CD Review:
For almost 30 years, Rick Wakeman has been slogging it out as one of the preeminent keyboardists in rock — notably as an off and on member of Yes. Along with ELP’s Keith Emerson and Deep Purple’s Jon Lord, Wakeman brought the keyboards to the frontline of the band — often out-soloing guitarist Steve Howe while throwing in dashes of classical and jazz just to show how well schooled he was.
As Emerson and Lord barely stray away from the confines of their respective group situations, Wakeman has continually forged ahead — composing full conceptual pieces in which his keyboard navigates makeshift ensembles of rock players around full-blown orchestras and choirs. During the early 70s, Wakeman lodged these musical experimentations with classic allegory. With historical accuracy, he boldly released The Six Wives Of Henry VIII and The Myths & Legends Of King Arthur And The Knights Of The Round Table. His most well-received album, however, was based and titled after the classic Jules Verne tale — Journey To The Centre Of The Earth.
In and around 1974, pretentious, theme-oriented albums were becoming the norm. Jethro Tull (A Passion Play, Thick As A Brick), The Who (Tommy, Quadrophenia), Pink Floyd (The Dark Side Of The Moon), Genesis (The Lamb Lies Down On Broadway), even Wakeman’s present band, Yes (Tales From Topographic Oceans) — had all been stirring up the conceptual fire with a measurable amount of success. Rick Wakeman —brandishing his infamous sparkle-covered cape — decided to up the ante with Journey.
To begin, he brought in The London Symphony Orchestra and The English Chamber Choir. Then he patched together a group of session players and singers. To give Journey a more cerebral slant he threw in a narrator by the name of David Hemmings to read passages in a manner in which the listener became part of the journey. To make it even more ambitious, he performed and recorded the album “live” before an audience.
It was pretty much downhill from there. Progressive, classically-charged rock outraged the critics, and gave way to a roots revolution in the form of punk, heavy metal and an R&B strain called disco. Wakeman and his ilk had to either conform or retire. With occasional resurfacings, he would never eclipse the artistic satisfaction or commercial success of Journey.
These days many of the great conceptual works of the 70s have re-emerged. Tommy, Quadrophenia, The Dark Side Of The Moon and The Wall have all been submitted to various treatments. Technical advances in video, audio and instrumentation have made the idea of recreating such monstrosities far easier. This, along with a desire to possibly regain his momentum, is what has apparently driven Rick Wakeman to Return To The Centre Of The Earth.
(Full version - vintagerock.com/rick-wakeman-return-to-the-centre-of-the-earth/)
No comments:
Post a Comment