Why no love for ELP?

If Steve Hackett or Steve Howe had joined them at some stage they would have been HELP

To the topic: I personally count ELP as 'one of the big six of prog' together with King Crimson, Yes, Genesis, Jethro Tull and Pink Floyd. I always regarded VdGG, Gentle Giant and Camel as 'the second tier of prog'. That does not mean that I like one band above the other, nor does it necessarily reflect my personal ranking list.
It is just how I would 'classify' these bands regarding their importance and influence to the genre.

Formentera Lady wrote: If Steve Hackett or Steve Howe had joined them at some stage they would have been HELP

I'm OK with the ELP "throwaway" songs (Are you Ready Eddy, The Sheriff, Benny) and see them as the band proving that they really weren't that pretentious after all.  But I can understand others finding those songs detract from the overall albums consistency.

Concerning HELP, there was at some point plans for Jimi Hendrix to join the group for a collaboration but that fell apart when he... well, died. I have trouble imagining how it'd sound, though.

It's extra weird because ELP are as purely European in cultural origin as rock music can get... as a matter of fact, wasn't that Keith Emerson's entire concept with the group?


Edited by Toaster Mantis - June 24 2015 at 13:55

Big Kid Josie wrote: Personally, I think their music lost a little of its potency when they strayed from Bartok, Ginastera and Mussorgsky into Copeland as far as their inspiration, but that's just me...

never really considered that... likely some truth in that....excellent viewpoint.

micky wrote: Big Kid Josie wrote: Personally, I think their music lost a little of its potency when they strayed from Bartok, Ginastera and Mussorgsky into Copeland as far as their inspiration, but that's just me... never really considered that... likely some truth in that....excellent viewpoint.

Well, I rather dislike Hoedown, and am not particularly fond of Fanfare for the Common Man, either, so you might be right at that. Though they did make some things that would remind be of Hoedown before, and those are the main sort of tunes that turn me off from many of their songs.

Don't you think that compared to ELP, Genesis/Yes/Floyd/Tull are easy listening, foot tappers ? That is not a negative remark, those bands made some of my all time favourite albums but ELP required a bit more concentration.  I suppose I have three or four ELP albums, all vinyl.  (ELP, Tarkus, Pictures, and Brain Salad). Interesting pieces every one of them but they don't get inside me in the same way as e.g Close to the Edge.

I'm loathe to say which is their 'best' work but Tarkus is my favourite. To my ears it is where The Nice and KC came together.  Interestingly enough I'm listening to Tarkus as I type and it sounds a lot lighter than I remember so maybe all that above is nonsense.

Even so, the likes of Yes and Genesis are definitely more accessable, to my ears at least. 

That's why ELP were, and always, exciting as their music demanded attention (but what about Lake's stuff I hear you say...you know which music I am talking about).  I am not sure about the drift from European classicism being part of their downfall - Ginastera's 'Toccata' (one of their most blistering interpretations) does not seem to fit this argument.  Much overlooked on Love Beach is their interpretation of 'Canario', which is similarly breathless.

...and I for one, am grateful that ELP did have the grace to jack it in when they did (unlike their peers...)  The ELPowell album was a credible reprise when you consider the same year Genesis put out 'Invisible Touch' and the following year Yes came up with 'Big Generator'.  I know which one of those I'd rather listen to!

I also understand the bit about changing technology but I felt Emerson had to move with the times - his peers were also updating their keyboard banks.