Recorded between June and September 1973
Release date: November 19, 1973 on Manticore Records MC66669 (US) and K53501 (UK)
Produced by Greg Lake at Advision Studios
"It's an unusual position from which to produce, because being inside the band itself it is very difficult to be creative and judicial the same time. We were pushing the frontiers back there and so I was always keen on as much sonic innovation is possible. But I also had a kind of interest in just being a good, solid rock 'n' roll band. I think my struggle really was to try and blend those two elements together in a band where all three members are quite headstrong people".
KEITH NOEL EMERSON
*November 02, 1944, Todmorden (England)
†March 10, 2016, Santa Monica CA (United States)
Organs, Piano, Harpsichord, Accordion, Custom build Moog Synthesizers & Moog Polyphonic Ensemble
One of the most recognizable names to emerge from the 1970's progressive scene, Keith Emerson has been established as a virtuoso with keyboard-based instruments since the age of 14. He worked with a number of London-based bands throughout his teens before forming The Nice, which initially was just a backing band for singer P. P. Arnold. The group quickly outgrew its support role and split off on its own, generating a great deal of notoriety through its performances in Europe and the US - particularly because of Emerson, with his dynamic playing, bizarre stage antics and tight trousers.
GREGORY STUART LAKE
*November 10, 1948, Poole (England)
†December 07, 2016, London (England)
Vocals, Bass, Zemaitis Electric 6 string and 12 string guitars
After working in various bands, Greg Lake received his first taste of fame as singer and bassist with Robert Fripp's King Crimson. He left the band in 1970 to go on to even greater success with Emerson, Lake and Palmer, which has remained his primary musical vehicle. ELP were hugely successful in the 1970s (with album sales totalling over thirty million), and significantly contributed to the evolution of progressive rock. Lake contributed to many of ELP's songs (with a little help from Peter Sinfield), but was particularly noticeable for his guitar-oriented and soulful tunes such as 'Lucky Man', 'C'est La vie' and 'Still...You Turn Me On'. Lake became popularly known for his UK Christmas number two single, ' I Believe in Father Christmas' in 1975.
CARL FREDERICK KENDALL PALMER
*March 20, 1950, Birmingham (England)
Percussion and Percussion Synthesizers
Strongly influenced as a young player by Gene Krupa and Buddy Rich, Carl Palmer began his drumming career at the age of 14. His reputation was already firmly established by the time he joined his first notable band: Chris Farlowe and the Thunderbirds, which also included guitarist Alvin Lee and keyboard-player Dave Greenslade. This was followed by a difficult period working with The Crazy World of Arthur Brown, which led to the formation of Palmer's first successful band of his own, Atomic Rooster.
*December 27, 1943, London (England)
Peter Sinfield is most famously known as the lyricist for early incarnations of King Crimson. He contributed to 'In The Court Of The Crimson King', 'In The Wake Of Poseidon', 'Lizard' and 'Islands', which he also produced. After having been asked to leave the group by Robert Fripp, Sinfield continued to be active in the progressive rock scene. He produced Roxy Music's first album, and later recorded a solo album, 'Still' in 1973. He then turned up providing lyrics for Greg Lake from Emerson Lake and Palmer, as well as others like italian progressiv rock group PFM and former Procol Harum singer/pianist Gary Brooker. Also wrote the lyrics to 'The Land Of Make Believe' by Bucks Fizz and 'Think Twice' for Celine Dion.
*April 11, 1916, Buenos Aires (Argentina)
†July 25, 1983, Geneve (Switzerland)
The Argentinian composer Alberto Ginastera (1916-1983) is widely regarded as one of the most important and original South American composer of the 20th century. His attractive output for piano skillfully combines folk Argentine rhythms and colors with modern composing techniques. Exhilarating rhythmic energy, captivating lyricism and hallucinatory atmosphere are some of the characteristics of his musical style.
HR (HANS RUEDI) GIGER
*February 5, 1940, Chur (Switzerland)
†May 12, 2014, Zuerich (Switzerland)
HR Giger is recognized as one of the world’s foremost artists of Fantastic Realism. Born in 1940 to a chemist’s family in Chur, Switzerland, he moved in 1962 to Zurich, where he studied architecture and industrial design at the School of Applied Arts. By 1964 he was producing his first artworks, mostly ink drawings and oil paintings, resulting in his first solo exhibition in 1966, followed by the publication and world-wide distribution of his first poster edition in 1969. Shortly after, he discovered the airbrush and, along with it, his own unique freehand painting style, leading to the creation of many of his most well known works, the surrealistic Biomechanical dreamscapes, which formed the cornerstone of his fame.
Studio engineer at Advision Studios, worked also together with Yes, Gentle Giant, David Essex and Jeff Wayne (War of the worlds).
Chris Kimsey started out as an engineer at Olympic Sound Studios in London. In 1971 he participated on the B.B. King album in London, recorded with Alexis Korner among other British stars. At the same time, he got his early start with the Rolling Stones in 1970 as an assistant engineer on 'Sticky Fingers', working behind Glyn and Andy Johns. Following this, his work as engineer then involved artists like Ten Years After and Emerson, Lake & Palmer, before making several albums with Peter Frampton in the mid-to-late '70s.
ROBERT 'BOB' MOOG
*May 23, 1934, New York NY (United States)
†August 21, 2005, Asheville NC (United States)
Robert Moog developed his ideas for an electronic instrument by starting out in 1961 building and selling Theremin kits and absorbing ideas about transistorised modular synthesisers from the German designer Harald Bode. After publishing an article for the January 1961 issue of the magazine 'Electronics World', Moog sold around a 1000 Theremin kits from 1961 to 63 out of a three room apartment. Eventually he decided to begin producing instruments of his own design. After toying with the idea of a portable guitar amplifier, Moog turned to the synthesiser.
Whilst attending a convention in the Winter of 1963, Moog was introduced to the idea of building new circuits that would be capable of producing sound. In September 1964 he was invited to exhibit his circuits at the Audio Engineering Society Convention. Shortly afterwards in 1964 Moog begin to manufacture electronic music synthesisers. Moog's synthesisers were designed in collaboration with the composers Herbert A. Deutsch, and Walter (later Wendy) Carlos.
After the success of Carlos's album 'Switched On Bach', entirely recorded using Moog synthesisers, Moog's instruments made the first leap from the electronic avant garde, into commercial popular music. The Beatles bought one, as did Mick Jagger who bought a hugely expensive Modular Moog in 1967 (unfortunately this instruments was only used once, as a prop on a film set and was later sold to the German experimentalist rockers, Tangerine Dream).
Though setting a future standard for analogue synthesiser, the Moog Synthesiser Company did not survive the decade, larger companies such as Arp and Roland developed Moog's protoypes into more sophisticated and cost effective instruments. Robert Moog has returned to his roots and currently runs 'Big Briar' a company specialising in transistorised version of the Theremin.
DAVID 'DAVE' LUCE
Moog's Director of Engineering. He redesigned the Apollo synthesizer several times before it finally appeared as the Polymoog Keyboard. Long before most players had heard one, the Polymoog had assumed the status of a dream machine. It was 71 notes wide (unique in 1975), fully polyphonic (unique in 1975), velocity sensitive (unique in 1975), quasi bi-timbral (unique in 1975), and it was a Moog. In a world of Hammonds, Clavinets, Mellotrons, and monophonic synthesis, it was everybody's fantasy to own one.
THOMAS 'TOM' RHEA
"The computer is, at its best, an amplifier of intelligent decisions."
Dr. Thomas L. Rhea was the Director of Marketing at Moog Music and author of owner's manuals for Moog synthesizers. In 1972 the Electronic Arts Foundation was chartered by Tom Rhea, David Van Koevering and Leslie Trubey. It is a non-profit organization that promotes electronic music and other related arts, and preserves artifacts and instruments from the history of electricity and the arts.
Today he's working at Berklee College of Music as an Associate Professor for Electronic Production and Design.
Ray Updike from Sales and Service Department was the first Moog repairman in history. Robert Moog: "I had been periodically stopping by our clients' establishments to answer complaints or to make sure that their music machines were oscillating happily. Now I can send Mr. Updike."
NICHOLAS 'NICK' ROSE
Nick Rose was trained at Cambridge University in electrical engineering. He is the man responsible for the design of Carl Palmer's famed percussion synthesizers and for additions to Emerson's Yamaha GX-1 which Yamaha said would be impossible to make.
CarI Palmer: "I met with a guy who was from the London School of Electronics and talked to him about drum synthesizers. He said it could be done by hitting a drum with a specific microphone set inside the drum. You have that microphone go into a box, which would be a box of tricks, and that will trigger a sound. He said that it is possible. How flexible it would be, how reliable - we don’t know. I started working with this guy called Nick Rose and we developed the very first electronic drum."
Currently he is working as a Principal Engineer for Eventide Inc., leading developer and manufacturer of digital audio processing products for recording, broadcast, and live performance.
FABIO NICOLI & ASSOCIATES
Graphic Design Studio and Advertising Agency in Switzerland. The graphic artist had the idea that the cover should be able to be opened up like a gate.
Photographer of Keith, Greg and Carl
STUART 'STU' YOUNG
Stewart Young became manager of Emerson, Lake and Palmer shortly after he saw the band live in concert. But his first meeting was in his fathers office, where he worked as a chartered accountant in practice, and the three boys came in needing some advice for taxation problems.
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