Guitar solo

The last “Carnival barkers” declaiming, leads to a guitar solo that will take 1st Impression to its first major climax. Now, as Macan aptly remarks, this is no ordinary solo:

Making a detailed harmonic analysis of this guitar solo is beyond the scope of this analysis, but let me assure you that it has been carefully crafted to achieve the wonderful climax that we perceive starting at 8:14. The tempo starts with a compound measure that seems an 8/8 but it is really 3/8 + 3/8 + 2/8; that is, two ternary bits plus one binary beat and then, at 7:31, the tempo changes abruptly to a straight 4/4 coinciding with a strong modulation. This tempo change helps to shift the mood of the piece into an epic character; from this point onwards, the climax is built steadily; the Hammond plays sustained chords and carries the music through several modulations; at 7:55 the rhythmic flow stops, making a series of obbligato blows that lead to the final section where the Hammond changes to rapid chords while the guitar performs scales that continue to rise, adding to the tension and climax.

1st. Impression Part “B” – Guitar Solo

PART B’

1st Impression Part 2, is really the second “B” part of the overarching ABB’ structure of this movement. But this is not a mere repetition of “B”. This part could really be considered a development of “B” because it takes the ideas of the initial exposition but expands in several directions.

One of the virtues of “Karn Evil 9”, is its ability to consistently build several climaxes throughout the suite. After the first climax, the piece starts the climax building process once again, this time starting almost from scratch with only a bubbling Moog and Lake singing “A Capella” what would become a famous phrase: “Welcome Back my Friends to the Show that Never Ends”.

This part incorporates a new refrain, the structure is:

Verse 1 + Verse 2 + Refrain 1 + Verse 3/Refrain 2 + Instrumental interlude (Moog Solo + Guitar Solo)

The guitar solo is a compressed version of the previous solo, and takes us right into the second climax of the movement. After it, we return to the same structure of the 1st part:

Verse 1 + instrumental interlude + chorus

To finish with a Coda that starts with a modified version of the Verse followed by the initial melody at the beginning of part “B”, leading to a fully orchestrated and pompous finale that generates the third and final climax of this movement with a fabulous 2-octave Moog portamento.

Listen to Part “B’” while you follow the reading and the scheme of this part:

Verse 1 (“A Capella”)

Welcome back my friends to the show that never ends

We’re so glad you could attend

Come inside! Come inside!

 
Verse 2 (with the Hammond following the same rhythmic pattern and chords of Part “B”, but without bass and drums)

There behind a glass there is a real blade of grass

be careful as you pass.

Move along! Move along!

 
Refrain 1 (new melody)

Come inside, the show’s about to start

Guaranteed to blow your head apart

Rest assured you’ll get your money’s worth

The greatest show in Heaven, Hell or Earth,

You’ve got to see the show, it’s a dynamo,

You’ve got to see the show, it’s rock and roll ….

 
Now, a compressed version with Verse and Refrain combined:
 
Verse 3 / Refrain 2

Right before your eyes, we pull laughter from the skies

And he laughs until he cries.

Then he dies! Then he dies!

Come inside! The show’s about to start

Guaranteed to blow your head apart

You’ve got to see the show, it’s a dynamo,

You’ve got to see the show, it’s rock and roll ….

 
[Hammond solo]
Notice that Emerson has to do the bass part with the Moog while soloing on the Hammond because Lake is complementing the solo with guitar. Also, note that towards the end a second Hammond is overdubbed, adding to the complexity of the solo.
 
[Guitar Solo]
In spite of the fact that the solo is compressed, the band is able to build momentum very fast in order to reach the second climax point of the movement. Instead of the climax collapse of the first part when suddenly the band comes to a halt leaving a bubbling Moog, this time the tension is kept with a drum solo that introduces Lake again “A Capella”:
 

Soon the Gypsy Queen in a glaze of Vaseline

Will perform on guillotine

What a scene! What a scene!

 
The piece returns to the original format of Verse + Instrumental Interlude + Chorus, creating a formal recapitulation just before the Coda (this is reminiscent of the classical Sonata form):
 
Verse (notice on “Dixie Land” that Emerson interjects a short fragment of “Tiger Rag” on piano)

Next upon the stand will you please extend a hand

to Alexander’s Ragtime Band

Dixie Land! Dixie Land!

 
[Instrumental Interlude] – same as in part “B”
 
Chorus:

Roll up! Roll up! Roll up!

See the show!

 
[Drum roll]
 
CODA:
Final Verse (note that, for the first time, a piano is included in this section which adds to the climactic development)
 

Performing on a stool we’ve a sight to make you drool

Seven virgins and a mule

Keep it cool. Keep it cool.

 

We would like it to be known the exhibits that were shown

were exclusively our own,

All our own. All our own.

 
Added verses to end the vocals:
 

Come and see the show! Come and see the show! Come and see the show!

See the show!

 
[short drum interlude]
 
 
[initial melody of part “B”] But this time, instead of in 7/8, it is played at 4/4!
 
Final part of the Coda:
Note that before the bombastic and symphonic finale, the whole band plays a succession of rapid chords. This is yet another instance of what I called “Machine Code”.
 
A wonderful two-octave Moog portamento helps bring the piece to a grandiose finale.

2nd. Impression

This movement was originally conceived as part of a Piano Concerto. Emerson constructed the piece using his usual procedure of juxtaposing radically different blocks of music. The structure is:

A – B – C – D – A

Instead of listening to the entire movement, I will center your attention on interesting highlights.

Section “A”

If you have good music knowledge you might want to read Macan’s interesting analysis where he claims that this section is really a sort of homage to Emerson’s bebop piano heroes like Bud Powell and Hampton Hawes.

Bud Powell

This section is probably one of the most difficult passages ELP ever performed from a technical point of view. Notice the intricate fabric that is built between the piano and the bass. Section A is repeated and goes from 0:00 to 0:44.

I believe that this section, magnificent in its own right, nevertheless bears no relation to the conceptual flow of the piece.

Section “A” is followed by an extended transition (0:45 to 1:07) that takes us to the famous “Caribbean” section.

Section “B” (Caribbean)

By putting the 3 oscillators out of tune, Emerson is able to very effectively imitate the sound of steel drums.

His melody is very well constructed because he takes into account that the steel drums only have a finite number of notes. So, his melody is constructed by using a scale of 6 notes. Also, his use of tremolos between two notes creates a very convincing evocation of the steel drum player doing a roll between two drums. The “Caribbean” section ends with a reference to a melody from saxophonist Sonny Rollins: “Saint Thomas” – one of the first jazz numbers to bear a strong Calypso influence. Let’s listen to the passage that leads to this reference:

Reference from “Saint Thomas” from saxophonist Sonny Rollins

I believe this section does carry some significance with the overall plot of “Karn Evil 9”. The whole section has a strong “mechanical feel”; the bass ostinato and repetitive drum patterns (including the fixed woodblock pattern) help to convey a feeling of artificiality. This is reinforced by Emerson’s incorporation of a vocal sound effect that sounds quite eerie, like some sort of humanoid drowned inside a mechanical contraption:

2nd Impression vocal effect

The closing passage of section “B”, from 2:29 to 2:52, is transitional and leads us to the creepy section “C”.

Section “C”

This section goes from 2:53 to 5:50.

In my opinion, this is the section most closely related to the plot of “Karn Evil 9”. It starts in major mode, but quickly turns into an ominous atmosphere using modal chords, whole-tones, etc. It portrays the preparation for the final battle between Men and Machine – it would seem to be inspired in Giger’s cover art. The woodblocks evoke the ticking of a sinister clock, counting down the time for the final battle. After the two fast sixteenth-note arpeggios, the piano seems to be saying: “Tic-Toc” “Tic-Toc” “Tic-Toc” “Tic-Toc” “Tic…”

Sinister clock

As in sections “A” and “B”, there is a transitional passage before reaching section “D”. It is interesting to note that this section seems to point to a recapitulation of theme “A”; in fact, at 5:44 there is a brief “false recapitulation” that, as Macan describes,

Let’s listen to it:

False recapitulation

Section “D”

Again, this section portrays a mechanical feel. Also, the use of repetitive chords seems to be yet another reference to the “Machine Code”. As in the “Caribbean” section, the bass ostinato and fixed drum pattern help to convey a sense of rigidity that coupled with the almost atonal melody of the piano creates quite a “hellish” landscape:

Section “D”

Reprise of “A”

Section “D” leads to a recapitulation of “A”, this time without repetition:

2nd Impression – reprise of “A”

3rd. Impression

Before discussing the details, I would like to make a rather polemic comment. Those with perfect pitch or tone sensitivity will have noticed that in the live versions of the 1st and 3rd impressions, the key is shifted down by a minor third (from A flat to F). Everybody unanimously say (including the band) that this is was done because it was very straining for Lake to sing every night at such a high pitch, so they had to transport the whole thing (much to Emerson’s frustration). Well, to transport such a complex piece of music implies a very significant effort. No doubt Emerson and Lake were equipped to do that, but believe me, this is no simple task. It is a bit simpler for the bass, but in the case of the keyboards, it means literally relearning the whole thing.

I have a theory: somewhere between the mixing and mastering sessions, someone noted that the outer movements lacked a bit of force. Some parts where maybe a bit too slow. Since we were still in the analog era, increasing the tempo without raising the pitch was not possible. They decided to compromise a bit of tone quality, in order to give the pieces a faster tempo and achieve a more powerful result. There is a very strong argument against this theory: the instrumental Second Impression remained in the same key. Could it be that they were happy with the tempo of this movement but not the other two? On the other hand, I can hear evidence of this manipulation because, at times, Lake’s voice seems artificially high.

Here’s a comparison: the same fragments in the studio version and then the live versions from the album “Welcome Back my Friends” (which was recorded a few months after the studio recording). Note, in the studio version, that the voice is too nasal and has a sort of “metallic” quality which does not correspond to Lake’s vocal texture which is precisely the opposite: warm and round. The tone character in the live version is very different; it seems unlikely that straining the voice a minor third up would produce such a change. In fact, this “metallic” character is present even when Lake is not singing but declaiming (second example).

Of course, this could have been a result of how the voice was equalized in the studio version. Let’s compare:

Voice comparison

So, it seems plausible that the piece was written and recorded in F and that there was never a need to go through such a titanic effort to transport and relearn the whole piece. I’m probably wrong, but I though it’s a theory interesting enough to share with you.

This movement starts with a pompous and British fanfare-like melody. As Macan mentions, Emerson considered the 3rd Impression to be very “Elgarish”, in reference to Edward Elgar (1857-1934), Britain’s greatest composer of the late Victorian period. Quoting Macan:

This is a very apt description for what happens in 3rd Impression. The hymn like tunes that represent Man’s optimism in his fight against machine supremacy are distorted in the passages where the computers seem to fight back.

Throughout this movement, the use of the “machine code” is used very effectively to provide coherence. I will highlight its appearance as we proceed with the analysis of one of the most descriptive pieces in ELP’s catalogue.

The form of the 3rd Impression is similar to the 1st Impression: an overarching ABA’+Coda form.

In the “A” section, we find Lake impersonating the “Narrator” in the Verse sections, and the “Liberator” in the Bridge:

Intro-Verse 1a- (synth motive) – Verse 1b – Instr. Interlude – Verse 2a – (synth motive) – Verse 2b
Bridge – Instr. Interlude – Bridge – Instr. Interlude – Coda (extended Bridge)

SECTION “A”

Intro

Notice how clearly the fanfare and march-like form of the melody and arrangement indicate that a fierce battle is imminent. Palmer’s use of the snare drum emulates the style of a military band:

Intro 3rd. Impression

Verse 1a

Lake assumes the voice of the impersonal narrator:

The “Narrator” speaks

Man alone; born of stone;

Will stamp the dust of time

His hands strike the flame of his soul;

Ties a rope to a tree and hangs the Universe

Until the winds of laughter blows cold.

Keep in mind this short melody in the synth. It will play an important role in the climax of the movement:

Short melody – used in the climax of the 3rd. Impression

Verse 1b

During the second group of verses, appears the first instance of the “machine code” that will be so important in the development of the movement. Listen to the rhythmic pattern underneath the voice, played by drums and bass, starting at the word “ears”:

First instance of the “Machine Code” in 3rd. Impression

Fear that rattles in men’s ears

And rears its hideous head

Dread …. Death …. in the wind ….

In reference to this “machine code”, Macan states:

After a short interlude, the whole Verse section is repeated. Let’s listen to it as we follow the lyrics. Note the modulation and the change from minor to major, right at the end of the passage, in preparation for the Bridge section, when Lake changes from “Narrator” to “Liberator” (in the phrase “dust in the wind”):

Verse 2a – (synth motive) – Verse 2b

Man of steel pray and kneel

With fever’s blazing torch

Thrust in the face of the night;

Draws a blade of compassion

Kissed by countless Kings.

Whose jewelled trumpet words blind his sight.

 

Walls that no man thought would fall

The altars of the just.

Crushed …. Dust …. in the wind ….

Bridge

Lake assumes the role of the “Liberator” and starts a dialogue with the computer, impersonated by Emerson who processed his voice through a ring modulator (by the way, the only instance of Emerson’s voice in the entire ELP catalogue). Note how the heroic tone of the liberator is reinforced by Lake doubling the voice with a distorted bass. It is also interesting to note that Emerson doubles Lake’s vocal line in imitative mode (creating a brief Canon) with the Moog. Also, instead of singing, Lake declaims the last verse: “let the maps of war be drawn” showing a feeling of frustration when it becomes clear that a battle will be the only way to settle this struggle for supremacy:

The “Liberator” speaks …. and the Computer responds.

No man yields who flies in my ship

DANGER!

Let the bridge computer speak

STRANGER!

LOAD YOUR PROGRAM. I AM YOURSELF.

 

No computer stands in my way

Only blood can cancel my pain

Guardians of a new clear dawn

Let the maps of war be drawn.

This verse signals the end of section “A”. We now move to the long instrumental section “B”.

SECTION “B”

This long instrumental section represents the battle and can be subdivided into four parts. Parts 1 and 3 would seem to represent the battle from the human’s perspective, while parts 2 and 4 conveys the Computer’s viewpoint:

Human 1 – Machine 1 – Human 2 – Machine 2

Human 1

Note that the melody of the 1st part starts with the same three-note figure of the vocal line from the “A” section. The mood is cheerful, heroic, maybe showing humans a bit overconfident in their ability to control the Computer. The whole part is repeated once:

Machine 1

But the battle is far from over. The “machine code” signals the beginning of this part. The mood changes as the mode shifts drastically from major to minor. Strong dissonances help to convey the Computer’s icy approach, as if slowly but steadily gaining control over human’s will:

Human 2

Another sudden change of tonality signals the beginning of this part, where Mankind put their entire hearts and souls to fight against the Computer’s increasing overall control. This is wonderfully expressed by Emerson’s vigorous solo, among the best in the entire ELP catalogue. Notice however, that towards the end of the solo, something seems to go wrong. Emerson’s solo is interrupted four times by an obscure sequence of ascending chords, until suddenly the “machine code” emerges again. After the first two groups of ascending chords, the Hammond organ responds with fury as if fighting back at the Computers attack but, after the third group of ascending chords, the Hammond’s response introduces a group of repetitive notes – the “machine code”! In other words, the Computer is speaking through the humans!! After the fourth and final group of ascending chords the “machine code” leads to a distorted almost atonal solo, as if the defeated humans were running away. Let’s listen to the final section where all this happens:

Machine 2

This is probably my favorite passage in all of ELPs discography and of one the finest examples of progressive music’s ability to build intense climaxes. It clearly depicts the Computer pressing a counterattack. Notice that the “machine code” pattern is used as a basis for the development of the entire section. The tonal ambiguity helps to create a feeling of anxiety and Emerson superbly starts to use chromatic scales as the basis for building the climax.

In the description that follows, the timing in brackets indicate the relative time within the audio fragment that will follow.

At 6:10 [0:19] mankind seems to fight back, throwing ferocious chords at the Computer but at 6:30 [0:39] the Computer fights back in full force and at that point the strongest climax of “Karn Evil 9” starts to build up. At 6:45 [0:54], the Moog, using a masterfully crafted eerie sound, present chromatic scales that move up and down and start ascending to increase the tension. At 7:10 [1:19], we have, on the right speaker, the Humans, represented by a fanfare; and on the left speaker, the Computer, represented by a synthesized sound that surges up using a portamento (glissando). They seem to be approaching one another and, what follows, is a stroke of genius: Mankind’s motive (the one presented within the verses in part “A”) is responded by the Computer with a synthesizer sound effect at 7:18 [1:26], which is the climax of “Karn Evil 9”. Let me reinstate this: the climax of the piece is not a chord, or a melody – it’s a sound effect!!!! I’ve been aware of this since I was 15 years-old and I cannot listen to this sound effect without getting goose-pumps.

I don’t want to break the listening momentum at this point, so I will briefly discuss the “A’” part of this movement. I will put the entire fragment at the end.

A strong fanfare supported by a drum solo, leads to the final section of “Karn Evil 9”. This fanfare, is actually a development of the dissonant fanfare that closed the “A” section of 1st Impression. Let’s compare:

Fanfare comparison

Section “A’” + Coda

The lyrics of the section carry a strong irony in the verse: “their graves need no flowers; the tapes have recorded their names”. Could it be that Computers become so much a part of Humans that we are no longer conscious of their presence? We believe that we have won the battle, but in reality, the enemy has become a part of us. I believe this idea is reinforced by the last pulsating chords before the famous sequencer starts its melody. Humans and Machines are now one and the same…

Let’s now listen from the last part of “B” (that is, from Machine 2) to the end of the suite, with the interpretation just discussed. I suggest that you read the descriptions once more before hitting the play button. I have marked the relative times in bold, so you can easily spot them as you listen to the last part of this great work of art.

From “Machine 2”, to the end of 3rd Impression

Rejoice! Glory is ours!

Our young men have not died in vain,

Their graves need no flowers

The tapes have recorded their names.

 

I am all there is

NEGATIVE! PRIMITIVE! LIMITED! I LET YOU LIVE!

But I gave You life

WHAT ELSE COULD YOU DO?

To do what was right

I’M PERFECT! ARE YOU?

Keith Emerson with Bob Moog

Resources

As shown by the multiple references throughout the analysis, the book “Endless Enigma” written by Edward Macan – Open Court Publishing Company, 2006 was an invaluable source for musical, historical and conceptual information. If you are really interested in ELP, and are ready to plunge into its more than 800 pages, then you should seriously consider acquiring this book. Just a word of warning: if you have little or no music knowledge you will have to skip the numerous musical analyses. It can be purchased here.

 
The site http://www.brain-salad-surgery.de/ proved to be an excellent source for facts and pictures. This site, specialized on “Brain Salad Surgery” is recommended for those who want more detailed information about the album.

This interesting video shows footage of the rehearsal sessions of “Brain Salad Surgery”. Note that, more than rehearsals, they were actually working on the generation of the arrangements:

Background Music

For this analysis we have featured two great albums released in 2017 from the Spanish projects “Last Knight” – their album “Talking to the Moon” (https://lastknight.bandcamp.com/album/talking-to-the-moon ) and “Tricantropus” – album “Scrum” (http://www.tricantropus.es)

In order of appearance:

• Moonwalking (Last Knight)
• Scrum (Tricantropus)
• Twilight (Last Knight)
• Sola (Tricantropus)
• Moonrider (Last Knight)
• Hojas Muertas (Tricantropus)
• In the Dark (Last Knight)
• Black Moon (Last Knight)
• El Año del Dragón (Tricantropus)
• The Nightmare (Last Knight)

This is the well-known video of Karn Evil 9 – 3rd Impression, from their performance at the 1974 California Jam:

Ever wondered how would Karn Evil 9 sound as a chamber piece? Well, listen to this superb arrangement of Karn Evil 9 – 1st Impression, Part 1 by the “Morgaua Quartet”:

And how about a Military Band arrangement?

And a Jazz band?