WELCOME BACK MY FRIENDS TO THE SHOW THAT NEVER ENDS

I just received the Japanese Super High Material version of this recording and wanted to compare it to the re-release of the Shout version that was re-mastered. I think it is a preference matter than any version being better than the other. Overall the Shout version seems to have more bass response than the SHM version but the SHM version is more true to the original recording. I personally prefer the better articulation of the instruments on the Shout version. But, there is nothing wrong with the other. A matter of choice.

I started this review on this note as a lead-in to why I decided to write this in the first place. I guess I found myself drawn to writing it to express my satisfaction with the performances presented by the band again and that it has some historical significance to me, as it is the case for other reviewers. But, let's make it clear that this is not a "you had to be there" recording to appreciate it. Far from it, this is a recording that is a near perfect example of what rock music was about in the early to mid-1970's, when progressive / symphonic rock ruled the world.

I saw ELP only once in concert and that was in 1974, when the tour came around the second time. Brain Salad Surgery was released in the fall of 1973 with the tour immediately followed it. I caught up with the band during the summer of 1974 at the Philadelphia Spectrum. Seats were general admission of approximately $5.00. It was first come, first seated. In my case it was the floor of the stadium, near one of the quadraphonic corners, where there was a tower of speakers and 10 (I think) Carver amplifiers turned to maximum volume. That was at least 5,000 watts of power in each of four corners. I managed to get to stand on a chair, used by a roadie to turn on the equipment, in front of the speakers.

The band came out .and the opening strains of 'Hoedown' began. Everyone began to cheer and then Carl Palmer (sporting a 'perm' hair style, by the way) and Greg Lake burst out of the speakers and there went my left ear. For the remainder of the concert it felt like someone stuck a cotton ball into it.

During that time, quadraphonic recordings were the rage, touted as being able to surround the listener with sound. ELP used it to also provide some amazing effects ? the most notable being the ending of 'Karn Evil 9' when the synthesizer's sequencer was allowed to run amok, gradually increasing the tempo of the sequence as it went from one corner of the quad system to the next in ever increasing speed.

The concert itself was phenomenal. It was the exact set on this fine recording, plus the encore of 'Pictures at an Exhibition' (with Keith guzzling a bottle of Jack Daniels, I think). It was an abbreviated version, but still a great way to end the concert. It left a lasting impression, in more ways than one, if you know what I mean.

In any case, 'Welcome Back My Friends to the Show that Never Ends' is simply a superb representation of the band at the height of their career. While every song is an excellent version, there are three standout tracks that are far above their studio version counterparts.

First is 'Hoedown'. This is the version that you need to hear and have in your collection. The version on 'Trilogy' is as Greg Lake called the album, an egg. I think he meant that everyone in the band wanted the songs on the album to be perfect and in doing so the final version were a little tame, maybe fragile, like an egg. There are no eggs here. This version (and my left ear will attest to it) had all the power and punch hinted at on Trilogy. It was delivered at an incredible pace. I think I remember Keith Emerson mentioning that the pace was from the energy he and the other band members had at the beginning of every concert. It is certainly the best rendition.

The second, and in my opinion, the best song on the entire recording, is 'Tarkus'. I no longer own a copy of the LP 'Tarku's as I think it is superfluous to have it when this version is in your possession. Hands down, this is the best, comparing to what I thought was a tepid studio version. This kicks butt! Seeing it in concert, you can see and hear what years of performances can do to improve the quality of a composition. The improvised solo of Emerson on a small handheld keyboard (sounds like a heavily processed Farfisa organ, passed through a synthesizer and visually performing some interesting antics with it) was great. Carl Palmer holding the song together during this improvisation is a testament to his power as a performer who could manage to keep the proceedings from falling to pieces. Greg Lake's inclusion of a segment of Epitaph was a stroke of genius, modifying the song to provide a short quiet respite before Keith returns with another longer, more intricate and ultimately more satisfying solo that leads to the end. The whole composition is breathtaking. It is the reason for me to having this CD.

The third is 'Karn Evil 9'. The distinction between this version and the studio version is not as clear as Tarkus. In some respects it is better ? most notably on the second movement with the steel drum section. That is not Carl Palmer. It is Keith Emersion with a Mini-Moog that rested just above the piano keys. Standing up, there was one hand playing the Mini- Moog and one on the piano keys. Truly a brilliant choice of sound (he was entranced with the Caribbean). I know that the key was changed during the beginning of the first movement to accommodate Greg's change in voice, about a half step lower. When the instrumental section of the first section appears about midway of the first movement you can hear the key change back to the original key. Why the whole composition was not changed to a different key I do not know. But this is a minor distraction. In my mind I rate both versions on par with each other and great music, overall.

The rest of the tracks are superb. Incorporating 'Piano Improvisations' into 'Take a Pebble' (along with 'Lucky Man' and 'Still?You Turn Me On') was a great move. 'Take a Pebble' on its own would not have worked with the tempo of the concert. Combining all of it as they did work.

The medley of 'Jeremy Bender' and 'The Sheriff' did provide some lighthearted relief to the proceedings. I would have liked to have heard 'Benny the Bouncer' during the encore. I think that would have been the cherry on top of this magnificent cocktail.

To forget 'Jerusalem' and 'Toccata' would be a sin. The two go hand in hand and the live versions are great. Carl's solo in 'Toccata' was a grand experiment to combine synthesizers and drums together. I only wished that more could have been done throughout the years (and I am not talking about electronic drums that were popular at one point).

Should have there been other songs during the concert? Sure. I think 'The Barbarian' could have been placed just prior to 'Karn Evil 9'. Again a quibble.

Overall, this is a tremendous set and one that I have tried to have younger people listen and also enjoy. It would be a shame if another generation did not feel the same exhilaration as many who lived this era of rock music felt and still feel when they hear this music. Pompous and bombastic are the proper adjectives and this music and band are all the better for it.

As an aside, there was a bit of a competition going on, I think, at the record label between Yes and ELP. Both were on Atlantic in the United States and both were at the top of the progressive rock mountain at the same time. So, if there was a three CD set from ELP, there has to be one for Yes and Yessongs was released around the same time frame. Both also came out with double LP's following their respective live releases, too. Coincidence? I don't think so.