WORKS VOL. 1

Shocking. This is the best word to describe the feeling any prog fan might had had when they heard the first ELP release after a more than 3 year old dry spell. For there is very little here their audience would expect from this talented and groundbreaking trio. For years I have listened to several stories about how controvertial this album was, but only recently I had the chance to actually hear the whole package. And it was a bad experience. In fact, I see Works Vol. 1 as a kind of publicist´s nightmare. How did the recording company see the final product? How to sell it? On the strengh of their earlier releases the faithful garanteed a million sold copies upfront, but that would not last.

Everything is wrong with this record: it opens wtih a solo piece by Keith Emerson. A heavy classical opus lasting 18 minutes, featuring Emerson on the piano and a complete orchestra. Interesting, but definitly for classical music lovers and the worst thing possible for a rock LP opener. Then you have a series of sappy Lake´s acoustic songs. With the solo exception of of the beautiful C´est La Vie (a big hit, even in Brazil), the rest is clearly uninspired and uncharacteristic weak. After that we are served with a series of funk/disco/jazz tunes by Palmer. Prokofiev´s The Enemy God Dances With The Black Spírits is ok, I guess. A bit too noisy, but fine percussion anyway. But L.A. Nights and New Orleans are so different you almost think you put the wrong record to play. Anything but ELP. Things get better with the short Two Part Invention In D Minor, but get completely out of hand again with Food For The Soul. At the last moment things improve a little by the new arranged of the old ELP classic Tank.

Up to that point you´re asking yourself what the hack is that? Then, at the last minute, comes the ´real thing´ (well, almost): two long compositions played by the whole band. Fanfarre For The Common Man was another cover, but it worked beautifully and became a kind of latter day classic for the band. A pity that Emerson completely abandoned the Hammond organ and decided to toy around with only the Yamaha GX-1. There is not a single note played on organ on this record. Pirates is another good song, although maybe, like Fanfarre, stretched a bit too long for its own good.

If the record started with the two group songs and then opened for the solo works, maybe things would be more palatable. But not much. Besides, the timing was all wrong: the musical scene had totally changed from when they reigned supreme three years before. In 1974 is possible that their audience would swallow such display of bloated egos as an interesting and innovative experiment. But in 1977 it simply sounded awkward and out of touch. And with a vol.1 tag to boost!! (there was more coming up?)

So, in the end, not a very rewarding experience. It was not a total failure because it had a few good stuff on it, but not enough to warrant a three stars rating. Be sure to get all the previous albums before trying this one.

Definitly for collectors, completionists and hardcore fans