RICK WAKEMAN

Rick Wakeman - The Six Wives of Henry VIII (1972)

Fooled again..

I don't like pure keyboard extravaganza's, unless the music has some vision and good lyrics. This records represents the technical extremes of key-playing. Rick Wakeman plays on a dozen of different key instruments placed all around him, as the inner sleeve shows. His compositions are constructed from a combination of classical music styled rock and some progressive tendencies from his Yes period. Both his playing and his compositions are of high quality in a technical way, but I tend to miss the human thing on this album. I can stand records without vocals very well, but this just doesn't touch me at all! This record keeps playing without leaving traces on my mind.

Now I can understand that this might be a great record for people who can enjoy the masterful keyboard parts in a high dosed way without further band-members playing important parts, and I think this is a great record for those people. I myself didn't like this at all and I have decided not to buy any keyboard oriented (or guitar oriented albums for that matter) any more. I like complete bands giving me the full experience of cooperation between instruments, I don't want one lead. I give it two stars. This is only for fans of the symphonic prog genre, and they will find six great enjoyable compositions (not songs).

All you need to know is that the answer is out there!

Rick Wakeman is one of those recording artists that clearly put quantity above quality, at least from the 80's onwards. His discography is simply enormous and beyond his early classic albums it is never easy to know where to go next. But here is finally an album worthy of being mentioned in the same breath as Six Wives Of Henry VIII, The Myths And Legends Of King Arthur and No Earthly Connection. To be honest, this is a very different kind of music and this album rocks harder than anything Rick has done before or since. He is certainly not trying to mimic his own classic releases here, but he has stated that this is some kind of follow up to No Earthly Connection. But this is more in relation to the concept of that album than to the music itself. However, in terms of quality, Out There is in the same league as those 70's albums! While those classics were brilliant in their kind of own way, Out There is actually one of my all time personal Wakeman favourites and I'm sure that it could appeal even to people who dismiss his early releases as overblown or bombastic. Indeed, Out There is a bit more in line with the 90's Yes albums than with much of Wakeman's solo output.

Rick was here, for the first time in many years, working with the right people, at the right time, with the right ideas (and the right budget!). The line up involved is identical to such amazing live releases as Out Of The Blue and Live In Buenos Aires (the former being a CD and the latter a DVD, both great!). The vocalist is Damian Wilson, known from Prog Metal band Threshold and Neo-Prog band Landmarq. I am very fond of Damian's voice and I think it fits Rick's music perfectly (both these new studio tracks and the classic material when played live as on the live releases I mentioned). We have Tony Fernandez on drums, Lee Pomeroy on bass and Ant Glynne of guitars. This is, I believe, the rockiest band Rick Wakeman ever had and probably my #1 favourite line up of the English Rock Enseble (or The New English Rock Enseble as they are sometimes known - a silly name for a great band, I think). Sadly, Damian Wilson would leave the band before they had the chance to tour in support of Out There. There are thus no live recordings of Out There featuring Wilson.

For this album, Rick came up with six great melodic and progressive songs, all of which are well above six minutes in length. This leaves room for some very good keyboard and guitar solos and not a single note feels out of place. The opening title track is my personal favourite and possibly the most powerful on the six tracks, but all the songs here are at least very good. As it says in the booklet, work on this album started five years before it was released and the music feels complete and fully realized in a way that has been very rare in the Wakeman catalogue. The production values are as high as the artistic values.

There is also a DVD version of Out There which features the same recordings as this CD with some rather bad, mostly computer generated, visual content added. The music is, however, not strictly identical as there are some added spoken word samples from NASA and longer breaks between the tracks. I think the CD version flows better. The visual content is not very interesting and comes across as home made. I would recommend the CD version, but if you can only find the DVD version you can go with that as long as you don't expect anything from the visuals. You do, on the other hand, get an informative interview with Rick on the concept behind Out There and some footage from the tour they did supporting the album (with Ashley Holt replacing Wilson).

This album is out there for you, don't hesitate to let it in!

Highly recommended!

Is it decent and proper for a 59-year old to have this much fun? Turning up at Hampton Court dressed in a red cape that makes him look like Father Christmas (a cape embroidered with something that looks suspiciously like the French lily!), accompanied by six ladies in period costume who get to do nothing but glaring rather uncomfortably into the camera, and changing into TWO very different capes in the course of his 100-minute performance?

For those of you who thought THE SIX WIVES was High Art (there may be a few such people on the loose), this 21st century live performance clearly shows the whole thing is far closer in spirit to the British pantomime tradition. (An impression which is reinforced by the humorous but hammy way in which actor Brian Blessed reads out the introductions to each composition.) Seeing the cameras swoop over the symphony orchestra, the English Chamber Choir and the "English Rock Ensemble", I was also reminded of all those glamorous shows put on by André Rieu, the now internationally famous "waltz king" from Maastricht in the southern Netherlands. (The main difference being that Wakeman's musicians don't wear black tie or ball gowns. But then André Rieu doesn't wear glitter capes.)

Anyhow, whichever way you look at it, all performances here are tremendous fun. Rick and his band definitely respect the arrangements and keyboard solos from the original SIX WIVES studio album. They never put a foot wrong, and their performances pack even more punch than in the past. Most of the time, the choral/orchestral arrangements are fairly subdued, but where they come to the fore, they undoubtedly lend the pieces extra force. (What you then get is THE SIX WIVES performed with some of the pomp of Wakeman's KING ARTHUR.) Best of all, Rick has extended most of his original solos, so as to make his compositions more exciting, and he's added a number of brilliant new solos which are entirely in the spirit of the original. To top it all, THE SIX WIVES now includes two splendid new extended pieces ("Defender of the Faith" and "Tudorock").

Apparently, for the HAMPTON COURT CD version much of this festive music was trimmed down, so to all those proggers who still love exuberant soloing on vintage synths (as I do!) I would say: Go for it, buy the DVD, you won't regret it, as long as you don't mind those capes!

Only one thing truly disappointed me about this concert, which is that "Anne of Cleves" (my favourite piece from the original studio album) is given short shrift. In its original incarnation, "Anne of Cleves" sounds like a red-hot Hammond organ improvisation (with a few overdubs) and it happens to include the best performance I've ever heard from Alan White on drums. But here, in the new version (accompanied by full orchestra, for Chrissake), everything sounds too well rehearsed, much of the original fire is lost, and drummer Tony Fernandez just cannot hold a candle to Mr. Alan White. For me, this is a serious drawback (why couldn't Rick let himself go this time, with another wild Hammond organ improvisation?) so as a consequence, I find myself wavering between three and four stars.

So this is where Rick finally stepped into the 80's territory. What else to say but the fact that the 80's had a very bad effect on most of the greats progressive artists. The only track that is worth mentioning is The Hymn featuring the great Jon Anderson on vocals. It makes me wish that Anderson had done the vocals even for the rest of this album since changing a vocalist for every new track doesn't make the album flow too well.

1984 feels basically like a collection of compositions on the overall theme and never like a thought through concept album.

**** star songs: 1984 Overture (10:54) The Hymn (3:08) The Room (4:10) Forgotten Memories (2:50) 1984 (6:25)

*** star songs: Julia (4:38) Robot Man (3:57) Sorry (2:56) No Name (3:14)

** star songs: Proles (3:26)

Another decent Rick Wakeman album! In my opinion this album's concept is very loose and, besides the ending of Chamber Of Horrors, actually plays well without it. The playing on each track is really great so I can understand why fans of Wakeman consider it to be one of his career highlights. Too bad the last minute of The Breathalyser has to spoil my overall appreciation for the album. Yes, I'm definitely not a fan of unnecessary jokes especially since this one feels totally out of place compared to the rest of the record. This little incident by no means makes Rick Wakeman's Criminal Record a bad album, on contrary I consider it to be his last great release!

**** star songs: Statue Of Justice (6:20) Crime Of Passion (5:46) Chamber Of Horrors (6:40) Birdman Of Alcatraz (4:12) Judas Iscariot (12:15)

*** star songs: The Breathalyser (3:51)

This is the album that everyone should check out after hearing The Six Wives Of Henry VIII. I like most of Music Reincarnate which is important since the track is taking up 2/3 of the album but I can't really call it a masterpiece. My main reasons for that are the lengthy intro that I basically can't stand and therefore always fast-forward through. I also think that also each section works well on its own but the transitions leave much to be desired of.

After the lengthy first composition we are treated to a nice surprise in form of The Prisoner thanks entirely to Wakeman's great playing, although it could actually have been even better without the vocal arrangement!

Overall it's a real surprise of an album that I believe can be appreciated by most fans of progressive rock.

***** star songs: The Prisoner (7:01)

**** star songs: Music Reincarnate (28:07) The Lost Cycle (7:02)

This is a pretty decent album for Rick Wakeman and that says a lot considering the quality of some of Wakeman's later albums! This is a definite improvement compared to Journey To The Centre Of The Earth since the vocals work nicely in relation to the instrumental passages and this time around the narration actually adds to the overall feel of this album.

There aren't any real stand-out tracks for me here with the slight exception of The Last Battle that builds up a great finale towards the end. Merlin The Magician is one track that I consider ruins the overall mood for me because here Wakeman really lets his ego out by playing some of the most over the top instrumental sections that sound very out of place compared to the rest of the material. I also dislike the panning effect that dominates the ending section of that particular composition. Sir Galahad also starts off with an out of place instrumental but the second part of the track really makes up for that minor flaw.

**** star songs: Arthur (7:26) Lady Of The Lake (0:45) Guinevere (6:45) Sir Lancelot And The Black Knight (5:21) Sir Galahad (5:51) The Last Battle (9:41)

*** star songs: Merlin The Magician (8:51)

I enjoyed this album the first few times I've listened to it, but after it actually settles in it becomes a bit annoying. The first complaint that everyone already mentioned is the narration that abrupts the music flow almost after each passage. Still the biggest drawback for me are the two lead vocalists that are far below my average preference standard and I actually consider myself not too picky when it comes to vocals in general.

So to summarize the music is good, arrangements are great, except for vocals and the narrations could have been skipped entirely.

**** star songs: The Journey / Recollection (21:11)

*** star songs: The Battle / The Forest (18:57)

For me, Wakeman's style and playing has exuded a sort of bloated, saccharine stink which ruins most everything he's been associated with. With the obvious exception of his excellent contributions to the seminole Yes albums, his keyboard's have always sounded remarkebly corny and juvenile, especially when used to emulate acoustic classical instruments.

But "Six Wives" is a Wakeman album I can be proud to own. This is iconic prog keyboarding at its highest, sounding exceptionally refined, focused, and exciting; this is the pioneering Wakeman of legend which we hear about (or remember), performing a monstrously arranged set of songs with style. While not quite as creative as some of ELP's experimental songs or as lush as Yes' "Topographic Oceans", "Six Wives" is fautless for its sheer enjoyability and demonstration of talent.

An essentual album for any fan of classic Yes, of which "Six Wives" sounds very a kin to, as well as for fans of classic prog in general.

Songwriting: 3 Instrumental Performances: 4 Lyrics/Vocals: NA Style/Emotion/Replay: 4

01. Arthur

I even if I find that initial narration incomprehensible in that epic-British-accented epic (laughs), Terry Taplin made a genial work. This opening tune is well known, 'Uncle' Rick was very inspired on this record, the keys in all its extensions, shapes, colors and sounds are used, also his arsenal of keys was giant on stage and studio. Sonically it is beautiful and complex, full of details. The voice of Gary Pickford-Hopkins I think it's entirely appropriate for the 'role' of storytelling, melodic and when you need acute and dramatic when it is required. Another good feature is the basses from Roger Newell with his timbre strange but essential. In a 'broken' part, almost at the 4th minute the song takes strange and obscure shapes, but it's all on purpose, because then we are pleased to hear again the central theme on keyboards. The orchestra and its 'coral horn' is another highlight, without it I think the sound of the album would have died on the road. The outcome of the track it's another surprise, when we thought the theme only would repeat itself it changes, and even though it is great outcome. Total Epic!

02. Lady Of The Lake

A 'vinheta', something rare in his albums, but here it is for good reason. Only vocal track, and perfect! It's creepy!

03. Guinevere

Talk that Rick Wakeman have full control over their keyboards it's like a rain when we're wet, because he has that right, the guy takes the melody and sound where least expected, and exchange keyboards with incredible ease, not to mention seeing the guy on stage is incredible, because it changes the keyboard quickly and uses ALL of their set (which are many keys). This is a beautiful ballad and it's guided by the Jeffrey Crampton guitars and some bells here and there and of course, vocals, many of them. Rick's solo has a very unusual tone, which is very good, since most of the same is not always a good thing (unless we are talking about AC / DC and the Ramones), the solo is soon also accompanied by a guitar solo. The drums from James Barney is simple, but has the tone that I love so much in the 70's drums. And the choir takes the space given to fill up the 'holes'

04. Sir Lancelot And The Black Knight

Ah this beginning! Strong and dense! The vocals marry perfectly with everything, the strength of sound full of syncopation with the orchestra, and at times the vocals sung loudly. And the chorus can be even more beautiful, both in voice and in its harmony. The opening theme is repeated, superb. And it gives you the 'master' of synthesizer Mr. Wakeman. The groove just after 2 minutes of music reminds me of the 'stunts' of Gentle Giant, full of broken beats. Sensational!

05. Merlin The Magician

This band has a 'canon' melody repeated as on track 2, but this time an amendment hyper renaissance times melody on the piano. The melody is original with a low bass, a few blows that I imagine are tubes and a series of keys in a 'beach' melody. Almost 3 minutes and the picture changes and beyond the melody of time we have also various synth soloing and moving from one side to another on the speakers. Almost at the 5th minutes of music, a crazy honky tonk piano comes in, depicting a possible scene of our dear blatant Wizard. But amazing is the sound that Roger took of the bass. And the synthesizers are thrashed till the end. The fun and laughter is guaranteed in the final melody. Very good!

06. Sir Galahad

The canon song (or would be Gregorian?) Is used as an introduction again, it gets the impression of listening to the same previous track again, which is further reinforced as the opening theme piano is exactly the same as above. Only near the 1 minute and fifteen the subject becomes almost a fun and strange reggae with excellent vocals, but I confess that when the 'playful' theme comes in the vocal lines are very strange. Close to 3 minutes the keyboard mimicking a triple harp and vocals sing the blues of the World. This next theme is really very strange, I do not know where Wakeman was with his head (in the Bahamas certainly, laughs).

07. The Last Battle

In the exact sequence of Sir Galahad (which had not happened at any other time of the record), comes The Last Battle that's an epic of those who claim to have gigantic proportions but it begins warm. There are several issues that compounds this closing track, but I do not think they really represent a final battle till his mid 5th minutes. Before that is beautiful, but I do not believe a final battle is pretty (laughs). The harpsichord is always a beauty in that kind of 'epic' sound. The vocal melody is really sublime, perfect fit in the chords. And the incomprehensible stories with former British accent (laughs). When the 8th minute comes the phones are invaded and the melody becomes intoxicating, like 'we will think about all that happened,' and then i went back to the initial theme to close on a high note.

Still remember when he brought home the vinyl and listen for the first time, much of a scare with the sound of The Myths & Legends Of King Arthur & The Knights Of The Round Table .

4,5 stars