STONE MINT IN SHRINK 1972 ORIG = EMERSON LAKE & PALMER TRILOGY - PROG Psych LP

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   FANTASTIC MINT IN CELLOPHANE 1972 ORIGINAL!
                               NONE BETTER!
     . .|/\|...............................................|/\|..                   
        
       Emerson Lake and Palmer
                    "TRILOGY"   
            ..|/\|...............................................|/\|..                                  USA - ATLANTIC/COTILLION SD 9903

no bar code

STONE-MINT CLEAN FINAL COLLECTION COPY

STILL IN FACTORY CELLOPHANE ... it's a GATEFOLD COVER from 46 YEARS ago

again, it's 1972, and::: STONE MINT - SO HARD TO FIND THIS CLEAN!!!

Considered by many to be one of rock's original first super-groups, Emerson Lake & Palmer formed in England in 1970 consisting of Keith Emerson (keyboards), Greg Lake (bass guitar, vocals, guitar) and Carl Palmer (drums, percussion). The band created a brand new world of music, combining classical and symphonic rock fused with beautiful vocals by original King Crimson vocalist Greg Lake within wonderfully adventurous themes...

"Trilogy" is possibly Greg Lake's finest hour. His singing is superb throughout, even in the untypical "Living Sin", a rather sordid tale with rather odd, half-sung, half- spoken vocals. However, the first part of the title-track is the real highpoint, where he sings to the sole accompaniment of Emerson's piano, sounding poignantly wistful and intensely romantic. Then, after the last, melancholy note has been sung, all hell breaks loose, in the form of Emerson wringing all kinds of weird sounds from his vast array of electronic keyboards, backed by Palmer's metronomically precise drumming. Quite schizophrenic, perhaps, nevertheless one of prog's best moments - the calm before the storm.

The initial, three-part mini-suite "The Endless Enigma" is another of the album's highlights, an excellent example of symphonic prog at its best. Lake sings masterfully here as well, as he does on the sweet "From the Beginning", easily the best of his acoustic ballads. Emerson sounds somewhat more restrained here, while he gives his Hammond a brisk workout in the "Hoedown" (which was for some time a regular concert opener for the band). This leaves "The Sheriff", a much better stab at irony than the notorious "Jeremy Bender" and "Benny the Bouncer" - obviously far from being ELP's most memorable track, but undeniably more genuinely humorous and musically valid than the aforementioned songs (good singing from Lake too). Then, Emerson's take on Ravel's "Bolero" theme, titled this time "Abaddon's Bolero", while nothing less than earth-shaking, is a more than adequate by this trio, featuring highlight synth work.