RICK WAKEMAN & THE ENGLISH ROCK ENSEMBLE: A GALLERY OF THE IMAGINATION

Que faire? The candle is going out. Nothing can last forever. A talent is sooner or later exhausted, a source of new ideas is sooner or later running low. Now, after Wakeman's glorious 1970s, ragged 1980s, all that ensued and, finally, his alleged 'return to genuine Wakeman prog' in 2020s, there's a reason to suppose that the great musician Richard Christopher Wakeman will be remembered mostly from his 1970s. My personal opinion is that, for example, Myths And Legends..., No Earthly Connection and the 'Airs' trilogy will be remembered for decades to come, while Criminal Record and Aspirant Sunrise will be remembered for centuries to come. The composer Rick Wakeman will take his place in the history of music somewhere between Beethoven and Richard Strauss, the keyboard player Rick Wakeman will be considered a virtuoso comparable to Gilels or even Richter... but mostly due to his legendary 1970s works. Moreover, his future audience should forgive and forget most of his later releases just to appreciate him as a musical genius.

Indeed, while Wakeman's 1980s were ambiguous (at least to me The Gospels, The Family Album, A Suite Of Gods and all the three 'Airs' are masterpieces, while The Burning, Silent Nights or Time Machine are hooey), what followed in 1990s, 2000s and 2010s was a sort of musical graphomania. Three albums per year, four albums per year... even seven albums per year! Many of them were just collections of reworked versions of old tracks. (A neat way to make a 'new' album, isn't it?) Three albums (Aspirant Sunrise, Aspirant Sunset and Aspirant Sunshadows) formed Suntrilogy, an underrated masterpiece from 1990-1991. As for the rest...

Well, some people scold Wakeman's 1990s to 2010s albums as 'boring new age'. To me, no matter if it's (so-called) 'prog rock', or (ce qu'on appelle) 'new age', or (il cosiddetto) 'neo classical'. The only thing to be taken into account is the relationships between musical sounds that a composer builds. I dislike most of Wakeman's 1990s-2010s studio releases just due to poor, often vulgar, sometimes boorish, sometimes outspokenly plebeian musical thinking. In Criminal Record, or Myths And Legends..., or Journey To The Centre Of The Earth, or even Lisztomania, Wakeman discovered new worlds. Later, he put tons of platitudes on his listeners' heads. Of course not every album was as awful as Fields Of Green (when I first listened to it I could hardly believe that it's Wakeman). But most of them were composed really clumsy. And looks like none was really inspired.

With The Red Planet, Wakeman reportedly returned to his roots. Sorry but I cannot share the audience's enthusiasm about this album. No, it's not a new Six Wives Of Henry VIII, far from that. I cannot compare it even to White Rock. I find The Red Planet just being a 'counterfeit' version of 1970s 'Wakeman prog', a forgery. Though I must admit that South Pole and the intro to The North Plain add something new and important to 'the idea of Rick Wakeman' we used to know since 1973.

Finally, this narrow path has led to A Gallery Of The Imagination. I think the album is a logical conclusion of the entire Wakeman's way as a musician: from majesty - through fuss - to failed recovery. Fortunately, there's no more attempt to imitate 'Wakeman prog' in the new Wakeman album. I'd say due to this circumstance, the album is much better than The Red Planet. It does not simulate a 'drive' that is in fact missing. What's remarkable here? Very nice and heartfelt melody in A Mirage In The Clouds. The Creek is an amazing instrumental piece for piano, more or less in the vein of Chopin. What else? Inventive melody in Only When I Cry. A nice musical surprise is Cuban Carnival, unusual and unexpected, but (on the other hand) rather a memory of the carnival that ended many years ago than a current carnival. The rest is sometimes pleasantly quiet and thoughtful, sometimes unpleasantly rocky and fussy (especially The Dinner Party!), and anyway full of banalities. I'm afraid Mr Wakeman spent too much time for trifles in the previous three decades. This could damage even so mighty talent.

In this judgment-heavy, opinion-driven world we currently are forced to 'luxuriate' in, negative words and pessimistic feelings seemingly outperform the positive vibes by a very long shot. Where have all the hippies gone? LOL. Music critics have that incredible self-appointed political leeway to choose to trash a respected artist either because the latter has foisted the same (successful) formula once again, thus blandly not progressing anywhere, or the opposite, crying out why has the 'respected' musician not created anything along the lines of what made them popular in the first place! Catch 22 or as the French call this, a conversation between deaf-mutes. Bottom line, everyone is ENTITLED to their opinion. The hyper prolific Rick Wakeman surely cannot publish 34 versions of the 6 Wives of Henry VIII and 16 versions of Voyage to the Center of the Earth, now, can he? Furthermore, I have also noticed that most online professional wizards seem to omit reading the subject matter of their received messages or e-mails. This 2023 release has such a CLEAR subject title: Rick Wakeman & The ENGLISH ROCK ENSEMBLE! Meaning surely, that it's therefore NOT a Wakeman solo album! I dunno? Maybe?

This is altogether a different creature and quite an interesting one at that. Let us begin with the English Rock Ensemble and its current cast: One of the finest bass players on the planet in Lee Pomeroy, a fabulous drummer in Ash Soan, a truly gifted guitarist in Dave Colqhoun and finally, a female lead vocalist who will blow your mind! Oh, and some former Yes guy on the ivories taking a bit of a back seat on this project. This is certainly not even Close to the Edge, but it is a tad Fragile, a more accessible, varied and entertaining album than the uber-symphonic storm showcased on the Red Planet. I must say that I thoroughly enjoyed this from the get-go, much like my fellow reviewer Lazland (also known as my musical Walter Ego) who expressed deep admiration for this release. Twelve musical paintings adorn the wall of this art gallery , for the audience to peruse and enjoy. The piano-driven instrumental intro 'Hidden Depths' sets the imagination gallery in motion, with a rather breezy yet solemn ramble, with a clear introduction of all the players, the rumbling bass undertone, the wiry guitar lead, and a bustling drum assault. The whistling synth solo serves as an emotional outcry instead of technical wizardry (we know he is quite capable of doing that) , as it flows over the massed choirs that give just the right amount of depth to the piece. Looking up to the stars, 'The Man in the Moon' introduces the sultry voice of Hayley Sanderson, and I must say that its about time that the microphone is handled by a shining comet (pun intended) , as she has an incredible voice that can escalate beyond the norm, as we will hear later on in the show. Wakeman's classic fluttering finger Moog solo flickers over the massed choirs where Hayley chooses to scat sing a tad, a little detail glimpse of her talent. Yes, its seductive, sultry, bluesy, and sexy. Hovering high above the centre of the earth, 'A Mirage in the Clouds' is almost a vaporous segue, Hayley hitting the high notes effortlessly, rolling on an e-piano carpet with the ticking drums in shuffling tow. This is all serene mood and smoky emotion, with a flurry of details that entice and seduce, such as the acoustic guitar flicker. Deliriously entertaining.

Some of the most beautiful Wakeman pieces are to be found when he just caresses his grand piano and whips out melodies that can touch the romantic soul in those who have one. 'The Creek' is an etude for the ages, something a famous classical composer of yore would have skillfully produced. The melody is front and center, the playing nuanced and tempered with flair. Three words come to mind: Drop dead gorgeous. One of my personal highlight 'paintings' is 'My Moonlight Dream', a dreamy, atmospheric ballad where Hayley does her thing, after which the instrumental bridge shows off a synthesizer foray followed by an electric guitar twirl and then back to the Moog. The massive choir makes the heart race and pound mercilessly. The delicately passionate 'Only When I Cry' showcases the piano and the voice once again, deeply resonant yet simple, a melody and the tools to express it. Like a delicate spring flower gently waving in the breeze. 'Cuban Carnival' serves as an homage to a concert in Cuba (there is a DVD of that out there) that Rick seems to have adored, as its still in his mind. Ah the power of good rum. So, he decides to enjoy himself, so what? Super cool calypso mood, a Latino-synthesized dance and just a feel good piece. Even the guitarist does a tropical shuffle as the synth trumpets make the coconuts tango into the night. The grand piano does another whirl on the ceremonial and graceful 'Just A Memory', almost a variation on 'the Creek', a pristinely crafted piece , loaded with that patented trio : passion, atmosphere, and melody (the infamous PAM ). The ivory keys surge into a frenzy on the funky 'The Dinner Party' , a chugging rhythm guitar setting the stage for a feast of delicacies, a buffet of tasty bass, choppy drum sticks, lots of saucy synths, flavourful choir work from the wait staff, and the maitre d' directing the dining experience with his usual with and glamour. Food for thought. Yummy! Well, since it's called the English Rock Ensemble, 'A Day Spent on the Pier' sounds like a very English pastoral tune from the post-WW2 days, perhaps even to be heard on a seashore Brighton pub, with screeching gulls acting as backing vocalists. 'Ice cream always makes it a very special day'. Light, unfettered and utterly fun. Back to moody and mysterious is 'The Visitation', an e-piano saunter to set the spot light on Hayley's amazing lungs, until she suddenly decides do a Kate Bush variation, by hitting notes so high, I nearly fell of my chair when I first encountered them. Holy wuthering heights!

The brief 'The Eyes of a Child', no its not a song by the Moody Blues, Patsy Cline, Aurora, or Mike McDonald but perhaps nearer spiritually to Bush's 'The Man with the Child in His Eyes', serving as a clever hint for the above piece. As many know, Rick has to be one of the funniest artists anywhere, his sense of humour truly legendary. That being stated, the finale here is a shifting affair, with a Fellini-esque feel of a circus carnival , a merry-go-round piano and whooshing sounds that spiral in harmony . Great way to end the exhibition visit. I will keep the ticket stub for my collection.

4.5 Arcade Visions

I always find it annoying when reviewers claim that Wakeman is not progressing anywhere and producing the same fare. The man has created 80 "solo" albums (including those who shared with his son) which range from new age, to ground-breaking prog to straight piano pieces. In addition, he has released countless live albums, worked with the Strawbs, and more famously Yes; as well as contributing to Black Sabbath tracks, and numerous other works (including a couple with his close friend John Anderson). Sheesh, how much variation does one require from an artist.

(I can always pick a Tchaikovsky orchestral piece due to his distinctive use of the strings. I don't suppose he showed any musical progression or maturity either!)

Now on to album 81. The cover includes with "The English Rock Ensemble" which gave me a bit of a giggle. Many of Wakeman's early albums (No Earthly Connection for instance) included the English Rock Ensemble. Like Yes, its membership changed a lot but with Ashley Holt and Tony Fernandez in most lineups. Again, like Yes, none of the current members on this album were in the original lineup.

This is quite a serene, laid-back album with a touch of melancholy on some tracks. There are a couple of more upbeat lively tracks (Cuban Carnival & A Dinner Party) which, for me, are the least successful. This is a fine album, nothing like his previous red Planet album.

If you like his quieter music (Two Sides Of Yes, The Legend Live in Concert, or Live at Lincoln Cathedral, etc.) then you will probably enjoy this. Unlike the albums I just listed, this does include a singer, not Ashley Holt, but Hayley Sanderson. Her singing is not unlike that of Wakeman's daughter, Jemma, on Retro.

This is a fine album by my favourite keyboardist (sorry Keith & Bo).