b o b

Another ELP spin-off, this time with Robert Berry replacing Greg Lake and taking the music in much more of a pop direction. In fact, the only track that really qualifies as prog at all is "Desde La Vida". For the most part, the rest of the disc features the upbeat, driving rhythms and simple, hook-laden melodies of pop-prog. I have to admit that I don't mind the majority of this album, and even enjoy a few of the tracks ("Desde", "Runaway", "On My Way Home"), but those who think Asia was the worst thing to ever happen to prog should probably stay away from this disc. The slick, digital-sounding 80s production would also put some people off. However, the aforementioned "Desde La Vida" is actually a fairly good track. Its three sections range from slow and brooding to upbeat and frantic, incorporating some interesting keyboard and electronic sounds. And whatever else one might say about Berry, at least he's a fairly decent vocalist (for a prog band, anyway). This album is never going to be considered a must-have classic of the prog genre, but for those who enjoy pop-prog, you might want to pick up a copy. If you can find one. review by Bob Eichler — undated —

s e a n

When most people talk about the 80s being a lost decade in progressive rock, they usually aren't thinking about the underground Japanese symphonic scene, or the American avant-prog axis, or the like. Usually they're thinking of dreck like 3. Life was being particularly cruel to Keith Emerson at this point; Asia had hit it big, and so had GTR, yet when Emerson, Lake and Powell took their shot they failed to reach similar commercial successes. It's not that their music wasn't also bad; perhaps the public is simply fickle. At any rate, Emerson was back for more, reunited with drummer Carl Palmer, with Robert Berry filling the role of Greg Lake (i.e. lead singer who writes crappy love songs). The presence of Berry at least prevents To the Power of Three from crossing the threshold between substandard and truly disgraceful, as he helps the band shed all the aspects of their 70s crappy sound to replace them with elements of a brand-new 80s crappy sound. The only fun part of listening to the many AOR ballads on this disc is the idea of Keith Emerson, super-genius, reduced to plugging in lame Toto-ish synth parts while Berry poses and fixes his hair. In order to throw a bone to the prog fans stupid enough to buy this, the three-part, seven-minute "Desde la Vida" is a highlight, in that it doesn't sound like Bon Jovi and Berry sings less; it even has a part in 5/4, and that's prog! For those younger fans like myself, 3 is best left as a curiosity, as a ghost story about a time after Love Beach when the various E's, L's and P's of the world refused to lay down and die. review by Sean McFee — 1-31-03 —

j o e

In the popular music wasteland of the late 1980s, two-thirds of ELP connected with newcomer Robert Berry to form 3, another (sigh) supergroup. Here, Berry functionally takes the place of Greg Lake, as guitarist, vocalist, co-producer of the album (with Palmer, interestingly enough), and penman of banal pop tunes. Rest assured, most of this album is braindead, corporate rock composed by Berry, about as good as their titles suggest: "Talkin' Bout," "Lover to Lover," "Chains," "Runaway," and "You Do or You Don't." On each, Berry sounds like John Waits or any number of generic, arena-ists from that era. To be fair, I have heard that Berry is a pretty talented musician on other efforts, but it sure don't show here. Anyway, if I was held at gunpoint to choose one of these, it would probably be "Talkin' Bout" by default, which at least has some interesting Russian-sounding fifths inserted by Emerson. That leaves three tracks. "Eight Miles High" is a slightly interesting but ultimately inessential and dated cover of The Byrds' classic, with revamped lyrics. "Desde La Vida" is the obligatory extended piece, a throwback suite to the prog days of yore. It tries to capture the flamboyance and 'scope' of past material like "Pirates" or "An Officer and a Gentleman." I've tried for years to like it, but walk away underwhelmed each and every time. That leaves Emerson's "On My Way Home" as my favorite track on the album. This is an anthem dedicated in memory of Tony Stratton-Smith, the founder of the prog label Charisma records which housed acts like Genesis and Van Der Graaf Generator. Emerson's simple lyrics are surprisingly tasteful and elegant in their restraint, and the song is successfully poignant. Still, it just isn't enough to salvage a best-forgotten album. review by Joe McGlinchey — undated —