The Magna Carta label continues their series of "Tribute" projects, most recently with a brand new one titled "Encores, Legends, & Paradox" in honor of Emerson, Lake, and Palmer. Here, project contributor (producer, player, etc..), as well as former Emerson and Palmer bandmate, solo artist, and man of a number of other projects of interest to classic rock fans - discusses the ELP Tribute album, as well as the rest of his career. My thanks to Rodrigo Werneck for his research and contributing many questions, as well as Robert Berry for all his time in answering them!

Q - Is this a project that has been discussed with or endorsed by ELP? Have you spoken with any of them about it?

RB: In the past I was fortunate enough to work with Keith and Carl in 3. At the onset of my doing new arrangements for the ELP tribute I ran into a few snags with the original chord structures and melody lines. I gave Keith a call and begged him for some of his original sheet music and he was more than happy to help me out. This also peaked his interest and he wanted a copy as soon as it was done. I only sent him "Karn Evil #9" because I wanted him to be curious about the rest of the 5 pieces I had produced. He was quite honored that a record company would go through the effort and expense to do such an album.

Q - How did you come about to perform on the tracks you did? Your own choice?

RB: When Magna Carta called me and asked if I would be interested in producing 5 tracks I told them I would if I could choose the ones I wanted. I felt that since I had a connection to them that is was only fitting that I took on the titles that I felt were at the heart of what ELP was. Also I wanted what I considered the hard ones. (good idea until I had to figure them out, hence the call to Keith)

Q - How did the track-listing for this project come about?

RB: Magna Carta did a market survey. I had nothing to do with that although the only thing I would have done different is to do one of Greg's folk tunes and rock it up a bit.

Q - Any comments about some of the other artists on the album? There are a lot of legendary names such as Wetton, Hughes, Banks, Downes......

RB: Well yes. I have worked with these names before but you will notice that none are on my tracks. This was the choice of the heads of Magna Carta. Although I had suggested some of these names none were steered my way. I do feel fortunate to have Jordan Rudus. His work blew me away. Simon Phillips also played some incredible stuff. A true professional. Mark Bonia? wow! - 16 tracks of guitar. All played beautifully with no clutter to the end result. I must say that the musicians I worked with all treated this like a labor of love. They did it because they were influenced by ELP. They put their heart and soul into it and I think it shows. Nobody treated it like just another session.

Q - How do you approach such recordings - be it staying true to the original ELP version, yet still making your own interpretations??

RB: The first thing I do is find the parts that I personally like the best and the parts I think are fluff. Then I think of how to toughen up the groove. Within this frame work I always keep in mind what I liked about the bands sound and if I was in the original band how would I do things differently today. After that I just do what I damn well please. I love this progressive stuff and I think I have a feel for the old and new mixed together.

Q - How well do these tribute projects usually sell?

RB: That is not my end of things. But I know the Yes tribute I did "Roundabout" on is still selling. And the Rush tribute that I did The Mission with Eric Martin on, did quite well.

Q- Any other bands you'd like to see given tribute to - that you'd like to be part of?

RB: I believe the Beatles was the first prog band. I would like to see a tribute album done on them but the instructions would be to do it as if Pink Floyd, Yes, and Queen were putting their styles into it. Does that sound odd? Progressive with orchestrated class.

Q- That'd be interesting!!

RB: Hope that means you think it is a good idea!?

Q - Were you a fan of ELP before "Three"?

RB: I must admit that I was a big fan of Yes. I also was into Genesis quite heavy. ELP was hard stuff. My band 'Hush' played the easier ELP songs - "Fanfare", "Lucky Man", "Hoedown". But I was a huge admirer of Mr. Emerson.

Q - I notice the absence of "Lucky Man" on the track listing. Any reason this was omitted, as it was the band's biggest hit single?

RB: Magna Carta wanted this to be a players album. I would have loved to mess that song up a bit.

Q - How well do you think the music of ELP - in original form and as covered on this tribute project, stands up in the '90s?

RB: Part A--- I think because of the organ sound of the earlier stuff the sound does not hold up to the test of time like other prog music. But the playing is far superior to anything then or since. I would hope that the style I did my tracks in bridges the gap between now and then. I did no sequencing. This is real playing with new sounds on most pieces. The groove is strong and the sound is powerful. From there you would have to be the judge of how it stands up. And actually I would love to hear from your readers what they think. Positive or negative I love to hear how prog fans listen.

Q - How did you join Emerson and Palmer in the late 80's? Who approached who?

RB: Carl had approached me at Geffen records when John Wetton left Asia. We actually tried to get a few bands together before I joined GTR and then a year later 3.

Q- Did you rehearse as part of Asia?

RB: No I did not rehearse with Asia. Although I worked with most of them. Geoff, Steve and Carl in 87' - 88'. I later worked with John Wetton on the Jethro Tull tribute. There was one occasion when I almost did an Asia gig at Brian Lane's son's Batmitzva. I was going to play guitar on Heat of the Moment and Geoff had written the chords out for me. We were all ready to go when John Wetton decided he wasn't up to it. The first band Carl and I rehearsed with was Joe Lynn Turner of Rainbow, Alan Greenwood of Foreigner, Carl and myself. Real rockin sound but to much ego in that one.

Q - Was it an easy task to substitute Greg Lake on ELP? Who had the idea of calling the Emerson, Berry & Palmer lineup as "Three"?

RB: From the beginning Keith and Carl did not want to be ELP. We were heading for more of a mixed style like Asia. I was less opposed to doing ELP material on tour. It was part of my heritage (in a cover band) too. I never felt like a substitute for Greg. I wanted a more powerful vocal style and was hoping to get more lyrical ideas like "Des De La Vida" and "Last Ride Into the Sun". (off 'Pilgrimage to a Point')

Q - On the album "...To The Power Of Three", what did you play, besides singing lead vocals? Bass of course, guitar, any additional keyboards?

RB: Funny you should ask. I did a few keyboard parts that even Keith doesn't know about. He thought I played like Tony Banks so I had to sneak some of those frilly parts in.

Q - How was this album composed/recorded? All those songs were recorded for it, or did you come with the songs ready?

RB: Part of the problem with the first 3 album was that Geffen records had already ear marked some of my songs as potential hits. Runaway, Do or Don't, Chains (by Sue Shrifin). They were good songs but wrong for what we were heading for. As you can see from my second efforts for 3 on Pilgrimage I had an idea of where we should be heading.

Q - Why did you choose to record 2 covers on it?

RB: "Eight Miles High" was my idea. I had brought my Rickenbacker 12-string for Steve Howe to check out and I was always playing old Byrds and Beatles songs. I love that riff to 8 Miles and when Carl heard it we sat down and did a rough demo on my 4 track and Keith came over, laid some keys on it and it just seemed to work. That should have been the second single for 3. I think radio would have played that track.

Q - How was the response to the album back then? Was "Talkin' Bout" a real big hit?

RB: "Talkin Bout" got to number 17. That was quite a thrill for me. This is a song I wrote for my wife and I never thought of it as a radio song. Everywhere we toured in the states they were playing it on the radio. There are very few songs that have a keyboard sound that is as powerful as any guitar song they would play around us. That sound kicked all there ! @##$%.

Q - How was the subsequent tour? Did you play a lot of ELP classics?

RB: We started doing a few and wound up doing half the show ELP classics. The rowdiest part of our audience was the old ELP fan. I had no problem wanting to give them what they came for. I feel that they excepted me doing this because I loved the music and gave it a new energy. They could tell I was having a great time.

Q -What else have you done since leaving "Three"?

RB: I have put out the songs I wrote for GTR and 3 on the disc "Pilgrimage". It is still available through mail order at Leonardo Entertainment (contact Robertberry.com) or through Cyclops Records UK. I had a harder rock album called "Takin It Back" out in Germany, and a softer pop album out in South Africa called In "These Eyes". I have also been in a band called 'Alliance' for the last 5 years. This band consists of Gary Pihl of the band Boston on guitar, Alan Fitzgerald from the band Night Ranger and David Lauser drummer for the Sammy Hagar Band. We have a late 70's early 80's Zeppelin meets Foreigner kind of sound. It gives me an outlet for my harder edged stuff.

Q- What style of music? Presumably more rock oriented with that personnel!?

RB: Yes that is a straight rock unit. Kind of like mixing Foreigner, Van Halen and Bad Company together. These guys are all great players. We just do what we like.

Q- When is the new album going to be out?

RB: We are in the studio right now trying to finish the second half of the album. Started end of last year. I'm not sure it will be out until next year but I am trying for a Oct. release. Zero Corp, Japan. Escape Music, UK

Q - How was it that you were called to substitute for Steve Hackett in GTR?

RB: I had the same manager as GTR. Brian Lane had been trying to get Carl and I going and the opportunity came up.

Q - Was it easy to deal with Steve Howe in GTR?

RB: Steve Howe was wonderful to deal with. Some of my favorite songs were written with him. (see Pilgrimage-no one else to blame) We did quite a bit of writing together and I had a definite direction I felt GTR should go in. I felt the first album sounded like a synth (although it was guitar triggered synth stuff) I wanted it to feature Steve's playing heavy. Not a bad idea ehh?????

Q - Why did the band split without recording a new album?

RB: I stayed long enough to demo the band enough songs for a new album and get Arista to give them the budget to record the 2nd album. Everybody but Steve made it very hard for me. (the new guy writing most of the songs with Steve), So I left. I just felt there was something out there that I could be more of an equal member in. I do regret having to leave. That was a great band and I did enjoy my time with Steve Howe. He was a gentleman and a wonderful musician to work with. He plays stuff that you've never heard him do before. Very versatile.

Q - Why have you been so dedicated to all these tribute CD's lately?

RB: Because I've been asked and I always start with the same base. I used to play these songs in 'Hush'. While other bands were bending to the disco craze we played high school and college dances and concerts with prog music. And could draw big crowds.

Q - From all your contributions to these tribute albums, which one were you happiest with? > ELP, Genesis, Yes, Rush, or Jethro Tull?

RB: There is something about each that I like. ELP of course is the way "Karn Evil" came out. That is quite a complicated piece of work. Thank you again Jordan. "Roundabout" is my all time favorite moment. Steve Howe had some very nice things to say about my version. He liked it so much he did the finale' for me. Genesis was a disappointment because Magna Carta cut a piece out that my keyboard player Mike Wible had arranged. But now they have it on the new sampler in it's full form. Check that one out for some tricky weaving. Because of the work I have done with Tempest I have become quite familiar with Celtic rock. The intro I wrote for "Minstriels" is a good launching point for that song. (When I do tributes I never write new stuff. I try to work within the music that has been written by the artist covered. This is my one exception).

Q - What's your favorite solo album, the last one (Pilgrimage To A Point)?

RB: Definitely. (That is not my last one though. Takin it Back was)

Q - How do you define your own songwriting style?

RB: Can't define it. I just want to connect to something personal. An experience I had or something someone else has been through. I have loads of material no one has ever hear. I have a jazz/blues album almost done that has very deep lyrics and I have a ska/polka album that has anything but deep lyrics on it. Even includes accordion. Probably neither of these will ever see the light of day but I feel the need to express myself in different ways. Just because my roots are in progressive rock doesn't stop me from persuing other formats. Most people don't know that I played bass for Sammy Hagar for three years. (3 seems to be my lucky number). That was a real departure in style for me. I learned alot from him. That is the time frame the Takin it Back album came from.

Q - Would you agree that the prog-rock scene is becoming stronger and stronger again, in the 90's?

RB: It depends on what you call prog rock. I see a lot of metal progressive. I consider that complicated metal. Real prog music I think is more like an orchestra. Yes, ELP, Genesis - don't see alot that deep and strong. But yes, Prog rock does have a better foundation now than it has for a long time.

Q - Can you name a few new bands/artists that you appreciate?

RB: I love the band 'Tool'. Very intelligent music. And tough sounding. I like alot of the new female artist lyrically. Alanis is interesting. I think of the 90's music listeners got so tired of rambling male music that it took the females to focus the song back to melody and message. That has been a good thing for the last part of the 90's.

Q -What do you think about the current state of the pop music scene & industry with such things as hip-hop, industrial, alternative being so commercially successful?

RB: I consider alternative to be dead. I think the newest music is kind of pop again. Ska was big but it is starting to go away too. Hip-hop has a great groove. How can you dislike the groove? It's the lyric and none melody that gets a little old. Industrial is tough and I like tough music. It suffers from none melody alot of times also. You see music is like the movies. You can get all the good stuff in a movie without sex and violence if you are a true artist. (not that I don't like sex and violence, but artistically speaking). You can get all the good stuff in a song if you have the talent. No matter if it has a hip hop beat, country twang, industrial sounds ,etc. If it connects to the listener and moves them emotionally, that is the good stuff.

Q - Any artists you would like to work with?

RB: I always mention Jeff Beck. I also think that some day I would hope to do something original with John Wetton. He is a very nice chap and I do admire his song writing style and voice.

Q- Have you discussed doing any work with John?

RB: Not directly. I have with Carl and even with the people at Magna Carta. I am a big believer in timing. The opportunity and material have not been right yet.

Q - A lot of rumors appeared when Greg Lake left ELP again, at the end of last year. Were you called to join Emerson and Palmer again?

RB: No they did not call me. I have talked to the both of them though and nothing is stopping them from moving forward with their careers. I know them well and they have lots of ideas, energy and passion for the music. It is unfortunate that Greg had nothing to give anymore. If he wants to be the main songwriter he better have some ideas. Not to get to pissy hear but I think you can tell by the last three albums that Greg didn't have a lot of good ideas. It all sounded like a Alan Parsons album to me. Not that I don't like Alan Parsons though. It's just not ELP. ELP has fire in it's blood.

Q - What are your plans for the future? Continue to be a studio musician and producer only?

RB: If I had a album to tour with I would love to tour. It is just hard to finance a tour these days. I am now finishing the 2nd Alliance album and have a big project planned for the end of the year that I don't want to discuss yet. Don't want to jinx it.

Q - Favorite all-time musicians and influences? (a few singers, guitarists, bass players, keyboardists....)

RB: Guitar - Jeff Beck/Steve Howe, Singers - Don Henley/ Lou Grahm, bass - Chris Squire/ Paul McCartney, keyboards - Rick Wakeman/ Keith Emerson

Q - Any other thoughts / things you wish to say regarding the new ELP tribute project?

RB: Yes. Please have your readers send in some comments. I would love to hear what they have to say. It is risky changing the classics. I try to keep intact the essence of the artist and song and present it through my experiences in music. Hopefully this connects to people that like the original but sometimes (like in Roundabout) they either love it or hate it. It is very interesting to me to see what people think and very rarely do I get any feedback except for the press.

Q - Are you happy with the final product? Anything you would change?

RB: I should have done the mix myself. There are some things I didn't design to sound the way they do. Not that they are bad but they are not part of the original vision I had for the final sound. Minor things really. I also don't like to master things on hard disk and it sure sounds to me like it got dumped to hard disk somewhere along the line. That is a good format unless you have 2" tape with Dolby SR like I have then everything seems to degrade the sound.

Q- Do you think technological changes to recording (ie computers instead of tape) have made music for better or worse?

RB: Both. Editing is a snap on computers. It just takes a really expensive one to make the sound right. There are so many Adat studios and Hard disk studios around getting good sound until you compare it to something that is really top notch. Then you can feel the difference not just hear it. It is like film and video. There is no way to make hard edged, glossy video look like deep, warm film. Audio will be better when they get the resolution up and the sampling rate. 32 bit and 96k will be a good starting place.

Q - (Off-Topic) Are you familiar with the band URIAH HEEP? Do you think a Uriah Heep tribute is something Magna Carta would consider in the future?

RB: I don't know anybody except Ken Hensley. Wasn't he the keyboard player or do I have the wrong band. Ken is a wonderful person and set me up with bass equipment when I toured with 3. Magna Carta only does progressive bands. Complicated music. So I don't think they would be the right style but you never know. The Jethro Tull tribute was bordering on a folk album in spots.

Q- Yeah Ken was the original keyboard player/chief songwriter. Do you still see him or converse occasionally?

RB: The last time I saw Ken was at the LA NAMM show in 1998. I was playing with Sammy Hagar and we needed a bass amp. Of course Ken was there ready to make it happen. He is well respected for taking care of business.

Q- You worked with Sammy Hagar once?? I'm a fan of his stuff! What can you tell me about this period? (ie: albums? tours?) Still have any contact with him?

RB: I played in his solo band from 1996 to 1998. We mostly played Cabo Wabo in Mexico the club he originally owned with Van Halen. Sammy is a bundle of energy and just a damned nice guy. He is always on to the next idea. He always has an idea(which is even more important) and he has a voice that hits those incredible high note without flaw. I first met him because his old band (The Sammy Hagar Band) was looking to continue when he joined Van Halen and Geffen records had them contact me. Unfortunately I was heading to England to work with GTR (not really unfortunately for me but----) and we didn't hook up until 1991. I did some demo work for Sammy during that period and then he asked me to play bass for him. I really enjoyed working for him.

Q- Any interests outside music?

RB: My Children. Alexandra - 7 and Robert III - 4. They're so important to me that it is the one thing that is hard for me to express in words. I always worried about having kids because I thought it would stop my creativity. You know, only write kids songs, be to tired to be creative. But it worked just the opposite. My perspective on feelings and the future took a whole new spin when I had Alexandra. And my little boy is a wild man so that has it's own dynamic to it. It has been very good for me.

Q- Kids like music at all?

RB: My daughter wants to be an artist. She is quite a picture drawer and likes to write stories. My son thinks he plays all of daddy's instruments but right now it's all attitude and no music. What ever they want is OK with me. Music is a very tough road. There are disappointments everyday when you play music. But the highs are so very high.

Q - Can you name a few new bands/artists that you appreciate?

RB: I love the band 'Tool'. Very intelligent music. And tough sounding. I like alot of the new female artist lyrically. Alanis is interesting. I think of the 90's music listeners got so tired of rambling man!

Interview March 1999,
Copyright : Kevin J. Julie