Ever wonder what a Hammond organ might sound like plugged into a pile of Marshall guitar amplifiers? Probably not, but Keith Emerson of The Nice did, and thus created a modern and efficient way to peel paint from walls while simultaneously terrorizin… Read more
Ever wonder what a Hammond organ might sound like plugged into a pile of Marshall guitar amplifiers? Probably not, but Keith Emerson of The Nice did, and thus created a modern and efficient way to peel paint from walls while simultaneously terrorizing hippies. Ever the shrewd businessman, Bill Graham was no doubt aware of what a great deal he was getting when he booked the opening act/interior renovation trio.
The Nice were already superstars in their native England due almost entirely to their explosive live performances. You may hear some lingering shreds of the band's genesis as a R&B back-up band in some of their early material, but bassist Lee Jackson's vocals prove once and for all that this is NOT an R&B outfit. No matter, though; the real star is Emerson, who leads his accompanists marauding through musical history.
The foundations for Emerson's future were laid backstage during this run of shows when he met Crimson vocalist/bassist Greg Lake. Lake had recently realized the horrors of being trapped on a tour bus with Robert Fripp in a vast and unfamiliar country and was looking for a way out. Soon, The Nice would be a footnote and Emerson and Lake would team with drummer Carl Palmer to pave the way for crowd pleasers like Yes and Styx, the merit of which depends on your opinion of Moog synthesizers and poetry about fairies and spaceships. But this is your chance to catch Keith Emerson as a fresh and raw talent, still unspoiled by the trappings of international record chart success and fearless in his instrumental exploration.