>) [ Editor's Note: I don't know. See above for the author's email address. - John - ] ------------------------------ To: arnold@dartmouth.coordinate.com From: geoff@goostrey.u-net.com (G R Goostrey) Subject: Nighthawks Date: Wed, 4 Dec 1996 01:42:16 +0000 Tonight while casually watching the TV the next film was Nighthawks! I've never seen it, so I quickly grabbed a tape missing the intro' in the process. However I did managed to tape it while watching. Having Keith's soundtrack LP, all I can add is that the film was much better than expected, and Keith's music complemented it extremely well. In fact much better than the soundtrack would suggest. But then I don't make a habit out of buying soudtracks (unless they are composed by Keith of course). Sorry I couldn't have pre-warned anyone that it was on BBC1 (3/12/96). John - keep up the excellent work. ^.-.^ Geoff Goostrey (UK resident) ((")) geoff@goostrey.u-net.com ------------------------------ Date: Tue, 26 Nov 1996 07:18:27 -0800 From: mspayne@in2nett.com (mspayne - Cassandra Payne) To: John Arnold Subject: Attention Composers: Greetings, all... I have a lot of MIDI files Crescendo embedded in my Web Site, and am always on the look out for new tunes to place. I'm (of course) most interested in material of an E.L.P.-like nature, such tunes being a true passion for me. I'd like to extend an open invitation to any composers in the 'family' to forward me any Standard Midi (General Midi Compliant) compositions, (less than 80K, please), and I can feature them on my site, with appropriate credit, and a Hot link or MailTo: function to the composers location. I know that getting people to listen to challenging, evocative original compositions is always hard, and I'd like to do my bit for struggling artists pursuing the Prog-Rock dream. Email me for more details at mspayne@in2nett.com. Cassandra Payne mspayne@in2nett.com ------------------------------ To: arnold@dartmouth.coordinate.com From: geoff@goostrey.u-net.com (G R Goostrey) Subject: Nagoya and Tokyo late input Date: Wed, 4 Dec 1996 01:42:19 +0000 Here's a very brief overview of the Nagoya and Tokyo concerts which I was lucky enough to make in October. Nagoya 10th Oct - I sat in front of the mixing desk - a great show as usual, all the tracks listed previously including Hammer It Out. During the encore Keith dragged out the old Hammond as usual, and made it whine. He almost looked worried as he spent several seconds winding us all up, pulling his face as the old girl didn't seem to want to play - it growned. But it was a great act as I watched him mime in pain to the whines, before the usual finale completed the show. Unfortunately I've must add that, as previously reported by others, the sound quality (even in front of the mixing desk) was aweful! I thought Keith had got his 'over-dubs' to Greg's solos badly wrong. They just didn't work, and I've got to say I was a little disappointed, almost spoiling otherwise the excellent work which Greg's strong voice was making of it all. I manged to meet the guys after the show, getting my program and CD autographed, but was totally unprepared and didn't ask any sensible questions! (Isn't that just typical) Instead Keith wanted to know what a Brit' was doing in Japan. I insisted that I was over to see ELP, which he found hard to believe. Carrying a Union (Jack) Flag backed by a Pirates skull and cross bones, I assured him that I would be there again in Tokyo. Well that must have done the trick... Tokyo 17th Oct - On row 3 of the balcony, this is a show I will never forget. The quality of sound was far far better than I have ever heard them play (limited to three concerts in the UK in 1992 tour). It just shows what a few days in the same venue can do (or they knew I was coming... I bet) They really wound the crowd up and put on one hell of a show. They replaced Hammer it Out with Honky Tonk Train Blues which went down an absolute storm. Of course something had to fail, and this time it really was his hammond which was struggling even to whine. I thought it was just another act, but it soon became obvious when the engineer came out, had a quick fiddle and then Keith spun the old thing onto it's back with one hell of a crash. While shortening the show a little, it did add a new twist as Keith improvised by jumping onto his Grand piano and played the usual Toccata piece upside down while squatting on the lid! I read an earlier report which said Carl's drim solo was only a few seconds long. Well it timed out at over four and a half minutes, which isn't bad considering. This was easily the best concert (not just ELP - Camel were pretty damn good in 1977) that I have ever seen. At the end I was really pleased when they acknowledged my flag which was frantically waved - Brits in Japan - what a holiday. Japan is one great place. For anyone who gets the chance you must go - If ELP are back I will do my best to go again. The oddities though - Concerts in the Uk run from 8 'til 10pm. Nagoya - Doors 5:30 for 6pm start (actual 6:15) and finished by 7:45! Tokyo one hour later. John, I would just like to add that this would have never happened without your Digest, which first raised my awareness and sparked off a little idea back in early May. I can't believe how it all panned out. You deserve a really BIG thank you. Additional info' for the ardent collector: I also picked up a couple of Laser discs and a variety of CDs including the 20bit K2 HQ CD of their first album (previuosly unavailable - unless someone knows differently). It is interesting that while still printed in 1994, the three K2 HQ CDs available were issued with new yellow spines (previously black) which detailed the 1996 Japan concert dates. BSS was also available in the foldover cover, but it isn't diecast. The front flaps simply overlap by the radius of the cut-out (just another bit of trivia). ^.-.^ Geoff Goostrey (UK resident) ((")) geoff@goostrey.u-net.com ------------------------------ From: "Antonio Augusto Gorni" To: Subject: ELP Music Sheet Info Date: Wed, 4 Dec 1996 23:15:20 -0200 Arnold: The most recent finding from my permanent ELP search: ----------------------------------------- Hit-Number: 2 Article-ID: 12_1996&325332 Score: 97 Subject: Re: REQ: ELP Father X-Mas and From the Beginning From: mlf4guitar@aol.com Date: Tue, 3 Dec 1996 16:38:29 -0800 Message-ID: <19961204004000.TAA18439@ladder01.news.aol.com> Newsgroups: alt.guitar.tab Emerson, Lake, and Palmers "From the Beginning" can be found in Guitar for the Practicing Musician (Jan. '92). I believe that "Father Christmas" can be found in their GFTPM's (Christmas Classics), but I don't have that one. "From the Beginning" plays somewhat like Yes' "Roundabout". It starts with a harmonic strum across all strings at the 12th fret and walks down the 1st (E) string from there. E-mail me if you need help on the essentials. Mike ------------------------------------------------------------------ All the best, Antonio ----------------------------------------------------------- Antonio Augusto Gorni, Materials Engineer, M. Eng. COSIPA Steelworks/Industrial Engineering School (FEI) E-Mail: agorni@dialdata.com.br | Fax: +55-13-362-3608 Home-Page: http://www.geocities.com/SiliconValley/5978 S=E3o Vicente, SP Brazil The Weaver in the Web that He Made! (Emerson, Lake & Palmer: Tarkus) ------------------------------ Date: Sat, 7 Dec 1996 17:24:34 -0500 (EST) To: arnold@dartmouth.coordinate.com From: karen1@chelsea.ios.com (KarenStober) Subject: Greg Lake solo project release date Hi all, Here's the latest, from Asia Armada #95. Happy Holidays, Karen E. Stober karen1@chelsea.ios.com GREG LAKE According to Greg Lake's manager, Greg will be releasing his long awaited anthology album - "From The Beginning: The Greg Lake Retrospective". US release is scheduled for March 18th, 1997. Look for two tracks from the unreleased "Ride The Tiger" project (that Greg did with Geoff Downes) to appear on the album. Special thanks to Bruce Pilato for the update! ------------------------------ From: TARKUSNJ@aol.com Date: Sun, 8 Dec 1996 16:33:46 -0500 To: arnold@dartmouth.coordinate.com Subject: Greensleeves Here is something I've never seen anyone mention. Last year around Xmas time I boought tickets to see Mitch Miller. His Sing along Christmas album was a favorite when I was little kid. Anyway, he said the song "Greensleeves" was a perenial holiday favorite and it was not known who wrote it. We probably have all heard this song over the years - it has been covered by numerous artists from Jeff Beck to the Vince Guraldi trio. Mitch was conducting the New Jersey Symphony Orchestra. It sounded familiar when all of a sudden they were playing "Touch and Go" by ELP. Apparently, this is the middle of "Greensleeves" that is never played which is why the recordings you see are 4-5 mins long. Has anyone ever picked up on this? ------------------------------ Date: Sun, 01 Dec 1996 11:14:52 -0700 From: Russ Pierce To: arnold@dartmouth.coordinate.com Subject: ELP Ripped in Denver, Colorado Rag John, I thought the group might get a chuckle (or get really pissed off) over an article that was written in a local alternative rag called Westword. The 10 Worst Concept Albums of All Time 10. The Bee Gees/Peter Frampton - Sgt. Pepper's (the movie soundtrack) 9. Frank Sinatra - Trilogy: Past, Present, and Future 8. Tommy Roe - 12 in a Roe 7. **Emerson, Lake, and Palmer - Tarkus** 6. Kiss - Music from the Elder 5. Styx - Paradise Ballroom 4. Yes - Tales from Topographic Oceans 3. Rush - 2112 2. Styx - Kilroy was Here 1. Vanilla Fudge - The Beat Goes On The details of the ELP roasting: First Bad Sign: The inside cover art spells out the gobbledygook story in eleven panels. Stylistically, it's a bad mix between Destroy All Monsters and the stations of the cross. Concept: Rejected Transformer toy prototypes ravage the Earth to the sound of ripped-off Bach riffs played in weird time signatures. Tarkus, (half armadillo, half Sherman tank) battles Manticore (half lion, half scorpion with a human's head) and a combination pterodactyl/bomber plane. There is also a combo grasshopper and safari helmet that looks like a real pushover, even with the cruiser missiles. Worst Moment: "Aquatarkus," when the hideous creature/artillery takes to the water and Keith Emerson gets to unload all his farting-in-the-bathtub Moog sounds. Grand Finale: In an unrelated story, the album concludes with "Are You Ready, Eddie," an attempt by these lofty classical-music bandits to rip off something more current: Little Richard's "Ready Teddy." For two minutes and eight seconds, Greg Lake quizzes engineer Eddie Offord on whether he is indeed ready to shut down his sixteen-track recorder. Why couldn't he have done that 38 minutes and 56 seconds ago? This paper is on the net (www.westword.com) but the articles change weekly. I have, though, saved the entire article if anyone wants it. Russ Pierce rkpierce@lucent.com ------------------------------ From: drummer@netcom.com (Jesse C. Chang) Subject: need help with Toccata To: arnold@dartmouth.coordinate.com (John Arnold) Date: Fri, 29 Nov 1996 15:15:21 -0800 (PST) I am currently working on transcribing Toccata. I am working from a reduced score of A. Ginastera's Concerto (orchestra reduced to a second piano). However, the ELP version is very different in parts, and I am having some difficulty figuring some parts out. Right now, I am trying to figure out measures 14-52. ELP's version has a longer intro, so I am counting measures from the original version - measures 1 and 2 would be the arpeggiated chord after the long timpani roll, and measures 3 and 4 would be where the opening chord is played 11 times (measure 4 being in 5/8 rather than the usual 3/4 = 6/8 meter of most of the piece). Speaking of the intro, if anyone has a good way of writing it, please let me know. I am not a great transcriber, and it seems to me like it could be written several ways. Right now I have it written as 16 bars, in the same tempo as the rest of the piece. I'd like to have this piece (or something resembling it :) ) completely transcribed in a couple months, so my school ensemble can perform it at the end of Spring semester. :) So if anyone can offer me any assistance (aside from what's available off the ELP home page), please get back to me. Or if anyone has it completely transcribed, and takes part in the shareware thing, I'd like to purchase a copy. Thanks, Jesse -- !! Jesse C. Chang drummer@netcom.com [___] `|' "Feelings are stupid." --Sarah /|\ Disclaimer: the clay told me to do it. ------------------------------ From: Bjorn-Are.Davidsen@s.nett.telenor.no Date: 12 Nov 1996 11:40:39 Z To: arnold@dartmouth.coordinate.com Subject: ELP Squired The lastest Notes from The Edge (the Yes Newsletter) has an interesting interview with Chris Squire! Of more direct ELP-stuff Chris tells that he saw Tull/ELP at the Universal Amphiteater: "Emerson Lake and Palmer actually were the best I've ever seen them, I think since 1971 or something." Say yes ;-) Bjo/rn Are Bjorn-Are.Davidsen@s.nett.telenor.no ------------------------------------------------------------------- The Weaver in the Web that he made - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Our minds were moving parallell Because they never met ------------------------------ From: tmb@access.digex.net Date: Thu, 24 Oct 1996 18:44:47 -0400 To: John Arnold Subject: Re: ELP Digest V6 #25 (NPR and Hoedown) Two things: NPR broadcast an item by folklorist Stephen Wade a few weeks ago on the origins of the tune that ELP fans know as Hoedown and that some people think was written by Aaron Copland. Turns out that Copland (who used it, I think, in Billy the Kid) took it from an Appalachian fiddle player whose name, as best as I could tell, was something Step, or maybe Stipp. Wade could find out almost nothing about Step or Stipp, but the Smithsonian Institution has a scratchy recording of him playing Hoedown (a little slower than KE plays it) made early this century. Wade played the ELP version as well as Copland's and Step or Stipp's. And Step or Stipp, it seems, adapted it from an earlier tune by changing the timing. I forget the name of the earlier tune, but it was something to do with Napoleon's retreat from Moscow, if you can believe that. I don't think it could be the 1812 overture. Did anyone else hear this who can fill in the blanks from my recollection? If there's interest I could try to contact Wade to get the full story. (Wade, by the way, is a brilliant banjo player who for many years performed a one-man singing and storytelling show, Banjo Dancing, in Washington, D.C.). Next, a little game. Keith Emerson: Keyboard Extravaganzas, Imaginative Themes, Harmonies; Electronic Maestro, Explosive Riffs Sounding Occasionally Neurotic Geg Lake: Great Rich Elegies, Guitars, Lyrics And Killer Energy Carl Palmer: Crafty And Rhythmical, Lavish Percussion And Loves Mighty, Energetic Rolls Can others do better? Tim Beardsley ------------------------------ From: STL@sesa-muc.crg.de (Stephan Listing) To: arnold@dartmouth.coordinate.com Date: Mon, 21 Oct 1996 07:42:44 +0000 Subject: BSS-deluxe-in-germany Hi ! Good news for all ELP fans in germany. Both, the marvellous "BSS deluxe version" (from Rhino) and the "Changing States" (KE solo CD) are available from: jpc PO box 1329 D-49111 Georgsmarienhuette Tel.: 0180-5251717 Fax.: 05401-851233 Web.: http://www.jpc.de Order codes and prices ( + p&p) are: item order # price BSS deluxe 7740435 DM 35,95 Changing States 7341997 DM 14,95 Hope, this info will help some other fans... Bye for now, Stephan :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) Remember - the FireBlade-Runner says: HONDA enters - HONDA wins ! The CBR 900 RR gets it on ! ------------------------------ Date: Tue, 08 Oct 1996 09:43:16 -0700 From: Johan Pluyter To: arnold@dartmouth.coordinate.com Subject: Brain Salad Surgery Dear John, I may be the last one to have seen it, but the 'Holographic Version' of Brain Salad Surgery is out. The CD has a holographic version of the 'Giger picture' on it. I saw it at Barnes & Noble last weekend. It looks great. Also, it something new extra on it. I forgot what it was but it is an extra track for this new release. The reason for me sending you this is that I just read its expected arrival on the ELP Web Site. If you have not reported this yet, let the ELP fans know. Hans Pluyter. ------------------------------ Date: 20 Oct 96 17:32:55 EDT From: "Joseph M. Paslawski" <74552.3551@CompuServe.COM> To: John Arnold Subject: Random Thoughts Random Thoughts 1). I attended three shows on the tour: Holmdel (NJ), Hershey (PA) and Camden (NJ). These shows have been discussed in detail, so there is no need to rehash them, other than the following: The band sounded fresh, which is amazing considering all the history behind them. Perhaps it was the shorter sets, or competitive spirit opening for Tull, or whatever. I think it was interesting that the newest material they played was 'Touch and Go" - nothing from BM or ITHS. I hope, as we all do, that they use this springboard to continue along. 2). The Camden show was 8/31/96. On 8/31/74 I saw a free PFM concert, sponsored by the Schafer Music Festival in Central Park, New York. It was a great show, and part of it was used on the PFM Cook album. Was anybody else there? They played: River of Life Four Holes in the Ground Is my Face on Straight? Dove...Quando Acoustic Guitar Solo Just Look Away Mr. Nine 'till Five/William Tell Overture The encore was Celebration/Drum Solo/The World Became the World 3). I picked up three Cds from World CD in Chicago (email: worldcd@aol.com). They were the Isle of Wight Festival 1970, The Nice box set and The Nice-BBC sessions. Isle of Wight Festival 1970 has one track - Rondo. It is listed on the label as: Blue Rondo A La Turk/Pictures at an Exhibition/Drum Solo. It is just Rondo - don't know where the Pictures came from. This was ELP's 2nd live performance (I think) and it may be their earlier ever released material. Anyway, it's Rondo, you've heard it before, and only ELP fanatics like me (and you?) are interested. The Nice box set is 3 cds - the Thoughts of Emerlist DavJack, Ars Longa Vita Brevis and The Nice albums, plus a few extra cuts. The best item is the booklet which is absolutely wonderful. Some of the photos are incredible, including a very 'flower-power' Keith! There is also some articles from Melody Maker, one of which is personal profiles, which contains quite a bit of information that I did not previously know about KE. More of that to come. The Nice BBC sessions is very interesting and definitely worth the effort to obtain. It has live versions of many cuts, including Bridges 2/3/4 from the Five Bridges Suite. It also has some cuts not available before, like St. Thomas, Better than Better, Sombrero King and Aries. Aries ends with Keith playing solo Hammond for about a minute and one only wishes he still did so today. What really shocked me was the 3rd movement Pathetique Symphony by Piotr Tchikovsky. This originally appeared on Elegy and I always assumed it was studio. This version is one of my favorite KE recordings of all time and if it was recorded live I am REALLY impressed! In my note to this Digest a year ago I questioned the fact that we ELP fans get excited about music that is near 30 years old - well, joke is on me! 4). In the aforementioned booklet, KE mentions Tiny Tim as a favorite singer, Don Shinn and Keith Jarrett as favorite musicians, Jim Webb, Bach and Bartok as favorite composers and Family, Taste and Pink Floyd as favorite bands. No mention of Ginastera, Copland or Oscar Peterson, but another reference to Don Shinn, who he talked about in Keyboard interview years ago. The only album I am aware of that has a Don Shin mentioned is Renaissance's Illusion, which is pre-Annie Haslam - a Don Shin plays electric piano on a cut called Past Orbis of Dust. Any others anyone is aware of? Does anyone care to suggest an Oscar Peterson to start with, since Keith thinks he is God? And one more - does anyone have any recordings of Mike Quatro (Suzi's brother) who was quite a keyboardist? I remember he used to play some early King Crimson tracks. 5). Lastly, a garland of Martial Fire Flowers for MAB/DR. God bless you. JP ------------------------------ Date: Fri, 25 Oct 1996 12:20:54 -0200 (EDT) To: dhayes.boulder@worldnet.att.net From: agorni@dialdata.com.br (Antonio Augusto Gorni) Subject: Re: Tarkus question Cc: arnold@dartmouth.coordinate.com Doug: If you look to the official music sheet of Are You Ready Eddy, you can see in the end of the song: ****** (spoken) "They've only got 'am or cheese" (this preferably should be spoken by a cockney charlady) ****** So, the "amochase" you heard is, in reality, 'ham or cheese' (well, at least I hope it's that!). In the original version of this song, someone repeats "ham or cheese" after the lyric above. Hope this helps! 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: Mon, 11 Nov 1996 15:03:06 -0800 (PST) From: Terry Carroll To: John Arnold Subject: Re: End of Show Music On Thu, 24 Oct 1996 Bill Berends wrote: > It is the final minute of Ottorino Respighi's "Church Windows" (Vetrate di > chiesa) Maybe _that's_ what they'ye saying at the end of "Are You Ready Eddy." ("They've only Vetrate di chiesa." "Vetrate di chiesa!") -- Terry Carroll | "In a professional sports league game played in the Santa Clara, CA | United States, the head referee ... shall ... in the carroll@tjc.com | event of conflicting calls, review instant replay to Modell delenda est | determine the correct call." - House Bill H.R. 3096 ------------------------------ Date: Tue, 12 Nov 1996 02:49:15 -0800 To: John Arnold From: "T. Cudney" Subject: Re: ELP Digest V6 #27 (one fell swoop) >That way, you can read them all in one place if you're >interested or delete tham all in one fell swoop (I think that's an American >idion) if you're not interested. Actually, it is a phrase from Macbeth. Upon hearing that his whole family was slaughtered, Macduff asks, "At one fell swoop?"(Act 4, Scene 3, ln 258) ------------------------------ From: Bjorn-Are.Davidsen@s.nett.telenor.no Date: 04 Nov 1996 09:21:27 Z To: arnold@dartmouth.coordinate.com Subject: Mojo music! Mojo magazine of November 96 has a great issue on "The Best of Everything", however without mentioning ELP among "Rock albums1962-76" for one's collection. There are some good pictures of Keith, though, in their review of the Supernatural Rhino box, and even a positive review of Yes' new "Keys to Ascension". So get this issue! Even if it prompted me to send the following mail: > Another great issue! Its however surprising that not even Mojo seems able to > avoid the post punk pitfalls of putting the whole genre of adventurous rock > under the carpet. It would have been interesting if at least one of the > remastered "nice price" CD's of Emerson, Lake and Palmer, Yes or Genesis > had been listed in "Rock 1962-1976". Despite todays rock magazines' > general silence, these bands were not quite invisible on the rock scene in > those years, some even enjoyed them. > Praise, though, to your pictures of Keith Emerson (twice, wow!) and Steve > Howe in the review section, even if the reviews were a bit ambivalent. For > odd ones like me who enjoys grand and aggressive bands like Red Hot Chilli > Peppers and Smashing Pumpkins, as well as the even grander and more > aggressive ELP and Yes of the early 70's, it feels good when some bands > dare to "Diminish their Sevenths" even if todays magazines never seem to > resist diminishing their albums. Perhaps Mojo in a later issue could dare a > broader view on the "Best of everything" than Q or Vox? Bjo/rn Are Bjorn-Are.Davidsen@s.nett.telenor.no ------------------------------------------------------------------- The Weaver in the Web that he made - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Our minds were moving parallell Because they never met ------------------------------ Date: Sat, 16 Nov 1996 16:56:56 -0500 From: noel@cybertap.com (D. Noel) To: arnold@dartmouth.coordinate.com Subject: inquiry and statement Hi, Dave here, Do you know if Keith Emerson has an e-mail address? [ Editor's Note: The best way is via Will Alexander (who appeared earlier in this issue) at EmerSonics@annex.com - John - ] And you might be interested to know (or not) that Mr. Emerson now uses a Generalmusic Pro2 electric stage piano in his kit. This piano uses 3 types of "physical modelling" to creat the authentic piano including "sympathetic vibrations" and harp feedback. Please refer to December issue of keyboard mag for Keith's comment on this piano. Cheers!! Dave. -- noel@cybertap.com (D.Noel) 10 Hayes Drive voice: (613) 345-5384 Lyn, Ontario K6T 1R5. ------------------------------ Date: Fri, 22 Nov 1996 12:29:05 -0500 To: John Arnold From: boo@icsnet.com (Bobby Simons) Subject: Re: ELP Digest V6 #28 (more on the instruments) >What's that instrument at a right angle to the left of the piano on the photo >on the "Welcome Back" album? It looks like a little spinet piano. It looks very much like a LaSage piano, which was one of the very first commercial electric-acoustic pianos. My buddy had one in the mid-late seventies, and spent all his time tuning the tinny piece of crap. I was still very envious, and made do with my Rhodes and RMI pianos. ------------------------------ 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 29] *************************************