Review: Rick Wakeman ‘The Six Wives of Henry VIII Live at Hampton Court Palace’
Rick Wakeman is, obviously, one of the most influential rock keyboardists of his generation. First with the Strawbs, then with Yes, then as a solo artist he helped to pioneer a fusion of rock and classical styles that came to be known as progressive rock. His work has been beloved by audiences and fellow musicians, but largely reviled by rock critics, most of whom tend to dismiss progressive rock as pretentious tripe.
I don’t know if this CD/DVD is going to change anyone’s mind pro or con, but it’s an amazing musical and visual achievement in its own right. This is essentially a new live performance of the music from Wakeman’s seminal 1973 concept album of the same name. At that time the album marked the first time a rock instrumental album had been built around keyboard instruments, and parent label A&M Records fully expected a commercial disaster. Wakeman got the last laugh when the album proved an enormous success worldwide, but he was stymied in his desire to perform it in its entirety at Henry’s home, Hampton Court Palace. In 2009, a mere 36 years later, Wakeman finaly fulfilled that ambition with two exclusive performances, backed by a full choir and orchestra.
If you’re one of those who thought the original notion and composition of The Six Wives of Henry VIII was overblown and pretentious, I sincerely doubt that the sight of Rick Wakeman dressed in full kingly regalia is going to change your mind, but part of what I like about this project is how unaplogetically Wakeman remains true to his vision. He’s not trying to soften the complexities of this piece to account for changing tastes since 1973, nor modernize it, nor alter it to play better with critics. Instead Rick Wakeman presents this work in a production that is so deliriously over-the-top that about the only thing it’s missing is a lion tamer on ice skates. The result is a singular piece of work that is so daringly original that it could only have come from a talent as great as that of Rick Wakeman.
I had the pleasure of interviewing Wakeman a while back in support of this release , and in the course of that conversation he lamented that if one were to use the Rock and Roll Hall of Fame as a historical reference, you would come away with the impression that progressive rock never happened. In looking at the caliber of this performance, and the caliber of vision and original talent that drove it, I have to ask myself one question: If this guy doesn’t have what it takes to even get nominated, then what DOES it take to get into the Hall Of Fame? Evidenly not vision, chops, talent and class, because they are all in evidence here.
