Bloom: When The Apple Blossoms Bloom In The Windmills Of Your Mind I’ll Be Your Valentine

ELP: When The Apple Blossoms Bloom In The Windmills Of Your Mind I’ll Be Your Valentine
[purchase] 

You might have noticed that I’ve long been a fan of prog rock and have often filled this space with discussions of it. You also might have noticed that I’ve never written about one of the most well-known prog bands, Emerson, Lake & Palmer (although, I have mentioned their bassist/vocalist Greg Lake, mostly in the context of his work with King Crimson, which I have written about probably too many times). And that’s because I was never that big a fan of ELP. Although there are a handful or so of their songs that I’ve liked, and I appreciated their musical virtuosity, I don’t think that I have ever bought a full ELP album in any format. There was always something about their music that left me a little cold, while I think that the more emotional music of their contemporaries Genesis and Yes appealed to me more. 

Despite a run of popular and well-received (except by the prog-haters) albums in the early 1970s, it seemed that by the middle of the decade, as the genre began to lose favor, ELP also appeared to lose creativity and cohesiveness. Their 1977 album, Works Vol.1 was a double album, with each member of the band getting one side, and the fourth side was collaborative. Although it sold well, it really wasn’t good, although the band’s version of Aaron Copland’s “Fanfare For The Common Man” was fun (and is on my list of ELP songs that I like). Later that year, they released Works, Vol. 2 which was essentially an odds and ends compilation of B-sides and unreleased tracks. Since most of these came from an earlier period when ELP was firing on all creative cylinders, it has more good stuff on it, including our feature song. 

“When The Apple Blossoms Bloom In The Windmills Of Your Mind I’ll Be Your Valentine” is a relatively short song for ELP, clocking in at just under 4 minutes, with a title that takes almost as long as that to say. (but if you want long titles, check out the Red Sparowes). It’s an upbeat and relatively unpretentious (by ELP standards) instrumental that may well have started as a jam. You can hear the musical talent of the three musicians and enjoy their playing on this track. It was recorded during the Brain Salad Surgery sessions and was released as the B-side to the “Jerusalem” single. 

Works, Vol. 2 was less commercially successful than its predecessor, which is probably what economists call a lagging indicator. But it also pretty much the end for ELP. Their next album, the contractually required Love Beach, which features the band members posing with mostly open shirts near a beach, appeared to be an attempt to pivot toward more pop-oriented music, much as Yes and Genesis were doing in this period, but without any real conviction. Moreover, the band was breaking apart even more, with Lake and Palmer recording their parts and fleeing the studio, leaving Emerson to finalize the album. It sold OK, but was not well received by critics, even those who still liked the genre. 

Other than a few live releases, a few partial reunions that included other musicians replacing absent core members, and a brief full reunion in the 90s, that was pretty much it for ELP. Emerson died in 2016 of a self-inflicted gunshot, and Lake died of cancer the same year.

Darkness: Like The Howling Glory Of The Darkest Winds, This Voice Was Thunderous And The Words Holy Tangling Their Way Around Our Hearts And Clutching Our Innocent Awe

Red Sparowes: Like The Howling Glory Of The Darkest Winds, This Voice Was Thunderous And The Words Holy Tangling Their Way Around Our Hearts And Clutching Our Innocent Awe. [purchase]

There are many songs that fit this theme, and it would be easy to write about Springsteen, or CS&N, or Death Cab for Cutie, or Elvis Costello, etc. And I still might. But one of the fun things about writing for this blog (and, I hope, one of the reasons that people read it) is that I can, occasionally, discuss some pretty obscure music.

The Red Sparowes fit the bill. Made up of members of other bands that I have never heard of, they released three albums and a few split releases in the 2004-2010 period and are usually categorized as “post-rock.” I’ve written about what this genre is, sort of, before, and won’t repeat myself here. Basically, though, the genre encompasses music, like this, that is usually instrumental, usually pretty intense, with guitars and keyboards creating soundscapes and with prominent percussion. But not always.

I can’t remember how I found out about these guys, but I liked them immediately. Their music is somewhere in the intersection of rock, metal and prog, and without the annoying vocals that can often ruin lesser metal and prog songs.  And unusually, they often feature the pedal steel guitar.

But even better than the music are their song titles. I mean, you have to love the title of the featured song. And it may not even be the best title on the album. It’s a close call, but I’m going to go with "And by Our Own Hand Did Every Last Bird Lie Silent in Their Puddles, the Air Barren of Song as the Clouds Drifted Away. For Killing Their Greatest Enemy, the Locusts Noisily Thanked Us and Turned Their Jaws Toward Our Crops, Swallowing Our Greed Whole." The whole song is 1:42, slightly longer than it takes to say the name. Some other Red Sparowes song titles: "Mechanical Sounds Cascaded Through the City Walls and Everyone Reveled in Their Ignorance," "We Left the Apes to Rot, But Find the Fang Still Grows Within,” and “Finally As That Blazing Sun Shone Down Upon Us Did We Know That True Enemy Was The Voice Of Blind Idolatry; And Only Then Did We Begin To Think For Ourselves.”

I’d suggest putting on headphones, cranking up the volume (to a safe level, of course) and enjoying the 10 plus minute journey of this tune.