Honky Tonk Train Blues (Keith Emerson, 1976)

I know "Honky Tonk Train Blues" isn't properly a prog rock track, being a boogie-woogie classic by Meade Lux Lewis from the roaring Twenties, but, you know, Mr. Emerson could turn everything into progressive music. His version of this piano standard is simply stunning, full of energy and musical colours. Released as a single in 1976, and later included in ELP's "Works - Volume 2", this devilish performance got very popular, especially in Italy where it was adopted as the theme song of a TV show.

This 7" single also included "Barrelhouse Shake-Down".

Sweat and enthusiasm: those are the keywords not only for this sparkling cover, but for the whole career of Keith, one of the most charismatic musicians ever. Back to "Honky Tonk", it proves how diversified and unpredictable can be the sources feeding a progressive rock keyboardist and how joyful and eclectic Keith Emerson's talents were. That's why changed in a way the musical world.

Mater Tenebrarum (Keith Emerson, 1980)

This is a short track taken from the original soundtrack Keith wrote for "Inferno", a movie by Dario Argento, the famous Italian director, the same of "Profondo Rosso" and "Suspiria". Being an O.S.T., this music should be considered as a companion to the scenes it depicts, but I think this song is a little and underrated jewel. Its recipe is not new: put together a rock rythm section and a classical ensemble and stir the mixture till you have a stretchy dough.

Just a little worrying this cover, isnt'it...?

The problem is that such a recipe often gives tasteless dishes. This is not the case with "Mater Tenebrarum" and this for three many reasons - plus one - IMHO: a)  the rythm is pressing and effective; b) the classical ensemble is'nt an orchestra (most usual choice in the late '70s) but a choir performing a strange and eerie chant; c) the keyboards are strong and measured, the perfect glue welding the rythm section and the choir.  The "plus" is also very important: under the frightening and lavish surface of the song there's a pinch of irony, a winning ingredient, believe me.