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DISCID=660a8f08
DTITLE=Emerson, Lake & Palmer / Brain Salad Surgery (Barry Diament Mas
DTITLE=tering)
DYEAR=1973
DGENRE=Progressive Rock
TTITLE0=Jerusalem
TTITLE1=Toccata (An Adaptation Of Ginastera's 1st Piano Concerto, 4th 
TTITLE1=Movement)
TTITLE2=Still... You Turn Me On
TTITLE3=Benny The Bouncer
TTITLE4=Karn Evil 9: 1st Impression - Part 1
TTITLE5=Karn Evil 9: 1st Impression - Part 2
TTITLE6=Karn Evil 9: 2nd Impression
TTITLE7=Karn Evil 9: 3rd Impression
EXTD=Brain Salad Surgery (Barry Diament Mastering)\nEmerson, Lake & Pa
EXTD=lmer\n2002 Victor Entertainment, Inc - Japan\n\nOriginally Releas
EXTD=ed November 19, 1973\nRemastered Edition Released July 16, 1996\n
EXTD=Japanese Mini LP Version Released November 25, 2002\nJapanese Ver
EXTD=sion featuring a Limited Edition LP Style Slipcase for Initial Pr
EXTD=essing Only. \n\nAmazon.com Album Description\nJapanese exclusive
EXTD= 24-bit K2 remastered reissue of 1985 album. Packaged in a limite
EXTD=d edition miniature LP sleeve. \n\nAMG EXPERT REVIEW: The trio's 
EXTD=most successful and well-realized album (after their first), and 
EXTD=their most ambitious as a group, as well as their loudest, is als
EXTD=o their most electronic sounding one. The main focus, thanks to t
EXTD=he three-part "Karn Evil 9," is sci-fi rock, approached with a vo
EXTD=lume and vengeance that stretched the art rock audience's toleran
EXTD=ce to its outer limit, but also managed to appeal to the metal au
EXTD=dience in ways that little of Trilogy did. Indeed, "Karn Evil 9" 
EXTD=is the piece and the place where Emerson and his keyboards finall
EXTD=y matched in both music and flamboyance the larger-than-life guit
EXTD=ar sound of Jimi Hendrix. Pete Sinfield's lyrics, while not up to
EXTD= his best King Crimson-era standard, were better than anything th
EXTD=e group had to work with previously, and Lake pulled out all the 
EXTD=stops on his heaviest singing voice in handling them, coming off 
EXTD=a bit like Peter Gabriel in the process. The songs (except for th
EXTD=e throwaway "Benny the Bouncer") are also among their best work -
EXTD=- the group's arrangement of Sir Charles Hubert Parry's setting o
EXTD=f William Blake's "Jerusalem" manages to be reverent yet rocking,
EXTD= while Emerson's adaptation of Alberto Ginastera's music in "Toca
EXTD=tta" outstrips even "The Barbarian" and "Knife Edge" from the fir
EXTD=st album as a distinctive and rewarding reinterpretation of a pie
EXTD=ce of serious music. Lake's "Still...You Turn Me On" is his last 
EXTD=great ballad with the group, possessing a melody and arrangement 
EXTD=sufficiently pretty to forgive the presence of the rhyming triple
EXTD=t "everyday a little sadder/a little madder/someone get me a ladd
EXTD=er." The Rhino CD is to be preferred over all other domestic reis
EXTD=sues, as it features an improved remastering, an interview, and p
EXTD=ackaging with a very cool three-D cover design.  However, the Cas
EXTD=tle CD also impresses with two bonus tracks (the singles for "Bra
EXTD=in Salad Surgery" and "When the Apple Blossoms Bloom in the Windm
EXTD=ills of Your Mind I'll Be Your Valentine") and a set of excerpts 
EXTD=from the album. -- Bruce Eder\n\nAmazon.com Editorial Review\nWit
EXTD=h orchestral swells and symphonic arrangements, Emerson Lake & Pa
EXTD=lmer put the Prague in '70s progressive rock. There was something
EXTD= of that dark, European artistry in their compositions that alway
EXTD=s made their music more grandiose than their stateside counterpar
EXTD=ts. Brain Salad Surgery was a conductor's wet dream. Works like t
EXTD=he "Impression" study in four movements were epic to the nth degr
EXTD=ee. Influenced by Mussorgsky and Stravinsky, ELP wreaked havoc wi
EXTD=th the conventions of what rock and classical music could and cou
EXTD=ld not be. In typical fashion, the trio included one highly acces
EXTD=sible cut, in this case the haunting "Still... You Turn Me On." T
EXTD=he CD also contains the enigmatic favorite, "Karn Evil 9." --Stev
EXTD=e Gdula \n\nAmazon.com Customer Review\na must have for ELP fans,
EXTD= May 23, 2001 \nReviewer: keyboardguy from savage, mn United Stat
EXTD=es \nadmittedly am a bit biased to liking this one, as am a profe
EXTD=ssional keyboardist, and Keith Emerson (in my opinion the greates
EXTD=t rock keyboardist of all time) was my inspriration to play the m
EXTD=oment I first heard his version of "Hoedown"\n\nI know that some 
EXTD=have felt the original ELP recordings had great production I have
EXTD= often felt different; that they lacked true low end, and high en
EXTD=d clarity This remix addresses both of those issues wonderfully i
EXTD=n fact, depending on how you have EQ'd your system, the bass may 
EXTD=actually get to "overkill" levels (I had set up my system with St
EXTD=eely Dan DTS and Eagles DTS mixes as references, and this disc ca
EXTD=me through with earthshaking (literally) moments of bass not nece
EXTD=ssarily a bad thing at times) must say, its nice to hear Keith's 
EXTD=Moog lines re-engineered with the power and clariy they deserve\n
EXTD=\nthis remix takes full advantage of the 3D aspect of 6 channels 
EXTD=lots of panning all around, especially of the synth leads it happ
EXTD=ens a lot, to the point where one might wonder if the remix is ju
EXTD=st sweeping the panning for the novelty of it, but still, if you 
EXTD=are hoping for ELP in the third audio dimension, you will surely 
EXTD=have it\n\nthere is one disappointment for me in the production (
EXTD=hense the 4 stars instead of 5 which most others seem to have bes
EXTD=towed); while the bass guitar is huge in the subwoofer channel, C
EXTD=arl's kickdrum is oddly absent that would have added such a great
EXTD= addtional power to this wonderful revisiting of great musicians 
EXTD=at work\n\nThat one point aside, in short, if you are ELP fan (th
EXTD=is disk opens up this classic recording like never before), and/o
EXTD=r if you are looking for a show-off 3D audio dvd audio disk, stop
EXTD= reading and hit the "order" button immediately! --This text refe
EXTD=rs to the DVD Audio edition. \n\nAmazon.com Customer Review\n"Loa
EXTD=d Your Program- I Am Yourself!", December 15, 2000 \nReviewer: ta
EXTD=ke403 from Jerusalem \nThis edition includes insightful liner not
EXTD=es and interviews with Keith Emerson, Greg Lake, and Carl Palmer 
EXTD=at the end of the CD. The cover sports a 3D version of H. R. Gige
EXTD=r's sinister artwork. This album is one of ELP's finest moments a
EXTD=s a band! \n\n"Jerusalem", a traditional Anglican hymn, opens the
EXTD= set. Apparently, they got heat for doing a "rock" version of it 
EXTD=by some purists. This follows "Toccota", a variation on a piano c
EXTD=oncerto by Alberto Ginastera. Their rendition features lots of ee
EXTD=rie sounds from Keith's keyboards and Carl playing drums with com
EXTD=puterized gadgetry. ELP were way ahead of their times back in 197
EXTD=3! This cut almost didn't make the album, as they had to pay a pe
EXTD=rsonal visit to the composer Ginastera who complimented this piec
EXTD=e by declaring it "diabolic"! "Still You Turn Me On" is a nice ac
EXTD=oustic track by Greg and features him on a wah-wah pedal. "Benny 
EXTD=the Bouncer" is a cute vaudevillian number about a big bully who 
EXTD=messes with the wrong guy and features some fine honkey tonk pian
EXTD=o by Keith. \n\n"Karn Evil 9" is a 3 part suite which features so
EXTD=me lyrical help from Peter Sinfield (a King Cimson alumnist). The
EXTD= 1st Impression Part 1 starts out with promise ("I will be there,
EXTD= to heal your sorrow, to beg and borrow") and winds up in spectac
EXTD=le (moving onto Part 2, which many of you know as "Welcome Back M
EXTD=y Friends to the Show that Never Ends"). The 2nd Impression is a 
EXTD=Latino jazz piece (piano and steel drums). In the 3rd Impression,
EXTD= computers have taken over society ("Load your program, I am your
EXTD=self") and are seen as Big Brother. It's funny how true their pro
EXTD=phecy has become! \n\nIf you've never heard this masterpiece in i
EXTD=ts entirety, you're in for a big surprise! \n\nAmazon.com Custome
EXTD=r Review\nELP's Masterpiece Speaks of A New Clear Dawn, October 2
EXTD=4, 2000 \nReviewer: Lawrance M. Bernabo from The Zenith City: Dul
EXTD=uth, MN USA \nThis 1973 ELP album with the original painting by H
EXTD=. R. Giger is one of the great covers of all time and if you real
EXTD=ly pay attention to the details in the artwork you can figure out
EXTD= what "Brain Salad Surgery" means in British slang terms. For me 
EXTD=this is the best album by the Progressive (nee Classical) Rock Po
EXTD=wer Trio. The synthesizer-saturated sound that dominated "Tarkus"
EXTD= has been toned down considerably to great effect, which you can 
EXTD=tell immediately with the opening organ chords of Keith Emerson's
EXTD= organ on "Jerusalem," the best-known Anglican hymn. "Toccata," a
EXTD=n adaptation of the 4th Movement of Ginastera's 1st Piano Concert
EXTD=o features an impressive percussion movement from Carl Palmer. "S
EXTD=till...You Turn Me On" is Greg Lake's best composition since "Luc
EXTD=ky Man," and you can only wish his work had not always been so ov
EXTD=ershadowed by Emerson's pyrotechnics on the keyboard. "Benny the 
EXTD=Bouncer" is another one of those annoying little honky tonk ditti
EXTD=es that ELP was so enamored of for some reason that passeth under
EXTD=standing.\n\nThe highlight of the album is the "Karn Evil 9" Suit
EXTD=e, which seems to me to be a nice synthesis of what the group had
EXTD= gone for in earlier albums with the "Tarkus" Suite and "The Endl
EXTD=ess Enigma," although more like the latter of that particular pai
EXTD=r in terms of employing the forms of classical composition. The F
EXTD=irst Impression offered the line that came to sum up the group's 
EXTD=performance, "Welcome back my friends to the show that never ends
EXTD=," although you find yourself wishing they had used computer magi
EXTD=c to get rid of the fade out/fade in that we had to endure on vin
EXTD=yl when we flipped sides of the record. The Second Impression is 
EXTD=arguably their finest instrumental track while the Third Impressi
EXTD=on brings the album full circle, offering a hymn for the new clea
EXTD=r dawn. To make this album perfect all you have to do is program 
EXTD=your CD player to skip the fourth track. Enjoy. \n\nAmazon.com Cu
EXTD=stomer Review\nTHE MOST IMPRESSIVE ELP' STUDIO ALBUM, October 6, 
EXTD=2000 \nReviewer: DANIEL BENTO \nIt's not as much about being the 
EXTD=best ELP album than being the most perfect realization they did s
EXTD=till with the fire of their golden age. Later albums have lots of
EXTD= matured ideas, maybe more than here, but the lacerating sound wa
EXTD=s being changed into a truly epic nobility, another moment of ELP
EXTD='s history. I can't think another album in rock history more rela
EXTD=ted to the idea of art rock and conceptual album than this. H. R.
EXTD= Giger's artwork is ELP's music in image - one of those happy coi
EXTD=ncidences when artists interact. There's metal, bones, flesh and 
EXTD=eternity in vision as in the refining agressive music.\n\n"Jerusa
EXTD=lem" was rejected as single, probably because of conservative rea
EXTD=sons. One may think it's contradictory such a sharp-pointed rendi
EXTD=tion of a Hymn. What you hear sounds more ELP than Parry/Blake, b
EXTD=ut there's no disrespect, only succeeded appropriating. Ginastera
EXTD='s "Toccata" is an example of the greatest honor a musical arrang
EXTD=ement can get: the admiration of the composer. The immortally res
EXTD=pected argentinean composer Alberto Ginastera (1916-1983) once sa
EXTD=id "Keith Emerson has beautifully caught the mood of my piece". I
EXTD=t's possible to understand better the original version of Ginaste
EXTD=ra's fourth movement of the first piano concerto after hearing BS
EXTD=S. "Still.... You Turn Me On" is from "Lucky man" lineage, as "Be
EXTD=nny the Bouncer" from "The Sheriff". "Still...." is one of Lake's
EXTD= most beautiful compositions, perhaps the only really serene mome
EXTD=nt of the entire album, few seconds after the "Toccata" nightmare
EXTD=. "Benny", on the other hand, is the humored scene of BSS, the re
EXTD=st of it has an eventually subtle sarcasm, in a most of time heav
EXTD=y atmosphere. After this song, you have less than four seconds to
EXTD= tight your belt, the next song is "Karn Evil 9"(the name comes f
EXTD=or carnival). No matter how good are the first four pieces of the
EXTD= album, still, you got the feeling that the real message of BSS i
EXTD=s inside "Karn Evil 9". This is the best ELP contribuition, not b
EXTD=etter than Emerson's Concerto or "Pirates", but more "Elpian".\n\n
EXTD=The first impression of "Karn Evil 9" is a long tense increasing 
EXTD=in its first part, violent hammond sounds, syncopated rhythms and
EXTD= a very wise impressing appearance of new motifs almost without n
EXTD=otice - a skilful dealing with larger forms, culminating in a pla
EXTD=in and somehow lighter guitar solo, but the tensions increase aga
EXTD=in and the plain turns into climax. The following second part is 
EXTD=what usually ELP played onstage after the 1973-4 tour, it's a pit
EXTD=ty they hadn't played "Karn Evil 9" entirely more times. It's a k
EXTD=ind of stabilized version of the of first part' second half, with
EXTD=in a more rock format. On the vinyl, one had to turn to B side to
EXTD= hear the first impression' second part, with a fade out on the e
EXTD=nd of A side and a fade in at the beginning of B side. The first 
EXTD=release on CD (Atlantic) kept this effect, though it may have som
EXTD=e point for collectors, its terrible keeping this limitation musi
EXTD=cally speaking. Nowaday's CD versions present first and second pa
EXTD=rts of first impression perfectly continuous, a dream for ELP fan
EXTD=s.\n\nThe second impression has probably the most daring musical 
EXTD=textures in ELP, a jazz fusion feature, and a sensuous caribbean 
EXTD=accent sometimes, the lips of the cover. Basically, you find this
EXTD= rock band changing into a powerful jazz piano trio.\n\nThe third
EXTD= impression is the most melodic part of the piece, with a folk-so
EXTD=ng like theme, but paradoxically with very provocating lyrics (wi
EXTD=th Pete's Sinfield contribution) and technology decry. But again 
EXTD=the edged rhythms, sounds and harmonies come and you realize that
EXTD= it was just a typical break of ELP's world, inside their own wor
EXTD=ld. So those breaks are their very style.\n\nIt is almost comical
EXTD= to know that critics once criticized ELP because of technology a
EXTD=buse and at same time an elephantine dealing with classical tradi
EXTD=tion. Although this is the first band to play alive with synthesi
EXTD=zers in history, mostly they never substituted acoustical instrum
EXTD=ents with synth replicas - they used synths for original sounds, 
EXTD=not for imitating. They never used sequencers for playing faster,
EXTD= only for special effects (like the end of Karn Evil 9). On the o
EXTD=ther hand, their classical and jazz influence never had arguments
EXTD= with their rock side, and that's probably the great accomplishme
EXTD=nt of Progressive Rock.\n\nIt's very interesting to know through 
EXTD=the bonus track "The making of BBS" that Emerson knew "Tocatta" b
EXTD=ecause of brazilian pianist Joo Carlos Martins, still in The Nic
EXTD=e era. Palmer's thoughts about Giger tell a lot about their artis
EXTD=tic relation: "it's a pitty he doesn't play instrument, he could 
EXTD=be in the band" Also, Lake's vision about studio albums defines E
EXTD=LP: studio albums should be a promise of what the band can do ali
EXTD=ve. Good point, as ELP is even better onstage.... \n\nAmazon.com 
EXTD=Customer Review\nProgressive Heaven, July 12, 2000 \nReviewer: Mi
EXTD=chael D. Bush from Heber City, Utah USA \nOver the years, it's go
EXTD=tten tiresome to hear the continued critical bashing of progressi
EXTD=ve rock bands, to the point that even a favorable review can be f
EXTD=ull of descriptive terms such as "worringly erratic" and "evil" (
EXTD=see the review above). Progressive rock represents an era when ev
EXTD=erything was possible, and rock music was being raised beyond the
EXTD= endless rehashing of three-chord tripe that seems to represent t
EXTD=he limit of many a critic's understanding. For a brief shining mo
EXTD=ment, bands such as ELP saw rock as the synthesis of every style 
EXTD=that had come before it...and saw themselves as showmen in the fl
EXTD=amboyant, eclectic tradition of the 19th century's romantic compo
EXTD=sers such as Liszt and Wagner. Now, the progressive rock era's fi
EXTD=nest works (of which this is one) serve as awesome reminders of t
EXTD=hat time, as a musical escape for those current listeners enlight
EXTD=ened enough to return to them, and as an inspiration for what wil
EXTD=l hopefully be a prog resurgence among today's artists.\n\nBRAIN 
EXTD=SALADSURGERY is one of the handful of definitive examples of the 
EXTD=70s progressive rock genre. Yes, it's wildly eclectic, drawing on
EXTD= a seemingly unlimited range of influences, but the band was unbe
EXTD=lievably talented, and the music stands as a singular accomplishm
EXTD=ent. Although I'm a lifelong prog fan, I'm relatively new to this
EXTD= recording...and I must say I'm impressed. Despite the aforementi
EXTD=oned eclecticism, the album functions as a cohesive whole, with a
EXTD= sound that unmistakably belongs to the band. From Parry's "Jerus
EXTD=alem" to Ginastera's "Toccata" to the band's own intricate "Karn 
EXTD=Evil 9", every piece offers new surprises and musical insights. A
EXTD=lso valuable in understanding/appreciating the music is the comme
EXTD=ntary track and excellent booklet included.\n\nAnother common cri
EXTD=tical mistake: All prog is not the same...this album is night-and
EXTD=-day different from Yes' CLOSE TO THE EDGE, for example, just as 
EXTD=Beethoven is different from Mozart). ELP is a very aggressive-sou
EXTD=nding, hard driving band that won't be everyone's cup of tea...bu
EXTD=t I loved it, just as I love Yes...they're simply different style
EXTD=s of music. \n\nMy favorite quote about ELP is from Carl Palmer, 
EXTD=which I paraphrase thus: "Critics say we're pompous and pretentio
EXTD=us...which we are!" Progressive rock is what it is; critics shoul
EXTD=d stop trying to pigeonhole it in with the Rolling Stones et.al. 
EXTD=Here's to intellectualism in rock music! \n\nAmazon.com Customer 
EXTD=Review\nSci-Fi Rock--who else could do it as well?, April 13, 200
EXTD=0 \nReviewer: Michael Topper \n"Brain Salad Surgery" is, by commo
EXTD=n consensus, Emerson Lake And Palmer's best album. It is even the
EXTD= album that their harshest critics tend to slightly accomodate, a
EXTD=lthough I'm not sure why this one especially over the first album
EXTD= or "Trilogy". While I prefer the debut album, myself (less synth
EXTD= overkill, although some of the synth work here is great), "Brain
EXTD= Salad Surgery" is ELP's most coherent concept album. Even the pi
EXTD=eces which lie outside of the "Karn Evil 9" suite tie in with the
EXTD= overall themes of human strengths and frailties vs. the consiste
EXTD=nt but cold techno-nightmare of the future (more relevant now tha
EXTD=n ever, BTW). \n\n"Jerusalem" sets up the grand spiritual design 
EXTD=of the album, but is then undercut by the elaborately sequenced s
EXTD=ynth bleeps of "Toccata", which paint a nightmarish wash of elect
EXTD=ronic sound. Is it classical music, rock, or an exceptionally ela
EXTD=borate soundtrack to a video game? "Still You Turn Me On" changes
EXTD= the mood yet again, although its soothing acoustic guitar and ha
EXTD=rpsichord textures retain a haunting feel. "Benny The Bouncer" is
EXTD= another of the Wild-West comedy pieces, designed to take one bac
EXTD=k to the past before vaulting forward into the future of "Karn Ev
EXTD=il 9"; although usually dismissed, it would be a good number were
EXTD= it not for the presence of synths which ruin the atmosphere towa
EXTD=rds the end (hence, my complaint about synth overkill--this revie
EXTD=w would actually be four-and-half-stars).\n\nKarn Evil 9 itself h
EXTD=as been analyzed before; it is quite a journey, moving from the q
EXTD=uintessential hard rock portrait of a soulless human society (MTV
EXTD= and daytime talk shows, anyone?) in the 1st Impression (with lin
EXTD=es like "see the gypsy queen in a glaze of vaseline, peforming on
EXTD= a guillotine, what a scene, what a scene", the lyrics manage to 
EXTD=mock their own pretensions, something the critics often forget), 
EXTD=to the smartly led jazz-piano comeback of the second impression, 
EXTD=to the man vs.computer battle of the third. The third impression 
EXTD=paints a vivid picture of battle through its use of solos and syn
EXTD=th effects; in the end, the computer wins. If you don't like elec
EXTD=tronic music, this isn't for you (although you still might like "
EXTD=Still...You Turn Me On" and KE9 2nd Impression", and then later g
EXTD=et into the other songs). But overall, ELP made their finest stat
EXTD=ement with BSS--one that foretold the future, even if their fines
EXTD=t work was on their first album. \n\nAmazon.com Customer Review\n
EXTD=Brilliant album, lousy re-mastering, September 15, 1998 \nReviewe
EXTD=r: A music fan from Stockholm, Sweden \nEven though I already own
EXTD= the original CD release of Brain Salad Surgery from 1986 (which 
EXTD=follows the original vinyl album very closely), as an ardent fan 
EXTD=of ELP since 1972 I decided that I would like to have this Rhino 
EXTD=re-issue as part of my collection. On listening I was flabbergast
EXTD=ed to hear that the whole sound of the album had been changed, mo
EXTD=st notably on Toccata and Karn Evil 9. It seems as though the peo
EXTD=ple responsible for the re-mastering thought that Keith Emerson's
EXTD= keyboards should be brought even more to the fore, and that Greg
EXTD= Lake's bass guitar and Carl Palmer's drums were annoyances that 
EXTD=should be subdued as much as possible. This may make no differenc
EXTD=e to someone hearing the album for the first time, but to someone
EXTD= who knows the album inside out it was a huge dissapointment. It'
EXTD=s very annoying when listening to an album and you are humming a 
EXTD=bass riff that can't be heard from the loudspeakers. So, what sho
EXTD=uld have been five stars has to be only three. \n\nCD Now Review 
EXTD=(June 26, 2001)\nPompous. Ponderous. Pretentious. Bombastic. \n\n
EXTD=Upon its release in November 1973, rock critics hurled all of the
EXTD=se insults and more at the album that would come to be considered
EXTD= the masterwork by the English supergroup that comprised one of t
EXTD=he cornerstone bands of the progressive-rock movement: keyboard p
EXTD=layer Keith Emerson, bassist-vocalist Greg Lake, and drummer Carl
EXTD= Palmer. \n\nBut nothing worthwhile is accomplished in art (much 
EXTD=less art-rock) without some pretension and, in recent years, prog
EXTD= revivalists, underground hipsters, and even some critics have gi
EXTD=ven Brain Salad Surgery a long-overdue reconsideration. \n\nThe d
EXTD=ark, creepy, some would say gothic ambience of the album is estab
EXTD=lished by its famous cover: a typically twisted painting by H.R. 
EXTD=Giger of Alien fame. (Modeled on Giger's wife, the surreal female
EXTD= figure originally had a penis below her chin, but ELP's label wa
EXTD=s scandalized. The painter refused to change his art, so another 
EXTD=illustrator was hired to reconfigure the offending phallus as a "
EXTD=shaft of light.") \n\nThe mood of the music is no less somber, fr
EXTD=om opening hymn "Jerusalem," an Old Testament anthem based on Wil
EXTD=liam Blake's poem, through the eerie but seductive "Still... You 
EXTD=Turn Me On"; and from Emerson's reinterpretation of Argentine com
EXTD=poser Alberto Ginastera's 1st Piano Concerto, 4th Movement (Tocca
EXTD=ta), through the several movements of the nearly 30-minute closin
EXTD=g epic, "Karn Evil 9" (incorrectly known to some classic-rock rad
EXTD=io listeners as "Welcome Back, My Friends"). \n\nYes, there are i
EXTD=ndeed moments of overblown wankery -- it wouldn't be ELP if there
EXTD= weren't. Palmer is probably the biggest offender, conjuring up K
EXTD=eith Moon on speed let loose in an orchestral percussion pit. But
EXTD= "Jerusalem," "Still... You Turn Me On," and the good-naturedly g
EXTD=oofy "Benny the Bouncer" all clock in at less than three minutes,
EXTD= which is positively punk by prog standards. And ELP rarely skimp
EXTD=ed on big, catchy melodies, even if they did have a tendency to b
EXTD=eat them into a fine pumice. \n\nNevertheless, there are two big 
EXTD=reasons to listen to this group, and they were never better than 
EXTD=on Brain Salad Surgery. The first is Lake's sonorous vocals. On t
EXTD=his album, the King Crimson veteran is reunited with Pete Sinfiel
EXTD=d, the lyricist on In the Court of the Crimson King, and it makes
EXTD= for a potent combination; that booming baritone can even make li
EXTD=nes such as, "We've got thrills and shocks, supersonic fighting c
EXTD=ocks / Leave your hammers at the box / Come inside! Come inside!"
EXTD= sound positively revelatory. (The carnival barker delivery of "K
EXTD=arn Evil 9" enhances the concept of a planet, "Ganton 9," where e
EXTD=vil flourishes because computers have taken over civilization -- 
EXTD=pretty prescient for the pre-Microsoft era.) \n\nThe other big dr
EXTD=aw is Emerson's amazing organ work (his most inspired since the e
EXTD=arly days of the Nice) and his manipulations of the Moog. Emerson
EXTD= was not only the first bona fide virtuoso of the synthesizer, he
EXTD= was one of the few keyboard players who has made the instrument 
EXTD=rival an electric guitar for rock-and-roll excitement. To fans of
EXTD= modern electronic music, the fat, round tones that he coaxed fro
EXTD=m his massive analog monster are the equivalent of the classic ri
EXTD=nging notes that issued from B.B. King's axe and John Coltrane's 
EXTD=sax. And the fury with which he attacked his instrument would hav
EXTD=e given Johnny Rotten pause, if he only took a moment to check hi
EXTD=s anti-prog prejudices. -- Jim DeRogatis, CDNOW Contributing Writ
EXTD=er\n\nHalf.com Album Credits\nChris Kimsey, Engineer\nGeoff Young
EXTD=, Engineer\nGreg Lake, Producer\n\nAlbum Notes\n"Toccata" is an a
EXTD=daptation of the 4th Movement of Alberto Ginastera's 1st Piano Co
EXTD=ncerto. The 1996 reissue of BRAIN SALAD SURGERY includes "The Mak
EXTD=ing Of Brain Salad Surgery," anecdotes about the session recorded
EXTD= in 1996.\n\nEmerson, Lake & Palmer: Keith Emerson (accordion, pi
EXTD=ano, harpsichord, organ, Moog synthesizer); Greg Lake (vocals, gu
EXTD=itar, bass); Carl Palmer (drums, electronic drums, percussion).\n
EXTD=\nPrincipally recorded between June and September 1973. Originall
EXTD=y released on Manticore/Atlantic (MC-66669). "The Making Of Brain
EXTD= Salad Surgery" recorded in 1996. Includes liner notes by Jerry M
EXTD=cCulley.\n\nMuch maligned, although it is hard to understand why.
EXTD= They merely took what the Nice did one stage further as Palmer b
EXTD=ecame the songwriter in place of Lee Jackson. The two sides of EL
EXTD=P were adaptations of classical pieces, which usually worked well
EXTD=. On this, 'Jerusalem' and 'Toccata' are given the prog treatment
EXTD=. The longer original suite 'Karn Evil' allows Emerson to let loo
EXTD=se on his organ and piano. He is astonishingly fluid and imaginat
EXTD=ive. A wholly successful album, apart from the dreadful 'Benny Th
EXTD=e Bouncer'. Somebody, at some stage, must have thought it was a g
EXTD=ood idea.
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EXTT1=(An Adaptation Of Ginastera's 1St Piano Concerto, 4Th Movement)
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