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Five Bridges
Five Bridges
Five Bridges
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Five Bridges
Live album / Studio album by
The Nice
ReleasedJune 1970
Recorded17 October 1969 at Fairfield Halls, Croydon, London (except "Country Pie", live at Fillmore East, New York City on 20 December 1969 and "One of Those People", a 1969 studio recording)
GenreProgressive rock
Length45:20
Label
ProducerThe Nice[1]
The Nice chronology
Nice
(1969) 		Five Bridges
(1970) 		Elegy
(1971)

Five Bridges is a live and studio album and fourth overall by English progressive rock band The Nice, released in June 1970 by Charisma Records. Most of the album was recorded live in concert at Fairfield Halls in Croydon, London, in October 1969. The final track, "One of Those People", is a studio recording. The album's centrepiece is "The Five Bridges Suite", a five-part composition about Newcastle upon Tyne that features the group performing with the Sinfonia of London session orchestra conducted by Joseph Eger.

The album was a commercial success in the UK, peaking at number two on the UK Albums Chart.[2] In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came No. 29 in its list of "40 Cosmic Rock Albums".[3]

History

[edit]

The work was commissioned for the Newcastle Arts Festival and premiered with a full orchestra conducted by Joseph Eger on 10 October 1969 (the recorded version is from 17 October in Croydon's Fairfield Halls). The title refers to the city's five bridges spanning the River Tyne (two more have since been built over the river, including the Gateshead Millennium Bridge), and the album cover, by Hipgnosis, features an image of the Tyne Bridge.

The five movements are:

  • "Fantasia" – orchestra with solo piano interludes by Keith Emerson
  • "Second Bridge" – trio without orchestra
  • "Chorale" – Lee Jackson's vocals with orchestra, alternating with piano trio interludes
  • "High Level Fugue" – piano with accompanying cymbals
  • "Finale" – a restating of the Second Bridge with additional jazz horn players.

Emerson used Walter Piston's well-known textbook on orchestration for the work.[4] Emerson credits Friedrich Gulda for inspiring the High Level Fugue, which uses jazz figures in the strict classical form.

Also included on the Five Bridges album were live performances from the same Fairfield Hall concert of the Sibelius Intermezzo and a movement from Tchaikovsky's Pathetique Symphony. Both involved the orchestra playing the "straight" music juxtaposed with the trio's interpretations. Newly discovered material from this concert was later issued as part of a 3-CD set entitled Here Come The Nice.

The Five Bridges album also included a blending of Bob Dylan's "Country Pie" with Bach's "Brandenburg Concerto No. 6" (with a quote of Coleman Hawkins' jazz line "Rifftide" as well) and a studio recording of the original "One of Those People".

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStar[5]
TopTenReviewsStarStarStarStarStarStarStarStarStar[6]

Paul Stump's 1997 History of Progressive Rock called the album "ill-conceived", commenting that the orchestrated pieces are poorly meshed, with the rock band and orchestra playing either separately (as on the first few movements of "The Five Bridges Suite") or such that "The textures of neither genre are properly utilized; it is like listening to two transistor radios simultaneously playing ..." However, he cited the final two tracks as among the Nice's best works, elaborating that "['One of Those People'] perhaps illustrates the Nice's real gift: to reduce pop forms to their constituent parts, alter their horizontal profile by cutting down paragraphs and overturning expected progression of chords and rhythm, which gives Emerson just as much of a chance to display his considerable technique without recourse to braggadocio."[7] Mike DeGagne's retrospective review for AllMusic, in contrast, argued that "Intermezzo" and "Pathetique" "are marvelous examples of classical and rock commingling" and that throughout the album, "Each example of genre merging is pristine and fluid, making the actual overlapping of multiple styles completely transparent."[5]

Track listing

[edit]

Side one

[edit]
  1. "The Five Bridges Suite" (Keith Emerson, Lee Jackson) – 18:06
  • "Fantasia 1st Bridge"
  • "2nd Bridge"
  • "Chorale 3rd Bridge"
  • "High Level Fugue 4th Bridge"
  • "Finale 5th Bridge"

Side two

[edit]
  2. "Intermezzo 'Karelia Suite'" (Sibelius, Arr. Emerson, Joseph Eger) – 9:01
  3. "Pathetique (Symphony No. 6, 3rd Movement)" (Tchaikovsky, Arr. Emerson, Joseph Eger) – 9:23
  4. "Country Pie/Brandenburg Concerto No. 6" (Bob Dylan, Johann Sebastian Bach) – 5:40
  5. "One of Those People" (Emerson, Jackson) – 3:08 (studio recording)
1990 CD Reissue

The 1990 CD reissue has 5 bonus tracks taken from 1972 compilation Autumn '67 – Spring '68. These are:

  1. "The Thoughts of Emerlist Davjack"
  2. "Flower King of Flies"
  3. "Bonnie K"
  4. "Diary of an Empty Day"
  5. "America"

The original album is tracks 1 to 8. The bonus tracks are tracks 9 to 13. The "Five Bridges Suite" track numbers bear no relation to the music, and the sleeve notes bear no relation to the CD tracks.

Sleeve Notes

  • "The Five Bridges Suite" – Tracks 1 to 8

CD Tracks

  1. "Fantasia 1st Bridge/2nd Bridge" (2.42)
  2. "Chorale 3rd Bridge" (3.27)
  3. "High Level Fugue 4th Bridge" (4.01)
  4. "Finale 5th Bridge" (7.59)

Actual Music

  1. "Fantasia 1st Bridge" (6.11)
  2. "2nd Bridge" (3.58)
  3. "Chorale 3rd Bridge" (3.32)
  4. "High Level Fugue 4th Bridge" (1.00)
  5. "Finale 5th Bridge" (3.26)
This means that Track 3 is actually the 2nd Bridge and Track 4 contains 3rd Bridge, 4th Bridge (at 3.32) and 5th Bridge.

Personnel

[edit]
The Nice

with:

Charts

[edit]
Chart (1970–1971) Peak
position
Australian Albums (Kent Music Report)[8] 28
German Albums (Offizielle Top 100)[9] 25
UK Albums (OCC)[10] 2
US Billboard 200[11] 197

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Five Bridges

View on Grokipedia
from Grokipedia
Five Bridges is a live and studio by the English band , released in June 1970 by . It combines recordings from a concert at in on 17 October 1969, with the Sinfonia of London orchestra conducted by Joseph Eger, alongside a track from East in from April 1969 and a studio recording at in . The album's centerpiece is the 18-minute "Five Bridges Suite", a symphonic rock composition in five movements—Fantasia: 1st Bridge/2nd Bridge, : 3rd Bridge, High Level : 4th Bridge, and Finale: 5th Bridge—that fuses jazz, rock, and classical elements to evoke the industrial landscape and five bridges spanning the River Tyne in , . The suite was commissioned for the 1969 Newcastle Arts Festival, where it premiered with a different , but the version on the album was captured live in . Side two features shorter pieces, including the Nice's arrangement of the third movement from Tchaikovsky's Symphony No. 6 "Pathétique", the from Sibelius's , a medley pairing Bob Dylan's "Country Pie" with Bach's Brandenburg Concerto No. 6 (recorded live at East), and the original vocal track "One of Those People", recorded in the studio. Formed in 1967 as the backing band for soul singer , the Nice—comprising keyboardist , bassist and vocalist Lee Jackson, and drummer Brian Davison—pioneered the integration of into rock, influencing the progressive rock genre. Five Bridges represented their commercial peak, reaching number 2 on the and charting for 21 weeks, though the band disbanded soon after its release, with Emerson co-founding in 1970. The album has since been reissued multiple times, often with bonus tracks, and is regarded as a landmark in symphonic rock.

Background

Band Context

The Nice were formed in early 1967 in as the backing band for American soul singer , with an initial lineup consisting of on keyboards, Lee Jackson on bass and vocals, on guitar, and Ian Hague on drums. The group performed at the National Jazz and Blues Festival in August 1967 and quickly gained notice for their energetic performances, which included extended instrumental sets alongside Arnold's vocals. By October 1967, following Arnold's departure due to visa issues, the band split from her management and transitioned to an independent act under Immediate Records, replacing Hague with drummer Brian "Blinky" Davison and beginning to develop original material that fused rock with jazz and classical influences. This shift marked their evolution into one of the early pioneers of by 1968. Significant lineup changes occurred in 1968 when guitarist departed amid reports of erratic behavior, including missed rehearsals and gigs, leaving the band as a core trio of Emerson, Jackson, and Davison. Although temporary guitarists were considered, such as —who later joined Yes—no permanent replacement was found, allowing the trio to focus on Emerson's keyboard-driven arrangements. The band's growing reputation was solidified through their debut album (1968), followed by later that year, and the self-titled in 1969; these releases showcased their innovative blending of , , and classical motifs, earning them a in the UK for their ambitious sound and theatrical live shows. In 1969, The Nice intensified their touring schedule across the and , including appearances at the Isle of Wight Festival in August and the Amougies Festival in October. These activities highlighted their interest in merging rock with symphonic elements, culminating in the premiere of the Five Bridges Suite in Newcastle on October 10, 1969, with the Sinfonia of London orchestra conducted by Joseph Eger.

Commission and Inspiration

The Five Bridges Suite was commissioned by the in 1969, with its premiere on October 10, 1969, at City Hall in . This opportunity aligned with The Nice's growing experimentation with classical elements during their 1968-1969 tours, where they began integrating orchestral arrangements into rock performances. The suite's conceptual foundation drew from the five bridges spanning the River Tyne between and that existed at the time: the High Level Bridge, , King Edward VII Bridge, , and Redheugh Bridge. Keyboardist spearheaded the composition, relying on Walter Piston's textbook to guide his arrangements and citing Austrian pianist Friedrich Gulda's jazz-infused classical works as a key influence for the "High Level Fugue" segment. For the premiere and recording, The Nice collaborated with the Sinfonia of orchestra, conducted by American French horn player and conductor Joseph Eger, marking the band's inaugural major orchestral endeavor. This partnership blended the trio's energy with symphonic precision, setting a precedent for Emerson's later work in .

Musical Content

The Five Bridges Suite

The Five Bridges Suite serves as the album's centerpiece, an ambitious 18-minute composition by and Lee Jackson that fuses with and classical orchestration, performed by alongside the Sinfonia of London. Structured as a four-movement work totaling 18:09 in runtime, the suite draws thematic inspiration from the five bridges spanning the River Tyne in , symbolizing connection and transition through its evolving musical motifs. The opening movement, "Fantasia" (encompassing the 1st and 2nd Bridges, 2:42), establishes an atmospheric introduction with sweeping orchestral passages from the , transitioning into a solo grand interlude by Emerson that shifts from Baroque-inspired flourishes to modern tonal explorations, underscored by woodwind and layers. This gives way to a rock-infused vocal section sung by Lee Jackson, backed by the full band and orchestra, introducing rhythmic drive and evoking the bridges' industrial symbolism. The second movement, "Chorale" (3rd Bridge, 3:27), features a percussive rock-orchestral through alternating ethereal string-backed choral vocals and jazzy instrumental passages, with Emerson on creating a smoky, improvisational tension that highlights the suite's hybrid nature. Emerson's adds textural depth in transitional phrases, bridging the classical choir-like swells with the band's propulsive . "High Level Fugue" (4th Bridge, 4:01) showcases Emerson's jazz-influenced piano solo over subtle fugal string patterns from the orchestra, incorporating boogie-woogie phrasings and rapid contrapuntal lines inspired by classical forms like those of Bach, while light percussion from Brian Davison maintains a rock undercurrent. The movement exemplifies the suite's innovative genre synthesis, layering improvisatory jazz elements atop structured classical counterpoint. The concluding "Finale" (5th Bridge, 7:59) achieves a climactic synthesis of the suite's themes, reprising the rock vocal motif from the second bridge but reorchestrated for a including jazz horn players, augmented by band improvisations on and . This extended movement builds to a dynamic crescendo, underscoring the rock section's foundational role amid the orchestral grandeur. Recorded live at Fairfield Hall in on October 17, 1969, the suite was edited in the studio for sonic cohesion, exemplifying the album's hybrid approach by integrating raw performance energy with polished classical arrangements.

Side Two Tracks

Side two of Five Bridges features four tracks that shift from the album's extended orchestral suite on side one, offering shorter adaptations of classical pieces interspersed with a rock-classical medley and an original composition. These selections highlight The Nice's approach to blending symphonic elements with instrumentation, recorded live except for the final track. The opening track, "Intermezzo (Karelia Suite)" (9:01), is an arrangement of Jean Sibelius's intermezzo from the Karelia Suite, Op. 11, performed with the Sinfonia of London orchestra conducted by Joseph Eger. It begins with a regal orchestral fanfare and flamenco-inspired rhythmic strumming before Keith Emerson introduces tasteful organ embellishments, building restraint until the band joins at around 3:30 with dynamic drumming from Brian Davison that propels the piece toward a climactic eruption featuring Emerson's Moog synthesizer distortions. The arrangement maintains much of Sibelius's melodic fidelity while incorporating rock flourishes, such as Emerson's improvisational organ variations that add a layer of progressive intensity to the original's pastoral tone. Following is "Pathetique (Symphony No. 6, 3rd Movement)" (9:23), an adaptation of the third movement from Pyotr Ilyich Tchaikovsky's Symphony No. 6 in , Op. 74. The track opens with delicate string and woodwind sections from the , gradually overtaken by the band's rock rhythm section of bass and drums, leading into an extended keyboard solo by Emerson on organ that deconstructs the theme through . Orchestral swells integrate with the group's energetic rock drive, creating a bombastic reinterpretation marked by unison passages between band and orchestra, though some overlap results in occasional sonic cancellation; this fusion emphasizes dramatic tension over the movement's original march-like precision. The medley "Country Pie/Brandenburg Concerto No. 6" (5:40), recorded live at East in New York, juxtaposes Bob Dylan's folk-rock song "Country Pie" from his 1969 album with Johann Sebastian Bach's Brandenburg Concerto No. 6 in , BWV 1051. It commences with Lee Jackson's infectious bass line driving Dylan's tune, transitioning into bluesy and jazzy by Emerson, before incorporating Bach's baroque motifs with loose, improvised jamming from Davison and Jackson alongside keyboard layers; the structure modulates upward, slows for a piano-led variation, then accelerates into a rock-infused close, exemplifying seamless genre blending. Closing the side is the original studio recording "One of Those People" (3:08), a bluesy rock track written by Emerson and Jackson with satirical lyrics critiquing societal conformity, delivered through Jackson's lead vocals treated with overdriven electronic manipulation for a quirky, distorted effect. Driven by Emerson's and a straightforward , it provides an upbeat, concise contrast to the preceding adaptations, showcasing the band's songwriting in a more conventional rock format without orchestral involvement. Collectively, these tracks underscore The Nice's versatility in subverting classical repertoire through rock reinterpretations while incorporating original material, providing a varied to the ambitious, thematic suite that dominates side one.

Production

Live Recordings

The Five Bridges suite received its premiere performance on October 10, 1969, at as part of the Newcastle Arts Festival, featuring alongside a full , though this rendition was not incorporated into the album. The composition had been commissioned specifically for the event by the Arts Council of Newcastle, marking an early example of the band's fusion of rock and classical elements in a live orchestral setting. Most of the album's material was captured live at in , , on October 17, 1969, including key sections of the Five Bridges Suite performed with the Sinfonia of London orchestra under the direction of Joseph Eger. This session highlighted the logistical demands of integrating the rock trio's instrumentation—primarily Keith Emerson's and —with the orchestral ensemble, relying on multi-track techniques to facilitate subsequent mixing and edits. The recording preserved the raw energy of the performance while allowing for refinements, particularly in the suite's transitions between rock and symphonic passages. The medley "Country Pie/Brandenburg Concerto No. 6" was recorded separately during the band's U.S. tour at in on April 9–10, 1969. This venue's intimate acoustics contributed to the track's dynamic intensity, contrasting with the orchestral scale of the session. The album also includes the studio-recorded "One of Those People," the sole non-live element, tracked at in .

Personnel

The core lineup of The Nice for Five Bridges was the power trio of on and piano; Jackson on and vocals; and Brian Davison on and percussion, who collectively performed all rock elements following the departure of David in 1968. The album prominently featured the Sinfonia of orchestra, conducted by Joseph , whose direction helped fuse the classical orchestration with the band's style across key sections. Production was credited to The Nice, with engineering for the live recordings handled by Bob Auger and mixing by . The distinctive cover artwork was designed by the graphic collective .

Release

Packaging and Artwork

The cover artwork for Five Bridges was created by the design collective , presenting a stark fisheye photograph of the set against Newcastle's industrial skyline, mirrored to symbolize the album's thematic focus on the region's five bridges spanning the River Tyne. issued the album in a vinyl LP format, which underscored the suite's ambitious scope through its spacious design and inclusion of an inner sleeve photograph by Eric Hayes depicting elements from the band's Newcastle premiere. The liner notes, written by , detailed personnel credits—including the Sinfonia of London conducted by Joseph Eger—and offered concise explanations of the Tyne bridges motif, highlighting the piece's commission for the 1969 Newcastle and the intentional tension between rock and orchestral forces. Initially released as a single vinyl LP divided into sides one and two, later CD reissues such as the 2003 EMI edition retained the original artwork to preserve its iconic presentation.

Commercial Performance

Five Bridges was released in June 1970 by Charisma Records in the United Kingdom, with Mercury Records handling distribution in the United States. The album achieved strong commercial performance in the UK, peaking at number 2 on the UK Albums Chart in June 1970. In contrast, it reached a more modest position of number 197 on the US Billboard 200. This success in the UK was bolstered by The Nice's rising prominence in the progressive rock genre following their 1968 album Ars Longa Vita Brevis, which had helped establish their innovative fusion of rock and classical elements. The album's reception in the remained limited. Overall, Five Bridges marked The Nice's commercial high point, reflecting their peak popularity before Keith Emerson's departure to form .

Reception and Legacy

Contemporary Reviews

Upon its release in June 1970, Five Bridges received positive coverage in the UK music press for its ambitious orchestral-rock fusion, with New Musical Express highlighting the title suite's innovative blend of classical influences and as a groundbreaking achievement for the genre. The premiere of the Five Bridges Suite at the in 1969 generated local buzz, with reviews in regional publications lauding the live spectacle of The Nice performing alongside an orchestra conducted by Joseph Eger, describing it as a bold and visually striking event that captured the city's industrial spirit. In the New Musical Express, Richard Green noted the technical prowess of the ensemble but critiqued the suite's over-reliance on classical adaptations, calling it an uneven but daring experiment. Overall, the 1970 consensus positioned Five Bridges as a bold evolution for The Nice, though live recording imperfections led some critics to view it as ambitious yet inconsistent. The album's chart success, peaking at No. 2 in the UK, reflected strong public enthusiasm for its experimental scope.

Modern Assessments and Influence

In the decades following its release, Five Bridges has been reevaluated as a pioneering work in , with critics highlighting its ambitious fusion of rock, , and classical elements while acknowledging limitations in its production values. AllMusic's retrospective assessment praises the album as a "delectable representation of early-'70s ," commending its genre-blending innovation, though it notes the dated sound quality of the original recordings. Similarly, in a 2005 Q & Mojo special edition on , the album was ranked #29 in the list of "40 Cosmic Rock Albums," recognized for its orchestral experimentation and role in advancing symphonic prog aesthetics. Reissues in the late 2000s and have revitalized interest by enhancing audio fidelity and expanding the tracklist. The 2009 Charisma/Virgin remastered edition includes three bonus tracks: a live "Fairfield Hall Finale" medley from the Croydon concert, an overdubbed studio version of "Country Pie," and excerpts from the Five Bridges Suite, drawing from performances that capture the band's live energy without additional Fillmore East material beyond the original 's content. A 2010 Japanese SHM-CD followed, maintaining the same bonus selections while improving clarity through high-resolution audio processing, and booklet notes reference the suite's premiere at the Newcastle . These editions have made the more accessible to modern listeners, preserving its raw, improvisational spirit. The album's Five Bridges Suite holds particular cultural resonance in Newcastle upon Tyne, where it musically depicts the city's iconic five bridges over the River Tyne—High Level, Swing, Tyne, King Edward VII, and Redheugh—commissioned for a local festival and symbolizing regional industrial heritage. This composition has been cited in academic discussions of place representation, immortalizing the bridges as enduring symbols of Tyneside identity and resilience amid post-industrial change. Its influence extends to subsequent progressive acts; Keith Emerson's orchestral-rock approach here prefigured elements in Emerson, Lake & Palmer's Tarkus (1971), particularly in blending classical motifs with rock aggression, while the suite's symphonic structure inspired bands like Yes in their exploration of extended, thematic compositions. Five Bridges is now viewed as a crucial transitional work, bridging 1960s with the symphonic prog of the 1970s through its live-orchestral hybridity and keyboard-driven experimentation. As The Nice's final studio , it marked the end of the band, which disbanded in early 1970 after the recordings were completed but before its release, paving the way for Emerson's departure to form . The initial chart success at #2 provided a foundation for this enduring reevaluation, underscoring its impact on prog's evolution.

References

  1. https://www.discogs.com/master/53167-The-Nice-Five-Bridges
  2. https://rateyourmusic.com/release/album/the-nice/five-bridges/
  3. https://www.allmusic.com/album/five-bridges-mw0000457441
  4. https://musicbrainz.org/release-group/b93c5889-5c6b-4645-a9f8-5ac63bab4494
  5. https://musicbrainz.org/work/a1902b21-a0bf-477c-b40c-0c7f7062a4b9
  6. https://thenice.org.uk/albums/five-bridges-1970/
  7. https://www.dprp.net/reviews/2002/milestones-the-nice-1970-five-bridges
  8. https://www.allmusic.com/artist/the-nice-mn0000481061
  9. https://www.officialcharts.com/artist/13347/nice/
  10. https://www.progarchives.com/album.asp?id=999
  11. https://thenice.org.uk/biography/
  12. https://jazzrocksoul.com/artists/the-nice/
  13. https://www.loudersound.com/features/nice-keith-emerson-lee-jackson
  14. https://www.bbc.co.uk/music/reviews/69f9/
  15. https://progrography.com/nice/review-the-nice-five-bridges-1970/
  16. https://wondersofworldengineering.com/tyne_bridges.html
  17. http://www.muzines.co.uk/articles/keith-emerson/5998
  18. https://mtosmt.org/issues/mto.14.20.3/mto.14.20.3.lundberg.html
  19. https://www.connollyco.com/discography/nice/five.html
  20. https://classicrockreview.wordpress.com/2021/12/05/the-nice-five-bridges-1970/
  21. https://www.thevinyldistrict.com/storefront/graded-on-a-curve-the-nice-five-bridges/
  22. https://www.amazon.com/Five-Bridges-NICE/dp/B002BJCMXQ
  23. https://davyolist.wordpress.com/about/
  24. https://www.discogs.com/release/496187-The-Nice-Five-Bridges
  25. https://www.discogs.com/release/3426890-The-Nice-Five-Bridges
  26. http://albumcovergallery.blogspot.com/2011/01/hipgnosis-selected-album-covers-part-1.html
  27. https://www.discogs.com/release/5276948-The-Nice-Five-Bridges
  28. https://www.officialcharts.com/albums/nice-five-bridges
  29. https://www.rocksbackpages.com/Library/Writer/richard-green
  30. https://recordcollectormag.com/articles/five-bridges
  31. https://www.allmusic.com/album/release/five-bridges-2009-digital-remaster-bonus-tracks--mr0003128103
  32. https://www.rocklistmusic.co.uk/q_mojo_se.html
  33. https://www.discogs.com/release/5135180-The-Nice-Five-Bridges
  34. https://eil.com/shop/moreinfo.asp?catalogid=505866
  35. https://www.expressiveaudio.com/blogs/expressive-audio/five-bridges
  36. https://www.jstor.org/stable/40346156
  37. https://johnmcferrinmusicreviews.org/nice.htm
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