Classical Composer Reacts to Tarkus (Emerson, Lake, and Palmer) | The Daily Doug (Episode 147)
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- #Tarkus #TarkusReaction #ELP #ELPReaction
In this episode of #TheDailyDoug, I'm reacting to Tarkus by Emerson, Lake, and Palmer. We have the benefit of a recording synced with the music score! What a monumental composition! This is a long episode...come along for the journey!
Reference video: • Emerson, Lake and Palm... - เพลง
It’s scandalous that ELP have never been inducted into the Rock and Roll Hall of Fame! Their music and musicianship and the fact that they were not afraid to push the boundaries should never be forgotten.
Although I agree with you, TRRHOF is a TOTAL, USELESS JOKE ... AT BEST.
Dolly Parton just got into the R&R Hall of Fame. It’s obviously not about the music.
Rrhf is irrelevant
It's scandalous that anyone cares about what the RARHOF thinks
@@lamecasuelas2 it was a good idea but poorly executed. Dolly Parton?
I so miss my dear friend Keith. Having tech'd for him for 7 years, I can tell you that one of the high points of my life was sitting next to Keith as he rehearsed Tarkus for the Manticore tour in 2010. He played the whole thing, there, in front of me. it was...
dude,,,,,
@@mprenn1547 Ikr, DUDE!
I've been listing to TARKUS for over FIFTY YEARS and it STILL moves me emotionally to a high degree. There's nothing like it and there will NEVER be ANYTHING like it EVER again. Anyone who considers themselves a real music fan should listen to this. It's absolutely mind-blowing! The Rock and Roll Hall of Fame should close down - they'll induct anyone with a hit single or two (like AERODOG) but bands like ELP and the Moody Blues get denied. Screw them!
right on bro
Add to pile of excrement the HOF is, they would never consider the predecessors like King Crimson no matter how many covers of 20th Century Schizoid Man have been made by inductees.
I saw them at the Arie Crown Theater in Chicago in 1972...they played Tarkus...I still remember it as I was 16 years old...
Saw them 4 times in 70s. Best concert still.
Tarkus contains almost all the essence of progressive music. It can't be beat! It will be fresh and enjoyable forever.
I think that Tarkus is the quintessence of progressive rock. it is everything one wants from this musical genre.
Exactly
@@ichobean Also agree...was in th Genesis/Yes/TULL/GG amongst others back then...Will not find a better side on any album anywhere speaking to progressive fans....Suppers Ready is probably a tie.....but can't go wrong with either....
It is.
@@alanfine9825 Oh stop please with the Genesis / Yes trash. So overrated bands. There were many many many better bands than those 2 trashes that every "prog fan" mentions.
@@markohehe6620 I mentioned Tull, Gentle Giant, and agreed that ELP was a favorite as well. Your comment about Yes & Genesis are foolish. Who do u think was better, in Your Humble Opinion?
The entire story is illustrated on the album jacket. My father was a professional piano player, Keith was his idol. I grew up listening to all the ELP albums and tarkus always stood out to me. One time we went in to the church down the street when no one was there so he could play the house organ and well yeah he played Tarkus.
Haha, I can picture that. I used to play the church organ when everybody was eating pot luck after Sunday sermons.
They were surprisingly receptive to Stairway to Heaven! :)
"The entire story is illustrated on the album jacket." I don't believe the concept on the jacket had anything to do with
Emerson, Lake and Palmer's concept. Except that waging war was a theme. The jacket is entertaining though.
That had to be one of the best experiences. Thanks for sharing this memory of your Dad's 'ultra-coolness'
Awesome story!
Also, Tarkus could only beat hybrid creatures like itself.
Fifty years ago, on this day, Emerson, Lake & Palmer's "Tarkus" was released.
An Emerson Lake & Palmer Appreciation Group member, Robin Binford reminded us of Keith's account of the birth of "Tarkus" in his autobiography, The Pictures of an Exhibitionist. It's too good not to share....:
CREATING TARKUS ACCORDING TO KEITH EMERSON
from Pictures of an Exhibitionist
Carl and I would often test each other's sightreading abilities writing out complicated rhythms in odd time signatures. One day, he came into my dressing room and drummed out a pattern on his practice pad.
'What time signature's this then?'
'It's either 10/8 or 5/4,' I said, 'but Frank Zappa would refer to them all as one.'
By coincidence, Carl's drum pattern happened to fit a left-hand ostinato figure I was working on, and I made a note to pursue that direction as soon as the tour was over.
About a month later, the idea had some semblance of form, albeit a strange one, and I rang Greg up.
'Can you come over? There's something I want to play you on the piano. I'm rather excited about it. It doesn't appear to have either a time or key signature.'
An hour later, the doorbell rang, and I led Greg into my music room.
'I've been working on this piece since Carl played me a rather obscure drum pattern. I've got this image of us creating a vast 'sheet of sound' that defies conventional structures. There doesn't appear to be one set time signature or a key signature, but the total effect played by the three of us could be very prolific.'
I suddenly realised that my words were not having the slightest effect; I might just as well have tried explaining the concept of 'Origami Wall Plugging' to a fish. I turned awkwardly and began hammering away at the piano. When I'd finished, I turned back to see Greg still staring blankly at me.
'Well?' I asked.
'I think if you want to play that kind of music, you should play it on your solo album.'
I was ... well, I wasn't yet ready to do a solo album, but now that he mentioned it ...
'But I want us to play it. I know it sounds complicated, but it'll have a tremendous effect with all three of us playing it together,' I pleaded.
'I'm really not interested in that sort of thing,' he said turning and walking out.
I was straight on the phone to John Gaydon.
'That's it!' I said, 'the band's finished!' I went on to relay the events of the last hour
'But you can't split up now, not over something so petty, surely!'
'Yes, I can. I'm sorry, I just cannot go on working with such a negative attitude. The first album was hard enough."
'Look, let's all get together for a meeting tomorrow and discuss this sensibly,' and with that, John hung up.
I phoned Carl next.
'Do you remember that I 10/8, 5/4 drum pattern you played some time ago?'
'Ah? Oh yeah'
'Well, I've written a piece of music over it.'
'Great!'
'Well, not so great. I just played it to Greg, who (lady refuses to have anything to do with it.
'How can he do that without even trying It? I mean ... 1 haven't heard it yet ... don't my opinions count?'
'Exactly. I'm sorry, Carl, I don't think I can continue with the band. John wants us to have a meeting tomorrow, but I don't hold much hope.'
The following evening, I arrived at John's residence and walked into an atmosphere that had the consistency of cold porridge on soggy toast.
David Enthoven, Carl and Greg had obviously been talking at great length prior to my arrival and, by the looks on their faces, hadn't got very far.
'What is It about this piece you've written that's so important?' John asked me compassionately.
'It's everything I've always wanted to play, and with this band's capabilities, we'll blow every other band clean off the stand playing it. But perhaps Greg is right; perhaps it's the right time to start my solo album.'
'It's just not commercial,' countered Greg.
I detected a certain pleading in his voice. I offered. 'Was the unison line in 20th Century Schizoid Man" commercial? No! But it was King Crimson's biggest hit.'
'But that had a song.'
'What's to say that this piece shouldn't go into a song?'
'By the time you've got through playing all that esoteric rubbish, you won't have a fuckin' audience,' Greg implored.
David intervened. 'Greg, what's the harm in at least trying it?'
'Yeah,' said Carl. 'I haven't even heard the piece yet. It might be complete crap, but I think we should give maestro here the benefit of the doubt.'
'Believe me,' said Greg, 'This is not the right direction for the next album!
'What is, Greg? Have you written anything for it yet?' said John.
'No, but . . . '
'So what's to lose? At least give it a try In Advision Studios tomorrow,'
'I'll tell you what's to lose,' said Greg, 'wasting studio time, recording crap. That's what's to fuckin' lose!'
'You'll be paying for it anyway because it's too late to cancel the booking.' said David.
That settled it! The next afternoon. Eddie Offord hung back in the control room. He'd sensed there was enough static in the air to drive all his 16 tracks. Greg selected the appropriate 48 soft graphite pencil from his collection of many and opened his newly acquired manuscript book.
'What are the notes?' he asked rather sulkily.
This wasn't quite the attitude one wanted when embarking upon a voyage in the dark, gripping to the sides of a ship that was so obviously sinking. Some holes had to be filled.
'F...B flat...E flat...B flat...A flat...E flat...'
'Wait! Let me learn that bit first.' Greg practiced it up to speed, jotting the notes down as he went.
I ignored the fact that, as he wrote his part do in big capital letters above the staves of the manuscript paper, he could just as easily have written it out on blank legal foolscap. But at least it gave the appearance and importance that this was proper music he was writing. The next bits were learned in much the same fashion. Two days later, a complete transformation had taken place, and we were ready to start recording.
Gone was the dark cloud of doubt as Greg threw himself wholeheartedly into a piece that did not have a name.
'Put some Moog on there and, Carl, a gong here?'
I was relieved. I didn't care who wore the producer's cap; my madcap composition was going further than I could have hoped for. The first song that I hoped Greg would sing came quickly. But I feared the changes might upset the further developments. It was the B fiat, E flat. G triad holding over a C root that changed suddenly to a C sharp that gave me the most concern in its acceptability. I needn't have worried. My vocal squawkings of the song over the same chords were enough to encourage. We were on a roll, and, as a result, the entire Tarkus album was recorded in only two weeks! By way of celebration, we jammed an impromptu rock number 'Are You Ready, Eddie?', named after our engineer Eddie Offord and his 16 tracks.
It sounds as great now as ever.
Great story!
Thanks for adding this. I loved reading it.
Fascinating insights about how ELP's signature composition nearly finished the band before their 2nd album!
Wow; even geniuses can be "mean and cruel".........So very glad they worked it through.........and gave us this wonderful music!!!
These three were geniuses, and they unapologetically tapped European classical and folk to create masterpieces like this. Total genius. Rest In Peace, Greg and Keith! ♥️
what a gorgeous voice Greg Lake had
Karn Evil 9, All three impressions. It's another long one that is an incredible classic masterpiece by ELP.
That entire album is a single work. While it starts with a militaristic hymn, everything else refers to Ginastera's Toccata, the second track.
@@ThatsMrPencilneck2U Although it might sound militaristic to you, it’s actually a Christian hymn, based on a poem by William Blake. en.m.wikipedia.org/wiki/And_did_those_feet_in_ancient_time#Use_as_a_hymn
@@dago87able Karn Evil 9 (Carneval 9 😉) world be Great.
@@klausludwig9585 It would. I prefer Pictures at an Exhibition though.
@@dago87able Yep... „Pictures...“ was the first album from ELP I heard.... about 50 years ago ..😉
Keith Emerson's jazz keyboard improvisations were out of sight. What a genius. The things he could do even with a monophonic synth.
The more I listen to Tarkus, the more I am moved by Greg’s incredibly evocative guitar playing on “Battlefield”! The production is also so amazing in how well it has held up after fifty years! It’s another testament to Greg’s genius! Emerson has to be the greatest keyboardist of his generation with his ability to move so deftly from Hammond organ to synthesizers to piano and every other keyboard in between. He also has to be the greatest progressive rock musician, IMO. He was able to play and combine several different genres of music including rock, classical, blues, jazz and even some avant-garde better than any other musician that I have ever heard! True genius! Lastly for me, no one does song ending crescendos better than Emerson! RIP dear Maestro. Oh! I forgot to mention drummer/percussionist extraordinaire, Carl Palmer. I’m from a drummers family and IOM, Carl and Buddy Rich were in a class by themselves above all others. I had the thrill of seeing ELP in concert a dozen or so times. I have never seen performances like it since.
Had the pleasure of seeing this performed live shortly after Tarkus was released. The setting was a concert hall where the local symphony and musicals are performed. It was my first of 3 ELP concerts in my lifetime. The audience went wild. The management was not prepared for us young listeners enthusiastic shenanigans. The ushers tried to calm us down. Keith Emerson egged us on and they finally dropped the curtain on the band. What a memorable show!
The genius of Keith Emerson, Greg Lake, and Carl Palmer will never be matched. No one else was writing music like this in 1971
Honestly, nobody is writing music like this in 2021 either. We've had many great prog bands through the decades, but the first ELP recordings are still a completely unique take on the genre that I haven't seen anyone else match or even aproximate. They were so eclectic and blended so many different music genres that nobody would even think of mixing, I'm still in love with the idea of having a wild west themed ragtime song on each album for no apparent reason hahahaha.
@@MechanicalRabbits True. Except for the approximation, check out Triumvirat, they've had some very ELPy moments even regarding composition. And Tritonus came very close to the ELP sound. But ELP were way over 9000.
When I cross myself,I say Emerson,Lake& Palmer.🗿
@@bgdexter I was about to recommend triumvirat! Great band as well
Welcome to GENESIS. Try The lamb lies down at Broadway
In an interview, when Rick Wakeman was asked, "What Emerson composition do you wish you'd written?" he answered, "Tarkus."
Wakeman loved "Trilogy" as well. Interesting that he wished he wrote Tarkus. RW is amongst the best, for sure, but he really never got out of the UK much when it came to influence. Keith Emerson, on the other hand, was steeped in Eastern Europe styles and a bit in the Americas. I just don't think Rick would have the feel to compose something like Tarkus, so it's cool that he admires it so much.
Saw it on TH-cam too. Rick also liked the Tarkus album cover. It was a very entertaining interview, informative and both Rick and Keith were very funny. Contrast to their very serious musical sides.
They were good friends. Both very funny and laughed a lot.
@@markjacobsen8335 I saw ELP in 1971: totally memorable, especially when the late lamented Mr. Emerson jumped into the audience with a portable keyboard/synthesizer.
@mk smith Man, I wish I'd gone to your high school. The arguments at mine were about whether Ford or Chevy made the better pickup truck! The music was mostly Top 40 or C & W...not a prog nerd in the whole place, except for yours truly.
Greg Lake played all string instruments and of course his awesome haunting voice that perfect for the music that King Crimson and E,L,P were doing.
I was told....in about 1974, that if I liked ELP I would be into classical misic and it would take over my life. Here I am, 60 years old, still into ELP, Sabbath, Yes, Riverside, Porcupine Tree, Ravel, Mussorgsky, Rachminoff, Meshuggah, Incubus, Pat Metheny and anything else you can hit me with, as long as it's it's not rap or been autotuned. I think the thing to remember about the 70's was that you were not part of a pigeonholed lifestyle. Zappa, Beefheart and then saying you owned Birds Of Fire? No problem. I absolutely love the fact I grew up in those years!
@@davidburke8311 Yes, Mussorgsky all the way! Amusingly, it was Mussorgsky that helped to get me into prog rock, not the other way around. I heard the animusic cover of Pictures at an Exhibition, listened to a full orchestra version of mussorgskys original, and eventually discovered and got into the ELP version, leading me to the rest of prog rock.
@@davidburke8311 INDEED!!!
@@davidburke8311with ya bro, the seventies were the decade of the best music across genres, I remember being 10 years old on New years Eve 1969-70 listening to the radio. Thanks to my sister, she gave me Tarkus and Mountain Nantucket Sleighride and many other prog records in my early teens! RIP sis. ❤
Small fact: EVERY time Keith sat down at a piano or keyboard, he would start playing Eruption. He loved it as much as we do. There IS a Japanese CD of a classical symphony doing a full performance of Tarkus. It is ASTONISHING and as good or better than the ELP version....
yes- the japan orchestra is stunning
Yeah, it's amazing, wouldn't call it better, but it's brilliant and very entertaining to watch.
Doug my friend, you are a gift to us music-heads who love the prog rock. I love your enthusiasm and the way you break down these songs structurally. I would rather have one of your videos than 1000 articles or subjective reviews from so-called "music critics". Keep it up my man, I love it!
so true
yes this is a brilliant analysis!
you mean those music critics that have tarkus as one of the best albums ever? typical comment from someone that knows little about a subject.
I do enjoy seeing his first true reactions but I would love for him to go back and analyze these great prog songs with sheet music. Unfortunately its not easy to find sheet music nor is there material for it most of the time, but I'm glad that he was able to analyze this!
I can't read music but seeing this makes me even more impressed by Keith Emerson. RIP Keith and Gregg. Two musical geniuses!
They sure were.
Certainly not shitting on them, at all. But go and have a look at some Aphex Twin sheet music.
Congratulations you very nearly cracked a classical musical joke/insult, Q: What is a trio? A: Two musicians and a drummer! (Don't get me wrong drummers ARE musicians and Carl Palmer was stunning. I was 19 when this came out and saw Tarkus in concert, it blew flames from its nostrils.
Eargasm
This is so far above general popular music in so many ways-harmony built on fourths (as well as thirds), crazy time signatures, wild modes/scales, bizarre chords and virtuosic playing. And yet it was hugely popular, which just shows that Emerson was making music ordinary people could feel, even if it was so unusual.
ELP was light years before it's time. Keith Emerson was a wonder to behold in performance. His gear was humongous and Keith was a small fellow so he looked like he was climbing on to his gear from time to time. His talent is undeniable and his compositions were complex and beautiful. And this was in the early 1970's!!
Keith was literally reinventing the Synthesizer as he was going. Dr. Moog couldn't believe someone would take this Instrument on tour or do what Keith did with it.
Doug, I’ve loved this music since I was in my early teens. I don’t understand a word your saying in regards to reading music, but I find it fascinating and can’t stop watching. It’s also great to hear this great music again. Thank you.
Rachel Flowers does an amazing cover of Tarkus. Keith gave her permission to use his Moog that was getting worked on by a restorer in CA.
She is a wonder.
Watching Rachel play and listening to her original works leaves me grasping for superlatives. Her takes on Karn Evil #9 and Trilogy are also brilliant. Why she isn't a household name remains a mystery to me.
I saw that video! She is absolutely incredible!
She did a great version of Country Pie, the version by The Nice. Rachel's mom, for reasons unknown, pulled that video down. I loved that damn video.....
🚬😎
That young lady is unbelievable!!!
The Gates of Delirium of Yes
THE PROGRESSIVE ROCK MASTERPIECE
Karn Evil 9.🗿
The entire Relayer album is a masterpiece !!!!
How about something from Tales from Topographic Oceans
Eduardo Ferreira -- Yes, yes, yes, yes please do an analysis of GoD like this.
Even better would be Awaken. I think it's Jon's fav, and one of Rick's (CttE and Awaken).
I know it's mine.
I can get behind that.
"Tarkus" along with "Gates of Delirium" by Yes are the 2 greatest Prog masterpieces of all time.
Close to the Edge is the reference in my opinion.
@@Yesshows01 As a Genesis fan, I do have to agree. But Tarkus and Supper's Ready, as well as a few other Genesis pieces, like Cinema Show, are also way up there.
@@bostonseeker I'd say Firth of fifth is every single amazing thing Genesis has but compressed to a few minutes, but Supper's ready is amazing too
I'll give that honor to The Adventures of Greggery Peccary
Stardust We Are by The Flower Kings belongs on that list too.
I found this video in running down an ELP rabbit hole. I need to follow you more.
Back in college, circa 1972, when I heard Tarkus for the first time, in revolutionized my appreciation of music. I simply didn't realize there was music like this being played. It was stunning. It changed everything.
In musical terms that I mostly don't understand, you have explained how this piece could have pierced my consciousness and brought it to a new level that I didn't even know existed. ELP got me interested in things other than the pop rock of the time. I became aware that there was depth to music beyond simply liking lyrics and tones. Heck, I came to appreciate classical music because of ELP.
Thank you for your analysis and appreciation of this piece. It cements the feeling from this non-musically-trained guy, when I first heard it: "This is something wonderful."
They were 26, 23, and 20 years old when they created and recorded this.
Carl Palmer was 15 playing with the Crazy World of Arthur Brown. Yup that's him on Fire.
@@Vina_Ravyn I seem to recall Buddy Rich saying on the Tonight Show I think it was there weren't rock drummers he was impressed by other than Carl Palmer.
@@Carlosant Buddy? the marine /black belt who also was the worlds best drummer
@@Carlosant Oh nobody. Just some guy that Carl Palmer and everyone else was trying to be like, though Buddy Rich himself was trying to emulate the jazz drummers of the 1920s.
@@ChildovGhad Buddy was a jazz drummer in the 20s
"There's no beating it." He obviously hasn't seen what Emerson did to those poor organs.
Let's not forget the flying piano!
@@stevenspicer4873 the flying piano was a show gimmick although a good one. Piano hammers don't work upside down. But Keith had some balls strapping himself to a 2 ton 9 ft grand piano rigged up to spin.
@@smitlag of course it was a gimmick. After the comment on the tortured organs (nothing Freudian there, folks ;-)) I was expressing my sympathy for that piano. Ride 'em, cowboy!
@@stevenspicer4873 pretty amazing that he had time to be a showman while juggling patch cords on that giant modular with both hands and feet playing organ parts. He was the premier keyboardist of that time although I think Kerry Minear of Gentle Giant was probably overall a better musician. So many damn good players during that time.. Many had classical backgrounds as well. We will never see music like that again.
@@smitlag agree completely.
Hey Doug,
You commented at approx 35:30 about how the upper staff sounded "programmed" and wondered how it could be played. It was done with a monophonic synthesizer with the 3 oscillators set to 1-4-5 intervals, so one note on the keyboard would play all three notes of that chord. So the upper staff was all one key played with one finger at a time.
It's one of the cool things about monophonic synths. Something that most polyphonic synths can't really do.
I guessed as much. Keith would have been familiar with mutation stops, not just from his Hammonds but from pipe organs, where the same idea originated.
I agree but I do think there are overdubs on this section as well
@@steveg219 ELP regularly performed all their material live, and Tarkus was a recurrent mainstay of their live concerts.
@@Gottenhimfella absolutely and they could totally play this live but I do hear some overdubs on lead guitar and synth melodies, Doesn’t in any way detract from the masterful composition and playing!
Being a long-time metalhead, I always loved ELP, thought they were the heaviest of the orog scene.
I had the incredible good fortune to record with Keith in 1996. He had just recovered from carpal tunnel surgery and was playing again. Even after the surgery he was simply astounding and was capable of things that many players could not even comprehend. He was also a wonderful person. Big heart and a great sense of humor. What an incredible gift he gave to us and what an incredible loss when he left us.
Would love to hear you do Inca Roads by Zappa. Or some Allan Holdsworth.
Thanks for the analysis and breakdown!
Wow! Lucky you! I guess you're also a musician :)
@@MicheleCampus very lucky. Sometimes the stars align.
Musician? I try.
Even at the very end, with some serious hand issues, the FEW notes he could handle were full of those cool, personal choices he made. His note-selection was impeccable and so Keith Emerson; I really wish he was around longer to play with things that were not so complex. His sense of humor you mention is something that is really significant, he was so funny!
I have a friend who used to work at Moog in Asheville, NC and had the pleasure to meet Keith when he was in town to pick up one of his modular systems after they had done some sort of work on it. He has some awesome photos of himself and Keith, as well as some photos of them putting the modular into road cases for transport. Cool stuff!
"Pictures at an Exhibition" would be a great album to react to. Classical and progressive, ELP and Mussorgsky. Thanks for the reaction.
Yes, absolutely! Another true masterpiece. I love Baba Yagas´hut ;-)
@John Ashtone erm.... The old Castle BLUES VARIATION? erm... the Curse of Baba Yaga? Don’t remember old Modest or Maurice writing any lyrics for the pictures either. Have you actually listened to the ELP version?
@John Ashtone based ravel fan
@John Ashtone You can't be serious!
I second that, Pictures would be great for a reaction video! It's a splendid example of ELP taking brilliant liberal license with an established work. Moreso even, when you consider the relative time scale, than with Toccata. I'd expect to see several raised-brow expressions on Doug's face !
Manticore was the name of ELPs own record label. ELP were a truly amazing band with incredible talent and musicality. R.I.P Keith and Greg. I really enjoyed watching this video. Many thanks.
And Doug you make these even more enjoyable! You are a very talented person . Really enjoy your analyzations.
My brother was a piano player and he spent hours learning this album by ear in 1971. He could play it perfect after much practice. it is great to see the song still being appreciated today. It blew us all away when it was released.
Wow! Kudos to your brother. Learning stuff by ear is one thing; learning ELP - especially Tarkus - is another!!
On piano its hard.
I taught myself to play this too. Then I went to college and looked and looked for others who had done the same as me. i found one my sophmore year. There was actually a Hammond B3 organ in the basement of my dorm, and the two of us had a blast comparing our renditions.
@@kenaldri4915 I wasn't that ambitious as a teenager, but now with the help of the transcription I find most of Tarkus surprisingly playable. Keith had the knack of writing stuff that despite sounding unbelievable, falls nicely under the fingers. I don't think my left hand was up to it then, but I've played a fair bit of boogie and jazz since, and that's pretty essential.
Tarkus is one of the most insane pieces of music I've ever been exposed to. I did not 'get' it the first time, or the first few times. It took a while for me to appreciate it. Keith Emerson was just truly an incredible musician. I love Carl Palmer going ballistic during 'Mass' as Emerson is also doing so. And that massive synth ending. Absolutely crazy, wild piece of music. I'd never heard anything like it, even having already become of fan of prog-era Genesis and Yes. Happy 50 years!
And let's not forget: Lake was a BRILLIANT producer! The sound is clear as a bell! He took it up as a sort of (shrug) "Sure, I'll give producing a try," and he rivals the likes of Alan Parsons and Trevor Horn.
@@TheRKae sorry pal....lake never produced any ELP material,,,,ever....this album was produce by Eddy Offord....get your facts straight
@zipzip070 -- "I'd never heard anything like it, even having already become of fan of prog-era Genesis and Yes."
IMO, that's a key characteristic of prog, they share so many things, yet all are totally different and exceptional in all ways.
In short, it's cool and I like it.
In long:
Each match a different part of your psyche (if I may be so pretentious ;-) and current mood. Many times withing a single piece.
I truly think the best of it is our modern, mostly electric/electronic form of "classical" mvsik. I think that old scene in "Bill and Ted's Excellent Adventure" where Beethoven is rocking out is true. They *were* the "rock" stars of the day and many preferred the new and "modern" of the day in instrumentation, inventing new forms and sounds. Innovation was the rule of the day, and still is.
@@gpk9993 Get YOUR facts straight. Eddie was the engineer. Lake produced the first album (self-titled), Tarkus, Brain Salad, Trilogy, Pictures, etc. Are you one of those CNN fact-checkers?
@@gpk9993 Greg Lake Produced and Eddie Offord was the Engineer.
ELP music is, essentially, classical music played with rock instruments.
ELP is the classical music of the modern era. Mozart would like them I'm sure.
@@davewilliamson7549 While I am a big ELP fan, I have to disagree.
There is plenty of classical music of the modern era: Thomas Ades, Joan Tower, Penderecki, Harrison Birtwisle, Unsuk Chin, Olga Neuwirth, the list of incredible modern classical is long and varied...
YOU HIT THE EXACT CHORD THAT SHOULD RING OUT TO ALL WHO LISTEN. This being one of my personalities they call, EL SUPREMO, SON OF EL DEMO, ( the e is long ). EL SUPREMO IS THAT LINEMAN FROM THAT COUNTY Glen Campbell sings about in Wichita Lineman. EL SUPREMO ABSORBS THE ENERGY DIRECTLY FROM THE ELECTRICITY IN THE LINES AND TRANSFORMERS. UNLIKE HIS FATHER EL DEMO WHO LIVED 1300 YEARS AGO. WHO ABSORBED ENERGY FROM THE MOST PRECIOUS OF METALS, PEASANTS AND BY ATTRACTING LIGHTNING STRIKES UNTO HIMSELF. THEIR LAST NAME IS A NUMBER. EL DEMO 666. EL SUPREMO 666 jr.
@@mwmann dude, you should stop doing drugs.
Classical music is how people rocked before amplifiers.
Emerson is THE MAN, even classical musicians know it. Karl Evil 9 and Pirates.
Classical pianists are most impressed by Karn and Tarkus. Amazing.
2nd Impression is a piano tour de force, one of the greatest performances of the 20th century.
When Doug said "what chord is that?", even with the full music score at screen, I was like "don't look at me..." 😆
A chord that only Dylan Beato could resolve by ear :)
@@u.v.s.5583 Lmfao
Stravinsky and Ligeti meet Thelonius Monk with a pinch of Frank Zappa and King Crimson.
The 4ths follow how a bass guitar is strung.
In true Scorpio tradition, I did Tarkus as a piano course for a summer session in college. Like Aaron Copland, I had to teach it to my teacher (such a patient man) so he could teach it to me!
Doug, you will become a full prog rock fan after you will react to a Plague of the lighthouse keepers by Van Dee Graaf Generator. Awesome song and story
I push Plague on every video. Thanks for helping out, soldier.
Lighthouse Keepers isn't for everyone. That's some heavy shit, man. It took me 35 years and the sudden death of a friend who was like a brother to me, before I "got it."
I recently remembered how I loved VDGG, been listening to Still Life and Scorched Earth for days, he should definetly react to Plague of the Lighthouse Keepers
totally agree. Amazin lyrics, very somber tone.
Count me in for Plague too
Keith Emerson is absolutely my favorite Hammond organ player, everyone else sounds tame in comparison. The only other person that could really make a Hammond “rock” was Jon Lord. Sadly both are gone.
I was half way through reading your comment and I was on the verge of screaming 'Jon Lord' - glad you got that in at the end (and I'm glad I read your comment fully. I completely agree, those two haven't been matched since and probably never will be. Greatly missed.
Yes. Funny like Deep Purple affects us oldies.
Obviously you haven't heard Close to The Edge.....the B3 solo at 15:00 is one of the best organ solos of all time.
@@dangabor8585 Why is it obvious? I owned that record more that 40 years ago. I enjoy Rick Wakeman as a keyboardist, but one solo doesn’t make you a Hammond organ god. Seeing Keith Emerson jump over a organ and pull it down on his legs and play it backwards is about as hardcore as you can get, let’s not forget him stabbing it with knives, obviously not stabbing but using them to hold keys down. Absolutely no disrespect to Yes or Mr. Wakeman. Saw Yes at the Boston Gardens in the late 1970’s and later Jon Anderson at the same venue. I can’t tell you how many times I listened to Rick Wakeman’s Journey to the Center of the Earth as a teenager. Rick is a talented and very gifted artist, as much as I love the Mellotron nobody ever made that instrument rock, maybe if you ran it through a Marshall.
Funnily enough, Billy Joel, famed piano player and songwriter, was in a prog duo in the 70s who recorded one album. the band was called 'Attila' and retrospective reviews from critics call it one of "the worst rock albums ever". Of course, what they failed to mention was the way Joel rigged his Hammond Organ up to a Marshall and played with all sorts of effects, bends, and stylistic choices thar are totally gnarly and tasty. Critics...
A thought about the "Manticore" section--it uses some sort of jig/folk song melodies, as well as parallel 5ths in the harmony. To oppose the idea that this shift signals Tarkus' demise, I believe it's to showcase the contrast between an ancient/mythological creature from a time where an older form of harmony and melody were used (being literally reflected in the music), as opposed to this new creature borne in a time of quartal harmony being a modern creation.
Ooh! Good idea there! Equal vs just intonation, like that?
Greg Lake used bass pedals onstage, so he could add a bass line when playing guitar, or a second bass line when called for. Emerson wasn't the only octopus.
Carl Palmer is an octopus as well, look at those signature changes!
All of them were octopuses
@@milkwater1204 Or one single Vigintiquattuorpus.
Best voice EVER!!!!
@@konstantins.uvarin652 Genesis does this too. Listen carefully to Firth of Fifth, the opening.
Hello everyone. Progressive rock is in my opinion the best thing that rock has given since its inception.... Doug would be great if you could review songs from these bands: Yes, Genesis, ELP, Jethro, Floyd, Camel, King Crimson, Mike Oldfield, Alan Parsons, Wakeman, Asia, Premiata Formeria Marconi, Focus, Marillion, Moody Blues, Arena, Pendragon, Rush, ELO, Supertramp, UK.... greatings from buenos aires...
And don't forget Frank Zappa! Maybe start with RDNZL.
You forgot the best Prog band ever: Gentle Giant.
@@andreasoberndorfer5476 Gentle Giant is unforgetable. Indeed the best Band.
I agree. In the late 1960's and 1970's, I had about 12 favorite bands, turns out they were all Prog rock!
I would respectfully add Stomu Yamashta’s “Go” to the list. Very Zen and circular. On a lesser note, albeit G G is my fav, I truly enjoy Gino Vanelli. Always enjoyed brother Joe’s writing.
You're the only guy I've heard listen to Tarkus in its entirety for the first time, and say "Is that it?" Applause.
Those rolling drones of the organ really hit home the imagery of rolling tank treads. Phenomenal music
Gentle Giant: any song by them would be worth it.
Good suggestion.
I would pick the Moog Fugue as a start.
“On Reflection” from “Free Hand”.
FUGUE !!
Cogs in cogs
Love Gentle Giant saw them open for Jethro Tull Thick as a Brick tour in 71 or 72 in Buffalo.
Fun fact: this pearl of rock has been written in six days.
Like Genesis! God, not the band. :D
@@pentagrammaton6793 Although Genesis the band created complex songs during their early years before they became a radio friendly band.
That short? Maybe six days to *record* ...
I do know that most of it was written by Emerson, and when he played part of it, Greg Lake wasn't sure that he really wanted to go in that direction. (Luckily for us, he changed his mind!)
@@christopherheckman7957 Legend does claim so. Authors and journalists remember Emerson has written the score in only six days: it was a truly prodigy.
Ian Underwood started this composition. It was given to Keith by Frank Zappa, but largely unfinished.....
Ian Underwood wrote out a manuscript with notes written, but no concept or anything like it attached. ELP rounded it out, fleshed out the concept.
Love your analysis. I started learning classical piano at age 4, and took lessons from a Korean Buddhist refugee woman from Panmunjon for 14 years. She taught me so much about the quality of music of all genres. I introduced her to ELP via Works Vol I. With Emerson's First Piano Concerto. Her reaction (that I will never forget) was "He's not terribly original, but his approach to playing, and his technical proficiency is beyond almost anyone I've heard." That's comparing him to Horowitz, Van Cliburn, Serkin, Glenn Gould, and other monsters of classical piano in the 20th century. But I'm going to use your analysis of his use of 4ths as constantly leading to another idea, increasing tension, or releasing it, in my improvisation. Thank you!
I've been listening to Tarkus since I was 13 (I'm now 64) and I never tire of it. A true masterpiece!! They do a great version of it on Live from the Montreux Jazz Festival in 1997. It's available on DVD and CD and is a magnificent concert!!! Saw their final show at the High Voltage Festival in London, England with my son in 2010.
I am 69 now & I still enjoy especially when Keith could still use all of his fingers well. What a composition in this mans musical extraordinary talents & musical vision.
It was wonderful!!
Did you notice how when Aquatarkus started, the sound was vastly different from the organs and synthesizers and sounded more like it was being played underwater? Very creative!
Indeed. I think he's using filters on the big modular Moog. Also it's an interesting right hand with those fast-moving suspended fourth triads. Doug raised a valid question when he pondered whether the pitch relationship in this section might be programmed - there are two sections of Tarkus which I find unplayable at tempo without some sort of technological assist, and they both have this sort of programmatic feature (the other is the first un-notated keyboard solo, labelled "improvise ad lib over pattern" on page 10 of Keith's transcription)
It seems clear to me that Keith used an idea from pipe organ construction, where upper partials are explicitly added into what are often labelled "Mixture" or "Mutation" stops. This creates a very bright and characteristic sound, but by fooling around can also produce some remarkable effects.
This idea was carried over into the Hammond tonewheel electronic organs, with pitches like 2 2/3', which is the perfect twelfth (second harmonic) of the foundation 8' pitch.
I believe in this Aquatarkus section KE must have pre-programmed the modular Moog to play an extra two pitches (perfect fourth and fifth) in addition to the note being played - extracting a polyphonic effect from a monophonic instrument.
In the earlier solo it may have been just the Hammond's mutation stop (perfect twelfth) in combination with a 4' octave drawbar, to create a perfect fifth effect from a monophonic melody.
I don't think Keith ever resorted to sequencing (unlike, say, "Baba O'Riley" by his contemporary, Pete Townsend of the Who). I think he probably thought that was relinquishing the limelight, and he would have resisted delegating anything if it was humanly possible to play it. He was dedicated to playing live, with only two colleagues, things which ordinary mortals would struggle to approximate in a fully equipped studio with sequencing, multitracking, click tracks and whatever else.
Sounded almost like a duck march
@@derekbacharach Yes, didn't like that sound at all. Live version was nothing like that and far superior.
Michael, that’s always been my impression!
Aquatarkus, multi track synths, “ duck” is one track, synth oscillators, filter envelope generators and amp set to create sound. The “ polyphonic”line is another track, probably recorded before solo track, is oscillators tuned to different pitches then played monophonically. Early synths were not polyphonic so many times to get a polyphonic sound you tuned oscillators in intervals, most Modular’s had at least three. Later synths two.
All fun good stuff
Am I the only one here that watching the full video without even knowing what's a Music note means 😂 I just enjoy good Music 😁
No
I just nod and pretend I understand what he’s saying... 👍
You're not alone.
Nope, but it's fascinating all the same isn't it.
I learned to read music in the high school band, but this is still mind blowing. Doug, it absolutely added to this piece, rather than detracted. Thank you!!
I won this album at a carnival in 1971 when I was 10. Been listening to it for 50 years! SUPER FANTASTIC WONDERFUL!
I so love your composer's viewpoint. Awesome!
Wow! You won this album! What a sweet memory you have! (Envious) 👍😊
I've always said that Greg Lake's voice sounds regal. IMO, it became even more so with age. Very sad that both Greg and Keith are no longer with us.
The first time a friend of mine put on King Crimson's "Court of the Crimson King", he remarked on how beautiful Lake's voice was, and it remained true throughout his career. BTW, Doug, "Court of the Crimson King" would be a suitable subject for a future video. Also, Peter Gabriel (either "Biko" or "In Your Eyes"), or pretty much anything by the Who ("The Real Me" would be really appreciated).
Especially on Epitaph by King Crimson. Unbelievable song and vocals
I came to ELP late, it was the mid 90s I think.....I remember Greg almost shook me, definitely a vocalist among vocalists. The band is a masters band, a 3 piece that sounds like 5 people playing (Rush memories) I listened to Tarkus and was done......as a completest I looked for their back catalogue. Ultimately I found a huge japanese box set with their first 9 albums!!
I saw "Tarkus" and was like, "oh, heck yeah!"
I saw the Tarkus tour my 3rd concert 2 months after Yes Those 2 shows changed my life I was 13
My favorite ELP track.
Also try ELP's album - Pictures at an Exhibition based fairly closely on Mussorgsky's suite
The Sage was one of my first favorite acoustic pieces I attempted. As it is way cool
Another vote here for the masterpiece that is Pictures.
Omnibus studio version taken from The Return of the Manticore: th-cam.com/video/U1ZomrLkAKE/w-d-xo.html
@John Ashtone Seems Keith Emerson wanted to arrange the piece after having seeing an orchestral performance of it and so it was adapted rather than a straight copy. Also, while parts of the Ravel/Mussorgsky Pictures were not included, ELP added their own compositions, The Sage, Blues Variation and The Curse of Baba Yaga.
Have not heard that in decades. I seem to recall that "The gate of Kiev" was on it. Tremendous.
Thank so much Doug for the time that you've spent analyzing this piece and sharing it on youtube. I spent an hour and a half with it and found it much more interesting than I had expected. I used to listen to Tarkus when I was 12 years old(!) over 45 years ago, then I went on to other styles of music and became a composer myself. But I never realized how complex (and well developed! ! !) Emerson's music really was! How lucky I was to have listened to this piece dozens of times at that age! I hope that my comments were useful.
R.i.p. Greg Lake and Keith Emerson, two great musician. You are missed.
HE DOES PLAY several keyboard simultaneously... FInd a concert of them playing..
Arpeggio Blues -- when I would skim through keyboard player back in the 1900s, I would see questions to KE like "what sequencer did you use on and the answer was almost always "my left hand."
Keith had great independence of his hands. Which is an art to guys whom simply play the piano. The rules of what hands do what go out the window if you are a "real keyboard player". You have a rhythm section not to mention in his case an amazing rhythm section. So your left hand becomes as much of a lead instrument as your right. Now days I routinely transpose zones on my keyboards to maybe 2 or three octaves higher to allow my left hand to play certain parts.
Keith also was one of the few keyboardist that played passages that typically concert pianists play. Lots of guys have quick right hands. But start throwing octaves, 6ths and thirds, repeated notes on the same key and their chops dissapear. Another guy whom was incredible and that had Keith as a fan was Mark Robertson of the band Cairo. I don't know what he has been doing over the last several years. But he was an awesome player.
@@4-3_Land Very little. Of course they did overdubs primarily on the guitar parts and vocals. Keith really didn't use that many keyboards back then. You hear organ, moog synthesizer and piano. He did have custom preset hand wired modules on the moog. And he did use the step sequencers occaisionally. The bass lines on Karnevil 9 and the steel drums on the part 2 of the same song was done on the minimoog.
Now in Trilogy obviously there is some sequencing on the last part after the piano and vocal part. The person who never gets the credit he is due is Greg Lake. He was a damn good bassist and guitarist yet his name almost never comes up when people discuss greats like Chris Squire.
It remains an incredible piece of music to this day. Keith was genuinely a genius as a player and composer. His sense of harmonic and melodic development in pieces was nothing short of remarkable. The music to me is 20th Century classical music, meets jazz, played by a rock band.
Seeing Kieth Emerson live was just amazing..
Sueño cumplido, después de casi medio siglo. Analizar con un músico de tomo y lomo; y con pentagrama en mano, cada parte de esta sorprendente pieza. Ojala en estuviese disponible en español. Congratulations , thanks.
“PIRATES”!!!! My favorite ELP large work! Done with full orchestra-you’ll love it! It’s basically a tone poem/cantata. But yeah, you have to check out “Karn”. I saw some other requests for it, and I fully second those requests!!! Love the channel!!!
+1 one this!
Pirates! Great piece!
Yes, great suggestion! He'd love that one.
I agreed. I think Pirates is their most overlooked or underrated epic.
I agree. I think Pirates is certainly one of the most successful, if not THE most successful, attempts to combine rock and orchestral music in a single piece. In so many other attempts by other groups, it seems like either one of the aesthetics only supplements the other, or they just alternate. In Pirates, both aesthetics blend seamlessly throughout, and are so musically illustrative of what the song is about. You can just picture an 18th century sailing ship appearing over the horizon, or a randy band of pirates on shore leave for a night.
The Endless Enigma by ELP would be wonderful! Great channel and so much fun to share music with someone who can appreciate the thoughts and decisions that went Into the compositions. Thank you for these wonderful Friday videos!
FYI, Doug, ELP performed Tarkus *live* in 1972 (?) in Southern California. It shows up on their album “Welcome Back My Friends To The Show That Never Ends”. One of the things I love about this rendition is that between Iconoclast and Aquatarkus Keith does a *long* synthesizer improv that lasts about 10 minutes. It is virtuosic. I have never heard anyone else who could squeeze so much musical creativity out ancient synth technology! Mindblowing. Thank you for giving a Friday focus to this fascinating piece!
Im no musician, but I really enjoyed this breakdown. Been listening to Tarkus since it came out and hearing it again now only enforces how incredible this music is. Even far more after listening to the more modern music of today, often which is written and recorded in a single day.
"Take a Pebble" by ELP in its original 1st album full version, has some of the most incredible piano playing and superb drums and bass playing....
Also The Tree Fates... and Tank... and Knife-edge... all Emerson pieces are impressive, hahaha.
@@seamusforever7081 Knife-edge is not an Emerson composition though. It's mainly Janacek, with a little Bach thrown in.
@@haga2519 Exactly! Even though I was a music nerd in school - played in every band & orchestra I could get into (learned different instruments just so I could) ELP introduced me to a wider variety of composers than we were exposed to in high school. Janacek, Bartok, especially Ginestera - music that most amateurs don't get to play
Doug, Your cognitive hearing the chords and visualization is amazing.
Not a single wasted note or moment. Relentless, wonderful, so much incredible talent and inventiveness and creativity. Pretentious, probably, but the shivers and the tears I get from it every time I hear it would seem to indicate that it doesn't matter too much. I just wish this was a true reaction video of Doug hearing this remarkable piece for the first time as that would have been something to see.
I once met Greg Lake about 17 years ago. He was such a nice man and very warm and friendly.
I was really hoping you'd do it this week, and I wasn't dissapointed , great channel Dr. Doug
In "The Battlefield: where Greg Lake is soloing on electric guitar between verses- that mellow baseline/progression reminds me of something Pink Floyd would do later on on "DSOTM". Even the bluesy B.B. King guitar licks are classic David Gilmour.
That part did remind me a little of the Pink Floyd sound.
He's actually playing a duet with himself while playing bass. Tough to replicate live, unfortunately, because it sounds phenomenal.
I am 67 years old and for me the game changer arrived in this order in the music industry. There were Chuck Berry, Elvis, the Beatles, Jimi Hendrix & Ritchie Blackmore, then, Emerson, Lake and Palmer. The final one who brings music and sound from another planet and they were wearing Metallic space suite in front of the wall of Moog synth with hundreds patch cords. In comparisons of the others and from them, arrived inspired by them. Genesis, yes and all the others, but never forget Led Zeppelin, Jeff Beck, Al Di Meola, Pink Floyd and The first seven days By Jan Hammer in this, there is like communication with deferent entity's not talking the same language but making a lot of sense we could understand by the emotions that each instruments was creating. I could put the turn table on repeat and let it play all days and nights. Try it you may hook on it, just changing the volume for different moments.
Every single time I hear this song, I can just about picture Tarkus, its fights and exile. It helps that I also own the LP with the inner gatefold art. What a masterpiece of a song.
ELP - Take A Pebble
Genesis - Get 'Em Out By Friday
I've listened toTarkus literally hundreds of times since it first came out...I've performed it and recorded it (well, parts of it after a fashion)...but I've never heard it like this before. I LOVE how you approach it and break it down with the sheet music. I may not even understand everything you're talking about (I think I get most of it) but from now on I will always have a deeper, fuller experience of Tarkus thanks to you. Thank you-I'm a new fan!
This sounded like the original version or a remix of the original (possibly with repetition of some parts) to me.
ELP were known for their musicianship and Keith was Rock's best keyboardist. He had a flare for incredibly difficult and theatrical keyboard fills of a bar or two. This didn't translate to his piano concerto (which was savaged by the classical critics), but reading the sheet music one can clearly see that he was writing and playing unbelievably complex pieces.
I love this piece. Emerson is definately my favorite keyboard player of the Prog era and then some. Tarkus really shows his brilliance as a composer and major keyboardist / improviser. Greg Lake and Carl Palmer are not to be overlooked as well. I've played Eruption, and as a keyboard player, I could tell you; it took some serious practice to get it down and understand it. An ELP suggestion for you would be from their third album, Trilogy. The songs Trilogy, The Endless Enigma and Abbaddons Bolero are great works.
Having the sheet makes the analysis richer and pretty more didactic. I've been listening to this song for years and never realized the use of fourths. This is a real class, people would pay for it, or pass in a hard test in order to have it for free at a college! Thank you, Doug!
Yes, the use of 4ths throughout is fascinating and now knowing that has further enhanced my appreciation of this piece (that I’ve been listening to for nearly 50 years). I hear, also, that the Moog synth patch in Aquatarkus consists of three oscillators, tuned to the root, a 4th and a 5th. That now makes perfect sense in the context of the whole piece.
Stacked fourths is big in jazz and 70s prog.
@@toprak3479 It's interesting here that ELP use the fourths as a consonance and yet indicative of the conflict being described by the words.
I have been listening to and playing this music for almost 30 years - I have a master's degree in classical guitar and music ed, so watching the sheet music has DEFINITELY enhanced my enjoyment of this piece that I have loved for so long. Excellent analysis sir, you do a great job! Emerson's quotes from composers like Bartok and Janacek and others in his pieces are rewarding finds for the hunters out there - pick anything you like to do next you can't really go wrong (in the first 5 or so albums at least, before they really cheez it up)
Holy crap dude! I love your work with Band Geek, you guys do a great job replicating timeless prog staples. Nice seeing you here
@@krishdutta5466 thank you my friend, we love to play them!
@@krishdutta5466 I love watching these kind of videos - seeing what people think of the music that blew my mind 25 years ago!
Reminds me my teens years while studying for the tests and getting mesmerized by the old vinyl rpm's.
52 years later, your explanations are muisic to m. Many tnx Doug.
Doug, I'm not musically trained but enjoyed your presentation of Tarkus so much. I have listened to this piece so many time and have been able to see it performed by ELP on four occasions. Your views and explanations have made it all the more enjoyable. Thank you so much.
I love your reaction to the section in Em. "Of course it was by the guitarist"
Fun fact: the band's label was 'Manticore records'.
My all time favourite ELP tune. I have listened to it thosand of times for 50 years. I never get tired of it.
Your channel is pure happiness. "Merci" for your generosity !
The truest "Aquatarkus" has to be the extended improv from Welcome Back My Friends-- .
When this album was released Tarkus ELP.. I was about 14 years old ran to the local record store 1812 overture to be exact.. and bought the album blindly without ever hearing it.. the price for this vinyl when first released on crotillion was $2.99 no tax.. had discovered ELP as they had released their first album which is referred to as the dove.. and it always bought all of their music without ever hearing it first.. if you can believe it and it's true crotillion was released in Europe first for these guys.. so as ELP released their first album the dove in Europe in late 1968.. a friend from London sent me three copies on vinyl.. how to off the presses and had yet to be released in the United States for approximately 8 months.. big local radio FM to be exact to play these pieces.. but they said they could not because the album had yet to be released in the United States.. fell in love with Keith Emerson's pieces and recolorations of this works from day one.. their first album the dove had a little something special on it which was called tank.. which featured Carl Palmer on percussion OMG one of the most fantastic pieces I had ever heard at the ripe old age of 14.. wore out copy after copy after copy listening to tank.. over the years up through 1974 whenever the band played in concert live whether it be Florida New York Chicago even Dallas Texas we all gathered as many people as we could fit in a car a van of Volkswagen and drove to those locations to see them play.. the thing is is that they could never and we're never able to reproduce tank as it is heard on the first album the dove album in the same way that it was originally published on the vinyls.. the band themselves though produced phenomenal live performances featuring Keith Emerson on keyboards and knives Carl Palmer was a wizard on percussion and fast really fast and accurate, Greg lake on acoustic guitar was top notch acoustic rock and head of voice that would Pierce.. oh those days are missed so much when concerts were $3.50 $4.50 and $5.50 per ticket at each performance no matter where you were in the United States.. if you look hard enough you will find some really fine live unpublished recordings in certain places on the internet.. enjoy devour and repeat.
This album, especially this epic song, was not received well at all by the critics. That's what drove me to this album. Keith' Emerson's artistry was masterful for this song in particular. He was also a master at the B-3, with the way he set it up and made those voice coils in the belly of that organ heat up hotter than a scorching summer afternoon in Atlanta. Pure perfection.
Thank you for that review. Now I'm hooked. BTW, I bought this album in '72 during my sophomore year in high school high on purple micro-dot. Yes, Tarkus lives.....
My Dad sat me down and put this on the record player when I was about 8. He handed me the cover which I stared at while it played. Later I discovered tripping. Very little difference as it turns out. ELP, pure genius.
If you like longer pieces, try Atom Heart Mother by Pink Floyd. You might like that one.
I second Atom Heart Mother by Pink Floyd.
try tto grab also version without orchestra
Agreed on this idea. I also say the original version may not be the best.
it is very interesting AHM played by the band only you can touch how they worked on session, that is a live bootleg, something you can perceive at pompei too or other tv video of 68-70 like at nassau coliseum 60 minutes. i mean it belongs to a instrumental jam research like ummagumma or control of the sun
I love this song, but I don't think it has too much to add in terms of musical analysis. Most of parts are only two chords repeting eternaly... I think Shine On You Crazy Diamond or Dogs would be more interesting for him to analyse
Hey Doug: Thick as a Brick by the wonderful Jethro Tull. What do tou think that sound?
best "rock" album ever made......TAAB
what about benefit ??????
I suggested TAAB on another video. I think it'd be wonderful to hear from Doug. Although it's way longer than "long" Fridays standards
I remember buying that album when it first came out!! A real classic
I vote for Jethro Tull album, Songs from the Wood.
As an old rocker still doing this music sometimes, ELP always gets a "Wow, what was that?" Beautiful.
This musical work is a masterpiece.He pushes any keyboard player to their limits. I like Jordan Rudess' interpretation of it.
One of my favorite songs of all time. Your analysis was outstanding! Thanks
Ok Keith Emerson is a genius, but no one talks about Greg Lake’s bassline?
I agree and I think this is Carl Palmer's best work.
How ELP isn’t top of the bill at the RHOF proves just how irrelevant the RHOF is. 3 guys who pulled this stuff off live in a time when rock was 3 or 4 chords, and SMOKED everyone else in terms of stagecraft. No one else came close to this level of brilliance. All 3 band members were ferocious musicians. All 3 were giants. Rest In Peace Keith and Greg. You are missed and remembered. Oh yes Greg Lakes Vocal is otherworldly great! Pitch perfect.
@@THEtimguitartaylor The critics of the day were never big prog fans and they ended up being the ones on the board who makes the decisions. There's a lot of heavy biases in there so it's better not to care what they say, especially since the hall of fame isn't run by musicians.
@@fatlahbazooka I know but it still illustrates just how incredibly short sighted and vapid they were, and remain.
Hmm - Greg Lake was surely a gifted player, but that was Emerson's bass line, he composed it, dictated it, and Greg wrote it down and learned it (sulkily). No bass player submits cheerfully to being told what to play. Worse yet, Emerson's left hand was effortlessly doubling the bass line on the B3 the entire time despite his right hand carrying the whole piece both harmonically and melodically (which added insult to injury).
I think Keith was so scarred by Lake's antipathy to Tarkus from the moment Keith described it, that he was forever (in later years) trying to play it ridiculously ever-faster at concerts, perhaps hoping that Greg's strings (and brain) would melt, leaving Keith in triumphant and sole possession of the battlefield. I don't think either of them ever quite grew up.
I too am a recent convert to Doug's channel (just showed up on my feed). Absolutely amazing! I love having a classical-music maven dissecting boomer rock for me.
First time I heard ANY ELP was at their concert when I was 17, the first song being Tarkus. It made an impression that I can still re-feel today.
I just discover this song like one week ago and after watching the score I can't explain how this makes me feel, It's just a masterpiece, ELP did a great great job, I must listen to them more. Good video and analysis Doug!
A greeting from a 17 years old Argentinian ;)
Highly suggest you give Karn Evil 9 a listen, 30 minutes might be daunting, but it is well worth a listen. Easily my favourite piece by ELP, so full of ideas!
If you want more time signature and compositional madness, I also suggest Egg and Magma! Egg if you love jazz, Magma if you enjoy more folk or opera. Hope you enjoy the suggestions :D
@@fatheroftwo852 Thanks! I'll listen to everything that you suggested! ;)
Ian Underwood began this composition, gave it to Frank Zappa. Frank gave it to Keith Emerson.
The band fleshed out most of it, but it was begun within The Mothers ranks, specifically Ian Underwood.
🚬😎
Let’s hear your sources.
A staggering achievement of progressive brilliance. Technical, lyrically, vocally and musically this piece pushes the boundaries of the possible in musical imagination. ELP did this in 1971 and it was likely conceived even earlier. It boggles the mind that these three were able to produce a piece so technically superior with the electronics available at the time. It smacks of genius nonpareil and reminds the astute listener that ELP are in that rarefied class of prog musicians-Yes, Rush, Kansas and few others-that have stood the test of time and occupy that rarefied pantheon of greatness so many have aspired to occupy.
GLAD YOU HAD A GOOD TIME WORKING OUT THE MUSICAL SCORE AND SHARING YOUR THOUGHTS