Chords for Greg Lake remembers the first time that Keith Emerson used the moog

When I was 12 years old, _ I was around my friend's house and he had a broken down old guitar.
_ _ In fact, it only had one string on it.
_ Luckily, it was the _ _ bottom string. _
_ With a matchstick, I picked out this tune, [F#] _ [G] _ _ [E] _
_ _ _ _ [G] _ _ [E] _ _
_ _ the Duane Eddy piece.
[N] It made me think, you know,
_ perhaps I could play guitar, you know.
So _ it came to Christmas and I said to my mom,
do you think there's any chance of me having a guitar for Christmas? _ _
And she said no. _ _ _ _
You know,
we were pretty poor, so _ _ that was it.
I just accepted it. _
But anyway, Christmas came and
there it was, the guitar. _ _ _
And of course, I was thrilled. _ _
The first four chords I [D] learned were D,
_ _ _ _ [Am] A minor, _ _ _ _ [Em] E minor, _ _ _ _ and G.
[G] _ _ _ _
_ _ _ _ _ _ _
With these chords, I wrote this little song, the kid's song really,
and it was a medieval fantasy [N] really.
_ And I never wrote it on a piece of paper, I just
remembered the words. _
It was many, many years later, we were recording the first _ ELP album. _ _
_ And we got to the end of the record and we were one track short. _ _ _
Everybody looked around the
studio, you know, has anybody got any more material? _ _
And there was deadly silence. _ _
So I said,
well look, you know, I've got this little thing I wrote when I was a kid, _ and if there's nothing
else, maybe that would do, you know. _ _
So Keith said, well, you play it then, let's have a listen.
So I played it, and nobody liked it. _ _ _
_ _ And so I said, yeah, but you know, the thing is, we've got
nothing else. _ _
_ _ Keith said, well, you record it on your own, _ and I'm going to go down the pub.
_ So _ _
_ off he went down the pub. _
So Kyle Palmer and I, we recorded the first pass together,
just drums and acoustic guitar.
_ And it sounded pretty dreadful.
But _ then I put a bass on it,
and it sounded a bit better.
And then I went and put some more guitars on it, and electric guitar
solo.
And then I put these harmonies on, these block harmonies.
And in the end, it sounded pretty
good, you know, it sounded like a record.
_ Eventually, Keith came back from the pub, and he heard it,
and was shocked.
You know, it had gone from this silly little folk song to this quite big production. _
_ _ And so he said, wow, you know, _ _ I suppose I better play on that. _ _ _ _ _
_ _ _ _ _ _ _ _
_ So I said, the thing is, _
_ I've already put the guitar solo on. _
_ _ He said, look, I could play something at the end.
_ _ He said, I've just had this gadget delivered next door.
It's called a Moog _ synthesizer.
_ He said, I haven't tried it before, but maybe there's a sound on there that would work on this.
_ So I said, okay, why don't we give it a try?
And so Keith went out into the next room, and he said,
run the track then for an experiment.
So I flipped it in record, and pressed play.
_ _ And because he was
experimenting, we didn't really listen.
In fact, we put the speakers on dim.
_ _ The track went through,
and Keith _ experimented.
And when it got to the end, I turned to the engineer Eddie Offord, and I said,
was that me, or did that sound good?
_ _ _ And Eddie said, I think it did sound good.
_ And we played
it back, and that is the solo that's on the record.
_ _ So I said to Keith, Keith, you've got to
come and hear this.
It's quite extraordinary.
_ And he said, no, no, no, no.
He said, I was only playing
around, just _ experimenting.
_ I could do a much better one. _
_ And I said, look, the thing is, Keith,
we've only got this track left.
If you do another one, we wipe this one out. _
I think you've got to
listen to it, because we think it's the keeper.
_ So in the end, after a lot of to-ing and fro-ing,
Keith came in and heard it.
And then it was game, set, match.
And that became the record. _ _
So that was really the making of Lucky Man.
And