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Keith Emerson known for his work as a founding member of Emerson, Lake and Palmer died Friday at his home in California, the rock band disclosed on Facebook. The Associated Press reports that.
Lake in concert, 2005 | |
Background information | |
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Birth name | Gregory Stuart Lake |
Born | 10 November 1947 Poole, Dorset, England |
Died | 7 December 2016 (aged 69) London, England |
Genres | |
Occupation(s) |
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Instruments | |
Years active | 1964–2016 |
Labels | |
Associated acts |
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Website | greglake.com |
Gregory Stuart Lake (10 November 1947 – 7 December 2016) was an English singer, songwriter, bassist, guitarist and record producer. He gained prominence as a founding member of the progressive rock bands King Crimson and Emerson, Lake & Palmer (ELP).
Born and raised in Dorset, Lake began to play the guitar at the age of 12 and wrote his first song, 'Lucky Man', at the same age. He became a full-time musician at 17, playing in several rock bands until fellow Dorset guitarist Robert Fripp invited him to join King Crimson as their singer and bassist. They found commercial success with their influential debut album, In the Court of the Crimson King (1969). Lake left the band in 1970 and achieved significant success in the 1970s and beyond as the singer, guitarist, bassist, and producer of ELP. As a member of ELP, Lake wrote and recorded several popular songs including 'Lucky Man' and 'From the Beginning'. Both songs entered the UK and US singles charts.
Lake launched a solo career, beginning with his 1975 single 'I Believe in Father Christmas' which reached number two in the UK. He went on to release two solo albums thereafter, as well as collaborating with other artists. Lake performed with various groups in the 1980s, and occasional ELP reunions in the 1990s, and toured regularly as a solo artist into the 21st century. He died on 7 December 2016 in London, of cancer, at the age of 69.
- 2Career
- 5Discography
Early life[edit]
Greg Lake was born on 10 November 1947 in the Parkstone area of Poole in Dorset, to Harry, an engineer, and Pearl, a housewife.[3][4] He grew up in the residential suburb of Oakdale.[5][6] Speaking about his childhood, Lake said he was 'born in an asbestos prefab housing unit' into a 'very poor' family, and remembered several cold winters at home,[7] but credits his parents for sending him money and food during his time as a struggling musician.[8] He later described his upbringing as a happy one.[5]
Lake discovered rock and roll in 1957 when he bought Little Richard's 'Lucille'.[9] At the age of 12, he first learned to play the guitar and wrote his first song, 'Lucky Man',[10][11] which he did not write down and committed it to memory.[12] He named his mother, a pianist, as his initial musical influence and she bought Lake a second hand guitar to learn on.[8] Lake then took guitar lessons from Don Strike, who had a shop in Westbourne.[9] Strike taught him 'these awful Bert Weedon things', reading musical notation exercises with violin pieces by Niccolò Paganini, and playing 1930s pop tunes, the latter of which became an influence on Lake at the time.[8] After roughly one year with Strike, Lake ended his tuition as he wished to learn songs by the Shadows, a favourite band of his, but Strike 'wouldn't have any of it'.[13][14] Lake's second guitar was a pink Fender Stratocaster.[15]
Lake attended Oakdale Junior School followed by Henry Harbin Secondary Modern School,[5] and left the latter in 1963 or 1964.[16] He then took up work loading and unloading cargo at the Poole docks,[16] and as a draughtsman for a short period.[13] Lake then decided to become a full-time musician at the age of 17.[16][5]
Career[edit]
Early bands[edit]
Lake joined his first band, Unit Four, playing cover songs as their singer and guitarist.[16] Following their split in 1965, Lake and Unit Four bassist Dave Genes formed another covers group, the Time Checks, until 1966.[17] He then became a member of The Shame, where he is featured on their single, 'Don't Go Away Little Girl', written by Janis Ian.[13] During his stay in Carlisle for a gig, Lake contracted pneumonia and continued to perform on stage. His bandmates refused to drive back home that night, leaving Lake to sleep in the van where he 'woke up blue ... When we got home I was nearly dead ... That was probably the worst I went through'.[17] Following a brief stint in the Shy Limbs, by 1968 Lake was involved with The Gods, based in Hatfield, which he described as 'a very poor training college',[18][13][13] but the group secured a residency at the Marquee Club in London.[19] Lake left the group in 1968 over creative differences as the band were to enter the recording studio. Their keyboardist Ken Hensley later said that Lake 'was far too talented to be kept in the background'.[18][19]
King Crimson[edit]
In the 1960s, Lake formed a friendship with future King Crimson co-founder and guitarist Robert Fripp, who was also from Dorset and had also received lessons from Don Strike,[13][14] and saw Lake perform in Unit Four in Poole.[16] Fripp was asked to be a roadie for a gig at Ventnor, Isle of Wight, but no audience turned up. Consequently, Lake and Fripp decided to just play tunes from their guitar lessons that Strike had taught them.[20]
Fripp formed King Crimson since his previous group, Giles, Giles and Fripp was not commercially successful, and their record company suggested getting a proper lead singer. He chose Lake for this role, but asked him to play bass instead of guitar to avoid having to get a bass player in the group.[21][22] This marked Lake's first time playing the instrument as he had primarily been a guitarist for the previous eleven years.[13] Though Peter Sinfield was the band's lyricist, Lake had some involvement in the lyrics for their debut album In the Court of the Crimson King. After their contracted producer Tony Clarke walked away from the project, Lake produced the album.[23] Released in October 1969, the album was an immediate commercial and critical success, as Lake recalled: 'There was this huge wave of response. The audiences were really into us because we were an underground thing – the critics loved us because we offered something fresh'.[24]
King Crimson supported In the Court of the Crimson King with a tour of the UK and the US, with some of the shows featuring rock band The Nice as the opening act.[24] During the US leg, Lake struck up a friendship with Nice keyboardist Keith Emerson; the two shared similar musical interests and talked about the benefits of forming a new group.[13] When King Crimson returned to the UK in early 1970, Lake agreed to sing on the band's second album, In the Wake of Poseidon,[25] and appear on the music television show Top of the Pops with them, performing the song 'Cat Food'.[26]
Emerson, Lake & Palmer[edit]
Lake performing at an Emerson, Lake & Palmer concert at Maple Leaf Gardens, Toronto, in 1978
In April 1970, Lake left King Crimson and reunited with Emerson, along with drummer Carl Palmer of The Crazy World of Arthur Brown and Atomic Rooster to form the progressive rock supergroup, Emerson, Lake & Palmer.[24] Lake began with a Fender bass before he switched to a Gibson Ripper.[27] As well as bass, Lake contributed acoustic and electric guitar work to Emerson Lake & Palmer, and his voice had a wider and more diverse range than anything The Nice had previously recorded.[28] Emerson, Lake & Palmer became one of the most successful groups in the 1970s. Lake became known for performing on a Persian carpet on stage, which originally sold for £1,500 and, by 1976, had increased its value to £7,000. In addition, Lake would change his guitar strings after each show on tour.[27]
Emerson, Lake & Palmer conflicted between Emerson's interest in complex, classically-influenced music and Lake's more straightforward rock tastes.[27] Lake complained that Emerson chose to play in keys that were not a good fit for his voice.[29] During the making of the band's second album Tarkus, Lake initially rejected the title track, but was persuaded to record it following a band meeting with management, which ended in the addition of an original Lake tune, 'Battlefield', into the suite.[30] Lake's track 'From the Beginning', released on Trilogy in 1972, had no particular source of inspiration; 'I just felt an inspiration to do it, and it flowed through me in a natural way. My hands fell upon these very unusual chords ... It was kind of a gift'.[31] It was released as a single, and reached number 39 in the US.[32]
In 1974, Emerson, Lake & Palmer took a break in activity. Lake used this time to focus on his family life, travel, and write and release music.[33] By then the band were tax exiles and relocated to Switzerland, France, Canada and the Bahamas as they were restricted to two months' stay in England a year.[33][34] In March 1977, the band released Works Volume 1, a double album featuring one side dedicated to each member. Lake wrote five acoustic songs with lyrical assistance from Sinfield, with a conscious effort not to record 'just ballads' and attempt a wider variety of musical styles. He then incorporated orchestral overdubs to the songs.[33] One of them, 'C'est la Vie', was released as a single. Lake called the album the 'beginning of the end' of the band, as he no longer produced their future albums, neither of which were a 'really innovative record'.[31]
The band split in 1979 following the unsuccessful album Love Beach, an album the group were contractually obliged to record. The group reformed for a number of years in the mid-1990s before permanently disbanding except for a one-off gig in 2010 at London's High Voltage Festival.[35][36][37]
Solo career and other projects[edit]
In 1975, while still a member of ELP, Lake achieved solo chart success when his single, 'I Believe in Father Christmas', reached number two on the UK Singles Chart. It has become a Yuletide perennial.[38] In the UK, the single sold over 13,000 copies in two days.[27]
Several months following the break-up of ELP in 1979, Lake began to write new songs and had 'put down a tremendous amount of material' for his first solo album. He travelled to Los Angeles and worked with a group of session musicians to develop his songs further, but he found a lack of personality in the music, though not at the fault of the performers. Lake realised he wished to play as part of a group, and began to assemble members of the Greg Lake Band.[15] The result, Greg Lake, was released in September 1981 on Chrysalis Records, and reached number 62 in both the UK and the US.[39][40] Lake supported the album with a tour, of which their debut gig took place in August 1981 at the Reading Festival with Gary Moore on guitars, Ted McKenna on drums, Tommy Eyre on keyboards, and Tris Margetts on bass.[15]
Lake's second solo album, Manoeuvres, was released in July 1983. Later that year, he briefly joined Palmer in the 1980s supergroup Asia, replacing fellow King Crimson alumnus John Wetton, and then co-formed Emerson, Lake & Powell with drummer Cozy Powell.[35]
Lake in 1992, performing with ELP
In 2001, Lake toured as a member of the seventh incarnation of Ringo Starr & His All-Starr Band.[4] In 2003, Lake played the bass on The Who song 'Real Good Looking Boy'. The group's usual bassist, Pino Palladino, was set to do it but he was touring during the time of recording, so Lake was asked instead.[31] In 2005, Lake toured Germany and the UK with his assembled group, the Greg Lake Band, which included David Arch on keyboards, Florian Opahle on guitar, Trevor Barry on bass, and Brett Morgan on drums.[41] In 2006, Lake played as a member of the supergroup The RD Crusaders in aid for charity.[42] Lake performed 'Karn Evil 9' with the Trans-Siberian Orchestra at several shows.[43] He was a special guest on their album Night Castle (2009).[44]
In 2010, Lake and Emerson completed an acoustic world tour, performing ELP songs. The tour got off at a bad start following a backstage altercation between the two, but 'we completed the tour and it was very happy. We actually ended up enjoying ourselves'.[31] That July, Lake joined Emerson and Palmer for a one-off gig from Emerson, Lake & Palmer at the High Voltage Festival in Victoria Park, London, to commemorate the band's fortieth anniversary.[45] The concert was released on CD, DVD, and Blu-ray as High Voltage.[46] It was the final performance by the group. Lake wished to continue touring, but claimed his bandmates 'didn't want to', thus ending such plans.[31]
Lake continued to tour solo in the 2010s. His Songs of a Lifetime Tour began in 2012 which featured songs of his career and those by his favourite artists, including Elvis Presley and Johnny Kidd & the Pirates. The tour ended in November of that year[34] and produced the live album, Songs of a Lifetime (2013).
On 9 January 2016, he was awarded an honorary degree in music and lyrics composition by Conservatorio Nicolini in Piacenza, Italy, the first degree awarded by the conservatory.[47]
Lake spent several years writing his autobiography Lucky Man, originally planned to be published in 2012 but eventually released posthumously in June 2017.[48][49]
On 19 June 2017, the Municipality of Zoagli (Genoa) Italy awarded the Honorary Citizenship post mortem to Greg Lake and engraved a marble plaque that will be next to Castello Canevaro where the musician performed on 30 November 2012.[50][51]
Marble Plaque engraved for Greg Lake next to Castello Canevaro in Zoagli.
Personal life[edit]
In late 1974, Lake moved from a flat in Cornwall Gardens in Kensington, London to a home near Windsor.[27] Lake later lived in the Kingston and Richmond areas of Greater London with his wife Regina.[34] The couple had one daughter, Natasha.[42]
Death[edit]
Lake died in London on 7 December 2016, at the age of 69, after suffering from cancer.[3] His manager announced the news on Twitter, describing Lake's battle with the illness as 'long and stubborn'.[25] Numerous fellow musicians paid tribute, including Rick Wakeman and Steve Hackett,[25]Ringo Starr,[4]John Wetton,[52] and ELP drummer Carl Palmer.[52] With Lake's death and that of Keith Emerson earlier in 2016, Palmer is the last surviving member of the group.[52]
Discography[edit]
Lake, performing at Llandudno, Wales in 2005
Source:[53]
Year | Recorded | Artist | Title | Notes |
---|---|---|---|---|
1967 | 1967 | The Shame | Don't Go Away Little Girl / Dreams Don't Bother Me | Vinyl, 7', Single |
1968 | 1968 | Shy Limbs | Love | Vinyl, 7', Single, B-side of 'Reputation' |
1969 | 1969 | King Crimson | In the Court of the Crimson King | Studio album |
1997 | 1969 | King Crimson | Epitaph | Live album |
1998 | 1969 | King Crimson | Live at the Marquee | Live album, King Crimson Collector's Club |
2000 | 1969 | King Crimson | Live in Hyde Park | Live album, King Crimson Collector's Club |
2004 | 1969 | King Crimson | Live at Fillmore East | Live album, King Crimson Collector's Club |
1970 | 1970 | King Crimson | In the Wake of Poseidon | Studio album |
1970 | 1970 | Emerson, Lake & Palmer | Emerson, Lake & Palmer | Studio album |
1997 | 1970 | Emerson, Lake & Palmer | Live at the Isle of Wight Festival 1970 | Live album |
1971 | 1971 | Emerson, Lake & Palmer | Tarkus | Studio album |
1971 | 1971 | Emerson, Lake & Palmer | Pictures at an Exhibition | Live album |
2017 | 1971 | Emerson, Lake & Palmer | Masters from The Vaults | Live album |
1972 | 1972 | Emerson, Lake & Palmer | Trilogy | Studio album |
2011 | 1972 | Emerson, Lake & Palmer | Live at the Mar Y Sol Festival '72 | Live album |
1973 | 1973 | Emerson, Lake & Palmer | Brain Salad Surgery | Studio album |
1974 | 1974 | Emerson, Lake & Palmer | Welcome Back My Friends... | Live album |
2012 | 1974 | Emerson, Lake & Palmer | Live in California 1974 | Live album |
1977 | 1976 | Emerson, Lake & Palmer | Works Volume 1 | Studio album |
1977 | 1973-76 | Emerson, Lake & Palmer | Works Volume 2 | Studio album |
1978 | 1978 | Emerson, Lake & Palmer | Love Beach | Studio album |
2011 | 1978 | Emerson, Lake & Palmer | Live at Nassau Coliseum '78 | Live album |
1979 | 1977 | Emerson, Lake & Palmer | In Concert / Works Live | Live album |
2001 | 1983 | Asia | Enso Kai: Live in Tokyo / Live at Budokan | Live album, Recorded Live at the Budokan in Tokyo, Japan 1983 |
1981 | 1981 | Greg Lake | Greg Lake | Studio album |
1995 | 1981 | Greg Lake | King Biscuit Flower Hour Presents Greg Lake in Concert | Live album, aka Nuclear Attack, Live, and In Concert, with Gary Moore |
1983 | 1983 | Greg Lake | Manoeuvres | Studio album |
1986 | 1986 | Emerson, Lake and Powell | Emerson, Lake & Powell | Studio album |
2003 | 1986 | Emerson, Lake and Powell | The Sprocket Sessions | Recorded live at Sprocket Studio, London during the rehearsals for the 1986 world tour |
2003 | 1986 | Emerson, Lake and Powell | Live in Concert | Live album, Recorded Live at Lakeland, Florida November 1986 |
2015 | 1989-90 | Greg Lake & Geoff Downes | Ride the Tiger | Studio album |
1992 | 1992 | Emerson, Lake & Palmer | Black Moon | Studio album |
1993 | 1992 | Emerson, Lake & Palmer | Live at the Royal Albert Hall | Live album |
2001-06 | 1971-78 / 1992 | Emerson, Lake & Palmer | The Original Bootleg Series from the Manticore Vaults | Official bootleg series |
1993 | 1971-93 | Emerson, Lake & Palmer | The Return of the Manticore | Box set |
1994 | 1994 | Emerson, Lake & Palmer | In the Hot Seat | Studio album |
1997 | 1997 | Emerson, Lake & Palmer | Live in Poland | Live album |
2013 | 1977 | Emerson, Lake & Palmer | Live in Montreal 1977 | Live album |
2015 | 1997 | Emerson, Lake & Palmer | Once Upon a Time:Live in South America 1997 | Live album |
2015 | 1997 | Emerson, Lake & Palmer | Live at Montreux 1997 | Live album |
1997 | 1973-74 / 1977 | Emerson, Lake & Palmer | King Biscuit Flower Hour: Greatest Hits Live | Live album |
1998 | 1974 / 1997-98 | Emerson, Lake & Palmer | Then and Now | Live album |
2007 | 2005 | Greg Lake | Greg Lake | Live album |
2010 | 1971-98 | Emerson, Lake & Palmer | A Time and a Place | Live Boxset |
2010 | 2010 | Emerson, Lake & Palmer | High Voltage | Live album |
2014 | 2010 | Keith Emerson & Greg Lake | Live from Manticore Hall | Live album, Recorded live at Ridgefield Playhouse, Ridgefield CT on 8 May 2010 |
2013 | 2012 | Greg Lake | Songs of a Lifetime | Live album |
2017 | 2012 | Greg Lake | Live in Piacenza | Live album |
Solo[edit]
Compilations
- The Greg Lake Retrospective: From the Beginning (1997)
- From the Underground: The Official Bootleg (1998)
- From the Underground 2: Deeper Into the Mine – An Official Greg Lake Bootleg (2003)
Singles
- 'I Believe in Father Christmas' / 'Humbug' (1975) [UK #2]
- 'C'est La Vie' / 'Jeremy Bender' (1977) (#75 Can.)
- 'Watching Over You' / 'Hallowed be thy name' (1977)
- 'Love You Too Much' / 'Someone' (UK/Europe 1981)
- 'For Those who dare' / 'Love you too much' (Germany 1981)
- 'Let Me Love You Once' / 'Retribution Drive' (USA 1981)
- 'It Hurts' / 'Retribution Drive' (UK/Europe 1982)
- 'Famous Last Words' / 'I Don't Know Why I Still Love You' (Portugal 1983)
DVDs
- Greg Lake: Live In Concert (2006)
- Welcome Backstage (2006)
- Greg Lake Live in Piacenza (2017) exclusively with the limited edition box set of the album with the same title.
As Producer[edit]
- Spontaneous Combustion - self-titled (1972)
- Pete Sinfield - Still (1973)
- The King's Singers – Strawberry Fields Forever (1978) 7' single
- Annie Barbazza & Max Repetti - Moonchild (2018)
References[edit]
- ^Tarkus (Media notes). Island Records. 1971. ILPS 9155.
- ^Brain Salad Surgery (Media notes). Manticore Records. 1973. K53501.
- ^ abGrimes, William (8 December 2016). 'Greg Lake, of King Crimson and Emerson, Lake and Palmer, Dies at 69'. The New York Times.
- ^ abcLewis, Randy (8 December 2016). 'Greg Lake —founding member of King Crimson and Emerson, Lake and Palmer — dies at 69'. The Los Angeles Times. Retrieved 9 December 2016.
- ^ abcdCrabtree, Halima (October 2013). 'Greg Lake: Parkstone's pioneer of 'prog rock''. Parkstone Matters. Retrieved 8 December 2016.
- ^Macan 2006, p. 51.
- ^Macan 2006, pp. 51–52.
- ^ abcMacan 2006, p. 52.
- ^ abAwde 2008, p. 501.
- ^Colin Larkin, ed. (2006). The Encyclopedia of Popular Music: Kollington – Morphine. Muze. p. 70. ISBN978-0-19-531373-4.
- ^Wright, Jeb. 'Greg Lake: The Lucky Man'. Classic Rock Revisited. Retrieved 8 December 2016.
- ^'Interview with GREG LAKE'. DMME. May 2013. Retrieved 8 December 2016.
- ^ abcdefghLogan, Nick (13 February 1971). 'Emerson, Lake, Mitchell and Hendrix'. New Musical Express: 2. Retrieved 8 December 2016.
- ^ abMacan 2006, p. 53.
- ^ abcWelch, Chris (December 1981). 'Birth of a Band'. International Musician and Recording World: 28–29, 31. Retrieved 8 December 2016.
- ^ abcdeMacan 2006, p. 54.
- ^ abMacan 2006, p. 55.
- ^ abMacan 2006, p. 57.
- ^ abMacan 2006, p. 58.
- ^Awde 2008, p. 502.
- ^''Well, how hard could it be?': Greg Lake on his switch to bass for the first King Crimson project | Something Else!'. Somethingelsereviews.com. Retrieved 6 October 2016.
- ^Awde 2008, p. 504.
- ^Romano 2014, p. 82.
- ^ abcGreg Lake (1997). Epitaph (Booklet notes). King Crimson. Discipline Global Mobile. DGM9607.
- ^ abcSavage, Mark (8 December 2016). 'Greg Lake: King Crimson and ELP star dies aged 69'. BBC News. Archived from the original on 8 December 2016. Retrieved 8 December 2016.
- ^'King Crimson Holy Grail : Lost 1970 performance of Cat Food found'. Dangerous Minds. 12 January 2015. Retrieved 8 December 2016.
- ^ abcde'Greg Lake Stays Home'. International Musician and Recording World. January 1976. Retrieved 9 December 2016.
- ^Macan 1997, p. 39.
- ^Awde 2008, p. 509.
- ^Macan 1997, p. 117.
- ^ abcdeGreene, Andy (5 March 2013). 'Prog Rock Pioneer Greg Lake Talks King Crimson Reunion, Kanye'. Rolling Stone. Retrieved 8 December 2016.
- ^'From the Beginning'. AllMusic. Retrieved 8 February 2012.
- ^ abc'The works on ELP'. Melody Maker. 12 March 1977. Retrieved 9 December 2016.
- ^ abcKyriazis, Stefan (8 December 2016). 'Greg Lake dies at 69: One of his last interviews 'ELP were never mates like the Beatles''. The Express. Retrieved 8 December 2016.
- ^ abPeter Buckley, ed. (2003). The Rough Guide to Rock. Rough Guides. pp. 345–6. ISBN978-1-84353-105-0.
- ^'Emerson, Lake & Palmer Setlist at High Voltage 2010'. setlist.fm. Retrieved 16 December 2016.
- ^'Carl Palmer Says Failed 2010 Show Killed Chances for Larger ELP Reunion'. ultimateclassicrock.com. Retrieved 16 December 2016.
- ^Mulholland, Garry (19 December 2014). 'The Making Of ... Greg Lake's I Believe In Father Christmas'. Uncut. Retrieved 17 August 2015.
- ^'Greg Lake's chart positions in the UK'. The Official Charts Company.
- ^'Greg Lake and 'Nuclear Attack' chart positions in the US'. Billboard.
- ^'Greg Lake Band and Tour Info'. The Official Greg Lake website. Retrieved 17 August 2015.
- ^ abGunavardhana, Emma (11 October 2005). 'At Home With the Rock Legend, Greg Lake'. OK!. Retrieved 8 December 2016.
- ^DAN ARMONAITIS (30 September 2016). 'Trans-Siberian Orchestra gets progressive rock seal of approval – Entertainment – GoUpstate – Spartanburg, SC'. GoUpstate.com. Retrieved 6 October 2016.
- ^'Night Castle : Credits'. AllMusic. Retrieved 8 December 2016.
- ^'Greg Lake, legendary prog rock bassist, dies aged 69'. The Guardian. 8 December 2016. Retrieved 8 December 2016.
- ^'ELP To Release High Voltage Film'. Planet Rock. Retrieved 8 December 2016.
- ^'Conservatorio Nicolini, prime lauree honoris causa a star del rock internazionali'. Piacenza Sera (in Italian). 4 January 2016. Retrieved 8 December 2016.
- ^'Greg Lake Keeps Adding to Autobiography'. notreble.com. Retrieved 9 December 2016.
- ^Lake, Greg (28 September 2017). 'Lucky Man'. amazon.co.uk. Retrieved 9 December 2016.
- ^'Greg Lake, anche un Nobel a Zoagli'. Secolo XIX (in Italian). 20 June 2017. Retrieved 7 July 2017.
- ^'Zoagli celebra i'icona rock innamorata del Tigullio'. Repubblica.it (in Italian). 20 June 2017. Retrieved 7 July 2017.
- ^ abc'Greg Lake: Music world pays tribute to prog icon'. 8 December 2016.
- ^'discography'. greglake.com. Retrieved 8 December 2016.
- Bibliography
- Awde, Nick (2008). Mellotron : The Machines and the Musicians that Revolutionised Rock. Bennett & Bloom. ISBN978-1-898948-02-5.
- Macan, Edward (2006). Endless Enigma: A Musical Biography of Emerson, Lake & Palmer. Open Court Publishing Company. ISBN0-8126-9596-8.
- Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press. ISBN978-0-19-509887-7.
- Romano, Will (2014). Prog Rock FAQ: All That's Left to Know About Rock's Most Progressive Music. Hal Leonard Corporation. ISBN978-1-61713-620-7.
- Forrester, George; Hanson, Martyn; Askew, Frank (2001). Emerson, Lake & Palmer, The Show That Never Ends, A Musical Biography. Helter Skelter Publishing. ISBN1-900924-17-X.
External links[edit]
Wikimedia Commons has media related to Greg Lake. |
- Greg Lake at AllMusic
- Greg Lake discography at Discogs
- Greg Lake on IMDb
- http://www.manticorerecords.com Manticore Records Official Site
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Greg_Lake&oldid=912134165'
(Redirected from Keith N Emerson)
Emerson performing in Saint Petersburg, Russia, September 2008 | |
Born | 2 November 1944 Todmorden, West Riding of Yorkshire, England |
---|---|
Died | 11 March 2016 (aged 71) |
Cause of death | Suicide by gunshot wound |
Resting place | Lancing, West Sussex, UK |
Occupation | Musician, songwriter, composer, arranger, producer |
Years active | 1964–2016 |
Children | 2 |
Musical career | |
Genres | |
Instruments | Keyboards, synthesizer, piano |
Labels | Edel, Victor, Shout! Factory, Varèse Sarabande, Rhino, Manticore, J!MCO Records, Sanctuary, EMI, Marquee Inc., Charly, Gunslinger Records, Cinevox |
Associated acts | Gary Farr & The T-Bones, the V.I.P.'s, P. P. Arnold, the Nice, Free Creek, Emerson, Lake & Palmer, Emerson, Lake & Powell, 3, Keith Emerson Band, Ayreon |
Website | keithemerson.com |
Keith Noel Emerson (2 November 1944 – 11 March 2016) was an English keyboardist, songwriter, and film composer. He played keyboards in a number of bands before finding his first commercial success with the Nice in the late 1960s.[1] He became internationally famous for his work with the Nice, which included writing rock arrangements of classical music.[2] After leaving the Nice in 1970, he was a founding member of Emerson, Lake & Palmer (ELP), one of the early progressive rocksupergroups. Emerson, Lake & Palmer were commercially successful through much of the 1970s, becoming one of the best-known progressive rock groups of the era.[1] Emerson wrote and arranged much of ELP's music on albums such as Tarkus (1971) and Brain Salad Surgery (1973), combining his own original compositions with classical or traditional pieces adapted into a rock format.[3]
Following ELP's break-up at the end of the 1970s, Emerson pursued a solo career, composed several film soundtracks, and formed the bands Emerson, Lake & Powell[1] and 3 to carry on in the style of ELP.[4] In the early 1990s, Emerson rejoined ELP, which reunited for two more albums and several tours before breaking up again in the late 1990s. Emerson also reunited the Nice in 2002 for a tour.[5]
During the 2000s, Emerson resumed his solo career, including touring with his own Keith Emerson Band and collaborating with several orchestras. He reunited with ELP bandmate Greg Lake in 2010 for a duo tour, culminating in a one-off ELP reunion show in London to celebrate the band's 40th anniversary.[6] Emerson's last album, The Three Fates Project, was released in 2012.[5] Emerson reportedly suffered from depression, and in his later years developed nerve damage that hampered his playing, making him anxious about upcoming performances. He died by suicide on 11 March 2016 at his home in Santa Monica, California[7][8][9].
Emerson was widely regarded as one of the top keyboard players of the progressive rock era.[1][10][11][12]AllMusic describes Emerson as 'perhaps the greatest, most technically accomplished keyboardist in rock history'.[13]
- 2Career
- 2.21970–1979: Emerson, Lake & Palmer
- 2.31979–1991: Solo and group projects
- 2.51998–2016
- 4Personal life
- 6Instrumentation
- 8Discography
- 8.1Solo works
- 9Pieces based on other works
Early life[edit]
Emerson was born on 2 November 1944 in Todmorden, West Yorkshire. The family had been evacuated from southern England during World War II, after which they returned south and settled in Goring-by-Sea, West Sussex.[14][page needed] Emerson attended West Tarring School in Tarring.[15] His father Noel was an amateur pianist, while his mother was not musical. They arranged piano lessons for Emerson when he was eight; he received tuition from 'local little old ladies' and learned to read music.[16][17][18] His studies in Western classical music largely inspired his own style in his professional career which often incorporated jazz and rock elements.[5]
Although Emerson did not own a record player, he enjoyed listening to music on the radio, particularly Floyd Cramer's 1961 slip note-style 'On the Rebound' and the work of Dudley Moore. He used jazz sheet music from Dave Brubeck and George Shearing and learned about jazz piano from books. He also listened to boogie-woogie, and to country-style pianists including Joe 'Mr Piano' Henderson, Russ Conway and Winifred Atwell. Emerson later described himself: 'I was a very serious child. I used to walk around with Beethoven sonatas under my arm. However, I was very good at avoiding being beaten up by the bullies. That was because I could also play Jerry Lee Lewis and Little Richard songs. So, they thought I was kind of cool and left me alone.'[16]
Emerson became interested in the Hammond organ after hearing jazz organist Jack McDuff perform 'Rock Candy', and the Hammond became his instrument of choice in the late 1960s. Emerson acquired his first Hammond organ, an L-100 model, at the age of 15 or 16, on hire purchase.[19] Emerson's initial plan was for a non-musical career while playing the piano on the side. Upon leaving school he worked at Lloyds Bank Registrars where he played the piano in the bar at lunch times and local pubs at nights. He was ultimately fired from the bank.[20][15]
Career[edit]
1965–1970: Early groups and The Nice[edit]
While performing in the Worthing area Emerson received an offer to join his first professional group, the T-Bones, the backing band of blues singer Gary Farr.[20] The group toured the UK and France before they disintegrated. Emerson then joined The V.I.P.'s; his flamboyance that he would later be noted began when a fight broke out during a performance in France. Instructed by the band to keep playing, he produced some explosion and machine gun sounds with the Hammond organ, which stopped the fight. His band members told him to repeat the stunt at the next concert.[20][21][page needed]
In 1967, Emerson formed the Nice with Lee Jackson, also of the T-Bones, David O'List, and Ian Hague, after soul singer P. P. Arnold asked him to form a backing band.[22] After replacing Hague with Brian Davison, the group set out on its own, quickly developing a strong live following. The group's sound was centred on Emerson's Hammond organ showmanship and abuse of the instrument, and their radical rearrangements of classical music themes as 'symphonic rock'.[23][24][25][26]
To increase the visual interest of his show, Emerson would abuse his Hammond L-100 organ by, among other things, hitting it, beating it with a whip, pushing it over, riding it across the stage like a horse, playing with it lying on top of him, and wedging knives into the keyboard.[18][27] Some of these actions also produced musical sound effects: hitting the organ caused it to make explosion-like sounds,[28] turning it over made it feed back, and the knives held down keys, thus sustaining notes. Emerson's show with the Nice has been cited as having a strong influence on heavy metal musicians.[24]
Emerson became well known for his work with the Nice.[2][24] Outside of the group, he participated in the 1969 Music from Free Creek 'supersession' project that included Eric Clapton and Jeff Beck. For the session, Emerson performed with drummer Mitch Mitchell and bassist Chuck Rainey covering, among other tunes, the Eddie Harris instrumental 'Freedom Jazz Dance'.[29][30]
Emerson first heard a Moog when a record shop owner played Switched-On Bach for him. Emerson said, 'My God that's incredible, what is that played on?' The owner then showed him the album cover. 'So I said, 'What is that?' And he said, 'That's the Moog synthesizer.' My first impression was that it looked a bit like electronic skiffle.'[21] Without one of his own, Emerson borrowed Mike Vickers' Moog for an upcoming Nice concert at the Royal Festival Hall, London, with the Royal Philharmonic Orchestra. Vickers helped patch the Moog, and the concert was a success. Emerson's performance of 'Also sprach Zarathustra' (a composition most famous for its use in the 1968 film 2001: A Space Odyssey) was acclaimed. Emerson later explained, 'I thought this was great. I've got to have one of these.'[21]
1970–1979: Emerson, Lake & Palmer[edit]
Oral History, Emerson talks about acquiring his first Moog synthesizer which formed the basis for Emerson, Lake and Palmer's first record. Interview date 29 August 2009, NAMM (National Association of Music Merchants) Oral History Library |
In 1970, Emerson left the Nice and formed Emerson, Lake & Palmer (ELP) with bassist Greg Lake from King Crimson and drummer Carl Palmer from Atomic Rooster. Within a few months, the band played its first shows and recorded its first album, having quickly obtained a record deal with Atlantic Records. ELP became popular immediately after their 1970 Isle of Wight Festival performance, and continued to tour regularly throughout the 1970s. Not all were impressed, with BBC Radio 1 DJ John Peel describing their Isle of Wight set as a 'waste of talent and electricity'.[31] Their set, with a half-million onlookers, involved 'annihilating their instruments in a classical-rock blitz' and firing cannons from the stage.[32] Recalling the gig in a 2002 interview, Emerson said: 'We tried the cannons out on a field near Heathrow airport ... They seemed harmless enough. Today we would have been arrested as terrorists.'[31]
Use of synthesizers in ELP[edit]
ELP's record deal provided funds for Emerson to buy his own Moog modular synthesizer. He later said, 'It cost a lot of money and it arrived and I excitedly got it out of the box stuck it on the table and thought, 'Wow That's Great! a Moog synthesizer [pause] How do you switch it on?' ... There were all these leads and stuff, there was no instruction manual.' The patch which had been provided by Mike Vickers produced six distinctive Moog sounds, and these six became the foundation of ELP's sound.[21]
Emerson performing in concert with Emerson, Lake & Palmer in 1977
While other artists such as the Beatles and the Rolling Stones had used the Moog in studio recordings, Emerson was the first artist to tour with one. His use of the Moog was so critical to the development of new Moog models that he was given prototypes, such as the Constellation, which he took on one tour,[21] and the Apollo, which had its début on the opening track 'Jerusalem' on the 1973 album Brain Salad Surgery.[33]
The Moog was a temperamental device; the oscillators went out of tune with temperature change. He later said, 'I had my faithful roady Rocky tune the instrument to A 440 just prior to the audience coming in, but once the audience came into the auditorium and the temperature rose up then everything went out of tune.'[21]
His willingness to experiment with the Moog led to unexpected results, such as the time he stumbled into the signature sound for 'Hoedown', one of ELP's most popular tunes. He later said, 'We'd started working on that arrangement and then I hit, I don't know what, I switched a blue button and I put a patch cord in there, but anyway 'whoooeee'.'[21]
The so-called 'Monster Moog', built from numerous modules, weighed 550 pounds (250 kg), stood 10 feet (3 m) feet tall and took four roadies to move. Even with its unpredictability, it became an indispensable component of not only ELP's concerts, but also Emerson's own.[34]
As synthesiser technology evolved, Emerson went on to use a variety of other synthesisers made by Moog and other companies, including the Minimoog, the Yamaha GX-1 used on ELP's Works Volume 1 album, and several models by Korg (see Instrumentation).
As composer and arranger[edit]
Emerson performed several notable rock arrangements of classical compositions, ranging from J. S. Bach via Modest Mussorgsky to 20th-century composers such as Béla Bartók, Aaron Copland, Leoš Janáček and Alberto Ginastera. Occasionally Emerson quoted from classical and jazz works without giving credit, particularly early in his career, from the late 1960s until 1972.[35][36] An early example of Emerson's arranging was the song 'Rondo' by the Nice, which is a 4/4 interpretation of Dave Brubeck's 9/8 composition 'Blue Rondo à la Turk'.[37] The piece is introduced by an extensive excerpt from the 3rd movement of Bach's Italian Concerto.[16]
On ELP's eponymous first album, Emerson's classical quotes went largely uncredited. Classical pianist Peter Donohoe has said that 'The Barbarian' was an arrangement of 'Allegro barbaro' by Bartók, and that 'Knife Edge' was based on the main theme of the opening movement of 'Sinfonietta' by Janáček.[38] By 1971, with the releases Pictures at an Exhibition and Trilogy, ELP began to fully credit classical composers, including Modest Mussorgsky for the piano piece which inspired the Pictures album, and Aaron Copland for 'Hoedown' on the Trilogy album. Emerson indicated in an interview that he based his version of Pictures at an Exhibition on Mussorgsky's original piano composition, rather than on Maurice Ravel's later orchestration of the work.[39]
Following ELP's 1974 tour, the members agreed to put the band on temporary hiatus and pursue individual solo projects. During this time, Emerson composed his 'Piano Concerto No. 1' and recorded it with the London Philharmonic Orchestra.[40] According to Emerson, he was motivated by critical comments suggesting that he relied upon adapting classical works because he was unable to write his own music, and further motivated by the London Philharmonic 'who weren't that helpful to begin with' and 'had the attitude of 'What's a rock musician doing writing a piano concerto?'[39] Emerson said, 'I wanted people to say, look, I'm a composer, I do write my own music, and what greater challenge than to write a piano concerto.'[40] The recording later appeared on ELP's album Works Volume 1. Emerson's concerto has since been performed by classical pianists, most notably Jeffrey Biegel, who has performed it several times and recorded it with Emerson's permission.[39][41]
In 1976, while still in ELP, Emerson also released his first solo record, the single 'Honky Tonk Train Blues' b/w 'Barrelhouse Shake-Down'. 'Honky Tonk Train Blues', Emerson's cover of a 1927 boogie-woogie piano song by Meade Lux Lewis, reached No. 21 on the UK Singles Chart.[42][43]
Theatrics[edit]
Emerson in the mid-1980s
In addition to his technical skills at playing and composing, Emerson was a theatrical performer.[44] He cited guitarist Jimi Hendrix and organist Don Shinn as his chief theatrical influences. While in ELP, Emerson continued to some degree the physical abuse of his Hammond organ that he had developed with the Nice, including playing the organ upside down while having it lie over him and using knives to wedge down specific keys and sustain notes during solos. In addition to using his knives on the organ, he also engaged in knife throwing onstage, using a target fastened to his keyboard rig.[45] He was given his trademark knife, an authentic Nazidagger, by Lemmy, who was a roadie for the Nice in his earlier days.[46]
Over time, Emerson toned down his act with the organ in response to ELP's greater reliance on spectacular stage props. For example, during the Brain Salad Surgery tour, at the end of the show, a sequencer in Emerson's Moog Modular synthesiser was set running at an increasing rate, with the synthesiser pivoting to face the audience while emitting smoke and deploying a large pair of silver bat wings from its back.[47]
One of Emerson's memorable live show stunts with ELP involved playing a piano suspended 15 to 20 feet in mid-air and then rotated end-over-end with Emerson sitting at it. This was purely for visual effect, as according to Greg Lake, the piano was fake and had no works inside.[48] In a 2014 interview with Classic Rock Music journalist Ray Shasho, Emerson was asked about the origin of the 'flying piano' and about the difficulty of performing while spinning in the air. He explained:
'I think having a pilot's licence helped a little bit. One of my road crew said we found this guy that used to work in the circus and he does a lot of things for TV and special effects and he's made something that might interest you, it's a piano that spins round, and I immediately responded, oh that sounds interesting. I happened to be within the New York area and I was driven over to Long Island to a guy called Bob McCarthy, and there in the background he had this piano situated. So he called his wife down from upstairs and said, darling could you demonstrate this for Keith? I looked on, I wasn't quite sure what to expect. His wife comes down and sits on the seat and up she goes in the air and proceeds to spin around. I thought, well that's great! Then Bob asked me, do you want to have a go at it? ... Yea, okay. You need to understand, below the keyboard there's an inverted-tee, like a bar. You wrap your legs around the down pipe and put your heels under the inverted-tee. Then you go up in the air and try and do your best to play. It was a little difficult to play at first because of the centrifugal force, so it wasn't easy. I think we actually used it for the first time at Madison Square Garden, it was a Christmas concert. People in the audience were so astounded they couldn't quite believe what they were seeing. Later on that coming year the California Jam came up and I said we have to do that there. Bob drove the whole contraption down to the California Jam and there was very little space to set it up. There were loads of bands up on that stage, all having to do their set and then getting their equipment off. Now, with the moog, the Hammonds, Carl's gongs and everything, it was hard enough to just get that off stage. We had the spinning piano and everything that went along with it and we tried to find a place to situate it. It ended up going just at the end of the stage, so when the piano went up it was literally over the heads of the audience. After that every TV show I did came the question ... Keith, how do you spin around on that piano? I'd say what about my music? When I had the honor of meeting the great jazz pianist Dave Brubeck just before he died, he said, Keith you've got to tell me how do you spin around on that piano? Dave Brubeck was 90 years old then and I said, 'Dave, don't try it!''[49]
The spinning piano was part of ELP's stage show only for a short time due to the complexity of the stunt and the number of injuries sustained by Emerson while performing it, including many finger injuries and a broken nose.[48] Emerson wanted to use the spinning piano again at ELP's 2010 reunion concert at the High Voltage Festival in London, but was forbidden from using it by the local authority who said that the plans did not meet Health and Safety standards.[49]
1979–1991: Solo and group projects[edit]
After ELP disbanded in 1979, Emerson pursued a variety of projects during the 1980s and 1990s, including solo releases, soundtrack work and other bands, including supergroup the Best. In the early 1990s, Emerson rejoined the reunited ELP, but the group broke up again by the end of that decade.[50]
Solo career[edit]
In 1981, Emerson released his debut solo album, Honky. Recorded in the Bahamas with local musicians, it departed from Emerson's usual style in featuring calypso and reggae songs, and was generally not well received,[51] except in Italy where it was a hit.[50] Emerson's subsequent solo releases were sporadic, including a Christmas album in 1988, and the album Changing States (also known as Cream of Emerson Soup) recorded in 1989 but not released until 1995, after several of its songs had already been re-recorded and released in different versions on ELP's 1992 comeback album Black Moon. Changing States also contained an orchestral remake of the ELP song 'Abaddon's Bolero' with the London Philharmonic Orchestra, and 'The Church', which Emerson composed for the 1989 Michele Soavi horror film of the same name.[52]
Soundtrack work[edit]
In the 1980s, Emerson began to write and perform music for films, as his orchestral and classical style was more suited for film work than for the new wave-dominated pop/ rock market.[51] Films for which Emerson contributed soundtrack music include Dario Argento's Inferno (1980), the action thriller Nighthawks (1981) starring Sylvester Stallone, (1984 film) Best Revenge, notable because he collaborated with Brad Delp from the band Boston on this soundtrack, that also featured an instrumental piece called 'Dream Runner' that became a standard solo performance piece for Emerson during at ELP shows throughout the next decade, Lucio Fulci's Murder Rock (1984), and Michele Soavi's The Church (also known as La chiesa) (1989).[53] He was also the composer for the short-lived 1994 US animated television series Iron Man.[54][55]
1980s and 1990s bands[edit]
Starting in the mid-1980s, Emerson formed several short-lived supergroups. The first two, Emerson, Lake & Powell (with Lake and ex-Rainbow drummer Cozy Powell)[56] and 3 (with Palmer and American multi-instrumentalist Robert Berry), were intended to carry on in the general style of ELP in the absence of one of the original members.[57] Emerson, Lake & Powell had some success,[56] and their sole album is considered one of the best of both Emerson's and Lake's careers. Stylistically, it was a departure from their 80's progressive rock peers, Genesis and Asia.[50] Progressive rock analyst Edward Macan wrote that Emerson, Lake & Powell were closer to the 'classic ELP sound' than ELP's own late-1970s output.[58] By contrast, 3's only album sold poorly[50][57] and drew comparisons to 'the worst moments of Love Beach'[58] (which had been a commercial disaster for ELP[59]).
Emerson performing with ELP in 1992
Emerson also toured briefly in 1990 with The Best, a supergroup including John Entwistle of The Who, Joe Walsh of the Eagles, Jeff 'Skunk' Baxter of Steely Dan and The Doobie Brothers, and Simon Phillips. This project focused on covering songs from each of the members' past bands.[60][61]
In the early 1990s, Emerson formed the short-lived group Aliens of Extraordinary Ability with Stuart Smith, Richie Onori, Marvin Sperling and Robbie Wyckoff. The group's name came from the application process for a US work visa, and the members included several British musicians who, like Emerson, had come to Los Angeles to further their careers.[62] The group turned down a record deal with Samsung because of Emerson's commitment to an ELP reunion and Smith's involvement with a possible reformation of The Sweet.[63]
1991–1998: Reunion with ELP[edit]
In 1991, ELP reformed for two more albums (Black Moon (1992) and In the Hot Seat (1994)) and world tours in 1992–1993. After the 1993 tour, Emerson was forced to take a year off from playing due to a nerve condition affecting his right hand (see Health issues). Following his recovery, ELP resumed touring in 1996, including a successful US tour with Jethro Tull, but broke up again in August 1998.[50]
1998–2016[edit]
Emerson with his 'Monster Moog' synthesiser, May 2010
Emerson participated in the Nice's reunion tour and a 40th anniversary show for ELP, preceded by a short duo tour with Greg Lake. Apart from these reunions, he continued his solo career, releasing solo and soundtrack albums, touring with his own Keith Emerson Band, and making occasional guest appearances. Starting in 2010, he increasingly focused on orchestral collaborations. A documentary film based on his autobiography was reportedly in production at the time of his death in 2016.
Reunion shows[edit]
In 2002 Emerson reformed and toured with the Nice, though performing a longer set of ELP music using a backing band including guitarist/vocalist Dave Kilminster.[64] During the spring of 2010, he toured with Greg Lake in the United States and Canada, doing a series of 'Intimate Evening' duo shows in which they performed newly arranged versions of the music of Emerson, Lake & Palmer, the Nice, and King Crimson as well as Emerson's new original composition.[65][66][67] On 25 July 2010, a one-off Emerson, Lake & Palmer reunion concert closed the High Voltage Festival as the main act in Victoria Park, East London, to commemorate the band's 40th anniversary.[65][68]
Solo career and Keith Emerson Band[edit]
Emerson continued his solo and soundtrack work into the 2000s. His solo releases included the all-piano album Emerson Plays Emerson (2002),[31] several compilations, and contributions to Pink Floyd and Led Zeppelin tribute albums (see Discography). He was also one of three composers who contributed to the soundtrack for the Japanese kaiju film Godzilla: Final Wars (2004).[53]
Following the August 2008 release of the album Keith Emerson Band Featuring Marc Bonilla,[69] Emerson also toured with his own self-named band in Russia, the Baltic States and Japan between August and October 2008. The tour band members were Marc Bonilla, Travis Davis and Tony Pia.[70][71]
Orchestral collaborations[edit]
Japanese composer Takashi Yoshimatsu worked with Emerson to create an arrangement of ELP's song 'Tarkus', which premiered on 14 March 2010, performed by the Tokyo Philharmonic Orchestra.[49][72] Yoshimatsu's arrangement has been featured in multiple live performances and two live recordings.[73]
In September 2011, Emerson began working with Norwegian conductor Terje Mikkelsen, along with the Keith Emerson Band featuring Marc Bonilla and the Munich Radio Orchestra, on new orchestral renditions of ELP classics and their new compositions. The project 'The Three Fates' was premiered in Norway in early September 2012, supervised by Norwegian professor and musician Bjørn Ole Rasch for the Norwegian Simax label.[74][75] The work received its UK live premiere on 10 July 2015 at London's Barbican Centre, with the BBC Concert Orchestra, as part of the celebration of the life and work of Robert Moog.[76]
Emerson made his conducting debut with Orchestra Kentucky of Bowling Green, Kentucky in September 2013. In October 2014, Emerson conducted the South Shore Symphony at his 70th birthday tribute concert at Molloy College in Rockville Centre, New York. The concert also featured the premiere of his Three String Quartets,[77] and a performance of Emerson's 'Piano Concerto No. 1' by Jeffrey Biegel.[78][79][80]
Other appearances and activities[edit]
In 2000, Emerson was a featured panelist and performer at 'The Keyboard Meets Modern Technology', an event honouring Moog presented by the Smithsonian in Washington, D.C., in conjunction with a gallery exhibition celebrating the 300th anniversary of the piano.[81][82] Emerson later headlined both the first and third Moogfest, a festival held in honour of Robert Moog, at the B. B. King Blues Club & Grill at Times Square in New York City, in 2004 and 2006 respectively.[83][84]
Emerson opened the Led Zeppelin reunion/Ahmet Ertegun Tribute Concert at the O2 Arena in London on 10 December 2007,[85] along with Chris Squire and Alan White (Yes) and Simon Kirke (Bad Company/Free). The supergroup played a new arrangement of 'Fanfare for the Common Man'.[86] Emerson also made a guest appearance in 2009 on Spinal Tap's album Back from the Dead,[87] and played on several songs at Spinal Tap's 'One Night Only World Tour' at Wembley Arena on 30 June 2009.[88][89][90]
In 2004 Emerson published his autobiography entitled Pictures of an Exhibitionist, which dealt with his life up to his nearly career-ending nerve-graft surgery in 1993.[91][92] In 2007, Emerson began working with Canadian independent filmmaker Jason Woodford to make a documentary film based on his autobiography.[93][94] As of March 2016, production was still ongoing and the filmmakers were seeking funding to finish the film, according to the webpage of an artists' management company representing Emerson.[95]
Death[edit]
Emerson's grave in Lancing, West Sussex
Emerson died on 11 March 2016 in Santa Monica, California, of a self-inflicted gunshot wound to the head.[7][8][9] His body was found at his Santa Monica home.[96] Following an autopsy, the medical examiner ruled Emerson's death a suicide, and concluded that he had also suffered from heart disease and from depression associated with alcohol.[7][97] According to Emerson's girlfriend Mari Kawaguchi, Emerson had become 'depressed, nervous and anxious' because nerve damage had hampered his playing, and he was worried that he would perform poorly at upcoming concerts in Japan and disappoint his fans.[98][99]
Emerson was buried on 1 April 2016 at Lancing and Sompting Cemetery, Lancing, West Sussex.[100] Although his death had been reported by news sources and an official Emerson, Lake and Palmer social media page as having occurred on the night of 10 March,[8][9] his grave memorial gives his date of death as 11 March 2016.[100]
His former ELP bandmates, Carl Palmer and Greg Lake, both issued statements on his death. Palmer said, 'Keith was a gentle soul whose love for music and passion for his performance as a keyboard player will remain unmatched for many years to come.'[101] Lake said, 'As sad and tragic as Keith's death is, I would not want this to be the lasting memory people take away with them. What I will always remember about Keith Emerson was his remarkable talent as a musician and composer and his gift and passion to entertain. Music was his life and despite some of the difficulties he encountered I am sure that the music he created will live on forever.'[102] Lake would die later that same year.
Personal life[edit]
Emerson married his Danish girlfriend, Elinor, around Christmas 1969.[103] They had two sons, Aaron and Damon,[104] but later divorced.[105] He later had a long-term relationship with Mari Kawaguchi.[106]
Emerson enjoyed flying as a hobby, and obtained his pilot's licence in 1972. When Emerson moved to Santa Monica, California, in the mid-1990s, John Lydon, who had openly and harshly criticized ELP during the 1970s when Lydon was a member of the punk band Sex Pistols, was Emerson's neighbour.[31] The two became friends, with Lydon saying in a 2007 interview, 'He's a great bloke'.[106]
Health issues[edit]
In 1993, Emerson was forced to take a year off from playing after he developed a nerve-related condition affecting his right hand that he likened to 'writer's cramp' and that was also reported as a form of arthritis.[31][107] According to Emerson, this coincided with his divorce, his Sussex home burning down, and financial difficulties. During his time off, he ran marathons, customised a Harley-Davidsonmotorcycle, and wrote film scores and his autobiography, Pictures of an Exhibitionist, which opens and closes with an account of his illness and subsequent arm operation.[91][92] By 2002 he had regained full use of his hands and could play to his usual strength.[31]
In September 2010, Emerson released a message stating: 'During a routine medical examination, a colonoscopy revealed a rather dangerous polyp in my lower colon. It is the conclusion of the doctors here in London that I must undergo surgery immediately. Unfortunately, the timing of this urgent surgery does not allow me to start touring in early October because of the required period of hospitalization and recuperation. I must remain optimistic that all will turn out well'.[108]
Playing style[edit]
Emerson would sometimes reach into the interior of his piano and hit, pluck or strum the strings with his hand. He said that as a keyboard player, he hated the idea of being 'static' and that to avoid it, he 'wanted to get inside the piano, brush the strings, stick Ping-Pong balls inside'.[109] 'Take a Pebble' included Emerson strumming the strings of his piano as if he were playing an autoharp.[110] In the Nice's 1968 live performance of 'Hang on to a Dream' on the German television program Beat-Club (later released on DVD in 1997), Emerson can be seen and heard reaching inside his grand piano at one point and plucking its strings.[111][112]
In addition to such experimentation, Emerson also incorporated unique musical stylization into his work. Emerson is recognized for having integrated different sounds into his writing, utilizing methods of both horizontal and vertical contrast. Horizontal contrast is the use of distinct styles in a piece of music, combined by alternating between two different segments (in Emerson's case, most frequently alternating classical and non-classical); this technique can be seen in numerous works, such as 'Rondo', 'Tantalising Maggie', 'The Thoughts of Emerlist Davjack' and others. Vertical contrast is the combination of multiple styles simultaneously; Emerson would frequently play a given style in one hand, and a contrasting one in the other. This structure can be seen in works such as 'Intermezzo from the Karelia Suite', 'Rondo', and others. Emerson's love of modern music such as Copland and Bartok was evident in his open voicings and use of fifths and fourths, 'Fanfare' emulating guitar power chords. He also used dissonance, atonality, sonata and fugue forms, exposing rock and roll audiences to a myriad of classical styles from Bach to Stravinsky.[113]
Instrumentation[edit]
Emerson used a variety of electronic keyboard instruments during his career, including several Hammond organs and synthesisers by Moog Music, Yamaha, and Korg. From time to time he also used other instruments such as pipe organs, a grand piano, a clavinet, and very briefly, a Mellotron.[114] During his ELP years, Emerson toured with a large amount of gear, taking thirteen keyboard units to a December 1973 show at Madison Square Garden,[115] and later traveling with a large Yamaha GX-1 that required eight roadies to move it.[114] Michael 'Supe' Granda of The Ozark Mountain Daredevils recalled Emerson's organ rig as being 'as large as [the Daredevils'] entire stage plot'.[116]
Pre-ELP equipment and Hammond organs[edit]
Initially a piano player, Emerson obtained his first Hammond organ, an L-100, after hearing jazz organist Jack McDuff and becoming frustrated with broken hammers inside pianos.[18] Around 1968, during his time with the Nice, he added a second Hammond organ, the more expensive C-3, and would place the two organs sideways and facing each other so he could stand between the two keyboards and play both with his unobstructed body facing the audience.[117] Emerson preferred the sound of the C-3 as being 'far superior' to the cheaper L-100, and used the L100 to 'throw around and make it feed back'.[18][118] Emerson got the L-100 to feed back by placing it close to the onstage speakers and using a fuzzbox.[18] He continued to perform physical abuse stunts with the L-100 to some degree throughout his years with ELP.[119]
Throughout his career, Emerson owned a number of L-100 models in various states of repair to support his act. These organs were also specially reinforced and modified to enhance their sound and help prevent damage while on tour, and were reported to weigh 300 to 350 pounds.[120] By contrast, his C-3 organ was not used for stunts and Emerson continued to play his original C-3 for many years, using it on all the ELP tours throughout the 1970s.[119] He also owned several other Hammond organ models in addition to the L-100s and the C-3.[118] When Emerson sold much of his gear in the mid-1990s, his Hammond organs were among the items he kept as being 'too personal to let go'.[114] The remains of one L-100 that failed and burned during a 1990s ELP show in Boston were donated to the Rock and Roll Hall of Fame.[120]
ELP equipment and Moog synthesisers[edit]
Emerson with the Moog synthesizer (c.1977)
With ELP, Emerson added the Moog synthesiser behind the C-3 with the keyboard and ribbon controller stacked on the top of the organ.[119] The ribbon controller allowed Emerson to vary pitch, volume or timbre of the output from the Moog by moving his finger up and down the length of a touch-sensitive strip. It also could be used as a phallic symbol, which quickly became a feature of the act.[27] He continued to divide his keyboard setup into two banks so that he could play between them with his body in view.[27] When the Moog Minimoog first appeared it was placed where needed, such as on top of the grand piano. A Hohnerclavinet was also part of Emerson's keyboard rig, but according to Emerson was only used for one song, 'Nut Rocker'.[114]
During the Brain Salad Surgery tour of 1974, Emerson's keyboard setup included the Hammond C-3 organ, run through multiple Leslie speakers driven by HiWatt guitar amplifiers, the Moog 3C modular synthesiser (modified by addition of various modules and an oscilloscope) with ribbon controller, a Steinway concert grand piano with a Minimoog synthesiser on top of it, an upright acoustic-electric piano that was used for honky-tonk piano sounds, a Hohner Clavinet and another Minimoog synthesiser. Emerson also used a prototype polyphonic synthesiser produced by Moog, which was the test bed for the Moog Polymoog polyphonic synthesiser. The original synthesiser setup as envisioned by Moog was called the Constellation, and consisted of three instruments – the polyphonic synthesiser, called the Apollo, a monophonic lead synthesiser called the Lyra, and a bass-pedal synthesiser, called the Taurus, but Emerson never used the Taurus.[119]
Pipe organs[edit]
Occasionally Emerson used a pipe organ, when available, in live performances and on recordings. He played the Royal Albert Hall Organ at a show with the Nice on 26 June 1968, where the band controversially burned a painting of an American flag onstage to protest against the Vietnam War.[121] The stunt caused a storm of objections in the US and the Nice received a lifetime ban from the venue.[22][122]
With ELP, Emerson used the Royal Festival Hall organ for the 'Clotho' segment of 'The Three Fates' on the 1970 eponymous debut album by ELP.[123] He played this organ again in 2002 to open a Nice reunion tour show, but according to a reviewer, the organ failed to operate at the expected volume.[64]
The Newcastle City Hall organ was used for the introductory section of Pictures at an Exhibition, recorded there live on 26 March 1971.[124] Emerson was recorded playing the organ at St. Mark's Church in London for 'The Only Way (Hymn)' on the 1971 ELP album Tarkus.[125]
Yamaha GX-1 synthesisers[edit]
After founder Robert Moog left Moog Music in the late 1970s, Emerson began to consider using synthesisers made by other companies.[114] Emerson became one of the few buyers of the Yamaha GX-1 polyphonic synthesiser, which reportedly cost almost $50,000. The GX-1 was subsequently used on the ELP album Works Volume 1, particularly on the song 'Fanfare for the Common Man', and on tour.[126] It can be seen in ELP's Works Orchestral Tour video[126] and in promotional photos and videos from 1977 featuring the band playing 'Fanfare' outdoors during a snowstorm in Montreal's Olympic Stadium.[127] Emerson later bought a second GX-1 from John Paul Jones of Led Zeppelin, and used parts from it to repair his original GX-1, which was damaged by a tractor crashing into Emerson's home studio.[114][128]
Emerson sold much of his keyboard equipment in the 1990s when he relocated from England to Santa Monica, California.[114] The John Paul Jones GX-1 was sold to film composer Hans Zimmer, while Emerson's original GX-1 was sold to Italian keyboardist Riccardo Grotto.[128][129]
Korg synthesisers[edit]
In the late 1970s, Emerson also began to use the Korg PS-3300 and PS-3100, which at the time were among the world's first fully polyphonic synthesizers. These Korgs appeared on the ELP album Love Beach, and Emerson continued to use them into the 1980s for his solo album Honky and his soundtrack work. He also became an official endorser for the PS-3300 and PS-3100 in the early 1980s.[130][131]
By the late 2000s, Emerson was employing 'a host of Korg gear' including the Korg OASYS and Korg Triton Extreme music workstation synthesisers.[132] A review of the DVD release of ELP's 2010 one-off reunion show said that the Korg OASYS 'appear[ed] to be Emerson's go-to instrument', although he also used a Hammond C-3 and a Moog with ribbon controller onstage.[133]
Honours and awards[edit]
In March 2010, Emerson received the annual Frankfurt Music Prize for his achievements, awarded in Frankfurt on the eve of the annual Musikmesse fair.[134]
In September 2013, Orchestra Kentucky of Bowling Green gave Emerson their Lifetime Achievement Award in the Arts and Humanities 'for his role in bringing classical music to the masses'.[79][135]
In 2014, Emerson was inducted into the Hammond Hall of Fame by the Hammond Organ Company.[54]
Discography[edit]
Solo works[edit]
Studio albums[edit]
- Honky (1981) (digitally re-mastered 2013)[136][137]
- The Christmas Album (1988)[138]
- Changing States (1995)[139]
- Emerson Plays Emerson (2002)[140]
- Keith Emerson Band featuring Marc Bonilla (2008)[69]
- The Three Fates Project (with Marc Bonilla, Terje Mikkelsen) (2012)[141][142]
Live albums[edit]
- Boys Club – Live from California (with Glenn Hughes, Marc Bonilla) (2009)[143]
- Moscow (with Keith Emerson Band Featuring Marc Bonilla) CD & DVD (2010)[144]
- Live from Manticore Hall (with Greg Lake) (2014)[145]
Soundtrack albums[edit]
- Inferno (1980)[146]
- Nighthawks (1981)[147]
- Best Revenge (1985)[148]
- Murder Rock (1986)[149]
- Harmageddon/China Free Fall (1987) — Split album with Derek Austin. Emerson did the Harmageddon soundtrack while Austin did the China Free Fall soundtrack.[150]
- La Chiesa (2002) — Music from the 1989 horror film The Church, also known as La chiesa. Also contains material by Fabio Pignatelli and Goblin.[151]
- Godzilla: Final Wars (2004)[152]
Compilations[edit]
- Chord Sampler (1984)[153]
- The Emerson Collection (1986)[154]
- At the Movies (2005)[155]
- Hammer It Out – The Anthology (2005)[156]
- Off the Shelf (2006)[157]
Singles[edit]
- 'Honky Tonk Train Blues' (Lewis) b/w 'Barrelhouse Shake-Down' (1976)[158] — [ITA #1] [UK #21][43]
Contributions[edit]
- 'In the Flesh?' (2 versions) and 'Waiting for the Worms' on Pink Floyd tribute album Back Against the Wall (2005)[159]
- 'Black Dog' on Led Zeppelin tribute album Led Box: The Ultimate Led Zeppelin Tribute (2008)[160]
- Ayreon - 'Progressive Waves' on The Theory of Everything (2013)[161]
- Spinal Tap - 'Heavy Duty' on Back from the Dead
As part of a group[edit]
Pieces based on other works[edit]
Emerson would occasionally cover or sample other musical works in his compositions. Permission to use pieces was sometimes denied by the composer or his family; for example Gustav Holst's daughter refused to grant official permission for rock bands to perform her late father's composition Mars, the Bringer of War.[162] However, a number of composers did grant permission for their works to be used. Aaron Copland said that there was 'something that attracted [him]' about ELP's version of 'Fanfare for the Common Man', and so approved its use, although he said, 'What they do in the middle (i.e., the modal section between repeats of Copland's theme), I'm not sure exactly how they connect that with my music'.[163]Alberto Ginastera, on the other hand, enthusiastically approved Emerson's electronic realisation of the fourth movement of his first piano concerto, which appeared on their album Brain Salad Surgery under the title 'Toccata'. Ginastera said, 'You have captured the essence of my music, and no one's ever done that before.'[164]
With the Nice[edit]
- 'America, 2nd Amendment', from West Side Story's 'America', by Leonard Bernstein, credited, quoting Antonín Dvořák's Symphony No. 9, From the New World, uncredited.[16][165]
- 'Rondo', derived from Dave Brubeck's 'Blue Rondo à la Turk', uncredited, quoting Bach, Italian Concerto third movement, uncredited.[16]
- 'Diary of an Empty Day', from Symphonie Espagnole by Édouard Lalo, credited.[16]
- 'Azrael Revisited', quoting Sergei Rachmaninoff's Prelude in C-sharp minor, credited.[16]
- 'Ars Longa Vita Brevis' – Bach, the third Brandenburg Concerto, Allegro, credited.[16]
- 'Intermezzo from the Karelia Suite' – Sibelius, credited.[16]
- 'Pathetique', third movement from Tchaikovsky's Symphony No. 6 , credited.[16]
- 'Hang on to a Dream', from 'How Can We Hang On to a Dream?' by Tim Hardin, credited, quoting (during a live recording) 'Summertime', from Porgy and Bess by George Gershwin, uncredited.[166][self-published source]
- 'She Belongs to Me', by Bob Dylan, credited, quoting Bach, uncredited,[167] and fragments of the theme from The Magnificent Seven, by Elmer Bernstein, uncredited.[16]
- 'Country Pie', by Bob Dylan, credited, lyrics partly set to Bach, the sixth Brandenburg Concerto, credited.[16]
With ELP[edit]
- 'The Barbarian', based on Allegro barbaro, Sz. 49, BB 63 by Béla Bartók, uncredited on US release of Emerson Lake & Palmer (credited on the British Manticore re-pressing of the original LP, on the back cover of the LP jacket).[38]
- 'Knife-Edge', based on the Sinfonietta by Leoš Janáček, uncredited on US release (credited on the British Manticore re-pressing of the original LP, on the back cover of the LP jacket); middle section based on the Allemande from French Suites No. 1 in D minor, by J. S. Bach, uncredited.[38]
- 'The Only Way (Hymn)', incorporating (in the song's introduction and bridge) J. S. Bach's 'Organ Toccata in F and Prelude VI from Book I of the Well-Tempered Clavier', credited on Tarkus.[168]
- 'Are You Ready Eddy?', based on the tune of Bobby Troup's song 'The Girl Can't Help It' and including a quote from the Assemblybugle call, both uncredited (on Tarkus).[169]
- Pictures at an Exhibition, by Modest Mussorgsky, credited.[16]
- 'Blues Variation' from Pictures at an Exhibition also contains an uncredited quote of the 'head' of Bill Evans' minor blues piece 'Interplay' (1:52).[170]
- 'Nut Rocker', adapted by Kim Fowley, credited, from Tchaikovsky's 'March of the Wooden Soldiers', uncredited.[16]
- 'Hoedown', from Rodeo by Aaron Copland, credited, quoting 'Shortnin' Bread' and 'Turkey in the Straw', both traditional.[171]
- 'Abaddon's Bolero', quoting 'The Girl I Left Behind', traditional.[172]
- 'Jerusalem', by C. Hubert H. Parry, credited.[173]
- 'Maple Leaf Rag', by Scott Joplin (in Works Volume 2), credited.[16]
- 'Toccata', from a piano concerto by Alberto Ginastera, endorsed by the composer, credited.[164]
- 'Karn Evil 9, 2nd Impression', quoting 'St. Thomas', a Caribbean melody sometimes attributed to Sonny Rollins, uncredited.[174]
- 'Fanfare for the Common Man', by Aaron Copland, credited.[163]
- Carmina Burana, by Carl Orff, quoted in an extended solo in live recordings from Poland.[175]
- With Emerson, Lake & Powell, the main theme to 'Touch & Go' is identical to the English folk song 'Lovely Joan', better known as the counterpoint tune in Ralph Vaughan Williams' Fantasia on Greensleeves. Not credited.[176][177]
- With Emerson, Lake & Powell, 'Mars' is based on the equivalent movement from the suite The Planets, by Gustav Holst.[178]
- 'Romeo & Juliet' from the Romeo and Juliet suite by Sergei Prokofiev, credited.[178]
- 'Love at First Sight' intro, Étude Op. 10, No. 1, by Frédéric Chopin, uncredited.[179]
In popular culture[edit]
On the UK surreal television comedy series Big Train, Kevin Eldon portrayed Emerson as a Roman slave fighting his enemies with progressive rock.[180]
The long-running comic-strip character Keef da Blade in the Gonville and Caius College, Cambridge, student newspaper Lachesis (1970s)[181] is based largely on Emerson, the character's name being presumably a reference to his trademark stage antics with knives.
See also[edit]
References[edit]
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- ^ abLupis, Giuseppe (May 2006). The Published Music of Keith Emerson: Expanding the Solo Piano Repertoire (D.M.A.). University of Georgia. p. 5. OCLC223323019. Retrieved 7 January 2015.
- ^Lupis, pp. 6–8.
- ^Hoffmann, Frank W., ed. (2005). 'Emerson, Lake and Palmer'. Encyclopedia of Recorded Sound. 1 (2nd ed.). Routledge. p. 374. ISBN978-0-415-97120-1. Retrieved 20 March 2016.
- ^ abcChagollan, Steve (11 March 2016). 'Keith Emerson, Keyboardist for Emerson, Lake & Palmer, Dies at 71'. Variety. Los Angeles, California: Penske Media Corporation. Archived from the original on 12 March 2016. Retrieved 13 March 2016.
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- ^ abcSavage, Mark (15 March 2016). 'Keith Emerson's death ruled suicide'. BBC News. BBC. Archived from the original on 15 March 2016. Retrieved 15 March 2016.
- ^ abcLynch, Joe (11 March 2016). 'Keith Emerson of Emerson, Lake & Palmer Dead at 71 of Suicide'. Billboard. New York City: Prometheus Global Media. Archived from the original on 8 April 2016. Retrieved 9 April 2016.
- ^ abcGrinberg, Emanuella (12 March 2016). 'Keith Emerson of Emerson, Lake & Palmer Dead at 71'. CNN.com. CNN. Archived from the original on 8 April 2016. Retrieved 9 April 2016.
- ^Milano, Domenic (October 1977). 'Keith Emerson'. Contemporary Keyboard. San Francisco, California: GPI Publications. pp. 22–30, 32, 36, 38, 52.
- ^Milano, Domenic (September 1980). 'Keith Emerson: Rock's Multi-Keyboard King — Then and Now'. Contemporary Keyboard. San Francisco, California: GPI Publications. pp. 16–23.
- ^'25 Giants of Keyboard Music'. Keyboard. San Francisco, California: CMP Entertainment Media. January 2000. pp. 32–42.
No one else captured the hearts of fledgling rock keyboardists through the '70s and '80s the way he did.
- ^Huey, Steve (2016). 'Keith Emerson: Artist Biography by Steve Huey'. allmusic.com. AllMusic. Archived from the original on 15 March 2016. Retrieved 19 March 2016.
Throughout his career with the Nice, Emerson, Lake & Palmer, and as a solo artist, Emerson proved himself perhaps the greatest, most technically accomplished keyboardist in rock history.
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- ^Maconie, Stuart (2004). Cider With Roadies (1st ed.). London: Random House. p. 53. ISBN0-09-189115-9.
- ^Macan, Endless Enigma, p. 332.
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... I was playing in a band called, Aliens of Extraordinary Ability, with Keith Emerson. We were offered a record deal with Samsung, but Keith decided to go back to Emerson, Lake and Palmer. I then got involved in the reformation of the band Sweet, which ended up not happening.
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He worked on the orchestration of Emerson Lake and Palmer's Work 'Tarkus' with much success leading to multiple Live Performances and 2 Live Recordings.
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Emerson was clearly in charge ... even plucking the piano strings at one point.
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- ^Granda, Michael Supe (2008). It Shined: The Saga of the Ozark Mountain Daredevils. Bloomington, Indiana: AuthorHouse. p. 231. ISBN978-1-4343-9165-0.
- ^Einbrodt, Ulrich Dieter, Dr. 'Hidden Behind His Instruments or Acting as Entertaining Frontman: Where Is the Keyboarder?'(PDF). geb.uni-giessen.de/. Giessen, Hesse, Germany: University of Giessen. Archived(PDF) from the original on 11 June 2007. Retrieved 14 March 2016.
Strikingly, he (Emerson) was often using two Hammonds, as can be seen at a Beat-Club performance in 1970/71. Both set up in right angle to stage and facing their keys, with Emerson standing in the middle, playing both of them simultaneously and in this way usually facing the audience. That was his favourite position, no matter if his equipment was left, right, or center of the stage and he continues to act this way in the 90's.
- ^ abVail, Mark (2002). The Hammond Organ: Beauty in the B (2nd ed.). New York City: Hal Leonard Corporation. ISBN978-0-87930-705-9.
- ^ abcdLothar (31 January 2016). 'Keith Emerson's Gear'. brain-salad-surgery.de. Brain Salad Surgery. Archived from the original on 10 March 2016. Retrieved 12 March 2016.
- ^ abFrost, Matt (April 2009). 'Tech That: Keith Wechsler: On the Road With Keith Emerson'. Performing Musician. Cambridge, United Kingdom: performing-musician.com. Archived from the original on 16 September 2012. Retrieved 12 March 2016.
- ^Emerson, Pictures, p. 102–103.
- ^'Great Music The Nice - Elegy'. Saskatoontalenteducation.com. Retrieved 25 March 2016.[permanent dead link]
- ^Macan, Endless Enigma, p. 119.
- ^Holland, Roger (11 September 2007). 'Emerson Lake and Palmer: Pictures at an Exhibition'. PopMatters. Sarah Zupko. Archived from the original on 14 March 2016. Retrieved 14 March 2016.
- ^Romano, p. PT134.
- ^ abReid, Gordon (18 May 2013). 'The Yamaha CS80'. gordonreid.co.uk. Gordon Reid. Archived from the original on 17 September 2014. Retrieved 12 March 2016.
- ^Macan, Endless Enigma, p. 385.
- ^ ab'That One Time That Keith Emerson Bought John Paul Jones' Yamaha GX-1 Synth'. led-zeppelin.org. Achilles Last Stand. 12 March 2016. Archived from the original on 12 March 2016. Retrieved 12 March 2016.
- ^Matrix, via John (13 June 2011). 'John Paul Jones Yamaha GX-1 with Programmer Up for Auction?'. Matrixsynth.com. Matrixsynth: Everything Synth. Archived from the original on 12 March 2016. Retrieved 12 March 2016.
- ^Franco, Bernd Hoffmann. 'Emerson, Lake & Palmer – ELP Equipment: Part 1: The Korg PS 3000 Series or Emerson's Fateful Decision'. emersonlakepalmer.de. Emerson, Lake & Palmer – Die ELP-History-Website (original site in German). Archived from the original on 18 February 2016. Retrieved 12 March 2016.
- ^Jenkins, Mark (2007). Analog Synthesizers: Understanding, Performing, Buying: From the Legacy of Moog to Software Synthesis. Burlington, Massachusetts: Focal Press. p. 83. ISBN978-0-240-52072-8.
- ^Whitmore, Laura B. (January 2009). 'Keith Emerson: The Orchestration of a Legend'. i.korg.com. Korg. Archived from the original on 13 March 2016. Retrieved 13 March 2016.
- ^Roche, Pete (26 September 2011). 'ELP Reunites For 40th Anniversary DVD'. theclevelandsound.com. The Cleveland Sound. Archived from the original on 16 October 2011. Retrieved 12 March 2016.
- ^Bae, David (19 March 2010). 'The Frankfurt Music Prize 2010 Goes to Keith Emerson'. Aving Global Network. Archived from the original on 13 March 2016. Retrieved 13 March 2016.
- ^'Worthing's Keith Emerson Receives Lifetime Achievement Award'. Worthing Daily. Worthing, West Sussex. 29 September 2013. Archived from the original on 30 September 2013. Retrieved 16 March 2016.
- ^'Cherry Red Records – Honky – Keith Emerson'. Shop.cherryred.co.uk. 28 October 2013. Archived from the original on 31 March 2016. Retrieved 12 March 2016.
- ^'KEITH EMERSON Honky reviews and MP3'. Progarchives.com. Retrieved 12 March 2016.
- ^Review this album (12 December 2009). 'KEITH EMERSON The Christmas Album reviews and MP3'. Progarchives.com. Retrieved 12 March 2016.
- ^'KEITH EMERSON Changing States/Cream of Emerson Soup reviews and MP3'. Progarchives.com. Retrieved 12 March 2016.
- ^'KEITH EMERSON Emerson Plays Emerson reviews and MP3'. Progarchives.com. Retrieved 12 March 2016.
- ^'KEITH EMERSON Three Fates Project (with Marc Bonilla & Terje Mikkelsen) reviews and MP3'. Progarchives.com. Retrieved 12 March 2016.
- ^'Grappa musikkforlag CD+DVD: Three Fates Project. Keith Emerson Band in Symphony'. Grappa.no. 23 September 2015. Archived from the original on 23 March 2016. Retrieved 13 March 2016.
- ^'Boys Club: Live from California - Marc Bonilla, Keith Emerson, Glenn Hughes | Songs, Reviews, Credits'. AllMusic. 30 January 2009. Retrieved 13 March 2016.
- ^AllMusic Review by Thom Jurek. 'Moscow - Keith Emerson Band, Keith Emerson | Songs, Reviews, Credits'. AllMusic. Retrieved 13 March 2016.
- ^'Live From Manticore Hall - Keith Emerson, Greg Lake | Songs, Reviews, Credits'. AllMusic. 28 May 2010. Retrieved 13 March 2016.
- ^Dryden, K. (2011). 'Emerson: Inferno [Original Motion Picture Soundtrack] - Keith Emerson | AllMusic'. allmusic.com. Retrieved 26 July 2011.
- ^AllMusic Review by Ken Dryden. 'Nighthawks - Keith Emerson | Songs, Reviews, Credits'. AllMusic. Retrieved 13 March 2016.
- ^AllMusic Review by Victor W. Valdivia. 'Best Revenge [Original Soundtrack] - Keith Emerson | Songs, Reviews, Credits'. AllMusic. Retrieved 13 March 2016.
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- ^AllMusic Review by Ken Dryden. 'Harmageddon/China Free Fall - Keith Emerson | Songs, Reviews, Credits'. AllMusic. Retrieved 13 March 2016.
- ^'La Chiesa (Original Motion Picture Soundtrack)'. AllMusic. Retrieved 17 March 2016.
- ^'This Is the Final Tribute Album for Godzilla - Original Soundtrack | Songs, Reviews, Credits'. AllMusic. 4 January 2005. Retrieved 13 March 2016.
- ^Review this album (28 September 2007). 'KEITH EMERSON Chord Sampler reviews and MP3'. Progarchives.com. Retrieved 13 March 2016.
- ^'The Emerson Collection by KEITH EMERSON songs, tracks list, members, credits, reviews, information, discography on ProGGnosis'. Proggnosis.com. 1 February 2009. Retrieved 13 March 2016.
- ^AllMusic Review (22 November 2005). 'At the Movies - Keith Emerson | Songs, Reviews, Credits'. AllMusic. Retrieved 13 March 2016.
- ^'Hammer It Out: The Anthology - Keith Emerson | Songs, Reviews, Credits'. AllMusic. 19 July 2005. Retrieved 13 March 2016.
- ^'Keith Emerson – Off the Shelf'. AllMusic. Retrieved 13 March 2016.
- ^'BBC One – Top of the Pops, 22/04/1976'. BBC. 23 April 2011. Retrieved 11 March 2016.
- ^'Various – Back Against The Wall (A Tribute to Pink Floyd)'. Discogs.com. Discogs. 2016. Archived from the original on 12 February 2015. Retrieved 14 March 2016.
- ^'Various Artists: Led Box: The Ultimate Led Zeppelin Tribute'. Allmusic.com. AllMusic. 2016. Archived from the original on 27 February 2014. Retrieved 14 March 2016.
- ^Steinmetal. 'Ayreon - The Theory Of Everything (Review by Andrija 'TheIslander' Petrovic)'. Retrieved 24 August 2016.
- ^Eder, Bruce (2016). 'About Gustav Holst'. MTV.com. MTV. Archived from the original on 14 March 2016. Retrieved 13 March 2016.
- ^ abAaron Copland (Interviewee) (2007). From The Beginning (Disc 4, Track 1)(Audio CD)
|format=
requires|url=
(help) (Audio recording). Castle Music UK. Event occurs at CD. - ^ ab'Alberto Ginastera (Composer)'. bach-cantatas.com. Bach Cantatas Website. 16 May 2013. Archived from the original on 27 March 2014. Retrieved 13 March 2016.
- ^Macan, Endless Enigma, p. 22.
- ^Duxbury, Janell R. (2000). Rockin' the Classics and Classicizin' the Rock: A Selectively Annotated Discography: Second Supplement. Xlibris, supplement to earlier Greenwood Press book. p. 161. ISBN0-7388-3753-9.
- ^Duxbury, p. 162.
- ^Duxbury, p. 358.
- ^Emerson, Pictures, p. 205.
- ^Plotcyk, Steven; Smith, Jim (31 May 2006). 'Keith Emerson Musical Quote List Sorted By Composer'. brain-salad.com. ELP Digest (fan website). Archived from the original on 28 October 2015. Retrieved 14 March 2016.
- ^Epstein, Dan; Gehr, Richard; Heller, Jason (11 March 2016). 'Emerson, Lake and Palmer: 10 Essential Songs'. Rolling Stone. New York City: Jann Wenner. Archived from the original on 12 March 2016. Retrieved 14 March 2016.
... East European elements find their way into his rollicking organ and Moog arrangement alongside American folk tunes like 'Shortnin' Bread' and 'Turkey in the Straw.'
- ^Gohn, Jack L. B. (26 August 2012). 'Someone Must Have Sent That To Kemp, Or, Not Enough Friends'. thebigpictureandthecloseup.com. Jack L.B. Gohn. Archived from the original on 14 March 2016. Retrieved 14 March 2016.
Once you hear (Abaddon), you know that it's mostly true to classical form, in that the triplet-heavy melody keeps repeating itself, but every time louder and with more bells and whistles, even cranking in a phrase from the folksong The Girl I Left Behind Me before it's all over[.]
- ^McCulley, Jerry. 'Liner Notes from the DVD-A of Brain Salad Surgery'. ladiesofthelake.com. Ladies of the Lake - A Greg Lake Tribute Site. Archived from the original on 20 August 2015. Retrieved 2 September 2014.
- ^Emerson, Keith (2016). 'Karn Evil 9: Songs: 2nd Impression'. brain-salad-surgery.de. Brain Salad Surgery. Archived from the original on 10 March 2016. Retrieved 14 March 2016.
The 'Caribbean solo' of the 2nd Impression was played on a Minimoog (an interpolation of the song 'St. Thomas' by Sonny Rollins).
- ^Duxbury, p. 75.
- ^Vaughan Williams: Greensleeves/Tallis Fantasia. The New Queen's Hall Orchestra/Wordsworth. Argo 440 116–2 (1994)
- ^Duxbury, p. 76.
- ^ abDuxbury, p. 359.
- ^Duxbury, p. 73.
- ^Pescovitz, David (19 December 2011). 'Keith Emerson Fights With the Power of Prog Rock'. boingboing.net. Boing Boing. Archived from the original on 22 December 2011. Retrieved 21 March 2016.
- ^Brooke, C., A History of Gonville and Caius College — Boydell Press (1996). ISBN978-0-85115-423-7.
Further reading[edit]
- Emerson, Keith (2003), Pictures of an Exhibitionist: From the Nice to Emerson, Lake and Palmer - The True Story of the Man Who Changed the Sound of Rock, John Blake, ISBN1-84454-053-7
- Forrester, George, Martyn Hanson and Frank Askew. Emerson, Lake & Palmer, The Show That Never Ends, A Musical Biography. (2001) Helter Skelter Publishing ISBN1-900924-17-X.
- Lupis, Giuseppe (May 2006). The Published Music of Keith Emerson: Expanding the Solo Piano Repertoire (D.M.A.). University of Georgia. OCLC223323019. Retrieved 7 January 2015.
- Macan, Edward (2006), Endless Enigma: A Musical Biography of Emerson, Lake and Palmer, Feedback Series in Contemporary Music, Vol. 4, Open Court, ISBN978-0-8126-9596-0
- Pethel, Blair (1988). Keith Emerson: The Emergence and Growth of Style: A Study of Selected Works (D.M.A.). Peabody Conservatory of Music. OCLC37599731. Archived from the original on 8 January 2015. Retrieved 7 January 2015.
External links[edit]
Wikimedia Commons has media related to Keith Emerson. |
- Keith Emerson at AllMusic
- Keith Emerson on IMDb
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