RICK WAKEMAN

This is brilliant!

It's been quite a road, a tremendous, unique, prolific career from a man who this year (2024) is turning 75 years old, a man who has created fantasy through the years, with over 100 album releases, several tours, some books, seems we are witnessing the ending of an extraordinary story.

Rick Wakeman is not only a musician to me, nor the keyboard wizard, his importance is beyond my own comprehension, and I am really grateful I chose his art, his music, his persona, as a crucial source of inspiration.

Well, last year (2023) he offered two amazing and memorable concerts at the London Palladium, a place with a special meaning to him, and I am sure, to a lot of his fans. These shows were divided in two sets, where he, his band and a choir delivered outstanding performances of three of Wakeman's most iconic albums, as well as some legendary Yes tunes. Though one could think this is not new, I was impressed with the result, because no matter the extension of his career, he is still capable of reimagine and recreate his own works with such a remarkable audacity, so the attendees and the listeners can have a unique experience.

For this event Mr. Wakeman gathered low-profile but top-notch musicians who have been working with him in the last few years, a great group named The English Rock Ensemble where we can appreciate the talent of Hayley Sanderson on vocals, Dave Colquhoun on guitars, Lee Pomeroy on bass, Adam Falkner on drums, and last but not least, his son, great musician and long-time collaborator, Adam Wakeman on keyboards and guitar. But this is not it, because this time he wanted to boost the experience with a choir, and though we might be used to hear an orchestra in several of his studio and live works, what The English Chamber Choir, conducted by Guy Protheroe add here is amazing, colorful, extraordinary.

This live release consists of 4 discs, each one representing one of the albums / eras performed. The first night delivered The Six Wives of Henry VIII (disc 1) and The Myths and Legends of King Arthur and the Knights of the Round Table (disc 2), while the second brought some Yes tunes (disc 3) and Journey to the Centre of the Earth (disc 4).

Yeah, those songs have been played by him for ages, however, here they sound amazing because of its unique arrangements, the choir, the musicians, the emotions. While listening to it I felt a connection not only to my own memories or fantasies, but also to the band and even to the attendants. The sound is magical, of course Rick is still a monster and a wizard, but every single member of the ensemble adds their quite valuable grain of sand, and we can notice it in different passages. The concerts are emotional, fantastic, just like Wakeman's career.

I'd like to invite you to listen to it because this is just a brief and not detailed review, but let me tell you that despite having listened to these songs thousands times, these performances surprised me in a very, very positive way, and when a musician this old and legendary still surprises you, wow, you just have to smile and embrace the emotions.

Amazing!

Rick Wakeman is indeed an iconic figure in the music scene, known both for his prolific output and creative genius. His remarkable ability to release such a vast number of albums over the years is truly noteworthy and demonstrates his unwavering commitment to music. In the 1990s, specifically, his prolific output of 37 studio albums and 9 live albums is an extraordinary achievement in itself. Among this extensive discography, "Fields Of Green" stands out as one of Wakeman's finest works during that period, being an album that encapsulates not only Wakeman's exceptional technical skill as a keyboardist and composer but also his ability to create emotive and immersive soundscapes that resonate with the listener on a deep level.

Fields Of Green does not have influences from the New Age genre like some other albums from the same period, although at many points it also isn't far from it. After all, at many moments the album presents elements that echo some of the qualities found in New Age music, such as ethereal atmospheres, serene textures, and a sense of tranquil contemplation. It's remarkable how Wakeman shows incredible dynamics and skill on his keyboards throughout all the tracks of "Fields Of Green." His ability to create intricate and emotive arrangements adds an extra layer of depth and richness to the compositions, elevating the album to an even higher level of musical excellence.

"Starship Trooper," this version of a Yes classic brings a special spotlight to Wakeman's unparalleled keyboard skills, offering a fresh perspective on the track. Purists may argue that the original version of "Starship Trooper" carries an irreplaceable magic, however, this reinterpretation has opened a new portal, especially for those who crave an extra dose of Wakeman's musical mastery. In summary, it's an invitation for both long-time Yes devotees and newcomers to the progressive rock universe to explore a different facet of a classic.

"The Promise Of Love" begins with an atmosphere of suspense and anticipation that gradually transforms into a powerful and deeply emotional rock ballad. The female vocals add a layer of sweetness and vulnerability to the piece, skillfully contrasting with the intensity of the guitars and the strength of the melody. It wasn't a song that caught me initially, but after a few listens, it became a charming track. As always, Wakeman's keyboards add moments of brilliance and depth that further elevate the listening experience.

"The Spanish Wizard" is a track that delivers an intriguing fusion of elements from dramatic hard rock and some fine and catchy textures. The guitar lines are great, conveying intensity that establishes a solid foundation for the musical narrative. It doesn't have any kind of intricate arrangement or virtuosic instrumental maneuver, but it works well.

'The Never Ending Road' tt's undeniable that the solos and instrumental segments performed by Rick Wakeman are skillful and technically solid. However, the composition as a whole seems not to reach the expected potential. The lack of originality and the feeling that the music is dragging on without a clear purpose for almost 9 minutes is one of its main issues. Perhaps it would work better if it were half its length.

'The Fighter its first second of guitar, there's a possibility to relate a Rick Wakeman song to 'Alive' by Pearl Jam ' remember, I'm just talking about the very first second of music, okay? Unlike the previous track, "The Fighter" represents a step forward in terms of energy and dynamism. Rick Wakeman's solos, as usual, are the highlight of the song, it's through these solos that some progressive essence can be felt along with its hard rock atmosphere.

'Tell Me Why' emerges as a ballad that aligns with catchy melody AOR. At first, it might seem like it will fall into the same generic field as 'The Never Ending Road", but it goes beyond that, delivering good guitar lines and keyboards that add a layer of sophistication and texture to the music, complementing the melodic vibe.

"The Rope Trick" stands out as a track that strongly evokes the characteristic sound of 80s rock, even reminiscent of the band Survivor. The guitar line adds a dose of energy and intensity to the track, while an engaging mix of catchy melodies and very good chord progressions gives it plenty of dynamics. A song that captures the essence of 80s rock very well.

"The Niceman" begins with an atmospheric texture that immediately captures the listener's attention, quickly transitioning to a more playful and energetic line, marking a shift from the initial ambiance to something more dynamic and vibrant. Asserting that this song leans more towards hard rock than progressive rock isn't surprising, given the trend observed in previous tracks. Excellent guitar and keyboard lines give the track a special flavor.

"Fields of Green" is the closing track of the album, marking a smooth transition into more progressive territory, distinguishing itself from the previous tracks with its more reflective and emotional approach. It's very beautiful and has excellent moments, but, although I don't usually - with few exceptions - take issue with the track order of an album, I'm not sure if this one is in the right place, making it somewhat disappointing in terms of concluding an album.

While not the ideal starting point for those venturing into Rick Wakeman's vast musical universe for the first time, "Fields of Green" represents a less explored yet valuable aspect of the keyboardist's career. For fans already familiar with Wakeman's most acclaimed works, here lies an opportunity to delve deeper and discover new facets of his artistic expression. For music aficionados seeking a more comprehensive understanding of Wakeman's art, "Fields of Green" serves as a reminder that beyond the grand peaks, there are serene and beautiful valleys to be explored. This album invites the listener to appreciate the subtle details and depth that reside in these less prominent works.

In summary, while "Fields of Green" may not boast the audacity of Wakeman's other albums, it offers an interesting musical experience in its own way. For those willing to dive beyond the recognized classics, there are valuable rewards to be discovered in this and other lesser-known "worlds" of Wakeman.

It's alright I suppose. I would say this is for completists only: it's part playing old Yes/Wakeman favourites on the piano, part chat with a pub-type audience. The chat is great, Rick is an amazing raconteur and always worth listening to (though, be warned, he loves to be seen as a bit of a lad and non-PC which isn't to everyone's taste), but the music is the same Easy Listening versions of stuff he's been touting for ages.

Rick is capable or creating magnificent and inspiring music, but I never find these 'piano only' versions work well, not even for pieces written for piano like 'Birdman'. On the original album this is one of my favourite pieces of music ever (and I listen to and love a LOT of classical piano music, so there's stiff competition!) but this version is very New Age Piano music, which is lovely in its place, but not what I come to Rick Wakeman for. The songs are just disappointment after disappointment for me.

I find the more conventional songs like 'Morning Has Broken' and 'Life on Mars' particularly disappointing. Rick's accompaniment to Cat Stevens and David Bowie is amazing, but stripped of the voices and lyrics of those distinctive singers you've just got a couple of melodies repeated for three minutes each.

Rick Wakeman was at a stellar moment when he embarked on the ambitious challenge of musically recreating Jules Verne's novel Journey to the Centre of the Earth (1864). With the successful "The Six Wives of Henry VIII" under his belt and his decisive contribution to Yes still resonating, and, like his music, habitually passing along the paths of grandiloquence and virtuosity, Wakeman sumptuously approaches this project, summoning the prestigious "The London Symphony Orchestra" and "The English Chamber Choir", accompanied by a rock band conceived for the occasion. Divided into two major segments, the album is narrated by the actor David Hemmings as the main thread of the fantastic adventures of the German professor Lindbrook, his nephew Alex and the guide Hans on their way to the centre of the earth.

The departure of the adventurous trio from Hamburg to the summit of the extinct volcano Sneffels Yokul (Iceland) and their perilous descent is described in "The Journey", where after an orchestral introduction accompanied by a heavenly choir (as in most of the work), Wakeman's moog opens the way for the peaceful singing of Garry Pickford- Hopkins; and all the landscapes inside the volcano and the anguish of the uncertain return are represented in "Recollection" by a machine-gunned opening synthesizer, an intense rock section crowned by Mike Egan's very good guitar solo, and the dramatic orchestration that closes the first segment.

The best moments are in the second half, with the melodic opening notes of Wakeman's harpsichord accompanied by the band in the excellent rendition of the fierce battle of two huge sea monsters in "The Battle" to the terrified presence of the adventurers, and with the revelatory discovery of a remote civilisation in "The Forest" and Ashley Holt's demanding singing underpinned by Wakeman's misty, splendid keyboard and a choir more celestial and dramatic than ever. One of the best passages on the album, if not the best. The last few minutes of the work run in a smooth ambience that exchanges the protagonism of the orchestration with the keyboards and the moog, at times overused, until its epic ending.

"Journey to the Centre of the Earth", loved by fans of the genre and not so much by its detractors, is one of the high points in the discography of the English musician, and reaffirmed him as one of the pioneers in the use of synthesizers for symphonic rock.

3.5/4 stars

Returning to the musical and conceptual path of "The Six Wives of Henry VIII", Rick Wakeman uses the dark theme of crime and villainy, combining real and not so real stories, to release his sixth studio album, "Criminal Record". Pressed by a complicated financial situation related to tax issues and the costly staging of pompous live tours that hardly left any income, Wakeman didn't have much budgetary leeway for this new adventure, which is why the album is generally perceived as a less ambitious and more earthy proposal in relation to his previous works.

The six pieces that make up "Criminal Record" attempt to describe sordid situations, without transmitting them instrumentally with all the rawness that they imply. But there are some very good passages to highlight, such as the epic beginning that Wakeman makes with keyboards and synthesizers in "Chamber of Horrors", seconded in the development by Chris Squire's bass and Alan White's characteristic drums, or also the melancholic notes overlaid on classical piano in "Birdman of Alcatraz", one of the Englishman's most delicate and beautiful melodies, or the anecdotal detail that the comedian Bill Oddie contributes in exaggerated and satirical soul mode in the foggy "The Breathalyser" or, above all, the extensive "Judas Iscariot", the most complex piece on the album, where Wakeman makes use of the pipe organ of St. Martin's Church (Vevey) and the choirs of the Ars Laeta Choir of Lausanne to generate a piercing and dramatic atmosphere that the moog amplifies and accompanies, closing the album.

"Criminal Record" shows that Wakeman's keyboard skills were intact, but this time in a quieter and less grandiloquent way, and is probably one of the last works to be included in his most representative discography.

3/3.5 stars

Without being a full-fledged conceptual work, "No Earthly Connection", Rick Wakeman's third studio album without counting the soundtrack "Lisztomania", reflects on the human being and the myth of his existence based on music and the possibility of extraterrestrial life referenced through a fictitious spaceman. The futuristic cover that shows the distorted image of the musician and an imperceptible keyboard corrected in the reflection of an aluminised paper, serves as a starting point to enter into the spirit of the work.

Composed of five sections, the suite "Music Reincarnate" is the backbone of the album, featuring the initial and innumerable overlapping layers of Wakeman's infallible moog in the choppy "The Warning", the beautiful and splendid "The Maker" with the classical piano and the curtain of mellotrons caressed by Ashley Holt's voice, the sorrowful "The Realisation" and its theatrical performance with the trumpets and trombones of Martyn Shields and Reg Brooks, and the verses sung by Holt on the hypnotic and astral journey of "The Reaper" (a gem in Wakeman's discography), including flashes taken from the previous pieces. "Music Reincarnate" concludes circularly, with the same moog layers with which it began.

And without carrying the pomposity and grandiloquence of "Sir Lancelot and the Black Knight" from the predecessor "The Myths And Legends Of King Arthur And The Knights Of The Round Table", the album's fantastic second piece "The Prisoner" features a similar structure, less orchestrated but just as dizzying, where Roger Newell's energetic bass, Tony Fernandez's consistent drumming and John Dunsterville's acoustic guitars underpin the dynamic melody for Wakeman's virtuosic display of crystalline clavinet sounds. The lilting "The Lost Circle" closes the work by rounding off the idea of the probable existence of life outside this planet.

The 2016 40th anniversary reissue brings with it a concert at London's Hammersmith Odeon in 1976 recorded by the BBC, with a very good sound and a rich selection of songs, highly recommended.

Despite not having achieved greater popularity or widespread recognition, "No Earthly Connection" is one of Wakeman's finest creations and an inescapable classic in his discography.

4 stars

For his second studio album as a solo artist, "The Myths And Legends Of King Arthur And The Knights Of The Round Table", which captures events and characters from the life of the legendary king from his fabled ascent to the throne until his death, Rick Wakeman fuses his usual artillery of keyboards and rock instruments with orchestral grandiloquence, generating that epic, medieval atmosphere that accompanies the work as it unfolds; And, unlike the instrumental debut album "The Six Wives of Henry VIII", this time it is accompanied by a loquacious narrative in the powerful voices of Ashley Holt and Gary Pickford Hopkins.

The orchestration takes on special relevance in pieces such as the opening and descriptive "Arthur", the vertiginous and remarkable "Sir Lancelot and the Black Knight" (the best track on the album), or the choral "Sir Galahad", where Wakeman masterfully incorporates classical pianos and the exuberance of the moog, instrument that also takes a leading role along with the harpsichord and Roger Newell's defiant bass in the mesmerising "Merlin the Magician", a piece that also adds unexpected and contrasting elements taken from the Charleston. And amidst the stories of the knights and their fierce battles, the delicate "Guinevere" pauses to introduce Arthur's wife with a beautiful and accessible melody guided by classical piano, synthesizers and the melancholy effect of mellotrons, supported by a gentle chorus, acoustic chords and Jeffrey Crampton's guitar solo.

The concluding, languid "The Last Battle" takes elements from all the previous tracks and harmonises them into an unhurried finale, which indulges in a prolonged instrumental build-up, sadly reviews the final days of Arthur's reign at the hands of the Saxons and orchestrally closes the album.

"The Myths And Legends Of King Arthur And The Knights Of The Round Table is one of Wakeman's most ambitious conceptual works. Although it is blamed for the overflowing virtuosity that the musician can sometimes use and abuse, it is one of the indispensable albums of his discography.

3.5/4 stars

With a reputation built up as a session musician, former member of The Strawbs, but above all for his fundamental contribution to the sound of the legendary Yes, Rick Wakeman decided to release his first solo album, "The Six Wives of Henry VIII", in 1973. Taking the story of the wives of the controversial king at a time of reforms and profound political and religious transformations in 16th century England as a source of inspiration, the Englishman uses his excellent virtuosity to evoke each of the wives with his countless keyboards and the support of a large and renowned group of guest musicians.

From the chords of the melodic "Catherine of Aragon", Wakeman draws on instruments such as classical piano, hammonds, mellotrons and moogs, accompanied by a female choir that brings a halo of drama to the track, and continues more aggressively with the long, linear "Anne of Cleves" backed by Alan White and Frank Ricotti's relentless, pounding percussion. The album's finest moments come with the piano tunes of the beautiful, shifting "Catherine Howard" and the celestial solemnity of the baroque "Jane Seymour" and the soulful sonority of the organ of London's St. Gilles Cathedral, which Wakeman masterfully combines with the moog.

And after the volatile contrasts and instrumental variations that portray the most famous of the wives, the temperamental "Anne Boleyn" including a short hymn attributed by Wakeman to the 19th century composer Edward J. Hopkins, the album concludes with another great track a must in Wakeman's live repertoire, the intense "Catherine Parr" and its lilting back and forth keyboards, with a brief chorus and the melodramatic effect of the moogs underpinning the closing.

It's worth noting that fragments of the work are compiled in the six and a half minute superlative medley "Excerpts from The Six Wives...", contained on Yes' live album "Yessongs".

"The Six Wives of Henry VIII" is one of the best albums, if not the best, in Wakeman's vast discography, and conveys the luminous state of grace he was in at the time.

4/4.5 stars

— First review of this album —

This is a prequel from Silent Nights from 1985.

I have the entire album on my cellphone and honestly, i like that album.

Right... About the songs, Glory Boys have a power Rock with a slow segment. The singer is not so bad, but nothing surpass Ashley Holt and your works on Journey, Arthur and Earthly. The opening is shining and melancholic.

Ghost of A Rock'n'Roll Star (Jethro Tull aspires the thematic of this song) is from a Phantom of Rock get to wish to return to the stages. The melody is interesting and the musical references (like a Jimi Hendrix) is so cool.

Elgin Mansions is a piano training. I feel this song should stay in one of the Airs Trilogy, but, the "rickrock" album have a necessity to have a different things...

Well, i never known a one single album have a differences from the integral album, but i think this don't have differences... (I need to check...)

Rick Wakeman's "Rock 'n' Roll Prophet" is a musical masterpiece that transcends time and genre. The album showcases Wakeman's virtuosity on the keyboard, taking listeners on a mesmerizing journey through rock and roll history. With its intricate compositions, explosive solos, and a fusion of classical and rock elements, this album is a testament to Wakeman's incredible talent. The tracks are a rollercoaster of emotions, from the electrifying "Prophet" to the soul-stirring "Ballad of the Broken Arrow." Each note is a revelation, and the storytelling through music is exceptional. "Rock 'n' Roll Prophet" is a testament to Wakeman's enduring influence on the world of rock music.