RICK WAKEMAN

I am rating myself at around a level 2.5 for this. I have played it in its entirety before, but I also have another version with more tracks, so I am a bit confused. It seems that he re-did the album in 2012, so that explains it. I am going with the original live version from 1974, as is shown on the picture for this post.

(Some versions of this have it in 2 tracks, but Apple Music has it divided into 4, so I'm going with that.)

Here we go!

Track 1 - The Journey

We begin with an orchestral fanfare, joined by choral-style vocals singing "ahhhs". We hit the main theme at around 1:30. Lead vocals begin at 3:30. Wakeman himself finally becomes prominent at around 4:30 with a melodic synth solo. When the vocals return with harmonies, they aren't exactly 100% in tune. Narration begins at 6:15. I believe the text is straight from the Jules Verne novel of 110 years earlier. A fair opening track.

Track 2 - Recollection

This one begins with Wakeman synth with bass and drum accents. The main orchestral theme returns at roughly 2:15. We get a groovy clavinet at around 4 minutes. This section is very funky! Not the greatest guitar solo I have ever heard, but it fits the groove of the music. The choir returns with ahhs as the section winds down. Ashley Holt's vocals are adequate, if unspectacular. Whoever is singing the lower harmony is a bit flat. There are intermittent bits of narration throughout. The music gets more dramatic at around 10:30. Pretty good track, I like it better than the opener.

Track 3 - The Battle

We begin with narration here. The clavinet returns next, but not so funky this time. The orchestra & rhythm section play a variation on the main theme while Wakeman does what he does best? dazzle on the synth. The singing & harmonies are better here. The choir integrates nicely. All drop out except the Narrator, then Rick and the rock band come back strong. So far this is my favorite track, as it features more of Wakeman's synth solos. After another bit of narration, Rick is on the electric piano, with the vibrato turned way up. Holt has another feature on vocals.

Track 4 - The Forest

This one begins as the electric piano of the previous track winds down. A bit of a bluesy turnaround before the rhythm section joins in. Then we get another verse. Following that, we have more narration. We get some rockin' synth at around 2:30 OK, then we get a bit of "The Hall of the Mountain King." I like how Wakeman's synth joins into it, then he takes over with his own melodies. There is a moment at around 5:30 where it begins to remind me of a section of "The Remembering" from Tales from Topographic Oceans." Next, we return to the main theme in dramatic fashion. This leads to the ending crescendos.

OVERALL IMPRESSIONS:

It does have its moments of brilliance, but I much prefer Six Wives which was ranked at # 92 in this list. I understand the grand scale that Rick was trying to achieve here, but I'd much rather hear him wail with a rock band (Preferably YES). I gave Six Wives a perfect 5 out of 5 stars. This one gets a 3.75 out of 5. (BTW, I think the version I heard before was the 2012 album).

Clicked 4, but really 3.75.

I'm pretty familiar with this album, but not expert level. I know the "Excerpts" from Yessongs much better. As I am sure most, if not all of you know. Each track represents one of the six wives of Henry VIII, and that this is a fully instrumental album. As the saying goes: "Divorced, Beheaded, Died, Divorced, Beheaded, Survived."

Track 1 - Catherine of Aragorn

The spirited opener. An up-tempo display of keyboard wizardry from maestro Wakeman. One of the best-known tracks on the album, although the shortest track. Not sure if the track length corresponds at all with the length of time that each wife remained married to the King. Part of the Yessongs Excerpts.

Track 2 - Anne of Cleaves

Up-tempo again, but somewhat playful. If I am not mistaken, Anne of Cleaves initially wielded a great deal of influence with Henry?until she didn't. This one is a bit more frantic in its pace and delivery.

Track 3 - Catherine Howard

Begins with a dignified, stately theme, that is interspersed with more up-tempo flourishes. Much of this track appears in the Yessongs Excerpts. Later in the track, we get a more jazzy-honky-tonk style, before returning to a more classical feel. The original theme comes back in a more orchestrated way.

Track 4 - Jane Seymour

Starts very quietly, with one of the main themes gradually easing its way in. A pipe organ centered piece. Sometimes menacing sounding, others a dazzling display of skill. Synths join in about halfway through. Also part of the "Excerpts." The second shortest track on the album.

Track 5 - Anne Boleyn "The Day Thou Gavest Lord Hath Ended"

A very dramatic intro, followed by nimble piano work. Then grandiose orchestration and even a choir doing sustained harmonized "ahhs". A jazzier section follows. Then more nimble piano work leads into a great crescendo. And closes with more brilliant piano playing.

Track 6 - Catherine Parr

After a grand intro, Wakeman switches to a Hammond organ and once again shows why he's considered one of the greatest keyboardists ever. At around 3 minutes in, we get a mysterious minor key riff, before changing to major key bells. Then we get a segment where all other instruments drop out, and the lone keyboard sounds quite distant. Return to the Hammond for impressive keyboard agility, though eventually be overlaid with the "mysterious" riff from earlier. Leading into the big finish.

OVERALL IMPRESSIONS:

This may be a fairly short album, but it clearly shows just how amazing Wakeman's playing is. I would use this as an introduction to anyone who is not familiar with his incredible playing. A masterpiece! 5/5 stars.

Some albums have achieved legendary status. "The Myths And Legends Of King Arthur And The Knights Of The Round Table," the bombastic solo album from 1975 by the then ex-Yes keyboardist Rick Wakeman, is such a pinnacle for many. I also have incredibly fond memories of it. This is, of course, due to the overwhelming impact the album had on me as a prog teenager in the late 70s. Wakeman's impressive keyboard virtuosity, the rich sounds he extracts from the Moog synth, the imposing choir, the pompous orchestra, but also the usual elements like vocals, guitar, bass guitar, and drums not only shaped my taste but also justified the bombastic side of the prog genre for me.

In the mid-80s, I happened to listen to the radio by chance. It was unforgettable. I caught a glimpse of the news, and then my transistor radio emitted the sounds of the theme that revolves around Arthur, the opening track of the aforementioned album. It turned out to be the leader of the program 'Het Weeshuis van de hits' (The Orphanage of Hits). What a great choice. From then on, I tuned in every Sunday afternoon to the program presented by Peter van Bruggen and the little Morrison. I was slightly addicted to that tune.

The album opens with the iconic line: 'whose pulleth out this sword from this stone and anvil, is the true-born King of all Britain.' It sounds cinematic, and you are immediately immersed in it. The orchestra kicks in with the theme where the trombones delightfully soar. No one disappoints here, and that applies to the entire track. The vocals are fantastic, and the drums sizzle. Wakeman himself is the master behind his keyboards. He must be delighted with his creation, as Arthur features on many of his live albums.

The composition continues with Lady Of The Lake, a short dark piece with a male choir. It perfectly sets the story taking place in the early Middle Ages in the right light. The contrast with the subsequent Guinevere is enormous, and this tingling ballad needs that contrast. The song is nothing more or less than a love declaration from King Arthur to his wife. Wakeman and company make it a musical delight again. While the piano play forms the backbone of this captivating song, synthesizer and a short guitar solo tastefully complement this ballad, along with the vocals and the choir.

Even with tracks like Sir Lancelot And The Black Knight, Sir Galahad, and the closing The Last Battle, the keyboard wizard manages to captivate to the core. For me, this album is a gathering point for everything I appreciate about the man. He uses his virtuosity for flashy play draped in beautiful compositions full of strong melodies.

The most remarkable track here is Merlin The Magician, where Wakeman, in a Comedy Capers-like Boogie Woogie, tries to be faster than his shadow. The closing The Last Battle is typical of such a concept finisher. It is a beautifully carried piece with a comprehensive variation on the theme of Arthur. A narrator comes along to increase its drama. In the end, the choir and orchestra, in full regalia, bring the Arthur tune for the last time.

I was already completely enamored with the album at the time, and still am. That won't change in the future. I am quite conditioned. As soon as I hear the tune, I am so happy that I spontaneously start to beam.

Originally posted on www.progenrock.com

I have special impressions from this album. I heard it for the first time in the mid-nineties, when I didn't have the opportunity to listen to much different music. At that time, I was only familiar with a few albums by maestro Wakeman ? 6 Wives?, Myths and Legends of King Arthur?, Journey to the Centre of the Earth, Lisztomania. Perhaps that was all at that time. Therefore, I had no idea how Wakeman's music changed over the next decades. This album partially answered this question. Of course, it stands very far from progressive rock, although Rick Wakeman's recognizable virtuoso playing style has not gone anywhere. As well as his incredible ability to turn even simple pop melodies into an intricate web of keyboard passages. Yes, some of the keyboard parts were performed by his son Adam, but who can say where the son plays and where the father? The album charged me with incredible energy, and I feel like I'm going back 30 years when I listen to it. From the very first chords of the energetic opening song of the same name, it becomes clear that something grandiose awaits us further. Then the baton is picked up by the expressive Dylic with a powerful highlighted keyboard melody and hints of medieval flavor. One after another, the tracks sound very solemn, they are very complex in musical composition, in some places two or three keyboard themes can be traced simultaneously, in some places they intertwine, in some places they compete, and at the same time the overall melody remains simple and accessible. An incredible feeling! I especially want to highlight the beautiful airy ballads No One Cares, Dream The World Away and the very sad and sublime instrumental Children Of Chernobyl, the name speaks for itself.

In conclusion, I will say that despite the significant difference from the classical works of the maestro, I do not consider this musical experiment a failure. He showed that Rick Wakeman is as good at pop rock as he is at progressive rock. And he can play simple melodies in his signature style. And not everyone who tried to make forays beyond their usual style succeeded in doing this. Rick Wakeman was probably also pleased with the result of the experiment. He has several more albums recorded in the same style: Wakeman With Wakeman [Aka: Lure Of The Wild], Softsword, Fields of Green. But I still recommend starting your acquaintance with his work not with them, but with those albums that brought him well-deserved fame as a solo artist and are considered the best in his discography. I listed them at the beginning of this review.

For once all that praise seems justified: this is one hell of a live album! Hate Rick Wakeman? Then don't bother. Like his best albums? Then by all means give this a spin, since Rick really takes his old tunes to a higher level. Admittedly, his new approach does not ALWAYS work. In THE SIX WIVES for example, there's the odd passage where the original studio recording was subtle and moving while the new one merely sounds brash. Nonetheless, most of the new interpretations happily carried me along. On the CLASSIC YES disc, 'Starship Trooper' is drawn out too long - but don't let that deter you; 'And You and I' is played so beautifully it brought tears to my eyes. To a large extent, the success of that Yes disc (and of this 4-CD set as a whole) is due to the vocal talents of Hayley Sanderson, a very soulful singer whose voice reminded me a little of Tina Turner's. Take JOURNEY TO THE CENTRE OF THE EARTH, for example. In its original 1970s incarnation the album always seemed amateurish to me, partly because the two male vocalists were so melodramatic. Hayley Sanderson, on the other hand, sounds wonderfully earthy, and it's bizarre-but-highly-exciting to hear her against the background of the (sometimes eerie, sometimes rather churchy) English Chamber Choir. (Together with that same choir, she also gives a wonderfully rousing performance of 'Lancelot and the Black Knight'.) Another thing that makes the new JOURNEY TO THE CENTRE OF THE EARTH so special is the fact that Mr Wakeman's 'English Rock Ensemble' rocks harder than ever. Lee Pomeroy is probably the most gifted bassist Rick ever used, Dave Colquhoun delivers the most amazing power chords throughout (he also gets a chance to perform some blistering solos) and because there are two virtuoso keyboard players in the band, there's no need for the strings and brass of an old-fashioned symphony orchestra. You might even call the new-style JOURNEY proggier than ever, since an entire orchestra is expertly 'realised' by a five man rock band.

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