Keith Emerson’s disastrous karaoke incident

Keith Emerson, the legendary keyboardist, had a remarkable career filled with encounters with diverse figures ranging from the “strange” Dario Argento to Motörhead’s Lemmy.

Known primarily in prog circles as a member of The Nice and Emerson, Lake & Palmer (ELP), Keith Emerson established himself as a musical pioneer. He was also one of the most flamboyant characters in rock music, captivating audiences with his knife-stabbing antics on the keyboard and performing suspended in mid-air.

In 2015, a year before his passing, Keith Emerson spoke to Prog magazine about his life and experiences.

ELP made their official live debut at the Isle of Wight Festival in 1970. What do you remember about that concert?

Well, I know that nobody had high expectations for us. We had a warm-up gig in Plymouth, but even then, performing at the festival felt like diving into the unknown. Surprisingly, we received a decent reaction, to the extent that the camera crew, who initially overlooked us, suddenly wanted footage of the band. There is still a lot of that unseen footage.

There’s a great story that you wanted Jimi Hendrix to join ELP. Is that true?

Ha, no. This was a myth created by the music press when we started gaining recognition. They found the idea of a band called HELP amusing. I had previously toured with Hendrix, so that might be where the story originated. But by then, I had had enough of working with guitarists!

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Speaking of Hendrix, you and he did have something in common: Lemmy served as a roadie for both of you. He played a crucial role in developing your knife act on the keyboards, didn’t he?

Ah, Lemmy, yes. I had already begun stabbing knives into my keys, which I found enhanced the sustain. However, those were small kitchen knives. One day, Lemmy came to me and said, “If you’re going to put knives into the keyboards, you have to do it properly.” He gave me some German army knives he had, which were much larger. They certainly attracted a lot more attention!

Keith Emerson’s disastrous karaoke incident

Greg Lake wasn’t the first choice for bassist in ELP, was he?

No, I wanted Chris Squire, but he was too busy at the time. Carl Palmer always told me I should have gone for John Wetton…

Unlike some of your keyboard contemporaries, you never attended music college, did you?

No, I would say I’m self-taught. However, I had three piano teachers when my family lived in Sussex. I started taking lessons at the age of three. Carol Smith, one of my teachers, once said that I was a very quiet boy and she couldn’t understand how I became a wild lunatic!

You were a quiet child?

I was very studious at school and kept a low profile. I didn’t know what to do with women until I was 22 – after that, there was no holding me back! But I was a very serious child. I used to walk around with Beethoven sonatas under my arm. However, I was also good at avoiding bullies. That was because I could play Jerry Lee Lewis and Little Richard songs. They thought I was kind of cool and left me alone.

Do you consider yourself an artist or an entertainer?

First and foremost, I’m a composer. When I think of entertainers in music, I think of people like David Bowie, who created characters on stage. I was nothing like that. If I had to choose between artistry and entertainment, I would lean towards the former. But I would prefer to be recognized as a composer above all else.

However, you did become a showman, and that has certainly shaped your career.

Well, when you’re confined behind a keyboard, you have to do something to draw attention to yourself.

Like your flying piano?

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Yes! Being able to play while suspended in mid-air made me the center of attention. And I have to admit, I loved it. It was an exhilarating experience. Dave Brubeck, the pianist who is one of my heroes, was curious about how it was done. I met him many times, but when he finally asked me about the flying piano, he was close to 90. I told Dave that he shouldn’t even consider attempting it at his age!

It was a risky endeavor at the time, wasn’t it?

Oh yes, but I have always enjoyed challenging myself by doing things others would consider “dangerous.” When you’re up in the air sitting at a piano, it’s more exciting than frightening.

Keith Emerson’s disastrous karaoke incident

Do you ever think about death?

Not really. However, when a close friend passes away, as happened recently with Chris Squire, it does make you realize that every second of your life should count.

Did you ever contemplate giving up the keyboard and taking up the guitar?

Actually, I went through that phase. At one point, I believed I would have a better chance of making it in a band if I played the guitar. My father, who was an amateur musician himself, got me a guitar, and I spent eight months trying to become proficient. But it was hopeless. I could never rival Jeff Beck!

Do you have a talent for singing?

You must be joking. Recently, my girlfriend convinced me, against my better judgment, to go to a karaoke club with her in California. It was a disaster. I looked at the song list, and there was “Karn Evil.” So, I decided to give it a try. However, as the lyrics scrolled up, they had been altered. A couple of lines that the club deemed offensive had been removed. Anyway, I managed to stumble through the song.

As I left the stage, some guy who obviously didn’t recognize me said, “You just ruined a classic song.” But another person replied, “He’s allowed to. He wrote the fucking song!” It made me appreciate what Greg Lake had to endure all those years.

It has often been said that the three of you in ELP never got along.

I consider the three of us to have a similar relationship to Roger Daltrey and Pete Townshend in The Who. There was antagonism between us. However, when you spend ten weeks on the road together, as we often did, you inevitably become tired of each other’s presence. This wasn’t unique to ELP – it applies to any band.

But did this affect your live performances as a band?

Never. I can honestly say that we were always professional. Once we stepped onto that stage, any issues between us vanished. All we wanted to do was give our best for the fans.

Your first movie soundtrack was for “Inferno,” a Dario Argento horror film. Did you specifically want to get involved in horror?

After ELP released “Works Volume 1,” I told our manager, Stewart Young, that I really wanted to compose a film soundtrack. I didn’t care much about the genre – I simply craved a new challenge. Around that time, Stewart had been in talks with Dario Argento, and he suggested that I score Argento’s next movie. Argento liked the idea, so I flew to Rome to meet him.

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How did your collaboration with him go?

He was a bit peculiar, but perhaps that was to be expected given his previous films. He gave me the script, which was difficult to follow. It seemed to revolve around witches and a house within a house. However, there was one scene that grabbed my attention. It involved a man who despised cats. He would stuff a bag full of cats and take them to the river to drown them. As he poked the cats into the water with his stick, a swarm of rats would pour out and devour him. I thought that was fantastic!

What was your reaction when you saw the finished film?

I watched it at the premiere in Rome, and it caused quite a sensation. Many people were screaming in terror and leaving the theater. These days, “Inferno” might not elicit much of a reaction, but back in 1980, it made a significant impact. I loved being part of it, and it motivated me to work on many more soundtracks.

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