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Learn more about Amazon Prime. Get free delivery with Amazon Prime. Back to top. They recorded their performance of it at Newcastle City Hall on 26 March and decided to release it with the concert's encore, "Nut Rocker". Trilogy , the band's third studio album, was recorded at Advision Studios with Offord between October and January Released in July , Trilogy reached No.
This was followed by their first dates in Japan in July. In early , the band formed their own record label, Manticore Records , and purchased an abandoned cinema as their own rehearsal hall in Fulham , London. Offord was not present for the recording sessions as he was working with Yes , leaving engineering and mixing duties to Chris Kimsey and Geoff Young. Lake wrote the album's lyrics with Peter Sinfield and its sleeve was designed by H. Giger and includes the band's new logo.
Formed of five tracks, the album includes a rendition of " Jerusalem " which features the debut of the Moog Apollo , a prototype polyphonic synthesizer. The minute track " Karn Evil 9 " is the longest song recorded by the group. Brain Salad Surgery was released in November and reached No. From November to September , the band toured North America and Europe which included a headline spot at the inaugural California Jam Festival on 6 April at the Ontario Motor Speedway in Ontario, California , to an attendance of , people.
Their performance was broadcast across the US. Their theatrics included Emerson playing a piano as it spun, suspended, end-over-end; Palmer playing on a rotating drum platform; and a Hammond organ thrown around the stage to create feedback. Emerson often used a knife, given to him by Lemmy Kilmister who had roadied for the Nice,   to force the keys on the organ to stay down. Emerson used a large Moog modular synthesizer on stage but it was unreliable as heat affected its sound.
The album peaked at No. It is a double album with one side of an LP containing songs by each member and a fourth of group material. Much of the album was recorded with an orchestral accompaniment; Emerson's side consists of his minute, three-movement "Piano Concerto No.
Lake contributes five songs he co-wrote with Sinfield, and Palmer's includes two covers of classical pieces by Sergei Prokofiev and Bach. One of the two group tracks, " Fanfare for the Common Man ", is a cover of the same-titled orchestral piece by Aaron Copland , who gave permission to have the band release it. Works Volume 1 was released in March and peaked at No. A single of "Fanfare for the Common Man" was released and reached No.
In November , Works Volume 2 was released as a compilation of shorter tracks recorded from —76 during various album recording sessions. The album was not as commercially successful as the band's previous albums; it reached No. The two Works albums were supported by North American tours which lasted from May to February , spanning over dates. Emerson wished for a double album release, but Atlantic Records decided against it due to the band's pending dissolution at its time of release.
In , the album was repackaged with additional tracks as Works Live , and put out on video in Lake and Palmer blame Emerson for the loss as the use of an orchestra on tour was his idea.
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Create a free account. Frequently bought together. Although this suffers from the stigma of 'contractual obligation' album notoriety in most quarters, there is plenty on Works Live that is unjustly overlooked by many ELP aficionados and perhaps deserving of some re-appraisal.
The album started life as a single only release called In Concert but was later expanded by the inclusion of more material from the Montreal Olympic Stadium concert with the hand picked and ruinously expensive ELP Orchestra.
Keith Emerson has stated that the band did not consider this additional material to be of a sufficiently high sound quality to be included on the original record. He even just mailed the finished album to the record company on completion of his production duties, and this will give you some idea what sort of ebb ELP had sunk to at this time. Reach for the bucket Keith's brass sounds are suitably tacky via the Yamaha GX1 and although hardly a grand musical opus, it is great fun and played with just the right amount of tongue in cheek bravura.
Both of Emerson's solos are a thrilling treat and display his continuing ability to assimilate the vocabulary and techniques of boogie piano into the electronic realm of rock. Keith displays his impressive versatility by playing a note perfect version of the session player's accordion solo but No, he does not stab the squeezebox with knives in case you're wondering, or the author alas 'Watching Over You' - This really should have been included on Greg's side of Works Vol 1 and although it's a very lightweight solo lullaby it still completely dwarfs most of the songs he did include on that record.
Mr L was always at his most enjoyable when tackling simple acoustic songs like this. I certainly loved the latter but this is possibly even better and Emerson has done a fantastic job of arranging the very complex orchestral parts for just his two hands on Hammond and synth.
There is some great playing by all the trio here on what is a fiendishly difficult piece to replicate. The organ sound throughout this album is mouth wateringly yummy and combines a real ballsy grunt with some crystalline detail. Given that the GX1 synth was an analogue creature prone to 'tuning drift' from temperature and humidity, there may have been instances when it suffered some 'excitable temperament' effects and you can hear evidence of this on this track. The playing as ever, is top notch and the inclusion of Freddie King's Hideaway during the lengthy synth improvisation is a nice touch.
There are however, far superior versions of this live ELP staple available elsewhere. They end this Copland adaptation with some rather ragged quotations from the 2nd Movement of the composer's 3rd Symphony but didn't see fit to acknowledge same maybe they baulked at paying out double royalties to an avowed left winger?
Why you would embark on a tune that relies on a deep and guttural bass tone by instead employing the timbre of an eight string soprano ukulele is beyond me. What was Lake thinking about? Shame really as the remainder is very good and the inclusion of the orchestra on the Bach Italian Concerto quotation towards the end is very powerful and effective.
As you would expect, they usually closed the shows with this one which makes the next track's running order all the more galling Can't say that either of the orchestrated versions from Keith or ELP even come close to matching the brio and excitement of the Trilogy incarnation.
Despite the multitude of gradually building layers of counterpoint which Keith couldn't hope to replicate on his own , maybe this wasn't ever meant to be played by an orchestra in the first place?
Keith listen, I know you're a stubborn bugger, but enough already. It ain't never gonna work Once again we encounter Lake's wretched 6 string bass tone which makes his parts sound like they are being performed by George Formby via a small transistor radio. I think this is purely for fans, but even I don't recommend this to fans of ELP at all.
Avoid this album. Tiger In A Spotlight C 2. When The Apple Bullfrog D- 4. Brain Salad Surgery D 5. Barrelhouse Shake-Down D 6. Watching Over You D 7. So Far To Fall D 8. Maple Leaf Rag D 9. Close But Not Touching F Honky Tonk Train Blues C The funeral bells had not yet rung for the band.
That would come with their next release, title Love Beach, which should be considered at least a mild curse by music fans and Englishmen. Still, this pathetic raiding of the vaults serves only to prophesize the band's fall from grace.
If some of the bad tracks were edited out this could be a great EP. Three of the tracks feature Emerson playing his good-timey honky tonk piano schtick that sounds like a Shakey's Pizza Parlor nightmare in s suburban America. I don't understand why someone would want to put tacks in the felt hammers of a piano and ruin one of the best sounding instruments in the world.
Everything else on this album is interesting if not great. Tiger in a Spotlight starts as a piano rocker that gets more intense as Emerson brings in some crazy synth sounds. Towards the end of the song they sound a bit like early Roxy Music. When the Apple Blossoms It sounds like Tank from their first album.
This is a style that brings out the best in ELP. The big suprise on side one is Bullfrog. This is the only ELP song I know of with a sax player. It starts off with an Ornette Coleman styled high speed stop-start unison melody line. The next section is Miles influenced hard rock jazz.
After this they go back to the melody and then head into polyrhythms and strange synth sounds, they almost sound like Sun Ra at this point. The next song, Brain Salad Surgery starts off like a heavy jazz fusion number and then becomes a harsh rocker with Lake sounding a lot like Keith's old band mate Lee Jackson. Side two kicks off with the very ambitious So Far to Fall. This song contains almost an albums worth of material. Strange Beefheart styled rock, avant-jazz and big band blues with Lake on vocals all find their way into this bizarre song that almost "works".
Next we get Close but not Touching which is fun 70s style chase scene soundtrack music complete with horns and a psychedelic guitar solo from Lake.
Finally we get to Father Christmas. This is one of the finest ballads to come from the inconsistent pens of Lake and Sinfield. Written to sound like a Christmas carol the words deal with a young person growing up to challenge his childish beliefs. For anyone who has ever had any problems with Christmas, this song is like a ray of sunshine in the middle of winter. The song closes with the Kafkaesque line, "the Christmas we get, we deserve". If you can get past the bad songs there is plenty on this album for fans of this band to like.
If you don't like ELP, at least check out Bullfrog. You won't believe it is them. I alway loved "Tiger In A Spotlight". Best ELP's "straight rockin'" tune. A bit directionless, perhaps. That could be said about the whole album. No excuses. It's one of the best songs from ELP's catalogue, but it's carrying the burden of a being on an album widely accepted as bad and b it's outside the usual scope of band's musical instruments, even style.
It's over the top and pretentious, right, but if you are bothered because of prog rock album being pretentious, and you are prog rock fan, go examine yourself. The song is great Well, you like Emerson's rags or you don't. They are an important part of band's expression and style, if nothing else, for show-off and joke. It is. It's sort of a lullaby. Okay, skip button. It's a mixture of jazz-fusion and sympho rock sympho rock non-ELP style and it could be quite decent if there's no Greg's vocals gain, who's inclining again boogie clichees.
Well, band member's decision to fill the album with literally anything became more obvious here it became obvious one and half album ago actually, but this one is difficult to swallow. Nothing wrong with this pointless little tune; it shows how "The Sheriff" was created. I don't. It's hardly a song, it's more an undeveloped idea. A good idea, but nothing else. Non-ELPish brass rock. Meade Lux Lewis was a genius, and Emerson picked him for a reason.
In my opinion, Emerson didn't caught the spirit of original boogie-woogie tune properly. Ad the same will be repeated over and over again on numerous live shows Just fine. A bit much reverb on vocal, but okay. String section is unnecessary. In conclusion: album is certainly ELP's below par product. Not bad, but far from excellent. Actually far from the "very good". There are good moments more than few , but this is a shadow of a band we used to know.
Shadow is still impressive - like a ruin of Roman arena. Pit they were not able or not willing to manage more cohesive album, with a story, rather than scarce ideas which are not bad. The jazz pieces are all uplifting and cheerful, the fusion-y pieces are generally interesting, Lake's ballad really doesn't match up to the standards of those on Works 1, but So Far To Fall has its good moments. Certainly the album has a couple of moments that most fanatical proggers won't like, but there are a couple of peaks to make up for that.
Tiger In A Spotlight starts with a light drum part and fast bass, as well as Lake singing essentially random, but decent lyrics. Unfortunately, the opening and the first keyboard solo feel a little too light and lack-lustre for me, though they really do develop into a much better piece, with great screeching synths, an excellent rhythm section, and uplifting vocals.
When The Apple Blossoms Bloom is opened by the drumming, and continues with basically different keyboard parts and riffs laid over changing percussion and a quiet bass part.
The instrumental 'chorus' of this piece is very strong, and all three musicians shine on their respective instruments through to the conclusion. Bullfrog is a fairly eclectic fusiony piece, with bizarre and conventional percussion placed side by side, and keyboards and saxes occasionally thrown in for good measure.
The change to a more exotic atmosphere and more layered music at around the two minute mark is good, and I love the short bass solo here before it moves back through an anarchic section to a much better variation on the opening section.
I think the unfortunate issue here is that the sum of the parts is worth more than the end result, which is too hectic and uncoordinated for my liking. Brain Salad Surgery is a short and concentrated burst of silly keyboards, spitting drums and bass, with nonsensical lyrics. The opening riff is great. Good if you're in an appropriately sarcastic mood, and definitely musically directed. If Emerson's Barrelhouse Shake-Down can't cheer you up, what will?"Works Volume 2" is essentially a catch-all compilation of old material (like the B side, "When The Apple Blossoms Bloom."), solo singles from Keith Emerson and Greg Lake, and songs that were new to listeners if not new themselves/5(43).