EL & P TRIBUTE

Encores, Legends & Paradox

(1999)

1. Karn Evil 9, 1st Impression † 8'51
(Keith Emerson / Greg Lake / Peter Sinfield)
2. Bitches Crystal * 4'41
(Keith Emerson / Greg Lake)
3. Toccata * 8'07
(Based on Keith Emerson's adaptation of Alberto Ginastera's 1 st Piano Concerto, 4 th Movement)
4. Knife Edge † 5'21
(Adapted from Janacek's Sinfonietta by Êeith Emerson / Greg Lake / Richard Frasier)
5. A Time And A Place * 6'14
(Keith Emerson / Greg Lake / Carl Palmer)
6. Hoedown † 3'46
(Keith Emerson / Greg Lake / Carl Palmer)
7. The Sheriff * 5'57
(Keith Emerson / Greg Lake)
8. The Endless Enigma * 10'18
(Keith Emerson / Greg Lake)
9. The Barbarian † 4'45
(Adapted from Bela Bartok's Allegro Barbar by Êeith Emerson / Greg Lake / Ñarl Palmer)
10. Tarkus † 6'43
(Keith Emerson / Greg Lake / Carl Palmer)

Total Time: 64:43

  • Robert Berry - Bass (1, 4, 6, 9, 10), Guitar (1, 9), Vocal (1)
  • Peter Banks - Lead and Rhythm Guitar (3, 7)
  • Marc Bonilla - Guitar (4, 6, 10)
  • Martin Barre - Lead and Rhythm Guitars (5)
  • Jordan Rudess - Keyboards (1, 6)
  • Trent Gardner - Keyboards (2, 3, 5, 7, 8), Vocal on outro (7), Vocals (8)
  • Erik Norlander - Keyboards (4)
  • Derek Sherinian - Keyboards (10)
  • Igor Khoroshev - Piano Solo (2), Keyboards (9)
  • Matt Guillory - Lead Synth Solos (3)
  • Geoff Downes - Lead Synth Solo on outro (8)
  • John Novello - Organ Solo (5)
  • Mark Robertson - Hammond B-3 Organ (7)
  • Wayne Gardner - Bass (2, 3, 5, 7, 8), Acoustic Guitar (7)
  • Mark Wood - Violin (1)
  • Jerry Goodman - Violin (6)
  • Simon Phillips - Drums (1, 4, 6, 9, 10)
  • Doane Perry • Drums (5)
  • Mike Portnoy - Drums (7, 8)
  • Pat Mastelotto - Acoustic and Electric Drums and Percussion (2, 3)
  • John Wetton - Vocals (2, 7)
  • Glenn Hughes - Vocals (4)
  • James LaBrie - Vocals (5, 10)

    Executive Producers: Peter Morticelli & Mike Varney
    *Arranged and Produced by Trent Gardner
    Additional Engineering by Jeff Brockman at CAIROWEST STUDIOS
    †Arranged and Produced by Robert Berry
    Mixed by Terry Brown at TOWN MUSIC STUDIOS, Toronto
    Digital Editing by Dave Townson
    Mastered by Ken Lee
    Design, Photography and Illustration by Dave McKean & T. Hourglass

    MAGNA CARTA would like to Thank:
    Geoff Buitendorp and the Lynyrd Skynyrd crew for their input and Interest in this protect.

    Mike Portnoy appears Courtesy of ELEKTRA ENTERTAINMENT GROUP
    John Wetton appears Courtesy of     EAGLE HOCK, PLC
    Trent Gardner, Wayne Gardner, Matt Guillory, Mark Robertson and Derek Sherinian are     MAGNA CARTA ARTISTS
    James LaBrie appears Courtesy of Elektra Entertainment Group Pat Mastelotto appears courtesy of dgm Records and M.E.e. Erik Norlander appears courtesy of Think Tank Media John Novetlo appears courtesy of     STRETCH RECORDS

    Sometimes music has to be spun compIetely în its axis until some of it flies off and sticks somewhere. "Progressive Rock" with its accessibility severely hampered by its play-ability has had a hard time for wing its own solar sysfem. But thanks to to a little E L P frîì ìó friends the Music lives în. they've done àn incredibIe job!

    - Keith Emerson

    Music Appreciation As A Vocation

    Listening is a participation sport. Every time you 'crank' your favorite album you are experiencing not only the rush of adrenaline triggered by your emotions, but also your innate ability to comprehend thousands of specific pieces of audible (and iriauaible) information simultaneously.Jn such enormous and glorious nuance! This miracle alone is enough to keep me in a constant state of awe. But if you can recognize that there IS much more to what you perceive then, suddenly, you can "hear more"...thereby deepening your everyday musical experiences. With a bit of practice, this technique will grow within you and becomes a good habit. Whether you're a musician yourself or, simply a music (over, this enhanced approach will do wonders for your music appreciation.
    ELP must have had bails requiring a sizable wheelbarrow for traveling distances of more than a few feet at a time. Can you imagine coming up with "Tarkus" or "Karn Evil 9" under the circumstances they had to endure? Facing a hostile music industry while being a convenient 'target' for other less gifted musicians and critics must have been loads of fun at times. Obviously, the trio's work succeeded because they "heard more". This fact came first, then others agreed.
    The gift of their compositions followed. How could they have ever imagined a whole new generation of artists would be so profoundly affected ? Keith, Greg and Carl's influence went far beyond the songs of ELP by illuminating the wide open opportunities that their spirit and creativity suggested. When written, I'm sure ELP didn't realize their collaborations would become such timeless classics. As a songwriter, I must say what an incredible honor it was to 'rework' their material. I teamed so much by doing so! Hopefully, my arrangements won't force me to enter the Witness Protection Program (I've got a phony passport ready .... just in case). Also, having my work appear along side Robert Berry's is a great privilege. Finally, on a personal note- To Keith Emerson, Greg Lake and Carl Palmer; A sincere thank you for "hearing more" way back then .... Your individual and collective genius helped me (and many others) understand why the act of "listening" truly is ... a participation sport. Perhaps "Encores, Legends & Paradox" will serve as a pleasant reminder. I mean, come on, a new album like this available in 1999 ? All is well

    - Trent Gardner
    Magellan
    Vacaville, CA

    Peer Pressure As A Motivational Tool

    Back in 1988 while 3 was touring North America, our tour bus driver crossed the border from Canada into the United States leaving me in the bathroom of the border patrol building. JCeifh ftnerson was the first to ask if anybody had seen me. After some excited discussion about going on without a singer the bus turned back. I was eold, somewhat humiliated and not quite sure what my next step would have been. As they returned to the border there was Keith at the front of the bus, video camera in hand. From what they told me my mood was not at all cheerful. So, as far as this album goes, the pressure for me to do a Job that JCeitft and Carl would be proud of is immense. Keith stilt has that video hidden away somewhere in his vault.
    When MAGNA CARTA executives Peter Morticelli and Mike Varney called me and asked me to produce halt the songs for "Encores, legends & Paradox" I was up for the challenge. I had spent two years working with Keith and Carl in 3. I felt that gave me an insight into how they would have approached these songs today. How they might make arrangement changes. First, I knew it would have to have a deep rhythmic pocket ... solid and tight. Then, the right mixture of guitar and keyboards. Carl had done this with ASIA and Keith has been into using guitar players for the last feu? years. It seemed to me that if I was going to bring this material into the year 2000 the poiver of (he keys and guitar complimenting each other would be of utmost importance. Then of course how do you change what Greg Lake had been singing for years and make it believable to the progressive community? Well, that was a challenge that only you, the listener, can judge. And in order to accomplish all this, you have to find musicians that are willing to go past the point of just doing the job they are hired to do. These players had to put their respect for ELP together with their best ideas and their hottest playing. 1 could not have asked for a better crew to do just that. I think they have helped me hold off the showing of that long-forgotten but still-embarrassing video.

    - Robert Berry
    Campbell, CA