TARKUS

Although the title track of this album is among my favorite works of ELP, the second side of this album is overall unfavorable, mostly consisting of prototypical, gimmicky and strange moments. This results in Tarkus being a mixed bag.

Side One of this album only consists of the Tarkus suite, split into seven parts.

The first part, Eruption, definitely is a relevant title, as it is very energetic and virtuosic, especially Keith Emerson's playing. I would recommend this part being used as an alarm, as it is full of bustling and speedy energy. In the gatefold of the LP version of this album, the character Tarkus (which seems to be an armadillo tank) hatches from an egg directly in front of an erupting volcano. This painting is probably a counterpart to this part of the suite.

The second part, Stones of Years, is much slower in tempo. Greg Lake sings of prophetic lyrics, warning of arrogance and war. This part is dream-like due to Lake's echoey vocals, and Emerson's organ playing, mostly consisting of legato-like playing. There are a few meticulous details in the part that I appreciate a lot. Later on in this part, Emerson has an organ solo, which gradually gets more energetic. Once the solo is done, Lake's vocals are back for a final stanza, which is in the same fashion as the earlier lyrical part. In the gatefold of the LP version, there's a tower that has creatures that look like living chain-balls connected to it. I presume that those are the "Stones of Years".

The third part, Iconoclast, has a beginning very similar to the beginning to Eruption, but is more dissonant. Carl Palmer's drumming is more aggressive than the beginning of Eruption. Eventually, Iconoclast differs greatly from Eruption, but has a similar, bustling energy. Some video game composers took influence from prog, and I can definitely hear it in some parts of Iconoclast. This part then, shortly afterwards (Iconoclast is about a minute long), segues into the next part.

The fourth part, Mass, has been the most straightforward part so far in this suite. Personally, I think this part could have done well as a single, with some modifications. Every member of the band has unique and notable attributes to this part, which is surprising for such an egotistical group. Emerson has a solo again, which I think lasts a bit too long, but escalates quickly into a very energetic mosh of a wailing Moog, bluesy guitar, and a galloping snare. All at once, Palmer's catchy drum leitmotif found in this part silences all that came before it, and Mass returns to its original theme. Lyrics in this part are about total crime and sin, being a result of the "weaver in the web that he made." I have thought that this "weaver" is not a living being, but rather, just being war, weaving up the web of decadence.

The fifth part, Manticore, likewise with Iconoclast, has a similar beginning to the beginning of Eruption, but unlike Iconoclast, it is a lot less dissonant, being more similar to Eruption. This part, like Iconoclast, differs greatly from Eruption, but is also differs from Iconoclast. Likewise, it has the same bustling energy. This energy is because in the LP version of this album, in the gatefold, a few of the paintings depicts Tarkus is in a battle with a Manticore. Like Iconoclast, this part is short. The Manticore seems to scratch Tarkus' eye, causing him to fall off a cliff, into a body of water.

Battlefield, the sixth part is probably the most climatic part of the Tarkus suite. Its tempo is relaxed but pressure is still on. Emerson once again has legato-like and haunting playing while Lake sings. I think Lake's vocals as a response to Stones of Years, after the prophecies of the wars of Tarkus had happened, as a terribly bitter reflection. Like Stones of Years, these two parts are the only parts with lyrics in the second person point-of-view. I think of this part as a reflection of all the war that Tarkus has created, looking at the consequences. This part builds up greatly, a guitar solo which I think embodies the very deep trauma of war is played, a final stanza is sung (like Stones of Years), and this part ends all at once, very brutally.

The seventh part, Aquatarkus, takes a lighter turn than its predecessor, as armadillos can actually swim. A snorkel-like Moog melody actually fits very well for this part, despite its possibly intimidating quirkiness. This part is pretty short and in a repetitive march. It fades out after about two minutes, and a reprise of Eruption succeeds the fade out. This reprise is shorter to accommodate for the ending, of which is very satisfying.

Side Two of this album starts off with Jeremy Bender, a strange rendition of Oh Susanna utilizing a honky-tonk piano, with lyrics that are even stranger.

Next up is Bitches Crystal, a pretty decent and reckless song that sounds a bit like a part of Tarkus that didn't make it to the final cut.

Afterwards, The Only Way (Hymn) is next, which quotes Bach. Emerson uses a church organ in this song, which sounds too massive for my liking in this case.

This then segues to Infinite Space (Conclusion), which is a pretty repetitive and piano-centered, calmer tune.

Next up is A Time and a Place, which is quite heavy for a band without a guitarist most of the time. There is heavy Hammond organ use in this song. Lake's vocals are a bit cowardly at times. This song is not half-bad, but is repetitive and not so creative.

Finally, the final track off this album is Are You Ready, Eddy, which is reminiscent to Jeremy Bender, once again having strange lyrics, but now this time about ELP's producer at the time, Eddy Offord, which he also worked with Yes. Emerson once again utilizes the honky-tonk piano, but now in a 50s Rockabilly context. This song goes hand in hand with Jeremy Bender.

In conclusion, Tarkus' first side is a masterful work of prog, but the second side is pretty much mediocre. However, due to the acclaim of the suite, I think this album is definitely worth listening to, although the second side is questionable.

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