I was a young teenager when this album came out. You are right to the the extent that it is a bit dated in it's sound, but that sound was groundbreaking and mind blowing at that time. I listened to it over and over with an appreciation of those sounds whereas today I appreciate the album more for it's compositional aspect even though I can still admire the way they used this, at the time, new technology. Jerusalem: being raised french canadian, I was not familiar with this song, so this was new to me. I discovered the original later and always go back to ELP as my favorite on an emotionally stirring level. Toccata: Again, at that time blown away by the sounds, but also the arrangement. Keith and Carl used synth sounds in a way that not many other bands were able to. I mean, think of Fragile with Rick Wakeman's Cans and Brahms, and personally the sound is awful, but people will tend to not mention it when talking of the album. The only other musicians who used the synth as well, thinking off the cuff, were probably Patrick Moraz (Relayer) or Tony Banks (The Lamb). Still you turn me on: very nice, typical well written tune with memorable melodies by Greg Lake. Like most of his ballads. Benny the Bouncer: Just a lot of fun fluff, and it made me smile. The piano work on it is better than you think, Keith just makes it sound easy. Go check out Anthony Cornet's comments on you tube. It was very British, a la Monty Python, many albums at that time would throw in a fun song to lighten up the mood. Genesis would also do it regularly. Karn Evil 9: Again, the theme was of the moment, computers were becoming more known to the average person and actually several movies were made with that theme (2001, Colossus: The Forbin project). It was such a wild and interesting ride, something completely different. You're talking about of control, it was almost, it was like a roller coaster ride while lying on the couch with headphones. So many bands in those days were willing to venture into different styles. Many of the themes Keith wrote were very classically British in style, hymns (Elgar, Britten), you can really hear this in his piano concerto. They led me to go out and discover Ginastera, Bartok, Prokofiev, Stravinsky, Mussorgsky, etc. and start composing. I have to thank ELP for this. I appreciate your comments, but I think you are judging more based on their sound, which I can sort of agree with, rather than their compositional ability. It's when you hear transcriptions with more modern instruments that you realize just how well written a lot of their stuff was. It's because of Keith's over reliance on what was 'new sounds' that makes it maybe sound dated. Rick Wakeman or Keith? Yes, Genesis, King, Gentle, VGG, Jethro, ELP, ? Bach, Mozart, Beethoven, Stravinsky? Armstrong, Davis, Baker, Marsalis? Who was better? They were all really good and very different, it's silly to compare. Appreciate their music for there creativeness, talent and individuality.
Thanks very much for your interesting comments. I think we sounded a bit negative on this one, but I hope our admiration for the band also came through a bit. They really did have many moments of greatness. I'm glad they inspired you to write.
I have never been able to get into ELP, I find Keith Emerson's keyboards are far too annoying he always seems to ruin a good tune. The only ELP track I really like is Lucky Man, but then I am a Greg Lake fan. Perhaps Lake and Palmer would have been better if they had asked Rick Wakeman to add his flair occasionally but then they would have had to change their name to WLP. I think I have to agree with John Peels' summary of ELP.
@@CRAPA832 Absolutely otherwise another drummer would have had to change their name by deed poll for example Phil Pollins, Alan Phite, Nick Pason, Chester Phompson, or even Bill Pruford. The easier option would have been to have asked Neil Peart.
Really enjoyed this discussion!
I was a young teenager when this album came out. You are right to the the extent that it is a bit dated in it's sound, but that sound was groundbreaking and mind blowing at that time. I listened to it over and over with an appreciation of those sounds whereas today I appreciate the album more for it's compositional aspect even though I can still admire the way they used this, at the time, new technology.
Jerusalem: being raised french canadian, I was not familiar with this song, so this was new to me. I discovered the original later and always go back to ELP as my favorite on an emotionally stirring level.
Toccata: Again, at that time blown away by the sounds, but also the arrangement. Keith and Carl used synth sounds in a way that not many other bands were able to. I mean, think of Fragile with Rick Wakeman's Cans and Brahms, and personally the sound is awful, but people will tend to not mention it when talking of the album. The only other musicians who used the synth as well, thinking off the cuff, were probably Patrick Moraz (Relayer) or Tony Banks (The Lamb).
Still you turn me on: very nice, typical well written tune with memorable melodies by Greg Lake. Like most of his ballads.
Benny the Bouncer: Just a lot of fun fluff, and it made me smile. The piano work on it is better than you think, Keith just makes it sound easy. Go check out Anthony Cornet's comments on you tube. It was very British, a la Monty Python, many albums at that time would throw in a fun song to lighten up the mood. Genesis would also do it regularly.
Karn Evil 9: Again, the theme was of the moment, computers were becoming more known to the average person and actually several movies were made with that theme (2001, Colossus: The Forbin project). It was such a wild and interesting ride, something completely different. You're talking about of control, it was almost, it was like a roller coaster ride while lying on the couch with headphones. So many bands in those days were willing to venture into different styles. Many of the themes Keith wrote were very classically British in style, hymns (Elgar, Britten), you can really hear this in his piano concerto.
They led me to go out and discover Ginastera, Bartok, Prokofiev, Stravinsky, Mussorgsky, etc. and start composing.
I have to thank ELP for this.
I appreciate your comments, but I think you are judging more based on their sound, which I can sort of agree with, rather than their compositional ability. It's when you hear transcriptions with more modern instruments that you realize just how well written a lot of their stuff was. It's because of Keith's over reliance on what was 'new sounds' that makes it maybe sound dated.
Rick Wakeman or Keith? Yes, Genesis, King, Gentle, VGG, Jethro, ELP, ? Bach, Mozart, Beethoven, Stravinsky? Armstrong, Davis, Baker, Marsalis? Who was better? They were all really good and very different, it's silly to compare. Appreciate their music for there creativeness, talent and individuality.
Thanks very much for your interesting comments. I think we sounded a bit negative on this one, but I hope our admiration for the band also came through a bit. They really did have many moments of greatness. I'm glad they inspired you to write.
I have never been able to get into ELP, I find Keith Emerson's keyboards are far too annoying he always seems to ruin a good tune. The only ELP track I really like is Lucky Man, but then I am a Greg Lake fan. Perhaps Lake and Palmer would have been better if they had asked Rick Wakeman to add his flair occasionally but then they would have had to change their name to WLP. I think I have to agree with John Peels' summary of ELP.
Do you think that they chose Cozy Powell as a replacement because his name began with a P?
I might go and listen to Works now, but definitely not Love Beach!
@@CRAPA832 Absolutely otherwise another drummer would have had to change their name by deed poll for example Phil Pollins, Alan Phite, Nick Pason, Chester Phompson, or even Bill Pruford. The easier option would have been to have asked Neil Peart.
@@kymvalleygardensdesign5350 hahahaha