G'OLÉ ! (OST)

"G'olé" is WAKEMAN's worst album. The formula is short and simple songs. Sometimes the bass is accentuated and I think it is synthesized. The sound is very artificial, like the 1984 record, the keyboards are modern but they sound bland, without real refinement. Some songs are rythmic full of percussions, giving some fiesta atmosphere. The piano parts are better, but WAKEMAN here is not at his best. There are some backing vocals like church choir, but I think it is completely irrelevant here. Do not expect another Judas Iscariot song here. The songs often have a slow rythm and it seems to go nowhere. The songs are even not catchy at all: mostly they won't retain your attention. There is even an experimental bit, which is COMPLETELY awful! Nevertheless there is a good track: a good combination of Spanish? guitar and harpsichord, which tries to make you believe WAKEMAN is transformed into a MIKE OLDFIELD. In conclusion, refinement and subtlety are rare here.

Rick Wakeman, A legendary brilliant and vituosic keyboard player and songwriter. Composer of classic works such as 'Gone But Not Forgotten', "Merlin', 'Judas', and 'Catherine of Aragon'. He is rivaled only by Keith Emerson in skills. He also is a vital member of Yes who helped make the band symphonic with classical keyboard orchestrations.

So, what gift of genius does he present us? An extremely lifeless and bland instrumental soundtrack with some of the worst synths I have ever heard. The songs are extremely simple and straight-forward which can be very boring to listen to more than once. They are either mellow sleep-inducers with no hints of good melodies, or happy bouncy terrible tunes.

Avoid this album!! It is the soundtrack of the world cup in which my country emerged champions, yet I still pass a horrible time when I spin this disc.

Wakeman failed to make the goal ...

It seems that most fans praise highly Wakeman's early great works like The Wives and The Journey and this album is best forgotten. For me the opposite is true. I think his early masterpieces are mechanical and monotonous compared to this delicate joyful piece of magic.

The only song that fails is the somber appropriately named Frustration which really frustrates. The rest is simply delightful, maybe, how shall I put it, "pleasing to the intellect". There are things to notice in this music and in a way Wakeman's music is very visual. It can be both the simplicity and the intricacy and it is well worth paying attention. And once you see then you can just lay back and let it happen.

I'm going to start off this review by stating that it will not be a very long one and that has only to do with the musical content of this album. I choose to regard this review as merely a way to put forth a slice of cold facts and not much more. I think that's fair.

Secondly, I adore Rick Wakeman. He possesses a keyboardistic flare that is largely unchallenged. He is, in fact, The keeper of the keys. Also, he's been extremely productive throughout his career. The man has dipped his toes into everything from complex, challenging progressive (as in Yes), produced some of the most brilliant concept albums of all time (Journey to the centre of the Earth, for example), written scores and soundtracks for movies and made (all too many) new age and easy listening albums (if you ask me). So, in the bewildering jungle of music made by this man, where does "G'Ol'" fit in?

Just to make things clear: you will not, I repeat NOT, find any challenging progressive rock on this album. No, it is not the sequel to "Close to the edge", nor is it "The six wives of Henry II, pt. II" either. You have to remember that this is a soundtrack for the film about the 1982 world cup. The problem with soundtracks, or maybe I should say a plausible problem, is that soundtracks most of the time works perfectly in its setting, where the footage is enhanced by scary music or majestic pomp. Thusly realized you are stuck with an album that outside its pictorial empire falls rather flat or at least fails to reach the heights of so many other albums by monsigneur Wakeman. It lacks a certain something, like a pizza without the dough or a steamboat without an engine.

Now, that is not to say that this is a bad album. It's not. It holds many a trademark by the master. His keyboard wizardry is ther to be found and some tracks (Shadows, Frustration and G'Ol') are great little numbers, slightly progressive in flavor but colored by the time in which it was written. I have not seen the movie but I suppose the images goes splendidly together with the music.

So, an odd but entertaining album suited for days of doing nothing special. Put it on and I bet you'll feel amusement and pleasure. You will not, however, be shipped off to the galaxy of interstellar prog where the complexity and musical density transforms your soul. That will not happen.