Trilogy
	Produced by Greg Lake
	Released on July 6, 1972
	UK CHART POSITION #2 . . . US CHART POSITION #5
	Find it at GEMM
SD 19123 cover

T rilogy is a challenge to the status quo of popular music, a confident coronation of majestic tendencies seen on Tarkus and Pictures. Though Peter Sinfield had yet to join, ELP’s lyrical vision is hardly clumsy here, suggesting a literate bravado. This combined with what handily represent the band’s most artful arrangements (“The Sheriff,” “Hoedown”) take the band to a new level. No longer are they flinging arrows at the battlements of mediocrity and fear (as Tarkus did), but on Trilogy the trio has scaled the wall and assumed the mantle of the new musical vanguard that Crimson wore but briefly. On Trilogy, we meet new feats that were later equalled but never bettered: the almost offhand genius of “The Endless Enigma” and “Trilogy,” the compelling tale of “The Sheriff,” a sublime ballad in “From The Beginning,” and the energized interpretation of Aaron Copland’s “Hoedown.” If Trilogy and the subsequent Surgery rank among the trio’s great achievements, it’s no accident. Tarkus took them in a new direction, and their musical styles flourished in this conjoined creative environment. It’s not simply that they complemented one another, but that they drove one another to excellence. Listen to Keith Emerson’s spacey solo on “From The Beginning,” Carl Palmer’s tireless rhythms on “Trilogy,” or Lake’s brave handling of “The Sheriff,” and you’ll hear how each member could push the dialogue past old boundaries. Though it proved to be an unsustainable level of activity, Trilogy remains one of ELP’s finest achievements, and thus one of the great records in the annals of progressive rock. It’s amazing to think that listeners would soon dismiss this music in favor of punk, when the same revolutionary sentiments are at work in each. Of course, prog (at its best) required superlative musicianship, while punk crashed down the gates to let anyone in. Both will become blips in the big musical screen with time, but with the distinction that punk coldcocked convention while prog (in the person of works like Trilogy) outdueled it in a swordfight of youthful grace matched with an admirable cunning.

SD 19123 inner gatefold	SD 19123 back cover

TRACK LISTING

1. THE ENDLESS ENIGMA (PART 1)    (Keith Emerson/Greg Lake)    6:37
2. FUGUE    (Keith Emerson)    1:57
3. THE ENDLESS ENIGMA (PART 2)    (Keith Emerson/Greg Lake)    2:00
4. FROM THE BEGINNING    (Greg Lake)    4:14
5. THE SHERIFF    (Keith Emerson/Greg Lake)    3:22
6. HOEDOWN    (Aaron Copland)    3:48
7. TRILOGY    (Keith Emerson/Greg Lake)    8:54
8. LIVING SIN    (Keith Emerson/Greg Lake/Carl Palmer)    3:11
9. ABADDON'S BOLERO    (Keith Emerson)    8:13
   
   CD reissue bonus track
   
10. HOEDOWN (LIVE)
    
    Arranged by Emerson, Lake & Palmer

CREDITS

KEITH EMERSON -- Hammond organ C3, Steinway piano, zoukra, Moog synthesizer III C, Mini Moog model D
GREG LAKE -- vocals, bass, acoustic & electric guitars, lyrics
CARL PALMER -- percussion
Eddie Offord -- production engineer
Hipgnosis -- cover design & photography
Phil Crennell -- tinting

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