MoFi Emerson, Lake & Palmer Tarkus (Hybrid SACD)

Pushing the Boundaries of Progressive Rock

Tarkus likely remains the only album that connects jazz luminary Dave Brubeck, Russian composer Sergei Prokofiev, engineer Eddy Offord, Argentine composer Alberto Ginastera, American innovator Frank Zappa, and German multi-hyphenate Johann Sebastian Bach. At once diverse, ambitious, and complex, Emerson, Lake & Palmer’s sophomore effort proved both highly successful and widely accessible. It reached No. 1 on the UK Albums Chart and climbed into the U.S. Top 10, propelling the British trio to the forefront of the concert scene while cementing its instantly recognizable armadillo-themed cover art.

Audiophile Mastering and Presentation

Mastered at MoFi’s California studio and housed in mini-LP-style packaging, Mobile Fidelity’s numbered-edition hybrid SACD presents the gold-certified Tarkus in audiophile sound. Clear, dynamic, and balanced, this edition honors the meticulous approaches behind the playing and recording, while opening a window onto the tonal depth and virtuosic musicianship on display. Textures, nuances, effects, melodies, and tempo changes are rendered across broad soundstages with finite detail, allowing listeners to experience each song with vivid presence and realism. Sonic highlights extend to the snorkel-tube-inspired Moog synthesizer on “Aquatarkus,” the St. Mark’s Church pipe organ on “The Only Way (Hymn),” and the improvisational energy of “Are You Ready Eddy?”

The Epic Title Track

Anchored by the nearly 21-minute theatrical title track, Tarkus charts the life of the armadillo creature from birth to defeat in a battle with a manticore. The suite briefly created tension within the band as Keith Emerson’s architectural direction initially frustrated guitarist-singer Greg Lake, who ultimately contributed both performance and the anti-war narrative. Comprised of seven movements, “Tarkus” balances peacefulness and violence, calm and clamor, flourishes and marches, establishing itself as one of the finest progressive rock compositions ever performed.

Expansive Range on the Second Half

The album’s second half showcases Emerson, Lake & Palmer’s versatility with concise songs that include moments of humor and levity. “Jeremy Bender” opens with honky-tonk pianos and percussive hand claps, while “Bitches Crystal” pays homage to Brubeck’s Count Down and highlights Emerson’s piano virtuosity. “The Only Way (Hymn)” combines religious contemplation with a segue into the jazz-fueled instrumental “Infinite Space,” reflecting the trio’s capacity to play any style at any pace. Emerson later noted, “It offers a lot for the advancement of musicians…You’ve got a lot going on with Tarkus.”

Iconic Cover Art Completes the Experience

William Neal’s vibrant artwork complements the album’s ambitious music. Originating from a simple doodle, the final design omits the band’s name, depicts the skeletal remains of an eaten lizard, and features the red-eyed armadillo transformed into a hybrid tank equipped with guns and treads. The cover visually mirrors the title track’s narrative and ties together Neal’s other illustrations in the sleeve. From the first note to the final image, Tarkus presents a complete, immersive artistic package.