Rick creates a riotous pastiche of his extraordinary life and escapades
― Ned Trifle II, Tuesday, 27 May 2008 11:19 (4 years ago) Permalink
― James Redd and the Blecchs, Tuesday, 27 May 2008 16:46 (4 years ago) Permalink
What Yes albums does he play on? When were they destroyed?
― filthy dylan, Tuesday, 27 May 2008 17:17 (4 years ago) Permalink
there some super funky shit on journey to the centre of the earth and no earthly connection.
totally insane that the brilliant No Earthly Connection is STILL unavailable on cd. that needs fucking sorting out.
― mark e, Tuesday, 27 May 2008 18:41 (4 years ago) Permalink
but I feel that you really shouldn't ignore the fact that he destroyed Yes because he did it so spectacularly.
Yes, we should. Nonsensical claim. Wakeman's part & parcel with the crew of over-the-top keyboard players working in Britain at the time: Keith Emerson -- ELP sold even more than Yes, Wakeman, and Vincent Crane, who never enjoyed much commercial success.
As for the classic Yes albums with Wakeman on them -- Fragile, Close to the Edge, Yessongs are great. Tales not so much although it's not his fault. Yes with Tony Kaye -- the first two can be passed on although the cover of "Every Little Thing" starts getting into the territory of righteous. The tunes arrive for Yes Album but not because of the keyboard player.
― Gorge, Tuesday, 27 May 2008 19:39 (4 years ago) Permalink
Going for the One's awesome too. Wakeman was back in the fold for that one after taking the (incredible) Relayer off. Whoever says he destroyed Yes has no idea what he's talking about.
― Bill Magill, Tuesday, 27 May 2008 19:54 (4 years ago) Permalink
Rick Wakeman is a genius and the main reason why Yes were so great in the 70s.
Solo Wakeman is largely indefensible though.
― Geir Hongro, Wednesday, 28 May 2008 08:42 (4 years ago) Permalink
"White Rock" though?
IT'S ABOUT SKIING BEFORE ANYONE STARTS!!!
― Mark G, Wednesday, 28 May 2008 08:45 (4 years ago) Permalink
"Rick Wakeman is a genius and the main reason why Yes were so great in the 70s."
Wont argue whether he's a genius or not, but the second part of this sentence is wrong.
― Bill Magill, Wednesday, 28 May 2008 15:24 (4 years ago) Permalink
I don't have the patience to read this whole thread, but I'm sure hoping someone here already pointed out that he is quite classic on Sabbath Bloody Sabbath
― If Assholes Could Fly This Place Would Be An Airport, Wednesday, 28 May 2008 16:17 (4 years ago) Permalink
rick wakeman does a section of presets on my GForce minimoog vst, and they fuckin rock - they're the first presets i try on pretty much *any* song i make involving synths these days - ironically pretty much every last one of them sounds perfect for todays TranceCrunk(tm) production aesthetic...
― messiahwannabe, Tuesday, 3 June 2008 08:05 (4 years ago) Permalink
Six Wives - live !
no chance of me going along, but this is just going to be insanely over the top isn't it ..
― mark e, Monday, 27 April 2009 09:57 (4 years ago) Permalink
I've been on a big prog rock trek for a couple of months, probably started by watching that BBC Prog Rock Brittania on You Tube a couple of times.
Haven't ventured past it yet, but I liked The Six Wives of Henry VIII more than I would have thought and it is one weird ass album to have somehow sold like 15 million copies. People had some patience back in those days, I just don't see any of this kind of weird music being THAT popular.
I liked it enough that I probably am going to try out another Wakeman record.
― earlnash, Tuesday, 8 May 2012 04:11 (1 year ago) Permalink
The Sex Pistols was the reason Rick left A&M, not the other way round...
― Mark G, Tuesday, 8 May 2012 06:39 (1 year ago) Permalink
No it has to be the other way around if it's true at all. I'm sceptical that he would have had that much sway at the label, since sales were waning (though his late 70s stuff is good - often preferable to the earlier, better known albums). Wakeman's final album for A&M came out in 1979, two years after the fact. I know that Wakeman showed up in a documentary talking about this and said it was essentially a bullshit story.
― everything, Tuesday, 8 May 2012 07:26 (1 year ago) Permalink
xpost to earlnash - try Criminal Record, which is a digestible and enjoyably brief album from '77. It has a fair chunk of solo Rick mixed with Alan White, Chris Squire and Wakeman doing some fairly disciplined and enjoyable proggy bits.
― everything, Tuesday, 8 May 2012 07:41 (1 year ago) Permalink
Basically, McLaren had said that the Sex Pistols' signing had upset some of the proggers on the label (He'd read, upside down, a memo on the A&M-A&R's desk to the extent of "hey, do we all have to wear safety pins through our noses now?" and said more or less in passing that it was him wot got them sacked.
At which point lots of A&M staffers were all "yes, yes, that's exactly what happened", which got Rick extremely pissed off. Doubtless, that was not the only factor, but maybe one of them that made him see out his contract then goodnight vienna.
One further album, "Rhapsodies", then off. (his "Criminal Record" presumably well on the way by then..)
― Mark G, Tuesday, 8 May 2012 08:43 (1 year ago) Permalink
Thanks, that rings true. Wakeman was probably nearing the end at A&M anyway. "Criminal Record" did not sell too well I think - I recall stacks of copies marked down in Boots at the start of the 80s, which is where I got it from. Rhapsodies could be looked at as a stereotypical "last album for the label". It feels/sounds cut-price, has a terrible sleeve design (as did Criminal Record) and is all over the place, apparently hoping to appeal to the general public (there's everything from James Last-style orchestal disco to moogy riffs on famous classical/jazz tunes. This from a guy who has no business even considering what what "commercial" might sound like (listen to "Rock'n'Roll Prophet" to see how lamentable is his take on early-80s synthpop. Notwithstanding all that, to me there is some good stuff on these album due to his general creative quirkiness and blokey whimsicality.
― everything, Tuesday, 8 May 2012 17:03 (1 year ago) Permalink
People had some patience back in those days, I just don't see any of this kind of weird music being THAT popular.
hypothesis: prog rock fulfilled a cinematic purpose for fantasy/scifi/stoner nerds in the mid seventies, but that purpose was superseded by blockbuster sci-fi movies and the spread of D&D and then FPS videogames. Punk didn't kill prog rock, the triumph of nerdery in other pop culture areas did.
― bendy, Tuesday, 8 May 2012 20:26 (1 year ago) Permalink
Not wanting to sound negative but no.
― everything, Tuesday, 8 May 2012 22:30 (1 year ago) Permalink
I'm totally digging Rock and Roll Prophet at the moment. It's like Wakeman meets the Buggles. And he sings weird duets!
― Naive Teen Idol, Friday, 26 October 2012 19:28 (6 months ago) Permalink