Emerson, Lake & Palmer (ELP) were more than just a band; they were a sonic spectacle, a progressive rock behemoth that redefined musical extravagance in the 1970s. As Keith Emerson himself recalled to Mojo in 2001, their 1977 American tour was designed to be an honest representation of their ambitious studio work, famously featuring a full orchestra, a legion of roadies, and even Carl Palmer’s karate instructor. This commitment to grandeur and authenticity is the very essence of ELP, a supergroup born from the merging talents of veterans from iconic British bands: Emerson of the Nice, Palmer from Atomic Rooster, and Greg Lake hailing from King Crimson.
Formed in 1970, ELP quickly became synonymous with the term “supergroup,” embodying the spirit of an era where musical boundaries were pushed beyond the constraints of typical radio singles. Before punk rock challenged the status quo, ELP thrived in a decade that celebrated musical exploration and complexity. They transformed progressive rock from a niche genre into a stadium-filling phenomenon, driven by albums and unexpected radio hits like the melancholic masterpiece “Lucky Man” (1970). At the heart of ELP’s captivating sound was Keith Emerson, whose relentless pursuit of a more expansive and majestic sonic palette, fueled by an ever-growing arsenal of organs and synthesizers, solidified ELP’s place as one of rock music’s most accomplished and absorbing acts. Here’s a journey into some of their most defining musical moments, showcasing the brilliance that makes Emerson Lake And Palmer Songs truly unforgettable.
“Lucky Man” (1970)
Keith Emerson performing with Emerson, Lake & Palmer, showcasing his keyboard skills during a live concert.
“Lucky Man,” a song unexpectedly resurrected by Greg Lake from his teenage years (written at just 12 years old on his first guitar), was initially conceived as album filler for ELP’s debut. Described by Lake as a “simplistic little medieval fantasy,” it inadvertently became a landmark moment for the Moog synthesizer in popular music. The song’s claim to fame is Keith Emerson’s spontaneous, first-take synthesizer solo at its conclusion, played on a brand-new instrument. Despite Emerson’s desire for a second attempt, the lack of available recording tracks cemented this initial solo as the definitive version. Over time, “Lucky Man” transcended its musical origins, with listeners interpreting its lyrics through various lenses, including associations with public figures like President John F. Kennedy, adding layers of mystique to this enduring Emerson Lake and Palmer song.
“The Barbarian” (1970)
Emerson, Lake and Palmer performing "The Barbarian" live, highlighting their energetic and dynamic stage presence.
While “Lucky Man” offered a softer introduction to ELP’s sound, “The Barbarian” served as a powerful statement of their broader musical ambition. True to the prog ethos of the time, ELP wasn’t focused on chart-topping singles, but “The Barbarian,” after “Lucky Man,” became a pivotal track in showcasing their expansive musical scope to a wider audience. Within its concise four and a half minutes, the song traverses a remarkable range, from proto-metal intensity to lighthearted jazz segments, culminating in a frenzied, piano-driven passage by Emerson, reminiscent of Khachaturian’s “Sabre Dance.” In a 1970 interview with Sounds, Emerson articulated the collaborative spirit of ELP, stating, “On the new album, the first side is Emerson, Lake and Palmer as a group – three ideas which have grown from three separate backgrounds to produce a sound … The nice thing about ELP is that we all bend to each other.” This track exemplifies that very blend, making it a quintessential Emerson Lake and Palmer song for understanding their early dynamic.
“Tarkus” (1971)
The iconic album art for "Tarkus" by Emerson, Lake and Palmer, featuring the armadillo-tank creature.
Modesty was never a hallmark of ELP, and “Tarkus” stands as a monumental testament to their grandiosity. Spanning the entire first side of their second album, this epic composition is divided into seven movements, amassing over 20 minutes of music. “Tarkus” is a sprawling mythic journey that weaves together fusion and classical music elements, all centered around a fantastical creature of Emerson’s own invention. Emerson recounted the genesis of the name in a 1972 Disc interview: “With Tarkus I went through all sorts of Greek mythology books to think of a name for this animal, and I didn’t come up with anything. Then suddenly we were driving home from a gig one night, and I said ‘Tarkus.’ And the others said, ‘Tarkus?’ And that was it.” The song narrates the complete lifecycle of this creature, vividly depicted in William Neal’s iconic album artwork. “Tarkus” is not only a conceptual masterpiece but also showcases some of Emerson’s most elaborate and agile keyboard performances, making it a cornerstone of Emerson Lake and Palmer songs and progressive rock history.
“From the Beginning” (1972)
Greg Lake performing "From the Beginning" on acoustic guitar, showcasing his vocal and instrumental talents within Emerson, Lake & Palmer.
“From the Beginning,” from the Trilogy album, is primarily a showcase for Greg Lake’s emotive vocals and acoustic guitar work, yet it also provides the canvas for one of Keith Emerson’s most remarkable synthesizer solos. For the majority of its duration, the song maintains a sparse and intimate feel, but in its final minute, it explodes into another dimension with Emerson’s cosmic synthesizer improvisation. This concluding jam is a swirling, otherworldly symphony of electronic textures and randomly generated effects, elevating the song from a simple love ballad to something evocative of cosmic origins, perhaps even the Big Bang itself. Becoming ELP’s highest-charting single in the United States, “From the Beginning” not only highlighted their versatility but also drew significant attention to Emerson’s cherished collection of Moog synthesizers, instruments that ELP played a crucial role in popularizing, cementing its place among essential Emerson Lake and Palmer songs.
“Hoedown” (1972)
Carl Palmer energetically drumming during an Emerson, Lake & Palmer performance of "Hoedown".
“Hoedown” served as an electrifying opening for two ELP tours and is actually an adaptation of a piece by American composer Aaron Copland, a figure Emerson admired as “the soul of American music.” Just as Copland was a showman in his own right, so was ELP in their performance of this piece. Keith Emerson began arranging “Hoedown” after a classical music festival in Romania, infusing Eastern European influences into his dynamic arrangement alongside familiar American folk melodies like “Shortnin’ Bread” and “Turkey in the Straw.” The signature synth sound of “Hoedown” was discovered by accident. Emerson described the moment: “We’d started working on that arrangement and then I hit, I don’t know what, I switched a blue button and I put a patch cord in there, but anyway, ‘whoooeee.'” This serendipitous sound became integral to “Hoedown,” making it a high-energy and unforgettable Emerson Lake and Palmer song, perfect for opening a show.
“Trilogy” (1972)
Keith Emerson playing piano, deeply immersed in the performance of "Trilogy" by Emerson, Lake & Palmer.
“Trilogy,” the title track from ELP’s third album, begins with Emerson’s graceful, melodic piano. Co-written by Emerson and Greg Lake, this is the longest and arguably most ambitious track on the album. It initially presents a surprising restraint, almost resembling a conventional, even Zombies-esque love ballad. However, this initial gentleness soon gives way to powerful riffs and intricate baroque synth passages, layered with complexity. Emerson explained to Disc magazine in 1972, “I try to cover all sorts of things in my music so there are lots of things to be discovered in it maybe a little later. That’s one of the important points in music, the discovery by the listener of new things every time they hear a piece of music.” “Trilogy” embodies this philosophy, offering layers of musical depth that reveal themselves over repeated listens, solidifying its status as a key Emerson Lake and Palmer song.
“Toccata” (1973)
Emerson, Lake and Palmer utilizing state-of-the-art musical technology during a performance of "Toccata".
Keith Emerson’s audacious and inventive arrangement of the 4th Movement of Alberto Ginastera’s Piano Concerto No. 1, “Toccata,” perfectly encapsulates ELP’s fusion of classical music reverence and cutting-edge technology. This track may well be the first commercial recording to feature pre-programmed electronic percussion. Initially, Ginastera’s publishers resisted ELP’s request to include “Toccata” on Brain Salad Surgery. Undeterred, Emerson traveled to Switzerland to meet Ginastera personally. Recounting the encounter in 2014, Emerson said, “I had a nice lunch with Alberto and his wife and then I played the tape for him. When it was over he had this strange look on his face. He looked like he was in pain! And he said something like, I can’t remember the exact words but something like, ‘That is horrible!’ I thought, Oh God, he hates it! And I was ready to go home. But his wife said to us: ‘No, no, no, he says ‘diabolical’ in a good way, like ‘unbelievable!'” Ginastera not only approved but also endorsed the track, with his quote, “Keith Emerson has beautifully caught the mood of my piece,” included in the Brain Salad Surgery liner notes. “Toccata” is a testament to ELP’s innovative spirit and a standout Emerson Lake and Palmer song.
“Still… You Turn Me On” (1973)
Greg Lake singing and playing acoustic guitar on "Still… You Turn Me On", a more melodic Emerson, Lake & Palmer track.
“Rock technology is just not yet advanced enough,” Keith Emerson remarked in a 1973 New York Times interview, reflecting his and the band’s constant drive for innovation. However, “Still… You Turn Me On,” from Brain Salad Surgery, demonstrates a different kind of evolution for the famously tech-driven trio—relative restraint. Penned by Greg Lake, the song is notably less ornate, focusing instead on a beautiful melody and Emerson’s subtly applied synth textures, alongside a surprising hint of funk, a departure for ELP. The enduring appeal of “Still… You Turn Me On” lies in the balance between Lake’s songwriting and Emerson’s atmospheric touches. Even as they explored the frontiers of sound, ELP understood that at the core of their art was always a strong song, making this one of the more accessible yet equally compelling Emerson Lake and Palmer songs.
“Karn Evil 9” (1973)
Emerson, Lake and Palmer performing "Karn Evil 9" live, showcasing the epic scale of their progressive rock compositions.
“Karn Evil 9” is arguably the quintessential progressive rock epic, embodying both the adoration and criticism leveled at the genre. A breathtakingly complex and ambitious work in three “impressions,” this centerpiece of Brain Salad Surgery delves into the weighty theme of humanity versus technology while providing ample space for each band member to display their instrumental virtuosity. While detractors might see it as an endless musical exhibition, this half-hour dystopian fantasy resonates with a startling prescience today. Keith Emerson recalled in 2000, “It was the start of computer technology, and already we were being accused of using computer technology in our instrumentation to the point that some people actually believed that when we played onstage it wasn’t us! When we did it live I had the Moog turn around, face the audience and blow up while we left the stage. It was like saying, ‘This is computer technology and it’s taking over.'” “Karn Evil 9” remains a landmark achievement and a defining Emerson Lake and Palmer song, encapsulating the ambition and scope of progressive rock.
“Fanfare for the Common Man” (1977)
Emerson, Lake and Palmer performing "Fanfare for the Common Man" with grandeur, possibly during their extravagant 1977 tour.
“Fanfare for the Common Man,” the opening track on the collaborative side of ELP’s Works Volume 1 double album, is an adaptation of a 1942 composition by Aaron Copland, whom Emerson revered as “the soul of American music.” Emerson transposed Copland’s piece to the key of E, and the band recorded it in a single inspired take. Their rendition inventively interweaves a gritty blues shuffle between faithful interpretations of Copland’s theme. Copland himself, upon hearing it, remarked, “What they do in the middle, I’m not sure exactly how they connect that with my music but [*laughs*] they do it someway, I suppose.” Released with Copland’s blessing, ELP’s ten-minute adaptation became a ubiquitous anthem, frequently used during televised sporting events. “Fanfare for the Common Man” not only showcases ELP’s ability to reinterpret classical music but also their knack for creating powerful, widely appealing music, securing its place among the most recognized Emerson Lake and Palmer songs.
