ELP Digest Monday, 12 Apr 1993 Volume 3 : Issue 7 The "Primitive" Edition Today's Topics: Articles related to live radio show: Live Simulcast ELP Tape catastrophe! Various live musings Help! Need 3/17 radio show Warfield elp review (San Francisco tour report) Hello to all/Video info <== (bad video info here!!!) Keith Emerson Video Search - HELP!!! Tour book/GIFs from "3" Tour? Lyrics... (request for Jerusalem) ELP Lyrics Wanted (This one's for "Tiger in a Spotlight" and "Trilogy" ELP and Spinal Tap Hit Parader article - 1977 [ Editor's note: Sorry about the long delay between issues. I've been really busy at work and then, last week, our whole site lost power for 2 days and it took a while for us to get the systems and networks back up to the point where I could fill our mail gateway with non-work-related mail. I think we're back on track now. Since I've got a decent stack of ELP mail in the queue, I'll send 2 or 3 smaller digests out today and/or tomorrow. (Last issue was so big that it bounced at many sites until I broke it up into smaller pieces so I'm going to start sending smaller pieces to begin with. To summarize a few threads in this Digest: 1. A number of folks seem to have recorded the LA concert that was broadcast on the radio. I was able to get an OK recording but the signal wasn't perfect. Many others were unable to find it on a station in their neighborhood. If there are any volunteers for making the tape available to those who didn't receive it, please let me know and I'll try to coordinate who'd doing what (and reduce redundancy of effort.) Thanks! 2. Apparently some rumors of an early batch of bad tapes of the "Welcome Back" video has been confirmed. (I know the sound on my copy does NOT appear to be Hi-Fi! There's info in this Digest about who to call in order to get a better copy. 3. Cross-posted from Prodigy's ELP board (thanks to Rob Adams), a request from someone claiming to know Keith Emerson about a copy of the "Salt Cay" video for Keith. I'll assume this is a legitimate request and would be interested in knowing if anyone has a copy. (I'd like to see it myself.) Many more articles of interest. Read On! - John - ] Digest, mailing address, and administrative stuff to: J.Arnold@bull.com\ = for now, these are the same ELP-related info that you / want to put in the digest to: J.Arnold@bull.com Note: The opinions, information, etc. contained in this digest are those of the original message sender listed in each message below. They are not necessarily those of the mailing list/digest administrator or those of any institution through whose computers/networks this mail flows. Unless otherwise noted, the individual authors of each entry in the Digest are the copyright holders of that entry. Please respect that copyright and act accordingly. I especially ask that you not redistribute the ELP Digest in whole or in part without acknowledging the original source of the digest and each author. Thanks! ------------------------------------------------------------ Date: Thu, 18 Mar 93 14:01:22 CST From: doug@tellabs.com To: j.arnold@bull.com Subject: Live Simulcast First, hats off to J. Arnold for the quick digest. I called several stations here in Chicagoland and couldn't find one that knew anything about it. So I figured that none of the Chicago stations were broadcasting it. At 9:30 I started scanning the dial until I found the broadcast on 103.9. I never have listened to this station before and the reception wasn't the greatest. I recorded everthing after Tarkus. If someone out there who recorded the show, and got great results, would like to set up dubbing for the people on the digest who didn't get it, or like me, had poor reception, it would be great. I'll take the names of all who would like copies and make a list (send to doug@tellabs.com). Then if the list is too large we could split the dubbing duties off onto more than one individual. The Kansas mailing list I belong to just did a similar thing where all who wanted dubs requested to be put on a list. The list was then divided between two people. The people on the two lists were then informed to send 2 blank cassettes and $2.00 to cover return postage to the dubber. Seemed to work. What do you guys think? Suggestions for a better way to handle this, anyone? Volunteers for dubbing? If you would be intersted in copies, email me. Later, ( ) __ ( ) ( ) ) ) ) (( (( / / )) (( )) (( (( ( (( )) ____/ / _____ __ __ _____)) ) (( )) ( (/ ___ / /___ / / / / / /___ /( (( )) (( ) ) )/ /__// //__// / /_/ / //__//)) ))( (_) )(( Doug David (( /_____/ /____/ /_____/ /___ /(( (( ) (_)) doug@tellabs.com ))__________________________// )) ))( ( ( /__________________________/ ( ( ( ) ------------------------------ Date: Fri, 19 Mar 93 15:48:59 EST From: JenniferSavage-Haines%4%MC@athena.manchester.edu Subject: ELP Tape catastrophe! To: J.Arnold@bull.com Help! Did anyone get a recording of the concert from the radio this week who would be willing to dub me a copy?? My stereo got hungry and ate my tape, and I spent most of the show trying to get the little pieces out of the cassette deck. Please help!! Thank you!!! JenniferSavage-Haines%4%mc@Manchester.edu ------------------------------ Date: 22 Mar 1993 11:28:57 -0500 (EST) From: FISHBOY Subject: Various live musings Hey everyone. I was listening to the concert they broadcast on the radio the other night (thanks for the info, John!) and I thought I'd comment on a few things. I'll start at the end, the organ murder. These were the most amazing sounds I ever heard him get out of his beloved Hammond. Congrats, Keith! :) Also, he played bits and pieces of various songs during this section, in addition to the Bach. These included "Flight of the Bumble Bee" and the theme from the Mickey Mouse Club! ("M-I-C, K-E-Y...") I would guess he's been doing this since the tour started in January (Incidentally, is this still the "Black Moon Tour"? Just wondering.) Before Pictures, Keith was playing with the audience, saying "What are we gonna give ya?!" After a few times someone yelled "Pictures at an Exhibition!!!" and then Keith said "You got it," or something to that effect. Was this an audience member? I tend to think so. Cool. "Black Moon" was really slow and plodding. BOOM BOOM BAP city. At the end of "Pirates," when Greg sings "to dream," instead of falling off the last note like on Works 1, (which sounds really cool but seems hard to do well, BTW) he sings the same note for "dream" as he does for "to" and he sounds really happy. It's hard to explain, but I love it! Incidentally, I think they changed the arrangement a bit, which was interesting. I know they added about 20 seconds of finale after "to dream." Well, that's the only interesting stuff I can think of at the moment. Later! Andy "Thank you very much indeed!" (Has anyone else noticed ELP's habit of saying this after practically every song? Usually Greg, but sometimes Keith, and they sometimes insert the title of the song they just finished, so you get Thank you very much indeed, Black Moon," or "Thank you very much indeed, Close to Home." Is this a British thing or just an ELP thing? :) ) ------------------------------ From: SSM7051@ACFcluster.NYU.EDU Subject: Help! Need 3/17 radio show To: arnold@cyclades.ma30.bull.com I was out of town and unable to record last week's radio broadcast from L.A. If there's anyone who has it and is willing to trade, I have lots of stuff to trade for. Seth ------------------------------ Date: Mon, 22 Mar 93 10:52:10 pst From: Jim Smith Message-Id: <9303221852.AA22179@hpsadlu.sr.hp.com> To: J.Arnold@bull.com Subject: Warfield elp review My wife and i saw ELP on March 14 at the Warfield Theater in San Francisco. This is a relatively small venue, and we were able to sit just a few feet in front of Keith Emerson, which was quite a treat. There was no opening act, and the show was really very good. Lake looked a bit tired, but I think Emerson and Palmer have actually gotten a bit sharper since I last saw them at Concord last fall. The playlist was the same as other recently-described shows. After the show, several people waited around the stage door, and after about 45 minutes, Emerson and Palmer came out, went into their bus, and signed autographs through a window, as recently described. A few thoughts about the performance: - Emerson seems to have honed a few new tricks recently, notably the very fast reiterations on the Hammond, and the cute, almost comical sounds he made with the organ during Rondo. I've heard it make cute sounds in past shows, but this time they were almost cartoon-like. - Pirates continues to evolve in a positive way. - Hoedown was short, but with a very unusual, almost stumbling gait in the melody. I found it quite refreshing. - Watching an older and obviously tired Greg Lake sing "Still... You Turn Me On" brought a whole new depth of meaning to that song for me. All in all, another great show. By the way, I searched for but did not find a local (Santa Rosa, CA) station simulcasting the L.A. show. Oh well... Regards, - Jim Smith smithj@sr.hp.com ------------------------------ Date: 21 Mar 93 15:05:32 EST From: Robert Adams <73277.56@CompuServe.COM> Subject: Hello to all/Video info First off - I'd like to post a brief hello and thank you to Damien DeSimeone for introducing me to this list back in September, and to John for providing the welcome. Up til now, I was solely a subscriber to the Genesis Mailing List (good to see Scott and Anil's 'tudes and trade request habits don't vary much between mailing lists *seg* Hi guys) but never got around to mailing the subscription request for the ELP list...I'm sorry I waited so long! As I have been a follower of ELP since 1974 (three years longer than Genesis), I'd just like to say "Hi, and I'm DAMN glad to be here!" Secondly - I thought I'd drop word over here that the new ELP video had some problems with the sound during the dubbing process. As reported on the Prodigy ELP board discussions, Strand Video, the distributor of Welcome Back, is supposedly correcting this problem, and if contacted, said they will exchange the defective tape for a new one. I'll just repost this as an FYI to everyone who is dissatisfied with the sound quality of their video: (Reposted with written permission from the Prodigy Network Music Board Managers) TO: W ARNOLD SMITH (TTXT07A) FROM: RIK PEPE (DNKD96A) SUBJECT: ELP-VIDEO You are not the only one w/ problems-call Strand Video at 310 396 7011 and ask for Nicia (neesha) Ramirez she will instruct on how to get a good tape. Rik Personally, I'm waiting on word from other consumers to see if Strand makes good on their promise before I pick up my videotape. Finally, in regards to the inquiry of televised appearances by ELP, I'll have to check on this offline, but I have a few collector's lists that might provide some 70's TV appearances not listed thus far. I recall a Wolfman Jack's Midnight Special profile back in the mid-70's: no live appearance, as it was televised during the pre-Works hiatus, but did include video footage from the Tarkus and Brain Salad Surgery tours, and concluded with the video for "I Believe in Father Christmas". I also recall a Night Flight segment on ELP from around 1979 which concluded with a performance shot on the Works I tour (with full orchestra) of Fanfare for the Common Man. It also included footage of Tiger in a Spotlight live. Rob Adams Prodigy PBCV02A Compuserve 73277,56 ------------------------------ Date: 21 Mar 93 15:06:13 EST From: Robert Adams <73277.56@CompuServe.COM> Subject: Keith Emerson Video Search - HELP!!! From: RIK PEPE (PRODIGY ID DNKD96A) Subject: Emerson "Honky" Video Sent on: 03/20 at 12:04 AM Having spoke with Keith Emerson several times over the past week, one of our topics of discussion was this: A certain music video was performed by Keith on RAI-UNO. The song "SALT CAY" was on the "VARIETY" TV show at the end of each(?) show in 1980. The film was shot in Nassau, Bahamas, and features Keith playing keyboards on his shoulder while at the beach. Damon Emerson (Keith's son) is also featured. The problem is that Keith has lost his copy - he has asked for my assistance in attempting to locate a copy of this, as it has enormous sentimental value which he places upon it due to Damon's appearance in this music clip. As Keith is presently on tour, I offered to pursue this for him. After many phone calls to RAI in N.Y. I now come to your "doorstep", through the assistance of Robert Adams (who, unlike myself, has Internet and Compuserve access) to ask your assistance in ending my quest. Do any of the Internet participants have a line on this video? How long would it take to obtain a video tape of the musical clip? All expenses would be borne by us. I thank you for your time and efforts. Sincerely, RICHARD K. PEPE ,C.R.N.A. 210 BRADLEY AVE. MERIDAN, CT 203-237-1119 (Note from Rob Adams - RAI-UNO is an Italian television show, according to Dr.Pepe) ------------------------------ Date: Thu, 18 Mar 1993 12:59:01 -0500 From: mcmahan@cs.unca.edu (Scott McMahan -- Genesis mailing list owner) To: arnold@cyclades.ma30.bull.com Subject: ELP Digest V3 #6 Does anyone know of pictures or tour booklets or GIFs from the '3' tour? I'd like to see it... Scott -- Soon, oh, soon the light... (Jon Anderson) ------------------------------ Date: Fri, 26 Mar 1993 11:49:57 -0600 (CST) From: EAD9791@SUMMA.TAMU.EDU Subject: Lyrics... Dear John, Could you, please, send me the lyrics of "Jerusalem" ? Thanks in advance. Eduardo Carvalho [ Editor's note: Jerusalem is a relatively famous poem by William Blake (and later turned into a hymn). You may find it in a bookstore that carries English language poetry. If I can remember to dig it out, I'll post it if noone else does. - John - ] ------------------------------ Date: Tue, 23 Mar 1993 12:19:38 -0500 From: Jim Demes To: j.arnold@bull.com Subject: ELP Lyrics Wanted I'm looking for lyrics to "Tiger in a Spotlight" and "Trilogy", which are not at ftp.uwp.edu or ftp.nevada.edu. Ifanyone on the list has these, could you please send them to me via personal email, as I am not subscribed to this list. I will send all lyrics sent to me to ftp.uwp.edu. Thanks in advance! -- UU UU Jim Demes (demes@chopin.udel.edu or demes@freezer.cns.udel.edu) UU UU 15 Anglin Drive /-------------------------------------------| UU DDDDDDD Newark, DE 19713 / "If there's nothing wrong with me, maybe | UUUUUUUU DD (302) 366-0563 / there's something wrong with the universe!" | DD DD Alpha Phi Omega / - Beverly Crusher, ST:TNG "Remember Me" | DDDDDDD Zeta Sigma /-----------------------------------------------| ------------------------------ Date: 29 Mar 1993 21:38:12 -0500 (EST) From: FISHBOY Subject: ELP and Spinal Tap To: j.arnold@bull.com Hey. This past weekend I had the pleasure of viewing "This is Spinal Tap" for the first time. My friend also showed me the reunion special they did on TV this past new year's eve. Anyway, in this special (most of it is concert footage) I noticed a Persian-looking rug under one of the band members. Anyone know if this is a jab at ELP? Not many rock bands have carpets on stage with them. Also, it was filmed at the Royal Albert Hall. Just curious. Andy "I wish I had a dime for every person in the ELP Welcome Back video who says 'I've waited 15 years for this' " Acunzo ------------------------------ Date: 21 Mar 93 15:06:05 EST From: Robert Adams <73277.56@CompuServe.COM> Subject: Hit Parader article - 1977 >From Hit Parader Magazine ELP - WORKS ON THE ROAD by Richard Robertson In a long and varied career, ELP have gained well-deserved recognition for their manipulation of rock-n-roll into classical structures. In 1975, the group again re-defined the parameters which surrounded their music with plans for a recorded & live performance that they classified as WORKS. After 2.5 years of writing and recording, Works, Volume I has been released by Atlantic Records, featuring individual composition and performances by Emerson, Lake and Palmer, as well as combined performances. It also achieves a synth- esis between rock electronics, electric music, and classic- al instrumentation. It is this synthesis which ELP are now attempting to produce not only on record, but with their current concert tour of the U.S. To understand why ELP headed out across the country with 8 tractor-trailers filled with equipment, 115 employees and musicians, and a million dollar stage/sound/lighting set- ting,it's necessary to examine the basic concept of WORKS. Behind locked studio doors in Montreaux, Switzerland, the band underwent a major transformation in their evolution. Rather than attempt t3 separate solo LP's, they chose to produce a double LP with 3 sides focusing on the individual musical directions of each member of the band, and the fourth side uniting the total band. They also used classic- al elements as an integral part of the whole LP. This inc- luded the London Philharmonic Orchestra, the Orchestra L'Opera de Paris, and the compositions of Prokofieff, Bach, and Aaron Copland. Once the LP was completed, ELP sought a way to translate the musical elements that had been captured in the studio into a live performance. Their first step was to redefine the nature of their live performances. Because the Works LP features orchestra and choir as an integral, essential part of the music, they envisioned a live show that would be both classic ELP rock concert and classical symphony. This resulted in an on-tour entourage which included 59 addition al musicians, six additional vocalists, 19 technicians, and about 20 assistants, roadies, and production managers. The actual live performance of WORKS led ELP to create a theatrical atmosphere that is more associated with theater and ballet than rock and the result is a live concert that includes technical advances which have never been applied in any concert situation. STAGING: The key concept in the staging of the ELP show is a clean, totally visible stage area. The design is such that only the musicians and their instruments are visible on stage with the various "sets". Otherwise, the stage is completely "clean" as there are no PA speakers, monitor speakers, amplifiers, or lighting apparatus in view. In fact, the stage design has been done in such detail that even guitar patch cords and other incidental cables are hidden from view. To accomplish this stage effect, ELP has a custom designed stage constructed by the Boston firm, TFA/Electrasound. The 60-ft wide, 46-ft deep stage consists of six separate sect- ions:the front/center section for ELP (36' x 26') is raked- the front half is 6.5' high and is where Keith and Greg are positioned; the rear half is 8.5' high and has Carl's drum platform positioned on it. Orchestra and choir are located on five modular risers on three sides of ELP. Strings are stage left front (10' high) and stage left reay (14 1/4' high);woodwinds are stage right front (10' high); brass are stage right rear (14 1/4' high); and percussion, basses, choir and additioanl guitar and bass are center rear (12.5' high). Interesting details of the stage include a hydraulic lift platform that rises 14' above ground for conductor Godfrey Salmon. Velour backdrops and black carpeting cover the entire stage. Arrangements so that Keith's grand piano is located center stage only when in use. A number of stage effects are also built-in, including a major device of 250 strands of 1/4" flexible tubing which forms a wall in a semi-circle behind Carl. These are flown in and out for various sections of the show and enhanced by special light- ing. Suspended above the stage are 13 "pods" which essentially form an environment for the band by putting a "roof" over the production. The pod array covers an area approximantely 80' x 80' and extends partially over the audience. This pod arrangement conceals the 35k tons of lighting grids and sound and light cables. The result is about four tons of equipment hanging from the stage ceiling. SOUND: The sound system used for the ELP WORKS tour was de- signed by Audio Analysts of Montreal. One of their recent contracts was the sound for the Montreal Winter Olympics last year. It took over 3 months for the firm to put the ELP system together, and there are 7 people on the road for sound only. The system is estimated to be worth over one million dollars. The main PA system consists of 40 custom-built cabinets weighing 450 lbs. each. 72k watts of power are used to drive the system. The basic concept of the sound system is not to achieve unnecessary volume levels, but to get the cleanest, most undistorted sound possible. The goal is a "living room" sound for everyone in the audience. To control this mammoth sound system, the majority of the classical instruments are amplified by contact mikes attached directly to the body of the instruments. Three mixing boards are employed, one for orchestral, one for ELP and one which mixes the total into a "house mix" as the audience hears it. The stage monitor speakers are sunk under the stage and otherwise concealed as much as possible. An example of mon- itor placement: Keith and Greg are actually standing on grids rather than solid flooring, and the monitor sound is projected up at them from under the stage. LIGHTING: Designed by Nicholas Cernovitch and Bob Mitchell, the lighting system is another major breakthrough for rock concert presentations. The main thrust of the lighting is theatrical. A computer-operated lighting board is used to achieve an array of dramatic, elegant effects that use 311 separate spotlights and 60 different dimmer controls. The result is a stage that is absolutely under the control of the production team ELP have assembled to run the show. Lights, sound, sets, and total stage area have been integrated into an effect that enhances the music on a visual level and is absolutely in control and keeping with the musical impact of WORKS. APPENDICES: I. KEITH EMERSON WORKS SETUP: Keith is using one of three Yamaha GX-1 synthesizers on the North American continent. Nicholas Rose, ELP's electronics engineer, has designed a computer tuning system for the Yamaha so that tuning is accomplished at the push of a button; Keith is also using a Hammon C-3 and Hammond L-100 organ, a custom Moog console, a MiniMoog, a nine-foot Steinway Grand Piano, and an accordian. Except for one Leslie speaker located off stage, all of Keith's instruments go directly into the mixing con- sole and his personal equipment manager works at a mixing console located under the stage to sub-mix certain of Keith's musical effects before they are fed into the main console. II. GREG LAKE WORKS SETUP: Greg is using Alembic bass guitars, including an 8-string bass with lighted fret ind- icators; a Travis Bean electric guitar; Zematis 12-string acoustic guitar plus three vintage Martin acoustic guitars. There are no standard guitar amps on stage, just one small custom-built amp chassis visible behind Greg. All patch cords from his guitars go to a custom pedal board at his feet (fuzz, wah-wah, haser, etc.) and the cables from there go under the stage and through tubing to the amp. III. CARL PALMER WORKS SETUP: Basic drum kit is Carl's custom-made, hand-engraved set totaling 11 drums, plus five cymbals, and one hi-hat. Carl's custom circular drum plat- form is chrome-colored and ringed with built-in lights, creating a floating effect. It turns around completely. Carl also uses xylophone, glockenspiel, congas, tympani, chimes, gongs, castanets, crotales, and other percussion instruments on this tour. <> ------------------------------ End of ELP Digest [Volume 3 Issue 7] ************************************