NOLAN & WAKEMAN

Backed by an all-star cast, Clive Nolan and Oliver Wakeman create a bombastic, theatrical concept album. Those who like Rick Wakeman's classic Journey To The Centre Of The Earth album will most probably like this one too, or at least recognize the similarities between the two albums. It is actually rather remarkable just how similar Oliver's keyboard playing is to that of his legendary father. Rick himself is even present here, as the narrator of the whole thing. All the clichés of a fantasy-tinged concept album are present, but it is not too cheesy or overdone. Everyone involved are super professional and know exactly what they are doing. They are having fun!

The vocals are handled by Bob Catley from Magnum, Tracy Hitchings and a couple of others. Catley and Hitchings are great. And so are the keyboardists, of course, and the band backing them all. This is simply a quality product. But it still has somewhat limited value due to the very nature of the project. They are doing this for fun and this fun then spreads to the listener who is entertained. Once or twice, that is. The albums does not have any staying power. It is like a theatre play or movie - you may enjoy it while it lasts, but you almost never want to witness it again.

A pretty good album of its kind, but absolutely not essential

Whole idea and reason for three stars can be described by one sentence which describes it all. "Intro track is a very good one for a intro, but the rest of record seems exactly like it." You simply can't take album with 68 minutes which all sounds like intro to prog heights. OK, there are exceptions (second track for example), but that's it, just exceptions. This is reason why I'm giving 3+. Another good thing is this whole story thing. We like stories, right ? And when you combine it with prog rock, then something wonderful is here.

It sounds very much like Arena. That's another advantage. Their guest list is long enough to make supergroup, but not much of this potential is used (hello Asia).

If you like Arena, you will enjoy this too. 3(+) and good feeling from it.

Which means that from time to time, some pomposity can be felt. It is the case with the "Overture" although I quite like it (but I am an ELP fan, so in terms of pompous, I'm quite immune by now).

This concept album is taken from a Conan Doyle famous work. Since I have seen a TV picture based on it, it was not difficult to follow the storyboard. For sure, it seems to have been written to be played at a West End theatre.

Lots of instrumental passages are introduced/closed by the narrator who sets the scene. I am not too found of this though. But I guess that it was necessary; just to break the battle between both flamboyant keyboard players.

Arjen's influence is very much present in "Shadows Of Fate". The riff is hard, almost metal at times. But melody is present as well. Same apply to "Waiting" much later on this album.

I also particularly appreciate the fine vocal work of Tracy Hitchings who has been singing with "Landmarq" for a while. She was also a guest on their previous work.

But my feeling is that this work is far too long to keep the listener interested from start to finish. To pay full attention for almost seventy minutes is rather demanding. Still, a song like "Seldon" is quite catchy and the guitar break is gorgeous.

Chasing The Hound is also well achieved and closes this work brilliantly. A good album from the pair Nolan / Wakeman (and friends).

Some friends / family are also helping here. Father Wakeman (yes, Rick) as well as Ian Salmon (bass player of "Arena" and "Shadowland"), Peter Gee (Pendragon). The music displayed here ranges more to the symphonic vein (in which it was previously featured on PA) than neo-prog although several musical genres are mixed here.

Bombastic during the "Overture", almost funky/jazzy during "Coming To Town" this album is consistent at least in the quality of the musicians. But this is just a normal thing IMO. Professionals just need to be at this level. Even Rick is truly credible in his narrator role. I also appreciate the vocal work from "Tracy Hitchings" in most of her parts.

The only minus point (but this often takes place with such a work) is that it sounds pompous at several occasions ("The Forest" for instance). Same comment about "Shadows" during which the ELP influence is obvious.

If you happen to be a keys freak, there are real good parts in here. Being synth or just piano. You should be delighted. But maybe that you would feel (at least I do), that in terms of compositions, the whole sounds a little weaker.

Anyway, "Enlightment" shines here; mostly thanks to a great . guitar solo! Not to mention the catchy melody and a sustained rhythm. My fave from this album but as in lots of concept album there are few standout tracks. It is more a whole than individual songs that are making the album grandiose or not.

In this case, I would just speak about a good album. So: three stars.

Featuring a number of important guests both on vocals and the instrumental section, such as Peter Gee, Peter Banks, Ian Salmon and Tracy Hitchings, ''Jabberwocky'' ended up to be a grandiose keyboard-led album, borrowing elements from symphonic music, soundtrack music and neo progressive rock.A modern version of RICK WAKEMAN's early epic symphonic prog style is also a good comparison.The album is filled with the beautiful keyboard work of the two musicians,who change their approach all the time.Classical piano and new agey atmospheric synthesizers are combined with the guests' voices to create deep emotions of a tale-atmosphere to the listener.Some times a medieval/renaissance nostalgic color will come to surface,even some harpsichord is used for that aim.For thos who can't get a minute off the progressive rock board, don't hesitate:There is much of our beloved music in here with fiery solos and nice grooves by the guitar players,a very good bass work and some dynamic drumming.Finally I think NOLAN and WAKEMAN came very to close to achieve the project's purpose: ''Jabberwocky'' is an epic, story-telling tale of progressive rock with a good balance between keyboard-driven music and progressive rock.Both an interesting musical experience and addition in your collection!

The album is very much in the same theme as concept albums of the Seventies. In fact it reminded me somewhat of Rick's own 'King Arthur'. This is due in no small part to the fact that Clive has successfully distanced his writing from his previous albums/bands/projects, so that this doesn't sound as if it is from Thin Ice. Also, by using musicians who are not normally associated with him (such as Peter Banks and Tony Fernandez) he has also created some space. The keyboards are very dynamic, with strong interplay, and the long instrumental passages work very well in an orchestral fashion. The result is an album that has to be listened to in its' entirety to get the full benefit, but it is worthwhile and very enjoyable. The booklet is well laid out and the use of Rodney Matthews as the cover artist also harkens back to another age and era. If you ever enjoyed listening to concepts in the Seventies (and who didn't?) then this is an album that you will thoroughly enjoy.

Feedback #58, May 2000

Obviously this is a concept album based on the Lewis Carroll poem, the production is powerful and this is an enjoyable listen for fans of the Wakemans and neo- prog bands such as Pendragon. It suffers slightly in places from "cheesy" keyboard sounds and I'm not too keen on the vocal style of Ms Hitchings. A solid 3-star "rock opera" album.