PICTURES AT AN EXHIBITION

Emerson, Lake & Palmer shamelessly hack their way through a classic work by Russian composer and member of the elite "Nationalist Five" group Modest Petrovich Mussorgsky. Mussorgsky originally penned this piece for piano in 1874 and it has since appeared in 6 various forms and interpretations including the ELP intrusion which was the first to include voice. The inspiration for the piece came from a collection of drawings and watercolours made by a friend of Mussorgsky`s and the piece stirred up a bit of controversy at the time with critics because the Impressionistic techniques used in the artwork did not conform to the stylings of the period.

For serious listeners who want to hear how the piece should be played in it`s orchestral form should first of all consult an excellent 1986 recording made by The Berlin Symphony Orchestra on Duetsch Grammaphon with the great Herbert von Karajan conducting. Once familiar with the piece, one will nevertheless be unprepared for the carnage which is to occur on the ELP desecration of this work. Keith Emerson was no stranger to slicing and dicing classic works and otherwise by the time this abomination was recorded in late 1971. In his previous band, the Nice, he assaulted work by the likes of Mozart and more notoriously Leonard Berstein`s "America". During a performance at The Royal Albert Hall the American flag was burned while this piece was being performed which resulted in the band being barred and Bernstein taking unsuccessful legal action in order to prevent the band`s version of his work from being released in the United States.

Apart from the introductory theme, "Promenade" this unusual interpretation of Pictures At An Exhibition has very little to do with Mussogsky`s initial intensions for the piece although Emerson manages to demonstrate, in a very devastating manner, his awareness of earlier renditions of what was a magnificent piece of music before he got his claws on it. If one were to ask the question, does Emerson do the piece any justice?The answer would be no. Was it really neccessary for three young musicians in 1971 to present such a work in a rock context to an audience who would not even appreciate the piece for what it really was? No. ELP did it because they had the audacity to do so and because they could. They had the technology. The early 70`s as far as the rock world was concerned was an age of innovation and ELP were no exception to the rule except in the fact that they took everything a little bit beyond convention. By 1975 they were touring the planet with 30 tons of equipment which required over 25 tractor trailer trucks to haul with their names EMERSON,LAKE & PALMER inscribed on the roofs in massive lettering. These guys even wanted the aliens to know about them!

Greg Lake had also firmly established himself as a romantic balladeer with such compositions as Lucky Man and I Talk To The Wind with King Crimson. Ironically, some of the most dauntingly beautiful voicings are heard from him here in between Emerson`s antics which include doing the Hendrix thing on his Hammond organ conjuring up resplendent feedback and other electronic effects. Drummer Carl Palmer really shines and gives the band a very tight feel to it and even makes writing contributions. If we ignore the fact that a classical work is literally being mutilated by 3 young English musicians in front of a live audience we can marvel in the wonderful contrasts and impressions contained throughout. This album goes through all the motions from outright noise to melodic beauty. It ends majestically with Lake`s take on The Great Gates of Kiev.The bloodthirsty crowd sadistically cheers for an encore of more classical butchery and since Emerson has already unofficially declared open season on Russian composers the cull continues with an upbeat variation on Tchaichovsky`s Nutcracker appropriately entitled The Nutrocker.

In terms of technical sound quality the album is dated and the best effect of this work would be garnered from a vinyl edition. But most of all this album is an essential component of any collection which seeks to encompass all aspects of the progressive rock movement even if it might not be representitive of most of ELP's work.