Emerson Lake and Palmer-Trilogy (1972)

In 1972, Emerson Lake and Palmer's careers were so meteoric that their tours lasted many months and were gigantic, the band's reputation was already worldwide, and their albums were eagerly awaited by fans around the world.
That same year the band released their third album "Trilogy", which was undoubtedly the most complex job in the production work, Eddie Odfford had a huge job mixing Keith Emerson's keyboards due to the amount of different timbres that overlap and yet the end result was so spectacular that the band could never match them in their live versions.
The album begins with the soft and mysterious melody of the suite "The Endless Enigma" which is divided into three sections and which remains even today one of the sublime moments of progressive rock, on "Hoedown" Keith Emerson juggles with the hammond organ, turning the song into a true sonic marvel, instead "Trilogy" sums up the more baroque, suggestive voice of the group while the acoustic "From the Beginning", composed by Greg Lake, was a massive success in the rankings.

Emerson Lake and Palmer-Tarkus (1971)

In reality and more than a progressive rock band to use Emerson Lake and Palmer was a group of virtuosos who enjoyed showing off their enormous skills both in their albums and in their live shows.
Emerson's flaming organ and keyboards, backed up by Palmer's sublime and powerful drums and Lake's vocal sensitivity without neglecting his energetic and masterful bass playing, blended together perfectly creating wonderful albums like this "Tarkus".
"Tarkus" is the first work in which they prove to be an authentic group, combining the qualities of each member above the individualities.
The suite "Tarkus" is considered one of the definitive works of progressive rock, full of intensity and an overwhelming virtuosity that leaves the listener breathless.
The 20-minute duration of this impressive suite, partly weighs on the rest of the album unfairly, where powerful songs such as "A Time And A place" is also an anthological gem, or the rock and roll "Are You Ready Eddy?" where the trio shows their eclectic diversity.

Emerson Lake and Palmer-Welcome Back My Friends To The Show That Never Ends… Ladies And Gentleman (1974)

"Welcome Back My Friends To The Show That Never Ends… Ladies And Gentleman" was at the time the demonstration of the pomposity and ego of a super band like Emerson Lake and Palmer, a triple live album, with a luxurious presentation that would mean his swan song.
Released in 1974, up to that point ELP had released their best albums, four progressive rock masterpieces that were unmatched in any other contemporary band.
However, it lacked the power and sound of the original studio takes, partly due to the mediocre recording and mixing of the studio, yet the level of performance was in keeping with the virtuosity and talent of the three fantastic musicians.
Keith Emerson's improvisations stand out greatly, allowing a detour to refer to composers such as Joe Sullivan, Friedrich Gulda or Ottorino Respighi, thereby demonstrating the fine line between cultured music and progressive rock.
There is also a peak moment and it is the very fleeting interpretation of "Epitaph" by the King Crimson, which was something unexpected and shocking.
Sublime moments like the almost complete interpretation of the album "Brian Salad Surgery", with pieces like great "Jerusalem", "Toccata" or "Karn Evil 9", or songs from his other albums like the impressive medley "Tarkus: Eruption / Stones of Years / Iconoclast / Mass / Manticore / Battlefield / Aquatarkus", they left us for later one of the best and most impressive live albums that are remembered.

Emerson, Lake & Palmer-Emerson Lake and Palmer (1970)

Emerson, Lake and Palmer are undoubtedly the pioneers in creating the most representative sound of progressive and symphonic rock, they are also in the concept of power trio (together with Cream) and finally they are the first super-band in rock history.
They cemented the genre with a unique style, powerful keyboards, combined with an aesthetic of orchestral music, a sublime drums and the sensibility of a portentous singer.
With compositions that are already part of the rock legend, from the beautiful "Lucky Man" an acoustic anti-war ballad with a memorable solo by Moog in its final part, to the instrumental "The Barbarian" and "Three Fates", going through the dynamic "Knife-Edge" or the jazzy and rhythmic "Tank", they made up a superb work by a band that still lacked polishing their music, but this debut would be as anthological as it is incredible.

Emerson, Lake & Palmer -Brain Salad Surgery (1973)

1973 would be the year of the great works of progressive rock; it was undoubtedly its golden age, a time when the genre's greatest classics were created. Among many others, Pink Floyd released their masterpiece, "The Dark Side of the Moon", while Jethro Tull launched their monumental "A Passion Play", Genesis achieved their perfect work with "Selling England by the Pound", and other bands like King Crimson with "Lark's Tongues in Aspic", Camel with their debut album, Caravan with their enormous "For Girls Who Grow Plump in the Night", and Mike Oldfield with his extraordinary "Tubular Bells" cemented the progressive genre's place at the pinnacle of rock music.

Emerson, Lake & Palmer, for their part, wouldn't be left behind and released their spectacular "Brain Salad Surgery", the first album they released under their own label, Manticore Records. It was initially going to be titled "Whip Some Skull On Ya", but the name was ultimately changed to the one famously known worldwide. "Brain Salad Surgery" is perhaps the band's most powerful work, where the trio achieves total mastery of their musical coherence and, at the same time, the culmination of their creativity. Emerson demonstrates his mastery of the Hammond organ and his outstanding command of the piano and polyphonic synthesizers. Carl Palmer delivers a solid, fast, and highly complex performance, proving that he was at his peak at that time. Greg Lake enhances the overall sound with his excellent voice, thanks to its subtle and fresh echo, as well as his bass playing, which, with its complexity, perfectly supports the demanding keyboards and drums. "Brain Salad Surgery" is perhaps the band's most powerful work. “Brain Salad Surgery” has an obvious jazz influence, as revealed by the more frenetic and complex piano and drum sections. Interestingly, despite the outstanding technical performance of the three virtuoso musicians, all the tracks are remarkably accessible, melodic, and perfectly structured. Unlike their previous album, “Tarkus”, it is not as experimental or inaccessible. The album also boasts a splendid cover, the work of the renowned artist H.R. Giger, designed in his famous surrealist style, celebrated for its futuristic drawings and dark environments. Giger would later gain worldwide recognition for his work on the film Alien, depicting the fateful eighth passenger of the famous spaceship Nostromo. 

The progressive suite “Karn Evil” is the standout track on this album, with its constant tempo changes and instrumental complexity. The grandiose “Toccatta” is an astonishing exercise in technological experimentation, courtesy of Keith Emerson's keyboards, and the epic “Jerusalem” is a superb re-arrangement, as remarkable as it is legendary. Meanwhile, on the jazzy “Benny The Bouncer”, Carl Palmer showcases his immense drumming skills. On the more melancholic and subdued side, we find the accessible and acoustic “Still...You Turn Me On”, one of the few moments of peace and tranquility on this otherwise aggressive and powerful album. With this work, ELP definitively ascended to the Olympus of the Gods of progressive rock, a work cataloged as one of the greatest contributions to the genre, which would rise among the best and best-selling records on the charts on both sides of the Atlantic and which has been constantly reissued since then with great acceptance by the progressive community and rock fans in general.

Emerson, Lake & Palmer-Love Beach (1978)

If we go back to the late 1970s, many of the great progressive rock bands were moving in a more commercial and accessible direction, as punk, disco, new heavy metal, AOR, and other new styles were in vogue. It was during these years that EL&P released their seventh and ultimately final album before disbanding until many years later when they would reunite. “Love Beach” is probably the weakest work in their entire discography, and although fans and critics fiercely panned it, it's also true that the British trio wasn't doing anything different from what other bands like Yes, Genesis, Jethro Tull, or Gentle Giant had already done. However, looking back, “Love Beach” isn't as mediocre as it was perceived to be in the past, although compared to their previous stellar albums, it's undoubtedly a step backward and in the wrong direction. Looking back, “Love Beach” still contains plenty of solid material, such as the enchanting progressive pop track “All I Want Is You”, where Greg Lake’s immeasurable vocals and Emerson’s magnificent symphonic keyboards shine. Another stellar moment is the dramatic and majestic “For You”, with Lake’s silky voice, Palmer’s intricate drum fills, and Emerson’s agile piano. The subdued grandiosity of “Taste of My Love” takes us back to the band’s early years, and “Canary” is a superb classical and progressive instrumental piece that allows all three members to showcase their considerable instrumental talents. The 20-minute epic “Memories of an Office and a Gentleman” is another progressive rock high point, featuring the sounds that, in the early 70s, led to millions of copies sold worldwide and placed them at the forefront of progressive rock. However, it was the mediocre tracks "The Gambler", an out-of-place blues pop number, and the saccharine "Love Beach" that partly tarnished its otherwise acceptable quality and precipitated the eventual breakup of the magnificent British trio. In conclusion, "Love Beach" isn't really as terrible as it was initially received, since roughly half the songs are quite good. While the inclusion of some generic pop tracks does detract from the final result, the album is still worthwhile for that handful of strong compositions that maintain the classic ELP sound. Perhaps it was the album cover, featuring the band standing on a Bahamian beach with their shirts open, that most alarmed everyone? It certainly wasn't the image we all expected from ELP, and perhaps it was one of the reasons (yet another) for the widespread criticism from their most ardent fans.

Emerson, Lake & Palmer-Black Moon (1992)

In 1992, the quintessential wizards of symphonic rock, Emerson, Lake & Palmer, reunited with their original lineup after a 14-year hiatus, despite having released the excellent self-titled album, "Emerson, Lake & Powell", in 1986 with Cozy Powell on drums. However, much had changed by then. Alternative rock, grunge, the resurgence of classic 70s hard rock, neo-progressive, and progressive metal dominated the tastes of 90s youth. Thus, the trio attempted to adapt to the changing times, crafting a commendable album that, at times, evokes their glory days, but with a modern and updated style. For this occasion, the band became more accessible, and their music more simplified, resulting in what could be considered, in many passages, sophisticated pop or commercial progressive rock. Keith Emerson's frenetic keyboards, as expected, drive many of the album's tracks. The title track, featuring a virtuosic Carl Palmer on drums, exemplifies this. That dizzying rhythm continues in the energetic, almost hard rock, "Paper Blood", while the melodic and acoustic "Affairs of the Heart" and the beautiful ballad "Footprints in the Snow", under Greg Lake's warm and commanding vocals, provide a moment of calm amidst the album's frenetic pace. The refined and vibrant "Rome and Juliet", the haunting "Close to Home", and the grandiose "Changing States" stand out on an album that, while not offering anything groundbreaking, is a worthy effort from one of the greatest bands in the history of progressive rock.

Emerson, Lake & Palmer-Works Volume 2 (1977)

Like its predecessor, "Works Volume 1", Emerson Lake and Palmer's sixth studio album, "Works Volume 2", is a compilation of tracks composed individually by the three musicians, along with others created collaboratively. It again comes across as somewhat pretentious, though it must be said that this new release features a significantly more interesting and creative repertoire. Some songs feel more organic, like the instrumental "When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Valentine", a track originally intended for the album "Brain Salad Surgery" but never included. The title track from that album is another standout, a dynamic and daring piece. The jazzy "Bullfrog" is essentially a showcase of Carl Palmer's drumming prowess, while the boogie-woogie "Barrelhouse Shake-Down", the acoustic "Watching Over You", the big band jazz tracks "So Far To Fall" and "Close But Not Touching", the ragtime "Maple Leaf Rag" and the honky-tonk "Honky Tonk Train Blues", complete an album that, despite lacking a certain final cohesion, contains a repertoire of good songs, although certainly far removed from the grandiosity of his earlier studio works.

Emerson, Lake & Palmer-Emerson, Lake & Palmer Box Set (1982)

This compilation box set, initially released only for the Spanish-speaking market, was a clever marketing move by Manticore Records, the label owned by Emerson, Lake & Palmer. It was intended to compensate for the international release two years prior, also titled "Emerson, Lake & Palmer". The key difference between the two lies in the fact that the first box set, released in early 1980 for the rest of the world, contains only tracks from their four most recent albums: one from their self-titled debut, two from their fifth album, "Works Vol. 1", one from their sixth album, "Works Vol. 2", and six from their seventh release, "Love Beach". Consequently, albums like "Tarkus", "Trilogy", "Brain Salad Surgery", and the live album "Pictures at an Exhibition" were incredibly absent. In contrast, this edition, distributed by the Spanish label Ariola, includes their first four original albums that is, all those not included in the previous version: "Emerson, Lake and Palmer" (1970), "Pictures at an Exhibition" (1971), "Tarkus" (1971), and "Trilogy" (1972). It quickly became a collector's item for the trio's most purist fans. With this box set (actually a collector's edition), Manticore Records sought to rectify the strange and incomplete previous compilation, which had disappointed fans and been a disastrous commercial move by the record company. This new release also completed another incomplete compilation released by the multinational Atlantic Records, titled "The Best Of EL&P", which had been released as a single album in late 1980.