Emerson, Lake & Palmer: Works Volume I - Disc 1 of 2 CD Track Listing

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Emerson, Lake & Palmer Works Volume I - Disc 1 of 2 (1977)
Works Volume I - Disc 1 of 2\nEmerson, Lake & Palmer\n1993 Victory Music, Inc.\n1996 Rhino Records, Inc.\n\nOriginally Released March 17, 1977 \nAtlantic CD Edition Released ??\nVictory Music CD Edition Released ??\nRhino CD Edition Released May 21, 1996\n\nAMG EXPERT REVIEW: Though no one talked about it at the time of its release, this album reflected a growing split within the group. Originally, the trio's members, tired of sublimating their musical identities within the context of ELP, each intended to do a solo album of his own. Reason prevailed, however, probably aided by the group's awareness that the combined sales of the solo albums issued by the five members of Yes the previous year were a fraction of the sales of Yes' most recent records. The result was this double LP; essentially three solo sides and one group side, it is the most complex and demanding of the group's albums. Keith Emerson's "Piano Concerto" is on the level of a good music-student piece, without much original language. Where Emerson, in conjunction with his conductor and co-orchestrator, John Mayer, succeeds admirably is in writing beautiful virtuoso passages for the piano. Greg Lake's romantic songs mark the final flowering of his work in this vein -- and perhaps its going to seed, since "C'Est la Vie," the featured single, says little that "Still...You Turn Me On," from their previous album, didn't say better and shorter. Carl Palmer's side is the most accessible of the three solo sides for casual rock listeners, rocking hard on the classical adaptations and featuring Joe Walsh on lead guitar for one song. The group's two tracks, "Fanfare for the Common Man" and "Pirates," cover a lot of old ground, albeit in ornate and stylish fashion. Having used Copland's "Hoedown" as a concert showstopper for four years, the trio takes "Fanfare" to new heights of indulgence, and it actually works, up to a point -- like CCR's extended version of "Heard It Through the Grapevine," this is just a little too much of a good thing. -- Bruce Eder\n\nAmazon.com Editorial Review\nOf all the popular progressive rock groups of the '70s, Emerson, Lake and Palmer were the most bombastic and technically orientated. By 1977, they had become so wrapped up in themselves (individually) that they put out a double album with each member getting a side to his own. They shared the remaining side. Keith Emerson plays a Steinway grand piano along with the London Symphony Orchestra. Greg Lake sings some rather sappy ballads (nothing as fun as "Lucky Man," unfortunately). And Carl Palmer contributes a selection of drum-heavy fusion pieces. When the trio reconvene, they tear into Aaron Copland's "Fanfare for the Common Man" (you know, that music from the Olympics) and deliver a long, meandering song called "Pirates" that shows off what they did best--play classically inspired rock with wild synthesizer sweeps and Lake's sweet voice. This isn't the album for an ELP neophyte. Try Brain Salad Surgery or The Best of... for a proper introduction. --Larry Crane \n\n\nAMAZON.COM CUSTOMER REVIEW\nDetails on Sanctuary reissue here, February 19, 2006\nReviewer: dodgem-dude "dodgem-dude" (San Diego, CA United States)\nThis last great ELP project preceded their rapid decline but itself gets better with age. Emerson's Concerto proves what I always thought, that his compositions are perfectly suited for orchestra. Lake's songs are lovely and show off just how good a ballad singer he is (and what a pop star he is at heart!). Palmer's tracks take the longest to appreciate but are also the most rocking material on the album next to that last superb set of ELP performances, Fanfare... and Pirates. Comparisons to Floyd's Umma Gumma and the Beatles' White Album are fitting, as is the clich

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