40 Years Ago: Emerson, Lake and Palmer Start to Split on Works Volume 1

40 Years Ago: Emerson, Lake and Palmer Start to Split on Works Volume 1 

Posted: 1:11 pm Sunday, March 19th, 2017

By rockywbab

Emerson, Lake & Palmer’s Works Volume 1 represents the boldest move the band ever made and the beginning of its undoing. By the time the group came off the tour for its previous album, 1973’s Brain Salad Surgery, it was at its peak in both popularity and artistry. But the trouble was the band members were the furthest thing from one big, happy family.

Emerson Lake And Palmer

British rock group Emerson Lake and Palmer on stage, April 1974. Left to right: Keith Emerson, Carl Palmer and Greg Lake. (Photo by Michael Putland/Getty Images)

You don’t make musical statements as elaborate and daring as theirs without having a decent-sized ego, and the three alpha males of ELP were no strangers to locking horns with each other over their work. So when they got off the road from supporting Brain Salad Surgery in 1974, they jumped at the chance for a long vacation from each other, not getting together again until 1976, when they began the sessions for Works Volume 1.

Even then, the three were apparently so uninterested in functioning as a unit that they did so for only one quarter of what turned out to be a double album. The rest of Works was each member’s opportunity to strut their solo stuff instead.

Photo of Emerson Lake & Palmer

UNSPECIFIED – CIRCA 1970: Photo of Emerson Lake & Palmer Photo by Michael Ochs Archives/Getty Images

Despite their paucity of team spirit, Emerson, Lake & Palmer were still firing on all cylinders artistically, so they still had something very vital to offer as a group. So Works emerged in March 1977 as ELP’s last truly impressive statement, though the solo segments of the release tended toward the hit and miss.

Even on the inside of the original LP’s gate-fold sleeve, Keith Emerson, Greg Lake and Carl Palmer appear separately, each one’s image emblazoned on a separate panel. And those images capture the identity each was trying to establish on their solo sides.

Emerson stares seriously over the top of his grand piano, every inch the intense, classically influenced artiste. Lake bears a big smile, unbuttoned shirt and an acoustic guitar with a heart design, the quintessential romantic troubadour. Palmer is seated at his drums wearing a tank top, with a towel sitting atop his floor tom, making it look like he had just finished up a heavy-duty sweat-inducing session at the skins.

Emerson’s solo side starts the album off, and it’s occupied entirely by his three-movement, 18-minute “Piano Concerto No. 1,” a self-penned piece performed with the London Philharmonic that maximizes his classical inspirations while also finding time to work in some distinct jazz flavors. Just as the classical pieces the band adapted by others were from modern composers, Emerson’s own composition bears an unmistakably modernistic feel. He’s not trying to come off like some faux-baroque half-assed Bach; his Concerto is meant to be a living, breathing thing, not an automatic museum resident, and it ultimately succeeds. Even for ELP, opening an album with something like this is a pretty ballsy move.

Lake’s portion couldn’t be more aesthetically different from Emerson’s. On a quintet of tunes co-written with Peter Sinfield, the lyricist who became famous for his work with King Crimson and went on to provide words for some of Brain Salad Surgery, Lake seems like he’s doing his damnedest to become the British Neil Diamond.

ELP In Snow

English progressive rock group Emerson Lake and Palmer during rehearsals for the band’s ‘Works’ tour, at the Olympic Stadium, Montreal, Canada, February 1977. Left to right: keyboard player Keith Emerson, guitarist Greg Lake and drummer Carl Palmer. (Photo by Michael Putland/Getty Images)

Three of the songs — “Lend Your Love to Me Tonight,” “Nobody Loves You Like I Do” and “Closer to Believing” — go a good way toward that goal, sporting syrupy MOR sounds but lacking the do-or-die pop hooks that put Diamond’s hits across. Still,  “C’est La Vie” turned out to be quite a lovely, bittersweet ballad with a French flavor and evocative accordion. And “Hallowed Be Thy Name” is actually the most powerful small-scale composition on the album. While Sinfield seems to be on autopilot for most of these songs, here he’s at his quirky best, and the production is punchy instead of wimpy, with an eccentric, angular string arrangement.

How many of you remember seeing this on Don Kirshner’s Rock Concert?