On the first volume of Works, ELP's classical stance degenerated into a series of postures. Keith Emerson's lush piano concerto had no focus, Greg Lake derived nothing from full orchestral backing other than sweetener, and Carl Palmer's dabblings were ultimately self-serving. The disco-decadent rendition of Aaron Copland's "Fanfare for the Common Man" spoke for itself, and "Pirates," the band's sole attempt at a communal epic, outranked even Brain Salad Surgery for insubstantial flash.

Works, Volume 2 deals with the other side of the ELP coin, which is rapidly becoming a plugged nickel. Once again, the group tries to recapture an image, this time that of a pop-music master computer. Punch in Art Tatum-style piano solos, and Emerson spews "Honky Tonk Train Blues." Wire Lake to some prime Bing Crosby, and he drawls "I Believe in Father Christmas." Plug in old, big-band 78s, and out comes "When the Apple Blossoms Bloom in the Windmills of Your Mind I'll Be Your Valentine." (All these titles were released as singles while we waited for Volume 1. The new material is, if anything, worse.)

These guys can't even resurrect their old stocks in trade. The once-lordly synthesizer timbres have been compressed into nasty chortles or smutty whines. The driving beat currently has the jitters. Lake's voice, which has been warm on occasion, is now a croak, and Emerson seems to have fumbled away his piano magic. As creators of impressive progressive rock. ELP appear to be in trouble. Meanwhile, the matching Works album covers might make nice bookends. (RS 259)

MICHAEL BLOOM