Latest / Booked On Rock with Eric Senich / Emerson, Lake & Palmer: A History Told by the Fans [Episode 352]

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Emerson, Lake & Palmer: A History Told by the Fans [Episode 352] · Booked On Rock with Eric Senich

• 0:00
  Speaker 1: Emerson Lincoln Palmer were never just a band. They were
• 0:03
  Speaker 1: a lightning rod. Loved, debated, and often misunderstood. ELP pushed
• 0:08
  Speaker 1: rock to its limits with ambition and virtuosity. But this
• 0:11
  Speaker 1: isn't their story as told by critics or the charts.
• 0:14
  Speaker 1: This is the story of Emerson, Lake and Palmer told
• 0:17
  Speaker 1: by the fans who felt it.
• 0:19
  Speaker 2: We're totally rock and roll. I mean, I leave you
• 0:24
  Speaker 2: you're reading little hands this. It's time to rock and roll,
• 0:27
  Speaker 2: Roll up, I totally booked.
• 0:34
  Speaker 1: Welcome back to book dot Rock the podcast for those
• 0:36
  Speaker 1: about to read and rock Americ Senach and we have
• 0:39
  Speaker 1: a first time guest on the show. Bruce Peg is
• 0:41
  Speaker 1: the author of Welcome Back My Friends, of People's history
• 0:45
  Speaker 1: of Emerson, Lake and Palmer. Bruce, thanks so much for
• 0:48
  Speaker 1: coming on the show.
• 0:49
  Speaker 2: Oh thanks for having me. Eric appreciate it.
• 0:51
  Speaker 1: This book has a forward by Karl Palmer, a surviving
• 0:54
  Speaker 1: member of the band. Also contributions from Ian Anderson of
• 0:57
  Speaker 1: Jeff ro Tall, journalist filmmaker Amory Crowe, also amazing images
• 1:03
  Speaker 1: from the archive of claimed rock photographer Neil Pressing, and
• 1:07
  Speaker 1: of course the story of ELP. Now this is told
• 1:09
  Speaker 1: in the words of over three hundred and seventy fans
• 1:12
  Speaker 1: as they remember two hundred and forty different concerts across
• 1:16
  Speaker 1: a forty year career. What a tribute to a band
• 1:18
  Speaker 1: that deserves the praise. Critics like Lester Bangs never gave
• 1:22
  Speaker 1: them much respect, but this book proves the critics wrong.
• 1:26
  Speaker 1: Clearly the band has made an impact on fans, right.
• 1:29
  Speaker 2: Absolutely, you know it's when you think, I think their
• 1:33
  Speaker 2: last studio album was what nineteen ninety six or something
• 1:36
  Speaker 2: like that, and their last performance was twenty ten, so
• 1:39
  Speaker 2: you know, their legacy still lives on. And several of
• 1:43
  Speaker 2: the contributions later in the book are from people that
• 1:46
  Speaker 2: never got to see them. I never got to actually
• 1:48
  Speaker 2: see them in the flesh as a three piece band,
• 1:53
  Speaker 2: but yeah, it's just amazing. It's quite quite a legacy,
• 1:57
  Speaker 2: and they're one of those bands I think that just
• 1:59
  Speaker 2: kind of know, at this point, kind of go under
• 2:03
  Speaker 2: the radar a little bit. I don't think they get
• 2:04
  Speaker 2: as much appreciation as I think they really deserve.
• 2:07
  Speaker 1: But they do fall into that category of bands who
• 2:09
  Speaker 1: never really receive the praise that they should have gotten
• 2:13
  Speaker 1: from critics, right, I mean that's absolutely bands like Yes
• 2:15
  Speaker 1: and King Crimson and those types of bands. Why do
• 2:18
  Speaker 1: critics have a problem with bands like Emerson, Lincoln Palmer
• 2:22
  Speaker 1: brilliant musicians, the songs are fantastic.
• 2:25
  Speaker 2: I think a lot of that in my opinion. I'm
• 2:27
  Speaker 2: a musician myself. I've played for forty odd years and
• 2:30
  Speaker 2: have been surrounded by music and for all my life,
• 2:34
  Speaker 2: and I think a lot of it is critics aren't musicians.
• 2:37
  Speaker 2: They don't understand when you know, when Keith Emerson plays
• 2:41
  Speaker 2: a keyboard part, is he's phenomenal. I mean, he's just
• 2:46
  Speaker 2: right at the top of that game, could quite easily
• 2:48
  Speaker 2: have been playing. In fact, did play in front of
• 2:50
  Speaker 2: symphony orchestras. And you know, I just don't think critics
• 2:54
  Speaker 2: really understand what it is to be a musician. You know,
• 3:00
  Speaker 2: people like Chris Allen and and and Leicester Bangs. They
• 3:03
  Speaker 2: really like the old rock and roll, the very basic stuff,
• 3:06
  Speaker 2: which I love too. But but you know, these are
• 3:09
  Speaker 2: the guys that stretched the envelope and really pushed the
• 3:13
  Speaker 2: medium as bad as far as it could possibly go.
• 3:16
  Speaker 2: Uh and uh, and I just don't think the critics
• 3:18
  Speaker 2: got that.
• 3:19
  Speaker 1: And put on a fantastic show as well, right and uh,
• 3:23
  Speaker 1: you know, but the thing is I'm not a musician,
• 3:25
  Speaker 1: but I love music. I am a music fanatic. I
• 3:28
  Speaker 1: love ELP. So that goes against what these critics are saying.
• 3:31
  Speaker 1: I don't need to be a musician to appreciate these
• 3:34
  Speaker 1: are just good songs.
• 3:35
  Speaker 2: Yeah. Well, and there's that too. I mean, you know
• 3:38
  Speaker 2: the material that they used. You know, Greg Lake's ballads
• 3:42
  Speaker 2: I think have stood the test of time, Lucky Man
• 3:44
  Speaker 2: and uh se Lave and but songs like that just gorgeous,
• 3:49
  Speaker 2: gorgeous songs that that had that crossover appeal, that mass appeal,
• 3:55
  Speaker 2: and and you know, but but to me, you know,
• 3:58
  Speaker 2: Emerson and and and to a certain lesser extent, Carl
• 4:02
  Speaker 2: Palmer brought that classical influence into the band to make
• 4:07
  Speaker 2: what I think is a really unique sound, even for
• 4:09
  Speaker 2: the progue guys.
• 4:10
  Speaker 1: Before we get to some of the fan stories, take
• 4:12
  Speaker 1: us back to when and how the band is formed.
• 4:14
  Speaker 1: This was during the year of the supergroup.
• 4:17
  Speaker 2: Yep, that's absolutely right, and you know, so it was
• 4:20
  Speaker 2: I think everybody had kind of gotten to that point musically,
• 4:24
  Speaker 2: so at six nineteen sixty nine, where you know, the
• 4:27
  Speaker 2: boundaries of pop music had been really stretched, and I
• 4:30
  Speaker 2: think a lot of these guys were looking for new
• 4:33
  Speaker 2: ways to express themselves. I think in Greg Lake's case,
• 4:39
  Speaker 2: I think he felt a little bit intimidated or stifled
• 4:43
  Speaker 2: by the King Crimson set up side, I think he
• 4:46
  Speaker 2: was looking to get out of that. And you know,
• 4:49
  Speaker 2: Palmer had had gotten his chops through playing for Atomic
• 4:53
  Speaker 2: Rooster and the Crazy World of Arthur Brown, which is
• 4:58
  Speaker 2: not a gig I would have fought for because it
• 5:00
  Speaker 2: was definitely a crazy world.
• 5:02
  Speaker 1: There was a showman, right, yes, yes he was.
• 5:05
  Speaker 2: Yeah, absolutely. And then you know, Keith, I think really
• 5:10
  Speaker 2: just saw ELP as an extension the Nice, his first band.
• 5:13
  Speaker 2: But I think he had a lot more creative control
• 5:15
  Speaker 2: over ELP and the direction they were taking. So I
• 5:18
  Speaker 2: think that's what made it an inviting proposition for him.
• 5:22
  Speaker 2: Seventy is really the start of the band.
• 5:24
  Speaker 1: And as for stories from fans, they go way back
• 5:27
  Speaker 1: to the pre ELP days. We should know one from
• 5:31
  Speaker 1: the Peer Pavilion in I'm gonna need some help here.
• 5:33
  Speaker 1: It's in the UK. Felix Stow, Felix Stowe, very good,
• 5:37
  Speaker 1: Felix Stowe. It was close, okay. August ninth, nineteen sixty nine,
• 5:40
  Speaker 1: Graham day Fan a seaside resort he saw the Nice
• 5:45
  Speaker 1: Keith Emerson's band Nice and Graham Wrights quote. Keith Emerson
• 5:49
  Speaker 1: had acquired a hm in organ and to produce new
• 5:52
  Speaker 1: sounds on stage. We had heard that he experimented with
• 5:56
  Speaker 1: rocking the instrument backward and forwards, and memorably jamming knives
• 6:00
  Speaker 1: into the keyboards and thrusting them into the back of
• 6:03
  Speaker 1: the organ as well. These ceremonial daggers were provided by
• 6:08
  Speaker 1: Rody Lemmy of Motorhead fame.
• 6:10
  Speaker 2: That's so cool, that's the story. Yeah, let me let
• 6:13
  Speaker 2: me work with Hendrix as well before before going off
• 6:18
  Speaker 2: onto a band called Hawkwind, which is a band I
• 6:20
  Speaker 2: remember from back in the in the early seventies in
• 6:23
  Speaker 2: my days in England. And so yeah, quite a story.
• 6:27
  Speaker 1: Any favorite keys Emerson stories for you that are in
• 6:30
  Speaker 1: the book, like this about his showmanship. Didn't he light
• 6:32
  Speaker 1: the keys on fire? And what was this? Oh?
• 6:35
  Speaker 2: All sorts of stuff? You know. He would, you know,
• 6:38
  Speaker 2: get on top of the keyboard. Famously, he would pull
• 6:41
  Speaker 2: the keyboard over on top of himself and then play
• 6:45
  Speaker 2: backwards over the top of the keyboard. It was as
• 6:48
  Speaker 2: he was lying on the floor, you know, And he
• 6:51
  Speaker 2: would throw throw stuff around and you know, just a
• 6:55
  Speaker 2: great showman. And if you think about, you know, how
• 6:58
  Speaker 2: static that that band could have been. You know, you
• 7:01
  Speaker 2: got Cole Palmer really tucked away behind a massive drum
• 7:06
  Speaker 2: kit and Greg Lake really just pretty much strumming on
• 7:09
  Speaker 2: the other side of the stage. It really needed that band,
• 7:12
  Speaker 2: really needed a visual component, and the book is full
• 7:16
  Speaker 2: of stories of him, you know, just literally bouncing off
• 7:19
  Speaker 2: the furniture and even in one case I can't remember
• 7:22
  Speaker 2: which story it is, but even falling off the stage
• 7:24
  Speaker 2: and into an audience member's lap. So you know, it's
• 7:27
  Speaker 2: certainly the absolute showman.
• 7:29
  Speaker 1: The band made their formal debut at the Isle of
• 7:31
  Speaker 1: Wight Festival August nineteen seventy and you were a quote
• 7:34
  Speaker 1: immediately appearing shoulder to shoulder on the Saturday which such
• 7:39
  Speaker 1: luminaries as The Doors the Who. Ten years after Free
• 7:42
  Speaker 1: and Joni Mitchell performed in September, they began a lengthy
• 7:46
  Speaker 1: tour of Britain. By November they were touring Europe and
• 7:49
  Speaker 1: had released their first eponymous album. They were working really
• 7:54
  Speaker 1: hard early on, right, I mean you right about this.
• 7:56
  Speaker 1: Throughout seventy one seventy two, they produced at a breakneck
• 8:00
  Speaker 1: pace in the studio and then they're on the road.
• 8:02
  Speaker 2: Yeah, it's really amazing how how hard that band worked
• 8:06
  Speaker 2: in the early days to get to where they got
• 8:08
  Speaker 2: to be, you know, just just every single venue imaginable
• 8:14
  Speaker 2: throughout Europe and and and I think they got very
• 8:17
  Speaker 2: lucky early on in America as well. A lot of
• 8:20
  Speaker 2: English bands, as you know, struggle to break through in
• 8:23
  Speaker 2: America for obvious reasons with the size and you know,
• 8:27
  Speaker 2: just trying to get a foothold in such a big,
• 8:30
  Speaker 2: big country. And but they managed to do it very
• 8:33
  Speaker 2: very quickly. And it's you know, if you think about it,
• 8:37
  Speaker 2: you know, by the time you get to brain sound surgery,
• 8:39
  Speaker 2: which is seventy three, these guys are headlining not just
• 8:43
  Speaker 2: the big the big holes, but they're headlining stadiums now,
• 8:48
  Speaker 2: you know. You know, they've gone in four years from
• 8:52
  Speaker 2: from basically from hitting the clubs to arena rock. Uh
• 8:57
  Speaker 2: And And you know, one of the things I think,
• 8:59
  Speaker 2: and I'm saying I say it in the book, is
• 9:01
  Speaker 2: that I really think that they pioneered that whole idea
• 9:04
  Speaker 2: of arena rock. They were determined to put on as
• 9:07
  Speaker 2: big a show as possible, and they were of course
• 9:10
  Speaker 2: known throughout Europe and America for taking tons and tons
• 9:15
  Speaker 2: of equipment and you know, huge, huge truck tractor trailers,
• 9:23
  Speaker 2: a scale of which we kind of take for granted
• 9:26
  Speaker 2: now I think, you know, with the big shows. But
• 9:28
  Speaker 2: back in the day, they were pioneers for that.
• 9:31
  Speaker 1: Yeah, I made note of that. And here about they
• 9:34
  Speaker 1: had a separate truck for each band member, didn't they.
• 9:36
  Speaker 2: That was the Yeah, that was the whole thing. And
• 9:39
  Speaker 2: I remember in the back of my mind somewhere seeing
• 9:42
  Speaker 2: some video of these tractor trailers going down a highway
• 9:46
  Speaker 2: and ELP on the top of the tractor trailer. So yeah,
• 9:49
  Speaker 2: they made a splash.
• 9:50
  Speaker 1: Even with that great story from ELP fan turned professional musician.
• 9:54
  Speaker 1: In the book, he has a full circle moment with
• 9:57
  Speaker 1: Karl Palmer many years later. This is Mark Prentiss. I
• 10:00
  Speaker 1: saw ELP in May of seventy one at War Memorial
• 10:02
  Speaker 1: in Rochester, New York. He drove one hundred miles to
• 10:05
  Speaker 1: see Poco with ELP opening. There's an interesting ticket. He
• 10:09
  Speaker 1: was seventeen. ELP blew away Poco. Mark became a fan
• 10:13
  Speaker 1: that day and he says, quote, I went on to
• 10:15
  Speaker 1: have an incredible career. I've been a studio musician for
• 10:17
  Speaker 1: almost forty years, played on thirty thousand plus songs. I've
• 10:20
  Speaker 1: had multiple Grammy nominations as a producer and produced a
• 10:23
  Speaker 1: Grammy winning record. I've had some success as a songwriter,
• 10:26
  Speaker 1: but I owe so much of my drive and success
• 10:28
  Speaker 1: to these acts that lit my fire, the primary one
• 10:32
  Speaker 1: prior to ELP being the Rascals. Talk about ELP's influence
• 10:37
  Speaker 1: on fellow musicians. How often did you hear stories like Marx?
• 10:40
  Speaker 2: There's a lot of them, you know, people like Frank
• 10:44
  Speaker 2: I ask you who is in a bank called Naughties
• 10:46
  Speaker 2: Puncture which is an ELP tribute band in England. And
• 10:52
  Speaker 2: robbed my friend Rob Shepherd, who is in Manticore, which
• 10:55
  Speaker 2: is a working ELP tribute band up here in the
• 10:58
  Speaker 2: northeast of the US. These guys cut their teeth on Amazon,
• 11:04
  Speaker 2: on Keith Emerson particularly, and and just just story after
• 11:08
  Speaker 2: the story of people either becoming serious musicians as you know,
• 11:13
  Speaker 2: not just musicians that you know had mom and dad
• 11:16
  Speaker 2: buy him a guitar for Christmas and then the guitar
• 11:19
  Speaker 2: goes in the in the in the closet. You know,
• 11:21
  Speaker 2: these guys worked at their craft. They they went that
• 11:24
  Speaker 2: they got sought out formal educations. They you know, they
• 11:28
  Speaker 2: were really very very became very very serious musicians. Uh.
• 11:34
  Speaker 2: And and there's also many, many stories, particularly from European places.
• 11:38
  Speaker 2: I can't remember the names now, but guys from places
• 11:42
  Speaker 2: like Czechoslovakia and and and uh Eastern Europe that that
• 11:47
  Speaker 2: were classically educated or classically they enjoyed classical music and
• 11:54
  Speaker 2: and this just deepened that love for classical music for
• 11:57
  Speaker 2: them too. So so yeah, you know, I just don't
• 12:02
  Speaker 2: know of too many bands that were really capable of,
• 12:06
  Speaker 2: like I say, not just getting people to pick up
• 12:08
  Speaker 2: a guitar and strum a couple of chords, but these
• 12:10
  Speaker 2: guys actually started to become very heavily influenced by classical music.
• 12:15
  Speaker 1: I'm sure people who are watching and listening are like myself, wondering,
• 12:18
  Speaker 1: how did you put all this together?
• 12:20
  Speaker 2: Right?
• 12:20
  Speaker 1: I mean, how did all these compile? All these stories?
• 12:22
  Speaker 1: Through social media, through people you knew.
• 12:25
  Speaker 2: Yeah, it's various, various sources, mostly social media. I remember
• 12:33
  Speaker 2: ms lank and Palmer's management putting a call out for stories.
• 12:37
  Speaker 2: I think it was the beginning of July, the first
• 12:40
  Speaker 2: week in July of last year, and my email just
• 12:44
  Speaker 2: blew up on. I got probably about one hundred and
• 12:48
  Speaker 2: fifty stories just in one day, and you know that,
• 12:52
  Speaker 2: so that was a lot of it. And we got
• 12:54
  Speaker 2: some very good stories from the particularly from people like
• 12:58
  Speaker 2: Chris and Andrew no To, who have amazing story that
• 13:03
  Speaker 2: they started off just being fans of the band and
• 13:06
  Speaker 2: saw them in Toronto and Buffalo and places like that,
• 13:09
  Speaker 2: and now have gone on to work for Karl Palmer
• 13:13
  Speaker 2: and his Legacy show doing the merchandise and also doing
• 13:16
  Speaker 2: the drum tech work, and so you know, these are
• 13:21
  Speaker 2: people that are you know, every band has their passionate followers, right,
• 13:24
  Speaker 2: but I mean these guys are, you know, a really
• 13:28
  Speaker 2: hardcore and it was so good to hear from him
• 13:30
  Speaker 2: and get their perspectives on things.
• 13:33
  Speaker 1: What about Cameron Crowe and Ian Anderson? How were you
• 13:36
  Speaker 1: able to get them to be part of the book.
• 13:38
  Speaker 2: To be honest with you, I didn't. That came through
• 13:42
  Speaker 2: Richard Houghton, who is the publisher of Spendwood Books, and
• 13:46
  Speaker 2: Richard actually had those contacts. He did a book with
• 13:50
  Speaker 2: Ian Nance in a while ago and asked Ian to contribute,
• 13:52
  Speaker 2: and he also had the contact information for Cameron Crowe.
• 13:55
  Speaker 2: So can't take any credit for that, I'm afraid.
• 13:57
  Speaker 1: All right, Well, we got Richard coming on soon. He's
• 14:00
  Speaker 1: got his book on the Stones the sixty nine tour.
• 14:03
  Speaker 2: He'll give you all the stories then.
• 14:04
  Speaker 1: Absolutely, yeah, looking forward to that. So let's talk about
• 14:07
  Speaker 1: some of the wild stage sets from ELP On the
• 14:11
  Speaker 1: tour to promote the Tarkas album, there was a full
• 14:13
  Speaker 1: sized tank armed with cannons that fired palostyrene balls into
• 14:19
  Speaker 1: the audience.
• 14:19
  Speaker 2: You've got it, Yeah, absolutely, it was a it was
• 14:22
  Speaker 2: a markup of that armored Dillo. Armored Armadillo, I think
• 14:26
  Speaker 2: that's the joke for it up on the stage and
• 14:29
  Speaker 2: they you know, it would just fire these little styrofoam
• 14:33
  Speaker 2: balls at everybody. And I've heard I heard stories of
• 14:37
  Speaker 2: people having to get there, have to clean out Emerson's
• 14:40
  Speaker 2: organ after one particular show where there was so many
• 14:44
  Speaker 2: storyphone boys, it wouldn't work and they had to spend
• 14:47
  Speaker 2: a few minutes vacuuming out the organ. So yeah, I mean,
• 14:50
  Speaker 2: and again, you know, you've got to put this into
• 14:53
  Speaker 2: into perspective. I think, you know, this is the early
• 14:56
  Speaker 2: nineteen seventies. You know, we're not talking know Taylor Swift,
• 15:01
  Speaker 2: massive arena shows with the pirate technics, and.
• 15:05
  Speaker 1: And and Kiss isn't even around yet. We don't even
• 15:08
  Speaker 1: know They're not even on.
• 15:09
  Speaker 2: The radar at this point, you know, and and so
• 15:12
  Speaker 2: you know, and I think you know this band was
• 15:15
  Speaker 2: Taylor made for arena shows, because once you get into arenas,
• 15:18
  Speaker 2: you've got to put on the bigger show. The other
• 15:21
  Speaker 2: thing that came came through in some of the stories
• 15:25
  Speaker 2: was their sound too. These the the the MZEC department,
• 15:29
  Speaker 2: along with Pink Floyd, were pioneers of quadraphonic sound back
• 15:34
  Speaker 2: in the day. And uh so you would have those
• 15:37
  Speaker 2: last notes of Carnieval nine on the on the album
• 15:43
  Speaker 2: where it just it's kind of like this grinding, whirring sound,
• 15:47
  Speaker 2: and they would put when they finished that particular song,
• 15:50
  Speaker 2: it would go round the auditorium, around all the speakers.
• 15:53
  Speaker 2: So you know, this is stuff that again, we just
• 15:57
  Speaker 2: take it for granted now, you know when we go
• 15:59
  Speaker 2: to see show. But back back in those days, that
• 16:02
  Speaker 2: stuff blew people's mind.
• 16:04
  Speaker 1: Emerson was like Jimmy Hendrix on the Keys, right, I mean,
• 16:06
  Speaker 1: just phenomenal musician but also a great performer, Wasn't Emerson
• 16:11
  Speaker 1: and Jimmy Hendrix didn't. They didn't have a possible band, right,
• 16:15
  Speaker 1: Brian Jones too.
• 16:17
  Speaker 2: I'm not sure about Brian Jones, but I know that
• 16:19
  Speaker 2: there was some talk about Hendricks because that was that
• 16:22
  Speaker 2: was the point when he was trying to search for
• 16:25
  Speaker 2: new avenues. And the story goes that they did possibly
• 16:29
  Speaker 2: jam together.
• 16:30
  Speaker 1: But yeah, I imagine that.
• 16:32
  Speaker 2: Oh Lord, that would have melted people's faces, no doubt
• 16:37
  Speaker 2: about it.
• 16:39
  Speaker 1: Yeah. Man, the music, the music on fire, the guitars
• 16:42
  Speaker 1: on fire, the keyboards are.
• 16:46
  Speaker 2: No where to go.
• 16:47
  Speaker 1: Chapter two titled The Greatest Show in Heaven, Hell or
• 16:50
  Speaker 1: Earth November nineteen seventy three to August nineteen seventy four.
• 16:53
  Speaker 1: Now this is when ELP reached the height of their fame,
• 16:56
  Speaker 1: and you yeah this. They released the album Bring Salad
• 17:00
  Speaker 1: Surgery in seventy three, number two in the UK, eleven
• 17:03
  Speaker 1: in the US and here's what You're writ quote. After
• 17:06
  Speaker 1: a two month tour of the US in Canada to
• 17:08
  Speaker 1: finish the year, the band went on to play over
• 17:10
  Speaker 1: seventy shows from mid January to mid August nineteen seventy four,
• 17:14
  Speaker 1: including two more tours of the US, with a headlining
• 17:17
  Speaker 1: spot in front of two hundred and fifty thousand at
• 17:19
  Speaker 1: the California Jam in April and four nights at Wembley
• 17:22
  Speaker 1: Arena in London that same month. To play the ever
• 17:26
  Speaker 1: larger arenas in stadiums, the band scaled up their shows.
• 17:30
  Speaker 1: So just when you thought that the shows couldn't get
• 17:32
  Speaker 1: bigger and better, right, talk about what the band did
• 17:35
  Speaker 1: on stage for those shows, because this is where we
• 17:37
  Speaker 1: get the levitating piano.
• 17:39
  Speaker 2: That's right, Levetine piano, the massive artwork at the back,
• 17:43
  Speaker 2: as well of the Brinsallad surgery cover.
• 17:46
  Speaker 1: Whose idea was all that is that? Keith Emerson or
• 17:49
  Speaker 1: the band as a whole.
• 17:50
  Speaker 2: I think the band as a hole probably did that
• 17:52
  Speaker 2: because they, like I said earlier, they were aware that
• 17:55
  Speaker 2: they had to do things. Everything had to get bigger,
• 17:58
  Speaker 2: everything had to get bigger. Point you know, I was,
• 18:02
  Speaker 2: I was a young kid. I was never I couldn't
• 18:04
  Speaker 2: make the back in England in seventy four, and I
• 18:06
  Speaker 2: couldn't make the the Wembley show simply because I was
• 18:10
  Speaker 2: fourteen years old and couldn't you know, talk my parents
• 18:13
  Speaker 2: and let me go down to London to see it.
• 18:15
  Speaker 2: You know, you know, from from my little perspective in
• 18:19
  Speaker 2: Leicester where I was born and raised, playing playing Wembley
• 18:22
  Speaker 2: was just like the Pinnacle. I mean, nobody got to
• 18:26
  Speaker 2: do that, and so so yeah, these are just everything
• 18:31
  Speaker 2: just scaled up. But you know, everything gets to a
• 18:37
  Speaker 2: point where it can't get any bigger, and they found
• 18:39
  Speaker 2: that out later on.
• 18:41
  Speaker 1: By the way, you're coming to us from New York.
• 18:43
  Speaker 1: So what led you to the East coast from the UK?
• 18:46
  Speaker 2: Long long story. I ended up studying at sunny Brockport
• 18:52
  Speaker 2: up up near Rochester, New York, and just never really
• 18:55
  Speaker 2: left and had kids here and so just just forged
• 18:58
  Speaker 2: life here, I suppose.
• 18:59
  Speaker 1: All right, So you're freezing like I am here in Connecticut.
• 19:04
  Speaker 1: It was below ten this morning.
• 19:06
  Speaker 2: Freezing is not the word, all right, we're beyond freezing.
• 19:09
  Speaker 1: Yeah, we're just above zero this morning. Mike Russnack contributes
• 19:14
  Speaker 1: a story. He saw the band December second and third,
• 19:16
  Speaker 1: nineteen seventy three in Chicago at the International Amphitheater, and
• 19:19
  Speaker 1: he talks about the sound being mind blowing. Had you
• 19:22
  Speaker 1: mentioned the sound system that they had, so it's going
• 19:26
  Speaker 1: around in circles around the venue. What type of team
• 19:30
  Speaker 1: did they have to go out on the road with them?
• 19:32
  Speaker 1: An impressive Oh gosh, a huge crew.
• 19:35
  Speaker 2: Huge crew again, you know, these are the you know,
• 19:38
  Speaker 2: I remember seeing Metallica not long ago and seeing probably
• 19:42
  Speaker 2: what was equivalent of a small village put that show
• 19:44
  Speaker 2: on for them, and so you know, I, you know,
• 19:47
  Speaker 2: to do what Emisake and Poma did, they had to
• 19:49
  Speaker 2: have a fairly sizable crew to do it.
• 19:52
  Speaker 1: So were they making money on these tours with all
• 19:54
  Speaker 1: the expenses put in Well, that of course.
• 19:56
  Speaker 2: Was the not They were making money for that particular tour.
• 20:01
  Speaker 2: But the next tour that they go on, the the
• 20:03
  Speaker 2: Big Works tour, that's when they started to lose money
• 20:07
  Speaker 2: because they they had come up with the idea to
• 20:09
  Speaker 2: bring a full sixty seventy piece orchestra on the road
• 20:14
  Speaker 2: with them, and I just can't even imagine the logistics
• 20:18
  Speaker 2: involved in bringing that. Musicians being good be good to me.
• 20:20
  Speaker 2: I've played in bands where it's hard enough to get
• 20:22
  Speaker 2: four people in the same room at the same time,
• 20:24
  Speaker 2: let alone seventy classical musicians, and you know, they wanted
• 20:30
  Speaker 2: to tour with the same musicians rather than I think
• 20:33
  Speaker 2: what a lot of bands that do play with orchestras
• 20:36
  Speaker 2: now do is, which is they send they send the
• 20:39
  Speaker 2: music on ahead the orchestra practices and then on the
• 20:43
  Speaker 2: day of the show. You get together, run through it once,
• 20:45
  Speaker 2: maybe twice, and then that's it. But they wanted to
• 20:48
  Speaker 2: bring the entire orchestra with them, and that brought them
• 20:52
  Speaker 2: apparently close to bankruptcy.
• 20:55
  Speaker 1: Hey, guys, we'll get back to the show, but first
• 20:57
  Speaker 1: I want to tell you about an exclusive deal for
• 20:59
  Speaker 1: book on Rock. Listeners get fifteen percent off any purchase
• 21:03
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• 21:18
  Speaker 1: old Glory dot com. Make sure to use the promo code.
• 21:21
  Speaker 1: Booked on Rock. Also find a link in this episode
• 21:23
  Speaker 1: show notes, or just go to Booked on Rock dot
• 21:26
  Speaker 1: com and click on my deals. So great stories from
• 21:29
  Speaker 1: fans who were at the California Jam in April of
• 21:32
  Speaker 1: seventy four. One fan called it the Holy Grail of concerts.
• 21:34
  Speaker 1: As a teenager, Larry Berg talks about seeing a guy
• 21:38
  Speaker 1: with no pants on trying to climb the fence and
• 21:41
  Speaker 1: his his precious jewels.
• 21:43
  Speaker 2: Got caught at the top.
• 21:47
  Speaker 1: Stories like that much safer to buy a ticket. Another fan,
• 21:52
  Speaker 1: Brian Hart, said, quote, there were rumors that there was
• 21:55
  Speaker 1: an issue with the headliner disagreements between Deep Purple and ELP.
• 22:00
  Speaker 1: Richie Blackmore was very upset because he wanted lights and
• 22:03
  Speaker 1: pushed the show back, which made ELP go on very late.
• 22:07
  Speaker 1: Was that true?
• 22:08
  Speaker 2: Yeah, yeah, absolutely, uh yeah. And if you see the
• 22:12
  Speaker 2: footage of Deep Purple set, uh, you know, they were
• 22:16
  Speaker 2: not happy. This was this was the new well Mark
• 22:20
  Speaker 2: I think Mark three. I think it was Deep Purple
• 22:22
  Speaker 2: with David Covedell and Glenn Hughes. And so this was
• 22:25
  Speaker 2: their first outing and the album Burne had just come out,
• 22:29
  Speaker 2: which is, you know, just a phenomenal album, and and
• 22:33
  Speaker 2: uh uh you know, they were just not happy about
• 22:36
  Speaker 2: having to take play second fiddle to ms Lake and Palmer.
• 22:38
  Speaker 2: And this footage you can see footage of Blackmore throwing
• 22:42
  Speaker 2: a guitar through through a television camera at one point.
• 22:47
  Speaker 2: So so yeah, there was a little bit of bad,
• 22:49
  Speaker 2: bad blood because of that. Uh but yeah, an amazing show, uh,
• 22:55
  Speaker 2: you know, you know, and once again I keep coming
• 22:58
  Speaker 2: back to this whole thing that this is. You know,
• 23:00
  Speaker 2: you got to two hundred fifty thousand people at a
• 23:02
  Speaker 2: show that you can't replicate that anymore. No wonder people
• 23:06
  Speaker 2: were getting in for free. You know, it's you know,
• 23:09
  Speaker 2: you just shows of that kind of you know, big
• 23:14
  Speaker 2: shows like that were in their infansy still and you
• 23:17
  Speaker 2: just couldn't control the crowds.
• 23:18
  Speaker 1: Bruce Peg is the author of Welcome Back My Friends,
• 23:21
  Speaker 1: of People's history of Emerson Lincoln Palmer. What would you
• 23:24
  Speaker 1: say at ELP's most important shows, because I'm thinking California
• 23:28
  Speaker 1: Jam is one, but there's the Isle of Wight show.
• 23:30
  Speaker 1: But there's also Olympic Stadium seventy seven, right, those are
• 23:34
  Speaker 1: the huge attendance.
• 23:36
  Speaker 2: That's absolutely yeah. Yeah, I don't know what the number
• 23:39
  Speaker 2: is for Montreal, but it's that was a massive stadium
• 23:42
  Speaker 2: back in the day. And for them to be able
• 23:45
  Speaker 2: to fill that out and they you know, they filled
• 23:47
  Speaker 2: out all the great the great stadiums. I'm just trying
• 23:52
  Speaker 2: to think Chicago, Soldier Field and places like that.
• 23:56
  Speaker 1: Was this okay, when they played at Olympic Stadium, this
• 23:58
  Speaker 1: is when they have the orchestra.
• 24:00
  Speaker 2: Yes, it's that time, yeah, absolutely yeah. And that's where
• 24:03
  Speaker 2: the video for Fanfare for the Common Mans was done
• 24:07
  Speaker 2: as well.
• 24:08
  Speaker 1: Yeah, because this marks the first or the end of
• 24:11
  Speaker 1: the first chapter of VLPN. Chapter three is titled The
• 24:13
  Speaker 1: Ledges of Extremes May nineteen seventy seven to March nineteen
• 24:17
  Speaker 1: seventy nine, and they would not release another album or
• 24:19
  Speaker 1: appear together on the same stage for another fourteen years.
• 24:22
  Speaker 1: What led to the end of that first chapter of
• 24:24
  Speaker 1: the band.
• 24:25
  Speaker 2: I think they had just kind of run their course
• 24:27
  Speaker 2: at that point, you know, and I think the whole
• 24:32
  Speaker 2: logistical issues of the orchestral shows, and you know, the
• 24:38
  Speaker 2: money situation that they had found themselves in. I think
• 24:40
  Speaker 2: they were just at that point where they were ready
• 24:43
  Speaker 2: to take a break from each other and go their
• 24:45
  Speaker 2: separate ways.
• 24:46
  Speaker 1: And then we had Carl Palmer joining Asia. Yeah, in
• 24:50
  Speaker 1: the early eighties, Keith Emerson and Greg Lake did solo
• 24:54
  Speaker 1: work after that, Right.
• 24:55
  Speaker 2: They did solo work. They also put together another version
• 24:59
  Speaker 2: of ELP Emerson Can Powell with Cozy the amazing drama
• 25:02
  Speaker 2: Cozy Powell, which.
• 25:03
  Speaker 1: You cover in your book. Right, you have shows covered
• 25:05
  Speaker 1: from that tour.
• 25:06
  Speaker 2: Yeah, we've I think we've got at least one story
• 25:09
  Speaker 2: from every incarnation of ELP and the solo stuff as well.
• 25:14
  Speaker 1: Yeah, the band reformed in ninety six. You said, is
• 25:17
  Speaker 1: that what it was in sometime in the nineteen nineties.
• 25:20
  Speaker 2: Ninety four, I think it was. But yeah, yeah, right
• 25:22
  Speaker 2: around that time they come up with what I think
• 25:25
  Speaker 2: is a really good album. It's very overlooked, Black Moon
• 25:28
  Speaker 2: and In the Hot Seat, which is the last of
• 25:32
  Speaker 2: the albums that they did. It. It's all right, there's
• 25:35
  Speaker 2: some good stuff on there. It's a great version of
• 25:37
  Speaker 2: Dylan's Long Black Coat on there, a man on the
• 25:39
  Speaker 2: long black coat. So, I mean, there's still a viable force,
• 25:44
  Speaker 2: but you know, you can tell at that point there's
• 25:48
  Speaker 2: rather than trying to push the music, they're more responsive
• 25:54
  Speaker 2: to the sounds and the technology of the time. So
• 25:59
  Speaker 2: you know, Emerson's not kind of wailing on the on
• 26:02
  Speaker 2: the Hammond anymore. He's he's more subdued with the kind
• 26:07
  Speaker 2: of sampling type keyboards and and that that were ubiquitous
• 26:11
  Speaker 2: in that time.
• 26:12
  Speaker 1: Well, that was due to his physical ailment at that time.
• 26:15
  Speaker 2: Right, that's a that's a little bit later. That was later, yeah, yeah, okay,
• 26:20
  Speaker 2: so yeah, and he had yeah, he had carpal tunnel,
• 26:23
  Speaker 2: which was you know, he he had various surgeries on
• 26:28
  Speaker 2: it and it was a huge, uh source of depression
• 26:31
  Speaker 2: for him because he just could not play. Uh. You
• 26:34
  Speaker 2: know the sad the sad thing about Keith Emerson is
• 26:38
  Speaker 2: that he was a phenomenal writer. He could write, He
• 26:43
  Speaker 2: could also you know, he could have also gone on
• 26:45
  Speaker 2: to a wonderful uh career as a as a studio musician,
• 26:50
  Speaker 2: session musician, those kinds of things. But he loved to
• 26:54
  Speaker 2: play and he couldn't accept the fact that he just
• 26:57
  Speaker 2: physically could no longer do what he was so great
• 27:03
  Speaker 2: at earlier, and that is, you know, perform on stage.
• 27:06
  Speaker 2: When they toured with Jethro Taal, they shortened they were
• 27:09
  Speaker 2: on the opening slot, a shorter slot, so that would
• 27:11
  Speaker 2: make it easier on him. Yeah.
• 27:14
  Speaker 1: I just amazed. See he never recovered from that carpal tunnel,
• 27:17
  Speaker 1: not really.
• 27:18
  Speaker 2: No.
• 27:19
  Speaker 1: Yeah, and it's just tragic because he took his life
• 27:22
  Speaker 1: in twenty sixteen.
• 27:23
  Speaker 2: Yeah, that's correct. Yeah, Yeah. You know somebody that I
• 27:27
  Speaker 2: interviewed now I can't really go into it because it
• 27:29
  Speaker 2: was told off the record, but they, you know, they
• 27:32
  Speaker 2: said that he was just at the point, you know,
• 27:34
  Speaker 2: he was just so distraught at everything that was happening,
• 27:40
  Speaker 2: so and physically and I just I think, you know,
• 27:44
  Speaker 2: he was he was a perfectionist. I think he was always,
• 27:48
  Speaker 2: you know, trying to try in be absolutely perfect on
• 27:52
  Speaker 2: stage and often and I just don't think he could
• 27:55
  Speaker 2: accept that any longer.
• 27:56
  Speaker 1: Yeah. Well, that tour with tall Ian Anderson comments on that,
• 28:00
  Speaker 1: and these comments are in the book. He says, as
• 28:02
  Speaker 1: a fan, I was filled with excitement and having the
• 28:04
  Speaker 1: ELP on tour with us, but with a little dread
• 28:07
  Speaker 1: also as we heard from promoters that they were a
• 28:10
  Speaker 1: difficult bunch to work with. What was it that Ian
• 28:12
  Speaker 1: was hearing? And can you talk about how Ian was
• 28:15
  Speaker 1: pleasantly surprised to find out I.
• 28:18
  Speaker 2: Was gonna say, great, Yeah, I was surprised. I was
• 28:20
  Speaker 2: surprised when I read that, because you know, everything else
• 28:24
  Speaker 2: in the in the book points of them being really
• 28:27
  Speaker 2: good people, and you know, they certainly were very open
• 28:30
  Speaker 2: and generous to their fans and had time with time
• 28:33
  Speaker 2: for their fans, and you know, I don't know if
• 28:37
  Speaker 2: there was some professional tension there. I you know, I'm
• 28:42
  Speaker 2: not being a fly on the wall for that stuff.
• 28:44
  Speaker 2: I really couldn't say, but yeah, I was surprised to
• 28:46
  Speaker 2: read that myself.
• 28:47
  Speaker 1: Ian, I guess, has been in the same shoes too.
• 28:50
  Speaker 1: That maybe he's difficult to work with, but you know,
• 28:52
  Speaker 1: it's like all these stories get around there and then
• 28:54
  Speaker 1: you end up working with the guys and it's like, no,
• 28:56
  Speaker 1: they're great, but yeah, Richie Blackmore is known to be
• 28:59
  Speaker 1: a little prickly.
• 29:00
  Speaker 2: H So you know that one doesn't prickly is a
• 29:04
  Speaker 2: good word.
• 29:04
  Speaker 1: Yes, it's putting it nicely. The stories from fans are
• 29:09
  Speaker 1: that the bands sounded great on that ninety six tour.
• 29:12
  Speaker 1: One fan who saw them in I believe Brazil in
• 29:14
  Speaker 1: ninety three, so the show was perfect bertrand Collexa I
• 29:18
  Speaker 1: think it's pronounced, and he said the tears of happiness
• 29:22
  Speaker 1: flowed from my eyes at every song and they played.
• 29:25
  Speaker 1: So it feels like from reading these accounts that the
• 29:28
  Speaker 1: nineties that was a time when the band realized we've
• 29:32
  Speaker 1: got some longtime fans here who really appreciate us, like
• 29:35
  Speaker 1: they were really taking that all in. What was your
• 29:37
  Speaker 1: overall impression of the fan feedback from that decade.
• 29:40
  Speaker 2: I got we got a lot of stories from the
• 29:42
  Speaker 2: book from places real far away. But you mentioned South
• 29:46
  Speaker 2: America and again, you know, South America has been a
• 29:50
  Speaker 2: place that American and British rock bands haven't done a
• 29:53
  Speaker 2: lot of work and for them to go down there,
• 29:56
  Speaker 2: you know, some of the stories it's like it was
• 29:58
  Speaker 2: like the Second Coming, you know, they just you know,
• 30:02
  Speaker 2: felt that these gods had come to Earth to to
• 30:05
  Speaker 2: to be there with them, you know, and so so
• 30:10
  Speaker 2: you know, it's it's I love the fact that they
• 30:13
  Speaker 2: throughund their career really were adventurous and they tried to
• 30:17
  Speaker 2: push the boundaries both musically and and as far as
• 30:22
  Speaker 2: entertaining is concerned.
• 30:23
  Speaker 1: So well, I think what sustained them is classic rock
• 30:25
  Speaker 1: radio continually playing as to this day, Carnival nine yea
• 30:32
  Speaker 1: lucking in and lucking in in the beginning, I mean,
• 30:36
  Speaker 1: in regular rotation. Yeah, they're reintroduced to generations of fans
• 30:42
  Speaker 1: to this day. I don't know who has the rights
• 30:46
  Speaker 1: to their music now, not sure how much we hear
• 30:48
  Speaker 1: them in movies and things like that, but I feel
• 30:50
  Speaker 1: like those songs are going to be around, I think
• 30:53
  Speaker 1: so for a very very long time.
• 30:55
  Speaker 2: Yeah, absolutely, Yeah. You know, at the end of the book,
• 31:00
  Speaker 2: there's a number of stories mine included where we talk
• 31:02
  Speaker 2: about Carl Palmer's Legacy ELP Legacy Tour, which he's doing
• 31:09
  Speaker 2: with two other phenomenal phenomenal musicians, and you know that
• 31:16
  Speaker 2: audience is predominantly our age, you know, but do you
• 31:21
  Speaker 2: do see kids there? You do see kids not just
• 31:24
  Speaker 2: kids that are being dragged along by their parents. Do
• 31:27
  Speaker 2: you know? These are kids that are genuinely interested in
• 31:30
  Speaker 2: in that music. And it's really heartening to see that
• 31:33
  Speaker 2: the you know, the music still has legs.
• 31:36
  Speaker 1: And Carl has the video of Keith Emerson and Lake
• 31:41
  Speaker 1: behind him while he's performing.
• 31:43
  Speaker 2: Yeah, it's it's chilling at times, it really is. This
• 31:46
  Speaker 2: was footage that was used that was taken in ninety four,
• 31:50
  Speaker 2: nineteen ninety four and at the Royal Albert Hall, which
• 31:53
  Speaker 2: was released commercially as a concert video. But they've taken
• 31:59
  Speaker 2: other other footage that was shot at that time and
• 32:03
  Speaker 2: Carl plays along with it at various points, you know,
• 32:09
  Speaker 2: just a beautiful version of of him and Greg doing
• 32:14
  Speaker 2: in the beginning in that show. It's just it's just
• 32:17
  Speaker 2: absolutely gorgeous and it's a really, I think appropriate way
• 32:22
  Speaker 2: to honor that music.
• 32:23
  Speaker 1: That's what I was wondering, is it's done in a
• 32:26
  Speaker 1: classy way, It's done in a respectful way.
• 32:28
  Speaker 2: It absolutely is. And then you know, I can't remember
• 32:33
  Speaker 2: the guy's name that he plays the chapman stick Fitzpatrick
• 32:37
  Speaker 2: I think his last name is, and pul Banlatowitz, who
• 32:40
  Speaker 2: is the guitar player. No keyboards. That's the interesting part
• 32:43
  Speaker 2: about the whole show. Everything is done, everything is done
• 32:47
  Speaker 2: without keyboards. That so they do things like pictures and exhibition,
• 32:53
  Speaker 2: they do things like Tarkas and and it's you know,
• 32:57
  Speaker 2: and that's just the three musicians on stage on their
• 32:59
  Speaker 2: own and then and they do the do various video
• 33:02
  Speaker 2: segments throughout the show. It's a great show. It's very enjoyable.
• 33:05
  Speaker 1: You saw them in jim Thorpe, Pennsylvania. Yeah, March first,
• 33:08
  Speaker 1: twenty twenty five, Penn's Peak. Who is the name of
• 33:11
  Speaker 1: the venue. You had doubts going in?
• 33:13
  Speaker 2: Yeah, I absolutely did. I mean, you know, I'm not
• 33:17
  Speaker 2: a sentimental person. You know, I love music. I listened
• 33:21
  Speaker 2: to everything from you know, Chuck Berry and Elvis Presley
• 33:25
  Speaker 2: right through to you know, Opeth and Steve Wilson and
• 33:29
  Speaker 2: Porcupine Tree. Now you know, you know, and I don't.
• 33:33
  Speaker 2: I don't feel the need to revisit those that old stuff.
• 33:37
  Speaker 2: I've got my memories, I've got my I've got my
• 33:41
  Speaker 2: I've got my CDs and my Memorabilian. You know, so
• 33:45
  Speaker 2: I was a little apprhansive. I didn't know quite what
• 33:47
  Speaker 2: to expect, but I was absolutely blown away. It's a great,
• 33:50
  Speaker 2: great show.
• 33:54
  Speaker 1: Hey, guys, thanks so much for checking out the book
• 33:56
  Speaker 1: down Rock podcast. If you've just found the podcast, welcome.
• 34:00
  Speaker 1: If you've been listening, thank you so much for your support,
• 34:02
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• 34:05
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• 34:08
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• 34:10
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• 34:13
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  Speaker 1: tune In, and on YouTube music. You can check out
• 34:22
  Speaker 1: the full episodes on video, along with video highlights from
• 34:24
  Speaker 1: episodes on the Booked on Rock YouTube channel. Find it
• 34:27
  Speaker 1: at Booked on Rock. Thanks again for listening. Now back
• 34:31
  Speaker 1: to the show. The last show they ever played was
• 34:34
  Speaker 1: July twenty fifth, twenty ten. That was the original. That
• 34:37
  Speaker 1: was the high three guys, Yeah.
• 34:39
  Speaker 2: At the High Voltage Festival.
• 34:40
  Speaker 1: Yeah, High Voltage Festival. You cover that in chapter six
• 34:43
  Speaker 1: titled The Show That Never Ends nineteen ninety nine to
• 34:45
  Speaker 1: twenty twenty five, High Volted in London's Victoria Park one
• 34:49
  Speaker 1: off celebration band's fortieth anniversary. What did those fans have
• 34:54
  Speaker 1: to say about that show, especially knowing now that it
• 34:57
  Speaker 1: would it ends up being their last?
• 35:00
  Speaker 2: I think consensus opinion it was a bit of a
• 35:02
  Speaker 2: ragged show. I guess from what I've heard. They had
• 35:05
  Speaker 2: technical difficulties. Keith was still struggling at that time with
• 35:10
  Speaker 2: his hands, and I think just the you know, a
• 35:15
  Speaker 2: band playing, you know, forty years after they were first
• 35:18
  Speaker 2: formed and not having played together for a while all
• 35:22
  Speaker 2: took its toll. But everybody that was there said it
• 35:25
  Speaker 2: was memorable. They wouldn't have been anywhere else on that
• 35:28
  Speaker 2: day except there to watch LP because they was you know,
• 35:33
  Speaker 2: they had made such a mark on the audience prior
• 35:37
  Speaker 2: to that show that people just couldn't couldn't stay away.
• 35:41
  Speaker 1: It's a great ride through the band's history in this book,
• 35:44
  Speaker 1: even like we said, going back before ELP formed and
• 35:47
  Speaker 1: all of the incarnations of the band and solo projects throughout.
• 35:51
  Speaker 1: It's all part of Welcome Back, My Friends, The People's
• 35:53
  Speaker 1: History of Emerson, Lake and Palmer. The release date is
• 35:56
  Speaker 1: January twenty seventh, yep okay, and you could find it
• 35:59
  Speaker 1: Riverbooks Old. It's currently also available in a limited edition,
• 36:03
  Speaker 1: numbered hardback edition, but that is available through Burning Shed
• 36:07
  Speaker 1: in the UK.
• 36:08
  Speaker 2: So if American anybody in America wants to buy it,
• 36:11
  Speaker 2: they're gonna have to sadly pay a lot of money
• 36:13
  Speaker 2: for shipping. But for shipping, yeah yeah, yeah, but but yeah,
• 36:17
  Speaker 2: but the paperbacks available next week. And we've been getting
• 36:21
  Speaker 2: some fantastic reviews. Not just saying that to pat myself
• 36:25
  Speaker 2: on the back, it's there's not a lot written about
• 36:28
  Speaker 2: Emmson like k and Palmer. There's only a couple of
• 36:30
  Speaker 2: really good but hard to find books, so this fills
• 36:34
  Speaker 2: a bit of a gap in that.
• 36:35
  Speaker 1: Yeah, there's a fantastic job in the photos. Plenty of
• 36:38
  Speaker 1: photos in here. Yeah, great photos. So it's worth it
• 36:43
  Speaker 1: for sure for ELP fans and fans of classic rock.
• 36:46
  Speaker 1: This is just one of those bands that just I've
• 36:48
  Speaker 1: grown up on listening to classic rock radio. So I
• 36:51
  Speaker 1: really appreciate this, Bruce, Thank you so much, Bruce Peg.
• 36:54
  Speaker 1: I appreciate you coming on and you know all the
• 36:56
  Speaker 1: best of the book.
• 36:57
  Speaker 2: Thank you so much. Eric, It's been a real pleasure.
• 36:59
  Speaker 1: Thank you.
• 37:06
  Speaker 2: That's it. It's in the box.