Quite a comical inturpritation of the two pieces.

Hows about who gives a f**k they are master pieces?

Sweetnighter wrote: Emerson, Lake, and Palmer: Masterful musicians! Storywriters? Not so sure. Here's my interpreted synopsis of the two epics. Tarkus: Large robotic armadillo drives around and kills things. Born out of some large egg that came from a volcano. Fights other quasi-robotic animals. Major battle with Manticore, a... uh... thing that looks sorta like a tiger... or wolf... or something. Swims away. (See gatefold album for the animated version) Karn Evil 9: Takes place in future. World sucks. Big freakish futuristic carnival features bishop's heads, strippers, grass, Jesus Christ, plus more. (Jazzy interlude). Big computer seeks to destroy humanity. Humanity fights back. Humanity loses. Computer breaks down. End. So thats my understanding of the two great ELP epics. If anybody would like to clarify or add details, feel free to do so.

....that pretty much sums it up. Not actactly Fish, Gabriel or Hammill..eh?

Zero the hero wrote: Quite a comical inturpritation of the two pieces. Hows about who gives a f**k they are master pieces?

And the crowded chanted in unison:

"are you Karnevil9 in disguise?"

Reed Lover wrote: Zero the hero wrote: Quite a comical inturpritation of the two pieces. Hows about who gives a f**k they are master pieces? And the crowded chanted in unison: "are you Karnevil9 in disguise?"

bloody hope not

Syzygy wrote: compared to.... 2112,  cosmic nonsense in ELPs epics make perfect sense.

Ever actually listened to 2112 Sausages?

Or did you notice i was lurking in the background?

Reed Lover wrote: Syzygy wrote: compared to.... 2112,  cosmic nonsense in ELPs epics make perfect sense. Ever actually listened to 2112 Sausages? Or did you notice i was lurking in the background?

Let's see - in a dystopian future society, somebody finds an electric guitar behind a fountain, plugs it in and thereby bestows the gift of freedom on the human race - is that a fair summary? Love it to death, btw, but it's a bit hard to take seriously.

Kudos for making this poll at least different than others, and for injecting humor in your synopses.

I went with Tarkus, since KE9 seems infinitely more feasible. Well, kinda...

Syzygy wrote: Reed Lover wrote: Syzygy wrote: compared to.... 2112,  cosmic nonsense in ELPs epics make perfect sense. Ever actually listened to 2112 Sausages? Or did you notice i was lurking in the background? Let's see - in a dystopian future society, somebody finds an electric guitar behind a fountain, plugs it in and thereby bestows the gift of freedom on the human race - is that a fair summary? Love it to death, btw, but it's a bit hard to take seriously.

Not a fair summary,no.You're just saying that to wind me up and I aint biting

[/QUOTE]

Let's see - in a dystopian future society, somebody finds an electric guitar behind a fountain, plugs it in and thereby bestows the gift of freedom on the human race - is that a fair summary? Love it to death, btw, but it's a bit hard to take seriously.

[/QUOTE]

Not a fair summary,no.You're just saying that to wind me up and I aint biting

[/QUOTE]

Arse. Well, it was worth a go.

Syzygy wrote:

Let's see - in a dystopian future society, somebody finds an electric guitar behind a fountain, plugs it in and thereby bestows the gift of freedom on the human race - is that a fair summary? Love it to death, btw, but it's a bit hard to take seriously.

[/QUOTE]

Not a fair summary,no.You're just saying that to wind me up and I aint biting

[/QUOTE]

Arse. Well, it was worth a go.

[/QUOTE]

ELP bashing time again, is it?

I like both albums a lot, and don’t find the concepts or lyrics difficult to digest (in fact, to the contrary). I agree with Syzygy’s first post: neither ‘Tarkus’ nor ‘Karn Evil 9’ is any more bizarre than a lot of Prog Rock epics (or epic stories, for that matter). By the way, I don’t think Sinfield was involved with the ‘Tarkus’ lyrics.

‘Tarkus’ is supposedly partly allegorical; apparently Lake, who wrote the lyrics, said in an interview shortly after it was released:

"It's about the futility of conflict expressed in (the) context.. of soldiers and war. But it's broader than that. The words are about revolution that's gone, that has happened. Where has it got anybody? Nowhere."

Emerson said in an interview with a magazine:

"William Neal was an art student and he actually popped by Advision Studios when we were recording Tarkus and before we had a name for the music that I'd written. He came by with a set of artwork and I arrived there, took one look at it and thought it was amazing. It fully complimented the music. William had painted this mechanical creature and there were a lot of other extraordinary mythical creatures like the Manticore Lion's head with the Scorpion's tail, all incorporated into mad imaginary, really, and I think we pieced it together. It was almost like the painting was made to fit the music and the music was made to fit the painting, we could see some sort of surreal story line. Although it wasn't really portrayed in the lyrics, it was enough for the imagination to take over. I don't know if you or your readers read Terry Pratchett, but it had something of that element in it, or rather, there's a lot of what Terry Pratchett writes in his works, in Tarkus! But without the humour in it! (laughs!)"

There is quite a good write-up of the ‘Tarkus’ piece, including lyrics, at the following Web site:

http://www.hostultra.com/~tarkus/ELP/elp.php - http://www.hostultra.com/~tarkus/ELP/elp.php

topographic2112 wrote: I love both epics, but from a lyrical standpoint, Takrus is way more pretentious, but in a good way.

I feel the contrary. I find KE9 much more pretentious, since it intends to grasp a major amount of subjects in the context of a future (present?) social context in which consummerism, mass media, personal computers and sadism/voyeurism are the overwhelming force of humankind, leading it to mora ldestruction and even a final confrontation with the machines. Man provokes the rise and rebellion of machines, since they were made according to the image of man's own ego.

Meanwhile, 'Tarkus' depicts a tale of war (with the 'Battlefield' sectio nserving as an elegy for those who died and keep on daying in some war somewhere in the world), emulating the fantastic grandeur of ancient myths. Here the lyrics are less impressive. But they're not bad or silly (try Wetton's lyrics for the Asia albums, or lake's lyrics for his solo albums, those were really silly, formulaic, even corny at times), IMHO.

Regards.

Sweetnighter wrote: Emerson, Lake, and Palmer: Masterful musicians! Storywriters? Not so sure. Here's my interpreted synopsis of the two epics. Tarkus: Large robotic armadillo drives around and kills things. Born out of some large egg that came from a volcano. Fights other quasi-robotic animals. Major battle with Manticore, a... uh... thing that looks sorta like a tiger... or wolf... or something. Swims away. (See gatefold album for the animated version) Karn Evil 9: Takes place in future. World sucks. Big freakish futuristic carnival features bishop's heads, strippers, grass, Jesus Christ, plus more. (Jazzy interlude). Big computer seeks to destroy humanity. Humanity fights back. Humanity loses. Computer breaks down. End. So thats my understanding of the two great ELP epics. If anybody would like to clarify or add details, feel free to do so.

Did you actually listen to the music or can you only understand by reading the pictures...

BTW... your version of  KE9 sounds like someone at Battlestar Galatica must of been an ELP fan....

Sweetnighter wrote: Emerson, Lake, and Palmer: Masterful musicians! Storywriters? Not so sure. Here's my interpreted synopsis of the two epics. Tarkus: Large robotic armadillo drives around and kills things. Born out of some large egg that came from a volcano. Fights other quasi-robotic animals. Major battle with Manticore, a... uh... thing that looks sorta like a tiger... or wolf... or something. Swims away. (See gatefold album for the animated version) The lyrics of Tarkus and the pictures in the album don't really connect, so I'm sort of drawing from both. Each one has a battle... but thats about it. How do the lyrics of Mass connect to the rest of the story... I guess I'm not seeing the "weaver in the web he made" allusion.

Okay... "Tarkus", on first glance of the cover art and subtitles to the epic, might suggest extreme pretentious tendencies, but upon actually listening to the piece, it's actually a lot less serious than it appears. For one thing, the music chronicles the absolutely hilarious adventures of an 'armadillo tank' attacking on a huge battlefield, detailed in the pictures of the liner notes. I won't actually go into what happens here, as reviewers have done it in an amusing enough way, but what I will say is that the structure is also considerably less overwhelming - the suite is in actuality a vehicle for Greg Lake's short pop numbers that are connected by complex, but not overlong and well-structured Emerson synth passages, which might actually be the man at his absolute peak. They range from the absolutely fantastic opening synth barrage of 'Eruption' to the great soloing transitions that either lead up to the poppier sections ('Iconoclast') or the battlefield portions ('Iconoclast'). Plus, that really weird synth march that ends the tune and includes reprises from the epic's most memorable themes ('Aquatarkus') might be an acquired taste because of its' tone, but once you acquire it, there's an extremely fun, quirky and engaging kind of quality to it.

As for the actual song oriented sections that are covered by Lake here, 'Stones Of Years' serves as a perfect way to emerge out of the blast of 'Eruption' - it's a great ballad portion featuring a highly beautiful melody (love the 'ahhhhhhhh's following the opening verse, too), and a nice, sparse bassline over nicely flowing keyboard parts. I should also mention that the lyrics themselves don't have much to do with the story of Tarkus, and that's especially apparent in the 'Mass' portion. That, however, doesn't matter at this point of the song, since the melody here is the catchiest moment of ELP's career, hands down. What an incredibly addictive hook that will stick in your head for hours on end, and it moves at such a great pace. And of course, the 'Battlefield' portion is sung with such conviction that you really might believe something earthshattering has happened with the  armadillo tank destruction - it's great!

As much as the professional nature and epic tendencies of the "Tarkus" suite might make for the career highlight for the band, though, it also threatens to overshadow the whole second side of the album.

He does use synths during Eruption.. actually the synths are the foundation.. of which the Hammond plays over...

As far as connecting the lyrics, especially those of "Mass"

It starts out with Stones of Years... which is Tarkus' lament to the Manticore.. a mythological creature that has been around for ages... Tarkus thinks he's just an old man who can't see or listen to reality around him... A blow hard... who only speaks, but doesn't listen...

This is were the trouble begins...

Mass: This is were Tarkus thinks that those that preach are a bunch of hypocrites.. and you lie in the bed that you make... it also throws in Greg's feelings about mass religion at the time... that religion ( or basically those that preached religion) were the center of most wars...

Battlefield:  At the end of the war... did we really win anything at all ??  Leading into Aquatarkus... a kind of metamorphosis.. learning the truth and sailing away in victory, but disgust....