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DISCID=0b08dc02
DTITLE=Emerson, Lake & Palmer / Pictures At An Exhibition (Cotillion C
DTITLE=D Edition)
DYEAR=1972
DGENRE=Progressive Rock
TTITLE0=Promenade, The Gnome, Promenade, The Sage, The Old Castle, Blu
TTITLE0=es Variation
TTITLE1=Promenade, The Hut of Baba Yaga, The Curse of Baba Yaga, The H
TTITLE1=ut of Baba Yaga, The Great Gates of Kiev, The End - Nutrocker
EXTD=Originally Released 1972\nAtlantic/Cotillion CD Edition Released 
EXTD=1987 ??\nRhino Remastered CD Edition Released May 21, 1996\n\nAMG
EXTD= EXPERT REVIEW: (Cotillion Edition) One of the seminal documents 
EXTD=of the progressive rock era, a record that made its way into the 
EXTD=collections of millions of high-school kids who never heard of Mo
EXTD=dest Mussorgsky and knew nothing of Russia's Nationalist "Five." 
EXTD=It does some violence to Mussorgsky, but Pictures at an Exhibitio
EXTD=n is also the most energetic and well-realized live release in Em
EXTD=erson, Lake & Palmer's catalog, and it makes a fairly compelling 
EXTD=case for adapting classical pieces in this way. At the time, it i
EXTD=ntroduced "classical rock" to millions of listeners, including th
EXTD=e classical community, most of whose members regarded this record
EXTD= as something akin to an armed assault. The early-'70s live sound
EXTD= is a little crude by today's standards, but the tightness of the
EXTD= playing (Carl Palmer is especially good) makes up for any sonic 
EXTD=inadequacies. Keith Emerson is the dominant musical personality h
EXTD=ere, but Greg Lake and Palmer get the spotlight enough to prevent
EXTD= it from being a pure keyboard showcase. [This album was also rel
EXTD=eased on Cotillion Records with a two-track "Side A and Side B" f
EXTD=ormat.] -- Bruce Eder\n\nAMG EXPERT REVIEW: (Remastered CD Editio
EXTD=n) Pictures at an Exhibition was one of the seminal documents of 
EXTD=the progressive rock era, a record that made its way into the col
EXTD=lections of millions of high-school kids who never heard of compo
EXTD=ser Modest Mussorgsky and knew nothing of Russia's Nationalist "F
EXTD=ive" or artist/architect Victor Hartmann, whose work was the insp
EXTD=iration for Mussorgsky. Chronologically, it was Emerson, Lake & P
EXTD=almer's third LP release (they didn't regard it as an "official" 
EXTD=album, as it was comprised of only part of a longer live performa
EXTD=nce), but for a lot of teenagers who'd missed out on the trio's s
EXTD=elf-titled debut album or resisted the unfamiliarity of Tarkus, P
EXTD=ictures -- which was budget-priced in its original LP release in 
EXTD=England and America -- with its bracing live ambience and blazing
EXTD= pyrotechnics, was the album that put the group over, and did it 
EXTD=with exactly the same kids who turned Jethro Tull's Aqualung and 
EXTD=Thick as a Brick and Yes' Fragile into standard-issue accoutermen
EXTD=ts of teenage suburban life. And, indeed, like the Tull and Yes a
EXTD=lbums, it worked on several levels that allowed widely divergent 
EXTD=audiences to embrace it -- with the added stimulus of certain con
EXTD=trolled substances, it teased the brain with its mix of melody an
EXTD=d heavy rock, and for anyone with some musical knowledge, serious
EXTD= or casual, it was a sufficiently bold use of Mussorgsky's origin
EXTD=al to stimulate hours of delightful listening. It wasn't the firs
EXTD=t treatment of a classical piece in this manner by any means -- K
EXTD=eith Emerson had done several previously with his earlier group t
EXTD=he Nice -- but it was the first to reach a mass audience or get h
EXTD=eavy radio play (at least of excerpts), and introduced the notion
EXTD= of "classical rock" to millions of listeners, including the clas
EXTD=sical community, most of whose members regarded this record as so
EXTD=mething akin to an armed assault. Those with less hidebound sensi
EXTD=bilities appreciated Emerson's rollicking and delightful "Blues V
EXTD=ariations" -- which bridged the gap between Tarkus and Trilogy --
EXTD= and Greg Lake's lyrical adaptations of "Promenade," "The Sage," 
EXTD=and "The Great Gates of Kiev." It does some violence to Mussorgsk
EXTD=y in the process, but is also the most concise, energetic, and we
EXTD=ll-realized live release in ELP's catalog, the hall small enough 
EXTD=to capture the finer nuances of the playing by all three members 
EXTD=of the trio, and especially the muscular bass work by Lake that k
EXTD=eeps pushing the performance forward. It was great fun (an elemen
EXTD=t missing from a good deal of progressive rock) in 1972, and it's
EXTD= still fun in 2005. It also made a fairly compelling case for ada
EXTD=pting classical pieces in this way -- ELP would later succeed wit
EXTD=h adaptations of works by Aaron Copland and Alberto Ginastera, am
EXTD=ong others, but this would be the longest such work to find mass 
EXTD=listenership, sufficient so that in the late '80s there would be 
EXTD=a legitimate classical organ arrangement put out by the Dorian la
EXTD=bel that referred to ELP's rendition as its linear predecessor. T
EXTD=he early-'70s live sound is a little crude by today's standards, 
EXTD=but the various CD upgrades from Rhino, Sanctuary, and Japanese W
EXTD=EA have given the recording a close, powerful sound that captures
EXTD= the tightness of the playing (drummer Carl Palmer is especially 
EXTD=good) and makes up for any sonic inadequacies. Emerson is the dom
EXTD=inant musical personality here, but Lake (who also gets to play s
EXTD=ome classical guitar) and Palmer get the spotlight more than enou
EXTD=gh to prevent it from being a pure keyboard showcase. -- Bruce Ed
EXTD=er\n\nAMAZON.COM CUSTOMER REVIEW\nEmerson, Lake, Palmer, and . . 
EXTD=. Hendrix? (HELP!), May 5, 2006\nReviewer: Zachary A. Hanson "Jaz
EXTD=zpunk" (Tallahassee, FL United States)\nMore like 4.5 stars \n\nW
EXTD=ell, Greg Lake adds some light philosophical/trippy-dippy lyrics 
EXTD=to the Modest Mussourgsky masterpiece, and like every piece of ex
EXTD=cess ELP did early in their career, it works. Keith Emerson traip
EXTD=ses through most every tone (jarring or otherwise)he can get from
EXTD= his synth arsenal; if you get the DVD of this, you can even see 
EXTD=him make some noise by wanking the synthesizer strip on his crotc
EXTD=h. The Hendrix of keyboards indeed! Good ole Jimi actually wanted
EXTD= to join the band after hearing this album, but he soon thereafte
EXTD=r passed away. Just think! Hendrix, Emerson, Lake, and Palmer (or
EXTD= HELP, for short). Maybe if he had stuck it through this life, EL
EXTD=P wouldn't've started to suck after their fourth album. We can on
EXTD=ly dream. Maybe the world is better for not having to witness the
EXTD= ego clashes of Emerson and Hendrix. ("No! You can't start your g
EXTD=uitar on fire while I'm stabbing the organ. You get to do that on
EXTD= your song, 'Obsessive-Compulsive Robot' and I get to do the anti
EXTD=social rock star thing on 'Tarkus.' Got it, Jimi?" "Uh, yeah, Kei
EXTD=th, whatever . . ..") \n\nOne definitely hears the world-class un
EXTD=it that Hendrix warmed to on this album. It has more raw urgency 
EXTD=than anything in their catalog (with perhaps the exception of the
EXTD=ir other truly excellent live collection, _Welcome Back My Friend
EXTD=s . . ._, which is yet to come out on CD). More feedback, more sw
EXTD=aggery groove, just more TESTOSTERONE oozing off the analog reels
EXTD=. This doesn't make it better than their three attested studio cl
EXTD=assics (_ELP_, _Tarkus_, and _Brain Salad_), but it makes it almo
EXTD=st as good, and that's saying a whole f of a lot. Probably never 
EXTD=again will we hear a power trio blast and extrapolate their way t
EXTD=hrough a neo-baroque classical piece almost in its entirety like 
EXTD=we hear ELP do here. This might be for the best, but somehow I th
EXTD=ink not. I mean, if there was a five-piece band out there with on
EXTD=e-fifth of the combined talent, moxy, and balls as ELP has here, 
EXTD=the rock world would be turned on its head like it hasn't been fo
EXTD=r awhile. Oh, yeah, that's right. That band is Mars Volta. Come o
EXTD=n, Omar and Cedric, do your acid version of _Rites of Spring_. TH
EXTD=EN, and only then, will I mention you in the same breath as ELP. 
EXTD=\n\nThe only point of this album that is anything less than stell
EXTD=ar is the end, not exactly the place to falter, but ELP seemed to
EXTD= have got it in their heads that they needed to end their heavy h
EXTD=eavy albums on light notes (e.g. "Are You Ready Eddy" on _Tarkus_
EXTD=). "Nutrocker" is fun, but certainly not as memorable as the rest
EXTD= here. Still, it doesn't mar the album much, placing this a sligh
EXTD=t tier beneath ELP's best studio albums. \n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nThe Greatest Musical Exhibition at this Promonade!, June 
EXTD=19, 2005\nReviewer: David Bebernick (Warren, Michigan United Stat
EXTD=es)\nThis album is GODLY!!!! I destroyed ELP's "Pictures at an Ex
EXTD=hibition," that I had to buy another CD because I warped it by pl
EXTD=aying that CD so much! I love "Pictures at an Exhibition!" This i
EXTD=s the greatest album they ever did in my opinion. Hell, I love th
EXTD=is album more than "Brain Salad Surgery," really! I just love the
EXTD= sound Keith Emerson's 1967 Hammond C3 through those tallboy Lesl
EXTD=ie speakers. His Moog Modular system was awesome (though sometime
EXTD=s it sounded polyphonic, even though it was monophonic). Greg Lak
EXTD=e's 1968 Fender Jazz Bass through the Hiwatt stacks sounded kille
EXTD=r & loved the distortion at the beginning of "The Curse Of Baba Y
EXTD=aga." Carl Palmer's 1966 Gretsch drumset was small, but it was lo
EXTD=ud, cutting, & explosive (don't ever underestimate a 20" bass dru
EXTD=m!). If there is one flaw on this album, it's "The Blues Variatio
EXTD=ns." Although Emerson, Lake & Palmer are credited, it should be c
EXTD=redited to Brian 'Blinkly' Davison, Keith Emerson & Keith 'Lee' J
EXTD=ackson (pick up The Nice's final album, "Elegy" & listen to 'My B
EXTD=ack Pages' & you'll hear parts of 'The Blues Variations' in that 
EXTD=song during the organ playing). Getting back to better things, th
EXTD=is performance isn't complete without Emerson picking up & throwi
EXTD=ng down his Hammond L122 (with a Dallas-Arbiter Fuzzface in the c
EXTD=onnection chain) at the end of "The Great Gates of Keiv." How he 
EXTD=gets that organ to sound like a distorted violin out of tune in o
EXTD=ne part of the noise chaos is beyond me! This is an album that yo
EXTD=u must hear from start to finish from "The Promonade, Part 1," to
EXTD= "Nutrocker." Ever since I bought this CD back in 2001 (I was tol
EXTD=d not to get this CD from a friend of mine because it's pompus & 
EXTD=absolute crap), I cannot stop playing it! Hell, I might have to g
EXTD=et a third copy of this album for all we know. \n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nErratic execution mars ambitious concept, May 18, 2
EXTD=005\nReviewer: Eddie Konczal (Monroe Township, NJ USA)\nWith virt
EXTD=uoso keyboardist Keith Emerson at the helm, progressive rock supe
EXTD=rgroup Emerson Lake & Palmer specialized in adapting classical mu
EXTD=sic to the rock form. Their 1971 debut featured adaptations of wo
EXTD=rks like Bartok's "The Barbarian" and Janacek's "Sinfonietta" (re
EXTD=-titled "Knife-Edge"). "Pictures at an Exhibition" (1972), the fi
EXTD=rst of three live albums ELP released during the 1970s, represent
EXTD=ed an ambitious leap from these shorter attempts. Most of the alb
EXTD=um's running time is devoted to ELP's interpretation of Russian c
EXTD=omposer Modest Mussorgsky's work of the same name. The encore "Nu
EXTD=trocker," a takeoff on Tchaikovsky's "Nutcracker" theme, brings t
EXTD=he album to full LP running time. \n\nTo some extent, all ELP liv
EXTD=e albums suffer from the same limitation: they fail to convey the
EXTD= spectacle of the band in concert. ELP shows featured pyrotechnic
EXTD=s, fireworks, knife-throwing, and a variety of other visual treat
EXTD=s that don't translate to record. While these stage antics enhanc
EXTD=ed the experience for those present, they occasionally hampered t
EXTD=he band's ability to deliver the solid performances required for 
EXTD=great recordings. Later live albums like "Welcome Back My Friends
EXTD= To The Show That Never Ends..." circumvented this problem by che
EXTD=rry-picking the best tracks from various shows. However, the long
EXTD=-form nature of "Pictures at an Exhibition" made it difficult to 
EXTD=gloss over the dodgy bits. \n\nThere are unquestionably moments o
EXTD=f greatness, but not enough to prevent all but the most diehard E
EXTD=LP fans from resorting to the Fast Forward button. The intro and 
EXTD=its reprise ("Promenade") and finale ("The Great Gates of Kiev") 
EXTD=are appropriately majestic, and Greg Lake delivers a lovely vocal
EXTD= performance on "The Sage." "The Hut of Baba Yaga" brilliantly sh
EXTD=owcases ELP's kinetic fury. Beyond that, there's way too much blu
EXTD=ff: unfocused synthesizer noodling (on "The Gnome," "The Old Cast
EXTD=le," and "The Curse of Baba Yaga"), meandering blues jams ("Blues
EXTD= Variations"), and Emerson's obligatory wrestling match with his 
EXTD=organ, which disrupts the grandeur of the finale. \n\nRock purist
EXTD=s and classical aficionados alike excoriated "Pictures" for darin
EXTD=g to merge the two genres. Such criticism represents the height o
EXTD=f snobbery. The real problem is that with a work of this ambition
EXTD=, there's little margin for error. Unfortunately, ELP's desire to
EXTD= please the crowd left them with a highly erratic recording, unwo
EXTD=rthy of the lofty goals they sought to achieve. \n\nELP would go 
EXTD=on to fine-tune and arguably improve their interpretation of Muss
EXTD=orgsky's work. Check out the underrated "Works Live" for a conden
EXTD=sed, more focused version of "Pictures," or the highly polished, 
EXTD=stately version from the 4-CD boxed set, "Return of the Manticore
EXTD=." While this record is a must-own for diehard fans, newcomers to
EXTD= the world of ELP should approach the original "Pictures" with ca
EXTD=ution.\n\nAMAZON.COM CUSTOMER REVIEW\nELP Do Mussorgsky---Sort Of
EXTD=---With Very Good Results, October 14, 2004\nReviewer: Alan Caylo
EXTD=w (USA)\n         \nA controversial 1972 live album by Emerson La
EXTD=ke & Palmer, "Pictures At An Exibition" finds ELP tackling Mussor
EXTD=gsky's all-time classic---sort of---and interspersing it with the
EXTD=ir own compositions. Classical purists have balked for over 30 ye
EXTD=ars that ELP desecrated Mussorgsky's original work with this albu
EXTD=m. I say let 'em balk. Okay, so this is not a faithful, note-for-
EXTD=note rendition of "Pictures." It is, instead, a rock adaptation o
EXTD=f the piece. Who the heck knows what Mussorgsky himself would've 
EXTD=thought of it. All I know is that *I* think ELP's version of "Pic
EXTD=tures" is very, very good. It's not perfect, but it sure is a liv
EXTD=ely, entertaining prog-rock take on it. The trio play the materia
EXTD=l with great passion, and the band's own bits fit in with the "Pi
EXTD=ctures" stuff just fine. Especially memorable are "Promenade" (mu
EXTD=sic by Mussorgsky, lyrics by Greg Lake), Lake's beautiful acousti
EXTD=c ballad "The Sage," the tight instrumental "Blues Variations," t
EXTD=he rockin' "Curse Of Baba Yaga," and the triumphant closer, "The 
EXTD=Great Gates Of Kiev." And the "encore" track that ends the album,
EXTD= "Nutrocker," is great fun. You gotta hand it to Keith Emerson, G
EXTD=reg Lake & Carl Palmer for doing something no other prog-rock gro
EXTD=up would dare to attempt. I won't argue with anyone who doesn't l
EXTD=ike ELP's "Pictures At An Exibition," as it's not for everybody. 
EXTD=But for all you open-minded listeners out there, this album is a 
EXTD=classical/rock treat. As for the classical purists, feel free to 
EXTD=move on. There's a whole ton of traditional recordings of "Pictur
EXTD=es" available to you. \n\nAMAZON.COM CUSTOMER REVIEW\nWas it Lake
EXTD= who said,, April 8, 2003\nReviewer: RS "maiala"\n"They call us p
EXTD=retentious and pompous - so we are!" Indeed. One must be quite ad
EXTD=venturous to put one's name next to Mussorgsky's, co-authoring hi
EXTD=s masterpiece acclaimed for more than a century. The good musicia
EXTD=nship softens the blow somewhat; not to confuse with good music, 
EXTD=it was more of a fashion statement. With regard to the vogue of e
EXTD=xperimenting with classics, Deep Purple's Concerto for Group and 
EXTD=Orchestra was the most honest effort of them all (albeit futile t
EXTD=oo). While its musical and compositional merits could be debated,
EXTD= the idea behind combining rock with classical (in this case, rat
EXTD=her pseudo-classical) music was of much greater ingenuity.\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nSo what if they rearranged the orginal?,
EXTD= April 4, 2003\nReviewer: Michael Topper (Pacific Palisades, Cali
EXTD=fornia United States)\nRock critics and classical fans who love t
EXTD=o [dismiss] this record always point out that ELP "raped" this pi
EXTD=ece by playing only certain portions of Mussorgsky's original com
EXTD=position, and by adding their own songs into the mix as if they w
EXTD=ere "equals" to the composer. In my opinion, this kind of irrever
EXTD=ence and cheerfully creative re-engineering of the music is exact
EXTD=ly what makes "Pictures" so refreshing. A lot of rock covers have
EXTD= toyed with the arrangements of the original song, why should ELP
EXTD= be judged any differently for doing the same for a classical pie
EXTD=ce?\n\nIn any case, the group never even wanted to release "Pictu
EXTD=res" at all, live or studio (considering it merely a cover that t
EXTD=hey used to warm themselves up on in the early days, albeit one t
EXTD=hey liked very much), and when they did it was only as a budget r
EXTD=elease. Which makes its quality even more amazing, because this i
EXTD=s one of the most ambitious and well-recorded live works of its d
EXTD=ay. The album opens with the "Promenade" theme stated religiously
EXTD= on church organ, before moving into "The Gnome," an early synth-
EXTD=fest with Lake and Palmer providing excellent support. Things qui
EXTD=et down for the second "Promenade" and "The Sage", perhaps the mo
EXTD=st enjoyable part of the album, with Lake singing angelically to 
EXTD=quiet organ and acoustic guitar accompaniment. His acoustic guita
EXTD=r work in "The Sage" is extraordinary and marks an early high poi
EXTD=nt of both the album and his career with ELP; even detractors of 
EXTD=the album find this piece soothing and atmospheric. "The Old Cast
EXTD=le"/"Blues Variation" medley which follows rocks things up again 
EXTD=with more jazzy synth and hammond workouts, although a longer and
EXTD= better performance of this (with the band *really* heating thing
EXTD=s up) can be found on the "Pictures" DVD film filmed at the Lyceu
EXTD=m in December '70. The second side reprises the "Promenade" theme
EXTD= with all three bandmembers now, then moves to triple speed with 
EXTD="The Hut Of Baba Yaga" which is interrupted by "The Curse Of Baba
EXTD= Yaga", where fuzz/wah-wah bass, synths, organs and drums create 
EXTD=enormous waves of crashing sound and furiously flying notes that 
EXTD=most likely left audiences with mouths wide open (and parallel th
EXTD=e "Tarkus" suite recorded at the same time). It all finds release
EXTD= in the stately "Great Greats Of Kiev", which is performed simila
EXTD=r to the original piece, although it features an ear-piercing org
EXTD=an feedback instrumental break which does not make sense unless y
EXTD=ou were there to see Emerson's theatrics on display.\n\nThe only 
EXTD=weak points in Pictures remain these oft-cited feedback moments (
EXTD=also the ribbon-controller squeaking at the beginning of "The Old
EXTD= Castle"), which only made sense in the live context, perhaps lea
EXTD=ding some to conclude that "Pictures" might have been better as a
EXTD= studio release (with the possibility of more overdubs of guitar 
EXTD=and piano as well). "Nutrocker" is also a forgettable jam that wa
EXTD=s purely a clap-a-long audience pleaser; I always click the album
EXTD= off before this one starts.\n\nOverall, "Pictures" was a great p
EXTD=iece that--in some shortened version or other--remained in the ba
EXTD=nd's setlist throughout its career. It is a trippy collage that m
EXTD=oves through moments of meditative quiet, encroaching fear, jubil
EXTD=ant jamming, intense\nhard rock pummelling and symphonic grandeur
EXTD= without ever resorting to an orchestra or mellotron; although th
EXTD=e sound could have been bolstered by overdubs, it is still quite 
EXTD=huge, with Palmer's drums/gongs/bells/chimes, Lake's fuzz/wah-wah
EXTD= bass and acoustic guitar, and Emerson's massive organ and Moog s
EXTD=ounds creating a highly unique and distinctive style. It is actua
EXTD=lly quite a lean and mean rendition, almost punk-ish in places (a
EXTD=nd especially so given the aforementioned "raping" of the origina
EXTD=l), so it is almost ironic that it was so reviled by punk acts. N
EXTD=o, it's not three-chord guitar thrashing--but "The Curse Of Baba 
EXTD=Yaga" sounds angrier than anything in rock, be it Black Sabbath o
EXTD=r The Sex Pistols. ELP proved that they were master musicians her
EXTD=e; the only weakness is that this is not the ultimate performance
EXTD= of the piece--the Lyceum show was better in the jamming departme
EXTD=nt, and the Buffalo '74 show (on "The Original Bootleg Series Vol
EXTD=.2") features some extremely advanced synth work. This all leads 
EXTD=back to the fact that "Pictures" should perhaps have been recorde
EXTD=d in the studio in 1971/72 rather than in 1994, when it was final
EXTD=ly given that chance (and even then, a creditable version of "The
EXTD= Sage" resulted).\n\nAMAZON.COM CUSTOMER REVIEW\n"Pictures" Puzzl
EXTD=es, October 25, 2002\nReviewer: David Eniz (lombard, il United St
EXTD=ates)\nThis is ELP's live recording of a handful of sections from
EXTD= Mussorgsky's "Pictures at an Exhibition" piano suite. They get p
EXTD=oints for taking the piece on *at all*, and more points for actua
EXTD=lly doing some portions well, but if you're familiar with either 
EXTD=the original piano version or Ravel's orchestral transcription, i
EXTD=t sounds like a band wiping their behinds on a beloved piece of m
EXTD=usic while simultaneously trying to siphon some second-hand "high
EXTD=-cultural seriousness" from it.\n\nFirst, the positives: The open
EXTD=ing "Promenade"/"Gnome"/"Promenade" work really well... arranged 
EXTD=with color and imagination. Greg Lake sneaks in an original comos
EXTD=ition, "The Sage", which is really quite lovely. "The Hut of Baba
EXTD= Yaga" and "The Great Gate of Kiev" also, by and large, make the 
EXTD=leap from classical repertoire to rock-a-thon successfully, aside
EXTD= from an unfortunate segment of you-had-to-be-there organ feedbac
EXTD=k in the latter.\n\nThe negatives: Emerson masturbates his Moog s
EXTD=ynthesizer far too often, and when he actually plays *discernable
EXTD= notes* on it, it is glaringly out-of-tune. "Old Castle-Blues Var
EXTD=iation" is actually an incredibly dull "blues" rhythm with Mussor
EXTD=gsky's melody plopped insensitively over the top of it, while the
EXTD= rest of the band lazily thuds along. The recurring "Promenade" s
EXTD=ections---in the original version of this piece, the harmonies ar
EXTD=e varied in each repeated movement, giving each one a distinct mu
EXTD=sical flavor, but here they just repeat it the same way every tim
EXTD=e, only with Palmer beating his drums a little louder in each rep
EXTD=etition. I get put off by the general air of "We're going to play
EXTD= this time-honored piece of music, and you should percieve us as 
EXTD=serious musicians for doing so, but please ignore the fact that w
EXTD=e are really just using the score as toilet paper."\n\nThe real v
EXTD=alue of this stage of their development as a band, is that playin
EXTD=g "Pictures" provided them with a structural prototype for Emerso
EXTD=n's own original, truly progressive compositions that would surfa
EXTD=ce on their next two albums, "Trilogy" and "Brain Salad Surgery",
EXTD= which are truly 5-star efforts. (TRILOGY'S, "Endless Enigma", es
EXTD=pecially, is like a condensed "Pictures".) Ultimately, "Pictures"
EXTD= is merely transitional for ELP, and doesn't do Mussorgsky any fa
EXTD=vors!\n\nAMAZON.COM CUSTOMER REVIEW\nEarly live recording with a 
EXTD=decisive piece to ELP, October 8, 2000\nReviewer: A music fan\n"P
EXTD=ictures At An Exhibition" was played on ELP's official debut on A
EXTD=ugust 29, 1970, at the Isle of Wight Festival. From that time to 
EXTD=this Newcastle City Hall live recording of March 26, 1971, the gr
EXTD=owth was just amazing. This Mussorgsky piece is one of the most p
EXTD=layed on ELP's career, and an indicative of the artistic moment o
EXTD=f the group. Hence, at Isle of Wight or the December 9 1970 perfo
EXTD=rmance at the Lyceum Theatre, you feel through it that ELP member
EXTD=s are still getting along, sometimes overly fascinated with some 
EXTD=effects (synths, improvisation or jokes). On the other hand, in 1
EXTD=977, during the Works tour, you have a tremendous richness of sou
EXTD=nd in a (unfortunately) reduced version, perhaps too much richnes
EXTD=s for the bizarre (in the best sense of the word) Mussorgsky worl
EXTD=d. Their 90's versions of it are somehow boring, slow, and tone l
EXTD=owered because of Lake's deeping voice (the key transposition aft
EXTD=er Palmer' amazing solo was painful), exciting only for the histo
EXTD=rical partnership between group and the piece.\n\nAll this to say
EXTD= that, thinking about the registrations of performances of "Pictu
EXTD=res" by ELP, this one is certainly the best. I think "Pictures" i
EXTD=s the most dangerous risk of excess for the group, sometimes too 
EXTD=much Hammond destruction, sometimes too much Moog or ribbon contr
EXTD=oller, and during the 90's too much midi doubling. But here, ELP 
EXTD=was able not to fall in temptation to make moments last more than
EXTD= they should, or to overweight them, making unrepeatable music. B
EXTD=ecause of that, you have the perfect timing for Moog solos, wild 
EXTD=Hammonds, crazy drums and Lake's vocal, softer than in any other 
EXTD=record, but aggreessive sometimes. It's unforgettable the synth l
EXTD=ines and sounds during "The Gnome", or during the second "Promena
EXTD=de". "The Sage" shows Lake's poetry of the early 70's, not easily
EXTD= achieved later, just a guitar with metal strings and voice - a m
EXTD=instrel among two medieval dragons. It's wonderful to see the pea
EXTD=ceful features of the audience during this song on the video of t
EXTD=he Lyceum performance. The first "Promenade", more than ever, is 
EXTD=really affecting - solemnly rock and roll. "The Hut of Baba Yaga"
EXTD=is one of most tense moments in rock history, and about it, I sho
EXTD=uld say that the "Manticore" video version (1973) is still more d
EXTD=ramatic because of monstrous Carl Palmer's sonority. The third "P
EXTD=romenade" makes a furious return that the original piano version 
EXTD=didn't show - again ELP's arrangement powers. The first CD releas
EXTD=e (Atlantic/Cotillion) had fade out and fade in at the time of tu
EXTD=rning sides of original vinyl, but later CD releases fixed it. Th
EXTD=e art cover is wonderful, and conceptual (note that the ground of
EXTD= "The Hut Of Baba Yaga" inner picture has the same style of the "
EXTD=Tarkus" art cover). The last track, independent from "Pictures", 
EXTD=is "Nutrocker", ELP's cheerful music with wonderful clavinet part
EXTD=s.\n\n"Pictures At An Exhibition" is the wildest ELP record.\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nFrom a keyboardists point of view, May
EXTD= 31, 2000\nReviewer: Lance Armstrong (USA)\nELP's electrifying in
EXTD=terpretation of Pictures of an Exibition is a great piece of work
EXTD=! The strength of Keith's Hammond B3 and Modular Moog performance
EXTD=s really brings the piece to life. I think the original composer 
EXTD=would think he'd died and gone to heaven if he ever heard it. It'
EXTD=s quite an accomplishment to create a composition, or an interpre
EXTD=tation of one, that will stand the test of time, one that you can
EXTD= listen to over and over again. Pictures qualifies as one of thos
EXTD=e. It's works like this one that has spawned imitators worldwide 
EXTD=and raised our expected level of performance. Pictures tells a st
EXTD=ory, all the way from the organ intro through to the climatic end
EXTD=ing. The excellent musicianship along with all the dynamics and u
EXTD=nheard of mystical sounds, for that time, takes you on a ride to 
EXTD=another universe, keeping you captivated to the very last note. T
EXTD=his album really is an experience, a trip to another world if you
EXTD= will. One that begs you to return and ride it again. Two points 
EXTD=of interest really make this album stick out, from the keyboardis
EXTD=t point of view. These are Keith's use of the Hammond C3 organ, a
EXTD=nd the visually stunning modular Moog Synthesizer. On the Hammond
EXTD=, Keith displays an incredible amount of speed and percussive tou
EXTD=ch. He creates this sound from a bigger than life beefed up percu
EXTD=ssion sound on his Hammond, and tasteful use of the Hammond's Les
EXTD=lie speaker cabinet, which provides the right amount of biting di
EXTD=stortion and rotational sound effect. Second, and for those times
EXTD= probably the most noteable and mysterious feature of the album, 
EXTD=is Keith's impressionable use of the Modular Moog sythesizer. Not
EXTD= only does this instrument sound futuristic and fantastic, it's v
EXTD=isually absolutely stunning on stage with all of it's patch panel
EXTD=s and cables. One might think Keith had a degree in electronics t
EXTD=o have the skills to know how to use it. At least we know that fo
EXTD=r years after this release, synthesizer companies were configurin
EXTD=g their synthesizers like Keith's cable patches, the best known t
EXTD=o be the MiniMoog synthesizer, it's ribbon controller and drum un
EXTD=it accessories. Keith popularized the use of the ribbon controlle
EXTD=r on Pictures. It can be heard on the album creating those almost
EXTD= Thermin like pitch changes. Keith likes to attach pyrotechnics t
EXTD=o it in concert, which further mystifies that instrument, and bur
EXTD=ns it into your memory. Of course, besides Keith's amazing perfor
EXTD=mances, there is that incredible and most distinguished voice of 
EXTD=Greg Lakes. No other voice would work here besides his. His bass 
EXTD=and guitar work also fit where none other would. (Can't imagine h
EXTD=ow this one would have sounded if Hendrix had accepted the offer)
EXTD= And not to forget, Carl Palmer made drums an instrument, and not
EXTD= just the beat. Well, that's a keyboardists (and ELP copycat) poi
EXTD=nt of view.\n\nHalf.com Details \nProducer: Greg Lake \n\nAlbum N
EXTD=otes\nEmerson, Lake & Palmer perform Mussorgsky's "Pictures At An
EXTD= Exhibition".\n\nEmerson, Lake & Palmer: Keith Emerson (keyboards
EXTD=); Greg Lake (vocals, guitar, bass); Carl Palmer (drums, percussi
EXTD=on).\n\nMuch was made of early prog-rock's fusion of rock with cl
EXTD=assical music, but ELP was one of the only bands to take that tas
EXTD=k seriously, and never more so than on PICTURES AT AN EXHIBITION.
EXTD= The well-known Mussorgsky piece is a staple of the classical mus
EXTD=ic diet, and a prime example of "program music," where related se
EXTD=ctions of a piece combine to tell a story. True to the spirit of 
EXTD=the times, ELP attacked "Pictures" with both classically trained 
EXTD=respect and rocker irreverence. The album, recorded live in 1971,
EXTD= finds the band turning Mussorgsky's work inside out, not just re
EXTD=structuring it but reinventing it for their rock audience.\nWhile
EXTD= sections like "Promenade" and The Hut of Baba Yaga" are essentia
EXTD=lly electrified, rocked-up versions of the original melodies, the
EXTD= band injects plenty of their own original (but not unrelated) mo
EXTD=tifs into the piece, including Greg Lake's moody ballad "The Sage
EXTD=" and the self-explanatory "Blues Variation." ELP is to be commen
EXTD=ded as much for its brash ambition as for its achievement in atte
EXTD=mpting a Moog-ified revamping of such a well established piece as
EXTD= PICTURES.
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