BLACK MOON

Yes, the first half of the nineties was the time of the return of great bands. Apparently, record companies decided to make money on rock dinosaurs once again while they were still alive. The returns were different. Loud, like the Rolling Stones with Voodoo Lounge, ambiguous like Pink Floyd with The Division Bell and Genesis with We Can't Dance, disappointing like Yes with Union, not very convincing and scandalous like Deep Purple with The Battle Rages On.

In the case of ELP, the band's reunion happened after a very long period - the last time the band in its classic line-up released a new album was back in 1978. In 14 years, the world and music have changed. A new generation of listeners has grown up, grunge and alternative rock ruled music, and the best times of progressive rock remained in the seventies. Probably, the band, led by their producers, took this into account, making their music more simplified and accessible, albeit on a prog-rock basis. Progressive pop or pop- progressive? It doesn't matter. Did they manage to do it? With some remarks, but I think rather yes than no. Although it didn't turn out quite what was expected of them.

The beginning of the album could have been close to ideal, if not for the drummer playing the world-famous rhythm from We Will Rock You in the first song. Why is that? It's Carl Palmer, who can play anything, as if he had four hands. The situation is saved a little by a magnificent march of keyboards in the best traditions of Keith Emerson, but in a modern way, but the overall impression is already a little spoiled, especially since this triple "knock knock knock" accompanies the whole song. Nevertheless, the almost hard rock Paper Blood picks up and maintains a high tempo, and then comes the obligatory lyrical song with a guitar, where Keith Emerson carefully accompanies with an elegant keyboard part and smoothly leads to the apogee - the luxurious pulsating Romeo And Juliet. A great arrangement and a fantastic performance (I think this is where I first got to know ELP, thanks to Radio Roks, which introduced me to many interesting bands in the 1990s). Unfortunately, there aren't many highlights. The only ones that stand out are the instrumentals. Close To Home, a slow, sad and slightly unsettling piano solo. And Changing States, monumental and majestic, with changes of tempo and mood, like in the best of times. But in the past, Keith Emerson was given one side of the record. And in vain, because he is the only one who really shines on this album.

The rest of the songs strictly follow the verse-chorus principle, they would be great to listen to on the radio or at a party. But that's not ELP's style at all. If you can live with that, you won't have any problems listening to this album to the end. If not, then maybe it makes sense not to expect miracles and enjoy any ELP album from their 1970s catalog. I liked it, and I think it's fair to give this album 3 stars.