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Emerson, Lake & Palmer Box set, CD+DVD, NTSC


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Product details

  • Audio CD (27 Aug. 2012)
  • Number of Discs: 3
  • Format: Box set, CD+DVD, NTSC
  • Label: Sony Music CMG
  • ASIN: B007Q4Y9I2
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (57 customer reviews)
  • Amazon Bestsellers Rank: 79,537 in Music (See Top 100 in Music)

Disc: 1
1. The Barbarian
2. Take A Pebble
3. Knife - Edge
4. The Three Fates
5. Clotho Royal Festival Hall Organ
6. Lachesis Piano Solo
See all 9 tracks on this disc
Disc: 2
1. The Barbarian 2012 Stereo Mix
2. Take A Pebble 2012 Stereo Mix
3. Knife - Edge 2012 Stereo Mix (with Extended Outro)
4. Promenade 2012 Stereo Mix
5. The Three Fates: Atropos (Piano Trio) 2012 Stereo Mix
6. Rave Up 2012 Stereo Mix
See all 12 tracks on this disc
Disc: 3
1. The Barbarian 2012 5.1 Mix
2. Take A Pebble 2012 5.1 Mix
3. Knife - Edge 2012 5.1 Mix
4. The Three Fates: Atropos (Piano Trio) 2012 5.1 Mix
5. Rave Up 2012 5.1 Mix
6. Lucky Man 2012 5.1 Mix
See all 18 tracks on this disc

Product Description

This reissue includes exclusive 5.1 and Stereo mixes from Porcupine Tree’s Steven Wilson along with unheard and rare recordings, and features comprehensive new liner notes by Chris Welch and original artwork retreated to stunning effect.
Available now for a limited period in deluxe 3 disc digipack..
"Take A Pebble" was the first ever ELP original song written and rehearsed. Lake developed it from a guitar line he wrote for an old song while in The Shame. The band had signed with Island Records for Europe, and an Atlantic subsidiary, Cotillion Records, for the US. The recording commenced in July, 1970, with Lake producing. "Knife's Edge" was written by Emerson and Lake, and one of ELP's roadies, Robert Fraser, and much of the remainder of the album were instrumental pieces that fused the band's contemporary rock with the subtle nuances of European classical music and American jazz. The album, simply entitled Emerson, Lake & Palmer, remains one of the most popular rock albums of all time. It would be the album's final recording, an acoustic/folk ballad called "Lucky Man" - penned solely by Lake - that would launch the group, bring Greg Lake's voice to the forefront of the pop music scene, and give the band its biggest hit.

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

37 of 38 people found the following review helpful By Mr. N. Wulfricson on 20 Aug. 2006
Format: Audio CD
This album is essential listening for anyone interested in the possibilities of where rock music can go. It fuses rock with aspects of keyboard-driven classical music. Despite the classical elements, it is absolutely NOT an offering from a bunch of nice, testosterone-deficient middle-class white boys. This album goes for the jugular from the word go, and just never lets up. The tone of the LP is brooding, melancholic and melodramatic. Are there any Metals fans reading this? - I recommend this LP to you all.

Every time I give this LP a listen I curse that albums like this aren't being made today. Just where else in your life are you going to hear the sound of electric harpsichords alongside thudding, driving drums? Just where else will you hear the sound of a (oh my god what the hell is that?) church organ bearing down on a (feral, escaping?) classical piano?

On the negative side, some of the early 1970's synthetic keyboard does sound dated, but this appears only on few of the tracks. The classical piano and drums used are timeless.

Fusing classical and rock is difficult. It's because the invasion of drums distracts from the dramatic tension within classical music. On this album, ELP sussed this out better than anyone else before or since. For example, on 'The Three Fates' & 'Take a Pebble' they separated the classical and rock sections, so neither was compromised. Other works such as 'Tank' fused the two forms from the beginning, inevitably making it more 'Rock'. The first section of Tank is the most stimulating rock music I've ever heard. Play it to your kids if you want to boost their IQ!

Classical/Rock fusions are far too rare in popular music. I have this album to thank for knowing that.
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23 of 24 people found the following review helpful By Jeff Carney on 5 Oct. 2012
Format: Audio CD Verified Purchase
Big disappointment, I'm sad to say. I don't blame Steven Wilson so much as I blame his method. This remix has excellent tonality, doesn't sound EQd or compressed or anything, but it is DEAD. The instruments sound dry, sterile and uninvolving. The reverb ideas used on the original stereo master mix are all missing. I just cannot imagine anyone would think this could ever be compared to Eddie Offord's stereo mix. The ambience, the life, the *feel* of the album ... it is just not there.

The surround mix suffers the same clincial, sterile sound, but things are obviously spread around so it isn't quite as obvious.

The new tracks added to replace "The Three Fates" and "Tank" as a result of the missing multitracks are simply inadequate. Side two has become a big mess. Basically you get "Promenade," some of Three Fates (where they had multis), jamming with stuff that later became part of "Tarkus," and a drum solo. The entire feel of side two is like a toally different album. I can accept this but I think in fairness it can be stated that the new "Side 2" is an inferior album unworthy of any real comparison to the innovative, fascinating original. "Lucky Man" concludes, of course. It sounds really clean in terms of the guitar parts being crystal clear, but again, the feel is just all wrong to my ears.

This release is confirmation for me that putting separate tracks into a digital workstation and remixing an album is right up there with using a DX-7 to replicate a moog. It can be done, but there is a missing organic quality that is blatantly obvious. Not my cup of tea.
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35 of 37 people found the following review helpful By Carole on 19 Jan. 2006
Format: Audio CD
I was at school when this came out and, althouigh I don't play it very often, it still conjures up the period amazingly well. Think cheesecloth smocks, clogs,loonpants and pre Raphaelite hair!
Musically, this is such a piece of it's time that you have to put it into context with albums like "Court of the crimson king", "Atom heart mother" or "The Yes album".
It stands up pretty well and is far less self indulgent than much of their later output.
Probably for most people "Lucky Man" is the best known track and it does have a certain magic but my favourites are the tracks where the band "borrowed" themes from classical composers. The light use of the Moog is a welcome textural addition to the musical palette and I still like the drum phasing at the end of the drum solo (yep, there is a drum solo!) basically because there is still a part of me that is an old hippy!
I's say that the "Three Fates" suite is the weakest part but overall "ELP" is worth buying and playing, if only to see where "prog" was before it became totally grandiose and bloated.
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31 of 33 people found the following review helpful By Simon Barrow on 7 April 2006
Format: Audio CD
Back in the 1970s I was perillously drawn to this album by the fact that it has a version of Bela Bartok's Allegro Barbaro on it. (You can hear the composer's own, very different rendition on 'Bartok Plays Bartok', Pearl 1995.) The resultant 'Barbarian' is the opening track on Emerson, Lake and Palmer's eponymous debut, and it does not disappoint: it is brooding, aggressive and dynamic.
'Take A Pebble' is next up: Keith Emerson's evocative jazz piano provides the real interest on a well-crafted, superior ballad. Only the guitar interlude seems a little lost. 'Knife Edge', which follows, is a rather less successful reworking of an excerpt from Leos Janacek's 'Sinfonietta'. Even so, Keith Emerson's Hammond organ lurches reamin immense and satisfying.
Meanwhile, 'Three Fates' takes us on an unusual journey, beginning with a glorious church organ fanfare that exudes just a tiny hint of bluesyness in the diminuendo. This segues into a dramatic piano solo. Emerson's use of dynamic range and subtle tempo changes marks him out as a performer with musical sensibility as well as panache. The third phase of this short suite is a percussively-driven, overdubbed piano trio. The melodramatic ending slightly mars the piece - a hint of excesses to come - but overall this is a an enjoyable instrumental tour de force.
The penultimate offering is 'Tank', a satisfying rhythmic workout by drummer Carl Palmer, who uses the band as a sound palette to propel and augment his main metrical theme. Emerson's dissonant electronics wail commandingly, too.
Finally we have 'Lucky Man', a straightforward ballad exploring the challenges of dealing with fame and fortune. How prescient.
Read more ›
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