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Track List
01) Promenade
02) The Gnome
03) Promenade
04) The Sage
05) The Old Castle
06) Blues Variation
07) Promenade
08) The Hut of Baba Yaga
09) The Curse of Baba Yaga
10) The Hut of Baba Yaga
11) The Great Gates of Kiev / Nutrocker
01) Promenade
02) The Gnome
03) Promenade
04) The Sage
05) The Old Castle
06) Blues Variation
07) Promenade
08) The Hut of Baba Yaga
09) The Curse of Baba Yaga
10) The Hut of Baba Yaga
11) The Great Gates of Kiev / Nutrocker
2:46
5:40
1:24
5:06
4:27
6:02
1:30
1:16
4:58
1:11
11:00
Data Complete
70%
Total Rating
70%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1971
Progressive Rock
High
Rock/Pop
---
Medium
Live
0 copies
Album Description
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One of the seminal documents of the progressive rock era, a record that made its way into the collections of millions of high-school kids who never heard of Modest Mussorgsky and knew nothing of Russia's Nationalist "Five." It does some violence to Mussorgsky, but Pictures at an Exhibition is also the most energetic and well-realized live release in Emerson, Lake & Palmer's catalog, and it makes a fairly compelling case for adapting classical pieces in this way. At the time, it introduced "classical rock" to millions of listeners, including the classical community, most of whose members regarded this record as something akin to an armed assault. The early-'70s live sound is a little crude by today's standards, but the tightness of the playing (Carl Palmer is especially good) makes up for any sonic inadequacies. Keith Emerson is the dominant musical personality here, but Greg Lake and Palmer get the spotlight enough to prevent it from being a pure keyboard showcase.
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One of the seminal documents of the progressive rock era, a record that made its way into the collections of millions of high-school kids who never heard of Modest Mussorgsky and knew nothing of Russia's Nationalist "Five." It does some violence to Mussorgsky, but Pictures at an Exhibition is also the most energetic and well-realized live release in Emerson, Lake & Palmer's catalog, and it makes a fairly compelling case for adapting classical pieces in this way. At the time, it introduced "classical rock" to millions of listeners, including the classical community, most of whose members regarded this record as something akin to an armed assault. The early-'70s live sound is a little crude by today's standards, but the tightness of the playing (Carl Palmer is especially good) makes up for any sonic inadequacies. Keith Emerson is the dominant musical personality here, but Greg Lake and Palmer get the spotlight enough to prevent it from being a pure keyboard showcase.
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