Emerson, Lake & Powell: Emerson, Lake & Powell CD Track Listing

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Emerson, Lake & Powell Emerson, Lake & Powell (1986)
Emerson, Lake & Powell (West German Pressing)\n\nOriginally Released 1986\n\nAMG EXPERT REVIEW: A rather courageous offshoot/reunion effort, considering the period in which it was done. There's more energy and purpose here than there was on any post-Works ELP album, and that makes it worthwhile for interested fans, though it wasn't going to make any new converts, either. One oddity is that this version of ELP covers "Mars, Bringer of War" from Holst's The Planets, a piece that King Crimson first introduced as a rock adaptation when Lake was a member on tour back in 1969. -- Bruce Eder\n\nAMAZON.COM CUSTOMER REVIEW\nBest ELP Album Since Brain Salad Surgery, October 9, 2005\nReviewer: Kirk Lott "a strange and unusual person" (adrift on the seas of life)\nThis is a fantastic ELP album, chronically underrated by fans of the band. And while this 1986 release features a streamlined sound characteristic of the 80s, it also boasts a complex and satisfying progressive feel. \n\nFirst, this is only two-thirds of the original Emerson Lake & Palmer, in that drummer Cozy Powell sits in for Carl Palmer (who was wasting time in Asia). But this effort reunited Keith Emerson and Greg Lake, the musical principals of ELP, and it brings back the sense of melody, group cohesion and sense of purpose that had been missing since 1973's "Brain Salad Surgery." \n\n"The Score" opens the album powerfully, continuing lyrically and musically where Brain Salad Surgery's "Karn Evil 9" left off (Welcome Back My Friends, to the Show That Never Ends...). Next up is "Learning How to Fly," which is pleasant prog-pop, 80s style. \n\nThe terrific single "Touch and Go" is both proggy and catchy at the same time, featuring majestic keyboards and intricate bass. "Step Aside" is whimsical and jazzy, and recalls some of the best short pieces from ELP's early albums. "Mars - Bringer of War" is a satisfying reading of one of the coolest classical compositions of all time, from Gustav Holst's "The Planets." \n\nFinally, this is the last album on which Greg Lake had a great voice. Somehow between this album and 1992's "Black Moon,' Lake's voice became deeper, huskier, and unpleasant. \n\nThere are only two reason why this album is sometimes bashed. First, it was released in the 80s. Some prog heads just don't believe that any good progressive music was released in the 80s, but the fact is the probably the most proggy album of the decade from any of the 70s giants like ELP, Genesis or Yes. \n\nSecond, Carl Palmer isn't on the album. It's true that Carl's inventiveness and precision are missed, but Cozy Powell brings in power and swing that are nearly as satisfying. \n\nSo again, this album is highly recommended. \n\n(I can't comment on the two bonus tracks. Obviously the cover of "Loco-motion" is unlikely to be a great addition to the band's ouevre, and I'm not familiar with the other track.) \n\nAMAZON.COM CUSTOMER REVIEW\nMaybe two-stars., June 24, 2005\nReviewer: Scott Rogers (Ga.) (Gainesville, Ga United States)\nMake no bones about it, I love ELP, but not this effort, and it has nothing to do with Cozy "I'm dead now" Powell replacing Carl Palmer. Powell is/was just as good as Palmer albeit they have different styles (Powell being a thunder and lightening drummer while Palmer is a true geek technical wizard) but the somgs don't add up here. The single "Touch and GO" draws the listener in with the promise of severe melodies to come, but they never come. That's the problem with the whole effort........ melodies. They just aren't up to snuff as with previous ELP efforts. Progressive bands rely heavily on melodies to carry the weight of their flighty musical directions. Great melodies give satisfaction to the listener who craves a complex melody to go along with their top notch musical ideas, which is the stock-and-trade of prog-rock bands, and this is what sinks this effort. The fact that they disbanded soon after proved that the band itself saw no need to try and progress any further with this lineup. \n\nAMAZON.COM CUSTOMER REVIEW\nPowell, and a Minor Correction to Another Review, March 5, 2005\nReviewer: L. Masco (Lutz, FL United States)\nAnother reviewer wrote, "Many bands have tried to take a piece of classical music written for full orchestra and readapting it for rock music. Nobody has ever succeeded like Emerson, Lake, and Powell have done here with Holst's music, whilst keeping its majestic sweep. " \n\nIt's important to note that this cover is actually a bit of a hand-me-down from the 1969 King Crimson that featured Greg Lake. King Crimson used to perform a cover of Mars in their live set, a number of versions of which you can find on their excellent live compilation "Epitaph." \n\nAs for this album, it's a fantastic piece of material, even given Powell's rather flat drumming repertoire, when compared to Carl Palmer's abundant flourishes. For a nice contrast of the styles of the two, check out the Roger Daltry tribute to Keith Moon, "Under a Raging Moon." Both have solos in that piece, and the contrast speaks volumes.\n\nAMAZON.COM CUSTOMER REVIEW\nMTV's Stepchild, September 2, 2004\nReviewer: Jeff Hodges (Denton, TX United States)\nThe arguable masterpiece"Owner of a Lonely Heart" was a breakthrough success for Yes, as well as MTV. As the flegling network struggled for an identity (now hopelessly lost), the success of Yes' single forced them to take an interest in helping to reinvent progressive rock groups of the '70's. For example, although I wish that I would have been cognizant anough to see Genesis with Peter Gabriel as its frontman, early memories of Genesis' video to "ABACAB" were my introduction to the group. \n\nELPo were welcomed into this group of reinvented prog-rockers with open arms. I still have memories of Keith Emerson telling me that he wanted his "MTV". \n\nRegardless of its potential accessibility, the slightly repetitive "Touch and Go" unfortunately ended up being no "Owner of a Lonely Heart". However, those of us that were paying attention (okay, us band geeks) were genuinely moved by its thematic power and intellectual aggression. We got turned on by the fact that people could play their instuments with some degree of virtuosity and still, well, rock. \n\nAnd herein lies the strength of ELPo. Lake sings with great passsion, Powell tastefully pushes the whole thing forward with his "tree trunk" sticks, but most importantly, Emerson fully embraces the 80' s keyboard soundscape with electrifying effect. "The Score" is, quite possibly, one of the best prog-rock songs that the 80's had to offer (Kayliegh notwithsatnding), especially seguing into "Learning to Fly " and "The Miracle". As with any ELP (no matter what P you might be referencing), there are a few low-energy moments. "Lay Down Your Guns" and " Love Blind" might not be "Karn Evil 9", but the version of "Mars, the Bringer of War" found is the most sucessful transcription ELP in any incarnation ever did. In fact, this version led me to a greater understanding of ithe original. \n\nThe Lowdown: According to Quentin Tarantino, one must be an "Elvis Person" or a "Beatles Person". In prog-rock circles, I like to think that this equates to being either a "Wakeman Person" or an "Emerson Person". Generally speaking, I tend to be a Wakeman man. However, to be brutally honest, Emerson's work on ELPo shows Wakeman what he should have been doing during the 80's. I am so thankful for this recording for its role in introdoucing me to ELP's larger repitoire. At the very least, it makes "Love Beach" look like a Frankenstein Pez dispenser: outdated and very silly. \n\nAMAZON.COM CUSTOMER REVIEW\nEmerson, Mott, Lake and Powell, October 3, 2003\nReviewer: Kim Fletcher (Pattaya, Chonburi Thailand)\nThat's right, not Emerson, Lake, and Palmer, but Emerson, Lake, and Powell. After nine incredibly successful years together as one of the largest grossing bands in the world, and one of the originator of what was to become known as Progressive Rock, Emerson, Lake, and Palmer came to a rather ignoble ending. A badly conceived tour of the U.S.A. with a full orchestra, which may have been very fulfilling musically, was financially crippling, and this was followed by their worst ever album "Love Beach". "Love Beach" was a bad album by any standards, but catastrophic when compared to Emerson, Lake, and Palmer's previous classic albums such as "Tarkus", "Brain Salad Surgery", "Trilogy", and their startling Self titled debut. So at this point (1979), Emerson, Lake, and Palmer disbanded and each member of the band went his own way to varying degrees of success. \nGreg Lake recorded a couple of albums with a new band (including Gary Moore on lead guitar), and toured the world only reaching large audiences when he would play well down the bill of large festival dates such as 'The Reading Festival' in England. Keith Emerson released a couple of soundtracks to B-Grade movies, but pretty much kept out of the limelight. Carl Palmer formed a band called P. M., which lasted one album and one tour before falling apart, But then he hit pay dirt when he teamed up with Steve Howe (ex-Yes), Geoff Downes (ex-Buggles), and John Wetton (ex Uriah Heep, ex Roxy Music, ex King Crimson) to form the extremely lucrative and commercially popular "Asia". \n\nSo after seven years Keith Emerson and Greg Lake decided it was time to get back together and make some more music and top up the old bank balance. (Sounds a bit mercenary, but then again I think it was.) Carl Palmer was far from willing to give up his drum seat in the money spinning "Asia" for the slightly risky opportunity of being the P, in "E. L. P." again. A quick look round by Keith and Greg and the choice was obvious. No need to get a new logo. (Again financially sound and if they had got in Ginger Baker it would of become E. L. B. Just does not have the same ring about it, does it?) Just ring up old mate and well-known gun for hire, Cozy Powell (ex Whitesnake, ex Jeff Beck, ex Black Sabbath, ex Bedlam, ex Michael Schenker Band... Oh, the list is endless without even including his solo career), and get him in. Same heavy drum sound, same love of those dynamic and long drum solos, and we have got E. L. P. back together again of sorts. \n\nNo point going out on the road without any product though, so off into the studio they went with a recording contract with Polygram, production to be shared between Tony Taverner and Greg Lake, and all the management hassles to be taken care of by Alex Grob. Perfect. So all they had to do was come up with an album's worth of material. In the world of Rock 'n' Roll not very likely you think, but no, they came up with an absolute corker. \n\nFrom the opening strands of first song "The Score" you know you are in for an exciting journey of very special rock music. Keith Emerson playing the keyboards as only he can, totally over the top with plenty of use of a Hammond organ, grand piano, and, of course, the Moog Synthesizer. Cozy Powell is all over the kit hitting the skins with barely controlled violence, but with split second precision. When after three and a half minutes Greg Lake comes in to sing the first stanza, you realize that he is not only there to underpin the sound with his marvelous bass playing, but he probably has one of the most underrated set of vocal chords from the last half century of rock Music. In the nearly ten minutes of "The Score" the band really flies, proving that they are a force to be reckoned with and we even get a little snippet from days gone by when Greg Lake introduces us to a touch of 'Karn Evil 9' from "Brain Salad Surgery", when he sings out the opening "It's been so long my friends, so welcome back to the show that never ends".\n\nThen we get two more selections that are instant classics of their genre. 'Learning to Fly' is another opportunity for the band to show off their skills and how well they are gelling as a unit. 'The Miracle' is a very wordy affair, almost like a short take on a story line something akin to a short 'Tarkus' complete with a full choir bringing the whole thing to a rousing conclusion. Proving that they still had a grip on what was relevant in the confusing modern world of rock music, just for good measure, Emerson, Lake, and Powell released the next song "Touch and Go" as a single and had a massive hit with it in the United States of America. A very catchy little tune it is, too, showing all their collective spirit now proudly bearing their hearts on their sleeves. They follow this with the love song "Love Blind", the jazzy street song "Step Aside", and the passionate anti-war song "Lay Down your Guns". Considering what has happened since this was written back in 1986, it's a pity not more people lent an ear to the heartfelt lyrics. \n\nConversely they then follow this with the center piece of the album with an adaptation of Gustav Holst's "Mars, The Bringer Of War" from "The Planets Suite". Many bands have tried to take a piece of classical music written for full orchestra and readapting it for rock music. Nobody has ever succeeded like Emerson, Lake, and Powell have done here with Holst's music, whilst keeping its majestic sweep. They manage to make it sound like Holst had actually written the music with a three piece rock band in mind. A truly uplifting piece of music. \n\nAs bonus tracks for the C.D. release we get first some marvelous fun with a cover of Carole King's "The Loco-Motion" with the band rocking along behind Keith Emerson's keyboards, replacing the call and response vocal lines. A piece of nonsense for sure, but you can almost hear the musicians grinning along as they play out these foot tapping notes. Unfortunately the album ends on its weakest moment, "Vacant Possession". It was an outtake from the original recording sessions and perhaps should of stayed on the cutting room floor. Nothing really wrong with it, just nothing to recommend it either. Shame, because up to this point the album is faultless. \n\nAn album often ignored because of its place in the history of these musicians, and possibly because of yet another acrimonious split after just one short American tour, and the soon to be revealed full re-union of all of the original Emerson, Lake and Palmer. But still definitely worthy of your attention, even if it's only for a listen to the eight minutes of pomp that they make of "Mars, The Bringer of War". \nMott the Dog.\n\nAMAZON.COM CUSTOMER REVIEW\nRe: "Palmer who?", September 9, 2003\nReviewer: A music fan\nI agree wholeheartedly that ELPowell is a 5 star winner...a superb album and one of Emerson and Lake's best collaborations. HOWEVER, to say that Carl Palmer is "overrated" and that he "can't keep time" is absurd. As a drummer myself, I have always been astounded at Palmer's abilities. I can easily play Cozy Powell's best work (which I enjoy), but I cannot come close to playing Palmer's best work and have yet to see a drummer who could. Yes, he 'keeps time' - but not in the 4/4, thud-thud style. Palmer keeps time in a manner which reminds me of Keith Moon - he kind of has an internal metronome which guides him as his hands and feet go 100 miles an hour.\nBy the way, if you can't comprehend Palmer's "time keeping" on the ELP records, then listen to his work with Asia. That's pretty straightfoward drumming with little of the flash he exhibited with ELP. Ever hear "Heat of the Moment" or "Only Time Will Tell"? Surely you can figure out the timing on those.\n\nAMAZON.COM CUSTOMER REVIEW\nTheir best work since 1975, March 31, 2003\nReviewer: Michael Topper (Pacific Palisades, California United States)\nThe self-titled debut from Emerson, Lake And Powell still stands as the best work Emerson & Lake have recorded since 1975. An amazingingly tight, concise rock album, it seems as if these two men, plus new drummer Cozy Powell, were able to pull off a work that combined their 70s prog edge with 80s production technology, as well as balance the longer epics with shorter pop hits. Its complexity, yet lack of self-indulgence and plethora of good tunes would put it right up there with "Brain Salad Surgery", were it not for a few weaker points that can only be chalked up to the somewhat cheezy zeitgeist of the 80s, particularly on the pop stuff.\nThe album opens incredibly well with "The Score", which remains one of Emerson's finest long-form pieces. It is full of both lyrical and musical quotes from the "Brain Salad Surgery" album, invoking nostalgia while at the same time putting an entirely fresh spin on that sound. Soaring fanfares, constantly shifting sections and a wide range of keyboard textures are enhanced by Powell's power-drumming style, which is his best contribution to the album. The next track, "Learning To Fly", is a good shorter number that features a prog-like solo section with more keyboard wizardry, and Lake in fine form on vocals (but from here on out Powell's drumming would settle into a rather simplistic metallic thud that fit the times, but could have been more creative in retrospect). "The Miracle" is one of the strongest lyrics Lake has ever written (which harkens back to the poetic fantasy of the early 70s while giving it a modern symbolic subtext), which is supplemented by an absolutely majestic multi-sectional composition that is only let down by an otherwise-great hammond solo that should have been at least triple its length. \n\nThe second side is much iffier; the pop songs vary from \ndecent (the catchy radio hit "Touch And Go") to clever (the nice, jazzy "Step Aside") to the worst of 80s sludge (the sleazy "Love Blind", the soppily sentimental power-ballad "Lay Down Your Guns"). However, things are rounded off stunningly by an interpretation of "Mars, The Bringer Of War" which is so\nsophisticated in its layering of keyboard textures that it rivals King Crimson's incendiary live versions from the late 60s/early 70s.\n\nOverall, the strong tracks here (all of side one, plus "Step Aside" and "Mars") are well worth the price of admission. By the time they regrouped with Palmer again for "Black Moon", the pop side had almost completely taken over, although that work was redeemed by two or three decent instrumental pieces. Still, nothing on "Black Moon"--or "Works 1", "Works 2" and "Love Beach", for that matter--can rival the best of "Emerson, Lake And Powell". Had the album been a bit more successful on the charts, who knows what a second album might have been like.\n\nAMAZON.COM CUSTOMER REVIEW\nThe re-legitimization of a masterpiece, November 23, 2001\nReviewer: R. L. MILLER (FT LAUDERDALE FL USA)\n(...) When this album came out during the 1980s, it caught it from BOTH sides. There was the expected trash job from the rock press, who were just a tad Pravdist in their spin on prog rock in general--there was only one true rock'n'roll and anyone who deviated was a traitor ("pretentious" was their customary buzzword). Then there were the ELP purists who thought that a different "P" (Cozy Powell) on drums meant that they weren't the real thing (they were probably the same crowd who a few years down the line would start mouthing off that a post-Roger Waters Pink Floyd wasn't the real thing either). I'm glad to see that the advent of neo-prog and the (...) customer base have combined to resurrect this classic. There are weak points in this album, to be sure. Like the opening number "The Score" being too derivative of a section of "Karn Evil Nine" (including a recycle of the phrase "welcome back, my friends, to the show that never ends"). Emerson's custom triple-manual Yamaha which he had used all over "Works Volume 1" plays one of its last starring roles in this song--it was destroyed in a studio fire later on. The single hit "Touch and Go" is cliche MTV fare--noisy and flashy. They were to do a much better job of that arrangement years later in the title track of "Black Moon". But look at the rest. The song "Step Aside", which is an unashamedly jazzy number like Emerson hadn't done since The Nice. I heard somewhere that Greg Lake hates jazz--he conceals that masterfully here. As well as "The Miracle", a signature ELP number if there ever was one. Although this song features the Big Yamaha, Emerson reminds us that he still loves his trusty old Hammond in the middle break. And an almost completely straight rendition of Holst's "Mars, the Bringer Of War". Somehow the muscular thud-SLAM! drumming of veteran metal skinman Powell fits in well enough throughout this set. Nothing from this album made it onto the "Return Of the Manticore" box set, though. All because of having the wrong "P" on the skins. What a shame.\n\nAMAZON.COM CUSTOMER REVIEW\nAbsolutely Breathtaking..., November 5, 2000\nReviewer: A music fan\nIn the nearly 10 odd years that I have been an ardent ELP fan, I just cannot forgive myself for the times I passed on this truly magnificent 1986 album by Keith, Greg, and the late Cozy Powell. Now that I have become addicted to this CD, I truly have learned the trite, yet hallowed adage "don't judge a book by its cover" as it pertains to Mr. Powell's name on the front jacket.\nFrom start to finish, this album's repertoire was refreshing ear candy to myself! "Learning to Fly", "Love Blind", and "Lay Down Your Guns" go to the greatest extreme in highlighting Emerson's prolific keyboard/synthesizer genius and Lake's dynamic vocal range, taking them to new ethereal dimensions. Powell does a commendable percussion job that helped fill Carl Palmer's absence due to his working on Asia's "Astra" of the same year. Being ELP's only album for the 1980's, its overall style sounds like a heterogenous blend of their vivacious 70's prog-rock melodies and their more commercialized 90's sound, so you can indulge to the best of both of these eras.\n\nDo pick this CD up for yourself, and to all you ELP fans, don't erect the same brick wall that I did. It really is one of the best musical experiences you could take in!!!\n\nHalf.com Details \nProducer: Greg Lake, Tony Taverner \n\nAlbum Notes\nPersonnel: Greg Lake (vocals, guitar, bass); Keith Emerson (keyboards); \nCozy Powell (drums, percussion).\n\nRecorded at Maison Rouge, London, England and Fleetwood Mobile Studios, Sussex, England between 1985 and 1986.
This rock cd contains 8 tracks and runs 43min 1sec.
Freedb: 590a1308
Buy: from Amazon.com

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