Number 5: Emerson, Lake & Palmer by Emerson, Lake, & Palmer
Modern day Mozart
Release: November 20th, 1970
Genre: Progressive Rock
Favorite Tracks: Take A Pebble, Tank, The Three Fates
Where I heard it:
If you would have asked me what my favorite album of all-time was a few years ago, today's entry would be my answer without hesitation. Emerson, Lake, & Palmer are a supergroup that came into my life at seemingly just the right time. I was first shown a snippet of their 21-minute magnum opus Tarkus (specifically beginning at 8:46) by my good friend Jack, which featured Keith Emerson on keyboards absolutely crushing a solo. We were gathered on my backyard deck on a late spring night in 2012, when Jack touted this soundbite as the greatest synth solo ever, a sentiment I had little disagreement toward. Soon after, I began independently researching Emerson, Lake, & Palmer, seeking a rebuttal that rivaled the synth solo of Tarkus. I checked Spotify in search of the group's origin point, and the first album listed was Trilogy. From the moment I hit play, I was mystified by the twists and turns taken in the album's musical direction. It probably took me two or three full listens before I ordered a vinyl of Trilogy for my budding record collection. As it turns out, I mistakenly took this to be the band's genesis. Spotify had categorized the group's eponymous debut as a 2012 release, due to a recent re-issue of the album. I felt duped and deceived by my most trusted musical authority, and I've held a grudge against Spotify for it since. Nonetheless, I felt lucky enough to experience such a prolific band like ELP for the first time - again. It felt as if I was digging up relics of the past, and boy did I find a gem with Emerson, Lake, & Palmer. In all my years of exploring the genre, I hadn't heard anything the likes of this. It was a go-to album for years, a point of conversation that I'd attempt to weasel into any musical discussion I could. I was astounded by just how relatively unknown this group was, and I was compelled to spread the gospel upon my unwilling social circles throughout the latter part of high school. This album was such an important part of my upbringing, but after extensive critical analysis for this list, I can admit that Emerson, Lake, & Palmer isn't the greatest thing I've ever heard. Hey, number five ain't too bad though!
Then watch the ripples that unfold into me
My face spills so gently into your eyes
Disturbing the waters of our lives
Shreds of our memories are lying on your grass
Wounded words of laughter are graveyards of the past
Protographs are grey and torn
Scattered in your fields
Letters of your memories are not real
~ Take a Pebble
What to expect:
Although they're far from household names, Keith Emerson, Greg Lake, and Carl Palmer are three of the most reputable musicians to ever combine their expertise. The group's inception came at a junction in the careers of both Keith Emerson and Greg Lake. Keith Emerson's sudden rise to prominence came from his involvement with a band called The Nice, who achieved modest success under Emerson's guidance. Vocalist Greg Lake had just wrapped up his brief tenure with a little band called King Crimson on some obscure album In the Court of the Crimson King. The Nice and King Crimson would often cross paths during touring slates, formally introducing Emerson and Lake through impromptu jam sessions before sets. When these two found themselves estranged from their original lineups in 1969, it was a no-brainer for them to collaborate on their next project together. Seeking a drummer to round out the group, the duo auditioned a handful of different prospects, including Mitch Mitchell of the Jimi Hendrix Experience. Ultimately, they convinced Carl Palmer of the band Atomic Rooster to leave his position and join the trio of Emerson, Lake, & Palmer. They tested the waters at several festivals across their native England, captivating audiences with an amalgamation of traditional prog rock and interpolations of of notable classical pieces. Two of these songs would be workshopped into The Barbarian and Take a Pebble, later to be included in their inaugural album. Yet, ELP wasn't finished composing one of the most innovative and artistic works of all-time. Each facet of the group contributes incredible performances for Emerson, Lake, & Palmer, but perhaps none more prominently so than Keith Emerson. With years of classical piano training under his belt, Emerson uses his immense wealth of musical knowledge to incorporate the works of composers like Béla Bartók, Leoš Janáček, and Johann Sebastian Bach into his own imaginative arrangements like Knife-Edge and The Barbarian that sound completely unlike their inspired source material. Emerson is no copycat, though; he's perfectly capable of preparing his own epic suite in The Three Fates, displaying a complete mastery of his instrument through unorthodox play methods like strumming the chords of his piano. While Emerson's songwriting tends to be heavily keyboard focused, Greg Lake uses his past credentials from King Crimson to draft tender serenades that lyrically ponder the mystery and fragility of life. Highlighted by emboldened bass tones, Lake's beautiful tonality in both his voice and instrument shine brightest during the 12-minute ballad Take a Pebble and Lucky Man, a song Lake wrote when he was twelve years old. Finally, Carl Palmer advocates for his right to be considered one of rock's greatest drummers, covering an array of percussion instruments like timpani and gong that culminates into what I believe to be the greatest drum solo of all-time: Tank. Palmer literally explores his entire setup in a jaw-dropping flurry of notes that is sure to entertain and delight any listener. Emerson, Lake, and Palmer thrive on the ability to put the spotlight on each of their members' prolific talents in subtle moments of harmonic fusion that flex the band's synchronicity. They've amassed quite a remarkable portfolio across their library, but there's just something so endearing about Emerson, Lake, & Palmer that I can't seem to dismiss. I love just about everything ELP has put out, but this album is still my instant recommendation when the opportunity to share it arises.
Of his honor and his glory the people would sing
Ooh, what a lucky man he was
A bullet had found him
His blood ran as he cried
No money could save him
So he laid down and he died
~ Lucky Man
Why it's my favorite:
My appreciation for classical music came as a direct result from my involvement in band. When we weren't sweating in the summer sun preparing our show for marching band, we were in the music room tirelessly practicing our winter repertoire to showcase at regional competitions. I had the privilege of playing some of the most emotionally gripping pieces throughout high school, some of which I got to play in grand destinations like Dallas. The stories music can tell are amazing, and none more so than in the classical genre. Emerson, Lake, & Palmer evokes that same joy I received from interpreting centuries-old arrangements during band class, with a synthesized modern twist that perfectly aligned with my musical tastes. Their songs expand upon the ideas of renowned compositions by giving them the full band treatment, reinventing riffs into all-out jams that revolutionized the British prog rock scene alongside legendary acts like Pink Floyd and Yes. Yet, ELP remains largely overlooked in talks about these very same bands. What a shame, considering ELP possesses one of the most talented pianists to ever stroke the keys in Keith Emerson. I adore each member of Emerson, Lake, & Palmer, but I have to admit my total enamor and admiration for the one and only Keith Emerson. As the mastermind behind the majority of the album, his intricate and involved solo work on each track is commonly the main attraction, if not an eyebrow-raising interlude that accompanies (and tries its best not to overshadow) the featured player. The duality between his extravagant acoustic symphonies and jazzy organ solos creates a fascinating dichotomy, merging the archaic and the cutting-edge into one groundbreaking product. In later installments, Emerson's synthesizer modulations open the door to a whole new range of oddities and possibilities. This guy made me very seriously consider learning piano so I could better comprehend his style. Needless to say, Keith Emerson is a giant musical influence of mine. In March of 2016, only a few years after I'd discovered ELP, I came across an article that publicized the death of Keith Emerson at age 71. Following this news, it was revealed that Emerson was deeply depressed after nerve damage in his wrists and hands hampered his playing ability, resulting in Emerson taking his own life. Thinking back, this was the first celebrity death that I remember feeling personally impacted by. The events surrounding Keith Emerson's tragic death contextualized for me how important the music I loved was to him. Emerson put his heart and soul into everything he made, and he wasn't satisfied with having that gift revoked. I sobbed that night while listening to the years of recordings Keith Emerson provided us to remember him by. Every time I hear this album, I can't help but be reminded of the passion and devotion that Emerson poured into every second. It transports me back to that wide-eyed wonder I had when first hearing this album, and the grievous mourning I had when learning of Keith Emerson's passing. There will never be another like him. Perhaps that's why Emerson, Lake, & Palmer is so special to me. Hearing his spirit flow through the music is what keeps him alive, and that's something I'll continue to do for as long as I live. Rest in peace, Keith.
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