Author: Peter Podbrežnik
Artist: Nice, The
Label: Immediate Records
Released: 1967
Runtime: 37:50
Rating: 3.5/5
Of all the major prog rock pioneers who emerged at the turn of the sixties, The Nice were probably the most pompous yet also the most enigmatic band, with a remarkably interesting evolution. Early on, this up-and-coming outfit was shaped mostly by the psychedelia of the day and, to a slightly lesser extent, by the blues, as their cult debut “The Thoughts of Emerlist Davjack” shows (some even call it the first prog rock album). Under the leadership of keyboard wizard Keith Emerson, they developed their own sonic identity astonishingly fast and established themselves as innovative bridge-builders between rock and classical music, and often jazz too. ‘Emerlist Davjack’ was a pseudonym hiding the surnames of all four band members.
The legendary Emerson, who could easily be called the most innovative and most exciting rock keyboardist of his era (only Jon Lord of Deep Purple comes close), was already showing a jaw-dropping command of keyboard instruments like the Hammond organ, piano and harpsichord right from the start of his professional career, along with a flair for fiery and above all mischievous solo adventures. He was the one most responsible for the band widening its ambitions and getting into jazz and classical music, especially rock interpretations of early 20th-century classical composers, which put them among the most important prog rock pioneers.
The versatile guitarist David O’List, who also played woodwinds and brass like flute and trumpet when needed, was the second most gifted member of the band, even if, according to Emerson, he was impossible to work with. His bluesy guitar phrases, of which there’s no shortage on the debut, stuck out quite a bit from the otherwise symphonic and psychedelic early sound of The Nice, so it’s no surprise that Emerson, officially over unprofessional behavior and laziness, kicked him out of the band soon after the debut came out, eventually deciding he didn’t need a new guitarist at all and that keyboards would become the alpha and omega of The Nice sound. Drummer Brian ‘Blinky’ Davison, one of the more overlooked drummers of the sixties and seventies, and bassist Lee Jackson provided a sturdy rhythm foundation that was unusually intricate for the time.
The psychedelic “The Flower King of Flies” is in many ways a product of its time and heavily shaped by the musical trends of the day: tasteful psychedelic pop rock with a pronounced experimental streak thanks to Emerson’s free-spirited organ escapades. The title track is a much more interesting piece, even though it’s the most commercial thing on the album. Dramatic organ arrangements are enriched with cheeky harmonies, a hefty guitar line and a triumphant chorus, and together they already create that pompous atmosphere most often associated with the name Keith Emerson. The rowdy “Bonnie K” is marked by a punchy bluesy guitar line, a deliberately dirtier vocal and the mischievous rustle of Hammond organ in the background. It’s one of the rare moments in the story of this symphonically inclined band when the guitar was still front and center instead of the keyboards.
The feisty instrumental “Rondo”, a unique adaptation of the classic “Blue Rondo a la Turk” by the legendary jazz pianist Dave Brubeck, is in many ways Emerson’s baby, and it quickly became one of the most beloved and recognizable Nice classics. You can already feel the arranging brilliance, soloing skill and grandeur that the fast-fingered keyboardist would later demonstrate so wonderfully as a member of Emerson, Lake & Palmer. Keith’s supersonic organ orgies still take your breath away more than four decades after this piece came out. For its time it was undoubtedly an exceptionally hard-hitting number, a respectable eight-plus minutes long, and one of the first heralds of a new musical era.
The next instrumental, “War & Peace”, one of the more complex pieces on the album, is marked by O’List’s bluesy soloing and Emerson’s fiery organ passages. “Tantalising Maggie” is a short, entertaining little tune seasoned with a playful, black-humored lyric of the kind Emerson would later love to write with ELP too. Organ quavers keep up a jaunty melody while a grimacing vocal pokes fun at a girl named Maggie. “Dawn” has a mysterious, slightly gloomy atmosphere with plenty of tempo changes, whispered narration and a hallowed, sacred organ sound. The closing, psychedelic-tinged “The Cry Of Eugene”, with its solemn, triumphant atmosphere and pleasant organ melody, is without a doubt among the album’s highlights. Majestic symphonic arrangements, an energetic trumpet passage and Emerson’s fast-fingered genius really make sure the album ends on a high note.
“The Thoughts of Emerlist Davjack” is a long way from the debuts of certain prog rock pioneers who put their best foot forward right out of the gate, but it’s still an exceptionally solid piece of sonic history and one of the more important heralds of the start of a new musical era. On the album you can feel that Emerson already knew exactly what he wanted to achieve and how to express himself as a top-notch musical artist, since with it he had already laid the foundation stone for his future triumphs with ELP. Of all The Nice’s achievements, this one had the greatest commercial potential, something the band chronically lacked throughout its short history and which ultimately led to its breakup.
Lineup
Keith Emerson – organ, piano, harpsichord, vocals
Lee Jackson – bass guitar, guitar, timpani, vocals
David O’List – guitar, trumpet, flute, vocals
Brian Davison – drums, tubular bells, timpani
GUEST MUSICIAN:
Billy Nicholls – harmony vocals on “Thoughts of Emerlist Davjack”
Production
Emerlist Davjack
Track List
1. Flower king of flies
2. Thoughts of Emerlist Davjack
3. Bonnie K
4. Rondo
5. War and peace
6. Tantalizing Maggie
7. Dawn
8. The cry of Eugene
