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Keyboard legend Keith Emerson is one of the most important figures to emerge from the thriving rock scene of the sixties and seventies. Fusing rock ‘n’ roll with classical, jazz, and world music, he has set a standard by which others are judged. With Greg Lake and Carl Palmer, he formed the hugely successful Emerson, Lake and Palmer, who, between 1970 and 1977, released six platinum albums. Now in this insightful and irreverent memoir, Emerson tells uproarious tales of life on the road, tales of the high lifestyle that goes with being a rock star, and of course, tales of the outrageous, barrier-shattering music he produced.
- Sales Rank: #1530685 in Books
- Brand: Brand: John Blake
- Published on: 2004-01-01
- Original language: English
- Number of items: 1
- Dimensions: .90" h x 5.08" w x 7.82" l, .50 pounds
- Binding: Paperback
- 336 pages
- Used Book in Good Condition
From Publishers Weekly
One expects a rock n’ roll memoir to be full of sound and fury, signifying nothing if not the inflamed passions, tortured egos, precipitous climb and calamitous descent of its subjects. Emerson, composer and keyboardist for the Nice and, later, Emerson, Lake & Palmer, gives readers all this: from flag-burnings to overeager groupies, from musical mishaps to drunken, drug-addled excesses, as well as a host of backstage celebrity interactions. (Mick Jagger, Jimi Hendrix, Rod Stewart and a wonderfully catty portrait of Leonard Bernstein as a supercilious old perv are just a few that dot the book’s landscape.) Wildly theatrical onstage, Emerson played Norman Bates to his organs and keyboards, hacking away at them with knives and swords, often leaving them ruined and smoldering in his wake. The problem is that, as narrator to his own life, Emerson seems too, well, nice to rev the engine needed to drive such a book properly. He pulls back when he should barrel full-speed, and his writing lacks the killer incisiveness of his keyboard play. Slow to start, often clumsily overwritten and self-serving, Emerson’s memoir shows little sense of the narrative arc of the author’s life, and so the book trudges on in a litany of events, happenings and episodes that ultimately don’t add up to more than a series of pictures at an exhibition. Emerson seems too self-absorbed to be an acute observer of others, neither does he appear reflective enough to cast light on the shadows of his own life. Fans of Emerson’s bands will relish the scenester details anyway, but others may find themselves wishing he could write with the same brilliant abandon that he applied to his music.
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Review
“Unputdownable! A hysterical, intriguing, and important musical memoir.” -- The Sunday Times
From the Publisher
Keyboard legend Keith Emerson is one of the most important figures to emerge from the thriving rock scene of the sixties and seventies. Fusing rock ‘n’ roll with classical, jazz, and world music, he has set a standard by which others are judged. With Greg Lake and Carl Palmer, he formed the hugely successful Emerson, Lake and Palmer, who, between 1970 and 1977, released six platinum albums. Now, in this insightful and irreverent memoir, Emerson tells uproarious tales of life on the road; tales of the high lifestyle that goes with being a rock star; and, of course, tales of the outrageous, barrier–shattering music he produced. Keith Emerson is now a Hollywood film composer.
Most helpful customer reviews
38 of 43 people found the following review helpful.
Title Says It All
By Mark D Burgh
Like the other reviewers here, I was and am a big ELP fan. As soon I heard Keith Emerson's playing, I was dumb-struck by his virtuosity and musical vision, one that, alas, did not play out too well over the years. I eagerly awaited this book, mainly because I wanted to hear what Keith Emerson had to say about his music.
There's a scene in "Spinal Tap" when David St. Hubbins is playing a beautiful piano piece and Rob Reiner asks him what the music is called . St. Hubbins replies "Lift my Love Pump." Well, I think that might sum up this book, and I can't say I wasn't warned by the title.
There are virtues here, however. Emerson has a breezy, conversational writing style that goes down easy, and he doesn't write a self-serving book in the least. The first part of the book, from his childhood to his breaking up the Nice is the best part, funny, and heartwarming. It struck me how much Emerson loved Lee Jackson and Brian Davidson, and the affection for his once and future bandmates mixed well with the stories. I often found myself laughing out loud.
The ELP and after sections are troubled. It's clear Emerson never liked Lake, and had a brotherly and patronizing attitude towards Palmer. But love between bandmates doesn't necessarily make great music, however, after reading this book and listening to the ELP oveure, I finally sensed the coldness that so many critics complained about.
The descent into drugs, the sadness of an abortion caused by miscommunication, the wrecking of Emerson's hand and the subsequent operations all make the second half of the book more than a bit sad. Emerson might have toned his words for this part of the book, but it continues in a breakneck and breezy manner, giving the impression (false I'm sure) that Emerson didn't care about these things.
My biggest complaint, however, is that he hardly discusses the music at all. I would have put up with hijinx and lines of coke with Bonzo better if he had talked about composing Tarkus more.
Still, for a proghead and synthfool like me, Pics of Ex is worth reading, even if the God of the Moog diminishes himself.
19 of 21 people found the following review helpful.
Two Thumb's Up!
By Doug Lundquist
Ok, so Keith Emerson is not the most highly polished writer in the cosmic universe. And sure, there are parts of his story which are sewn together rather disjointedly. Looking at it overall it seemed to me there were days where he wrote brilliantly and days where the results were average. I'm certainly no authority but I'm of the opinion if he could have gone back and revised the writing from those average days to the polished brilliance found elsewhere the results may have been a best seller. What you get is an honest and open account of one of the music world's great artist and performer's life. I've read other reviews that did not approve of all the road story details this book contains. Not me. When I read a biography about any person from any walk of life I want it all, real, and the way it truly was. Mr. Emerson guides you through it all with a revealing look behind the scenes of his professional and personal life, and yes, there are some interesting, startling, and amusing insights. If you're looking for behind the scenes Emerson, Lake, and Palmer info and dirt there's enough here to satisfy. He raises well found criticisms about Greg Lake's sometimes caustic behavior but then on the other hand he intimates how much of a truly good person Carl Palmer is. He also relates stories that could only originate from one of rock's elite members such as being on tour with Jimi Hendrix, and the Pink Floyd with Syd Barrett, his not so friendly rivalry with the band Yes, or motorcycling with Ringo Starr as a passenger. I am pleased to have read this and recommend you do the same.
11 of 11 people found the following review helpful.
Thoroughly enjoyable and pertinent account of Emerson's rise and heyday
By Stuart
Fans of ELP and Keith Emerson will definitely want to read this. A thoroughly engaging, often hilarious account of Emerson's success story from his humble beginnings, through his struggling years with early bands, on past his first major success with the Nice, beyond his wild days of stardom with ELP, and back to his ironically humble present-day existence as a struggling artist in L.A. I enjoyed hearing about Emerson's personal encounters with Jimi Hendrix, the members of Led Zeppelin, Ian Anderson, and other rock luminaries. Also described by Emerson, and previously unknown to me, is the intense rivalry that existed between a newly established keyboard icon Emerson and up-and-coming British keyboardists Rick Wakeman and Patrick Moraz. I would have also liked to know Emerson's "take" on other notable keyboardists of his era, especially Tony Banks and Elton John, and I would further have been interested in Emerson's reaction to copycat band Triumvirate, who themselves put out amazing music, but whose cuts on the Pompeii album sounded a little too close to "Trilogy," "Third Impression," etc. Quite shocking, too, is the apparent dislike Emerson and Greg Lake had for each other throughout their time working together in ELP. Most interesting is the tidbits concerning some of the songs- how Emerson still cringes when he hears "Lucky Man" because he had played a better solo to the ending in the studio, but it mistakenly didn't get recorded, or how the Nice recorded an initial scratch track of "America" in the studio which was to be built upon, but instead an overzealous manager RELEASED the track to radio and pressed it to vinyl BEFORE the Nice could return for their follow-up studio session! From a literary standpoint, this book sorely lacks an editor; there are places where there is no continuity- Emerson's relationship with his wife and family is interwoven into the Nice and ELP years, but suddenly Emerson is living alone in L.A., with no prior mention of any type of separation from his family; similarly, Pete Sinfield, whose co-writing was integral to ELP throughout their career, isn't even mentioned until near the very end of the book; and there are also occasional grammatical errors, incomplete sentences, etc. However, my 5 star rating is solidly based on content, and this book certainly delivers! If you are an ELP fan like myself, this is a must-read.
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