Greg Lake: An Epitaph

Greg Lake died yesterday after a long bout with cancer. He was 69 years old.

I hate everything about that sentence. So dry and perfunctory, yet devastating, and all too common this year. 2016 has gotten me really tired of writing about death. Unfortunately, the artistry of so many of the people who have passed this year had such an impact on me during my youth that I couldn't not explore my thoughts in writing.

Just a few months ago, I wrote a tribute to Keith Emerson, the legendary progressive rock keyboardist, who took his own life in March. Today, I find myself weighing in on his old bandmate, Greg Lake, bassist, guitarist, singer, and songwriter in the supergroup, Emerson, Lake & Palmer.

A seminal figure in progressive rock, both he, and arguably the genre itself, emerged onto the scene with King Crimson's 1969 album, In the Court of the Crimson King. The album was a milestone, influencing all so-called progressive music that came after. In a thrilling fashion, it combined rock, jazz, classical, experimental styles, with even a substantial helping of heavy metal aggression on its opening track, "21^st Century Schizoid Man." As such, Lake's singing was notable for its versatility, from the brutal attack of "Schizoid Man," to the delicate lamentation of "Epitaph."

Lake (second from right) with King Crimson, 1969

It was his voice that made Keith Emerson desire to form a group with him in 1970. Emerson, who felt that his own band, The Nice, was unable to explore more nuanced, dynamic music, had been drawn to Lake's vocal abilities and capacity for lyricism. Lake left King Crimson and the two recruited Atomic Rooster drummer, Carl Palmer, to form Emerson, Lake & Palmer. They soon gained the attention of the world after their grand performance, their second ever as a group, at the Isle of Wight Festival that year.

Greg Lake first came to my attention in what I think was the most appropriate way: A friend playing me ELP albums while sitting on a dorm room floor smoking something other than cigarettes. It was the mid 90s, and I was a college freshman year acting major who had dipped, a bit too heavily, perhaps, into musical theatre music when I was in high school. By the time of that evening, however, I had been subsisting on a steady diet of The Who, Frank Zappa, The Police, and Cream, with a little Sublime thrown in just to seem current (they were actually still a functioning band at that time). My friend was a pianist and played me pieces like "Karn Evil 9" and "Take a Pebble" to illustrate Keith Emerson's prowess on keys. I was dazzled and it led to my journey into prog rock that continues to this day.

I can't overstate the importance of that moment. Getting into prog rock opened my eyes to possibilities in music and art. And though I recognize now that prog is pretty grandiose and pompous, so was I at time (who wasn't at 18?), and don't we always hold onto the music that we cherished in childhood?

I wish I could say that I was immediately wowed by Greg, but I wasn't. While I was intrigued by Keith Emerson's strumming of the piano keys on "Take a Pebble," I didn't know that Greg had written this ethereal piece that gave Emerson his place to explore. I wasn't even that knocked out by his voice just yet. I discovered the extent of his vocal chops later when I heard tracks from Tarkus and Trilogy, such as "Time and a Place" and "Living Sin," that showed his aggression and wide vocal range, while songs like "From the Beginning" showed his softer, nuanced, and emotional touch. Though it was perhaps to Keith's resentment, it was, in fact, Greg's ballads that provided the group's greatest chart successes.

Lake with Keith Emerson, who died this past March

Though I knew he was a great singer, it was only as I got older that truly recognized how expertly and uniquely Greg filled his role in the band. Both Emerson and Palmer were classically trained musicians, both with dazzling technique. Greg's bass playing, on the other hand, was agile, but consciously avoided the pyrotechnics that were a hallmark of many of his colleagues. It would be a cliché and uncomplimentary to say that his playing "grounded" the trio, and moreover it would be inaccurate. Though on some of the faster pieces his bass lines could be a tad simplistic, his playing was, more often than not, elegant and melodic, and instrumentally added the same lyricism that his voice provided. (The fact that he was recruited to play bass on "Real Good Looking Boy," the first single by The Who after the death of John Entwistle is no small praise.)

Still, I believe it will always come back to his songwriting and his voice. Working within a genre known for its high-mindedness and bombast, he provided the delicate touches that gave the music its dynamics. While prog rock was known as music of the head, he wrote the melodies and words that kept the feeling of the music from moving too far from the heart. Moreover, as producer of all of ELP's albums during their 1970s heyday (and, it has been said, handling the majority of the work on the group-produced debut by King Crimson), he showed a talent for creating albums that balanced all of the band's disparate elements. In a group that was pulling in more directions than it had members, it seemed that, for a time, he could find the balance in imbalance.

A couple years after that night on the door room floor, that same friend and I went to see ELP at the Harbor Lights Pavilion in Boston. The show was delayed by what seemed like hours, and a wiring malfunction caused a small fire onstage (actually in the Hammond organ that Keith was going to use for the finale) resulting in an interruption of the show right in the middle of "Tarkus." However, the band was so well oiled and powerful that, in spite of these things, we did not leave disappointed. Greg's voice had lowered by this time into a deeper baritone sound, that was so expressive and rich, that his high notes were not missed. The band seemed to have plenty of life still in them.

It was not be, of course. They band broke up again the following year, only to reunite for a one-off festival performance in 2010. Because of this, I am glad for that night in the dormitory when my friend pulled out his book of CDs and indoctrinated me with his favorite music. If I had gotten into ELP a couple of years later, I probably never would have seen them perform. So while I am sad, I have nothing to regret.

So once again I'm dwelling on how 2016 has done a hell of a job of taking away pieces of my childhood. Greg's death came as quite a shock, as I had no idea he ill. The fact that he was a part of so much of the music that made up my late adolescence and still listen to today makes his passing stand out for me even among the so many others that have passed this year. So in spite of the fact that 2016 has been a confusing  year, hopefully artistry and lyricism will be Greg Lake's epitaph.

(The prog rock geeks will get that last reference.)

Remembering Keith Emerson (the Way We Ought To)

Shortly after the death of rock keyboardist Keith Emerson was reported as a suicide last Friday, Greg Lake, his former bandmate in the eponymously named progressive rock juggernaut, Emerson, Lake, and Palmer, was quoted on the website of the U.K.'s Sunday Express that he had recognized signs of Keith's depression since the late 70's, adding that "I have to be honest and say that his death didn’t come as a shock to me."

"I think its [sic] a very difficult thing to actually describe what depression is...  He lived, in the end, this very lonely existence of someone who was deeply troubled, He loved music – that was his main purpose in life... But the music he made after ELP never bore fruit in the same way as it did in the early days."

He went on to make a plea for others who have similar feelings:  "All I would say is that if anyone does have feelings like that, of being so desperate that they think it’s better off not to wake up tomorrow, then please, go and talk to somebody - the doctor, your friend, anybody."

The statements, sometimes quite harsh even if not lacking in understanding, are in stark contrast to his terse initial statement on his website, in which he stated that "[a]s sad and tragic as Keith’s death is, I would not want this to be the lasting memory people take away with them."

A very sad facet of suicide is its ability to alter the conversation and taint our memories. Just as for many the death of Robin Williams forever painted him as the tragic sad clown figure, a sharp contrast to the lighting witted chameleon comic genius, I appreciate Lake's fear that Emerson's contributions will be colored by nature of his passing. At the same time, I also understand why he later felt the need to openly ruminate on it, and I certainly would never condemn his statement in support of psychological counseling.

But then there is also always the temptation for people who never knew Emerson beyond his work to speculate:  "Did the stigma of mental illness prevent him from getting the help he may have needed?" "What if he hadn't had a gun in the house?" Some have even suggested that internet trolling was a factor in his anxiety and subsequent suicide.

Bob Moog and Keith

I do think that all of these issues should be brought into open discussion, but I agree with Lakes' original statement that we should try to remember Keith Emerson for who he was at his best and strongest, a kick ass musician. Let's remember him as the guy who used to hold down notes on his Hammond organ with giant daggers (gifts from his roadie, Lemmy... yes that Lemmy), while also displaying dazzling, disciplined piano technique. Let's remember the guy whose use of the Moog synthesizer and collaboration with its inventor, Robert Moog, lead to significant developments in that instrument. Let his legacy include his compositional prowess, and his ability as a performer to arrange older pieces to make new statements and express new attitudes.

A lot of younger people do not know of these things (damned millennials!). Sadly, I find that many people who were not around in the 70s are unaware of a couple of things: Firstly, that Keith Emerson is largely considered to be one of the most technically proficient keyboardists ever to play rock music. Secondly, that Emerson, Lake and Palmer were one of the biggest bands in the world at that time. In their 1973-74 heyday, only The Who, The Rolling Stones, and Led Zeppelin were bigger concert draws.

Yes, that Lemmy

To be sure (internet trolls be damned), Emerson was no stranger to criticism; in the 70's Emerson, Lake, and Palmer were also one of the most critically reviled  bands of the time, usually blasted for being pompous, bombastic, too cerebral, and overly theatrical. Outwardly, the band brushed off, or even welcomed such criticism. This was a band that prided itself on something else, creating something bigger, something more grand, mixing elegant composition with sonic experimentation, intense volume, fiery chops, and a brash stage show. They were unapologetic. They had no time for people who would slag off their incorporation of music by established jazz musicians and classical composers into performances. If you couldn't deal Mussorgsky mixed with some Hammond organ feedback, Led Zeppelin was playing across town (and they were a "pure" rock band; they only ripped off aging blues musicians).

And while to some it seemed overly heady and considered, this was a music that the band arrived at organically, mixing the classical training that the members had in their youth with the pop sounds that were coming out in England at the time, all the while emboldened by the experimental spirit of the age. If their music didn't have a raw sound like classic American rock n' roll or blues, it wasn't supposed to. Prog rock was its own beast. It was, and remains, at its best, ethereal, powerful, and thought-provoking.

However, while immensely popular in the early to mid seventies, today prog rock is generally a cult affair. Its fans today are a smaller group, but one that is both rabid and discerning, while deliberately dismissive of concepts of cool versus uncool.  Prog rock fans are more interested in exploring vistas of sound and atmosphere, music made with skill and commitment, and less interested in musical scenes connected to social movements or attitudes. Prog rock fans do not look to music to tell them how to dress or who they should sneer at. It's all about the music.

And so it was for Keith. He was one of the titans of the genre, leading the charge for musicians of the time, and inspiring artists of the future. Needless to say, tributes poured out in the last few days. Peter Gabriel wrote that "Keith’s passion for good music, whether it was classical, jazz or rock, was in itself one of the things that led the progressive rock movement."

Adrian Belew, the former King Crimson guitarist who also worked with Frank Zappa, David Bowie, and Talking Heads, commented on how he wanted to get sounds like Emerson's keyboards out of his guitar and went on to say that "had I never heard Keith Emerson playing I might be a different guitarist than I am today. [T]hank you Keith."

Indeed, Greg Lake did say it best in his original statement when he declared that what he "will always remember about Keith Emerson was his remarkable talent as a musician and composer and his gift and passion to entertain. Music was his life and despite some of the difficulties he encountered I am sure that the music he created will live on forever."

Hear, Hear.