Customer Reviews

Christmas Album

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

From the fingers that fused 'Tarkus'; from the mind that molded maniacal music with keyboard molestations; from the honky who helped heave huge pianos end over end... comes one of the most creative Christmas albums of all time. There are incredible arrangements included within this collection as well as stellar performances from the premiere key-meister of our time. The album closes with the most soulful version of 'Silent Night' that you will ever hear. Keith has been called every name in the book from genius to prodigy to legend. Listen to this album, though and get lost in the inherent soulfulness of the season. Then call Emerson the bringer of peace-filled tidings. Happy Christmas, Keith (in the middle of July) and thank you for your gift.

I place Keith Emerson side by side with giants like Paul McCartney, Miles Davies, Tom Jobim and Cole Porter. It is a shame is work is not known as it should be. Anyway, this is a good opportunity to become acquainted with one of the most creative, daring and coherent artist of our times. "Glorietta" and "I Saw Three Ships" are small masterpieces and show very eloquntly Keith's prowess both in synthesizers and the Grand Piano. It is time for the big labels to start editing some of the solo materials of this giant.

May sound a bit strange to some as its not just another sweet Christmas Pudding! This is a gem of improvisations on familiar tunes - as well as new ones! For all lovers of sparkling mixes of rock and jazz and electronics!

This cd is excellent, imaginative, one that will satisfy you all year long. For Keith Emerson fans a must! Keith, we want...more!

I've been an Emerson fan since 1971 and this just might be my favorite album of his entire career. It's that good. The initial release was shorter than this reissue; it lacked the Prokofiev and the "Gloriettas". One way or the other, Keith's CHRISTMAS ALBUM is a perfect mix of carols, classics and original compositions done with exquisite taste and extraordinary virtuosity.

Some thoughts on each tune:

"Troika" - Prokofiev's little 3rd movement (depicting a three-horse sleigh ride) from the Lieutenant Kije Suite. A joyous frolic. The classical opening is very true to the spirit of the original. Morphs into an energetic mix of synth, piano, wailing guitar, drums and... whistling.

"O Little Town of Bethlehem" - The British rather than the American melody, I didn't recognize this at first. Beautiful synth chorus and drum machine leads to a piano improv over a pedal tone bass. Very dignified, it would sound right at home on TRILOGY.

"We Three Kings of Orient Are" - Energetic and slightly humorous, a pronounced rhythmic groove sets up the synth chorus of the first two verses. A bridge leads into a bit of J.S. Bach a la "Knife Edge". More loose piano improv fades out over the same groove.

"Snowman's Land" - Emerson original piano/synth. Only Keith could have done this. Exhuberant all the way through but for the chorus's rather dark and imposing finale made up of quartals. Sounds like from TARKUS or TRILOGY to me.

"Captain Starship Christmas" - An Emerson original and the only track that is not completely successful. A cute fantasy, it would seem a natural for the children's choir that sings it, but the melody is too adventurous for a child's vocal abilities! The constantly off-pitch youngsters just draw attention to the fact that this tune is better suited to an instrumentalist than a singer. (Also, what's with the misprinted title? The lyrics are "starship captain", not "captain starship"!!!)

"Aria" - more Bach and done very faithfully to the original, in fact one of the most truly classical-in-spirit numbers of Keith's recording career. Except for the improvisitory synth overlay during the final verse (a la "Abaddon's Bolero"), it's just all Bach. Gorgeous!

"I Saw Three Ships" - This one is akin to the ELP take on Copland's "Fanfare to the Common Man" from WORKS. The rhythm section's very insistant opening groove severely constricts the melody. It's effective but sounds very mechanical throughout, only occasionally opening up.

"Gloriettas 1 and 2" - The 1st is a passionate hymn on synths. The 2nd is a Scottish-style military march reminiscent of the theme from BRIDGE OVER THE RIVER KWAI or Emo's own march from 1978's "Officer and a Gentleman". It's in A-B-A form - the B section recalls but does not copy the Glorietta 1. The feeling is deeply prideful and utterly beautiful. I'm not sure what it has to do with Christmas, but it's a lovely complement to the "Troika".

"Petites Litanies de Jesus" - A very sweet and gentle new agey piece, it sounds to me reminiscent of parts of Mark Isham's VAPOR DRAWINGS (1983) on Windham Hill. Synth and organ without percussion other than what seems to be synth claves. The nicest surprise of the album.

"It Came Upon a Midnight Clear" - Lovely beginning... the song seems to have lived through the experience of "Petites Litanies". As in "O Little Town of Bethlehem", Emerson uses the British melody here. At around the 1:00 mark, it livens up considerably. All synth and clavinet with no percussion at all.

And, an "encore":

"Silent Night" - What a great idea! A bluesy gospel choir (with a superb soloist) backed by a trio of Emo's piano, drums and stand-up bass. Keith, you're brilliant!

Get this album!!!!!

"Snowman's Land", an Emerson original, gives me chills during its second half. "Troika" has a great, Emersonian monophonic synth solo played counterpoint to the main melody. For me, these two tracks, instantly likeable, were sufficient to justify the purchase.

If you're a prog rock/ELP fan than this is for you. IT's the darker side of Christmas Carols done on Synthesizers by the king Keith Emerson sometime in the mid 80's. Some of the arrangments are a little dated, but this is one I crank to ten every year and it always makes me smile.

..why does a genius of your caliber feel the need to sound like a watered-down version of Mannheim Steamroller, when in fact Mannheim Steamroller is a watered-down version of YOU?!