Quite often, talent of this stature is difficult to define because the music takes on a spiritual quality that touches the soul--a quality that is completely emotional and awe-inspiring to say the least. Therefore, attempting to categorize their best traits proved to be an almost impossible task; nevertheless, I believe that I have captured what may, undoubtedly, be the essence of Emerson, Lake and Palmer.

What made this particular unit possess that special something, that "je ne sais quoi," are the following: the ability to take chances, an emphasis on dynamics and melody, and the bond that is shared between themselves and their fans. Only the most gifted of musicians are fortunate enough to inherit all three.

Risk should have been their middle names. The fact that they are a rock 'n roll band that possesses a blend of classical/jazz styles--a complete contrast to the rhythm and blues basis of rock music--is in itself an anomaly. Although this format makes the publishers of "Rolling Stone" magazine cringe (since someone decided to break their blessed status quo), this defined ELP as three individuals who felt that music had no fixed rules and knew no boundaries; instead of looking at the horizon, ELP were looking past it.

Adventuresome would literally be an understatement if one considers the following: they are led by a keyboardist, not an electric guitarist. In a field where the guitars are at the forefront, how many bands really "rock" with the keyboard as the emphasis during solo performance? Not many! Mark Mancina, ELP's producer for the "Black Moon" recording, called this their "quirky side." What he meant was that this is what differentiates them from other more predictable bands--in essence, what makes them unique.

It is this ability to go against the grain that gives the band its bizarre reputation as one of the most talked about live acts. Taking chances most certainly defined their live performances. Seeing them on a dozen occasions only enticed me to see the next show (and the next show...).

If Keith wasn't losing fingernails from blowing up parts of his piano or spinning upside down while playing his favourite clasical piece, he was pumping up the underbelly of his moog synthesizer to shoot flames into the crowd. In addition to these antics, he would stab his organ (no pun intended) with knives and go into some psychotic trance like he was "one with the machine." After throwing the Hammond on top of his body, he would fling it around like he was possessed while somehow still maintaining the correct organ pitch--an artistic statement if ever there was. One woman sitting next to me in Toronto (Kingswood/August/96), during one of Keith's patented Rondo enchores, thought that he was either very disturbed or high on drugs. I told her, "No, that's Keith Emerson. He's high on music right now." And all of this comes from a man who writes concertos; now that's ironic.

The orchestral tour had to be one of the best live performances of all time in any genre of music and was a prime example of risk-taking. For a band to dedicate the time, effort, and resources to attempt a fusion with a sixty-six piece orchestra and have the chemistry work as well as it did (Montreal's Olympic Stadium/77) is nothing short of extraordinary. That night, they were truly "one with the Gods." They still hold the Olympic Stadium record for attendance to this day--not bad for a group whose music is not based on traditional rock 'n roll roots, mega pop hits, or tabloid gossip (I won't mention names).

Without a doubt, ELP also personified dynamics and melody. This implies changes in mood, time signatures, volume, or lyrics. Their music was never static but kept the listener on edge anxiously anticipating the next "movement" duing any score. While other bands exist only to make music in 4/4 time, each song being exactly four minutes in length to receive a pat on the back from corporate-run giants (zzz...), ELP finished their songs when the music dictated that they should stop, not when a business executive said that it was too long for radio play. For artists of this stature, the latter method is a very limiting approach to composition. Some of my friends ask me why I like this band since you cannot dance to the music. I reply by stating, "How many bands could make the basis of a rock 'n roll recording in 5/4 time (Tarkus) and achieve sales in the top ten? Once again, not many!

When individual songs are analyzed, change in musical structure is a foregone conclusion. One of my favourite pieces, "Pirates," may be one of their best compositions because it's a "group" effort. Greg Lake has to be commended here. He writes a story about the dastardly acts of pirates on the high seas while Keith's underlying orchestral score gives it a symphonic lift. They performed this in Ottawa (Congress Centre/Jan./93), and for the first time, I felt that I understood group dynamics. It begins with an atmospheric film score approach, changes to a high seas orchestral sound, and then travels whimsically across an ocean current as Greg sings as gently as a love-struck sailor ("Morning, white shells and a pipe of clay") or as angry as the captain himself shouting orders ("She's ours, my boys," the captain grinned, "and no one left to tell"). As they switch tempos into "Landlord wine, make it the finest," the three gel as a team and race toward the climax.

There is one picture in my mind that I will never forget. It occurred towards the end of the track when the screens behind each member showed pictures of pirate ships, the wind was blowing Greg's hair backward as he sang, "On the flood of the morning tide, once more the ocean cried," while his pokadotted bandana shown through the glimmer of a blue haze of lights. To me, that's "Pirates" in a nutshell.

Another gem that depicts classic dynamics and elegance is "Trilogy." This is written in three movements. The first, in 4/4 time, starts off so gently that "the thought of lying to you makes me cry" almost makes me cry. When Keith picks up the tempo and switches to 5/4 time, the band gets very serious. In all of recorded music, I'm not sure if there has ever been a better keyboard solo. Keith is improvising around the song's original melody in 5/4 time and "ripping" through the keys in a fusion of jazz meets rock 'n roll hell fire. To bleed the emotion even more, he continues a series of complicated lines that stay completely true to the original melody. This had to be one of those magical moments, like "Lucky Man," where everyone knew that another take would never have captured the beauty and power of that particular solo; it's simply a marvel.

The last movement involves Carl switching beats in a creative fashion that only he can do, going from the drums to the cow bell and back to the high-hat with the fury of a 200 horse-powered engine. What most people forget about Carl's playing is that, like Greg's singing, it emphasizes melody. This further adds to the chemistry of ELP because everyone is layering melody upon melody as exemplified by "Trilogy's" thirs section. One synthesizer arrangement moves over the next to keep the piece anchored in a majestic grace. While the media focused on the band's technical prowess, it was their skills as arrangers that were often underestimated.

The last piece of music that represents both beauty and transience is Karn Evil 9. Written as three impressions, the music varies in both time, structure, and mood. I personally like the first impression (Part 1) best because this was ELP in their element at this time in their careers. Ironically again, it was one of those rare moments where Greg found the perfect spot for the use of electric guitar--not power chords but carefully selected melodic lines. Since Keith was now making full use of the moog polyphonic ensemble, the arrangements took on a "sci-fi" quality; this was a band with not only a respect for the past, but they were also utilizing technology to its fullest to create futuristic sounds.

The music is so diverse because Keith is switching instruments on a dime. He starts out with a quiet organ, uses piano on the opening verses, and then uses a multitude of sounds from the moog depending on what is required to bring the piece to life. Greg's vocal style is in constant flux. Majesty, elegance, and anger--all forms are taken advantage of whenever this movement changes, and change it does. The dynamics are so smooth that one part falls into the next section like dominoes, but since the piece never loses its sense of melody, the arrangements never seem complicated (even though you would need Rachmaninoff, Buddy Rich, and Chris Squire to play the damn thing).

Finally, without a doubt, it's the "intangibles" that make or break a band's place in history. ELP is fortunate enough--and astute enough--to recognize that the bond they share with each other and their fans is so crucial to their success. This I have witnessed first-hand on several occasions. These are also qualities that we, as fans, all too often take for granted.

The "Black Moon" tour in Montreal was a prime example (Aug./92). It was first at this back stage gathering that I began to understand the kind of following that ELP has. The fans are there to discuss two things: music and history. What I discovered was Keith's connection to the inventor of the first synthesizer, Bob Moog, and his involvement in developing the first prototype. Keith would call him while touring if the keyboard was acting tempermental. I understood quickly that Keith Emerson wasn't just an integral part of keyboard history; he was determined to shape it, to become a visionary in the truest sense--a living legend so to speak.

Greg had also mentioned the fact of how important his voice was to him (Ottawa Congress Centre/93). In one show in Germany, he had lost it before the opening but tried to come out on stage. When he realized that his greatest gift would not work, he threw his guitar in disgust and walked off. He said, "If Keith or Carl are ill, they can perform. If my voice doesn't work, my world shuts down." The slight frustration in his voice was something at that moment that could not be defined. He wanted to do the show, but it was not physically possible. It's these kinds of stories that paint a larger picture of the kind of men who are completely committed to their craft.

It was no different during the '96 tour in Toronto. Very close fans had flown in from California to talk with the band after the show. Some of these individuals had followed their previous tours for long stretches--often four or five shows in a row. What I learned was that ELP is sort of like a family; they and their fans have a kind of affinity and mutual respect for one another because ELP has persevered throughout their almost thirty years and developed a tight-nit organization to support it.

Moreover, Keith told me that the band has grown closer since each member had been able to overcome personal/physical problems (i.e. Keith's hand problem/nerve transposition or Carl's surgery for carpal tunnel syndrome). It is only then as a fan do you come to appreciate that ELP are also human and appreciate the fact that fans care. Just look at how many letters flooded the offices at Keyboard Magazine when Keith announced the possibility of retiring from live performance. I certainly remember the lump in my throat. Once again, they worked through this problem, were patient, and came back better than ever. Chris Squire (Yes' bass player) was recently interviewed on the internet and said that ELP, during their 1996 tour, had not played better since 1971. To be at this stage in their careers and be giving live concerts with the intensity that I've seen lately shows everyone that this band is still serious about high standards and a commitment to each other.

Greg also added a story about playing "Pictures At An Exhibition" at a previous show. One gentleman in the front row was crying, so he was invited back stage to explain the problem. While in Russia, this individual had played ELP's version of "Pictures" and was incarcerated for a lengthy period of time for playing rock music. When ELP played the piece live, he was overcome with emotion and recalled the painful memory. This is the very definition of true bonding. Greg said that he has heard about twenty of these types of stories, and they're a part of the history of the band.

Their most recent tour was no different. At the concert in Vienna, Virginia, this year (Wolf Trap Park/Sept./97), they appeared a bit tired after the show. When I peaked at Greg's watch, it was approximately seven hours inaccurate. He explained that they were still on London time and were feeling somewhat jet lagged. While many of us would run for our hotel beds, ELP were signing autographs, discussing future projects, telling stories about the recently deceased Princess Diana of Wales, as well as describing the abject poverty in Brazil. It's this kind of dedication that tells me just what kind of people they truly are. Everyone not only learned about music but also about history and culture. The night was an honour to Diana's legacy and an appreciation for the stamina that's required to tour day in and day out. Fans back stage learned more about ELP than just record sales.

Overall, the group has formed a musical bond--a chemistry of classical, jazz, and rock 'n roll elements--that cannot be broken. Their close friendship has also solidified because they have survived many personal obstacles. It is this "connection" that has made them musically and historically significant. The bond which they share with their fans is also something special; it's what keeps the "family" together. Both they and their faithful are still committed to continuing the journey.

The future, therefore, is full of possibilities because ELP represents integrity; the music continues to take risks and maintain that keen sense of melody and dynamics. What ELP stands for to me is the victory of music over money; substance was always more important than sales. I hope they continue to be a driving force in directing music out of the corporate rut that it's in today. As Greg Lake says, "Rock 'n roll needs to be 'music led' and not 'market led.'" Therefore, ELP is a force that can lead others who may have become swallowed in the pop machine. The band's continued dedication to its three most important tenets--risk, beauty, and chemistry--will ensure future success as Emerson, Lake and Palmer enter the millenium with its fan base faithfully by its side.