Carl Palmer Interviewed

hi I'm Mitch Gallagher welcome to the Sweetwater minute we have an industry giant here today car bombers great to see you nice to see you appreciate you taking time you're doing a concert right here at Sweetwater how did he say that's what they tell me yes sometimes safety yeah we've got the pavilion outside we're ready yeah it's gonna be very very cool we'll be cool yes it might be a little bit cool but it's gonna be cool yeah so you're doing the EOP legacy tour yes yes we are yes so what we've got here is roughly about an hour 50 minutes with covering music from the history of ELP really we've just had a new box set reversed which is very very important which really is the true story of ELP not only in vinyl in the CD form but in book form photographic form some amazing stuff some stuff that hasn't been released as you know Greg and Keith them passed last year tour money March Keita marching Greg in December so the whole of this year are basically been playing a tribute to them that's what this still is and the music that I've chosen is really from the first album second album and as wide a variety is what one could you know there's a historical piece in there called pictures of an exhibition which was originally by Azure skating and this was a piece of music that made radio history here in America way back in the early 70s Scot Mooney from WMMR in New York played the whole piece in its entirety whilst we were in the back of a limousine being picked up from the airport it was the days when the record representative would jump everything car make a call from a phone box because we didn't have mobiles until the radio stations start playing it now it'll be an interesting show and I feature Paul beyond the table which on guitar simon fitzpatrick on bass guitar six string bass and ted string Chapman Stick so that'll be quite exciting right and obviously I get featured and we play things pictures at an Exhibition the play music which is really spread out I mean barbarian from the first album pictures being that first live album welcome back my friends being the epic ELP piece there's some off-the-wall things that Peter I'm hoedown from the rodeo suite which is from the Tarkus album yeah it's a it's an interesting interesting show we also we've just added a version of lucky man as a tribute to Greg Lake and I'll be coming out after the show and I'll be signing you know whatever merch people have got we've also got some my artwork on display and there's an interesting section in the artwork I've got it my legends and I did a canvass for Keith who died in March as I said last year and I called it welcome back and I did one for Greg which I didn't want to be doing another one so soon there you go and I called that lucky man right and then though January came this year we lost John Wetton who was the lead singer in Asia so it's been quite a hectic similar but I did this my Legend series I've got these three here with me which for people to see which I kind of you know they're historical you know and these people in my life are very important course you know not only did I record some of the greatest music with them I played some of the greatest concerts ever in my life so I'm quite a poignant moment in time it relates to so we've got that to show as well after and as I say I'll come out and talk about that as well so all in all I hope it's going to be a nice show I was looking forward to it yeah it's very interesting to watch some videos of the band performing the way you've reimagined it for guitar bass drums versus keyboards bass drums a little bit about the process you went through to do that well the process was really quite difficult really I had the dilemma do I duplicate or do I try and put this music into a new generation of ELP followers I know that all the the older people that follow the original ELP will probably be there to see what it was like you know what's the intrinsic value here what why is he doing this but I figured I needed to make a new generation make it their music make it their own and to do that I needed to show how versatile ELP music was and the music today is versatile to the degree of the musicianship if the musicians are good enough and my two guys are outstanding lawyers are really unbelievable then you can portray this music in another way and then another generation makes it their own of course that always revisit the original right that's always going to be there but there was no reason to copy that's why it's it's based on an instrumental sort of prog rock metal sort of based sound where we play all the vocal lines with the chapman stick which is a ten string Chapman stick not the twelve and that works remarkably well so it's it's it's different it's not everyone's cup of tea as we say in England but to be honest with you for me ELP music has been played by ELP by classical orchestras in Tokyo by orchestras in Germany it's been done in quite a few ways has never been done like this and this could never have been done like this if the musicianship was it wasn't this good and it is sensational I don't know if you know but in England we have lots of academies and music schools now that specialize just in guitars we didn't have that years ago and I can assure you that if ELP had come across somebody like Paul here at ovitch when we were forming the band we might have been a fourth four-piece band that we just couldn't find anyone who could play the stuff that we needed to be played right they just weren't that good then guitar players you know I've come on a tremendous amount where keyboard players have slowed down the 70s there were lots of great keyboard players not so many great great guitar players like today right the role is reversed so I've just used that to take it to that next generation and that's really what the band is all about musically or my vision on it right so what was the process of finding the two musicians did you go through auditions or how did that happen no it doesn't work like that anymore to be honest honest when you're going around the club's looking for great bands or great musicians I don't think that's the way to do it I think what you do is because we have these academies and institutes and music schools which I mentioned to you earlier that specialize in guitar and bass guitar six stringed instruments sure it's better just to call them up and ask them who they've got it who is the who is the outstanding student who's the outstanding musician right and you know get a clip get a soundbite and have a listen to it yeah interview the guy that's much better way to do it that's how I did it with it to both of the guys that I've got and you'd be surprised you know they'd come back and they'll say to you like the guitar school in Acton said we have two people and one of them is we had to we had to change the actual standard for a technique from 95 to 97 because this guy was so good I said what you mean as far as you were reporting and recording and marking it in your in your grading yes oh but there's another guy and the guy that they talked about was simon fitzpatrick and the second guy that they talked about is actually somebody that shares an apartment or actually shares part of simon's apartment with him so the two bass players live together but I chose Simon yeah not knowing that he was the one that was slightly all meant to be slightly better I think they were both as good you know the different qualities he came around to my house and that was it and he was from he was from a Shire called hartfordshire and I live in an area called Harford sure and he was from just down the road from me from Brickman's birth he no longer lives there but you know you're in then you've got a bit and with them with Paul the lead guitar player that actually came through a recommendation from the guy that had just left me I had a chap called Shaun Shaun Baxter who became the head of the guitar department at the school in Acton in the centre of London and when he decided to leave because he had a bad tinnitus problem which had developed in both ears we had a car crash and the seatbelt went into his neck and tinnitus started we think it might have triggered it and then the other way it triggered we're not absolutely sure but it was directly after that these problems started to come through so Shaun who was an incredible player said to me there is a young guy coming up who's not actually in my school but is in the Academy in Surrey and he said I'll get some information on him for he but we keep hearing about him so I said fine send it up and and Paul sent me what I consider to be now a bad version of flight of the bumblebee well the fact he sent something up that wasn't Blues and wasn't you know that general Tsin thing all the guitar players play and it was a classical piece I was attracted immediately because that's the essence of the music anyways european-based though it was funny hinter we wouldn't want to play it like that I thought yeah he's got to be on the right track and he was and he's been with me 12 years it might have been even a bit longer yeah so did you have all of the parts scored out so did they read the part where they're learning about happened was I had to find out what could be played on guitar I wasn't completely sure and there was a specialist who did who specialized in transposing from guitar part from keyboard parts to guitar and I sat with him for a couple of weeks on and off and we talked about all this music he actually couldn't play the stuff but he knew how to transpose and make it work possible to play on the neck and I was told what this could be played that could be played and when I would request but this is more important as a line ok but you can't have this ok we'll put that on the other instrument and we'll break it up that way so we broke it up I had about oh maybe about 10 12 15 charts done for lead guitar and that was the beginning of it and I still have those and that's that's how we we started off and there's always a compromise you know because if you have a keyboard instrument obviously you're going to get a lot more harmony structure involved you know if you have guitar you've got single notes and chords and you know you can't have that quite as much as a keyboard when you have the bass 6 string bass guitar and you can start to involve chords as well and a Chapman stick then you start to cover a bit more of that harmony land as I call it and so it's still a case of sorting out what makes the music work for those instruments and what really portrays the music in a new way so that's what would that was the next level is finding out how to make it sound good ok that can be played but does it sound good right now so it was quite a long procedure but then I realized it would work and Shawn Baxter who was a beautiful choice to have at the very beginning because he came in and said Carl that's we can play that back at the same time I could tap this out as well and then you know and Dave on bass and a guy called Dave he could do that that would definitely work and they play it for me and then I'd say no but I'm still missing that's the line I need I know that's a ok and you need to copy the solo exact certain solos are in concrete they have to be there they're like melodies you know they're like middle eights they have to be and that's how it started really so when Paul jumped on board he had a great - blueprint to follow because we'd already made a recording works working live volume 1 and there was a second one in the works as well so he could listen to that so it was a case of developing and it's got to a stage now where I tell them that I want to look at this piece of music and they know exactly where to go they know that the train of thought they know the musical track they've got to go down and they'll bring it in and I will get it in rehearsals and then I want all the parts learn and then I'll throw out what I don't need that way I think that they understand the music a lot better I get total choice and then I can piece it together as I want it and I think it's very good for them to understand the innards of it you know what all the harmony structures are things so that's how it came about right I think it's see probably the only trio in the world that does what we do to be honest with you because it is it is unusual it is extremely unusual as I say might not be to everyone's liking but it definitely takes the music to a new generation and to a guitar generation and let's face it in in the world of rock and roll that we're all in the guitar is still God you know there is the instrument right right so shifting the focus to your parts one of the things that always stands out to me listening to your playing is how you treat the drums as a melodic instrument yeah I've never been I've never been a drummer that's wanting to keep time I'm only because I don't enjoy doing it to be honest with you because it's rather boring so with ELP I try to fill out the group and make it sound as big as I possibly can by playing unison lines with Keith which I still do and obviously when there comes a time when I've just got to lay down and offbeat yes I'll do that you know I'm not opposed to doing it but you know there's a lot more that can be achieved as well as so my my approach to the drum parts as far as its concerned with the group now it's pretty much the same as what it was with ELP pretty much the same obviously I've changed a few things around to make it a bit sort of heavier signing because it is quite heavy and quite rocky though ELP sounded big this is a different kind of rawness which is actually quite magical and I like to capture though it might not be as full there's a certain rawness and energy which is new and exciting and of course that will kind of persuade the drum parts to change as well which they do so that happens so my approach has been pretty much the same and when we get into rehearsals you know I am always looking to try and improve the parts as we go along I mean why not you know there to improve so yeah it's been it's exciting I mean I still enjoy playing the music because the catalogue is so vast you know we'll be playing it forever you know and that's probably the way it should be you know I've got an album coming out now on BMG which will be a worldwide release they're the same people have brought the ELP box set out they're bringing out an album called Carl Palmer live in the USA and there are some new newer classical pieces on there that ELP didn't play I'll leave it as a surprise right now so I'm still going down the same route because basically for me that classical adaptation turning turning music into a contemporary sort of format using modern day instruments was always top of my list right so that's all it is now really and I just wanted it to sound rockier and which you know which we have done there is no vote there are no vocals we've had to have had vocalist come in todd rundgren came in and sang with the band the other day and that was really great did lucky man and that's something that we might do in the future might play a little more of the softer stuff and have vocalists come in and still sing still you turn me on from the beginning you know footprints in the snow and that kind of stuff that might sort of happen and I just think it's nice to just keep that sort of going as a separate thing you because I really want it to be I want it to be a band that you can't really you can't put it into a jazz club and you can't just put it into a rock club it does stand on its own what is this you know and I like that I like nish and I think that's what it's all about right right so contrast your approach to drumming with the ope versus what you did with Asia yes it was a different type of yes yes ain'tcha was basically four on the floor to some great songs and when the songs are that good you know even I will do that you know anything that makes me cry and it's emotionally sound you know when the minute I heard things like only time will tell and heat of the moment there was no doubt you know okay I've got that you know I can play an offbeat as good as anyone I'll do that you know when it's on that level then you know I'm up for it you know there's no doubt about that and things like Soul Survivor which have got that harder edge to it really worked for me wildest dreams really worked for me so that first album was a combination of having commercial plays but still a certain amount of musical integrity right and that's what we achieve of all the really attractive things with that band's musicianship and it worked it worked really well David Geffen was a great help and that worked remarkably well and the timing was right that's social media thing had started MTV vh1 you know and David Geffen just didn't jumped on the back of it the second album was good we only really had problems by the time we hit the third album and job was really too ill to go on you know because he you know he suffered from alcoholism so which he managed to actually put completely behind him the last 13 years of his life is completely controlled that's why a show reformed in 2006 so you know he was a marvelous man an honest man can't say enough about him right right I'll ask you the same question I asked Jeff Downes and he was here earlier this year what was it in the water in the UK in those early 70s late 60s that led to so much of a rising of great prog rock coming out of an area to tell you the truth the English people have been sort of other Europeans in general I've had so much sort of like avantgarde sort of jazz like I'm European a vanguard jazz from Switzerland and odd places like this and Italy and aren't just a cornucopia of classical music coming at you from every direction every day you know every minute of the day that there is definitely a combination of this kind of let's experiment exogenous real Pro rock album you know so that's just in it's just in the genes to tell you the truth you know we're not blues-based you know like you are here we're not that's we can play it but that's not there you know it's not the way we would go it's like how can I put it to you once I auditioned Steve how there's a great friend he came along to audition for atomic rooster and Vincent crane said to me let's get Steve to power to play a blues now Steve could play blues all day long but I remember at rehearsals he said I don't really want to do that could I not just learn a piece of music and we wanted to hear how well he played you know so we would only revert to the Blues just to hear somebody have a blow you know it's not we don't want to do that you know he was a prime example of the way in English person thinks now I'd rather just learn some new music or learn some pieces don't really want to play the Blues as I say not because he couldn't you could probably play the Blues as good as anyone you know so that's really what it's all about and I think in England we just have that we're conservative you know and we don't expect people to clap one of the reasons why we come to America is because you do clap in the middle of a piece of music which is basically unheard of over there so there's a lot of gratification here and I think whilst you gave the world modern jazz or jazz we gave the world prog rock as much as you might not like it you gotta take that I'm very grateful to be at the beginning of a movement that was very fresh right and I was in with probably when the bands that laid down a huge blueprint I got an award an award the other day which I never relieved and thought about getting you know it wasn't on my agenda I never woke up in the morning and said I need to be a pro God you know but they gave it to me but you know I took it too bearing in mind that it belonged to good Greg and Keith as well yeah sure right right it's interesting how your background led up to that because your ancestors we're musicians right agree yes and follow the drums and his mother played classical great-great-grandmother yeah basically the the family are basically classically based I'm not saying they were great but they were all working musicians and made a living at it and that was their objective really you know wasn't to be famous or playing the you know and the radio or whatever at the time that was the big deal was just to make a living at it and some of them did remarkably well my grandfather conducted that the role the Palladium which is one of our main theaters which gets appears on television every Sunday it's a bit like The Ed Sullivan Show used to be that London Palladium had their own show and he conducted there during the war his brother also was a drummer and he was a he had a great Orchestra out on Canvey Island I think their mother my great-great grandmother was one of the first classical guitar players in England my father played my real father was a piano player my stepfather was a drummer song-and-dance man played rhythm guitar my eldest brother was a guitar player and we played in a kind of band like Lawrence Welk together it was about 15 of us with a girl so you know where Lawrence Welk is out right well I did that for about two years which was dreadful and but I did learn how to read you know but I wish I had an attitude of the truth but it was good training and then my younger brother who's about five years younger than me he's also a professional drumming has been for I don't know how many years upon years and teacher he teaches in my hometown Birmingham at about four schools any place about four residences a week or three residences I'm not sure and my nephew my eldest brother's son he's a pilot for virgin but was a professional drummer for many years and still plays today so it's there there's too many drummers yeah but every cupboard you open the drum will roll out you know string players and drummers is what we've got yeah but you actually started on banjo I did yes because my father it was a song-and-dance man the MC he um he was a retailer we had about three shops two of them we owned and the second third shop was owned in partnerships and we had a couple of market stalls which he used to like to run he never liked to be in the shop anyway he used to play a little bit of banjo badly and a little bit of guitar better and anybody is to just pick up his banjo and I looked at the core book and you know there was those with the strings with the Datsun okay and that started and then I came across a piece of music by George Formby called when I'm cleaning windows anyway I learnt it the problem was they didn't like me playing it because I thought it was too comedic as an instrument so I could only play it when they were not in the house right so that was seven and I learned to play that pretty good actually not great you know about good and I still got to today I've got two ukuleles they are but we call the Banja Leila's because there are actually a small Banja with a vellum with their head not the guitar shape you know so we call them ukuleles you call them ukuleles we call a banjo ladies this particular model and of course the the prime thing was well as I got older cause I thought well you know but when I'm away from home I'll buy myself one you know another one and I managed to get a Wendell Hall mute Banja laylee which is made here in America by the Ludwick company when Ludwick were making enough money at making drums they made banjo Lane isn't anyway I've got one of those which is a collector's piece now plus I've got the George form the B series which is the cheap one which I actually like the sound of better quite as bright doesn't hurt my ears so from that I moved on to violin when I was 11 because of the grandfather being teaching theory cello violin I think a piano accordion fund enough at the Royal Academy so I tried the violin for a couple of months it just didn't work and not for me I did it because they said try it it's here and the piano wasn't there how did we had a piano but that didn't work and then I saw a drumset really and it was a color that I was attracted to it was really litter I said would you get me one of those so they bought his snare drum in it so it started and had a snare drum for a little while with one these little see-through flexi discs that you put on and he listened to the guy playing and I could play that you got that you next got that guy and they realized hey there's something there and then the following Christmas they bought me a drum set which I didn't know about may put it upstairs in the front bedroom and my mother asked me to go into the room and sort something out she said could you go to the top room there and pick up this but she never ever asked me to do and as I walked in there it was set up and I just cried I said I mean I mean that followed with the Gene Krupa story which was called drum crazy in Europe the Gene Krupa story here my father taught me to say that and that was a light bulb moment and walk down the road ever since right right so at 15 you're already recording yes fragrant yeah I recorded at Regent Sound in Denmark Street in London where a lot of the Mersey groups recorded when they came to London my Gerry and the Pacemakers and you know lots of bands you know the fortunes and kinks recorded there was one of the studios you went to and I recorded there yeah for Fontana Larry Page was the chap that organized that so that was um yeah actually I was just 15 just 15 yeah right right and it had to be such a whirlwind the crazy world of Arthur Brown atomic rooster ELP all that happened in a pretty short span of time yeah I mean to be honest with you they say that you know you need a certain amount of luck but you need a certain amount of savvy as well you know one of the reasons that I did those sessions for Arthur Brown I'd never been a session drummer and I was I was you know against being employed by anybody because our sort of idea was that if you're gonna go into music then you know because then my family's attitude to change they all worked for a wage because that's was the best thing but when they realize what the music industry had become they said you have to work for yourself obviously and that's even what my grandfather was you know saying as well as my father you have to work for yourself you have to roll the musical dice and take a chance you could always get a job because you can read you can always join the Birmingham Symphony Orchestra which they wanted me to be and because it was index-linked with the pension and all that stuff it's not anymore but it was there and you know that's what they wanted so I never did sessions but this one particular phone call that came through I was so enamored by this guy because I'd heard about this psychedelic or psychedelia movement as you call him and I'd gone along to one of the clubs called UFO in the Tottenham Court Road and I was just amazed a 17 of there's a lot of lights a lot of colours there's obviously a lot of drugs going on here you know I mean I was with Chris Farlowe in the Thunderbirds at that stage and I got a call from their management saying would you come along and do some recordings now I wasn't the only drummer there's guys called John Iseman there was a chap called John Marshall from soft machine and there was original drummer Jason duration thickened thicker duration thicker anyway I got a call and I long played and I did fire and I did a couple of other pieces and that was it and I've only just learned today that even a third never found out who was on the recordings because kit Lambert who did all the recordings never marked on the boxes who was who anyway I ended up joining the group and coming here to America when I was 18 and they gave me a percentage and they're very nice and Arthur was them I was a fantastic person I just met him the other day at the rock at the prog rock prog rock Awards and he told me that our fire is 15 years old next year so I'll get together with him and play there I'd like to play it with my band on stage actually because I like some samples you know I am that I am I am the god of I am going to do a bit of that for next year right that's definitely in the mo yeah yeah so I'm interested in how you've taken both the musical art and combined it with other art forms that you work in example the creative dance interpretations of some of the LP things and also your your work on canvas rhythm on canvas well so the rhythm on canvas and the twist of the wrist the rhythm of light the twist of the wrist being the first catalogue started in 73 I had this idea to tape light bulbs to drumsticks with a cable going down to a battery on the floor and mine playing the drums obviously couldn't play because she'd break the light bulbs so I mind and a local photographer in my hometown took some photographs one of these photographs is actually in my art book which I released and it made the local paper you know I was really like wow this was an award-winning photographed up and I realized there was some something to do with the movement of light and rhythm I really got the idea from Arthur Brown I used to play with four strobe lights around me and I used to notice I'm sure you've all seen it when a light something moves through a strobe you get this thing and you get these patterns and you think oh god what's that in it and you know that's why I've got these bags I've got no muscles left in my eyes now you know peripheral vision is really bad so I realized was something then it wasn't till 73 I thought well I'm going to experiment myself I did if you roll forward 40 years from there they started developing drumsticks with LED lights and the tip of the stick which were basically in destructive before they used to break and this new version was really like perfect you get the full colors red yellow green blue and so I started playing with these sticks and the results were amazing it was a company in Los Angeles that called me up and said Carl would you like to jump on board and do this and I immediately said now I've got the t-shirt done it and they laughed and they didn't think it was true a lot of people didn't think that I'd been there before and then I finally found this photograph and everyone realized that I started it you know right but now technology had caught up because we needed digital cameras offset shutter speeds possibly with slow flashes on one of the cameras we needed a computer we needed to feed it into a computer we needed to look at the color channels and the art form was born basically and obviously they've gone on to do guitar plays and other dramas but yeah it's a it's a true art form that really belongs to our generation because without the advancements that we've had in technology this wouldn't have existed really the ideas are you know you can always come up with we can't always but you can always foresee an idea something that will happen it's just taking it to fruition is difficult how did you do that and we managed to do it and what I've done is I've done two catalogs now and I don't know X amount of money to charity each time most of the charities are listed in the back of the book most of the people who have bought are in the book they don't have to be but they're in the book so it's kind of like a family you know and I've got some people do a bid following me for years and maybe you know four or five six or seven pieces from each catalog or maybe they've got as many as 80 pieces I mean it's been quite quite interesting and as I say the most important ones I have at the moment and which will be on display today and maybe even sweetwater might want some of them there it's called my legend series and it's one to Keith Emerson and Greg Lake and John Whetton knew three of the notoriously famous prog rock stars from England right right speaking of Technology and your art you probably did the first electronic drum solo with staccato we did yes the technology used in those days a little bit different than what people are using today yes I mean that was built for me by a guy called Nick rosebud mode blessing did try and he did get it going but it wasn't enough and I decided to use a mitigator that they used for get ah so I could actually change one sound and take it up up an octave or down an octave so if I had one sound you know I could then have three sounds they're really so I've had eight sounds all together three three okay now we've got some sounds basically the mitigator took it up an octave normally so I would have eight sounds sixteen sounds now really is what it was and that took some time to develop they're extremely limited they were set you couldn't change them they were there and we decided to use it in the middle of toccata by genus terra and it came out was on the brain salad surgery album it came out and a lot of people thought it was I was Keith Emerson and some so it was too it was too far in front of its time to explain to everybody you know what we had done or what I had done we just left it said you know electronic drum they didn't get it so just so as time went by we kind of filtered it out you know and I suppose that's the that's the way the English people are really they're a bit sort of like laid-back and stuff like that you don't release to boast about it but it was the first year right it was amazing amazing leap forward it was followed again you know I just said to one particular guy ELP had its own boffin it's only electrician full-time and I just explained to MIT this should happen so what we actually had was we had two mics on each drum one mic was for the PA and one mic was to trigger these small synthesizers which were the size of a cigar box when I wanted to use them there was an on and off switch by the mitigator so that's how it was so you'd always see one mic inside and one mic over the top and people always confuse what was that all about but that was because that's where I trigger my electronics and I never actually used them within the music to enhance the music I only used them in that solo section it wasn't until later on when the technology had been you know developed way down the line I started using more electronic drums and things in black moon and in the hot seat sure sure right right right fascinating stuff so when I have an artist on your level here I always like to ask the same question yes you've worked with so many great artists during your career we could list the whole way incredible list yes what is it that makes a great artist I think you know you have to see a lot of great artists to see what is a great artist there are a lot of great artists but there are some people that just stand out you know and if you've ever been fortunate to see somebody like Elvis Presley you'll see a great artist you'll see somebody who's just on a level of being able to sing a banner to make you cry and then just rip you to pieces with a rock song you know and I'm just look like a god you know and when you see something like Muhammad Ali or Cassius Clay as a boxer I like boxing I've seen many boxers but when you went to see him he was a true gladiator he looked like a male-model you did not think that was a boxer and there are some artists that just stand out on that level and it's hard to say what it is because there are great artists and there are great great artists right right right interesting girl thanks so much for taking time do you have your a sound check coming up in the show tonight and we're just so glad that you know I'm pleased to be here really a pleasure well that didn't hurt much I bet it was okay thank you very thank you thank you and thank you for joining me for the Sweetwater minute I'm Mitch Gallagher [Music] [Music] you

Channel: Sweetwater

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Keywords: Sweetwater, emerson, lake, palmer, elp, carl palmer, carl palmer interview, carl palmer 2018, emerson lake and palmer, carl palmer elp legacy, elp interview, carl palmer drum solo, emerson lake and palmer interview, carl beech, carl palmer 2017, carl palmer solo, emerson lake palmer, greg lake interview, carl palmer avasinis, carl palmer band, carl palmer concepcion, carl palmer macerata, carl palmer marina di pisa, carl sjc

Id: SZMkS0Otgqs

Length: 34min 29sec (2069 seconds)

Published: Fri Dec 08 2017