This powerful and inspiring version of the classic track written by Greg Lake and originally performed by ELP, features Keith Emerson’s son Aaron and a host of rock music luminaries as they pay tribute to the extraordinary talents of the late Keith Emerson.

The idea to record a version of this much-loved song was born out of the friendship between Aaron and LA-based singer songwriter Brett Copeland. Aaron and Copeland used to play together in a band called The Last Drag, who would regularly perform on Sunset Strip at the world-renowned Whisky A Go Go. 

Emerson recalled, “I remember my dad coming to see us play at the Whisky and telling me that he’d played there with The Nice.  He thought it was really cool to see me up there, on stage.  He even became my roadie that night!”  Through Copeland, Aaron was introduced to guitarist Matt Fuller (Puddle of Mud, Bow Wow Wow) and drummer Zac St John (B52’s, Stevie Wonder, Infinity).

As lockdown descended Aaron and Copeland came up with a plan to record a cover of ‘Lucky Man’ and Fuller and St John were quickly recruited.  Chuck Wright (Quiet Riot, Alice Cooper) soon joined the team to contribute bass guitar, each musician recording their parts remotely due to lockdown restrictions.  Further world class musicians contributed to what was developing into an incredible project, including Marc Bonilla (Keith Emerson Band, Glenn Hughes) and Geoff Downes (Asia, Yes, The Buggles, Downes Braide Association). 

The final piece of the jigsaw puzzle came in the form of Nathan James (Inglorious).  Aaron said “Choosing the singer was really hard because, let’s face it, nobody sounds like Greg Lake,  but Nathan has an amazing voice and he brings a different, more rocky vibe to the song.”

However, this version of ‘Lucky Man’ has its crowning glory and the greatest nod to the genius that was Keith Emerson, comes from the performance of his own son Aaron who takes on the unenviable task of the song’s famous Moog solo.

In a final act of remembrance and authenticity, Aaron flew to the Electronic Music Education and Preservation Project (EMEAPP)in Philadelphia, a private museum where Keith Emerson’s famous Moog resides.  With the help of the project’s own Vince Pupilo and Drew Raison, Aaron was able to perform (and have filmed) the ‘Lucky Man’ solo on his father’s own famous synthesiser, beloved by Emerson fans around the world.  “Playing on dad’s Moog is a moment I will never forget.” Aaron commented “I’m very happy to know that my dad’s entire collection is at EMEAPP and is very much looked after.”

The video that accompanies this reworking of the ELP classic was created by multi-award winning composer and cinematographer, Tim Janssens (Ne-Yo, Flo Rida, Nelly Furtado).

The Keith Emerson box set, Variations, has also been released.  A 20 CD deep dive into the creative life of this musical genius. It is the most definitive collection of his work available. Thus, what better way to honour this occasion than the release of his son’s ‘Lucky Man’ video.

You can read more about the Variations collection by clicking here and watch the video here at RAMzine.

 “I’m so thankful to everyone who put in their valuable time to make this song happen.  Everyone put their own vibe into it – and it works,” said Aaron Emerson, contemplating the fact that everyone involved in this project contributed without compensation, acting purely out of love and respect for his father.

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“Keith Emerson invented progressive rock.  I know because I was there at the time.” Lee Jackson (The Nice, Jackson Heights, Refugee), Emerson’s long-time friend and one-time bandmate in The Nice, once told Prog Magazine. 

Revered as a genius by both fans and fellow musicians alike, performing in such bands as  Emerson Lake & Palmer, The Nice and 3, he is considered one of the greatest keyboard players of all time, this deep dive into the creative life of Emerson is divided into five parts, beginning with his early years in The Nice and Emerson Lake & Palmer. The collection then movies onto Emerson’s solo albums, his soundtracks and collaborations and finally ends with a set of – what’s been described as “stunning – live performances that “present his breath-taking keyboard skills to full effect”.

The collection has been curated with the full involvement and blessing of the Emerson family.  Aaron Emerson, Keith’s son, said “It is with great excitement that we can share all of Dad’s great work, expanding throughout his long career.  I hope it gives you as much joy as it has done for all of us”.

Presented in a special 10 x 10 inch box, the 20 CDs are accompanied by sleeve notes written by Jerry Ewing, Editor of Prog Magazine.  Ewing casts a magnifying glass over the immense Emerson catalogue and speaks with many of his collaborators to deliver a fascinating history of the man behind the keyboard. 

Also included is a 48-page book containing many never-before-seen photos taken directly from the Emerson family archive.

All 20 CDs have been mastered by renowned engineer Andy Pearce.  The collection also contains a previously unreleased show from BB Kings in 2004.

You can watch a preview video about the collection here at RAMzine, with the actual CDs encompassing the following subject matters: Part One: The Early Years/The Bands, Part Two: The Solo Albums, Part Three: The Soundtracks,Part Four: Collaborations andPart Five: Live/collaborations.

Keith Emerson: Variations 20 CD box set can be pre-ordered now from Cherry Red Records and Burning Shed.

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An extrovert, if not show-off to the outside looking in. Very possibly so, but as this book captures well, there were very many other sides to the man.

Ostensibly credited to respected veteran music journalist and author Chris Welch, it in fact takes the modern rock biography approach of great snippets of quotes from those who knew or admired the musician.  To this, Welch couches a largely historical format into edited narrative informing us of Emerson’s life, onstage and off, and via that involvement of others not just shared war stories to be laughed along to but how his touched their own.

Using classically established musical terminology as chapter headings (and explaining just what those terms mean in subheading) suits the book mostly, though once were engaged as readers such nuances matters little, albeit they’re a conscious decision to be in keeping with the keyboard maestro’s status. Highbrow perhaps, but then one of the things we find through this whistle-stop journey of Emerson’s life is that he struggled with not always being fully accepted as a musician and even more so as a composer, despite many testimonials from the classical, jazz and film world stating for the record otherwise both to him personally within passages of the book.

The use of the word “Illustrated” in the book’s title infers it might be more picture postcard photography filler alongside a few quotes from surviving band members and relatives. Fortunately, such a disservice is not in evidence here. Yes, there are certain publicity, weekly music paper and magazine photos you’ll have seen previously, but the bulk are otherwise, from the candid to lowkey family gatherings, moments caught off guard and beyond. Of two Emerson, Lake & Palmer related matters that really stuck out for me, the one was purely visual – The modern viewpoint expressed tends to be that the three involved were exceptional musicians who gathered to create music, it was formal, more business-like due to professional circumstances rather than social beings collectively, and yet I’m reminded of a comment Roger Daltrey made concerning The Who, where, to paraphrase, he queried why that band had a reputation for always arguing when so many photos showed the four of them smiling. So too with ELP. I guess the problem too often is arguments and bad times kindle our mind more so than the good times that should. If so, look at the upturned lips of progressive rock’s premier trio on the many photos gathered here they tell a story the principal partners possibly couldn’t articulate verbally as time moved on.

Elsewhere you’ll find Emerson in action, and also that age took a long time to catch up on his face or round the midriff. Inevitably the photos of a short blond-haired lad are produced early, and a mostly happy childhood it was we find, with valuable contributions offered by a close female cousin. That he loved his own children, and doted on grandchildren self-evident also visually, though his nagging concerns of not being there for his sons when long tours beckoned is also noted by the now grown men, who seemed to understand, if only in mature hindsight.

How this hefty collection compares to Keith Emerson’s own autobiography, Pictures Of An Exhibitionist, I’ll leave for others to comment on, though it’s now likely to be on my own Christmas wish list. Rather let’s outline the obvious in that the story begins with the young Keith’s birth, his mutual interests in music, photography, and to some degree sports (this more outgoing aspect of his personality would continue in latter-life, with such adventure sports as skiing), close family associations and certain friends who remained through much of his life.

With his childhood established, and no boogie men fingered ready to be prepare us for Freudian pop psychology further down the line, things move briskly with him joining assorted early bands, most pivotally when he played with The V.I.P.s – But a brief time in his extensive career, but I remain intrigued by this period, for that band became the more established Spooky Tooth, with various members splintering off to join bands of all genres. From there we move to the formation of P.P. Arnold’s backing band, and in its turn The Nice, where it can be argued the psychedelic soul and underground political leanings that are usually attributed to being developments and contributing factors in creative the progressive rock scene, took second place to the influence of European classical music. Of course, such factors are all well-established, but bass player Lee Jackson’s comments round things out more suitably.

The stage now set, lengthy entries on Keith Emerson, Greg Lake and Carl Palmer’s coming together, conquering all they saw before them, their subsequent freefall from popularity (with the subjects of employing orchestras and the rise of punk given voice), and assorted reunions and rumours of such for all three key members or side projects with one or other joining Emerson, taking a large chunk thereafter.

Between The Nice and ELP, there is much input from Emerson’s first wife. If there is a gap in the historic narrative, and possibly understandably so, it’s that we’re never quite sure when or why the marriage breaks at first, simply picking up on it as a new female character starts to take precedence in relating events. Despite this, and us latterly finding there was some acrimony when the first marriage broke, there is genuine fondness expressed of times spent together before the marriage went sour and as the world opened up with all the financial rewards that it offered. Business managers, personal assistants and similar also offer input into Emerson’s personality here, generally he’s easy to get along with, but two factors come to the fore: that he suffered from stage-fright, an obvious, and the mental strain of psyching himself up was possibly unleashed in his exuberant actual performances once standing beside his mad scientist potpourri of keyboards (Led Zeppelin’s John Bonham, a legendary rock madman, himself admitted to often vomiting before being able to go on stage). More than nerves about performing live, was the fear of not being able to be good enough, and once he’d made his name, living up to his reputation… As time progressed, he would suffer very real problems with his hands, operations did not help. This continuing deterioration of his most precious tools is what persisted in haunting him, and we must assume ultimately drove him to the point of no return.

At one point alcohol is used as a crutch, and friends found in the most unlikely of places. Down the years I’ve read the odd snidey comment about Greg Lake, notably credited in print to Emerson, but it is he who offers Emerson a safe haven from the pressure and despair he’s suffering, the Lake family giving him a place to hide away from it all in their own palatial mansion.

Latterly, we find Emerson living mainly in the USA, writing film music, playing with pick-up all star bands for odd tours but nothing ever very concrete. Not until he began re-establishing himself on British shores, reforming The Nice, and latterly ELP, and solo, all while giving what appeared much happy talk in magazine interviews. Alas, we all put on a face.

While there’s a sad tragic end to this story, it doesn’t mean it’s a depressing read, far from it and among the laughs to be had you can be assured that Rick Wakeman doesn’t let the reader down.

Likewise, many are the anecdotes from comedians and cousins alike of Emerson vanishing from a party or waking up in the middle of the night, lost in thought composing and in need of a piano to express himself. That many of those unrecorded pieces were written down, and might one day be heard on whatever future recording devices the world has, played by his talented grandson is something fans might want to say a little prayer for.

That one of the latter chapters is given over to his actual keyboards may be a little dry for some but it’s not overly long, with people explaining details about them, and sundry photos for the keyboard fetishist, while it’s duly noted the family has donated them to museums is only right.

The faults are few here. It doesn’t cover over many cracks, albeit you go in knowing this is intended to celebrate not be a hatchet job. It’s one of the best designed rock books I’ve seen in a very long time, no make that one of the best designed books of any kind I’ve seen in a long time. It’s a coffee table book because you not only want to show it off (great pics and all) but because you want to share assorted yarns from it with friends.

Strangely, while I’m listening to ELP’s Trilogy album as I type these final comments, what was foremost on my mind while reading this book was Emerson’s live appearance on Oscar Peterson Invites a show that appeared on ITV on Sundays; the pair sat at grand pianos facing each other playing some super cool jazz. My late father-in-law was a semi-pro jazz keyboard player, Peterson being his major influence, and if that made me think of him too, that’s just another good thing I got out of this book.

Keith Emerson: The Official Illustrated Story by Chris Welch is available to purchase by clicking here.

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This 5 CD deluxe clamshell box set features the 2CD live recording Fantasia, Live In Tokyo together with the three reunion studio albums Phoenix, Omega and XXX.

Moving beyond their progressive roots, Asia embraced the commercial FM rock sound that dominated US airwaves and took that, and the new MTV video channel, by storm with their eponymous debut album, globally the biggest-selling album of 1982. The single ‘Heat Of The Moment’, a huge soft-rock anthem, reached the top 40 in over a dozen markets, peaking in the U.S.A. at #4 on the Billboard Hot 100 and #1 on the Billboard Mainstream Rock chart.

A second platinum selling album, Alpha, was released in 1983, followed by a series of shifting line-ups down the years. Then, the four original members of Asia – lead vocalist and bass player John Wetton (King Crimson, Roxy Music), guitarist Steve Howe (Yes), drummer Carl Palmer (Emerson, Lake & Palmer) and keyboard player Geoff Downes (The Buggles, Yes), reunited to celebrate their 25^th anniversary in 2006 and 2007 with a world tour.

A live album from the tour, Fantasia, Live In Tokyo, was released in 2007 as they returned to the studio together for the first time in a quarter of a century. While the members were still heavily involved in other projects, the reunion would yield three albums; Phoenix (2008), Omega (2010) together with XXX (2012) as they celebrated their 30^th anniversary. Albums acclaimed by their faithful fans and supported by more world tours.

Of these later albums Palmer said, “The chemistry and energy that comes out when the four of us are working together, is reflected in the new material.”  For his part, Wetton marveled at how far the band had come. “Each one of us is comfortable as a human being, and the sound reflects the collective maturity of these four people who are not only eager to explore but also relaxed enough to luxuriate in the strength of the material.”

Steve Howe stepped back from Asia to concentrate on his work with Yes and he was replaced by Sam Coulson for 2014’s Gravitas. Following this tour came the news of John Wetton’s treatment for cancer, a fight he sadly lost in 2017, just before Asia started an arena tour with Journey, a tour that became a tribute to his life and legacy.  Wetton had requested that Billy Sherwood (Yes) replace him on bass and vocals.  Asia supported Yes’s 2019 US Royal Affair Tour with Ron ‘Bumblefoot’ Thal (Guns N’ Roses) on guitar and vocal duties.   Steve Howe also returned as special guest.

In 2021 Asia signed a deal with BMG to rerelease their reunion albums, along with Gravitas (with Sam Coulson), to celebrate the band’s 40^th anniversary in 2022. They also plan to release a box-set Asia In Asia, of the first simulcast from 1983, with Greg Lake temporarily replacing John Wetton.

This new boxset brings together, these records together in one concise collection:

Fantasia, Live In Tokyo, the 2CD live show from their 2007 World Tour, features many of the tracks from their first two albums Asia (1982) and Alpha (1983) and includes ‘Heat Of The Moment’ and ‘Don’t Cry’ together with heritage tracks from each of the band member’s musical history. The band also performed live, for the first time, an acoustic version of ‘Ride Easy’, a B-side from the debut single ‘Heat Of The Moment’. While the three reunion studio albums – Phoenix, Omega and XXX – allowed the band to explore fully their rock and progressive roots.

These albums are presented together in a superb collector’s edition boxset designed by Roger Dean, who produced all of the original albums’ artwork. The boxset cover image was previously unused and the Fantasia sleeve design has been updated by Roger.  

You can porder Asia The Reunion Albums: 2007 – 2012 by clicking here and watch the unveiling of the box on the short video featured here.

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Now, by popular demand, the concert will also be available in both a DVD Digipak format and also in a Blu-Ray Hi-Def downloadable version, playable on any device, both accompanied by a bonus audio version of the concert.

The Keith Emerson Estate in partnership with Cherry Red Records will release the three-disc set on 11^th March 2021 (the fifth anniversary of the iconic progressive rock keyboard player and composer’s passing.

The 2½  hour concert film features many stellar performances by over two dozen prominent artists in rock, jazz and classical music as well as artist interviews, behind- the-scenes footage, tribute speeches, and a gallery of personal never-before-seen photos from the Emerson estate.

Among those performers present for the 2016 tribute show in Los Angeles, were Brian Auger, Eddie Jobson, Jordan Rudess, Steve Lukather, Steve Porcaro, Jeff ‘Skunk’ Baxter, Vinnie Colaiuta, Marc Bonilla, Gregg Bissonnette, CJ Vanston, Troy Luccketta, Rachel Flowers, Terje Mikkelsen, Philippe Saisse, Joe Travers, Travis Davis, Ed Roth, Jonathan Sindelman, Mike Wallace, Mick Mahan, Karma Auger, Rick Livingstone, Kae Matsumoto, Aaron Emerson, Dan Lutz, and Michael Fitzpatrick.

A once-in-a-lifetime line-up of musical luminaries they performed music from Emerson, Lake & Palmer, The Nice, Emerson, Lake & Powell, The Keith Emerson Band and the Three Fates Project.

This highly-anticipated concert captures the essence of what made Keith Emerson a pioneer of progressive rock, a treasure among his many fans and friends, and a legendary keyboardist and composer with the iconic supergroup Emerson, Lake & Palmer.

“It was a great honour to be asked to play in tribute to not only a friend but a musical giant and hero to us all, said Toto guitarist Steve Lukather. “I hope he smiles from heaven knowing the spirit this was done in. So many unreal musicians and thanks to Marc (Bonilla) for putting it all together like that!  RIP Keith. You are so missed”

“Performing ‘Tarkus’ at the Keith Emerson Tribute event was incredibly meaningful. It was truly an amazing night. Having the opportunity to pay my respects to the man who changed my life by playing my favourite piece of music with incredible musicians, made it a memory that will never be forgotten. I’m so thrilled that this incredible evening of music is now going to be shared with the world,” said Jordan Rudess of Dream Theater.

‘It’s difficult to express what an honour it was to participate in this tribute to Keith. Surrounded by friends and heroes, it was such a privilege to be part of a group of musicians who were as affected by Keith’s life, music and friendships I was. Not surprisingly there’s a lot of us. To play Hammond on The Barbarian, the first song I ever saw him play live, is a cherished memory I’ll never forget. Many thanks to Marc and Mari for keeping this idea and dream alive,” said Toto‘s Steve Porcaro.

The official concert roster and song list is as follows: ‘Prelude To A Hope’ (featuring Kae Matsumoto), ‘Karn Evil 9 (1st Impression, pt.2)’ (featuring Jonanthan Sindelman & Gregg Bissonette), ‘The Barbarian’ (featuring Steve Porcaro & Rachel Flowers), ‘Hoedown’ (Ed Roth & Jeff Skunk Baxter), ‘Touch And Go’ (featuring Steve Porcaro), ‘A Place To Hide’ (featuring Ed Roth & Steve Lukather), ‘Tribute To Keith’ (featuring CJ Vanston & Michael Fitzpatrick), ‘The Endless Enigma’ (featuring Rachel Flowers & Troy Luccketta), ‘Take A Pebble’ (featuring CJ Vanston, Travis Davis & Gregg Bissonette), ‘Tank’ (featuring Joe Travers & Brian Auger), ‘Fanfare For The Common Blue Turkey’ (featuring Brian Auger, Karma Auger & Dan Lutz), ‘Ride’ (featuring Aaron Emerson), ‘From The Beginning’ (featuring Philippe Saisse), ‘Bitches Crystal’ (featuring Eddie Jobson), ‘Nutrocker’ (featuring Philippe Saisse), ‘Tarkus’ (featuring Jordan Rudess & Troy Luccketta), ‘Lucky Man’ (featuring Eddie Jobson, Steve Lukather & Rick Livingstone), ‘Great Gates of Kiev’ (featuring Eddie Jobson), ‘Fanfare For The Common Man’ (featuring Eddie Jobson, Steve Lukather & Maestro Terje Mikkelsen), and ‘Are You Ready, Eddy?’ (featuring CJ Vanston & Rick Livingstone).

All proceeds go to the charity The Dystonia Medical Research Foundation, that was close to Keith’s heart. Artists, crew and all involved have donated their skills and time gratis for this worthy cause, that afflicts thousands of musicians annually.

For more information and updates on visit the official Keith Emerson website, Keith Emerson Facebook Page and The Keith Emerson Tribute Concert Facebook Page.

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