Keith Emerson
Honky

After a long career as a leading figure in the '60s and '70s - it almost goes without saying, but repetita iuvant - first with The Nice and then with the unforgettable ELP, after the decline of the latter, who fell from grace several years ago due to drugs and a general crisis of inspiration, Keith Emerson, perhaps the greatest keyboardist in the history of rock and beyond, turned to producing soundtracks. Starting with a film by Dario Argento: in 1980, he created "Inferno," the soundtrack for the film of the same name. In 1981, coinciding with the release of Lake's first solo work and the formation of the new band Asia, which included Palmer (who many had already written off as "drowned in the Lake and never Emerson again," okay, sorry for the very old joke), he released "Honky."

In this work, initially released only in Italy and then later elsewhere, Emerson showcases his more carefree, improvisational, honky-tonk side, which we had already glimpsed in tracks like "The Sheriff", "Benny The Bouncer", "Jeremy Bender", and especially "Honky Tonk Train Blues". He probably felt the need to do something more relaxed after a still heavy work like "Inferno," and this is evident from the cover. Therefore, he sets aside the sophistication, complexity, sonic exploration, to bring out his facetious side and, probably, more fun and amusing tracks, in a style that spans fusion, honky tonk, blues, and jazz.

The first three tracks ("Hello Sailor Intro", "Bach Before The Mast", "Hello Sailor Finale") are remarkable and can be seen as a mini-suite, with its heart being the reproduction and then fusion-style reinterpretation of the George Malcolm track, "Bach Before The Mast", which is itself a reinterpretation of the folk theme "Sailor's Hornpipe" - hence the title "Hello Sailor" - in Bach's style.

The rest of the album focuses on witty, cheerful themes and improvisational plays, aided by a variety of instruments, including small percussions and winds.

A very pleasant listen, recommended, the work of a great artist, with hints here and there that still echo and propose an unparalleled virtuosity. Of course, from Emerson, we are used to expecting more.