ELP Digest Monday, February 20 1995 Volume 5 : Issue 5 The "And Do It Your Way" Edition Today's Topics: Digest bits & pieces. Re: Conversion? ELP digest (ItHS mix, etc.) plus ca change... Re: ELP Digest V5 #1 (BSS (the song), lyrics, etc.) Re: ELP Digest V5 #1 (ITHS = ?, clone band) Re: ELP Digest V5 #1 (response to ITHS = ?) ELP Digest (The Only Way, lyrics, etc.) Re: ELP Digest V5 #1 (Love Beach, Manoeuvres) ItHS ELP covers Sinfield suggestions Prelude ======= I'll get right to it with little "fanfare". The end of the backlog is in sight. And an "email Q&A" with Peter Sinfield is becoming a reality. (Read the last message in this Digest for details. Time for dinner (for me anyway), - John - ------------------------------------------------------------ Date: Mon, 9 Jan 1995 15:15:32 GMT From: Oz Hardwick Subject: Digest bits & pieces. To: arnold@iii.net Hello, I've just been overdosing on recent postings of the Digest, as I've been away for a couple of weeks, & there's a couple of points upon which I thought I'd comment... As for "who's the best prog. lyricist?" - well, I think that well up on the list has to be Ian Anderson...as with many of his contemporaries, I think his best work was in the '70's, but in looking at his entire (rather extensive) output, I don't think there's many to be ashamed of, & there's too many excellent ones to list. On the subject of lyrics, I found the quote of lyrics from "Knife Edge" in the the last Digest (sorry - I forget who it was) surprising - the line "...machines beat the finest" I had always heard as "...feed the furnace" - I shall listen to it again as soon as I get home this evening. One of us is wrong, & whoever it is doesn't matter, it's just amazing that someone can listen to something a lot over a period of twenty years & still hear something that's not there! One last thing - on the origin of the "Brain Salad Surgery" track - the earliest copy I have is on a promo flexi-disc from New Musical Express. Housed in a paper facsimile of the album cover (like the "Jerusalem" single), it also features excerpts (rather shoddily edited, as I recall) of "BSS" album tracks. It's odd that it was with the NME, really, as about that time the whole purpose of the paper seemed to be to slag off ELP. That reminds me - does anyone know where the title of "BSS" originates? In a radio interview at the time, Carl informed Alan Freeman that it had the sort of connotations his mother wouldn't like to hear him talk about, but in spite of my increased worldliness over the intervening period, I've still never come across an explanation! All the best, Oz. ------------------------------ Date: Mon, 9 Jan 95 09:49:17 CST From: crispen@eight-ball.hv.boeing.com (Bob Crispen) To: arnold@iii.net Subject: Re: Conversion? Sorry for stretching this out another week, but I've been backlogged too. Bjo/rn Are hit one of my personal hot buttons with: BAD> Anyone noticed the Christian - or at least Christian oriented BAD> imagery - in the lyrics of ITHS? I have waited with my BAD> comments on this as I was afraid I might be a bit too biased BAD> by my own views in this area. However, I will take the risk BAD> and bring forth some thoughts on this, as I feel it is rather BAD> consistent through the songs. Let's get a couple of things clear: (1) Religion is not equal to Christianity! The lyrics BA cites are surely religious, but Muslims and Jews inter alia have angels, too. It would be hard to find anyone whose religious sensibilities would be offended by the lyrics, even a newager, while if his lyrics said "Confess your sins and repent or else be condemned eternally to a Lake of fire" (sorry), I can see some folks who might take umbrage. (2) Whether or not you need to be religious to do good is still an open question! Just because you've closed the debate on it doesn't mean everybody else has. Therefore, one could conceivably write with hope for the future of humankind from a purely secular point of view, and it is possible to attribute the "do good, don't sin" lyrics cited to poetic but essentially secular sentiments. (3) "Christian" is not equal to Christianity. When BA describes himself as "a 'practising' Christian" I am virtually certain he does not mean that he is a member of the largest Christian denomination in the world, the Roman Catholic Church. Nor is he speaking of the Orthodox churches. Thus, he first intends to coopt the name "Christian" for purely Protestant Christianity. But wait, there's more. To cut what promises to be a rant short, a good number of folks who call themselves "Christian" actually mean "the Conservative wing of Fundamentalist or Charismatic Evangelical Protestant Christianity". Sorry to even mention this, but it becomes important in a minute. (4) Assume Keith Emerson does call himself a Christian. Does he therefore belong to the small but vocal sub-sub-sub-slicing of the Christian religion I've noted as "Christian" in quotes? Maybe. Probably not. Is that key to our appreciation of his MUSIC? Even more doubtful. (5) A likelier explanation is one I've alluded to before; Keith Emerson is a reasonably well educated person. As such, he has imbued many of the ideas and values of Western culture. Fellow Americans will have to take my word for it, but in other countries they actually do that. Western culture is historically quite Christian (n.b., not "Christian"). That Emerson uses Christian religious imagery should be no more shocking than his use of English. +-------------------------------+--------------------------------------+ | Rev. Bob "Bob" Crispen | Music should not be held responsible | | crispen@foxy.hv.boeing.com | for the people who listen to it. | +-------------------------------+--------------------------------------+ ------------------------------ Date: Mon, 9 Jan 1995 11:54:20 -42000 From: "J.W.Bruce Shaw" Subject: ELP digest (ItHS mix, etc.) To: arnold@iii.net Thank you for adding me to the mailing list. Also managed to get the back issues from the WWW site and ftp site. Had some problems with connection to ftp site. Would your readers be interested in a review of Edmonton concert Jan 13, 1993? [ Editor's note: At some point, when the discussion otherwise gets quiet, I'm sure a number of us would like to read the review... - John - ] After reading through all the back issues, wanted to comment on a few items: Despite several bad reviews of "In the Hot Seat", I bought the thing anyway and am glad I did. It's not all that bad!!! I've played it for some people who have trouble coping with Tarkus and Karn Evil 9 and they like it too. Only complaint is from my wife who won't let me play "Daddy" while she's in the house so I program out that track. My big complaint about the album is the mix. I really question Keith's Olsen technical ability and his understanding of the group's sound. Some examples: Many rock groups play one volume...loud!!! ELP plays at many levels. Listen to Tarkus and all the different volume changes in the first two minutes. It's soft at the very beginning, then loud with the big bass line and the organ riff, medium during the synth anthem, then mellow when Greg comes in. There's crescendos and diminuendos and all sorts of other effects. The CD technology allows for incredible changes in volume levels. The first time I used my CD player, I cranked up the volume until I could hear some background hiss, started the CD (a major choir and orchestra symphonic work) and just about blew my front window out. Many of the songs on "In the hot seat" are all one volume! Even where there is a dramatic crash of sound or crescendo, it's only about 20 dB difference, when there's 120 dB worth of headroom to play with. I've heard ELP live and I've spoken to Greg Lake personally. He's got a wonderful, resonant, vibrant voice. He changes his voice to suit the style of the music; raspy, mellow, intense. Why on earth is anybody fooling around with filters and flangers and wierd reverb effects (good grief there was even feedback at one point) when recording him? It isn't necessary!!! On "Hand of Truth" where a bit of neat effects might be in order, he's recorded practically straight (and gets drowned out a lot). On "One by one" where he's doing is damndest to shade and really work with the lyrics and melody, it all gets trashed by the damn flanger or whatever that ridiculous effect is. Strangely enough, in the "Man in the Long Black Coat" his sound is perfect! I tend to listen to stuff on headphones. When I do recording of choirs and large groups half my listeners say "I can hear each individual instrument and exactly where everyone's sitting, it makes me feel like I'm right inside the orchestra [choir, whatever...] while my detractors say "that's not a mix, that's 100 soloists". With that in mind... I swear somebody spent about 2 minutes setting the pans. Keith's stereo synths are set full right and full left, Carl's drum synths are mostly full right and full left, and everything else is dead centre. Granted these days playing with the pan pot during synth solos is considered hackneyed and cliched, but at the same time, many people are listening on walkmans and have become used to a wide left/right aural spectrum. Again, the space is there; let's make use of it!! A specific example... the beginning of "Pictures at an Exhibition". The organ for once is a bit right of centre, but when the poly-horn chords come in, they're in exactly the same spot!!! You've got to hear "Pictures.." in Dolby Surround! It's great. If you don't have Dolby Surround but you have SQ or CD4 or some of the other old 4-channel technology, it's still an adventure. Some one has gone to a lot of trouble to carefully place the front-rear separation; it's really spooky in spots. So why not give the same attention to detail to the left/right sound? When you hear Carl live, there's a good solid percussion sound, enhanced by synths and gated effects. On the album, all you can hear is the gated stuff. There have been complaints that it sounds mechanical. The problem is that Carl is a perfectionist. When I heard some of his solos on albums I figured they were overdubbed, but when I saw him live I could see the sticks and watch the heads, and yes he really is playing 16th notes on the bass drums, pure double stroke rolls, 8-12 heads in use at once! On "In the hot seat" he's never given a chance to fly! ...other stuff.. We have a hard rock station town that plays a lot of stones, but also a lot of Pink Floyd and a surprising amount of ELP. One day for no apparent reason they played all of Karn Evil 9. ... Heard 5 seconds worth of synth solo from "Fanfare for the Common Man" on a British TV show called "They must be mad" broadcast on YTV in Canada January 1, 1995. Show was copyright 1993. Did you guys get paid? Scene was a tennis linesman getting hit by the ball...hard!! ... Edmonton has a reputation of a bit of a cultural wasteland but this seems to be changing. I understand we were the first stop on the "smaller venue" tour, and the first record store (not particularly big) that I went in had "In the hot seat", "Return of Manticore" and the video in stock and were sold out of (but normally stock) lots of other stuff. The local newspaper made a bit of a fuss over the Jan 93 visit (ran a contest) and the radio stations gave good coverage (but then again the city came to a complete standstill for the Pink Floyd and Stones concerts). ... Finally... a cry in the wilderness. I think the group has been getting some very bad advice from somewhere...something about mellowing their sound, trying to be more commercial, let's not scare anybody. The world wants another landmark album!! I'm sure no record executive in his right mind would have thought that "Pictures at an Exhibition" or Pink Floyd's "Dark Side..." or Waters screaming his guts out in "The Wall" would ever sell, but these albums have changed the face of music! I want something more! I want something new! I want something iconoclastic! I want it LOUD!!!!!! Bruce.Shaw@env.gov.ab.ca ------------------------------ Date: Mon, 9 Jan 1995 13:39:13 -0600 To: arnold@iii.net From: nash@chem.wisc.edu (John R. Nash) Subject: plus ca change... "Carlos Alberto Teixeira" > > Hi, ELP'ers: > > Just for our records, that beautiful keyboard theme > in TOUCH AND GO was *borrowed* by Emerson/Lake from > "Fantasia on Greensleeves" written by Vaughan Williams. > *sigh*... And R. Vaughan Williams "borrowed" this melody for the middle section of his piece from the English folk song "Lovely Joan." This folk song is best-known to people though the Williams piece (which is beautiful!). Note that if the melody had been from a copyrighted song, ELP would have credited it and paid royalties (see also "Knife Edge" and "The Barbarian", which _are_ based on copyrighted pieces). Williams and Gustav Holst loved to incorporate English folk songs into their pieces, and Aaron Copland's most famous melody is the Shaker hymn "Simple Gifts." Note the ELP connection with all three (Touch and Go, Mars, and Hoedown respectively). I think they would approve... -john -===-John R. Nash-==-nash@chem.wisc.edu-==-UW-Madison Chem. Dept-===- ------------------------------ Date: Mon, 9 Jan 95 12:37:44 PST From: mfraser@rs.com (Mark McCarron-Fraser) To: arnold@iii.net Subject: Re: ELP Digest V5 #1 (BSS (the song), lyrics, etc.) ELP Fans! Thought I'd reply to several things in one note. I'd also like to thank everyone who writes to this wonderful Digest for carrying on such good discussions and being polite to everyone! Thanks folks!! ;-) Craig Koukol asked about the single "Brain Salad Surgery" which appears on Works II. This was originally released as a 45 single with the abbreviated "Fanfare For The Common Man". The sound quality on the 45 was, of course, much better than on Works II. Sadly, vinyl is an inferior technology. To really be appreciated this song should be played VERY LOUD, preferably with sub-woofers, or at least the bass boosted more than the treble tone. There's an incredible bass sound that slides down to the very lowest tones detecatble by the human ear that doesn't come across at all at low volume. I actually think that the CD is a slight improvement over the Works II LP. But I could be wrong about this. Thanks to Carlos for identifying the borrowed theme in "Touch And Go." Guess I have to get more Vaughan-Williams now. (For those of you who aren't familiar with Vaughan-Williams his "The Lark Ascending" is just incredible!) "telical" (what's your name?) wanted lyrics for all ELP albums. Some of us ;-) are working on it. We'll send them along as we finish them. ;-) Bjo/rn Are, could you perhaps tell us what songs are on the Victory Best of CD? I'm loath to purchase anything on the Victory label, unless I have to. (I hope that applies to other fans too.) Speaking of Victory, Alan White of YES says that YES has left Victory Music. This is more than likely the death-knell for Victory! Let there be much rejoicing!! As we know Victory didn't support ItHS for squat (an Americanism, meaning "Not Much"). Alan White complained of similar treatment of YES's "Talk" cd. Hopefully, our heros will escape the evil clutches of Victory for a more supportive label. ;-) Live Long and Progress!! - Mark ------------------------------ From: CAPedersen@aol.com Date: Fri, 13 Jan 1995 08:38:04 -0500 To: arnold@iii.net Subject: Re: ELP Digest V5 #1 (ITHS = ?, clone band) For those of us that are new to the ELP digest, and for some reason or another have a shortage of functioning brain cells due to the trials of year-end processing and passing from 1994 to 1995 (basically burned out from last years events) would you please let us know 2 things. First, please explain the acronym ITHS. Second, please let us know if the clone band is still planning on releasing a CD this month. ------------------------------ Date: Mon, 16 Jan 1995 09:52:10 -0500 From: John E Arnold To: CAPedersen@aol.com Cc: arnold@iii.net In-reply-to: <950113083802_7893510@aol.com> (CAPedersen@aol.com) Subject: Re: ELP Digest V5 #1 (response to ITHS = ?) Hi. To tide you over until I clear out the backlog of ELP mail, I wanted you to know... ITHS (or ItHS) is the abbreviation that was adopted in late 1994 to refer to ELP's latest album: "In the Hot Seat". Sorry that wasn't clear. Thanks for asking about it. - John - ------------------------------ Date: Fri, 13 Jan 1995 12:32:04 -0600 (CST) From: Craig Koukol Subject: ELP Digest (The Only Way, lyrics, etc.) To: arnold@iii.net Some thoughts on the debate over religious/anti-religious symbolism in ELP lyrics from another "practicing Christian." About the only ELP song that bothers me a bit is "The Only Way"; however, I can overlook the apparently atheistic sentiments by enjoying the sheer beauty of the song's musical composition and Lake's God-like (whether he likes God or not!) voice. I also tend to think that the lyrics here reflect more of a disillusion with the established church rather than a rejection of religious faith. Moreover, I am inclined to interpret Emerson's brilliant "Infinite Space" conclusion to the piece as a counterpoint of sorts. Whatever seemingly anti-religious lyrics may exist in the ELP canon, one only has to listen to that wonderful ELP masterwork "Jerusalem" to have one's faith renewed in ELP, progressive rock, and, for that matter, God. Craig Koukol ------------------------------ From: CABELL@ATHENA.HOOD.EDU Date: Sun, 15 Jan 1995 01:40:32 -0500 (EST) Subject: Re: ELP Digest V5 #1 (Love Beach, Manoeuvres) To: arnold@iii.net First of all, I'd like to say hello to all of you. I couldn't believe that this forum really existed in the first place, but after reading a few of the digests, I'm really happy it does. I don't know where I really fit in, judging from many of the comments I've seen. I love all of the older material, Karn Evil et. al. is the best piece of recorded music ever done. Here goes, I also PRAY to "Love Beach". Maybe it has to do with Lakes' overdone machismo that litters the record, but it was a refreshing change of pace to hear them doing 3 minute rock songs with choruses and background vocals. Face it, Lake always had this little side thing going, starting with "Lucky Man", through "Still..You turn me on", up until "All I want is you". None of those cuts were typical ELP numbers. When you listen to Works I, you really hear the 3 different directions. Emersons stuff is good I guess, but it really doesn't get me going. Palmers material is rather bizarre! But this is where you really hear Lakes direction. "Nobody Loves you Like I do" is brilliant! I haven't heard (or seen) much mention of Lake's "Manoeuvres" opus ('83). Definitely heavier than I would have expected (with some damn fine guitar work), It still suffers from crap like "A woman like you"--the stunts that got Cetera thrown out of Chicago! But, as the smoke clears, a masterpiece like "It's you, You've Gotta Believe" saves the project. I haven't had the pleasure of hearing the last two releases you all talk about. If it weren't for you guys (and Maureen) I would have never known. I'm still excited about getting Pictures.. on CD this Christmas! End of my babble... Toss on "Love Beach", buy the shorts, It ain't that bad The Chris ------------------------------ From: "Salvador Macip" To: arnold@iii.net Date: Mon, 16 Jan 1995 11:12:20 +0000 Subject: ItHS Hi everybody! This is my first contribution to this great magazine, although I've been subscribed to it for several months. There's a couple of things I would like to say about all the topics that have been going on in the last numbers. First of all, thanks to editor to help all us ELP fans to get in touch with each other all over the world. Now let's get serious. I finally got my ItHS copy (I'm from Barcelona, Spain -a place that seemed to be out from the CD's distribution route for a few months!). I guess you are tired of reading reviews on it fromalmost every subscriber, but nevertheless let me say a few words about it too. It is not the great ELP record that we all were waiting for, as most of us think, but you must agree that features some great points. For me the best song is The Hand of Truth, with its astounding beginning ofa 5/4 bar (isn't it?) that leaves the listener waiting for Palmer's next snare hit during a whole beat. This creates a great "emptyness" effect, filled only with a great keyboard work... I really love that! This song could have easily beeen included in Brain Salad Surgery and nobody would say that ithas been written 20 years later! Daddy is also quite good, in Lake's Works-vol-1-acoustic-style (in fact, I must agree that the rest of the CD looks like another boring Lake's solo album). All the other songs are useless, from my point of view. Especially disgusting is Give me a Reason to Stay (seems like the "Spandau Ballet-meets-Phil Collins" kind of thing). Someone has said here that ItHS looks like the kind of stuff that Victory would like ELP to do....I think that they are doing exactly what they want (check out BM and see how much it resembles to ItHS; this is more than a coincidence...), despite all that Emerson says in that German interview (hope I am wrong!). If Lake is now the Captain (and E&P let him be, as they seem to do) we will enjoy some more ItHS the next few years...Let's wait for that "long conceptual pieces" that Emerson keeps hiding in his pocket before saying that ELP are not in the same good mood they used to be in the seventies, at least as a composers. They are still grat musicians, though, but I don't think we can expect anything really new or exciting from them. Besides, in IMHO there is too much programmed drums in the record (almost every track has some if not all drum parts played by synths) Why do they need one of the best drum players in the world then, if they are using only half of his potential? Does Palmer enjoy making records this way? Maybe the next album instead of the ELP monogram will show EL&PC (or Mac or whatever they use). In fact, in the ELP anniversary video Palmer says that they are using sequencers even live, if I'm not mistaken (he says that helps them to fill the spaces and sound more like a band...they never seemed to have that problem before!). What's next? "Welcome back my friends to the show that never ends...Ladies and gentelmen: Emerson, Lake and the Machine!". Probably some of the synths are not either played by Keith in the record (especially the parts that definetely don't have the "Emerson touch")... soon Lake will only need to sing(?) a little to make the next ELP record (probably he doesn't even play bass in the records anymore): the rest will be done through Windows! I've never thought before that progress could be so hateful... Finally, the bonus track is quite a present but...why the hell are they recording that old song again? It is, in fact, one of my favourites, but I think there was enough with the live version in the Pictures album. It seems that in all this years the only thing that they have been able to do to improve it has been adding the surround effect and changing the Moog sounds for the Korg ones. Oh, yes, and they have also changed Lake's great voice for this Leonard-Cohen-talking-like style...wich is not really an improvement (no further comments on that topic). You have also been talking about the skills of Lake as a lyricist, guitarist and bassist. I want to say that for me the best ELP's lyrics are the ones that Sinfield wrote. The best part of Love Beach is the lyrics, for instance, especially on the B side (though I think it is not a bad record at all, as most of fans say). Does anybody know what is that man doing nowadays? Why isn't Lake working with him as in the old times? In fact my top ten prog lyricists would be (two levels, from gorgeous to great): -Gabriel (Genesis era), Sinfield (he is more a poet than a songwriter), Fish (great guy!) -Anderson (Jon), Anderson (Ian; great sense of humour!), Roger Waters (if you can stand his paranoias; quite good his last record) Lake's bass playing is not a great thing (how you DARE comparing him to Squire??), and he cannot play great guitar lines either, besides from the acoustic stuff (which is normally very skillfully, I must admit). Lake is not especially good in any of these fields: it is the combination of all them that makes him one of the biggest musicians in the world. Besides, you don't need tobe a Satriani o a Pastorius to play good rock music (check the mediocrity of almost all Pink Floyd members and wonder how can they make such great songs, for instance). What is absolutely out of the question is that Lake is a great composer (better than Squire? Who knows...) and that he once was one of the finest singers in the rock scene (this time Greg wins the competition with Squire, IMO). If all this matches with the image you have of Shatner... The polemic question "Does E need L&P" is one of the easiest I've have ever seen. You just have to listen to Works vol 1 and pick the side you like the most. If you really are an ELP freak you will have no doubt. If you start to hesitate you'd better try subscribing another prog magazine rightnow! I'm not saying that Lake's songs are not good, or that Emerson's symphony is boring, or that Palmer is overacting in his side...Listen carefully to Pirates and you will understand why they worked together: the combination is a hundred times better than the sum of its parts alone! Don't ask me what is that makes them special...but they really have IT! The latest proof of what happens when there is no balance between them three is ItHS: Lake's personality eclipses the others and... Answer to the soundtrack request on Volume 4 issue 26 (from an european movie fan to the rest of the world): I do have Lady Hawke soundtrack, which is composed, orchestrated and conducted by Alan Parsons Project's "Orchestra-man" Andrew Powell. It is in fact a great record, one of my favourite soundtracks. The line-up is the whole Project (Ian Bairnson, David Patton, Stuart Elliot, Richard Cottle, with Parsons producing and engineering) playing along with the Philarmonia Orchestra. I don't know if there's a CD release of it and if it is still available but I can find out, if you are interested (LP number: Atlantic 781248-1, released on 1985). I never have seen a Highlander soundtrack, except Queen's A kind of Magic that includes all the songs featured in the film. Finally, I was lucky enough to find an old copy of Emerson's Honky a few months ago. In the volume 4 issue 27 you asked for details. Her they come: -Honky-Keith Emerson. Photograph of KE on the phone in a hut on the beach, in a tropical country, with some musicians jamming round. Inside photo: KE having a bath with a fish, with a strange face (both him and the fish), with a blonde children besides him wondering what's he (daddy?) doing. Back photo: KE liying drunk in the middle of the street, with a party mate close to him still holding a bottle. Ariola I-204503 (1982). -Recorded at elite studios & compass point studio, Nassau, Bahamas. Engineered by Mott & Steven Stanley. Arranged and produced by KE. -Songs: Hello sailor(E) including Bach Before the Mast(G.Malcom), Salt Cay(E), Green Ice(E), Intro-Juicing, Big horn breakdown(B.Taylor), Yancey special (M.Lewis), Rum-A-Ting(E), Jesus He loves me(E) -Review: quite a good album, specially last track, a gospel with full Choir voices. No song is specially brilliant. His keyboard playing is perfect. Not much lyrics in the songs. And now some questions that I've always wanted to make but never dared to: -I have recently found that Knife Edge is in fact based on Leos Janaceck's Sinfonietta per a Orchestra. Did everybody else know that already? Why it is not said in the album's credits (at least in my EL&P copy)? -Do you know if Lake's NY concert videotape will be available for the european Pal system? I'm dying for a copy of that! -Do you know where can I find a list of all Emerson's solo albums, including soundtracks and the Nice ones? I'm also interested in Lake's and Palmer's solo carrer, so tell me if there's something about it in the net or anywhere. I'm sorry if this has alredy been answered before. -In previuous issues some fellows have been talking of The Return of the Manticore. In my country, as far as I know, it has only been released as a 4 CD set containing new songs, new versions of old songs and a whole lot of the old songs just as they were originally recorded, retailed at the price of $70, more or less. Of course, is too expensive for me, especially if you think that 3/4 of the set are songs that I alredy have. Is there a 1 CD version containing only the new material? Or you people are rich enough to spend your money in such things? -Is there any other spanish subscriber? Please e-mail me a few words! Thanks for having the patience to read all this. See you soon round here. Salva. _____________________________________________________ Salvador Macip, M.D. Dept Physiology Faculty of Medicine. University of Barcelona Av. Diagonal s/n. Pedralbes (Annex Farmacia) 08028 Barcelona SPAIN Tel (voice): 34-3-402.45.18 FAX: 34-3-402.18.96 E-Mail (Internet): macip@clinic.ub.es _____________________________________________________ ------------------------------ From: GRASSOB@delphi.com Date: Tue, 17 Jan 1995 22:38:35 -0500 (EST) Subject: ELP covers To: arnold@iii.net Hello. I'm new to the 'net, therefore new to this list. Looking through the back issues I notice several inquiries about bands that cover ELP material. I have two LPs by a band called Heavy the World. The first one, called "Runes" is a 3-LP set (WOW!) that came with stickers and a thick lyric booklet. It's all progressive stuff, and all original material except for a cover of "Eruption/Battlefield" from Tarkus. The second LP is a live "Reunion" album (2 discs) which includes a different version of "Eruption/Battlefield." I know there were only 100 copies made of the "Reuinion" LP (mine's #28/100) and I believe only 100 of "Runes" were made as well. Does anyone know anything about this band? I know they have at least one other album (I saw it around 1987, but didn't have $ to buy it; it had a cover that looked like the controls of a spaceship). Any info would be helpful. On a separate issue, I AM A VINYL NUT and love trading LPs. Does anyone else share my interest? I have a few ELP items available (Pete Sinfield's "Still" -- this has a great cover BTW, Nice's "Autumn to Spring" with the embossed cover, Mike Oldfield's "Five Miles Out" -- Carl Palmer plays drums on this one). Please E-MAIL me if you share an interest. Happy posting and God (the real One) bless. -Mantis grassob@delphi.com ------------------------------ From: GRASSOB@delphi.com Date: Wed, 18 Jan 1995 20:21:39 -0500 (EST) Subject: Sinfield suggestions To: arnold@iii.net Has anyone noticed on Chris Squire's "Fish Out of Water," Pete Sinfield is credited for "suggestions?" Does anyone know what these "suggestions" were? -Mantis grassob@delphi.com [ Editor's note: But this is a great time for a reminder. I've recently gotten in touch with Peter Sinfield again and he has agreed to have me forward him some questions which, as he has time, he will try to answer. I can't promise that he'll answer each and every one. But, please send me any questions you may have fot Peter and I'll package them up with my own and see what he has to say. By the way, the person eariler in this Digest who asked what Peter was doing should try to fetch the 1994 Special Issue with the "Peter Sinfield career update" from the WWW page. He's still busy. - John - ] ------------------------------ Digest, mailing address, and administrative stuff to: arnold@iii.net ==\ \ => The same for now... ELP-related info that you / want to put in the digest to: arnold@iii.net =/ Back issues are available from the World Wide Web ELP Home Page: URL: http://bliss.berkeley.edu/elp/ Note: The opinions, information, etc. contained in this digest are those of the original message sender listed in each message. 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! ------------------------------ End of ELP Digest [Volume 5 Issue 5] *************************************