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How ELP scored a No. 2 single in the UK in the 1977, the year of punk rock!

This was the eighth single released by Emerson, Lake & Palmer, and the only time they ever charted. The original composition by Aaron Copeland was only about three minutes in length, but ELP expanded this to nine minutes, 40 seconds, although the single edition was cut down to three minutes. When the song was played on the Christmas edition of Top Of The Pops in 1977, Legs & Co. performed a routine round a suitably festive tree!

Keith Emerson remembers taking prog to No. 2 in the charts the year that punk rock ruled!

Where did the inspiration for the song come from?

“Well, I’d heard it played at the end of Aaron Copeland’s Third Symphony. We’d previously done his Hoedown on our Trilogy album, and when I found out he’d actually written 10 fanfares, I thought we should do his Fanfare For The Common Man. It needed transposing, so I did that first. I wanted to improvise in a key that was sort of bluesy. It ended up in E. The rest of it was straightforward, really. In order to get the shuffle sound, the timing had to be changed, but it was common sense.”

(PIc: Getty)

What was the reaction to it?

“Well, we had to get the permission of Aaron Copland himself to do it, as he was the composer. The publishing house said forget it. But I didn’t give up so easily, so got Mr Copland’s home number, called him up and he was very friendly on the phone. And he said, ‘Send it to me, let me listen’. And he loved it. He called me and said ‘This is brilliant, this is fantastic. This is doing something to my music’. So he was positive. And of course, it became a staple of the ELP live set, and was a fan favourite, even though the single version was edited down quite a lot.”

Did you feel like pop stars?

“Pop stars? Not at all. That was never something we considered. But the hit did get the attention of other musicians outside of prog. And made us a little more well known. I know one disco group got in touch with Mr Copeland to ask his permission to do their own version after hearing what we’d done. But he refused. I don’t know whether this is true or not, but he is supposed to have once said that, because ELP had a hit with Fanfare…, most people thought I was the composer and not him.”

Was having a hit a blessing or curse?

“I’ve never even thought about it, to be honest. To me, that sort of thing is irrelevant. All that mattered was being able to play the great man’s music and have him approve.”

Fanfare For The Common Man b/w Brain Salad Surgery

(Atlantic, 1977)

Highest UK Chart Position: No. 2

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica (opens in new tab), published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio (opens in new tab), which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.