The Story Behind “Karn Evil 9: 1st Impression, Part 2,” a Portion of an Emerson, Lake & Palmer Song Suite that Became a Classic Rock Staple

The Story Behind “Karn Evil 9: 1st Impression, Part 2,” a Portion of an Emerson, Lake & Palmer Song Suite that Became a Classic Rock Staple

  • “Karn Evil 9: 1st Impression, Part 2” is one of the most iconic segments of Emerson, Lake & Palmer’s (ELP) ambitious 1973 song suite from the album *Brain Salad Surgery*. It has become a classic rock staple, particularly for its futuristic themes, dazzling musicianship, and the unforgettable opening line: *“Welcome back my friends to the show that never ends.”*

Here’s a closer look at the story behind this track and its significance:

### **The Larger Context of “Karn Evil 9”**
“Karn Evil 9” is a sprawling, multi-part suite that spans nearly 30 minutes and is divided into three “Impressions.” It explores themes of technological dystopia, humanity’s relationship with machines, and existential questions about art, culture, and individuality.

The **1st Impression**, where “Part 2” comes from, paints a vivid picture of a future society in decay, where genuine human creativity is replaced by artificial entertainment. The “carnival” imagery in the title and lyrics represents a world in which humanity’s cultural artifacts are commodified and degraded into spectacle.

### **Part 2 and Its Legacy**
“1st Impression, Part 2” is the segment most often heard on radio and in live performances. It opens with the triumphant, carnival-like announcement:

> *“Welcome back my friends to the show that never ends…”*

This line encapsulates the bombastic nature of ELP’s music and became a rallying cry for fans of progressive rock. The song’s fast tempo and dynamic interplay between Keith Emerson’s virtuosic keyboard work, Greg Lake’s commanding vocals, and Carl Palmer’s intricate drumming make it a showcase of the band’s technical prowess.

### **Lyrics and Themes**
The lyrics reflect a sense of spectacle and excess, with lines that describe bizarre and surreal attractions at a metaphorical carnival. These attractions serve as a critique of society’s obsession with superficial entertainment at the expense of deeper meaning. For example:

> *“Come inside, the show’s about to start

 

 

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