Rick Keene Music Scene – The ‘Rock Doc’ Neil Ratner Talks Music Industry, Anesthesiology and Michael Jackson

Special to Rick Keene Music Scene.com

Neil Ratner is a name that has been associated with the Rock n Roll scene since the 1960s. While pursuing a career as a drummer, Neil got a gig working on the road that led to associations with Emerson Lake and Palmer, Pink Floyd and later on the king of pop himself; Michael Jackson.

Neil recently released his book Rock Doc which is a blend of fascinating fun stories of the Rock n Roll lifestyle to heartfelt messages about charity and personal redemption. Neil gave Ron Roxtar a call from Ratner’s Woodstock N.Y. office.

Roxtar: Hi Neil, Thanks for the call. You know looking over your career I’m not even sure what to say it is you do. Tour manager, anesthesiologist, author and maybe we can say future rock star.

Neil: (laughing) Thank you for that although I feel my days of trying to be a rock star are well behind me.

Roxtar: You have your latest book out now, Rock Doc.

Neil: Yes it’s been out for a while now. It has so many interesting stories and people in it. There are ups and downs in life’s lessons. Even though I wasn’t trying to be an author I was always writing down on pieces of paper.

Roxtar: So what were your initial beginnings?

Neil: Growing up I always had two dreams. One was to be a doctor and like most people growing up in the 60’s we all wanted to be rock stars. I wanted to be a drummer so I played in bands in high school through to college.

Roxtar: I heard you came up here to Montreal to join a band.

Neil: Oh yeah! I was hoping you’d ask me about that. It was the local rock station up there CHOM-FM. They said a band up in St. Agathe was looking for a drummer. I called the station and they got me in touch with the band who said to come on up, which I did. I was the drummer in that band for about four months. I don’t even remember the name of the band but it fell apart and then I came back to the States.

Roxtar: So after that experience what happened?

Neil: It was the summer between my sophomore and junior year I took an apartment in the city because I had a job at the hospital that I thought would help me get into medical school. I found out by chance that my upstairs neighbor is a musician. I knocked on his door and he’s standing there with a guitar slung over his shoulder. He invites me in and tells me his name is Rick Derringer. I was like “You mean Rick Derringer from the McCoys?!” He was like “Yeah.” From that, we became very good friends and he heard me play the drums. I asked him to help get me a job. One day he calls me up and says he’s got a gig for me but not as a drummer. He was working with Johnny Winter at the time. Johnny had a brother named Edgar who was forming a band and they needed a manager so my whole life took a major left turn.

Roxtar: So in a chance meeting everything changed you ended up eventually working for some big names like Pink Floyd and (ELP) Emerson Lake and Palmer.

Neil: Yeah, well I spent more than a year with Edgar Winter’s band it was called White Trash. I then met a big-time manager who was managing Humble Pie, J Geils Band, Peter Frampton and Emerson, Lake, and Palmer.

They were at the time changing management and they offered me a job to go over to London and run their lights and stage production. I was basically the general operations director.

After about a year I noticed all these bands were using too many companies. They had a lighting company, a sound company, accountants and more. This is back in the day where it made things very complex. I got this idea to form a company called Circus. It would provide trucking, lights, sound and everything that a group needed under one tent so to speak.

Ratner – Watts

The guy who helped me form this company was named Peter Watts. He was the husband of an old girlfriend of mine from college and we just happened to meet up in London one day. Peter was the sound technician for Pink Floyd. One day he came to me and said “You know we’ve never used anybody for anything. We’ve always been self-contained. Now we’ve got this new album coming out called Dark Side of the Moon and for the tour I want us to be the first to use quadraphonic sound and digital lighting. The only way we can do it is if you combine forces with us. So we did the Dark Side of the Moon tour and even afterwards a couple of other things. After five or six years I had pretty much set out do everything I wanted to do before I got an epiphany to follow my other dream which was to become a doctor.

Roxtar: So after achieving let’s say some of your accomplishments in the music business you go back to wanting to be a doctor.

Neil: Well you have to remember, Ron, one of my first dreams was to be a doctor. Plus those years in the music business was taking a toll on my body and I ended up in the hospital with kidney stones.

I remember watching this movie one night about American medical students on their way to becoming doctors and that’s when I got my epiphany. I had achieved everything on the business side of things and I was not going to be the rock n roll star drummer I wanted to be so it was time to go back to being what I wanted to be which was a doctor.

That was a ten-year journey since I had stopped going to college. I had to study outside of the US. I studied for years at a Mexican medical school, then a year of unpaid internship just to get back into the American system. I then did a couple of years of surgical residency. After ten years I finally had switched to anesthesiology and became an anesthesiologist.

Roxtar: Someone coming from the world of music let’s say back into medicine there seems to be a connection. I’ve read that some doctors play music during operations and it’s almost as if music can if not be a cure, certainly can be a helping healing factor.

Neil: Well I’ll tell you a funny story about that. At the end of your residency, everybody has to do some sort of research project. Mostly everyone does a scientific study of some kind. I had an interest in consciousness in a sense. There is a type of procedure doctors do that’s called conscious procedure where the patient is not completely out but certainly not wide awake. It’s somewhere in between. As an anesthesiologist I somehow knew if I could play music in a patient’s ear during the surgical procedure we could use fewer drugs and decrease the stress and tension of that patient.

All the doctors laughed at me and thought why would I ever want to do that, but I persisted. In the end, my study did show that there was a great benefit to music being played almost as if it as an extra drug.

Then after a little while, I realized I didn’t want to be a hospital-based anesthesiologist. I looked around and noticed that a lot of doctors wanted to perform procedures in their own offices but couldn’t because the equipment wasn’t monitored properly. So I offered my services and would go into the doctors offices to be their anesthesiologist. I was one of the first to do that in New York City.

Roxtar: You also spearheaded doing some overseas charity work. You were instrumental in helping the victims of the bombing attacks in Kenya and Tanzania that took place, which was the first time the world heard about Al- Qaeda.

Neil: Absolutely. I was in New York when the acute bombings happened. We arrived afterwards. A friend of mine who lives in Kenya called me up. They were aware of my previous charity work. My wife and I had been to Africa and we were very concerned for the Indigenous people. We went to a very remote village near the Somalian border.

We went down there all self-contained and started a bush clinic for the local tribes there. We started a mission of mercy down there working along with the various charities. A friend of mine helped me to get started on making three micro bakeries in some of the poorest of the regions. One of the most meaningful things you can do in life is to give back to those less fortunate than yourself.

Roxtar: If someone’s going to buy this book what exactly will they be reading about?

Neil: They’ll be getting an incredible journey about different areas of life. One journey is about the rock n roll business of the late ’60s and early to mid-’70s. That was a really good time in rock n roll because that’s when the business was developing. You’ll read about ELP, Pink Floyd and others. There are stories about the rock festivals and how we made sure we were doing our best to make things happen in the right way.

Another journey is about what it’s like to go into the world of medicine at an older age in a foreign language in a foreign place and what that’s like. With that comes the journey of anesthesiology. The world of plastic surgery and celebrities.

From there is the journey of meeting Michael Jackson and not only becoming his doctor but his close personal friend. I spent eight years with Michael traveling and being with him in various ways.

There is a journey about me getting into a little bit of trouble. From that, I learned to be a humanitarian and try to do good in life.

The book has all of those things and more. I’m getting a great response and people are really enjoying it. Let me add there’s even a section of pictures so you get that as well.

Roxtar: So what was it like to work with Michael Jackson?

Neil: You know Michael was a great guy. A lot of people did not have an opportunity to get close to Michael and I was one of the few who did have that opportunity. He was a great friend.

We could talk about anything. We talked about spirituality, nature, even old rock n roll. We talked about anything.

Mandela, Jackson, Ratner and His Wife

He was very supportive. The time that I was in trouble in life he was incredibly supportive. He was what a friend should be. I have very fond memories of him.

He was also a great humanitarian and a lot of his efforts were unheralded. There was a time when we were in South Africa. He insisted on going to the hospital there. This is at a time when people were still very afraid of HIV. Michael was not afraid to go in and mingle or hold the patients. He wasn’t afraid to touch them, whereas most people never would. I had some great times with my friend, Michael Jackson.

One of the greatest things Michael did was introduce me to Nelson Mandela. That was an amazing thing and because of it I got to meet Nelson on a couple of occasions afterwards. During one of those meetings he helped to finance the first micro-bakery I talked about earlier.

Ratner – Winter

Roxtar: You are stranded on a desert island with no hope of ever being rescued. What are your top three desert island discs?

Neil: Oooh, that’s a tough one. (thinking) Okay, I got it. Gaucho by Steely Dan.

My second would have to be Dark Side of The Moon. If you’re on a desert island you’re going to want to have a record that takes you far away from there in your mind.

For my third, I’d want to have a real rock n roll record. I’m going to get personal and go with Edgar Winter’s Roadwork. I really think it is one of the best rock n roll records out there and not many people know it.

Contact Ron Roxtar


Rick Keene Music Scene – StringKatz; Putting The ‘Classic’ Back In Classic Rock

Many Rock n Roll musicians are classically trained …

Lawrence Gowan of Styx immediately comes to mind which is ironic since StringKatz, a quartet of stringed instruments, just recorded Gowan’s A Criminal Mind on their new CD.

Music imitating music or music imitating music?

StringKatz are on to something. Rock music is historically ripe in beautiful harmonies and chords. Even Andrew Loog Oldham, the Rolling Stones’ first manager stated famously the Stones’ music can easily be put to orchestral arrangements. How many times have you heard The Beatles’ tunes in elevator music mode?

Please listen below to my chat with Helga Dathe and Marie – Claude Martel. They are the two violinists in StringKatz. Hear some great tunes as well !

Helga? Marie – Claude? What’s up?

Visit StringKatz here !

Rick Keene Music Scene – A Conversation with Robert Berry

The Rules Have Changed for Musical Virtuoso Robert Berry

Special to Rick Keene Music Scene by Ron Roxtar

Robert Berry always strives to do his best. It seems he’s been good on his word since the release of 3.2 The Rules Have Changed. It is his best work to date.

This album is a follow – up for the original To The Power of Three album released in 1987 by super-group 3. Berry was bassist and lead vocalist on that album and was joined by two prog rock legends. Carl Palmer and the late Keith Emerson. For Emerson, Lake and Palmer fans, wanting a final taste of the legendary keyboardist Keith Emerson; they will get it through Berry’s brilliant playing on this new 3.2 album.

In his career, Berry has performed with some very talented people. Sammy Hagar, Ambrosia, Greg Kihn and GTR. Robert and I spoke at great length about the new album, the glory years of 3 and the fond memories and insights of his friend and fellow band-mate Keith Emerson.

Roxtar : Let me start off by saying I love 3.2 The Rules have Changed. It’s a great album. You yourself have said it’s your greatest musical achievement. Why is that?

Robert : You know it started out to become my dream come true. For 27 years I’ve always wanted to do a follow up album for To the Power of Three with Keith (Emerson) and Carl (Palmer). Keith had been poisoned by the idea of it because of some fans writing him letters saying he shouldn’t do rock songs or have female back up singers. They thought he was ruining his legacy. He was very susceptible to that sort of thing. He thought it wasn’t working out. The thing is we had a top ten record with Talkin’ Bout and Keith was the sound of that song.

Roxtar : It’s a really good song. How did you get this new album to happen?

Robert : Yeah well here’s the thing, the record company put out a live record of that tour we did. I was excited about it. Carl always liked 3 so he was good with it. Keith was like “Whatever it’s money in the bank.” When Keith sat down at night and listened to the live album he called me immediately and said “Robert, we were such a good band. We were on fire.” So I sheepishly said “Why don’t we do a follow up?” I told him if I got us the right deal I’d call him back. I got in touch with Frontier Records and the president of the label was happy about it because he’s wanted a follow up for over 10 years. Now here was a chance for it to happen so they jumped on it. I called Keith back, he got super excited and we started working on it. That was the dream for me. I was so happy. If this was the last thing I’d ever do with my friend I wanted to make sure it was a great one.

After he died, I still had all the materials we had laid out the perimeters for just sitting there. We had at least five songs written and at least 20% of Keith’s keyboards done.

Roxtar : So is it safe to say that there’s still some of Keith’s playing on this album? At least 20% of it?

Robert : I have to be honest. A few months after Keith passed away I called Aaron Emerson up and asked him to get in on it. I sent him some of the stuff we had been working on and he found it too hard to play. After all, anything Keith Emerson plays on is too hard for anybody. Aaron told me I’d have to contact the estate that sort of owned Keith’s music and so I did. A few months went by and I didn’t hear back from them. Finally I said “Look I’ve got this material and you won’t know what Keith played on so I’m going to release it.” They then got back to me saying we couldn’t use his keyboard parts because they wanted Keith to be credited as a songwriter. I was like “That’s crazy.” Everyone knows Keith is remembered as this keyboard virtuoso.

In being honest I had to redo it. The playing came through my fingers from the stuff that he played, but then again he chose the parts. He chose the sound.

It got me excited about the material again. My goal wasn’t to sell millions of copies or have another top ten hit. My goal was to have another album we could be really proud of. I decided I was going to finish this because we had it all mapped out and I can play all kinds of instruments. I also have a state of the art recording studio. It was like because I can, I do. So I decided to finish it up.

The reason why I feel it was my greatest achievement is because it was so emotionally hard to get past the loss of Keith and now hearing the lyrics more I realize what I was writing at the time. The lyrics sort of shifted after he was gone. I used to have these conversations in the studio by myself and it was like I was channeling Keith. I would ask myself “What would Keith do here?” and try to imagine our conversations much like we had done back in ’87, ’88 or conversations we’d had in these later days. It wasn’t meant as a tribute to Keith but when it was done I was really proud of what it was.

Roxtar : You say you didn’t want to make this a tribute to Keith but obviously in some ways it is. In some of what you were saying about the lyrics in particularly with the song Our Bond. You have the line I hold the love of who you are / the passion of your hands / brought to my ears the music’s blood / that became our bond / a good man may we honour him. Then there’s this complicated musical prog piece.

Robert : That was written just a few weeks after he died. We’ve lost so many great musicians over the last few years and people always talk about their music. With Keith it was a bit the same but people were really talking about what a loss it was because he was this great guy. This funny guy. He was the most famous person I ever knew and he was so accessible. People could walk up to him on the street he was just so friendly. People felt like they knew him as a friend like I did. I thought I needed to write something about how everyone feels about Keith. It was not just about the music but the man himself. I was touched by that.

I thought I’m gong to write something and at the same time I’m going to throw a little bit of Fanfare in there. A little bit of Talkin’ Bout in there. A little bit of Tarkus? I rearranged it all. Of course at the end you hear that piano piece. I kind of just left the note hanging there. So that was a tribute to Keith.

Roxtar : This is all incredible stuff you are telling me. Even more incredible is the fact that you played all the instruments on this album as well.

Robert : Yeah I did. It’s not something I like to dwell on but I did. I have my own studio because I’ve been re-creating music for Paramount and other film companies for years. So in this album I was recreating what I felt was the essence of Keith’s playing.

I have a lot of singer / songwriters I produce because they don’t have a band. They want a more one on one. I bring to life their vision. It’s called Soundtek studios. I spent my life building up this state of the art studio. I have five drum sets, over 130 guitars, every amplifier you can think of, super expensive microphones and soundboards, the latest pro tools. I have to have the best of everything because I’m only striving to do my best work.

It’s also like a museum with all the artists I’ve played with like Ambrosia or pictures of Keith and Carl people have never seen. I’ve got a letter from Ian Anderson telling me how much he liked what I did on a Jethro Tull tribute.

Check out Robert’s studio here : http://soundtekstudios.com/

Roxtar : So what about when you joined Keith and Carl to form 3? It was really the third incarnation of Emerson, Lake, and Palmer. It was more like EBP. What was that like for you?

Robert : That’s an interesting question. Both Keith and Carl told me something that has lasted 30 years in my career. They said “We had Greg Lake in the band and now we want you. We want you to do your best work. Don’t try to be Greg Lake.”

That meant a lot to me. Especially with Keith because he wanted something new. For Carl it was kind of like doing Asia. We were doing some stuff that was progressive. He wanted it to be like the success he had with Asia.

Here I was the new guy and I was a Greg Lake fan so it never bothered me if I got critiqued for being the new guy. If people were saying they wanted Greg Lake and ELP back I understood that. The criticism never bothered me personally but it bothered me that it got to Keith so much.

The record company loved it. The new fans loved it and we had such a camaraderie onstage. They treated me like an equal. There were no ego clashes. We had fun and hung out together all the time. They made that happen because they made me feel comfortable. The thing was we were trying to forge forward with this music and into the 90’s. Then all the grunge music with Nirvana, Pearl Jam and all that came along and changed everything.

Roxtar : How did the fans treat you as the ‘new guy’?

Robert : I have to tell you at the time there wasn’t that much feedback back, but now 29 years later it’s fantastic about how good I was (laughing).

The thing is because we had a top ten hit we were getting younger fans. Of course there was the typical older intellectual ELP fans but I remember in New York seeing lots of younger fans in their 20’s. So those younger fans were fine with me.

Remember the great top ten hit from 3 Talkn’ Bout : https://www.youtube.com/watch?v=cQ2Kh1W4l4U

Roxtar : I think another reason why it was easier for you was that it was a whole new band with the name change of 3. Even though you were joining established musicians it wasn’t like joining an established band.

Robert : Yeah exactly. Another thing to keep in mind was we had all new material that we’d written. So everything was new. People talk about it as a failed project but it wasn’t. It was really successful.

That’s another reason why the 3.2 album has been so well received. It’s a continuity to what we did before and with Keith’s contributions. This time we knew exactly what we wanted to do.

Roxtar : You’ve played with so many established musicians in your career. What’s the connection with Sammy Hagar?

Robert : In 1985 when Sammy left his solo band to join Van Halen he was signed to Geffen Records. That label was grooming me to be a Bryan Adams, Sting like artist. John Kaladoner the famous A&R guy, he had an idea for me. He thought he would give my stuff to Sammy’s solo band and they could hook up with me or he was going to give some of my stuff to Carl Palmer. He did both. Carl called me first and really liked my songs so we started to get a band together. Then David Lauser of Sammy’s band called me second so it was too late.

Years later after 3 broke up David called me back and was still interested in working with me. We met up at Sammy Hagar’s house and Gary Phil flew in from Boston since he’d joined the band Boston. Alan Fitzgerald wasn’t in Night Ranger at this time. He had actually been touring with Van Halen playing keyboards and background vocals behind the curtain. So we all got together at Sammy’s and it was magic. We became a band called Alliance. It’s funny you ask me about this because we have a new album coming out.

About the time that Sammy was splitting up with Van Halen in the 90’s he called me up and said “Hey I’ve heard the stuff you’ve done with David would you like to come and play bass with us in a trio called Los Tres Gusanos (The Three Worms). That was great because we played The NAMM show, Cabo Wabo and places like that.

Here’s the thing if you go to see his current band The Circle and there’s a keyboard part in some of their songs, well that’s me. I played the keyboard parts for Sammy’s band The Circle which is pretty much the Van Halen songs they do. I did about five songs for them but I think they only do about three of them. I play with Sammy every night, you just don’t see me (laughing).

Roxtar : Wow! So in a way you’re the fifth member of The Circle.

Robert : There you go.

Roxtar : I also wanted to tell you how much I like the video for Powerful Man.

Robert : Thank you. Yeah, that was done by a friend of mine who did a fantastic job. That video has a deeper meaning that people might think. The song itself has a deep meaning. It’s a song written about Aaron Emerson. When Keith was in ELP he was on the road so much he was never really at home. Someone like Aaron would see how his dad had this positive power over the crowd. For me, Powerful Man was about these kids who have rock star dads.

Check out the Powerful Man video here : https://www.youtube.com/watch?v=cmc87bd-xy4

Roxtar : How come Carl Palmer wasn’t involved in this new album?

Robert : You know initially Keith didn’t want to have him involved because we were going in a different direction. We were going to use Simon Phillips because he worked with me on an ELP tribute album. We did Carn Evil 9 that I rearranged to be a bit tougher. The thing is Carl is just so busy. He’s always touring and this guy’s got so many new ideas. It was Carl who got me into 3.

This time around he gave me his blessing and said I could even call it 3, but he didn’t want to be a part of it because he’s just too busy. I would have loved to have had him. I’m proud of him because he’s playing better than ever.

Roxtar : What’s your best memory of Keith Emerson?

Robert : You know I have to say I really remember the first time Carl and I drove up to rehearse with Keith. We drove up to his big mansion in Essex. There’s this big gate and Carl’s “Asking where is he?” All of a sudden we hear this voice saying “Hey guys I’m up here!” We look up to the second story windows and in one of the windows was Keith with his butt sticking out. He’s talking with his butt cheeks like “Hey how you guys doing?” It was so funny. Here’s one of the best keyboardists in the world and he’s talking to me with his butt cheeks out.

Roxtar : Okay Robert your stranded on a desert island. What are your top three desert island discs?

Robert : Oh man that’s a hard one. I’m so into many different styles of music. I grew up listening to a lot of big band stuff and I’m really into Mexican mariachi music as well. I do remember being in college and in my car I had two albums that I listened to over and over again. One was Stevie Wonder Songs in the Key of Life and the other was Blow by Blow by Jeff Beck. That guy just blows my mind. As far as a third one is concerned I’d probably have to bring a Yes album with me. I mean Chris Squire is just all over the place. I think what Squire, Rick Wakeman and Steve Howe did was just phenomenal.

Roxtar : You spend a good amount of time on the road with Greg Kihn. How did that come about?

Robert : I was in Ambrosia for a while and that was fine. I was trying to get them to do a new studio album and they just weren’t interested. They weren’t even playing as much as I thought they’d be. They’re a great band and I love those guys but I want to put out new music so I quit the band.

Right after that I get a phone call at eight in the morning from Greg Kihn. He says “Hey Robert I guess you might have heard Steve (Greg’s bass player) had a stroke so I want you to be in my band.” So I sat up in bed taking it all in. Right after leaving Ambrosia and wondering what I was going to do next here’s Greg Kihn offering me a gig. Little by little we began writing together and after about six years I got Greg to do a new album called Rekihndled. I’m really proud of that album.

Roxtar : So if you’re not playing with Greg I guess you’re focused on this new tour for the 3.2 album.

Robert : Yes exactly. I’ve got some really great players in my band for this 3.2 tour. They have to be because of all the material we’re playing. We’re doing some GTR songs because I worked with them for a bit. We’re doing some of the songs from the original 3 album. We’re doing an Ambrosia tune and of course my version of Carn Evil 9. We even do a tough version of Roundabout from Yes. Then we do songs from the new 3.2 album. It’s a really hard set so the guys have to be good.

I’ve got Andrew Coyler on keyboards and he’s playing all of Keith’s keyboard parts so you know he has to be good. I’ve got my long time guitar player Paul Weller who got along great with Keith. On drums I have Jimmy Keegan. Jimmy was the drummer in Spock’s Beard for many years. He’s not just a great drummer but a great singer too. So yeah we’re out there playing some great stuff with great musicians.

Rick Keene Music Scene Presents; A Carl Palmer Drum Solo

Carl Palmer is ahead of his time … literally.

Musically, that’s what it is about. Forget about playing with Greg Lake and Keith Emerson, Carl is too quick  for them …


Palmer, the man who once sat in for Mick Fleetwood during a Peter-Green era Fleetwood Mac show, is way ahead of his playing days with ELP. Ahead of ELP but not their music.


Friday night at Le Gesu in Montreal, Palmer – along with Simon Fitzpatrick (Bass) and Paul Bielatowicz (Guitar), delivered a powerhouse two hour set as part of  “Carl Palmer’s ELP Legacy Rhythm Of Light 2014 Tour. A set  exhausting to watch.

Palmer, at sixty-four years of age, an Energizer Bunny behind the kit. He kept going and going and …


An amazing percussion – driven display of classic ELP songs done instrumentally. Fanfare for the Common Man was saved for last while anything cutting edge done by ELP, came before. Jerusalem from the Brain Salad Surgery album to Tarkus from the album of the same name.

ELP fans were delighted as was Palmer himself. Fitzpatrick’s bass and electronic bass were simply otherworldly while Paul Bielatowicz’s guitar playing;  years ahead of his young age.

Please watch below – an example of what Carl Palmer can do with a drum set. Keep in mind – he is sixty-four. He kept this pace up all night.


Bands for Baskets Dec. 7Th







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Saturday Night in Montreal and Win Tickets to See and Meet Carl Palmer


Not a problem. Just a few things to do in this fine city called Montreal tonight along with a few  tunes from the great artists that are playing.

Stump Dave the Bartender and win two tickets to see and meet Carl Palmer from Emerson Lake and Palmer fame.

Send questions to Rickkeene2 @gmail.com

Cool eh?

ticket stub



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The Wisdom of Emerson, Lake and ‘Carl Palmer’ …

Carl Palmer has been around for a while …


The sixty-four year old drummer from England, was born into a musical family. Both parents, his Grandfather and his siblings – all playing instruments around the Palmer homestead.

Beginning with his first professional gig at the age of sixteen, Carl has brushed shoulders or played with some of the legends in the music world. Heck – Mick Jagger and Keith Richards even got involved!

Emerson, Lake and Palmer
Emerson, Lake and Palmer

Reaching incredible heights in not one – two ‘Supergroups’ over the years, Palmer is still going strong. Touring with Asia and for the past little while, his own group, which brings the songs of Emerson, Lake and Palmer to a different level. Carl Palmer will be in Montreal on the 26th November at Le Gesu.

Please listen as Carl explains his influences, including his relationship with ‘the world’s greatest drummer‘ and what Montreal means to him after that fateful August evening in 1977.

ticket stub


Visit Carl Palmer Here!

Visit Emerson, Lake and Palmer Here!

Visit Le Gesu Here !



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