ELP Digest Monday, 19 February 1996
Volume 6 : Issue 3
The "Light a Lover's Fire" Edition
Today's Topics:
New ELP sheet music book is out
ELP sheet music
Need Sheet Music for "The Score" From Emerson Lake & Powell
Karn-evil 9
oncert Video Please!!!!
information (about lyrics)
EP-Videos available in Germany
Copy of letter to WIll Alexander re: music, .MID files
DISCOGRAPHY!
EL & Powell
-string bass
Emerson Surgery Controversy.
How Is This Done?
ELP FAQ
Carl Palmer interview
Valentine's Day letter in support of Greg Lake
Prelude
=======
Hi! This was to have been the Valentine's Day edition. But troubles getting
a stable connection to my Internet service provider put the damper on
that. So, here it is... Better late than never, I hope.
Big news in this edition is the arrival of a new ELP sheet music book and a
translation of a Cral Palmer interview from an Italian publication from the
"In the Hot Seat" era where Carl talks about his drumming, the making of
ItHS, Keith Olsen, etc. Pretty good stuff!
I'll try to resume a weekly schedule until I finally tame the wild backlog.
- John -
------------------------------------------------------------
Date: 09 Feb 96 09:58:40 EST
From: "Plotczyk, Steve" <PLOTCZYK@fssi.mhs.compuserve.com>
To: John E Arnold <arnold@iii.net>
Subject: New ELP sheet music book is out
New ELP sheet music book is out!
My good friend Pete Ford was at a music store last week browsing through
the music racks when he happened upon, of all things, a new ELP sheet
music book! It's called "Emerson Lake & Palmer - Greatest Hits" with the
ELP round insignia in fire in the middle of the page. The tunes in it
are:
C'est La Vie
Still... You Turn Me On -different from Anthology book
The Endless Enigma part 1 -same as ELP book
The Endless Enigma part 2 -same as ELP book
From The Beginning -different from Manticore Music version
Take A Pebble -same as ELP book
I Believe In Father Christmas -different from Manticore Music version
Lucky Man -different from Anthology book
Trilogy -same as ELP book
Karn Evil 9 1st Impression part 2
Any sheet music store should be able to get:
Emerson Lake & Palmer
Greatest Hits
Amsco Publications
AM 934494
The USA distributor is:
Music Sales Corporation
257 Park Avenue South
New York NY 10010
The England distributor is:
Music Sales Limited
8/9 Frith Street
London W1V 5TZ
The Australia distributor is:
Music Sales Pty. Limited
120 Rothschild Avenue
Rosebery NSW 2018
The USA retail price is $14.95.
Pete had some comments about Karn Evil 9 1st Impression part 2:
Karn Evil 9 is surprisingly complete; it wasn't truncated too much from
the original, but there are some notational errors: the sample and hold
on E-flat instead of A-flat; some G-flat chords used intead of B chords,
and on the last page a D(flat5, no 3rd) has an A natural instead of an
A-flat. But hey, who's complaining? All in all they've done a pretty
good job of transferring this awesome music to piano.
My hope is that this is only the beginning of many sheet music books to
come! Many thanks to the people who brought this book to market.
Steve Plotczyk <plotczyk@fssi.mhs.compuserve.com>
------------------------------
From: KGreene173@aol.com
Date: Fri, 2 Feb 1996 15:33:14 -0500
To: arnold@iii.net
Subject: ELP sheet music
You probably know by now, but a book of ELP songs has just been published by
AMSCO Publications, entitled "ELP Greatest Hits." It has a lot of stuff
previously published, but long out of print. And a rather unfortunate
hack-job on KE9 1st Imp. (Pt.2)
The publication # (ISBN??) is AM 934494. No idea if this publisher has a
Website.
[ Editor's note: I see there is a difference of opinion on the quality of the
Karn Evil 9 music. I guess we'll have to wait until more of
us have copies to form a consensus. - John - ]
------------------------------
Date: Sun, 04 Feb 1996 14:50:33 -0800
From: bobg@freenet.scri.fsu.edu
Subject: Need Sheet Music for "The Score" From Emerson Lake & Powell
I am a senior in high school in Tallahassee, Florida and I plan
to do a recital at my school. In this recital, I plan to perform music
that I have written and music from other artists that have influenced my
writing over the past 5 years. One of those groups of artists is ELP. I
have decided to begin my "concert" with an ELP song called "The Score,"
which is from the Emerson Lake & Powell album. However, after carefully
listening to the piece, I have concluded that I will need to use the
sheet music to be able to play the song. But, there is one problem: I
haven't been able to find it. I have searched for weeks, trying to find
the sheet music of the song or even the book itself of the album Emerson
Lake & Powell, but to no avail. So, I am asking you if you have any
information as to how I can obtain the sheet music of "The Score" or the
fake book of the album Emerson Lake & Powell. If you know of anyplace
else where I can possibly order the sheet music or the book, I will
greatly appreciate it. Thank you for your time.
Tony Giordano
[ Editor's Note: Tony may not be an ELP Digest subscriber since he's used a
friend's account to send me his request via the web.
Therefore, if you reply, please reply to him at the email
address at thetop of his message as well as sending me a
copy for the Digest. Thanks! - John - ]
------------------------------
Date: Thu, 26 Oct 95 15:29:32 -0400
Sender: rporcari@acsu.buffalo.edu
From: Richard J Porcari <rporcari@acsu.buffalo.edu>
To: arnold@iii.net
Subject: Karn-evil 9
What does Karn-evil 9 stand for? Is "the show" a freak show representing modern
society?
[ Editor's Note: I think the one-line summation of "the show" representing
modern life as a "freak show" is the most succinct
description. And I'm sure the topic could be discussed ad
infinitum by some of us. To answer the first question, I
think "Karn Evil" is indeed a pun on Carnival with the KE
being Keith's initials an extra added bonus. Readers???
- John - ]
------------------------------
Date: 27 Oct 95 01:35:29 EDT
From: Tom McConica <74415.602@compuserve.com>
To: "John E. Arnold" <arnold@iii.net>
Subject: Concert Video Please!!!!
Can anybody give me one good reason that ELP has never had a good concert video
for sale in the local store? After listening to WBMFTTSTNE and the Impressions
CD, I find this without excuse! It seems to me that about 20 years ago there
was a movie called "ROCK AND ROLL YOUR EYES" about ELP. The PICTURES and
MONTREAL videos are too hard to find and not of the best quality. We as fans
should stress this need so the rest of the world will know why we are crazy
about this band!
[ Editor's Note: The Pictures video is the "Rock and Roll Your Eyes"
movie though only the Japanese import seems to have
retained the entire movie (with Knife Edge, Rondo, and Take
a Pebble). Perhaps enough sales of the new sheet music book
could convince some marketers to take a chance on the ELP
market with some more merchandise. - John - ]
------------------------------
Date: Fri, 27 Oct 95 13:39:49 -0100
From: NetScape <AHOZOI@eurinsa.insa-lyon.fr>
Organization: INSA Centre Informatique 1er Cycle
To: arnold@iii.net
Subject: informations
I wanna now where I can find on INTERNET the lyrics of ELP.Thanks!
[ Editor's note: Lyric on-line is one of thoseareas where copyright concerns
come into play. However, I've recently found a few places
with ELP Lyrics on-line that don't require me to put the
lyrics on the server at Berkeley (where the fols are nice
enoguh to host us as long as we're not a bother). So, look
at the ELP web site for some pointers to thoer places on
the web with ELP and related lyrics. - John - ]
------------------------------
Date: 28 Oct 95 10:43:06 EDT
From: Ralph Sommer <100767.3270@compuserve.com>
To: John E Arnold <arnold@iii.net>
Subject: ELP-Videos available in Germany
Hello ELP Fans,
Just new here in the fantastic ELP Digest I started to read the former issues.
As I did not find a letter about the following theme I have a question: Can
anyone help me to find an adress where ELP-Videos are available?
I do not think of the "Pictures", filmed at the Lyceum, directed by Nicholas
Ferguson and the new "Welcome back" videos, but I know that there has been, for
example, a 16mm film some years ago with "Pictures" and "The Barbarian" and a
very good drum solo. There must also be a lot of other videos as I have heard.
I am looking for all videos about ELP on european VHS-system and would be very
happy if anyone can help me.
"This Company Will Return One Day."
Ralph Sommer
------------------------------
Date: Mon, 30 Oct 1995 10:37:05 -0500
To: arnold@iii.net
From: sni@localnet.com (Seneca Nation of Indians)
Subject: Copy of letter to WIll Alexander re: music .MID files
John:
Here's a letter I sent Will Alexander. Feel free to post it if you think
it's worth others seeing it.
..Joe
Mr. Alexander:
After reading the articles in the ELP digest about the bootleg
transcriptions, I decided to write you personally. As a classically trained
musician, I, like many others don't have the ears necessary to figure out
the music, having been taught to read rather than listen, but do have the
chops (I hope) to play it. I remember back in the 70's that I and about 6
others would group together and spend hours figuring out the licks so that
our respective bands would be able to play this music on stage. I no longer
have the time now that I did as an adolescent to figure this stuff out (who
does?) so I thought that I'd come to the source. If Mr. Emerson is up to the
task (ie. if the right arm is feeling OK) perhaps he can create .MIDs of his
own works and you folks could sell them through EmerSonics on the net or by
US Mail. This way, no copyright laws are breached and KE is guaranteed
royalties (and profits) rightfully due him. Additionally, it guarantees that
proper transcription of his music are out there, not 26 different "correct"
versions. Also, there can be all the the different arrangements of the music
that exist (eg. the 1st impression solo: in A on the studio record and Ab on
the live album and with a slightly different arrangement, or the "Welcome
Back Tarkus Stones Of Years solo which, IMHO, is better than the original)
there would be no end of musicans out there that would be interested in
purchasing these transcriptions: witness the row going on with the bootlegs.
The sequencer could be a great help to KE and perhaps not create any more
damage to the arm, and all the frustrated players like myself can revel in
the excitement of playing this music correctly and with all the energy and
excitement it deserves.
Please forgive me if I've taken too much of your time. I hope to hear from
you soon.
Joe Gerardi
Manager of Information Systems
Seneca Nation of Indians,
Keyboardist and Emerson afficionado and fan
------------------------------
From: Bjorn-Are.Davidsen@s.prosjekt98.telenor.no
Date: Thu, 2 Nov 1995 14:00:16 +0100
To: John E Arnold <arnold@iii.net>
Subject: DISCOGRAPHY!
Here's a message from the great ELP collector:
CAVALLUCCI MASSIMO
Via Rapisardi,15
05100 - T E R N I
I T A L Y
1- The new up-date "Take a Ladder !" audio/video collection is available
with new entries; to receive it,send 3 IRC's at my adress.
2- For all ELP's collector and fans are olso available :
- ELP & Related LP LIVE Discography
- " CD LIVE Discography
- " 7"/12"/CDsingle/ Discography
- " LP/CD Discography
- " Tours dates schedule '69-'93 (attempt !)
To receive the above lists send 2 IRC's per list; for complete
set lists (inc. Take a ladder !) send :
6,00 USA $ or 4 UK L or 8 Irc's at my adress.
3- Dear friend, I M P O R T A N T !!!!
I'm working on "ELP & Related" 7"/12"/CDsingle/Mcassette
discography. My project is to release (hopefully in 1996) an
"artigianal" illustred booklet with A side cover of above
items mentioned : I'm looking for ALL ELP's COLLECTOR for
their HELP! I'm intersted to receive the photocopies
in b/w reduction at 50%,of a-side illustrateded picture sleeve.
Sorry, I cann't to pay, but only mentioned your name on
booklet!
On request I can send you the provisional list with the
title that I HAVE.
Hope for your help, ELP collector !
4- I'm looking for the following recordings ON TAPE :
Tim Hardin : "How can we hang on to a dream"
Kim Fowley : "Nutrocker"
Sonny Rollins : "St.Thomas"
Henry Mancini : "Peter Gunn theme"
Mario Pelchat : " C'est la vie"
Elton John : " Don't let the sun go down on me"
Grand Funk Railroad : " Locomotion"
Bob Dylan : " Country pie"
" " : " Man in the long black coat"
" " : " My back pages"
" " : " She belongs to me"
Roger Chapman : " Lucky man" (4 version from cdsingle)
Dokken : " From the beginnings"
? : Dance version of "Lucky man"
I can to trade with others audio items at your choise.
(olso Progressive in genral)
5- Also, I'm looking for rare E.L.P. & Related items (as lp boot,cdlive,
cd single 7",12".....); if you have any for sale, but better for
trade, LET ME KNOW !
6- For all AUSTRALIAN ELP'S COLLECTORS AND FANS :if you are interested
in ELP & Related videos in PAL VHS system (European and Australian
are the same !), let me know : " Take a ladder !" list includes
a lot of rare videos
7- In December 95 or January 96 there will come out an italian magazine
"RARO!", (The italian equivalent of UK's RECORD COLLECTOR and USA's
GOLDMINE) It contains an article with review,discography,history and
photos of ELP & Related : if are interested let me know in time.
Massimo
------------------------------
Date: Thu, 2 Nov 1995 18:42:19 +0800
From: John.Lukes@Ebay.Sun.COM (John Lukes)
To: arnold@iii.net
Subject: EL & Powell
Is the re-released EL&Powell -- with the extra
tracks -- worth re-buying the CD? (I already have
the "original" CD without the extra tracks -- nor
their listing, either!)....
I guess my question is, are the extra tracks
"worth it" -- I know, it's probably a "dumb"
question, not unlike...is EL&P a good group?!
Thanks,
-JOHN
[ Editor's Note: I think you're right that the "beauty" of these tracks lies
in the ears of the listener. I, for one (and I may be the
ONLY one), was disappointed that "The Locomotion" was an
instrumental. I would have loved to hear a complete rave-up
of this old classic. I'd liken the version on ELPowell to
the "Eight Miles High" cover on the Three album but without
vocals. Vacant Possessions is pretty good. Whether it's
worth it to buy another copy (if you've got the original
ELPowell) is a coin toss unless you're a real
collector. But it's worth it if you don't have the album on
CD since it's a good record to have. - John - ]
------------------------------
Date: Thu, 2 Nov 1995 23:26:24 -0600
X-Sender: jkanable@students.wisc.edu
To: arnold@iii.net
From: jkanable@students.wisc.edu (jason kanable)
Subject: 8-string bass
Greetings fellow Digest readers!
As this is my first official post to ELP Digest, I feel compelled to
introduce myself. My name is Jason Kanable, I am 19 years old, a sophomore
at the University of Wisconsin in Madison. I play bass and sing in a
keyboard-dominated band, and have been an ELP fan for about three years (I
feel like I'm at an AA meeting). Anyway, my only live experience, and it
definitely was an experience, with ELP was during the Black Moon tour in
February '93. If you're wondering what makes a teen throw himself to the
graces of ELP when there's so much other music to listen to, it's the same
reason as anyone else: there are only so many different ways you can play
the same three chords before they get really boring. When was the last time
you heard Green Day's 15-minute blues/jazz improv incorporating classical
elements? Probably never, because they'd have to change key. Or how about
Bush's three-movement piece following the domination of the world by
computers? I haven't heard that one either. Maybe I expect too much from
musicians to change key or tempo, or heck even lyrics. Oh, well, I've
always been strange. Good old ELP, they always deliver. All of you who
fear for music fear not, there are younger people, like myself, who value
good music, and will do all in their power to get a recording contract to
help out the music world.
Anyway, back to why I'm posting. I was watching my "Welcome Back"
video the other day, and couldn't help but think that it appears (and sounds
like) Greg is playing the 8-string Alembic bass for the song "Watching Over
You". Can anyone confirm this?
----------------------------------------------------------------------------
---------------------------------------------------------------------
"Guardians of a new clear dawn"
----------------------------------------------------------------------------
---------------------------------------------------------------------
jkanable@students.wisc.edu
[ Editor's Note: Yes, Greg Lake used a 8-string bass as one of his main
basses back in the Works era tours. I think he had a
4-string and an 8-string along for those tours and would
use the 8-string for things like Pirates and a few others.
Nice sounding bass, that's for sure! - John - ]
------------------------------
From: mathias thallmayer <mathias@tarkus.ocis.temple.edu>
Subject: Emerson Surgery Controversy.
To: arnold@iii.net (ELP Mail List)
Date: Fri, 3 Nov 1995 11:15:50 -0500 (EST)
Here is an interesting blurb from Keyboard, Dec. '95.
Keith's Cure by Greg Rule
Much has been said about Keith Emerson's hands of late, and readers continue
to write us regularly asking about his progress. It may too early to declare
victory, but Keith made an apparent stride forward after checking in with
Kate Montgomery, a San Diego-based muscle therapist. "I worked on him for
about two hours," she tells us, "and in that time-frame he went from a
grip strength of, say, a seven to a ten in a matter of 30 seconds."
What magic spell did she cast to cause such progress? The answer, according
to Montgomery, is detailed in her book, Carpal Tunnel Syndrome--a Non-Surgical
Approach (Sports Touch Publishing, Box 221074, San Diego, CA 92192-1074). A
video from Montgomery should also be in stores by the time you read this.
"What's sad about Keith's situation, and what I want to say to all musicians,"
she conveys, "is he didn't need the surgery. He has a lot of things that need
to be dealt with, but he will be okay."
______________________________________________________________________________
So, what's the deal? Was Emerson's doctor an overzealous scalpel jockey
who thinks surgery is the solution to every problem? Is Montgomery
a pseudo-medico with some wacky alternative therapy who preys on desperate
people looking for help and uses a famous person to help hawk her wares?
Did she actually even work with Emerson? And what about Keith? Is he artist
so driven to regain lost glory that he is willing to consult with any crackpot
with a pet theory or is he a valiant fighter trying to find a cure when
mainstream medicine has failed him?
Also, it would have been if Keyboard had talked Emerson's surgeon. As it
stands, the featurette is little more than an advertisement for Montgomery's
book. All they have is her comments. "Go from 7 to 10 in 30 seconds!" Sounds
like an advert to me! And, what does Keith have to say?
--
Mathias
iconoclast@tarkus.ocis.temple.edu
------------------------------
From: ASchulberg@aol.com
Date: Sat, 4 Nov 1995 07:34:55 -0500
To: arnold@iii.net
Subject: How Is This Done?
JEEP4KEEPS@aol.com wrote:
>>They told me the can get any record (CD) in print out of print and just
>>about anything else. I have gotten some out of print stuff from them in
>>the past (and have gotten out of print stuff on cd that was never released
>>on cd).
Pretty neat. How is something like that done?
[ Editor's Note: This refers to something published last fall. I don't know
if the service in question is legitimate or not and would
advise people to beware of things that sound too good to be
true. - John - ]
------------------------------
Date: Mon, 06 Nov 1995 15:20:24 -0800
From: stanforc <stanforc@cougarnet.byu.edu>
Subject: ELP FAQ
To: arnold@iii.net
So what the heck are "Tarkus" and "Karn Evil 9" about anyway?!?
[ Editor's Note: As mentioned earlier, this could be discussed for a long
time. I don't have a nice summary of the general consensus
of Tarkus like the earlier summary of Karn Evil 9. Any one
want to try a 1 (short) paragraph description of Tarkus?
- John - ]
------------------------------
From: Adriano Melis <adrix@hp700.ing.unifi.it>
Subject: CP intw
To: arnold@iii.net
Date: Tue, 7 Nov 95 10:58:12 MET
John,
here's the interview to Carl issued on the Italian PERCUSSIONI magazine in
NOV 1994, which I had from Bjorn-Are at the beginning of the last summer.
I apologize for my English, I'm pretty sure Carl doesn't talk a so bad
English, anyway it's the best I could do. Enjoy it!
-----Adriano-----
The Italian Carl Palmer Interview!
After an introduction based on a synopsis of the career of CP from the
early days with Crazy World of Arthur Brown to the most recent release
with ELP (ItHS) the interview begins...
PERCUSSIONI: First of all, tell us something about the new ELP album.
CARL PALMER: "In The Hot Seat" is the title of the album, it has been
produced by Keith Olsen and it contains 11 tracks; Keith is an expert,
well-known producer, he has worked with Fleetwood Mac, Whitesnake, and other
artists. When we first met we suddenly liked his method of working.
We immediately cleared up that we would have like to obtain the drum sound
as "live" as possible, with one or two overdubs max., to keep the
environment sound live too; to get this we chosen carefully the studios too.
Part of the material was recorded in L.A. and the rest in England.
It has been a working experience very useful and in part difficult for the
band; one could think that the music is a bit too commercial for ELP,
but the album really contains the kind of music we are playing in this period.
There is a song by Bob Dylan, "Man In The Long Black Coat", which contains
in my opinion a very interesting combination of drum machine,
the kind I define "real drummer"; it's a very successful experiment.
The album needed many hours of work, we are glad it's finished, but as usual
is very hard to say if we are happy with the result.
Personally I'm very happy, but in general I like to re-listen the final
product only after a while, because of the many times I have listened the
music during the recording sessions!
P: What has been your direct relationship with Keith (Olsen)? I mean,
did he give you some particular directives or advises?
CP: In fact, we members of the band had played together for so many times,
so we had clear in mind what to play and what we wanted to get in terms
of musical quality. Keith (Olsen) obviously contributed not only about the
drums, but more from a "general" point of view. Personally I found Keith
very easy, compatible with our vision of music. For this work I really
wanted to play "a tempo", so I used the click, I mean only me, and when some
time happened I was a little late we used a digital machine and corrected
for a few milliseconds, to obtain a perfect synchronization of time on every
song. Keith gave a great contribution in terms of experience on the finished
work, he produced many pop records so he is able to work in a very accurate
way, especially on rhythms and so on. For him has been as many useful
comparing himself with a progressive band!
P: BTW, Carl, do you consider yourself a progressive rock drummer?
CP: I think that when ELP began to play together could be considered a
progressive rock group; but nowadays ELP, maybe like Genesis, cannot be
considered as such. You see, is the word progressive that maybe is not
fitted to what's happening today. I mean, that word means to propose or
follow something totally new, never heard before, but this is really
difficult to obtain, because all has been said or proposed before.
When the word 'progressive' was used for ELP, we played pieces of
20, 25 minutes, and it's a time unusual in length for the one who listens.
For instance I don't think the same label could be used for Pink Floyd,
maybe their music is more moody, very good songs, sometimes long;
perhaps we were progressive because of what we proposed, in comparison
to what was happening in the 70s, today all is so different, even if we did
enough at the time!
I like to think myself as a jazz-rock-drummer, or rock-jazz-drummer, but
with classical influences, because I studied classical percussion with
James Blades at the Royal Academy. To me was very useful to play
with a band like ELP, their classical adaptations did perfectly integrate
with my drumming style, and vice versa. My classical percussionist culture
contributed greatly to the musical proposal done by the band.
So, I guess is hard to define me as a drummer, I'm a rock drummer
who likes to play jazz and who studied classical music, it's up to you!
(laughs)
P: Can you speak about your work relationship with Greg Lake,
after all you two are the rhythm section of the group!
CP: To be honest we don't work as close as one could guess,
even because I try to go beyond the commercial or general idea
of rhythm section; in fact first comes the melodic idea, Keith is the first,
then come drums with parts that make the most of the melodic structure,
then comes Greg with new colors, the basic notes.
In fact Greg always tries to play the 'root notes', but we try to distribute
the drums and bass parts in function of the general structure of the song,
so first come keyboards, then drums and finally bass!
P: And how happens your collaboration with Keith in rehearsals?
CP: In the most constructive way: often I suggest notes or chords to Keith
and Greg, and they happen to have in mind accents or fill-ins that they would
like to insert in some sequence; I always try to interpretate what they
'hear in mind'. To be sincere I think that the best things I played were
suggested by them, but that I was able to re-interpretate in my own way,
and make them more easily applicable to the basic idea: I always like to
listen what someone suggests, everything starts from there, then the energy
melts and the two ideas become one. Generally at that point comes up something
good, something new!
P: Why do you re-release "Pictures at an Exhibition" on the new album?
CP: We decided it deliberately: "Pictures" is recorded in Surround Sound,
is the only part of the repertoire that we have played live for almost
23 years, so we thought we could improve it, if re-recorded, but trying to
giving to it a modern taste, as we would play today, after all to us it is
like some a trade mark!
People identifies ELP as 'the band who plays Mussorgsky', so we tried to
improve the musical proposal which form long time characterized us.
First this version was on the 4-ple CD "The return of the Manticore", we
thought to put this version on the new CD since the boxed set was
pretty expensive!
P: What are exactly the differences in your drumming style between ELP and
Asia?
CP: Probably Asia was a more direct rock band, closer in musical terms to
bands like Foreigner or Toto, sort of a melodic rock band; it was a proposal
of the 80's, in a moment in which progressive was not broadcasted on the
radio, and the need was for an immediate music, with shorter songs;
in this sense I guess it was the correct choice, so I left apart the style
closer to progressive trying to play in a more basic style, but more
immediate at the same time, fitted with that kind of musical contents.
Now in the 90s, coming back with ELP times have changed another time,
people don't like to listen long musical sequences from disc or radio, maybe
live, so my style cannot be defined 'progressive' like in the 70s, but
certainly is more accurate, more defined, effective, thanks to new
technologies, to click, to the perfect sounds available.
Now all is 'metronomic', in fact, even when we recorded "Black Moon" the
songs were short, something like 7 minutes, compared to 25 minutes of 23
years ago! Unfortunately now the discographic industry in Europe and in the
States has strongly changed direction, so my way of playing has changed to
be tuned to the moment
P: To this point, how do you see the musical scene from a player point of view?
CP: There are a lot of very skilled people, and everyone plays very well,
without regard to their musical style. For instance I think Guns'n Roses'
and Pearl Jam's drummers do a very good work, like Pantera's drummer, I've
listened just one of their songs but I guess he's doing very well.
I think drumming standards have reached a real higher level compared to
times ago! Anyway it looks like European drummer's level is somewhat higher
than Americans', in the States everything is greater and so it looks for the
reviews, one year everyone talks about Vinnie Colaiuta and the next year
he's gone, the same thing happens to Dave Weckl and so on, in Europe the
same thing has happened to Simon Phillips and to Big Country's drummer, but
in Europe I think there is more room for personality, we try to be
different from American standards.
P: Carl, I saw you recently in Italy
[It seems like this interview was done in England, Translator's note]
and your good shape seems to be unchanged by time, how do you keep yourself
so "young"?
CP: Thanks!(laughs) For real, I've a secret, it'is fencing, I'm a fan of
this sport, anyhow I do lots of sports, today I ran for 5 miles, yesterday I
swam an hour, I think is very important keeping an eye on physical shape,
anyhow you don't have to forget to practice: I practice on drums every day
at least for 2 hours, and before touring I spend a lot of time rehearsing
with the band.
P: What's your opinion on the great number of didactic publications nowadays?
Videos, schools, teaching, seminars, stages...?
CP: Absolutely good, it would have been very good if those things were
around when I begun: I like in particular didactic videos, even if many of
them look similar; some are very good, the ones by Joe Di Franco and Deen
Castronuovo, they are real good drummers. Personally I did a book
distributed by Modern Drummer, and I've just completed a new one!
P: Do you plan to release a video?
CP: I'd like it; but I would like to make something different to those
issued until today. I wish to do something 'entertainment-oriented', I mean
something beyond didactics and more entertainment based, every solo I
released, never recorded on video, naming it "the drum solo", and showing my
tecnhiques, how I played some sections, how I progressed through time and so
on, because I think the videos available today cover every technical part of
this instrument. Now it's time to think to the repertoire, the sides of
being an artist and a player, that is applying techniques but sowing the
ideas too! During my clinics everyone waits for my solo to understand how I
play some particular section, so this type of approach colud be very
useful, in fact I'm working to a project in this direction.
[The Drum Solo: a video of Carl Palmer's drum solos, whaddyathink about it, ELP fans? - adrix' note]
P: What advice do you give to a young guy who wants to enter rock music
world to become a drum hero?
CP: It's hard, if you consider what's happening nowadays. Fisrt of all,
let's consider a band point of view:
I have ever thought of me as a drummer since I was 11: , I never tought "I'm
going to be popular, I'll be with a band", but I always tried to improve, to
become skilled on my instrument. I have been lucky too, you won't forget
that is important being lucky: 50 % and 50 % talent is the combination. I'm
sure in Italy , like in the rest of the world are good drummers, bat maybe
they are not luky, it's necessary being in the right place at the right
time! Originality and talent will do the rest.
P: The last question: who are your favorite drummers?
CP: I can't say to have a favorite drummer, I like many, for example
the drummer from Pearl Jam... Guns 'n Roses got a solid drummer, too.
You won't believe it, apart from some European drummer from
obscure bands I still like to listen two of my major influences: Elvin Jones
and Buddy Rich!
[Translator's note: Elvin Jones was the drummer in the most important bands
of John Coltrane in the last part of his career, approx. from 1960 to his
death, Buddy Rich has been one of the most important jazz drummers ever]
(end of intw.)
------------------------------
Date: Sun, 11 Feb 1996 23:37:33 -0600 (CST)
From: Whitley Jeralyn A <whitley@sol.acs.unt.edu>
To: arnold@iii.net
Subject: Valentine's Day letter in support of Greg Lake
Fellow ELP Enthusiasts:
I write to you today to express my support on behalf of a fine man
who truly is one of the preeminent figures in music today. I'm referring
to the "L" in ELP, Mr. Greg Lake. In all fairness, we must admit that
there's been no shortage of "Greg-bashing" in recent issues of the ELP
Digest, and I hope to rectify what I feel is unwarranted negative
criticism toward him.
Listening to Greg Lake's music is like reading a lost love letter
found hidden within a dusty old romance novel, or watching an
exceptionally beautiful fireworks display fade out, only to suddenly
re-burst into a pyrotechnic extravaganza, or discovering a resilient
wild-flower thriving underneath a heap of refuse, or catching the first
brush of a slight, cool breeze pregnant with the scent of oncoming rain at
the approach of a long-awaited storm...you get the picture.
Greg's voice isn't just a voice, it is indeed a force to be
reckoned with. After hearing it, you're never quite the same again. It's
"a vocal heartlight set to glow" -- one of those rarities where you know
you are truly missing something if you don't get to experience hearing it
at least once in your life.
At it's best, Greg's guitar playing is physically stirring and
affective (it makes me blush), and is what Greg would sound like if he
were a guitar -- and not all musicians achieve this. To the less gifted,
a music instrument almost has to become an object of attachment (the less
they play, the harder it is to maintain the ability). Not so with Greg.
The guitar, any guitar, is an extension of him in the best sense of the
term. Moreover, Greg doesn't just play the guitar, he vitalizes and
invigorates it much like Edgar Bergman, the great ventriloquist, once
vitalized "Charlie", his faithful, belligerant companion. And as with
Charlie, one must listen carefully to catch his sly witticisms lest they
quickly vanish overhead. Greg has a very distinctive, original music
style -- I can only describe it as one Awesome Lake Effect infused with
Random Acts of Gregness -- and I imagine it's very difficult to emulate.
In a recent interview, Rush's Geddy Lee made an excellent remark about
finding the heart of the song; Greg not only finds it, he lives it and
then brings it to life. What's genuinely amazing, however, is that with a
voice like Greg's, one doesn't HAVE to play a guitar that well. Indeed,
one doesn't have to play AT ALL. He just does. Greg is one of those rare,
exceptional, fortunate souls who does several things excellently and the
rest very well while the majority of us poor sops struggle to achieve
excellence SOMEWHERE. We're all the beneficiaries of his ability and
skill in performance.
But to me, what's most exhilarating is knowing that, along with
Keith and Carl, this incredibly gifted entity is about to truly "come into
his own" as both a musician and an individual. Sorry -- no re-invention
needed here. I honestly believe that Greg's next decade among us will be
his finest in terms of professional growth and achievement, and to us it
will be like watching a well-endowed comet blaze across the evening sky.
You know, I suspect that what sustains our continued collective enthusiasm
for ELP music is our eagerness to hear the record that we all know they're
capable of making, but have yet to make... At any rate, I'm certain I'm
but one of many aficionados who will unequivocally support Greg's efforts
in the months to come.
Having said this, I must now address ELP/G.L. lyric content (with
a particular song in mind for now). Although the song "Daddy" is an
outstanding, gut-wrenching appeal to all potential perpetrators to
reconsider their actions, it did not stop an individual or individuals
from destroying Amber Hagerman's life (I trust you all are familiar with
her story by now; it made national headlines). On the day of her funeral,
I attempted to contact a certain local radio station by telephone to
request that "Daddy" be played that day in Amber's honor, but the phone
line remained busy all day. So I asked myself, "What would prevent this
outrageous tragedy from happening again, or at least minimize it?" As a
vitally important contribution, songs certainly can draw attention to
social issues. But songs cannot alter or constrain the human predaceous
instinct. They can't even slow it down. If art(ifice) changed human
behavior, then Shakespeare's seminal "Romeo and Juliet" would have
eliminated class conflict long ago. Mind you, I fully believe that if
anyone could make a difference and effect positive social change through
songs, Greg could. But what I believe it will take to minimize this
tragedy is: 1) effective treatment of offenders (one must effectively
defuse within an individual the human impulse to act out through
predation), 2) greatly increased and enhanced awareness and education in
sound parenting skills and practices, including the prevention of unwanted
pregnancy and of children having children, and 3) the ability and
willingness of human society to treat our children with utmost care and
respect and to recognize their rights as human beings to be cherished,
nurtured and lovingly guided rather than controlled, coerced and
objectified (or worse). It will also take direct, persistent citizen
participation and involvement. For example, if I were at a park and I
witnessed suspicious behavior between any adult and child, such as an
obvious stranger attempting to speak to a child, my first reaction is to
quietly walk toward them, attempt to make direct eye contact with either
of them, get within earshot of them and listen in on their conversation.
That alone is usually enough to deter a potential perpetrator. I also look
around me to see how many other people are around, ready to yell out if
necessary. If that's not enough, I then initiate a conversation and begin
asking questions while filing a mental description of them, and I look
around for a pay phone. At any rate, I NEVER blow it off and assume that
I'm being snoopy and over-reactive, because I know that my "overreaction"
could be saving a life. CAUTIOUS, vigilant, proactive citizen
participation can save lives. If enough people follow and maintain this
philosophy, we can make it so difficult for predators to perpetrate that
they'll think twice before acting. I know this is John Walsh's basic
philosophy and I'm sure that active viewer participation contributes to
the television show "America's Most Wanted"'s continued success.
One can summarize the gist of Greg Lake's lyrics and music as
being one prolonged appeal for human sanity, and the degree to which his
fans respond to this appeal remains the criteria by which one can measure
his eventual success. And although I remain adverse to the concept of
"celebrity" as presently utilized in our social Darwinist,
political-economy embracing, negatively competitive, exploitative
capitalist society (wake up, people -- the profit imperative is brutish
and enslaving and the ideas driving "capital" and "currency" are obsolete,
for we have outgrown them), I know that for Greg, "Celebrity" is an
unyielding paradox, an evil necessity rather than a necessary evil, and a
tool to subvert for higher purposes rather than a purpose for higher
subversion. Because of this, I celebrate his "lifesong", for it uplifts
and enhances the collective human spirit. We are blessed by his public
presence and "outspokenness", and I am honored to support and uphold him.
There are still more stars in the heavens than people to count
them. I long for the night when starshine will no longer be eclipsed by
the harsh glare of street lamps and spotlights, when the faintest of
heavenly bodies once again become visible to all of Gaia's inhabitants who
seek them. Hearing Greg Lake's music reminds me that those stars shine
on, that all is not lost, that the night I'm longing for will surely
arrive soon...very soon.
I wish the very best to all of you. Happy Valetine's Day! Please
pray for the cessation of suffering and for sanity to prevail in the
world, in Northern Ireland, in Bosnia, and everywhere.
Jeralyn Whitley
------------------------------
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------------------------------
End of ELP Digest [Volume 6 Issue 3 ]
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