Catherine of Aragon (Rick Wakeman, 1973)

This is the opening track of "The Six Wives of Henry VIII" and one of the musical pillars of Wakeman's solo career. The resolute intro, the elaborated scales and the surprising melodic parts are some of the highlights of this instrumental, and not the only ones. The artistic depiction of Catherine's joyous and also spiritual temper is perfect: a living portrait come out from each note and each tempo change.

Catherine of Aragon was Henry's firts wife.

The impressive amount of keyboards employed by Rick is never too pompous and the other instruments (guitar, drums and a beautiful choir) add a slight and welcome "band-like" flavour. Lively and everchanging, "Catherine of Aragon" is one of the most beautiful keyboard-driven tracks ever (IMHO, of course) and rightly appears on most of Wakeman's live tracklists. Luckily.

Merlin The Magician (Rick Wakeman, 1975)

If you need a further proof of Rick Wakeman's capacity to melt epic and ironic tones, "Merlin The Magician" is perfect for you. Not only it is a stunning piece of prog music and (useless to say) full of keyboards, but it also features rather humorous lyrics about Merlin, described as both a magic and laughable character. That said, what I really like in "Merlin The Magician" is the manifold and shimmering instrumental section, a very long one, along with the beautiful sung themes Rick wrote.

This must be Merlin... or maybe Rick The Magician. Same thing.

The entire "The Myths And Legends of King Arthur And The Knights of The Round Table" album is one of my favourite works by Wakeman, but surely this song in one of its brightest highlights. I see Merlin himself coming out of Rick's synths and cheerfully smiling to the listener. It's a kind of magic. Prog magic, I daresay. 

Music Reincarnate (Rick Wakeman, 1976)

Here you are a true old progressive rock suite, coming from one of the men who mostly contributed to the definition of the genre. "Music Reincarnate" comes from Rick's album "No Earthly Connection" and spans over 28 minutes of duration. This track is divided into five parts (The Warning, The Maker, The Spaceman, The Realisation and The Reaper) each one featuring its own spirit, but all fitting very well into the big picture. Due to the length of the suite, its last part opened the original LP's B-side. 

The original LP included instructions to "bring the cover to life"...

 

...by placing a reflecting cylinder as shown!

 

The lyrics about God being musically deceived by humans probably aren't Wakeman's best literary achievement, but the music is excellent, including several well found melodies, tons of tempos, moods, vocal harmonies, orchestral arrangements and - of course - keyboard solos. Ashley Holt's vocals are another good reason to dig up this song: a warm, bittersweet voice going up and down your spine, especially during the second section of the epic, likely my favourite one (but I'm also partial to part 3). Well, it's about time to let you listen this pearl once again.

Arthur (Rick Wakeman, 1975)

Coming from Rick's arthurian comcept, this is one of the most Wakemanian tracks ever. It's up to you to decide if you like or dislike this man's style. I love it. Beginning with the inscription engraved on Excalibur's rock (Whoso pulleth out this sword from this stone and anvil is the true born King of all Britain), the song alternates pompous keyboard riffs and effective sung melodies in a medieval tournament atmosphere.

One can love or hate this album, but it is a prog legend howsoever.

Be as it may, this opening track is full of inner energy and sounds sincere, the way Rick Wakeman usually does. The listener immediately knows that Rick believes in old legends and loves them. There's the good blend of irony and seriousness, epic and lyric tones, so that a shiver runs up my spine each time I listen to this song. I know that's silly, but there's nothing I can do about it. Just forgive me, listen to this song and find out how Wakeman is the true born King of prog England!

1984 Overture (Rick Wakeman, 1981)

I still remember people laughing at me when I bought Wakeman's "1984" album and declared I loved it. Well, I still think so and the "Overture" track is one of my favourite tracks in it. It is pure fun, full of keyboard progressions and scales, enthralling jeegs, tempo changes and colourful chords. As usual, Rick overstates and he perfectly knows he's doing that. I can't help imagining him grinning and laughing while his fingers run over dozens of keys and switches.Laughing, yes, while the rest of the planet was listening to punk rock, new wave and dance music, he was keeping on his way and having the time of his life.

 

"1984" was originally released on Charisma label.

 

Well, this record has many more admirers today than in 1981 and its forthcoming remestered edition (I think it's the third one) will take on the shelves the places once filled with punk and new wave records. Congratulations, Rick.

Judas Iscariot (Rick Wakeman, 1977)

Taken from a particularly good album ("Rick Wakeman's Criminal Record"), this 12 minute instrumental track is the quintessential Wakeman's sound. Choir, pipe organ and assorted keys provide the bombastic side of Rick, while the piano and some lighter arrangements represent his ironic and intimate side. Four different themes follow one another and build up a real cathedral of music, rising its spires up to the sky and sounding out loud its bells.

The "Criminal Record" includes Judas Iscariot

and songs for other famous rogues.

In particular, the first theme - kind of a keyboards riff, similar to a Pink Floyd's bass line from "Echoes", then reproduced in perfect Wakeman's style by Andrew Lloyd Webber - is strong and suggestive and so is the cantato performed by the choir in the middle of the song. But I'm in love with the sweet melody dominating the second half of this "Judas Iscariot" and adding milder feelings to such a classical architecture. When I listen to this song and to many other ones from Rick's abundant catalogue, I know I'll never be in the (alas) large number of his detractors.

Anne Boleyn (Rick Wakeman, 1973)

This track taken from Wakeman's "Six Wives of Henry VIII" album is one of my favs ever. Firstly, it contains two very good themes and so many variations on them; secondly, it's a well balanced composition and Heaven knows this is not always the case with Rick's production; thirdly (of course) there's a remarkable performance on keyboards, half a dozen of them. The track includes  Bill Bruford's drum and an additional theme from the classical piece "The Day Thou Gavest, Lord, is Ended" written by the victorian hymn writer John Ellerton.

Anne Boleyn's protrait.

 

It's amazing: even with so much ideas and materials in it, this song is as light and bright as a butterfly. I do think Rick succeeded in painting Anne Boleyn's romantic and delicate soul. Well, I hope she was that...