| Track: | Rating: | ||||
|---|---|---|---|---|---|
| 1. The Endless Enigma I | | | | | |
| 2. Fugue | | | | | |
| 3. The Endless Enigma II | | | | | |
| 4. From The Beginning | | | | | |
| 5. The Sheriff | | | | | |
| 6. Hoedown | | | | | |
| 7. Trilogy | | | | | |
| 8. Living Sin | | | | ||
| 9. Abaddon's Bolero | | | | | |
In spite of the artistic tragedies which occurred in later years, the early moments of the 1970s were times of high productivity for ELP. The group released five albums between 1970 and 1973; while some fans might question the need for Pictures At An Exhibition to have been released, and some others might regard Tarkus as a relative low for the band, the other three albums are generally regarded as the artistic peaks of ELP's career. Even mainstream reviewers, never the strongest supporters of the band, are generally hesitant to write off these albums with the ruthless vengeance given to Works Vol. Two or Love Beach.
Trilogy, released in 1972, is regarded by some fans as the most consistent work that the trio ever produced. While admitting that the album does contain quite a bit of good material, however, this reviewer takes issue with this statement. Trilogy is, appropriately enough, the third most successful ELP release, after ELP and Brain Salad Surgery. Although containing some excellent moments, the album also contains a measure of sub-par material, and doesn't really hold together as a comprehensive work in the way that the other two works do. Although this album is unreservedly recommended for serious progressive fans, it is not the penultimate ELP achievement.
These criticisms, however, should not take away from the achievement that is "The Endless Enigma Part One". This piece is unquestionably among the highest moments in ELP's output, due primarily to Emerson's performance on a series of diverse keyboards (and keyboard styles). From the "radio waves" opening to the full jazz-prog statement of the first group instrumental section to the solo spotlight of the closing section, Emerson is in top form for this piece (as might be expected, Lake and Palmer are proficient but unintrusive for most of the track). If Lake's lyrics are (perhaps more than) a bit "over the top" in their pretentiousness, the naive manner in which he delivers his lines make them appropriate for the track. This is perhaps the best single work which ELP ever came up with (although "Second Impression" may hold a slight edge over it).
"Fugue" (which I trust will not require a structural elaboration) is just as good, containing more great arranging and playing with Emerson (with Lake fairly equally well in his supporting role). Against the backdrop of these two works, "The Endless Enigma Part Two" appears as a bit of an anticlimax -- not quite as interesting as the first piece, and with lyrics that somehow can't be as easily excused, the piece -- while not diminishing the value of the entire suite -- doesn't quite stand terribly well on its own merits.
"From The Beginning" (ELP's only top 40 hit in America, strangely enough) is a rather less engaging number. This Lake-penned ballad is most notable for featuring throwaway lyrics and a musical development which scarely merits extended consideration. It isn't bad, but neither is it the sort of work which the band was capable of. Lake's electric guitar solo isn't terribly much to speak of, and even Emo's closing keyboard solo isn't quite enough to salvage the work entirely. A minor misstep, but a misstep nonetheless.
"The Sheriff" and "Hoedown" are vaguely hokey, semi-novelty numbers. The former, chronicling the escapades of the heroic Josy against his titular nemesis, merits its high rating for another good Emersonian performance; the track itself is only average. The latter, a twisted adaptation of Copland's famous number (and given sanction by the composer), is yet another chance for Emerson to spotlight the variety of sounds at his disposal. It's somewhat ironic, though perhaps not too surprisingly, that one of ELP's best "rocking" tracks would be an adaptation of a classical piece. With the passing of a quarter-century, the track is perhaps not as "spectacular" as it was upon its original release -- nonetheless, it's able to stand on its own merits as a decent work.
"Trilogy" merits particular attention for possessing a fairly subtle instrumental development - something which ELP were not, of course, always known for. The middle and concluding sections of this work contain notable keyboard statements and developments (and impressive drum work as well), and rank only a notch before "The Endless Engima" in ELP's canon. The track would merit a five-star rating were it not for the overly maudlin nature of the opening section.
"Living Sin" is the low point of the album, a somewhat embarrassing "sexual conquest" number that would surely merit an even lower rating were it not for Emerson's somewhat interesting keyboard sound. Lake seems to be trying to sound both threatening and sultry in this one; instead, he simply comes off as being rather foolish. This one probably could have been clipped from the release.
And, finally, we have "Abaddon's Bolero", a Ravel-esque piece (though not a blatant rip-off of Ravel, for which they deserve considerable credit) which develops from its quiet origins to a full-fledged modern classical-rock production in the manner indicated by the title. As always, this track is most properly regarded as "Emerson's show", though it must also be admitted that the track would clearly be lacking something without Palmer's contribution.
In a career which spans extreme highs and extreme lows, Trilogy is unquestionably one of ELP's highs. Strongly recommended for all prog fans.
(review originally posted to alt.music.yes on 15 July 1997)