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Thread: AAJ Rediscovery: Greg Lake & Keith Emerson, Their Best Work Togethsr

  1. #1

    AAJ Rediscovery: Greg Lake & Keith Emerson, Their Best Work Together




    My extended tribute to the late Greg Lake & Keith Emerson, Through Their Best Work, today at All About Jazz.

    Powered by Tetra Speakers, a look back at ELP's first six albums, from 1970's Emerson, Lake & Palmer through the live Welcome Back My Friends....

    Discusses and demystifies the various reissues since 2012, including remixes by Steven Wilson & Jakko M Jakszyk.


    While it should come as no surprise that musical heroes from across all genres are beginning to die off, some of the highest profile losses are, in particular, in the rock/pop world, where many of its biggest stars are now in their mid-to-late sixties...or older. Few would disagree that one of the years biggest losses happened just ten days into 2016, when David Bowie passed away at 69 just two days after the release of Black Star (Sony)--an album that presaged his pending (but, to the public, unknown) passing in a most artful fashion. Only one of the year's other major musical losses, Leonard Cohen--who passed away on November 7 at the age of 82--matched Bowie's death with a similar chain of events. Passing just 17 days after the release of his similarly career-defining You Want It Darker (Sony), like Blackstar it met, amongst other things, the subject of Cohen's also-pending (and, like Bowie, publicly unknown) passing, but with the singer/songwriter's characteristic combination of dark humor and emotional profundity.

    There were simply too many more losses this year, including soul/R&B megastar Prince, who passed away April 21 at the too-young age of just 57, and masterful archivist Leon Russell, lost to us on November 13 at age 74--a musician better known for his collaborations with bigger names including Joe Cocker (who passed on 2014 at age 70) and Elton John (thankfully, still with us)...but who remained a musician's musician until the very end.

    For fans of progressive rock it's also been a particularly rough year, most notably with the loss of two-thirds of one of the its earliest seminal, genre-defining (and defying) groups, Emerson, Lake & Palmer.

    The first blow came on March 11, when the trio's virtuosic keyboardist, Keith Emerson, died at his own hand. Ever a perfectionist who refused to give his fans anything less than his absolute best, a combination of alcohol-induced depression and nerve damage that, beginning in the early '90s and ultimately hampering his ability to play at his usual level of extreme virtuosity, rendered the keyboardist--who'd also survived what was described as a "dangerous polyp" in his lower intestine that was discovered and surgically removed in the fall of 2010--"depressed, nervous and anxious," according to his girlfriend...and, so sadly, worried that he would disappoint his fans at a series of upcoming performances.

    Now, just shy of nine months later and as the year draws to a close, ELP's singer/bassist/guitarist/producer Greg Lake has succumbed to cancer, age 69, on December 7. That ELP's most artistically creative and commercially successful years were between 1970 and 1974, with the release of its first four studio albums and two live sets, didn't seem to matter to fans old enough to have seen the group in its heyday, as well as to those who came to the group after that banner five-year run. Every member of the group continued to be well-loved by progressive fans, even if they rarely performed as a trio after the end of the '70s, barring a single 2010 performance at the High Voltage Festival that followed a series of occasional tours between 1992 and 1998 on the heels of Black Moon (Victory Music, 1992), the band's first studio album in 14 years, and In the Hot Seat (Victory, 1994).


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    Last edited by jkelman; 12-31-2016 at 11:34 AM.

  2. #2
    I revisited most of these albums recently when I bought the new BMG editions at a local store, with the exception of Tarkus. The bonus songs on the latter struck me as rather weak. But Pictures, and BBS are worth picking up for the extra disc. And the tape hiss was removed from the bonus tracks on Trilogy. There's some great stuff added to the s/t album, I just wish there was more of it. These albums never get old for me. Great music that was recorded and produced superbly by Offord and Lake.

  3. #3
    I liked the alternate of Mass on Tarkus, Reid...but agree that the bonus material on ELP, Trilogy, PaaE & BSS are much better..but hey, it's whatever could be found I suppose; and even hearing Emerson try his hand at singing is, at the very least, a historical curiosity....

    Happy New Year to you, yours and the rest of the clan at PE!!!

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    Member lak611's Avatar
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    Quote Originally Posted by jkelman View Post
    I liked the alternate of Mass on Tarkus, Reid...but agree that the bonus material on ELP, Trilogy, PaaE & BSS are much better..but hey, it's whatever could be found I suppose; and even hearing Emerson try his hand at singing is, at the very least, a historical curiosity....

    Happy New Year to you, yours and the rest of the clan at PE!!!
    "Unknown Ballad" was not ELP. In another thread which I don't recall, it was another band Lake produced around the same time.

    Emerson did indeed sing on several songs by The Nice.

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  5. #5
    I can't check every thread...but they shouldn't mislead in the liners then...!!

    I don't recall Emo singing with the Nice...I have deluxe of Ars Longa Vita Brevis, Five Bridges, Elegy and Live at the Fillmore...he doesn't sing lead on any of those, does he?

    Anyway, while I appreciate the correction, I'm going to leave as-is. Don't feel like having to write about how it's credited as one thing but is actually another...and not knowing exactly what that is (personnel, recording session, etc), as unless I've all the facts it'll look even lamer than what pretty much passes by in a nanosecond on in the actual article.

    But thanks...truly... 👌😎

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    Quote Originally Posted by jkelman View Post
    I can't check every thread...but they shouldn't mislead in the liners then...!!

    I don't recall Emo singing with the Nice...I have deluxe of Ars Longa Vita Brevis, Five Bridges, Elegy and Live at the Fillmore...he doesn't sing lead on any of those, does he?

    Anyway, while I appreciate the correction, I'm going to leave as-is. Don't feel like having to write about how it's credited as one thing but is actually another...and not knowing exactly what that is (personnel, recording session, etc), as unless I've all the facts it'll look even lamer than what pretty much passes by in a nanosecond on in the actual article.

    But thanks...truly... 👌😎
    There are other mistakes on the ELP reissues liner notes. Emerson is credited for "Lucky Man" on the Anthology, with no credit at all to Lake, who was the sole writer. That's the most blatant mistake, but there are others. "Pirates" is titled "The Pirates". Emerson also gets credited on other songs he didn't write, and Lake's credits are omitted.

    Emerson sang lead on "Happy Freuds", and shared vocals on "Daddy Where Did I Come From".

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    Lots of comment on various forums about the Unknown Ballad which is not ELP. Various suggestions , possibly Spontaneous Combustion who Lake produced I think. Emerson sings I'm a Man on Nighthawks also.

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    Quote Originally Posted by gallen1964 View Post
    Lots of comment on various forums about the Unknown Ballad which is not ELP. Various suggestions , possibly Spontaneous Combustion who Lake produced I think. Emerson sings I'm a Man on Nighthawks also.
    That's the band whose name I couldn't recall from the other thread.

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    Very nice review, John. I have the Victory remaster of BSS and think it sounds horrible. It sounds like I should get one of the 2012 versions either the deluxe or the super deluxe. Are these improvements? Which would you recommend?

  10. #10
    Quote Originally Posted by lak611 View Post
    There are other mistakes on the ELP reissues liner notes. Emerson is credited for "Lucky Man" on the Anthology, with no credit at all to Lake, who was the sole writer. That's the most blatant mistake, but there are others. "Pirates" is titled "The Pirates". Emerson also gets credited on other songs he didn't write, and Lake's credits are omitted.
    Yup, i know...though I've not owned or looked at any anthologies; for me, it's 1970-74, plus a few tracks on, believe it or not, Black Moon. Beyond that, nothing they did had any significant appeal, sad though it is to say...

    Quote Originally Posted by lak611 View Post
    Emerson sang lead on "Happy Freuds", and shared vocals on "Daddy Where Did I Come From"
    That I did not know. Time to pull out my Nice albums!
    Cheers!
    John
    John Kelman
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  11. #11
    Quote Originally Posted by gallen1964 View Post
    Lots of comment on various forums about the Unknown Ballad which is not ELP. Various suggestions , possibly Spontaneous Combustion who Lake produced I think. Emerson sings I'm a Man on Nighthawks also.
    Well, without a firm, provable credit it's not something I'm going to worry about...
    John Kelman
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  12. #12
    Quote Originally Posted by Guitarplyrjvb View Post
    Very nice review, John. I have the Victory remaster of BSS and think it sounds horrible. It sounds like I should get one of the 2012 versions either the deluxe or the super deluxe. Are these improvements? Which would you recommend?
    Well, the Super Deluxe, as I wrote, includes the three discs in the Deluxe - the original album mix remastered on CD; the "Alternate BSS," which is alternate takes plus b-sides like the song "Brain Salad Surgery"; and a DVD with Jakko Jakszyk's new surround and stereo mixes, as well as the original mix remaster, all in high res (24/48).

    The Super Deluxe includes a vinyl edition of the original mix remastered; a CD with Jakszyk's new stereo mix (the only way to get it on CD, if you don't know how to extract the audio from the high res disk); and a DVD with The Manticore Special tv broadcast from 1973. Also, thanks to the vinyl, the booklet is a full 12"x12". Don't know if it has any extra material (doubt it), but nice to also have full size cover (though it doesn't emulate the original cover, sadly).

    If you aren't interested in high res or surround but still want Jakko's stereo mix, the only way to go is the Deluxe Edition and rip his stereo mix from the DVD, or the Super Deluxe, to get it on CD.

    The new 2016 reissues all include Wilson & Jakszyk's stereo mixes on CD2 (with original mix remastered in CD1) except for BSS, where the second disc is the "alternate album" described above. Too bad they didn't make it a 3CD set so they could include at least Jakko's new stereo mix, which I really like.

    The new vinyl (with written introduction from Lake) and high res downloads are both of the original mix remasters (same with PaaE and WBMFttSTNE), with the high res at 24/96 (as all original mix remasters were done at that rate, and then Dow sampled for CD and vinyl).

    Hope this helps. I bought the Super Deluxe when it came out, even though I don't have a regular turntable...just a USB one for listening to vinyl review copies sent to me they are not available any other way...but I don't regret it. It's s pretty sexy looking box.

    Oh...and thanks for the kind words about the article...though I like to think of it as more than a review, and more a tribute...still, I appreciate, as ever, the generous comment.
    John Kelman
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    Quote Originally Posted by jkelman View Post
    Well, the Super Deluxe, as I wrote, includes the three discs in the Deluxe - the original album mix remastered on CD; the "Alternate BSS," which is alternate takes plus b-sides like the song "Brain Salad Surgery"; and a DVD with Jakko Jakszyk's new surround and stereo mixes, as well as the original mix remaster, all in high res (24/48).

    The Super Deluxe includes a vinyl edition of the original mix remastered; a CD with Jakszyk's new stereo mix (the only way to get it on CD, if you don't know how to extract the audio from the high res disk); and a DVD with The Manticore Special tv broadcast from 1973. Also, thanks to the vinyl, the booklet is a full 12"x12". Don't know if it has any extra material (doubt it), but nice to also have full size cover (though it doesn't emulate the original cover, sadly).

    If you aren't interested in high res or surround but still want Jakko's stereo mix, the only way to go is the Deluxe Edition and rip his stereo mix from the DVD, or the Super Deluxe, to get it on CD.

    The new 2016 reissues all include Wilson & Jakszyk's stereo mixes on CD2 (with original mix remastered in CD1) except for BSS, where the second disc is the "alternate album" described above. Too bad they didn't make it a 3CD set so they could include at least Jakko's new stereo mix, which I really like.

    The new vinyl (with written introduction from Lake) and high res downloads are both of the original mix remasters (same with PaaE and WBMFttSTNE), with the high res at 24/96 (as all original mix remasters were done at that rate, and then Dow sampled for CD and vinyl).

    Hope this helps. I bought the Super Deluxe when it came out, even though I don't have a regular turntable...just a USB one for listening to vinyl review copies sent to me they are not available any other way...but I don't regret it. It's s pretty sexy looking box.

    Oh...and thanks for the kind words about the article...though I like to think of it as more than a review, and more a tribute...still, I appreciate, as ever, the generous comment.
    I have ELP and Tarkus on the reissued vinyl. Pictures and WBMFTTSTNE vinyl reissues due to arrive next week.

    BTW, nice review. I shared the link to your review on Twitter. 😊

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  14. #14
    Quote Originally Posted by lak611 View Post
    BTW, nice review. I shared the link to your review on Twitter. 😊
    Thanks, Laura...much appreciated. As I've said, every bit of sharing helps...in fact, the review has done spectacularly well, when you consider it's New Year's Eve...over 4,000 reads and still climbing.

    So thanks to everyone who has shared it...or just read it. Truly, every bit helps build the readership, and I appreciate it.
    Cheers!
    John
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    The Enemy God
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    Yes great work John, I ve shared on FB.

  16. #16
    Quote Originally Posted by gallen1964 View Post
    Yes great work John, I ve shared on FB.
    Many thanks!!
    John Kelman
    Senior Contributor, All About Jazz since 2004
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  17. #17
    This is such a generous revisit, John - & so poignant, at the end of such a bleak year. Thank you for taking the time to reflect at such length on the work of ELP.

    I would diverge from your reflections in a couple of ways: I think you slightly undersell The Nice, & the playing of Davison & Jackson - they may not have been virtuosi, but when the trio played live, they thrillingly transcended the sum of their parts. The live recording of She Belongs to Me on Nice gives a taste of what they could achieve.

    I also think that you undersell Pictures - I find myself listening again to this album often, astonished by the raw excitement of the record (the *live* sound is brilliant, exhilarating) - the extraordinary achievement of Emerson bringing Hammond & Moog together in a live setting, new horizons of musical & sonic possibilities simultaneously opening for the first time & astonishingly being explored as if by a seasoned expert. Pictures is the ELP record that is, for me, most viscerally exciting.

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    Quote Originally Posted by per anporth View Post
    This is such a generous revisit, John - & so poignant, at the end of such a bleak year. Thank you for taking the time to reflect at such length on the work of ELP.

    I would diverge from your reflections in a couple of ways: I think you slightly undersell The Nice, & the playing of Davison & Jackson - they may not have been virtuosi, but when the trio played live, they thrillingly transcended the sum of their parts. The live recording of She Belongs to Me on Nice gives a taste of what they could achieve.



    I also think that you undersell Pictures - I find myself listening again to this album often, astonished by the raw excitement of the record (the *live* sound is brilliant, exhilarating) - the extraordinary achievement of Emerson bringing Hammond & Moog together in a live setting, new horizons of musical & sonic possibilities simultaneously opening for the first time & astonishingly being explored as if by a seasoned expert. Pictures is the ELP record that is, for me, most viscerally exciting.
    Funny I was playing this last night and it was also my first album aged 14. I wondered if the blistering unison runs between drums, Hammond and bass had ever been done in quite that way before? It really must have been astonishing to watch in 1971. Thinking of that enraptured Lyceum audience in the video. Almost like 3 athletes competing but in unison too. Mind blowing. Also agree that the sound of the instruments on this album is so visceral.

  19. #19
    Quote Originally Posted by per anporth View Post
    This is such a generous revisit, John - & so poignant, at the end of such a bleak year. Thank you for taking the time to reflect at such length on the work of ELP.

    I would diverge from your reflections in a couple of ways: I think you slightly undersell The Nice, & the playing of Davison & Jackson - they may not have been virtuosi, but when the trio played live, they thrillingly transcended the sum of their parts. The live recording of She Belongs to Me on Nice gives a taste of what they could achieve.

    I also think that you undersell Pictures - I find myself listening again to this album often, astonished by the raw excitement of the record (the *live* sound is brilliant, exhilarating) - the extraordinary achievement of Emerson bringing Hammond & Moog together in a live setting, new horizons of musical & sonic possibilities simultaneously opening for the first time & astonishingly being explored as if by a seasoned expert. Pictures is the ELP record that is, for me, most viscerally exciting.
    I've had a similar discussion on another forum. Here's what I wrote, to save time 邏

    Well, there you go...different opinions, neither right nor wrong. Don't get me wrong...I don't dislike Pictures...I just think, having been around at the time (saw their first North American tour), that by the time it came out it seemed that they had surpassed it in terms of their own writing and arranging...and playing.

    ...that said, there's no denying that they were, in their early days, out there with something to prove ... younger, hungrier and less ego-filled than by the time the tour that resulted in WBMF was launched. That said, the were at a creative peak...imo, their biggest creative peak..with BSS and the tour that supported it. Yeah, the egos were beginning to approach the size of some of the halls they played (!) but the sheer breadth and depth of BSS was and remains mindboggling to me, and while Pictures is, indeed, better recorded (though the new remaster of WBMF helps), the material and performances on WBMF, for me, trump Pictures...as good as it undeniably is.
    But thanks, as ever, for the kind words; that you only found two things with which to disagree is pretty darn good.

    I've since revisited the Nice and while I'd consider revising my opinion of Davison, I just don't like Jackson...aside from his voice, his bass tone is , at least IMO, awful...no body, and not the sharper, more cutting top end defined Chris Squire and that Lake sometimes used.

    But, as ever, viva la differences...and, again, thanks!
    Last edited by jkelman; 01-01-2017 at 12:35 PM.
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    Looking forward to checking this out John - cheers sir.

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    It's worth pointing out the context with Pictures. I gather that the plan was actually to lump it together with Tarkus as a double album. That did not happen, obviously. It did indeed stand outside of their logical progression, not least because it was played in their Hyde Park show, but that was always known to the band- it was even put out as a budget-priced release on Island's 'HELP' subsidiary. So any comparison with Welcome Back... is really pointless, Pictures is meant as a stand-alone thing rather than a summary.

    By the time the Newcastle Pictures... was recorded, the playing was tighter and Emerson was beginning to master the Moog synthesiser...he's a little more tentative with it on the videotaped Lyceum show. There are various other issues with that show that are not present on the Newcastle performance. The sound quality and level of playing we hear on the album are such that it's a genuine shame that nothing else from it has ever emerged.

    In fact, I find it frustrating that for all the seemingly endless reissues that have appeared, few have added anything substantial to the legacy so I've stuck with the first versions I bought (the Sanctuary ones). I don't think the question of whether the rest of that Newcastle show exists or not has ever been addressed by any label. I also think some version of the Pictures... encore from the 1974 shows which was excluded from the Welcome Back... triple should have been on a CD of the album- there are good amateur recordings of it, if all else fails (they included those as bonuses on Works Volume 1, so there's a precedent). But yet again, it was not.
    Last edited by JJ88; 01-01-2017 at 12:49 PM.

  22. #22
    I'm not sure I'm even trying to disagree, John - more offer a slightly different perspective.

    Whilst ELP were my entry point into grown-up music as a kid - & first bands always remain the first, like girl/boyfriends (!) - over time, it's The Nice who have come to occupy a special place in my musical heart. And, whilst I agree that, in fact, Davison was really a pretty good drummer, Jackson's main virtues were all about how he held the groove with Davison, creating the space to allow Emerson to take flight & soar - but, also, in helping to build that powerful big sound which they had live.

    Thanks again for such a generous piece, which helped me to come to terms with the year in which we lost these two pillars of the music we love.

  23. #23
    Great review/tribute to ELP's first six (and best) albums. And yes indeed, it was tough to lose both Emerson & Lake within months of each other.

  24. #24
    Quote Originally Posted by JJ88 View Post
    It's worth pointing out the context with Pictures. I gather that the plan was actually to lump it together with Tarkus as a double album. That did not happen, obviously. It did indeed stand outside of their logical progression, not least because it was played in their Hyde Park show, but that was always known to the band- it was even put out as a budget-priced release on Island's 'HELP' subsidiary. So any comparison with Welcome Back... is really pointless, Pictures is meant as a stand-alone thing rather than a summary.
    Great point! And, while I didn't say it, as I think of it perhaps the reason why I prefer Welcome Back. Pictures captures a moment in time; Welcome Back does too, but it is also something that's looking more retrospectively at the band's creative peaks from the previous few years. In fact, the only thing that might have made Welcome Back perfect would have been to have included, at least, the shorter Pictures Medley they began to play once they had more repertoire. I'd also love to see something more substantive from Trilogy, though I know it was not easy for them to perform much of it live. Still, Endless Enigma or Trilogy, added to a Pictures Medley would have made Welcome Back the perfect retrospective.
    John Kelman
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  25. #25
    Quote Originally Posted by per anporth View Post
    I'm not sure I'm even trying to disagree, John - more offer a slightly different perspective.
    Of course, Per! I never take anything you say - whether or not we agree - as anything more than that....your perspective, which can be slightly different...or even much more. It's all good.

    Quote Originally Posted by per anporth View Post
    Whilst ELP were my entry point into grown-up music as a kid - & first bands always remain the first, like girl/boyfriends (!) - over time, it's The Nice who have come to occupy a special place in my musical heart. And, whilst I agree that, in fact, Davison was really a pretty good drummer, Jackson's main virtues were all about how he held the groove with Davison, creating the space to allow Emerson to take flight & soar - but, also, in helping to build that powerful big sound which they had live.
    Don't get me wrong: while I do think Jackson's voice was flat-out awful, he was not a terrible bassist. I absolutely did not like his tone, but that's a personal thing. He was no virtuoso and would never have handled some of the music that ELP demanded in terms of instrumental mastery; but he was, as you say (but in a different way) an anchor...and a damn good one at that. I just felt (as Emo must have) that a bassist who could hold down a groove AND handle more complex work was what he began to need in a big way.

    It might have been interesting to see how it might have been as Emerson, Lake & Davison. While nowhere near the virtuoso that Palmer was, Davison's time was a whole lot better. And I think he could have handled the more complex writing...just in a different way.

    Quote Originally Posted by per anporth View Post
    Thanks again for such a generous piece, which helped me to come to terms with the year in which we lost these two pillars of the music we love.
    Well, I'm sure glad to hear you say that. I've gotten a surprising number of reactions about the emotive nature of the piece...and after my review of Jarrett's A Multitude of Angels, which was uncharacteristically personal, I'm starting to wonder if my writing is beginning to go through a change...

    ...who knows? I guess I'll have to wait and see
    John Kelman
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