ELP Digest Thursday, January 11 1996 Volume 6 : Issue 1 The "They Said There'd Be Snow" Edition Today's Topics: Copland's Clarinet Concerto Re: ELP Stuff? Infinite Space bass error? re: orchestras, GX-1 A FRIENDLY GX-1 BIT OF INFO Lyrics Ginastera's Piano Concerto More Knife Edge Lyrics Knife-Edge - One More Time Re: Shareware (Fwd) Davidians are very Nice The Future of ELP Fans... Response to Bjorn-Are's article in ELP digest, vol 5_21 Prelude ======= Happy 1996! They said there'd be snow at Christmas... but they never said anything about January! Here in the Greater Boston area, we've got snow stacked up everywhere it fits and more might be on the way tomorrow! But, I've finally squeezed in some time to get out the inaugural issue of "volume 6". The typical mix of shorter news/questions/etc. up front with the longer, more thoughtful pieces at the end. Hope you enjoy this first dose of 1996 ELP news. And wishing each of you a healthy, happy, and musical 1996. - John - ------------------------------------------------------------ Date: Tue, 10 Oct 1995 09:31:55 -0700 To: arnold@iii.net From: Mark McCarron-Fraser Subject: Copland's Clarinet Concerto ELP Fans! It's been quite a while since I've troubled you nice folks. (And I'm waaay behind in reading my Digests. Eeek!) Anyway, I was listening to Aaron Copland's Concerto for Clarinet and in the cadenza I heard what sounded like several riffs from the solo in Aquatarkus! I'd be interested to know if any of the rest of you think the same. It sounds to me like the whole cadenza has served as inspiration for Keith. The tonal quality of the clarinet, the timing, the phrasing, the glissandos, have such Emersoneque feeling it's hard to believe that Keith wasn't influenced by this piece. We know that Keith like's Copland's music (who doesn't?), so it isn't that far a stretch to think that maybe this piece has been an influence. live long and progress!! - Mark mcfraser@ix.netcom.com ------------------------------ Date: Thu, 12 Oct 1995 08:42:09 -0400 From: bbyn8bf@LOCAL.bell-atl.com (Adamczyk) To: arnold@iii.net Subject: Re: ELP Stuff? Does anyone know of an address where I can get an ELP t-shirt, baseball cap or old concert programs ??? Thanks Ron [ Editor's note: I think there were some t-shirts left over from the UK ELP Convention. See the bak issues from November-ish 1995. Does anyone know if you can order anything direct from Brockum or whoever it is that sells the stuff at concerts during the tours? Surely, they must have some leftovers. - John - ] ------------------------------ Date: Thu, 12 Oct 1995 09:43:20 -0400 From: Daniel Barrett To: arnold@iii.net Subject: Infinite Space bass error? >Infinite Space Ostinato (Left Hand) > > D2 A2 G2 D3 E3 D2 A2 G2 D3 E3 E3 > A2 A2 A2 > >Steve Plotczyk 5 2 3 1 1 5 2 3 1 1 1 > 2 2 2 > >Jonathan Brady 5 2 3 1 1 5 2 3 1 1 1 (same) > 2 2 2 I think there may be a typographical error here. Why is the left hand playing the open fifths with fingers 1 and 2? I suspect you really mean 1 and *5*. Dan //////////////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ | Dan Barrett -- Computer Science Dept, University of MA, Amherst, MA 01003 | | http://www.cs.umass.edu/~barrett/public.html -- barrett@cs.umass.edu | \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\///////////////////////////////////// ------------------------------ From: DMB5561719@aol.com Date: Thu, 12 Oct 1995 21:33:41 -0400 To: arnold@iii.net Subject: re: orchestras, GX-1 >FR: Have you had positive experiences working with orchestras? >KE: I approached the LPO [London Philharmonic Orchestra] in the early 1980's, >but they were very reluctant to do any of my music. They were all pretty much >into their penguin outfits and playing Beethoven. I happened to write for >trumpets out of the reach of most trumpet players. They really had to work to >get those notes. And they'd be looking at me knowing I was from a "rock" >group. They hid their inexpertise by trying to ridicule me. See? I told you all, just like Zappa! > So it was sort of amazing to hear the LPO playing [The Who's] _Tommy_ just >a few short years later. Then they're all suddenly very happy sitting up >there playing their violins and such. And I thought, "God, it's awful." >I thought I had paved the way for them to even consider working with a rock >musician. It was such hard work. And then all of the sudden they're up there >playing this three-chord stuff. Horrible! What I'd written was much more >challenging, but it was a question of money. They realized that unless they >followed the Boston Pops' direction, they were going to be no more. And, well you know, uh.......it wasssssss a proven hit! I don't know enough about orchestration but the music for Tommy was probably made easy to play - for the posibility of more performances in the future. Orchestras: the bane of modern composers. Unless you have lots and lots and lots of money! >white refrigerator because it was so big. They cost $50,000.00 and Stevie >Wonder and Jurgen Fritz ( of Triumvirat) are the only others I know for sure >who bought the GX-1 though I'm sure there were others. Yep. John Paul Jones. Who was in......ummmmm........oh, yeah.. ....the one hit wonder...............Led Zeppelin? :) musically reclined, David Beardsley dmb5561719@aol.com ------------------------------ Date: Fri, 13 Oct 1995 01:05:57 -0500 To: arnold@iii.net From: thefront@interport.net (TONE) Subject: A FRIENDLY GX-1 BIT OF INFO Hi: >>> DJRZeus@aol.com had the following to say about the GX-1 >>> Subject: GX-1,Tarkus >>> Just a quick note concerning Dan Barrett's note about the GX-1.The Yamaha >>> GX-1 was an experimental instrument that was a hybrid analog and digital >>> synth. It was the first keyboard to use FM synthesis which would later show >>> up in the highly successful DX-7 (in 1983). Many at Yamaha nicknamed it the >>> white refrigerator because it was so big. They cost $50,000.00 and Stevie >>> Wonder and Jurgen Fritz ( of Triumvirat) are the only others I know for >>> sure who bought the GX-1 though I'm sure there were others. A "KEYBOARD" >>> magazine issue on Emerson talked about it in some detail. I don't want to start a flame war but as far as I remember the GX-1 was the analog beast that gave birth to the more affordable but not much lighter CS-80. Yamaha's GS-1, an expenssive preset FM synth ( 88 note, piano action, nice wood cabinet ) was one of Yamaha's early FM machines. The DX-1, DX-7,DX-5, and DX-9 all came later along with some smaller preset FM synths. I remember seeing ELP for the WORKS TOUR ( with orchestra ! ) and being blown away by the sound of the GX-1 live. Of course I had heard it on record. Both Keith & Stevie Wonder had recorded with it but live it was a thing of beauty. A few months ago Keith was offering some of his old keyboards up for sale in Keyboard Magazine and the GX-1 was one of them. Wish I could have bought it. TONE ______________________________________________ E-mail thefront@interport.net ______________________________________________ ------------------------------ From: Gus Padron To: "'arnold@iii.net'" Subject: Lyrics Date: Sat, 14 Oct 1995 12:45:23 -0400 Some ELP lyrics are available at: ftp://mirrors.aol.com:/pub/music/artists/e/emerson.lake.and.palmer/lyrics ------------------------------ Date: Fri, 1 Dec 1995 08:19:52 -0800 From: shostako@netcom.com (paul madison) To: arnold@iii.net Subject: Ginastera's Piano Concerto All this talk about Ginastera has inspired me to make portions of his music available. There are currently 4 samples from his piano concerto (4th movement) at the following web address: ftp://ftp.netcom.com/pub/bo/bovine/samples.html or you could just ftp them from the /pub/bo/bovine/ directory. The file names are TOCATTA1-4.WAV. Be forwarned, each sample is large (1 - 2.7MB each), but each was recorded at 22,000 samples a second, 8 bit stereo, and the sound/size compromise is pretty good, but you be the judge. The recording is an import on the ASV label and is distributed by Harmonia Mundi USA. The orchestra is from Mexico City. More information about the CD is on the samples.html page. I have a lot of other recordings of classical music that have been used by elp. If there is any interest in other pieces please let me know, and I will sample some passages. Paul Madison (fyi, Bovine is the name of the band I play drums in) [ Editor's Note: I've discussed this off-line with Paul and want to make it clear here. He's not providing long samples to cut into the sales of the CD. Instead, he's offering a few aural snapshots of the CD to encourage interested folks to track it down in their favorite CD shop. - John - ] ------------------------------ Date: 29 Sep 95 23:03:37 EDT From: Barry Turner <100517.1360@compuserve.com> To: John E Arnold Subject: More Knife Edge Lyrics Here is my interpretation of the lyrics for knife edge with only a few minor changes from the posting in V5 #24. The third line makes sense to us british, as there is an army regiment called the Kings Own Royal Regiment (Lancaster) who are known just as Kings Own there is also another called the Kings Own Sottish Borderers. Just a step, cried the sad man, Take a look down at the madman. Fear the kings own, Silver wings fly beyond reason. From the plight of the seagull, Come to spread claws of the eagle Only fear breaks the silence, As we all kneel, pray for guidance. Tread the road cross the abyss, Take a look down at the madness. On the streets of the city, Only spectres still have pity. Patient queues for the gallows, Sing the praises of the hallowed. Our machines feed the furnace, If they take us, they will burn us. Will you still know who you are When you come to who you are? When the flames have their season Will you hold to your reason? Will you die with your chance? Can you still keep your balance? Can you live on a knife edge? Barry Turner ------------------------------ From: slottich@his-po.inf.uiowa.edu To: arnold@iii.net Date: Tue, 24 Oct 95 07:21 CST Subject: Knife-Edge - One More Time This is my last attempt to post what I feel is the most correct version of the Knife-Edge lyrics. I originally tried to post this back in August, when the topic was fresh, but I accidentally sent it before I was finished. This confusing and incomplete version appeared in digest #24. The corrected version I finally sent never appeared in the digest. I know this is old news, but I wanted to take one more shot at it, especially since no one has seemed to realize what the last line really is. Sorry for the confusion, and also sorry if I'm wasting bandwidth. I would appreciate any feedback anyone can offer. Thanks. Steve Lottich Knife-Edge Just a step, cried the sad man, Take a look down at the madman. ??????? kings on see note 1 below Silver wings fly beyond reason. From the flight of the seagull, Come the spread claws of the eagle. Only fear breaks the silence, As we all kneel, pray for guidance. Tread the rope 'cross the abyss, see note 2 below Take a look down at the madness. On the streets of the city, Only spectres still have pity. Patient queues for the gallows, Sing the praises of the hallowed. Our machines feed the furnace, see note 3 below If they take us, they will burn us. Will you still know who you are When you come to who you are? see note 4 below When the flames have their season, Will you hold to your reason? Loaded down with your talents, Can you still keep your balance? Can you live on a knife-edge? Notes: 1. I still haven't figured out line 3 of the first verse, but I don't think the 1st word is "Bearded", as was previously submitted. There is a "th" or "f" sound at the beginning; it almost sounds like "Theatre" or "Fear..." something. 2. In the original studio version, GL could be singing either "Tread the rope" or "Tread the road", both of which make sense, but in the live (1979) version, it sounds more like "rope". 3. This could be either "Our machines" or "All machines". 4. Studio version: "When you come to..."; live version: "When you get to...". ------------------------------ Date: Tue, 24 Oct 1995 00:03:36 -0500 To: John E Arnold From: gregdunn@indy.net (Greg Dunn) Subject: Re: Shareware John and others, I also got Email from Will Alexander; it kicked off a week-long conversation which was quite positive and interesting. The result was that I sent in a check for my possession of a transcription of "Tarkus", and replaced the copy of Keith's "Fugue" which I had uploaded to AOL some time ago. I added copyright and shareware info to the MIDI file and its accompanying documentation before uploading it again, which I am confident meets the spirit of Will's request. I too encourage the speedy payment of shareware fees to Keith; we all talk about "paying back" composers for their contribution to our music libraries; here's a great opportunity to put our money where our collective mouths have been :) -- | Greg Dunn | "Information is not knowledge; | | GregDunn@aol.com | knowledge is not wisdom; | | gregdunn@indy.net | wisdom is not truth." | | Greg@gdunn.nawc-ad-indy.navy.mil | -- Frank Zappa | [ Editor's Note: I've also sent in my check to cover the shareware for the few transcriptions I've been able to obtain and also encourage others to do the same. - John - ] ------------------------------ From: "Sandy Smith" Organization: The K. Pulaski Polonia Collegium To: arnold@iii.net Date: Thu, 19 Oct 1995 15:35:29 GMT+2 Subject: (Fwd) Davidians are very Nice [ Editor's Note: For historical context, this is about the Branch Davidians, a group that was involved in a standoff with the US ATF that resulted in the deaths of many. This isn't here to pass any judgment on that matter, just a bit of trivia and an anecdote to a historic incident. - John - ] John, My brother just sent this to me, and I thought I'd pass it along. I have no idea what to think of it... -Sandy Smith ------- Forwarded Message Follows ------- Date: Wed, 18 Oct 1995 21:37:01 -0500 (CDT) From: David N Smith To: Sandy Smith Subject: Davidians are very Nice I was watching this Frontline thing on the Davidian seige. They got to the point where they were playing music and other obnoxious crap at the Davidians. The Davidians retaliated by putting their speakers out and playing music back at them. What they played sounded familiar, and I finally figured out that it was "America, Second Amendment" by the Nice, off of Ars Longa Vita Brevis. Took me a while to figure out why they were playing that, then I thought about the name. I never did figure they were really into Prog Rock. [...] Dave. ------------------------------ Date: 02 Oct 95 21:04:04 EDT From: "Joseph M. Paslawski" <74552.3551@compuserve.com> To: Arnold Subject: The Future of ELP Fans... The future of ELP fans. Much has been written over the past couple of months about the history of the band, their current situation, and what might occur (or have occurred) in the future. I have not found any comments, however, on what the future of the fans (like us) might be. I have been thinking about this since September 9th, when I was in Heathrow airport in London waiting for a couple of hours for a flight. I bought a Times and looked in the entertainment section for some mention of the convention. I didn't find anything. I also did not find any ELP CDs for sale at the audio/video shops that line the gates. I consider myself a fan of the band. I was there for their glory years of the 70's, and in 1980s when the band was publically forgotten I still played their records and thought about the good old days. There were a few great moments; I was thrilled to see Greg and Carl together in Asia - but nothing came of that. ELPowell released a KILLER album, and tore the roof off the Meadowlands Arena - but that too was fleeting. They got back together and now their future is in doubt again. Because of the Digest I have met people like Mary Ann Burns and contacted Steve Plotczyk and David Terralavoro - true fans. It has been a great experience, and I have learned much more about the band than I could have ever possible done on my own. But the fact remains that the Digest is full of commentary about music which is approximately twenty years old. BM and ITHS have not been received all that well. We are all excited about Greg's King Biscuit CD - circa 1981. Even new releases by the Nice (getting on 30 years old) get us worked up. In my opinion, all this points to one thing. ELP created a new musical form, a keyboard oriented, classically influenced fusion which got under our skin and made us want more. For a while there was more - but now what do we do? I bought all the ELP on CD. My Refugee and UK albums badly needs replacing. I bought three Triumvirat CDs and haven't taken them out of my CD player for months. I want to learn more about Per Lingh. I muse over the Wakeman/Wetton/Bruford band that never happened. I want to hear a Moog melody line over some good old B3 with some bass and drums and a voice. The problem is, this form of music has not been commercially popular for some time. If you like guitar/bass/drums/shouting you are all set. The music I like is hard to find. So what do we do? First of all, I would like to know if other Digesters feel the same way. If so, I'd like to suggest that we continue to recommend ELPish music to each other. There are some references to Refugee and Triumvirat, but perhaps we can expand the base. I plan on checking out some new music and I will pass along the results. The best possible answer, of course, is for ELP to continue to record in their distinctive and wonderful musical format. I must say, however, that Keith's recent Keyboard magazine interview makes me wonder how possible that will be. It was disturbing to say the least. I nevertheless hope that all the problems are behind them and we can continue to enjoy the talents of some really great and exceptional musicians. Joe Paslawski ------------------------------ Date: Mon, 2 Oct 1995 12:10:16 +0100 From: ag03kg@lion.rbgkew.org.uk (Alan Ginman) To: arnold@iii.net Subject: Bjorn-Are's article in ELP digest, vol 5_21 At the risk of filling up your mailbox with another mini thesis, I think that Bjorn-Are's article in ELP digest, vol 5_21, is worth following up. He mentions the sociological factors in the 60s that permitted the rise of rock music.. These factors changed considerably after the 60's, influencing the type of music produced. The 60s were a period of rebellion, up to a carefully media manipulated point. The late 70s, 80s and 90s most definitely were not periods of rebellion. They were periods of hanging on to what you had got, in an increasing polarised society. In the late 60s/early 70s, there were two strands of popular music. There was straight , as exemplified by Top of the Pops in the UK and the top 20 singles charts. The other strand was what might be termed music, performed by people who rarely released singles or appeared on TOTP and, in the case of Led Zeppelin, never even gave interviews to the press. Those two strands exist now, the difference being that in those days, bands could be phenomenally successful following the underground route. To , or go commercial, would bring approbation down on the heads of any group who had committed this crime. music was looked down on from the lofty heights from which we underground fans viewed the world. Little did we know that it would be the teenyboppers who would inherit the earth. It became acceptable, if not essential to be commercial. People turned more and more to instantly accessible music, in the same way that they turned to instantly accessible food and instantly accessible culture in general. People wanted their highs and they wanted them now. Perhaps it was a continuation in other forms of the drug culture of the late 60s. Companies saw that there was no need to produce complex goods when consumers would happily accept trash, whether in their local MacDonalds or their record shop. And, of course, after a while, people wouldn't accept anything but trash. The disappearance, in the UK at least, of independent record shops was always going to contribute to this process. A chain store, with it's centralised purchasing policy will discriminate against the artist on the fringe. And so they edge further and further towards the fringe. Why bother promoting ELP when you can make more money selling the latest teenage wonders? In the UK, it is also not just that bands like ELP have become unfashionable, it has become positively fashionable to pour scorn on them. Two recent examples in the UK press: 1; A article about divorce, saying that the biggest problem when dividing up the couple's goods came when splitting up the record collection. The author's ex wife got the Mozart, he had to take the ELP . 2; A journalist writing about popular culture asserted that, given the choice, most people would rather play an old Gary Glitter record, than one by Gentle Giant. He was probably right. In a way, it is a measure of ELP's success that they are used as a paradigm of the early 70s prog rock scene. Looking at the prog bands that have survived into the 90s, why have they succeded? Genesis became more and more commercial. After Gabriel left it is difficult to justify the tag for them. Pink Floyd have survived, despite the and remarks from the press. They have, from Meddle onwards, played fairly gentle, unthreatening music. You could put it on as background music. To have survived, it has been necessary to become very commercial, or to play softly. ELP's attempts to be commercial have always met with a barrage of complaints from outsiders and from their fans. They are not gentle and they never will be. Imagine an ELP album as background music! Society has moved away from ELP and the only way they could catch up would be to totally compromise their musical principles. Would you want that? Society, certainly in the UK, has become more Conservative, and also more conservative. People don't want aggression in their music. Mick Jagger can still pump out Street Fighting Man because he has married top models and mixed with royalty and society knows that he doesn't really mean it. Punk was a final, desperate attempt to inject some balls back into rock music, but the lack of musical ability behind it, combined with the increase in consumerism meant that it died a rapid death. When you have a high standard of living, and society is very competitive, with high unemployment levels, you want stability, you do not want to listen to anyone rocking the boat. If, on the other hand, you were one of the increasing millions who didn't have jobs, well, you couldn't afford to buy records anyway, so you didn't count. It has been said that ELP were overtaken by punk. I think that what actually happened was that they were victims of the backlash AGAINST punk. ELP's music was strong and powerful and people didn't want that. So could ELP have continued being as popular as they were, and as Genesis and Pink Floyd are now? Certainly not playing music of the intensity that they have played until now. They would have had to have gone very commercial. It is difficult to imagine them doing that. So, given the above, I think that whatever albums they had had produced after say, BSS, they would have lost popularity. However, let's look through these albums. THE LATER ALBUMS WORKS 1 A subconcious preparation for the forthcoming split? Possibly not, side 4 aside, what the majority of their fans would have wanted, but a brave attempt at a push in a new direction. There was, at the time, a mini trend for the larger progressive groups to mix solo works with their group efforts, eg Fragile by Yes. ELP were never going to stand still, and where were they going to go after their previous albums? They were certainly not going to rehash old ideas, so they took a chance. The result was an album with a stunning diversity of musical styles. E rekindled his love affair with the orchestra, L developed his acoustic ballads, and P threw his hat into the ring with a side of his compositions. Only a quarter of the album was traditional ELP music, including a piece that marks the high point in their lyric writing. Pirates was, for me, a tour de force. It wasn't Tarkus or BSS, it was a move away from those pieces. The subtlety of the language in the lyrics is stunning. The theme had moved away from the science fiction of previous pieces, never to return. Overall, it was one of their most demanding albums for the listener, and an effort that left many of their fans behind. WORKS 2 Criticised as being a collection of B sides and tracks that they didn't know what to do with, it was actually never intended to be anything else. Although it is now the same price as their other single CDs, at the time, it was released at a budget price as a sort of bonus issue. Sure, the tracks were lightweight, but they were meant to be, and fun as well. ELP had been throwing in lightweight tracks for years. Maybe they overestimated their audience's sense of humour this time. LOVE BEACH In a way, this followed the direction started in Works 1, with E and L working seemingly separately, only collaborating on one track, with Peter Sinfield providing the link that held the group together just long enough to complete the album. It contains all the elements of an archetypal ELP album- a long piece (Memoirs); a classical adaptation (Canario, an imaginative choice of a piece by the Spanish composer Rodrigo); and various short pieces (unusually, all love songs, with the exception of The Gambler, an ELSinfield composition with strong lyrics). A much criticised album, by the fans because it wasn't what they expected, and by the critics because it was by ELP! By the very high standards they had set it did lack a certain something, but it was a step in a new direction and they were running out of new directions in which to go. Memoirs was another 20 minute musical story. Compared with previous efforts this would have to go down as a near miss, because of the awkward and naive lyrics. Perhaps if the group had stayed together longer they might have been sharpened up. They split soon after. Their time had come and, for the moment, gone. ELPOWELL Always included in lists of ELP albums. Personally, I think that if this is included, 3 should be as well. It is my least favourite of their albums. The lack of dynamics renders it, for me, monotonous. Written largely for the synthesizer, it only really comes alive on the later tracks when the piano is used more, adding more subtlety to the music. In terms of ELP's development it contributed little and their audience had already disappeared, for the reasons described above. BLACK MOON Comparable, in some ways, to their first album. It was a collection of short pieces, in keeping with the fact that they had just come together again. The power struggle between E and L had led to E and, presumably P, insisting on an outside producer, thus ending the internal control that had always previously existed. None the less, a powerful and varied piece of work resulted. The production sound truly was a product of the 90's, a bit of a blow for fans still in the 70's. In 1992 few truly progessive groups sold large numbers of records. ELP was no exception. The question after this album was, where would they go from here? Where they went was.. IN THE HOT SEAT This has been compared to Love Beach, and in one important sense this is true: Positive communication between E and L had again broken down to such an extent that they only collaborated on 3 out of 10 new pieces. Personal relations appear to have been appalling. With LB, the gaps were papered over by PS, who at least provided some continuity. On ITHS, 5 other writers were used, not counting Bob Dylan. E's arrangement of BD's song is somewhat reminiscent of Nazareth's version of The Ballad of Hollis Brown - black and mournful, with lots of bass. They also presented a new version of PAAE. In keeping with the times, it was a third of the length of the original, albeit in many ways more complicated. E created an orchestra with his synth, using the instrument with a new maturity, creating sounds that were appropriate to the piece, rather than making noises simply because it was possible to make them. It was very different from their original version and was very good, but it does seem an odd thing to have done. Claims that L didn't play guitar at all, or bass very much, and that E didn't play on one of L's tracks make it surprising that anything appeared at all. Keith Olsen was probably not the best choice of producer, but I can't see him offering to do it again. He must have aged 10 years. To describe it a GL solo album is to not look at accurately at the facts. L may have been part of a group who were not in accord with E, but this group must have included Olsen, Victory Records and probably P as well. Again, it failed to win back the fans, but then neither it, nor any other CD, however brilliant, could have done so. So what next? E, L and P's strongest work has always been as ELP, when E and L were able to work together to common aims. Only time will tell if this condition will be fulfilled again. Outside ELP, the most productive person has been P, who managed to slot in periods with another in between stints with ELP. His sorties from Tenerife have often been successful, even if they haven't allowed his drumming talents to shine as brightly as with ELP. L has just released a CD of a 13 year old concert, and his enormous talent has been lying fallow. E has just released a of BM, plus some other recycled, albeit good, music. An autobiography is in the works, plus other tapes from the vaults, plus more film scores. Whatever happens, certain things are clear: 1 ELP are not going to be filling any more stadiums. Future music will be done for a living wage and the love of the medium. 2 If they all stopped working today, the work they have produced will bear witness to their combined talents. Their influence on modern music has been tremendous. 3 Their willingness to take a chance and explore new avenues, everything from ballads to piano concerti via ragtime, should be applauded. It has made them what they are. Their refusal to spend the 80's producing rehashes of Tarkus and BSS does them credit. Alan ------------------------------ 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 6 Issue 1] *************************************