Details : Works Volume I - Disc 2 of 2\nEmerson, Lake & Palmer\n1993 Victory Music, Inc.\n1996 Rhino Records, Inc.\n\nOriginally Released March 17, 1977 \nAtlantic CD Edition Released ??\nVictory Music CD Edition Released ??\nRhino CD Edition Released May 21, 1996\n\nAMG EXPERT REVIEW: Though no one talked about it at the time of its release, this album reflected a growing split within the group. Originally, the trio's members, tired of sublimating their musical identities within the context of ELP, each intended to do a solo album of his own. Reason prevailed, however, probably aided by the group's awareness that the combined sales of the solo albums issued by the five members of Yes the previous year were a fraction of the sales of Yes' most recent records. The result was this double LP; essentially three solo sides and one group side, it is the most complex and demanding of the group's albums. Keith Emerson's "Piano Concerto" is on the level of a good music-student piece, without much original language. Where Emerson, in conjunction with his conductor and co-orchestrator, John Mayer, succeeds admirably is in writing beautiful virtuoso passages for the piano. Greg Lake's romantic songs mark the final flowering of his work in this vein -- and perhaps its going to seed, since "C'Est la Vie," the featured single, says little that "Still...You Turn Me On," from their previous album, didn't say better and shorter. Carl Palmer's side is the most accessible of the three solo sides for casual rock listeners, rocking hard on the classical adaptations and featuring Joe Walsh on lead guitar for one song. The group's two tracks, "Fanfare for the Common Man" and "Pirates," cover a lot of old ground, albeit in ornate and stylish fashion. Having used Copland's "Hoedown" as a concert showstopper for four years, the trio takes "Fanfare" to new heights of indulgence, and it actually works, up to a point -- like CCR's extended version of "Heard It Through the Grapevine," this is just a little too much of a good thing. -- Bruce Eder\n\nAmazon.com Editorial Review\nOf all the popular progressive rock groups of the '70s, Emerson, Lake and Palmer were the most bombastic and technically orientated. By 1977, they had become so wrapped up in themselves (individually) that they put out a double album with each member getting a side to his own. They shared the remaining side. Keith Emerson plays a Steinway grand piano along with the London Symphony Orchestra. Greg Lake sings some rather sappy ballads (nothing as fun as "Lucky Man," unfortunately). And Carl Palmer contributes a selection of drum-heavy fusion pieces. When the trio reconvene, they tear into Aaron Copland's "Fanfare for the Common Man" (you know, that music from the Olympics) and deliver a long, meandering song called "Pirates" that shows off what they did best--play classically inspired rock with wild synthesizer sweeps and Lake's sweet voice. This isn't the album for an ELP neophyte. Try Brain Salad Surgery or The Best of... for a proper introduction. --Larry Crane \n\n\nAMAZON.COM CUSTOMER REVIEW\nDetails on Sanctuary reissue here, February 19, 2006\nReviewer: dodgem-dude "dodgem-dude" (San Diego, CA United States)\nThis last great ELP project preceded their rapid decline but itself gets better with age. Emerson's Concerto proves what I always thought, that his compositions are perfectly suited for orchestra. Lake's songs are lovely and show off just how good a ballad singer he is (and what a pop star he is at heart!). Palmer's tracks take the longest to appreciate but are also the most rocking material on the album next to that last superb set of ELP performances, Fanfare... and Pirates. Comparisons to Floyd's Umma Gumma and the Beatles' White Album are fitting, as is the cliché that there's a terrific single album lost within the indulgences of most double albums. But all that's been said before, so my review will concern itself with the specific qualities of the re-issue from Castle / Sanctuary / Phantom, which purchasers of the Rhino version should know about as well. \n\nSound: There's no substantial sound improvement over the original Atlantic release, and though I can't be certain, I believe that this series uses the same remasters that came out on Leadclass / Rhino in the 90s. \n\nManufacture: Annoyingly, the Emerson Concerto is now burned as a single track, so you can no longer play the three movements separately (unlike on the original Atlantic issue). Worse yet, a glitch noticeable on headphones, also one not on the original version, now appears at the start of Nobody Loves You. Finally, the bonus tracks are good performances but of seriously bootleg quality. They're from the same 1978 US tour concerts as the live tracks on the Works 2 reissue but are much muddier sounding and offer nothing new musically except for a brief bluesy intro to Nutrocker. \n\nPackage: As in the rest of the Sanctuary series, the booklet has great pix and informative liner notes, but it no longer offers Peter Sinfield's lyrics or any musician credits at all, hence it's still maddeningly unclear who plays what. In a nutshell, if you already have the Rhino or earlier releases, don't buy the Sanctuary version; it's great music in an inferior presentation. \n\n\nAMAZON.COM CUSTOMER REVIEW\nOdd..., December 12, 2004\nReviewer: ElvisCostellosWeiner "Chekhov Is The Greatest" (Michigan)\nThe album where it partially all fell apart. The comparasions to the white album aren't COMPLETELY unfounded: a once great collective band, falling into ego driven trips of fancy, thinking they're able to go solo. haha, very funny guys. \n\nAny ways, without help from each other, the glaring weaknesses of each member comes to the front. Keith Emerson's inability to write truly memorable melodies comes to the fore in his side. Greg Lake's horrendous lyrics and inability to arrange past a simple accoustic guitar. And Carl Palmer's weakness for drum solo's comes to the fore in his side. \n\nHowever, each member's talents shine remarkably forth on each side. Keith Emerson's ability to arrange, and write beautifully elegant piano and orchestra parts is illustrated on his side, as uneventful and unmemorable as it is. Greg Lakes beautiful singing voice, and great vocal and guitar melodies come through on his side, and he is a great accoustic player. And Carl Palmer's insane music view shines through: his side is easily the weirdest of them all, and his drumming helps make this side honestly the best side out of all three. \n\nHowever, this album does show the decline of the band's powers. Fanfare For The Common Man helps remind listeners that one of the band's best strenghts was in adapting classical pieces for a rock format. This piece is great... for the first five minutes, then it drags slightly. \n\nPirate is probably the worst of the "classic" ELP epics. I haven't listened to it in a long time, so I really can't say: it's very unmemorable and the lyrics are even stupider than usual. \n\nSo negatives first: the lyrics have become even worse than they once were, and the band's weaknesses stand out starkly when not masked with the other's strengths. Also, the collaborations aren't so hot. \n\nThe positives? most of this music is very beautiful. There are segments in Pirates, I admit, that are strikingly beautiful. And Carl Palmer's side is completely bizarre, and unexpectedly great. And easily over half the album is instrumental: no horrible greg lake or pete sinfield lyrics! \n\nSo in conclusion, this album is flawed, yet there maintains enough balance between the beauty in the bombast that ELP is capable of. Works 2 followed shortly after, and is the most fun ELP album ever: filled with rag time pieces, and covers, and goofy short songs. Some hate it: i think it's better than Works 1, and a great way for the band to end their career, as I refuse to acknowledge anything after this.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nI Waited 3 Years FOR THIS?????!!, September 15, 2004\nReviewer: P. McKenna "theowlwatches" (Atlanta GA)\n \nThe above title was my reaction after hearing WORKS I when it was originally released in 1977. Unfortunately, it hasn't improved over time for me at all. \n\nThis and Works II were a horrific example of egos out of control and the resultant schlock. The 3 individual members by this point weren't even speaking to each other and had their own separate managers and travelled separately as well. And it shows in the music to an alarming degree. \n\nA lot of things that made the earlier ELP efforts so cool here are largely absent. For example, there's nary a trace of Keith's distinct Hammond organ playing, and in its place some of the cheesiest, schlockiest synth sounds ever devised. Keith's amateurish attempt at a post-Brahms/Rachmininoff piano concerto would actually be somewhat entertaining if he wasn't taking himself so seriously. Greg Lake's predictably sappy ballads are no help and Carl Palmer's material is pretty much forgettable. \n\nThe two group cuts are just pure cheese-whiz, the reworking of "Fanfare For The Common Man" makes Mannheim Steamroller sound like Stravinsky by comparison, and "Pirates" just sinks under its own weight as Greg Lake barks up a storm. \n\nThis Owl thinks they should've quit while they were ahead with Brain Salad Surgery, undoubtedly their finest moment, but alas, their egos did not permit them such an indulgence of common sense. \n\n\nAMAZON.COM CUSTOMER REVIEW\nEither it Works or it doesn't PART 1, June 11, 2004\nReviewer: Z. Spencer "pianozach" (CA United States)\nWell puh-lease. Please stop with the off-handed insults or the unworthy praise. The album is what it is because of what it was. Let me explain.\nHere's a "super-group" that had reached the top of its genre, but sort-of painted itself into a corner. Prog-Rock meets Arena-Rock meets balladeer meets classical etcetera. Ah where to go from here?\n\nBut first, ELP was not the only band that put out solo material as a band, that is, sectioning off an album for everyone to "shine" on their own. YES's 1972 album "Fragile" had one solo for each of the five band members (they individually each got "Five Percent" of the album). And before that, PINK FLOYD's 1969 double album "Ummagumma" gave of the four members half a side each (we're talking vinyl here). And in 1978, each member of KISS issued a solo album with matching covers. Even the Beatles' "White Album" is considered to be mostly "solo" works. So, ELP's 1977 double album "Works vol. 1" gives each of the three members one side of a platter (vinyl again). All three are simply running over with genius, talent, and ideas. And ego. And they probably should have simply released solo albums rather than this. But they may have run scared when the YES solo album thing resulted in lackluster sales in 1976. \n\nAnyway, there's a difference between an eclectic mix of musical pieces, and a fragmented collection of pretentiously presented "works." This is the latter.\n\nSo, is the album any good? Is it worth buying? That all depends on what floats your boat. Let's break it down:\n\nKEITH EMERSON used his "side" to present (and self-produce) his "Piano Concerto No. 1." It's funny how many musicians feel the need to "be taken seriously." Billy Joel's gone classical. Sir Paul McCartney dabbles (and pretty well, I might add, for a self taught musician) in oratorios and suites. Now, obviously Keith is a classically trained musician. His performing skills were never in doubt. But his composing muse compelled him to present a "serious" work. Even George Harrison felt the need to expose us all to more "serious" music back in 1970, devoting an entire side of "The Concert For Bangla Desh" to the classical side of Indian music. The "ProgRock" genre is based, in part, on presenting rock music in a classical mode, classical music in a rock mode, as well as incorporating classical musical elements and forms (suites and lengthy complex pieces). So how does this concerto stack up? Not bad for a pop musician. Not bad for a fledgling "Art Music" composer. Will you like it? (If you hate classical music or piano tinkling, no you won't.) The third movement ("Toccata Con Fuoco") is the most exciting, and the closest to an ELP-type sound. The first movement ("Allegro Giojoso") will seem to meander aimlessly to an untrained ear, indeed it seems almost improvised (I'm sure it's not). And the second movement ("Andante Molto Cantabile"), clocking in at 2:09, seems like a throwaway piece, no more than a link or filler. But if you'd like to hear some well-composed piano concerto, Emerson, unfortunately, is not even in the top ten list of composers. Pick up some Rachmaninov or Beethoven. Or Tchaikovsky or Saint-Saëns. Or Gershwin. Or Mozart. That's not to say that Emerson's concerto sucks. It's simply not breathtaking. Or memorable. And only partially flashy. It's merely good. Is "good" good enough for you? I suppose that the problem here is that we all grew accustomed to shorter snippets of serious stuff sandwiched in as links and bridges of larger Prog-Rock ELP works, and eighteen minutes of piano and orchestra are not going to keep your attention (nor the CD in the player).\n\nWhich brings me to GREG LAKE's "side." His balladeer and "vocal stylist" mode is in full swing here. He and lyricist Pete Sinfield aim for the Elton John/Bernie Taupin express and come up short. Way short. Is it awful? Well, no. But it will test your patience. If you think some Prog-Rock borders on pretentious, these five songs may have you reaching for a brick to throw. Why? Well, it's strange. The vocals and heavy string arrangements and lyrics seem to keep getting more and more self important as the set lumbers on. These songs would all have been OK individually (for instance, sandwiched in between the usual eclectic ELP album list). Greg starts off well enough with "Lend Your Love To Me Tonight" (An awful title). The guitar is crisp, well-played and pretty (on all of the songs). But Pete's lyrics were evidently all "too good" and "clever" for anyone to edit, rendering this 4:00 minute song feeling twice as long. "C'est La Vie" is the gem here. There's a lovely uncredited French or Italian accordian solo in the middle (Keith played it when I saw the "Pirates" Tour). "Hallowed Be Thy Name" is, again, long on clever lyrics ("There may be an om in moment, but there's very few folk in focus," "You needn't be well to be wealthy but you've got to be whole to be holy.") and insouciant vocalizing. "Nobody Loves You Like I Do" is like watching someone overact to cover up weak material. He sings like its very very very important. And not in a good way. And the set closer is "Closer To Believing," a romantic ballad that aspires to genuine sincerity and tenderness, and comes off sounding a lot like a foreshadowing of "Love Beach" (an embarrassing mistake of an album). But hey, if you can't get enough of Greg Lake and overproduced string sections, this is tailor made for you. But I'd be too embarrassed to play this "side" in public.\n\n\nHalf.com Details \nContributing artists: Joe Walsh \nProducer: ELP, Peter Sinfield \n\nAlbum Notes\nThe larger-than-life music created by ELP was dependent upon the equally sizable musical/personal egos of its members. By 1977, the inevitable acrimony between the three had caused an aesthetic and spiritual decline. On the two separately issued volumes of WORKS, we can see a band on the verge of coming apart. Though the songs and arrangements are uniformly strong, there's precious little interaction. Ironically, this allowed the members' individual styles to be seen that much more clearly.\nThe double-length WORKS VOL. 1 is arguably ELP's last great album. Taking the personal segregation to extremes, each member of the group was given one solo side (ah, vinyl) and they participated on one group-oriented side. Emerson is represented by a self-penned piano concerto, his finest straight-classical composition up to that point. Palmer exploits the full range of his percussive abilities on six varied instrumental tracks. Lake naturally offers up some impressive romantic balladry. The group side features the album's highlight; an orchestral epic tale called "Pirates," its intrigue-on-the-sea lyrics written by former King Crimson lyricist Pete Sinfield, and its music some of the most sophisticated ELP ever produced.\n\n\nROLLING STONE REVIEW\nEmerson, Lake and Palmer present their first new material in more than three years in an interesting format: one album side for each man as a solo player, and a fourth side for the group. The musically divergent solo ventures don't often live up to the group's past successes, which isn't surprising. But the final side triumphantly demonstrates that as an ensemble ELP has lost none of its expertise.\n\nCarl Palmer's is by far the most varied and successful solo side. It's especially interesting since the drummer is ordinarily the least visible of the three. Here, Palmer uses his drums as rhythm instruments that can simultaneously emerge with so-called lead phrases; he is not content merely to keep time, however imaginatively. He's never too loud, and his few solos are short--a rare and welcome accomplishment among rock drummers.\n\nPalmer's orchestration of an excerpt from Prokofiev's "The Scythian Suite" is suitably powerful and threatening, an approach more classical than rock. However, his other classical adaptation, J.S. Bach's "Two Part Invention in D Minor," while intriguing, is ultimately tepid, due to inappropriate use of marimbas and vibraphone.\n\n"L.A. Nights" moves with speed and biting polish, the mix smartly accentuating Palmer. Keith Emerson's hard, futuristic synthesizer distinguishes the start, but the piece later slips into common rock chord changes and horn charts. "New Orleans," on the other hand, is a syncopated, guitar-dominated funk exercise--spare but effective. "Food for Your Soul," with its contemporary big-band approach, is a tour-de-force arrangement, with Palmer again exploring lead/rhythm possibilities. Palmer's remake of "Tank," his and Emerson's menacing composition from the group's first album, is similar in style, but Emerson's excellent electronics are replaced by cold brass and weak strings. The uncredited soprano saxophone section lends an exotic touch--but altogether too many different ideas fight for space.\n\nThe Emerson and Lake sides contain dissimilar music, yet suffer from the same shortcoming: flaccid scoring. Emerson's "Piano Concerto No. 1"--arranged by Emerson with John Mayer, who conducts the London Philharmonic Orchestra for the piece--avoids the heavy-handed and the pretentious, but is finally too watery. As agile and mature a technician as Emerson is, such a mammoth undertaking seems beyond his reach at present: the moods here change too abruptly and radically, even within the individual movements, and the jazz-influenced insertions are obtrusively cold. The concerto's finest moments are during the unaccompanied piano passages.\n\nGreg Lake's side consists of five melodic interpretations of Peter Sinfield's poetry, but the orchestration (by Godfrey Salmon and Tony Harris) turns their delicacy and romanticism into fluff. "C'est la Vie" and "Closer to Believing" are little more than dull string washes, while "Hallowed Be Thy Name" has an unaccountably angry arrangement. Lake's loudly mixed voice--too loud, really--helps minimize these errors in some spots, but when the songs depend so much on scoring, the damage is difficult to cover.\n\nThe group side contains two long and brilliant pieces. Emerson's stunning, eclectic keyboard acrobatics highlight the adaptation of Aaron Copland's celebratory "Fanfare for the Common Man." Because he doesn't use pyrotechnics for their own sake, Emerson is as practical as he is flamboyant. Copland's work is treated in a manner much like the groundbreaking approach of Emerson's earlier group, the Nice. The three players state a theme with a grandeur and fullness seemingly beyond the range of their few instruments. A long solo passage from Emerson follows, with Palmer and Lake filling in subtly but solidly with, of all things, the familiar Canned Heat "boogie" figure. After building to an explosive coda, the piece returns to its initial theme before fading out. It's not a new or particularly complex tack, but it is rich and exact.\n\n"Pirates" stands as one of ELP's finest achievements. Taking the best instrumental ideas from all the previous sides of Works, the orchestration is more varied, percussive and aggressive, perhaps because of the firmer (if simpler) compositional structure. Brass, strings and woodwinds all appear more prominently and brightly, as does the fuller integration of the scoring with the three players: Emerson's electronic mastery fits with the acoustic instruments remarkably well; Lake throws more emotion and technical excellence into his vocal phrasing here than elsewhere; and again Palmer spiritedly punctuates the proceedings. "Pirates" thus presents a musical (and lyrical--with Sinfield's wonderful poetry) pastiche of majesty and sheer mastery that continues to set Emerson, Lake and Palmer apart from most of their peers. (RS 240 - Jun 2, 1977) -- CHARLEY WALTERS
