Discussion in 'Music Forums' started by welcomdmat, Feb 27, 2018.
Then maybe it was on a forum where I saw this??? I know I didn't make this up. Let me check...
Emerson, Lake, and Palmer Appreciation Group on facebook. A post was made that Hyman accused Emerson of stealing his work for Lucky Man, not Aquatarkus.
And then check here, about 1/2 down in the article:
Excellent read, Ray!
I hear both Lucky Man and Aquatarkus in Hyman's "The Minotaur". Emerson clearly cherry picked that piece to the bone!
Keith was a master of that sort of thing. It came naturally to him. It's a major aspect of his charm and appeal. Reinterpretation.
Can't thank you enough for bringing The Minotaur to our attention.
The exact quote from page 93 of Forrester, Hanson & Askew's book. They were breaking down the WBMFTTSTNE album at this point in the book.
"The Aquatarkus solo begins as a looser, less bitingly rhythmic variation of the original, and soon goes into a "free" improvisational synthesizer section, with bass and drums constantly bubbling away beneath, Emerson quoting substantially from an early Moog piece, "The Minotaur", by Dick Hyman. It's one of the best things the band ever put down live.
Also, one of Keith's first exposures to a moog was through the Wendy Carlos (then Walter) LP of "Switched on Bach". I have on R2R, but can't get to it right now. So this will have to substitute.
Walter Carlos – By Request
Columbia Masterworks - 1975
Music from Emerson and Berry that was for the next 3 album .
The working relationship between the legendary keyboard player Keith Emerson and singer and multi-instrumentalist Robert Berry started in 1987. Iconic manager Brian Lane (Yes, Asia, A-Ha, It Bites etc.) and Carl Palmer arranged a meeting between the two prolific musicians. The plan was to form a more melodic, song oriented band (compared to EL&P), which would allow Emerson, Berry and Palmer to follow in the footsteps of the success that Asia and GTR were enjoying in that period. The result of that collaboration between Emerson, Berry and Palmer was the band 3 , and the album ... To The Power of Three released worldwide by Geffen Records in 1988. The first single, Talkin' 'Bout reached #9 on the Billboard Magazine charts and the band toured the US to support the album. With the success of the first release, Geffen urged the band to go back into the studio to begin work on a second album, but Emerson felt uncomfortable with Geffen s momentum stifling, inconsistent strategy that ultimately cut the first album's success short, consequently prompting the band to call it quits. At the time of their breakup several songs were already written for that second release (later released on Robert Berry s solo album, Pilgrimage to a Point ). In October 2015, conversations about a new 3 album started between Robert Berry and Frontiers President, Serafino Perugino as Robert had been speaking to Keith about releasing the long delayed 3 follow up album. Along with renewed fan interest in the band and those conversations, Berry had sparked revived enthusiasm from Keith Emerson for pursuing the project. The exchange of musical ideas and song collaborations ultimately paved the groundwork for this new release to be called 3.2. Everything was set. Song ideas, studio time, record contract... and then, that dark day. Emerson s untimely death made the album an uncertainty. Robert was left with Keith Emerson s final musical ideas for the project. From old cassette tapes, keyboard parts written over the phone, to long discussions about style, the framework of the album was set and ready to be produced. After several months of grieving and contemplation about what to do with these co-written songs and musical fragments from Emerson, Robert decided to resume work on the material that was created and craft a record that would ultimately be a fitting tribute to Keith Emerson s musical legacy and at the same time re-energize and update the musical style started with 3 some 30 years ago. The final result is 3.2, a reboot of the original 3 project, centered on Robert Berry s amazing talents. This is a record that deserves to be heard by each and every fan of the great Keith Emerson and includes some exquisite musical parts, which every progressive music fan will be delighted to indulge in. FOR FANS OF: Emerson, Lake & Palmer, Asia, John Wetton, GTR, Dream Theater
Nice find, Zebra.
I'm a bit confused as to whether we're hearing Keith on this track from the 3.2 album or not, but it certainly sounds like Emerson.
I just read on FB that the parts were written by Kieth , but played by Robert Berry .
I’m privileged to have heard the entirety of ‘The Rules Have Changed,’ the 30-years-in-the-making follow-up to ‘3 to the Power of 3.’ It is absolutely superb. It’s an expertly-executed and performed album that takes the spirit of the first 3 release and propels it into edgier and more adventurous territory, while retaining the melodic qualities of its predecessor. To be clear: the entirety of the album is performed by Robert. Tracks were co-written with Keith Emerson but for ...multiple reasons (which Robert and I will explore in our forthcoming interview), it is Robert (a classically-trained pianist and multi-instrumentalist) performing Keith’s parts. Carl Palmer is not a part of the album. Again, Berry did a great job on drums. The only thing to do is listen to the results for yourself. A complete standout track can be heard here: https://youtu.be/ESyXLOtWV90
This was taken from a post from someone on FB .
Got this one in my cart now. Thanks for the heads up!
ELP was a super band.
You either loved their music 100%... or you didn't like them at all. And the folks who didn't care for them could never 'get it', not that it ever mattered to me.
I was into it from the first note of the 1st album. I was hooked.
Didn't see them until '74 in Houston, Tx. Saw them front & center, nose on the stage. Seriously Amazing!!!!
Howdy @bluesky, thanks for joining us and sharing that.
I believe this is the poster for that concert. Near as I can tell this was an exclusive design for ELP's 1974 Mid-Western USA run of concerts.
I actually found this today for sale at that famous auction site.. The price wasn't bad at all.
I remember being 13 in the summer of "74 and going with my church youth group to Hershey Park in Hershey, PA.
The marquee at the hockey arena was announcing the ELP concert that was to take place very soon. That was as close as I got to seeing them on that epic tour...saw them three times on the Works tour three years later though.
Moving on with the stories behind the album covers.
According to William Neal, the creator of the albums artwork, Tarkus, the name of the hybrid armadillo tank creature and the title of the album is a blend of the word Tartarus, a dark abyss and place of punishment, taken from Greek mythology, and the word carcass, hence the word Tarkus being spelled in bones presumably taken from the bleached carcass of bones above.
Tartarus, was mentioned in The Holy Bible in The Second Letter Of Peter as Tarteroo, the place that God cast the fallen angels...it later became known as Hell in most interpretations of The Bible according to my research. 2 Peter 2.4.
William Neal worked for a graphics firm called CSC Design Associates. They did a lot of work for ELP's label Island Records. His company used to get the strange albums that nobody could make heads or tails of...they got the Tarkus assignment. Neither William Neal or his associates were coming up with anything considered to be suitable. On one of his sketches he had doodled an small armadillo with tank tracks at the bottom of the page. Keith Emerson saw it and liked it. Emerson and Neal worked together creating a cartoon story of the creature being born from a volcano and then going into battle with and defeating several other hybrid animal machines only to be defeated in the end by a hybrid man lion, the Manticore of Persian mythology.
ELP liked Neal's work so much that they asked him to do the artwork for Pictures At An Exhibition, which he did as a series of framed oil paintings which were hung and photographed at the Hammersmith Town Hall in London.
The overall meaning of the artwork and of the albums title track pertains to the futility of war. Interesting that the final picture, depicting the defeated Tarkus as he becomes Aquatarkus is set at The White Cliffs Of Dover.
Of course the Manticore went on to become the name and symbol for ELP's personal record label a couple of years later.
A 15th Century woodcut drawing of the Persian Manticore. Body of a lion, head of a man, tail of a scorpion.
Here's a reimagined depiction of the battle between the Manticore and Tarkus.
During the support tour for the album, ELP used a pair of large scale, smoke billowing Tarkus beasts on either end of the stage.
My vinyl and CD copies.
When I first mentioned Greg’s biography, I did not order that day. By the next day, they were out.
Today, I finally got a copy I ordered Friday.
You've inspired me to finally order the book. Found a used copy of the out of print hardback for $6.78.
There was another hardback available for $170.00...crazy.
Here is a new one for me. Hell of a group!
Had not heard this album (two disks). I went to buy it on the "bay" and there was one sealed copy for $125. Ouch!
Separate names with a comma.