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      Chapter

      A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake and Palmer's "Trilogy"
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      Chapter

      A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake and Palmer's "Trilogy"

      DOI link for A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake and Palmer's "Trilogy"

      A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake and Palmer's "Trilogy" book

      A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake and Palmer's "Trilogy"

      DOI link for A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake and Palmer's "Trilogy"

      A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake and Palmer's "Trilogy" book

      Edited ByKevin Holm-Hudson
      BookProgressive Rock Reconsidered

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      Edition 1st Edition
      First Published 2002
      Imprint Routledge
      Pages 10
      eBook ISBN 9781315054230
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      ABSTRACT

      The British group Emerson Lake and Palmer (ELP)

      became synonymous in the eyes of some critics with the

      worst excesses of progressive rock.1 As only one example

      of their tendency toward grandiose presentation, their

      1973-74 world tour involved 36 tons of equipment

      (including a quadraphonic sound system and lasers),2

      which led critic Lester Bangs to brand them as "war crim-

      inals" committing "energy atrocities" at the height of the

      energy crisis.3 Keyboard player Keith Emerson's solos

      (which often emphasized virtuosity at the expense of

      restraint) attracted the most criticism, as well as the

      group's overly precious "arrangements" of classical reper-

      toire such as Modest Mussorgsky's Pictures at an Exhibi-

      tion. However, few critics have discussed ELP's original

      songs, the bulk of their recorded output.

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