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Post by Slinger on Dec 15, 2017 12:26:52 GMT
For me Lucky Man, especially the instrumental ending "is" Emerson, Lake, and Palmer. I also like(d) The Nice for what they did. Different, but I still play them both. Certainly ELP's music got pompous and overblown as did the music of many bands and artists, it was a natural evolution. The more toys you give someone (like Keith Emerson) to play with the more they will insist on trying to bend them to their own will. Give a man an orchestra and he may write a symphony or two, give a man a synthesiser and unlimited tracks in the studio and he'll either continue making ever-more complex music until he disappears up his own arse or he'll eventually have an epiphany and realise that actually, he only ever needed a piano and an organ.
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Post by boswell on Dec 15, 2017 13:53:46 GMT
The more toys you give someone (like Keith Emerson) to play with the more they will insist on trying to bend them to their own will. This is just not true regards Emerson. His synth patches remain basically the same on the ELP lps. (Wakeman might of been a better example - wot with the Biotron and his personal dislike of the Hammond.) I know Andre will agree with you on this cos he is all in for the straight stripped-down proto Hammond sound, but I disagree. An arsenal of keys (like what Moraz used) alternates everything - texture, etc. Makes the music more interesting. For example, wait and see: the prog release of 2017 will certainly be voted to be the all-instrumental 80 min cd, "Oceanarium" by Deluge Grander. What makes this music standout is Dan Britton's use of all sorts of keyboard patches/sounds with minimal re-use. Now, inasmuch as Hammond is my fav instrument of all, you would be hard-pressed to sit through 80 minutes of pure Hammond keys. Not so with this Deluge Grander cd.
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Post by Slinger on Dec 16, 2017 16:44:43 GMT
I've just come across this whilst looking for something completely different - Greg Lake remembers the first time that Keith Emerson used the Moog.
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