Return To The Centre Of The Earth
Rick Wakeman
(This review originally appeared on the Classic Rock
channel of about.com, October 1999)
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 outsoloing 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 ( Passion Play, Thick As A Brick), The Who (Tommy,
Quadrophenia), Pink Floyd (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, 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.
For almost 77 minutes, Wakeman pulls out every trick in the book. Once again, he
procures the services of The London Symphony Orchestra and The English Chamber Choir. He
employs a backing band of virtual unknowns. This time, however, Wakeman peppers his piece
with a few big names. Guest vocalists include Trevor Rabin (Yes), Justin Hayward (Moody
Blues), Bonnie Tyler, Katrina Leskanich (Katrina and The Waves) and Ozzy Osbourne. Reading
the passages this time -- with infectious precision -- is Patrick Stewert, best known as
Captain Jean-Luc Picard of Star Trek: The Next Generation.
Contained within the elaborate gatefold packaging by longtime Yes artist Roger Dean, Return
opens up with a pattern of lush orchestrations, slyly garnishing Stewert's poignant
articulations throughout. Utilizing a number of computerized gadgets and tools, the
keyboards are seemingly shrouded -- certainly not as distinctive as Wakeman's sound can
be. It isn't until the fourth track -- Buried Alive -- that Return
sonically surges forward. Ozzy Osbourne's vocals swim effortlessly through The London
Symphony's framework. Wakeman unleashes one of his trademark solos during the song's
mounting crescendo.
From here, the Return takes on a rather ethereal tone. With no real
central theme to convey -- aside from the journey itself -- there are, nonetheless, some
stellar performances. Bonnie Tyler's nicotine-stained reading on Is Anybody There?
is lifted to a glossy finish as the English Chamber Choir sails through each emotive
verse. Tony Mitchell's generic turn on Mr. Slow is also largely carried by
the orchestral/choir accompaniment.
Trevor Rabin's vocals and guitar on Never Is A Long, Long Time take a
backseat to the additional instrumentation. This is one song that could do without the
spiraling strings and chamber voices. On the other hand, Justin Hayward is able to make Still
Waters Run Deep sound like something he'd do with the Moody Blues.
The CD's most lilting track may be the Katrina Leskanich vehicle, Ride Of Your
Life. Without her "Waves" and without Wakeman's somewhat excessive
arrangements, Leskanich executes her range to its full potential. It would be interesting
to see a song like this launch her comeback.
With talk of comebacks, one must wonder how Return To The Centre Of The Earth
fits within the contemporary music scene of the 90s. In truth, it doesn't. It isn't much
more than a self-fulfilling aspiration for Rick Wakeman. A chance to relive the days of
glory, with an assembled "Dream Team" along for the ride.
Perhaps Wakeman should think about a visual counterpart -- a multimedia concert or
film. Today's audiences -- many orbiting in a nihilistic trance -- simply don't have the
patience or desire to sit through something like this. Thought-provoking, literary
exercises of this sort have never registered high on the richter scale of mass taste and
popularity.
Shawn Perry
For submissions, comments, suggestions and offers of sponsorship
Send E-mail to stperry@inetworld.net
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