ELP Digest Monday, 10 November 1997 Volume 7 : Issue 21 The "Sunshine Pourin' Right Down Where You Lay" Edition incorporating the Greg Lake Birthday Edition Today's Topics: Nighthawks Winners will be announced in the next issue KBiscuit CD, Greg's Guitar/Christian thoughts ELP ON MONDAY NIGHT FOOTBALL Releases of old material Questions King Crimson Epitaph Listening Party ELP RESPONSE (NEW PROG) Carl Palmer Interview The Nice [ More Fan reviews and comments on the 1997 tour ] Re: Tour reflections from a UK traveller ELP in Argentina ELP concerts Just saw ELP at Wallingford, Connecitcut ELP at The State Theater, New Brunswick, NJ, September 8, 1997 Too Predictable? ELP 9/7/97 Oakdale Theater Wallingford,Ct. ELP @ Wolf Trap ELP at the Beacon Theatre; September 10, 1997 ELP Philadelphia 11.9.97 New Brunswick, N.J. Wolf Trap Concert 9/6 Prelude ======= Hello again. Another week in November, another ELP birthday. This time, our birthday wishes go out to Greg Lake. Hope you had a Happy Birthday, Greg. - John - ------------------------------------------------------------ From: John Arnold (arnold@reluctant.com) Date: Nov 10 Subject: Nighthawks Winners will be announced in the next issue Thanks to all of you who entered the "Nighthawks Giveaway" by the entry deadline (November 2, 1997). I'll announce the winners in the next edition of the ELP Digest. Also, thanks for your patience during the recent downtime of the ELP Digest web server. The ELP Digest web site was down for most of last Thursday and Friday but has been restarted now (Thanks Chris!). Also, I've been informed that the ELP Digest web site will be down for most of this Thursday (Nov. 13, 1997) while the machine gets an operating system upgrade. It should be back up shortly after the upgrade, however. Thanks for your support and your patience. - John - ------------------------------ From: TED SELINSKY <71623.3245@compuserve.com>, on 10/22/97 11:16 PM: Subject: KBiscuit CD, Greg's Guitar/Christian thoughts To: ELP digest First of all, I just purchased the King Biscuit CD. What a testament of this great band live! The way ELP was able to rearrange the music, so it would fit without the orchestra, shows how musically intelligent this band was, and evidences Emerson's interpretation/arrangement skills. "The Enemy God" is a great example of a strong arrangement, which supercedes even "Pictures" in it's intensity (particularly the Hammond movement). The older material from 1974 is very similar to "Welcome Back...". I have carefully listened and found that the two "Hoedown"'s from these two albums are the same. "Lucky Man" and "Still, You Turn Me On" are tearjerkers, and prove what an amazing musical force Greg is on his own, just with an acoustic guitar, and that amazing voice. KE9 is pretty good, my only exception is that Carl and Keith are out of sync during Greg's awesome electric guitar intro to the organ solo on 1st Imp.pt 2. I sure wish Greg played a bit more electric guitar, because Keith does a lot of the bass lines when he plays. Lake can really rip on that Les Paul, but he always plays a bit shy and restrained (Keith has confirmed electric 6-string fobia). The multimedia section is by contrast dissapointing. Why must all the interviews be from the "Welcome back" video, one of the most poorly produced docu-videos of all time? Whatever happened to all of that footage from the 70's, that passes by without sound on "Welcome Back"?I want to hear what the band had to say about their music back when it was a new phenomenon. Why must the live material be from the Royal Albert Hall concert, which is pretty lacking in comparison to their previous performances? Come on, you guys at Biscuit, it wasn't too hard to include the footage of "Tiger in a Spotlight" and "Watching Over You" instead. On a technical note, what type of flanging sound did Greg use for his electric guitar on KE9 and the studio "Lucky Man" solo? The distortion is superb (probably a FuzzFace). The flanging sounds like it could be a ring mod. Any ideas? Also,"Lucky Man" from Biscuit is played in an open tuning "DADAB#E" (same as "Take a Pebble"). Does anyone know if "Still, you turn me on" is played in standard tuning or open? Anyone know the chords, BTW? >How can anyone call the birth of Christ a "fairy story"- then state >that they have Christian faith? Not ot mention the blasphemus "We'll pull >Jesus from a hat get into that get into that" lyric... > ...a Christian would never sing such things - at least none that I know of. You're absolutely correct. I am a big Greg Lake fan, but he is joking if he can WRITE such lyrics as "Do you believe God makes you breathe - why did he loose 6 million Jews", and say he's a Christian. "The Only Way" is a true atheist credo (and Lake wrote the lyrics himself). Also, I saw how intensely he sang "Mass" from "Tarkus" last year on stage. He still means it, alright. What a shame, I really like the guy, but he's definitely an atheist. Of course, that's his choice, and that doesn't mean he's a bad guy. - George. ------------------------------ From: "R&L Kruger" , on 11/10/97 8:11 PM: Subject: ELP ON MONDAY NIGHT FOOTBALL To: "ELP DIGEST" Hey, does anyone remember ELP doing a Monday Night Football opening? If so what was the song? Were the lyrics altered? This has been bugging me for sometime! Did anyone get it on video? Let me know !!!! R.KRUGER [ Editor's Note: I think it was back around the time of Black Moon that ELP did a version of "Touch And Go" for Monday Night Football. I think I taped it but can't find the tape after a quick look. If I can find it in the next few weeks, I'll take a look and see if they changed the lyrics. (I think they did.) - John - ] ------------------------------ From: Mr A T Ginman , on 7/28/97 1:49 PM: Subject: Releases of old material To: elp-digest@reluctant.com 1997 seems to be a good year for fans of Greg. Both his "From the Beginning" and King Crimson's "Epitaph" show the greatness of his voice and vision, and contain even previously unreleased stuff! "Epitaph did also show what can be done to restore bad old tapes and bootlegs to make them pleasing for more than the most passionate fans. Go get it! I really hope both recordings will do both King Crimson, ELP and Greg a lot of good!' I personally don't think that they will do them any good at all. Fans of ELP will have all of the music on them anyway. The only people who are likely to buy them will be the completists, who must have everything, and ....well, who else? Neither Emerson nor Lake have enjoyed conspicuous success as solo artists, partly through lack of effort. Anyone who would buy a compilation would probably buy an ELP compilation. As a general principle, a rehash of old material plus a couple of tracks that weren't considered good enough to release first time around does not constitute a good album, and seldom draws in new fans. The only thing that would do either of them any good is a regular supply of new material plus live gigs. It is interesting that Bjorn-Are's wish list of albums does not even mention new material. The chances of getting anything new out of these guys is so remote as to be not worth considering. At least the Nice waited until they were no longer in existence before releasing their Elegy. Alan ------------------------------ From: Dave Gooding , on 7/30/97 3:29 PM: Subject: Questions To: elp-digest@reluctant.com John, I would firstly like to echo the sentiments expressed by other digest readers. After 13 years of ELP wilderness (1980-92), Black Moon and the 92 tour was like manna from heaven. But it still left me feeling relatively isolated in my hometown. Your digest has changed all that, its great to be in touch with like-minded connoisseurs. I thought that, as a contrast to all the tour reports coming in at present, I would put forward a couple of question, as the 'Zoukra' and 'Ribbon controller' issues seem to have been resolved. 1.) I was lucky enough to see the 1972 (Trilogy) tour and remember that the 'overture' prior to the first number (Hoedown) was Abaddon's Bolero. Whilst this number was playing (tape), at either side of the stage were two very large TV screens which displayed a succession of 'stills' . I can remember some of the images - e.g. some of the internal parts of the monster Moog and daffodils; but being only 14 at the time the gig that followed kinda erased my memory!! Does anyone remember what else this video footage contained ? 2.) On their 1974 tour (the 'eagle' emblem of which they have recently re-hashed for the 97 tour) ELP used a quadraphonic PA system to great effect. Hammonds rushing down the hall and the Moog panned across corners etc. Does anyone know why they subsequently dropped this sound system? I'm pretty sure that it wasn't used in 77/78 at Montreal etc. Have they ever used it since? Best wishes to all ELP fans Dave Gooding (Birmingham, England) ------------------------------ Subject: King Crimson Epitaph Listening Party From: kstober@attmail.com (Karen E Stober), on 8/19/97 7:29 AM: To: elp-digest@reluctant.com Hi all, My King Crimson Epitaph Listening Party review and photographs are on the Internet! They are on the King Crimson Elephant Talk pages. My photos and writeup are reachable in three different ways: http://www.cs.man.ac.uk/aig/staff/toby/et/etframe.htm click on "reviews" in the frame at the bottom then click on "King Crimson "Epitaph" Listening Party" New York City, April 26, 1997 by Karen Stober (You'll get to see the entire ET site this way) http://www.cs.man.ac.uk/aig/staff/toby/et/reviews/epitaph.htm (goes directly to my page) A big thanks to Dan Kirkdorffer, the Elephant Talk Webmeister, for this. There is another review and photos of the Listening Parties in London, at http://www.cs.man.ac.uk/aig/staff/toby/et/reviews/epitapha.htm, and New York City, http://www.cs.man.ac.uk/aig/staff/toby/et/reviews/epitaphb.htm, by Robert Cervero, too. Enjoy! Karen E. Stober home:karen1@mail.idt.net home page:http://idt.net/~karen1 ------------------------------ Subject: ELP RESPONSE (NEW PROG) From: "Martin Kornick" , on 9/9/97 3:16 PM: To: "ELP Digest" In response to the guy complaining about the new Prog bands... THERE'S NOTHING LIKE THE REAL THING! I couldn't agree more about the wave a new progressive bands coming out today. I was recently turned on to a bunch a video clips from all these new progressive bands from Sweden. Included were the best songs and best bands. I watched, I listened... I fell asleep!!!! These kids bought all the old keyboards & guitars and got the sound right. But where were the great songs? Where was the feeling? They were just doing a mediorce imitation! Nothing NEW, nothing FRESH! Just rip-offs of ELP, Crimson & Renaissance with 1/4 the talent. These kids just don't get it!!! We want new progressive, not an imatation, not a rip-off. Not a poor rip-off either! ELP, Yes , Krimson were originals! Each with an original sound & spirit! Each pioneers, creating a new sound for a new generation. (Marillion were a rip-off of old Genesis, but did it great with a lot of feeling and great songs!) What a disapointment it is to here these kids are trying to bring back progressive but are doing it all wrong! And they all looked SO SERIOUS!!! They need to try and do something fresh and new, yet still progressive. Not try to emulate what was already done. The New Yes Tracks from KTA were more modern & fresh and had more spirit!! Lets hope ELP can show them how it's really done on the upcoming new album next year!!! --MK ------------------------------ Subject: Per Lindh has never criticized ELP... From: , on 9/9/97 9:07 PM: To: nov@execpc.com Cc: elp-digest@reluctant.com Hi! I love ELP, and will always respect the music that made them famous. But like Yes, ELP are slowly being destroyed by record company executives that puts pressure on them to record radio friendly material. After all ITHS sounds more like Journey, Toto or Europe than ELPs progressive material. Even ELP admits that that album was a letdown to the fans. Now they promise to be more progressive again with the next album. Lets hope they dont compromize again. Per Lindh is indeed a ELP-clone and the music hardly innovative but its better with ELP-clones than Nirvana-clones that has been dominating the rock world for the last 5 years. Death to grunge. Whats wrong with a keyboardist being influenced by his hero anyway? Guitarist never hide their influences. Moreover, Per Lindh Project live is extremely good. Per has been working as a classical keyboardist for many years and it really shows in the performance and the band is more fierce than on record. Love to all ELP fans, Mats ------------------------------ Subject: Carl Palmer Interview From: mglnsky@magicnet.net (Mark Glinsky), on 9/9/97 9:07 PM: To: elp-digest@reluctant.com Very good Carl Palmer interview, sounds like lots of great things to look forward to. One thing in particular he mentioned I found a little ironic, << I wanted the concept to be "The Men In The Long Black Coats", and it would be based on this Bob Dylan piece of music that we really liked.>> Just think if they had stuck with this, it might have been a great soundtrack for the movie "Men in Black"! They should have stuck to their guns, they were just ahead of their time, as usual...... ___________________________________________________ Mark Glinsky -Orlando, FL Email: mglnsky@magicnet.net ELP Page: http://www.magicnet.net/~mglnsky/msg5.html ----------------------------------------------------------------------------- ------------------------------ Subject: The Nice From: andy tillison , on 8/5/97 11:31 AM: To: arnold@reluctant.com Hi, Leeds based progressive rock band "Parallel or Ninety Degrees" have recorded 3 versions of songs by the Nice throughout the years, these include the "Thoughts of Emerlist Davjack", "America", and the latest one "Flower King Of Flies" is to be a bonus track on their new album "Afterlifecycle". The Band have a website at http://www.deltamonsoon.demon.co.uk where there is a page dealing with the Nice as well. Could you provide a link perhaps?? Thanks. Andy [ Editor's Note: I added a link to this site from the "Other Bands Influenced by ELP" page on the ELP Digest web site. - John - ] ------------------------------ Subject: Re: Tour reflections from a UK traveller From: Peter Wilton , on 8/18/97 10:44 PM: To: Bryan Roberts Cc: "'elp'" In message , Bryan Roberts writes > Onto more positive notes, the gig at the Paradiso was a great journey into > nostalgia that was also tinged with a rather sad realisation that my > teenage heroes and their music may be approaching their 'sell by' date. > Save for some moments of real musical brilliance (Bitches Crystal > sounded like the ELP of the past - sophisticated arrangement, brilliant > drumming, power and pace) the actual tempo of most of the songs appeared > to have slowed down and were played at a crawling rather than stomping > pace. Is that necessarily worse? >The Tarkus rendition was painfully slow and seemed to be played at > about two-thirds the pace of the Albert Hall concert a few years ago. Tarkus is rhythmically sophisticated. Eruption in particular has always been blurred by the tempo adopted in live performances. > In addition, ELP has a BIG sound that is best suited to big venues - at > the 1000 seater Paradiso, the sight of Keith Emerson struggling to swivel > his hammond in a stage space where you couldn't really swing a cat was > really quite sad. I've just finished reading Macan's Rocking the Classics, in which he affirms what I have always suspected, that progressive rock died through ceasing to be the music of a particular subculture. Keith Emerson's earliest music with the Nice was performed in small clubs from 1966-70, and he would have rubbed shoulders with the fans as a matter of course. Yet - his act at that time was much more "mobile" than his later act with ELP. No doubt light shows were not a part of that act either! >The sound also appeared to be compressed and poorly > mixed - I couldn't hear much of Keith's playing but on the other hand the > drums were overpowering. There I agree entirely. That's been a problem with each of the two performances I've heard, and a colleague of mine who saw the Nice said it was also a problem then! -- Peter Wilton The Gregorian Association Web Page: http://www.beaufort.demon.co.uk/chant.htm ------------------------------ Subject: ELP in Argentina From: "German Buela" , on 8/24/97 3:22 AM: To: elp-digest@reluctant.com Hi everyone, I've been to their first Buenos Aires date and they were wonderful. They had come here before, back in 1993 when they were touring for Black Moon. This time I was surprised to find only classics, nothing from the last studio albums. They opened with Karn Evil 9, a piece that I've always wanted to hear live. And it was great to get King Crimson's "21st Century Schizoid Man" on the second encore! Carl told the audience (in a nearly perfect Spanish) that Greg was having some throat difficulties. He was supposed to be having a cold. We could really not tell, he was singing just fine! Anyway, you know the guys are on perfect shape. Just wanted to share this with you all. German - Buenos Aires http://www.geocities.com/SunsetStrip/Club/2240 ------------------------------ Subject: ELP concerts From: Andrew Weir , on 8/30/97 9:17 PM: To: John Arnold Dear John Many thanks once again for the continuing supply of ELP Digests - they are read assiduously from top to bottom. It has been intriguing to read of the experiences of other ELP veterans in diverse countries; perhaps I could pass on my own to you. If you wish to print any or all of my prose you are welcome to do so, but I will understand if you prefer not to. I went to Hamburg (via London) from New Zealand for the July 12 concert - a marathon of 25 hours flying, plus waiting for an aircraft in Hong Kong. Firstly, I was intrigued by the promoter's choice of venue ('Grosse Freiheit 36') and its milieu (the Reeperbahn): a sweaty rock club in the heart (organ of choice?) of the red light district. Actually, it could have been a vermilion light. My senses were preoccupied with the smell of Hamburg's diabolical drainage system failing to cope with the northern hemisphere summer. Jane Armstrong's very readable account of the concert proper [ELP Digest 7-16] persuasively conjures up the atmosphere of the club setting and the performance. I enjoyed the concert very much (my first glimpse of ELP in action), and had rather hoped to meet the group in person to 'pay my respects' briefly after 26 years of listening pleasure, but unfortunately this was not to be, in spite of the group being told of the presence of a contingent of people from abroad. A fleeting handshake from Greg Lake in some miasmic alleyway at the back of the club, and Carl Palmer (the group's diplomat) insisting on signing a poster 'for the guy from New Zealand' for an English friend of mine, was as close as I got to meeting the group. Or is this perhaps what is meant by 'meeting the group'? I dunno, as the saying goes. Keith Emerson, one of the few living musicians I would bother travelling from my stereo to the front door to hear in person, was nowhere to be seen. As I live some 20,000+ km from Germany and had spent a very considerable sum of money to get to the show (ELP concerts not figuring prominently in the South Pacific), I found this rather disappointing, to say the least. Do you ever hear tell of similar cases of casual public relations on the part of ELP? The accounts from your US subscribers seem to speak in glowing terms of the band's friendliness towards its followers on North American soil. At a stage of their careers when they are perhaps not always required to play before tens of thousands in an Olympic stadium, and when they are recapitulating material at least 4 (if not 24) years fresh, these musicians cannot spare even 60 seconds to say 'hello' in person to their much-travelled admirers from distant countries. I know this observation applies to numbers of people from the UK, surprised and disappointed at their omission from the tour itinerary. Frankly, I don't think this group deserves its loyal following. Emerson, Lake and Palmer no longer need to feel flattered or self-conscious when presented with an audience; we are (all of us) too sere and grey for that. Nothing more dramatic than common courtesy is at issue. That, and our self-respect. Best wishes Dr Andrew Weir (New Zealand) [John, this epistle is not meant in any way to reflect on you or your publication!!! It ain't personal, fer gosh sakes. But someone has to say these things...] ------------------------------ Subject: Just saw ELP at Wallingford, Connecitcut From: Paul Cascio , on 9/9/97 8:49 AM: To: elp-digest@reluctant.com As difficult as it is for me to criticize ELP, I was very disappointed in their concert. I've seen them live at least 12 times and this was the only time I've ever left feeling disappointed. I was wondering if anyone was at Oakdale and felt the same way. I felt as if I was at a Dave Brubeck concert. It was lifeless. Also, it would be helpful if Keith and Carl were not position so far from Greg. Tighten it up a little. In their defense they seemed exhausted. Greg may have been a little hoarse too. It wasn't that they didn't care, they just seemed tired. Carl's drum solo is excluded from this observation. It was great. Unfortunately, Carl's solo should never be the high point of an ELP concert. Also, it's time for Keith to put Creole Dance to pasture. Surely he can find something else (how about a solo version of Toccata?) to show his skills. On the positive side, was an extended version of Honky Train, most of Tarkus, though I wish it had been the last half for once, and two encores. Finally I agree with those who say ELP should add a little multimedia to the stage, but I'd settle for them standing close enough together that I could focus on Keith and Carl simultaneously. Paul Cascio Burlington, CT pcascio@connix.com ------------------------------ Subject: ELP at The State Theater, New Brunswick, NJ, September 8, 1997 From: "Stober, Karen E, NITS" , on 9/9/97 3:23 PM: To: "'Arnold, John (Digest)'" ELP at The State Theater, New Brunswick, NJ, September 8, 1997 by Karen Elizabeth Stober One word sums it up...well, two: INCREDIBLE!!!! LOUD!!!! The State Theater in New Brunswick, NJ is a small place in "my backyard". Cozy and crowded, I was in the front row directly in front of Keith, and I had my photopass. The opening music was a very famous Can-Can, the name escapes me, but Shop-Rite Grocery Stores here in the USA uses it for their Can-Can sale. The closing was "Glorietta", from Keith's Christmas Album. Warning: bring earplugs. Keith is looking older and wiser, in his smart grey pinstripe suit, pocket watch chain dangling. Greg was looking much better than he did when I last saw him on April 26, at the King Crimson Epitaph Listening party. He looked much thinner in his black leather. Carl, in black, was flashy and athletic, biceps bulging for the adoring (female) audience. There are no programs this tour. Just a wide selection of T-shirts, a golf shirt, hats, pins (same as 1996 Tour) and Tarkus keychains. Cash only. Carl had the same drumset he used on the 1996 tour but it had more electronics added. I think they are called Trap Kats. He may have had the bongos set up in the back of the set. He had some effect that when he hit the cymbal it gave a shivering sound. Greg had an echo on his voice at one point. Greg did not have an electric guitar but played on his bronze wooden electric bass and the golden acoustic guitar the was in the "Welcome Back" video. Keith had the Modular Moog, his Goff Professional and a midiied Gem Grand. Here's the songlist: Karn Evil 9 ("Welcome Back My Friends...") Tiger In A Spotlight Hoedown (with ribbon-controller pyrotechnics) From The Beginning Bitches Crystal Touch & Go Lucky Man (Keith did not use the Modular Moog for this) Creole Dance Honk Tonk Train Blues Take A Pebble Tarkus Pictures At An Exhibition Fanfare For The Common Man (first encore) Rondo (first encore) America (second encore) 21st Century Schizoid Man (second encore) Carl's solo was very flashy. All kinds of twirls with his sticks, throwing them, tossing the brushes for the gongs around. They are big batons with large, barrel shaped fuzzy ends. Yes, he took his shirt off. I got a shot of it --- close up. Dream on, ladies :-)). Lots of clowning around and good natured fun by the boys. All were in fine spirits and clearly enjoyed themselves, translating this to the audience. Wonderful improv in many pieces, especially "Take A Pebble". I'm a trumpet player, not a keyboardist, so I shall not analyze Keith's playing. Spunky, his hands dancing over his keyboards like a young colt in a dewy pasture welcomes a new day, streeeeeetching for the pedals, smiling, bending, smiling all the time. After stabbing the poor organ, he runs over to the Grand, throws the top down, climbs on top of it and plays upside down! Carl and Greg are laughing, as was the audience. Greg kept the beat and Carl twirled his sticks, cymbals shimmering with his reflection, and that of the lights. All three shook our hands and were dripping with sweat. Fans here went crazy. The guy next to me got Greg's autograph and then wiped it on Greg's sweat on the floor. Yech! Another fan created a poster requesting three songs, "Changing States", "The Sheriff", and "Benny The Bouncer", and slid it towards Keith. So many people met so many that were only known by email and snail mail. We were one, a network. A solid two hour show with two encores. The few effects were a dry ice fog (has a very dry, dusty aroma) and simple lighting. The ELP lightbulb logo shown in translucent white against a starfield of changing colors above the band the entire show. Lots of yellow and reddish background lighting. The starfield alternated between fuschia and royal blue most often. After the show I had three shots remaining on my film so I used them up shooting the marquee poster. A man approached me, asking who I worked for. I said no one, I just do this for fun. "Do you need a photographer or an artist?" I asked. He told me about the rocker he is a friend of. "I saw that band at the Jersey Jam in 1978!" He said Frank's getting a new band together and it hasn't been easy. I said if you need a photographer/artist I'd be happy to do it, and gave him my flyer. And the name of the band? Frank Marino and Mahagony Rush. Karen Elizabeth Stober September 9, 1997 home: karen1@mail.idt.net work: kstober@ems.att.com home page: http://idt.net/~karen1/ ------------------------------ Subject: Too Predictable? From: Paul Karam , on 9/9/97 10:29 PM: To: elp-digest-web@reluctant.com John, I rushed down to the show last night in New Brunswick, NJ. To my surprise, there were tickets still available (why?). ELP remains a VERY HOT band live and I believe no musician can entertain better than Keith. As a veteran of more shows than I can count, the show last night musically stands up to any in the past. Keith seems to be playing better than ever. The keyboards' sound quality was absolutely dynamite. Carl and Greg still very much hold their own. Now the bad news. The set is too predictable. Do we need to hear Pictures At An Exhibition, Lucky Man, Fanfare for the Common Man, Rondo, America at EVERY show? Every tour? Even when Keith sits at the piano. Do we need MIDI effects on the piano? Where is the clean Steinway sound? Creole Dances has been play at almost every ELP/Powell show since 1986. More than ten years! I think we were treated to Dreamrunner with the Robert Berry trio. But that's about it! I think the boys need to mix up the show a bit. Keith should label his piano solo as 'mystery mix' and stir up a few of his many masterpieces totally spontaneously. Do we remember Fugue, Piano Concerto, 2nd Impression, Piano Tarkus (see video), Piano Improvisations, Barbarian, Hello Sailor, Ginastera's Tocatta, Memoirs of An Officer and Gentleman (give it another listen), Barrelouse Shakedown, etc, etc? The repetoire is huge. As for the band, how about more Brain Salad Surgery? Jerusalem/Tocatta/KE9 1st Impression part 1, 2nd/3rd Impression? This represents ELP at the peak of the entire music universe. Trilogy? Endless Enigma? The Score? Great stuff! I believe the fans deserve this after 25 years of supporting the band. I am sure it would be refreshing even for the boys. Do others share my thoughts? Despite all this, go see the show and bring all your friends. Paul Karam paulkaram@worldnet.att.net ------------------------------ Subject: ELP 9/7/97 Oakdale Theater Wallingford,Ct. From: "Steven" , on 9/10/97 12:01 AM: To: Dear John, When tickets went on sale for the show that never ends I was ecstatic.9/7 happens to be our 18th wedding anniversary. What a great present. We were extremely lucky to get invited to a sound check party before the show and finally got to meet Keith,Greg And Carl. We brought along our 11 year old son to his first concert. We got to the theater early and had to wait around awhile, fortunately refreshments were provided. There were about 40 of us invited for the sound check,after giving us our ELP VIP passes it was on to the front row.ELP said hello and proceeded to play about 1/2 of Lucky Man,Knife Edge and Touch and Go. It sounded great.Carl came over and kidded with the sound guy's about the drums not being loud enough. They seemed to be in great spirits.We took pictures,got our passes signed,Keith and Greg signed my Atlantic years CD cover and some photo's I had from the 78 tour. When Greg handed back my sons pass along with it came his guitar pick. What a thrill, What a thrill. I asked Keith about his arm and he said "feel's great how did it sound?". After seeing the band 9 times in the past (every tour since 74)it was wonderful to finally meet them.Then it was back to the lobby to await the start of the show.I was able to talk with Will Alexander out there and I asked him about the new grand piano. He said he's now using an all digital Gem. We were sitting about 20 row's back, center in front of the sound board. Welcome back my friend's to the show that never ends Ladies and gentlemen Emerson,Lake&Palmer.The show started with Karn Evil 9 2nd Impression Played in full. Haven't heard the whole thing in 20 years. It was marvelous. Then Tiger in a spotlight followed by Hoedown.The boys were in tremendous form.Touch and Go was next followed by From the Beginning. My wife thought Greg sounded wonderful as did the whole audience I'm sure. Then a rousing edition of Knife Edge followed by Bitches Crystal. Keith's solo was next featuring Creole dance.Then Honky Tonk Blues followed by my personal favorite of the night Take a Pebble which sounded so good I cannot put it in words.Lucky Man was next .Keiths moog vibrated the house. Tarkus was played next leading into Pictures.The Great Gates of Kiev were handled by Greg with no problem. The 2 encores included Fanfare, Rondo, Carls solo which featured a cool sounding tambourine. 21st Century Schizoid Man and America. Can Keith really be 53. How he plays around with the old Hammond is a sight to behold. The show lasted about 2 hours with only 1 technical mishap involving the bass guitar at the end of Knife Edge which was quickly fixed. All in all it was one of the best ELP concerts I have ever seen and I hope to catch them again on this tour. My son will probably always expect to meet the band have free refreshments and sit in front at concerts. Good luck buddy! Steve Reid ------------------------------ Subject: ELP @ Wolf Trap From: "Charles Scott" , on 9/10/97 4:15 PM: To: Had to write and tell you what a wonderful experience my wife and I had traveling to see ELP perform at Wolf Trap. If there is a better venue acoustic-wise I have never been there. The sound was balanced almost anywhere you went - unlike Atlanta where, unless you were dead center it was off considerably. The evening started with a tribute to Di with flowers center stage and greg lake, off stage, asking for 60 seconds of silence after which the begining of the forth movement of Saint-Saens "Organ" symphony shook the assembly. Words can not describe the feeling that accompanied this moment. The band came onstage and blew out a candle that was with the florial arrangement and, right after the part where the organ picks up the melody of this beautilful piece, the opening of "Welcome Back" began as the guys took there places and put on a kick ass show that followed the same song list as last reported in the digest. "Pictures" was just awsome - Lake really was strong on this after a struggle with "Pebble" earlier on. What a SHOW! Once again, thanks to your internet page I have had the wonderful opportunity to see ELP live twice this year. Thanks you John. Sincerely, Charles Scott email: robbins@gate.net or: tarkus@gate.net ------------------------------ Subject: ELP at the Beacon Theatre; September 10, 1997 From: Frank Sonnenberg , on 9/11/97 12:21 PM: To: elp-digest@reluctant.com John, Here is a brief review of the Sept 10 ELP concert at the Beacon Theatre. Since other reviews will undoubtedly report the details of the set list (I haven't read them yet) I will just present some personal observations. I attended the concert with a high school friend of mine. She and I had both seen ELP for the first time at the same concert in June, 1972 in Wooster, Ohio. I couldn't believe we were sitting there 25 years later watching them again. The Beacon Theatre is in the heart of New York's Broadway theater district and is a traffic and parking nightmare. Just before 8PM, we turned onto the street that (as it turned out) had the stage entrance and were alarmed to see a crowd of people leaving the tour bus and entering the theater. Every parking lot in the vicinity was full and we ended up parking far from the theater and walking back. After last year's tour when the banded started exactly on time in every venue, we thought for sure we would miss the beginning of the concert. We arrived at the theater at 8:20PM (it seemed like hours later) and by some miracle, the band hadn't come on yet. We were just sitting down in our seats when the boys came out. We didn't miss a thing! For the first time in my life, I had really great seats; sixth row, left center, right between Keith and Greg! The first surprise was that, for the first time that I've seen ELP, they opened with Karn Evil 9 Part II instead of Hoedown. They did "Take a Pebble" with a wonderful Jazz improvisation in the middle. When they performed "Lucky Man", Keith played the synthesizer solo at the end so it sounded exactly like on the album (with the added enhancement of sub-sonic bass). I appreciated that because I don't think the original album version can be improved upon. I like it much better than the variations Keith has played in concert over the years. Tarkus was combined in a medley with the end of Pictures, played in the style of the new studio version on ROTM. After last year's abbreviated show, it was an enormous pleasure to have the band play TWO encores. The first was "Fanfare for the Common Man"/"Rondo". Emerson broke with tradition by playing Rondo on his C3 organ. I kept looking for the L100 (it seemed to be under a cover at the back of the stage). Carl played a solo in the middle of Rondo that rivals any I've ever seen him play and then the band returned. Sure enough, Keith took the cover off the L100 and dragged the poor beast to the front of the stage for its nightly dose of abuse. Unfortunately, this time, he killed it. When he leaped over it, and lay down on his back, the spinet was silent. Keith held up his hands toward the stage crew as if to say "Well?". Then, without missing a beat, he stood up, leapt up to the top of the grand piano and played Tocatta and Fugue on the synthesizer (backwards to the keyboard as usual), first squatting, then lying down on the piano. The L100 was dragged offstage, presumably to Goff Professional to be repaired or to be used as firewood. The second encore was "21st Century Schizoid Man"/"America". The total playing time was almost exactly 2 hours. I would have stayed for 4. The band played superbly well. As has been pointed out numerous times, Greg's voice was clear and strong; in top form. Keith seemed to have no trouble at all with his hands. The atmosphere at the concert was unbelievably warm and joyful. The audience stood for the final number and througout both encores. At the end, the band walked to the front of the stage and made eye contact with as many audience members as possible. Greg, especially seemed genuinely touched by the audience's response and when he said "Thank you", you could tell he really meant it. At the very end, a member of the audience handed Greg a sign that said "ELP - still better than sex!". Greg carried it with him offstage. -- Frank Sonnenberg ============================================================================= Frank A. Sonnenberg, MD Voice: 732-235-7112 Medical Director of Clinical Information Systems Fax: 732-235-7144 University Medical Group UMDNJ Robert Wood Johnson Medical School Internet: sonnenbe@umdnj.edu Clinical Academic Building, Rm 2312 125 Paterson Street New Brunswick, NJ 08903 ============================================================================= ------------------------------ Subject: ELP Philadelphia 11.9.97 From: Timothy M Holmes , on 9/12/97 10:08 AM: To: elp-digest@reluctant.com The last time I saw ELP was at the London RAH from the edge of the Gods. I could see the entire stage but somehow envied the guys down at the stage edge especially during the encore when it seemed the whole of the stalls got to party on down during the Fanfare encore. There was no such party at the Tower Theatre, Philadelphia this time however, but this was down to the proximity of the front row to the edge of the stage and a well behaved and restrained crowd (I thought it was supposed to be the other way around)! This time around got within 5 rows from the stage right, in front of the keyboard player, whoever he was. The leather kecks looked familiar. The set list was the same as reported elsewhere which I won't repeat but there were a couple of things I noticed of interest. First off was KE's simplified kit. These were a midi grand, the Moog, the GX-1 and a couple of synths for KE, I couldn't tell if GL had a carpet there though... As there was no warm-up act (apart from some local DJ reading off a crumpled piece of paper, and a taped rendition of Vidor's Toccata - I'd love to see ELP play this tune live!) we were immediately launched into KE9/1pt2. The immediate sense of 'pinch me I must be dreaming' and other senses of disbelief were soon quelled. I suspect its already been noted that KE now seems to play with only the first three fingers of his right hand, not that this affected his performance too much. The other thing I noticed was that the guys didn't really smile much until the show was about 3/4 complete - which was fine by me, the music was good and they were demonstrating the professionalism. It wasn't until Lucky Man when the keyboard bass reached the resonant frequency of the hall and managed to dislodge 'a load of crap' (KE's words) from the ceiling onto his keyboards that the group started to really appear to enjoy themselves. I had this horrible feeling that they might make some kind of dedication to Dodi Fayhed but fortunately they didn't... Tarkus included an interesting piano arrangement. Perhaps this piece could become a new Piano Concerto No. 2 :-) There was more of a Jazz feel to this gig than the bombastic RAH concert. Take a Pebble, Honky Tonk Train Blues, Tiger in a Spotlight, >From the Beginning and even Bitches Crystal gave it a more relaxed feel. During the encore. KE dragged out his Organ for its usual harsh treatment (ignoring the usual double entendre) but unfortunately this time one of the keys on the upper manual broke. So instead he closed the lid of the Grand, leapt on top, and played Toccata and Fugue facing his keyboard from behind. At one point I wondered if he was going to dive onto his Organ ! The advantage of this was that everyone could see what he was doing, as opposed to just those in the front stalls. This was followed by a CP drum solo, which he obviously enjoyed - as we did, then 21st Century Schizoid man and America. Ironically whenever I've seen ELP play Knife Edge (which they did earlier on) they make some comment about being nostalgic, from 1970 being for ELP veterans etc. but hang on a tick there was nothing much from the entire set which dated from after 1975 (only Touch and Go and Creole Dance was more recent). At the end of the show the band were laughing at last, with some interesting improvisations to America causing genuine amusement. I can't wait to hear the promised new material; I do hope ELP get it right next album and that much of Carls reported ideas reach fruition - and most of all they TOUR THE UK! Tim. ------------------------------ Subject: New Brunswick, N.J. From: DAN@ELIZPL.ORG, on 9/12/97 12:07 PM: To: ELP-DIGEST@RELUCTANT.COM From the desk of the usually critical ELP fan...... I attended the show at the State theatre in New Brunswick N.J. on the 8th of September and I have just a couple small things to say. Let me begin by saying that I have seen ELP like five times before, including the Works tour twice and EL&Powell. So I wasn't expecting a whole lot, just a good time. But, our seats were great, about 25 feet from the stage, and it is a small and cozy place. Then the mix was great. Then the set list was great. Then the performance was great. I loved hearing Bitches Crystal live. It was also very good to hear From The Beginning, and Lucky Man as band performances and not solo Greg. (not that theres anything wrong with that) All in all, it was the best ELP show I had ever been to. But theres more! Being that we parked in the lot behind the theatre, pretty close to the tour buses, after the show we decided to wait a little while by the theatre doors. About ten or twelve people had gathered and we all small talked until the boys came out and very cordially signed autographs and chit chatted on their way to the bus. They were all very friendly, and signed everybodies stuff, including my one dollar bill! It was a night I will never forget! Also, about these Greg rumours....they are not true.. Greg looked great and sounded even better..very strong. I never saw Keith rub his arm even once during the show. In fact, someone asked him afterwards "hows your arm Keith?" and he said, "well, how did it sound?", to which we all answered with a resounding "great!"......... It seems to me that ELP are now more aware of their fans and more aware of what these fans want. I know that this digest has played a large part in that role, so Thank You to John Arnold, ELP for a great show, and to my brother Keith who was there to share the greatest memory of my concert going experience... Still Smiling, Dan Conrad ------------------------------ Subject: Wolf Trap Concert 9/6 From: Doug Otte , on 9/12/97 10:43 PM: To: elp-digest@reluctant.com I had the great honor & pleasure to see ELP at Wolf Trap in Virginia. This was the 1st concert of this USA leg of the tour. I'm usually a stoic guy, but ELP ARE BACK! I have seen them 5 times: '74, '77, '92, '96 & now. With this tour, I feel they have returned to the full energy & power that they had in '74. As we entered, a huge bouquet of flowers sat center stage. GL announced over the PA that there would be one minute of silence in honor of Princess Diana (that day was her funeral). I've never experienced complete silence for 60 seconds whilst sitting in the midst of thousands of people. The setlist was as described before. All old stuff, but performed with such power! KE's arm no longer seems to bother him (I saw him shake it once, near the beginning of the show). He used synth voices in a tasteful & fresh manner. I felt so much better about his playing. Last year, I had anxiety that he might lose it altogether (he didn't, but he had trouble keeping control). GL & CP were in top form, as last year. The set was a nice balance of frightening electronics, haunting acoustic work (especially Creole Dance & Take a Pebble), boogie, Rock 'n' Roll, etc. KE used the Big Moog twice: Hoedown & Fanfare (Copland=Big Moog?). Being a 39-year old man, I haven't been this excited at a concert for many years. I'm eagerly anticipating the new material next year! ------------------------------ Digest subscrition, mailing address, and administrative stuff to: elp-digest-request@reluctant.com ELP-related info that you want to put in the digest to: elp-digest@reluctant.com Back issues are available from the ELP Digest web site: 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 7 Issue 21] *************************************