Live From Manticore Hall (Manticore Records, 2014)
Two of the founders of progressive rock group Emerson Lake and Palmer got back together in 2010 to perform an intimate concert highlighting some of the most iconic material from their careers. The idea was to show the public how the musical ideas were made reality. “‘Live At Manticore Hall’ is an introspective revisit to some of the music of ELP. I think Greg and I gave it a personal touch with our Q&A sessions midway through the show. It was a delicate transformation that we present now,” said Keith Emerson.
On Live From Manticore Hall Keith Emerson and Greg Lake deliver new two-man versions of familiar material; memorable progressive rock classics beloved by thousands of fans. “I think this album offers a very interesting perspective upon how Keith and I work and create together,” adds Greg Lake.
The first piece is ‘From The Beginning’ from the 1972 landmark album Trilogy. Keith Emerson plays a piano intro that leads into Greg Lake’s guitar and vocals. The original version of this song had great guitar and synth solos. This time, Keith Emerson uses piano instead of synths.
Before Emerson Lake and Palmer, Greg Lake was a member of another seminal progressive rock group, King Crimson. He treated the audience to a new version of the beautiful song ‘I Talk To The Wind’ from King Crimson’s masterwork In the Court of the Crimson King. This version features piano, guitar and Lake’s unmistakable vocals.
The two artists return to classic ELP with ‘Bitches Crystal’ from the celebrated album Tarkus (1971). With this piece the album ventures into the keyboard-dominated material, with Greg Lake switching to bass. Keith Emerson uses an oddly tuned ragtime piano similar to the ones he used in pieces like ‘Benny Was a Bouncer’ and ‘The Sheriff.’
Next, Emerson and Lake play the Bela Bartok-inspired ‘The Barbarian’ from Emerson Lake & Palmer’s self-titled debut album, Emerson Lake & Palmer (1970). At last, Keith Emerson brings out the heavy weaponry, playing his characteristic fiery Hammond organ along with piano and other keyboards.
Some of the ELP ballads did pretty well in FM radio. ‘Take A Pebble,’ also from Emerson Lake & Palmer (1970) was frequently played in commercial radio. This version features excellent piano variations, string synths and vocals.
Tarkus, from the album Tarkus (1971) revolutionized the early 1970s with its innovative mixed use of traditional and electronic keyboards performing vibrant music. This version is much more relaxed than the one you’ll find on the original album. Emerson keeps the organ and synths pretty much hidden until the epic finale, where the organ and synthesizers develop into a transfixing performance.
Greg Lake sings another ballad, the somber C’est Le Vie, from Works Volume I (1977). This is followed by the symphonic rock masterpiece ‘Pirates’ also from Works Volume I.
The album concludes with a Moog synthesizer solo by Keith Emerson that leads to Lucky Man from Emerson Lake & Palmer (1970). This song has a special meaning to me as it was the first progressive rock piece I heard when I was a pre-teen and the synth solo blew me away. Life was never the same after that.
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