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HEAVEN'S ISLE
Oliver Wakeman describes 'Heaven's Isle' as a "keyboard based instrumental album about an island". The island in question is the Isle of Lundy, situated off the North Devon coast, which Oliver first
visited back in 1996 and was so inspired by the experience that he immediately set to work, trying to capture the spirit of the island, its flora and fauna, even its history, in a rich musical soundscape.
From the whimsical opening of 'Puffins Waltz' through to the closing strains of 'Memories', this CD leaves us with a lasting mental image of the island of Lundy.
Two additional tracks, omitted from the original 1997 release of the album due to time restraints, round off this re-release in the form of 'The Outward Journey' and 'If A Picture..' - a minor criticism here, is that these tracks have been added on to the end of the original work, so in effect we get the journey out to the island after we have completed our tour! All in all though, this is a well produced piece and reflects well on Oliver's talent as both a composer and a performer.
Mention should also be made of the accompanying booklet - produced in association with the Landmark trust (who own Lundy). There are some marvellous photos of the island and it's wildlife, along with associated
narrative to support each of the original eleven tracks. In addition, an introduction and a postscript written by Oliver all help to give further insight into the inspiration behind this work.
The overall style of the CD puts it well into the classical/new age category. If you are expecting lots of over the top synth playing this may not be for you, but if you enjoy listening to well composed mature
keyboard music then take the journey ... lose yourself in 'Heaven's Isle'.
Simon 19 July 99
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THE 3 AGES OF MAGICK
Tracklist: Ages of Magick (5.48); Mind Over Matter (4.02); The Forgotten King (3.02); The Storyteller (3.42); The Whale's Last Dance (4.30); Time Between Times (5.03); Flight of the Condor (4.48); Lutey and the
Mermaid (3.02); Standing Stones (4.31); The Enchanter (6.04); The Healer (4.18); Through the Eyes of a Child (2.13); Hy Breasail (8.38)
Oliver Wakeman's first solo CD, 'Heaven's Isle', showed him to be a talented composer and performer, but its relaxed style is very different indeed to Oliver's latest offering, 'The 3 Ages of Magick'.
Once again we are presented with a solely instrumental work, but this time Oliver treats the listener to a far wider range of keyboard styles, ranging from complex keyboard sections to gentle piano pieces. The
sources of inspiration are also far wider reaching as Oliver draws on influences from rock, folk and classical music.
The album features a strong cast of supporting musicians which includes some names which will be well known to many progressive rock fans: Steve Howe on acoustic and electric guitars; Dave Wagstaffe - drums and
percussion; bassist Tim Buchanan; Tony Dixon - Uillean Pipes, whistles and flutes; and Jo Greenland on violin.
The idea behind the title came from a book Oliver read about the supernatural, with a paragraph that began with the words "We live in the third great age of magic in the West..." and which goes on to
explain that the first of these ages was in the time of the Roman Empire, the second the Renaissance, and the third is the age in which we now live!
The opening track, 'Ages of Magick', is an uplifting symphonic rock composition.
It features soaring keyboard solos and sweeping guitar play, set against a strong orchestral arrangement with a good percussive backdrop. Not far into the track the pace changes and the opening motif is replaced by a more subdued passage dominated by the violin and heavenly choir. The pace then slows down even further and it's not long before a tinkling piano theme plays in over the percussion and mellotron. Gradually the pace starts to build once again and, to close the track, there is a stirring reprise of the opening theme finishing on a real high!
'Mind Over Matter' follows a very different line being much closer to pop rock. It starts with a rolling bass line and urgent percussive beat, with siren-like keyboard sounds over the top.
Hospital style announcements cut into the second half of the track, while slower paced piano work, with an almost jazz like quality, is interspersed with faster paced keyboard runs.
Changing the style once again, 'The Forgotten King' begins with beautifully played, sad, slow-tempo piano which is soon joined by Steve Howe's superbly restrained acoustic guitar work. The two parts are
marvellously intertwined and yet, even when the pace picks up a little, the mood of the piece is not broken ... classic stuff!
'The Storyteller' opens softly with gentle percussion and mellotron.
Once again I have to say that the guitar work here is outstanding and works well against with the instrumental backing, occasionally jostling for the lead against the keyboard solo. Although initially the acoustic is favoured, around the mid point there is a sudden switch to the electric guitar which cries out in a melancholic fashion, before giving way to a further acoustic guitar section, and the strong rhythmic foundation complements the instrumental work without interferinge with the developing themes. There is a good build up throughout the track but perhaps the fading finish with tubular bells is a tiny bit premature in that it teasingly leaves you wanting more!
'The Whale's Last Dance' shows yet another style, with a strong Celtic edge to the music provided by Tony Dixons's whistles and flutes. These are, for the most part, set against strong piano playing while the
occasional dramatic orchestral outbursts from the keyboards add a sense of drama without ever threatening to swamp the easy flowing melodies being played out.
The whale song at the end of the track combined with the gentle piano work and acoustic guitar provides a very nice finishing touch.
There is a darker, other worldly quality to 'Time Between Times', which opens with the mellotron very much in evidence - first providing deep bass tones but then switching to a lighter and more feminine sound.
Over this, a lighter melody is played out on the piano, which soon moves aside to provide a supporting role to Jo Greenland's emotive violin work. Further keyboard effects provide a floating, almost ethereal backdrop for more violin and piano work. There is a slow but steady increase of tension as the track develops; the orchestration becomes more evident and the percussion comes in, but then, quite suddenly, the pressure is lifted, and the piece closes with a soft, lightly played piano theme.
'Flight of the Condor' draws on many elements to paint a musical picture that soars and glides, in keeping with the subject.
The opening theme, which plays the track in, is probably typical of the way many of us regard the music of the Andes, but this is only one facet of a track that contains a multitude of dynamic keyboard sections and driving percussion.
One of my favourite tracks on this album has to be 'Lutey and the Mermaid', which is one of the pieces Oliver played at the album launch - and I have to say that here it is every bit as stunning as I remember it
being live.
The track is a beautifully executed piano solo; sometimes fast moving, at other times slow and gentle, but always flowing easily and bringing a calming influence to the listener. This is a real gem and an absolute must for anyone who likes to hear the piano!
With 'Standing Stones' we are back, once more, into the realms of the electronic keyboard.
This is another piece with a strong Celtic air, but this time the whistles alternate with the Uillean pipes to deliver the main melody while the keyboards provide a slightly dark and almost sinister backing. Brighter piano runs provide some nice contrasts, while a good bass line provides a strong sense of rhythm. Towards the end a lively theme on the whistle drives things along, soon joined by the pipes which provide a strong counter melody.
Another favourite of mine is 'The Enchanter'. This opens with a powerful church organ sound, which is inspiring to listen to and provides an almost classical feel. After the first minute or so the drums
power in and the pace really picks up, with a punchy bass line providing a further lift.
The mood then settles and a haunting guitar line runs against the quieter keyboard section; after this the organ sound returns and the pace really hots up with some vibrant, pacey keyboard runs. Throughout the track the guitar and keyboard seem to be in competition for the listener's attention and some very inventive playing emerges in the process; sometimes quirky, sometimes humorous, but always full of feeling.
'The Healer' starts with a superb solo piano section but this incorporates some really splendid orchestration as it moves along. Violin is brought in to good effect, and the combination of this and the
horn-like effects from the keyboards really create an uplifting feel to the entire piece.
The shortest track on the album, 'Through the Eyes of a Child', is a piano oriented piece opening with a short musical intro, the sound of footsteps and a door swinging shut ... good stereo effects here.
The piano theme starts up again and is overlaid with a short spoken part by Joseph Craddick (the son of one of the sound engineers at Goodmerry Farm studios) providing the child's insight. Violin provides an accompaniment to the final piano section before the music stops for the last time as we hear the child's voice once again. This may seem a little twee to some, but it will certainly raise a smile in anyone who has children of their own and who will almost certainly understand what this one is all about.
The final track on the album, 'Hy Breasail', is also the longest, and it incorporates some 'Phantom of the Opera' style keyboard playing.
The track is full of changes however and, just as you think you know where it's leading, it heads off in another direction. One of the highlights here is Steve Howe's spanish guitar playing which provides a delicate contrast to some of the richer textures to be found in other parts of the track.
'The 3 Ages of Magick' is one of those albums where you are constantly discovering things you missed the last time through, and I continue to be impressed by it.
Oliver has pulled together a superb group of musicians to deliver a well thought out album that should delight a wide variety of audiences. Progressive rock, orchestral arrangements, classical influences and superb guitar and keyboard work are just some of the reasons that should persuade you to listen to it. For me, this album is a real masterpiece that proves Oliver's credentials without a doubt ... it comes highly recommended!
Simon 18th July 2001
Find audio clips at:- http://www.rwcc.com/rwcc/audio/magick.htm
The album is currently available for order through Voiceprint at: http://www.voiceprint.co.uk/resurgence/res144cd.htm
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CHAKRAS
Track list: Muladhara (10.45); Svadisthana (10.37); Manipura (5.15); Anahata (6.40); Vishuddi (11.10); Ajna (8.48); Sahasrara (10.04).
'Chakras' is one of a series of disks to be released by Balance and Harmony under their 'Spiritual Vitamins' series and, although the artist is not given a mention on the front sleeve, the liner notes do clearly
credit the composition and performance of the music to Oliver Wakeman - although perhaps I should add that this is the only CD in the series Oliver has written. It consists of music that is best categorised as
New Age and it is intended to promote relaxation and meditation.
This is a commissioned piece: there is nothing new in musician's writing works to order, indeed many classical composers made their living on this basis; but it is worth pointing out, because, although worthy of
merit in its own field, this album is very different in nature to Oliver's other more recent releases.
In trying to understand the concepts behind this CD I have read through a wealth of information about the chakras, and spiritual well being.
Much of this information, written by 'authorities' on the subject I have found to be confusing at best and downright contradictory in the worst cases, and while I try to remain open minded about such things, it is sometimes very hard in the light of such 'evidence'. The following is a summary based on my current understanding - it is intended purely as background and is not intended to be in any way definitive!
The word 'Chakra' is derived from Sanskit and is normally translated as meaning 'wheel'.
According to the most widely observed system it is suggested that the human body is governed by seven primary chakra points, each centered on a different part of the body, and each controlling different aspects of emotional and spiritual well being. It is further maintained that any imbalance in the Chakras due to spiritual or emotional causes can result in a manifestation through physical ailments. In addition to this, the Chakras also apparently correlate to different levels of conciousness: the physical, the etheric, the astral, the mental, the spiritual, the cosmic, and the nirvanic.
Now onto the actual content: the music is arranged into seven pieces, one relating to each of the primary Chakras, and fundamentally it seems to be about creating a feeling of inner calm and a sense of well
being. This is achieved by soft soothing tones, with the melody itself generating any sense of rhythm - no drums or drum machines here! The music also makes strong use of repetition - a factor common in
New Age music - and patterns are constantly recycled, often with only minor variations.
There is strong interplay between the piano and other keyboards, and a balance between the foreground melodies and the flowing ambience (from the controlled use of synthesisers).
While these interactions can be complex, the basic tunes themselves are often quite simplistic in nature, but none the less pleasing for that.
Tracks like 'Muladhara' and 'Manipura' are good examples and, in each case, the use of soft piano playing - with gentle interjections from the synths helping to fill out the sound - creates a restful vista
which is perfect for relaxation.
Slightly more ambitious is 'Svadisthana', which begins with a humming drone.
The sound of water, dripping and echoing as if in a cavern, gives a real sense of space. The repeating four note rising pattern from the keyboards tends to hold the attention and presents a sound that is immediately familiar. This may be because it is the type of thing used in piano exercises, bit it does have a marked similarity to the opening bass line in Marillion's 'Chelsea Monday'. The other keyboard work away from the piano however forms the mainstay of the track, and the music flows in smooth uninterrupted fashion. Around the midpoint the instrumentation adopts a more eastern flavour, but despite this change of tone, the music still hold the senses in a kind of stasis. Before long we gradually become aware of the opening piano pattern reasserting itself, and we are back on familiar ground once more.
For me the centre piece of the album has to be 'Anahata', which is another wonderfully calming piano based piece.
This one seems to have the possibility of reaching a greater potential then is allowed by the constraints of this album. The background keyboard arrangements work beautifully against the main piano themes, and I could well imagine a more fully orchestrated version of this track working very well indeed.
'Vishuddi' has a very much more lazy, mellow mood and the spotlight falls upon the string section effects from the keyboards. In the more melancholic 'Ajna' it is initially the sound of panpipes that carries
the listener along. Later in the piece, this light tone is slowly replaced with a deeper, richer sound that rolls gently along, creating a real feeling of inner calm, heightened by the rejoinder of the
panpipes in the closing moments.
The last track 'Sahasrara' is another fairly soft and subdued piece, and while it may not contain any particularly noteworthy features it does bring matters to a very pleasant conclusion.
Time to move on briefly to more mundane matters - the CD is packaged in the ever more widely used digipack format, and comes with a fairly plain multi lingual booklet that gives a bit more background information into
the spiritual concepts that underlie the album. For those interested in such things, the credits, as mentioned previously, confirm Oliver as composer and performer, and also show that the CD was mastered by
Rob Aubrey (whose name will be already be well known to our progressive rock readers) at the Nomansland studio.
In summing up, whether you are a Wakeman fan or not is in all honesty of no consequence here, since this album is written in a style very different to Oliver's own more progressive outings.
What 'Chakras' does offer the listener is a well composed and well presented instrumental work, that fits neatly into the New Age category and if you enjoy reflective, meditative music, then this album is bound to please and I strongly recommend checking it out on this basis.
Simon 6th March 2002
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MOTHERS RUIN
Tracklist:
Don't Come Runing (3.45); The Agent (8.36); In the Movies (5.11); Walk Away (4.25); Mother's Ruin (6.11); Calling for You (4.02); If You're Leaving (4.51); I Dont Believe in Angels (4.32);
Wall of Water (10.42)
LINEUP:
Oliver Wakeman - Piano, Keyboards, Acoustic Guitar and backing vocals
Moon Kinnaird - Vocals and backing vocals
David Mark Pearce - Electric Guitars
Tim Buchanan - 4 and 4 String Bass Guitars
Dave Wagstaffe - Drums and Percussion
REVIEW
One of the things that is refreshing about Oliver Wakeman is that he seems able to turn his hand to pretty much anything and make a damn fine job of it. Each of his previous works to date have had a very
different flavour and 'Mother's Ruin' once again offers something quite different to what has gone before. Rather than being an Oliver Wakeman album, this is billed as the Oliver Wakeman Band, and the emphasis
is very much on the band here.
Oliver himself demonstrates his mastery of the keyboards as one might expect, but never at the expense of his colleagues who put in some stella performances throughout, but rather by working with them aalowing the
different instruments to contribute to the bigger picture. No over blown egos here, just a group of superb musician delivering quality music.
Musically Mother's Ruin is an album that has much in common with the rock band's of the Seventies, there are certainly aspects of the album that seem to draw from the likes of Deep Purple for example. The album
is also one that delivers the goods with a nice mix of styles ranging from upbeat pacey numbers to the ballad, and delivered with a modern edge and played with passion and feeling.
The opening track 'Don't Come Running' is perhaps fairly representative of the rock style with it's solid rock vocal melody supported by fairly pacey keyboard work and a strong driving rhythym section keeping things
moving nicely along. The instrumental break just past the half way mark see's some nice keyboarad work from Oliver and some fine lead guitar work.
'The Agent' keeps thing moving along nicely with some strong keyboard playing that is vaguley reminiscent of Jon Lord.
Guitar and bass work provide a heavier edge to the sound which works well. My only criticsm is that the vocals, while very clear and precise, seem at times to lack power that a track such as this really deserves.
The mood eases up a little with the slower paced "In the Movies", which is generally a far more melancholic piece. Moon's vocals are perfectly suited to this type of track and he does a superb job
throughout. Nice use of piano punctuates the track which gradually builds up and their are some superb pieces of orchestration throughout the latter stages.
'Walk Away' is a classic rock anthem if ever there was one. You can almost see the the eighties hair styles when you listen to this song which is easily up to the standards set by the likes of Whitesnake (a
band which I might add that I'm very fond of).
Clear crisp lead guitar work and a solid bass line drive the music along while the keyboards weave some great variations around the the main theme. The simple refrain is very catchy (without becoming in he least annoying) all of which makes for classic rock in the finest tradition - very hard to fault!
Next we move to the title track of the album with 'Mother's Ruin'.
This song is one with a strong environmental message concerning as it does the mess that human beings appear to have made of our one and only Mother Earth. That said this is not a song that preaches from the pulpit, but rather it states it's case and leaves the listener to make their own conclusions - as such it works very well indeed. Musically there is quite a lot of variety here, with the sound becoming more heavily layered as the track develops. Oliver switches effortlessly between piano and synth sections and once again the guitar is used to great effect throughout.
'Calling for You' is another upbeat rocky number and while this is certainly a good enough track I did not really find anything of particular note here apart from some great bass hooks that give a slightly funky edge
to the sound.
The mood and the pace slow right down again with the rather moving 'If You're Leaving' which is something of a ballad. Great vocal work throughout carry this one along supported perfectly by layered yet
restrained keyboard work from Oliver.
This track leads nicely into 'I Don't Believe in Angels', which leads in with a great vocal melody with a piano accompaniment in a very low key fashion.
The track quickly picks up the pace however and it's not before before the pace is fairly flying along. Oliver excels with the keyboard work in this number, and I have to say it's probably as close as he comes to a Yes style of playing. The main keyboard section is followed in turn by a perfectly timed lead guitar run before the pace comes right back down again and the song runs out with the vocal / piano mix that it began with.
The final piece 'Wall of Water' also happens to be the longest on the album.
While I confess that these days I tend to be a little wary of 'epic numbers' I actually found that the length of this track was not a problem. Of all the tracks featured this is the one that is most closely associated with the progressive (rather than the classic) rock style, and it works extremely well indeed. The song has the changes of direction and pace commonly found in progressive numbers, but the thing that really makes it is the fact that everything fits so well together. Moon puts in a stellar performance on the vocal front and I have to say David Mark Pearce's guitar playing here is nothing short of inspiring.
In conclusion then I have to say that I really loved this album, and this may be in part because it reminded me so much of the type of music that first got me buying albums.
Having said that there is far more to this album than simple nostalgia. The songs are well thought out, very well performed and the production is very good indeed. All things considered I truly believe that Oliver Wakeman has come up with a winning album here and I can highly recommend it to all our readers.
Simon 18th November 2007
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MOTHERS RUIN EP
Tracklist:
Walk Away (4.23); If You're Leaving (4.53); Mother's Ruin (6.12); Busy Going Nowhere (5.06)
LINEUP:
Oliver Wakeman - Piano, Keyboards, Acoustic Guitar and backing vocals
Paul Manzi - Vocals and backing vocals
David Mark Pearce - Electric Guitars
Tim Buchanan - Bass Guitars
Dave Wagstaffe - Drums and Percussion
REVIEW
After recording the Mothers Ruin album in 2005, the time was right to take the music on the road and play to an audience.
However, as is often the case, life has a way of getting in the way of the best laid plans and it became apparent that vocalist Moon Kinnaird was not able to commit to a tour and so a new vocalist had to be found. The gap in the lineup was quickly filled by the extremely capable Paul Manzi. Next to fall by the wayside was bassist Tim Buchannan, who was in turn replaced by Paul Brown (ex Janison Edge).
With this updated lineup the Oliver Wakeman Band performed a series of very successful shows and it was not long before audiences rightly began to ask when they could get hold of material that reflected the touring
lineup. With a further album still some way off a decision was made to rerecord some of the best loved tracks from the shows with the new vocalist (there was not time to get Paul Brown involved in this
project).
The Mother's Ruin EP therefore represents three tracks which originally appeared on the main album along with one previously unreleased piece 'Busy Going Nowhere'.
Listening to the EP it is quickly apparent how well Paul Manzi's vocal style is suited to the band's sound. 'Walk Away' for example is given a whole new lease of life - it is true to say that the track was good
before, but this version really is awesome.
Similarly 'If You're Leaving' and 'Mother's Ruin' seem to sound stronger for the new vocal mix - Paul's style really seems to gel perfectly with the sound the band are trying to achieve.
'Busy Going Nowhere' is the one new track on the EP - it is an easy flowing composition with vocal and piano accompaniment. The piece has a powerful blues sound and it is a very atmospheric number that comes
across very strongly indeed and it makes you realise that Manzi has a very good range in terms of the type of thing he can carry off.
Having been lucky enough to see the band perform recently, I can say that the EP provides a more than fair impression of how they come across live, and as such it is a worthwhile investment. For those who already
have the album, it is true that there is a degree of duplication here, although the new vocal recording does show the songs in a different light, and this coupled with the new recording is in itself probably enough
justification for buying it.
Another impressive release worthy of note - what I want to know now is when can we have the next installment please?
Simon 18th November 2007
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COMING TO TOWN (DVD)
Tracklist:
Main Concert:
Don't Come Running; Dangerous World; The Agent; Calling For You; Three Broken Threads; Burgundy Rose; Mother's Ruin; Enlightenment; If You're Leaving; I Don't Believe In
Angels; Wall of Water; Walk Away; Coming to Town
Also Features: Interview with Oliver Wakeman, Biography, Discography and Photo Gallery
LINEUP:
Oliver Wakeman - Piano, Keyboards, Acoustic Guitar and backing vocals
Paul Manzi - Vocals and backing vocals
David Mark Pearce - Electric Guitars
Tim Buchanan - Bass Guitars
Dave Wagstaffe - Drums and Percussion
REVIEW
The night of October 31st 2007 was a pretty busy night at the Wyspiańnski Theater in Katowice, and for those that attended the proceedings it is one that will be remembered for a very long time, thankfully
for all the right reasons.
It was a night that saw performances first from The Oliver Wakeman band, followed by Pallas and then Caamora.
With all three shows being recorded for DVD releases there was a lot at stake and little margain for error or overrunning, and so sets had to be performed to a fairly tight time line.
With only one full album behind them to date, it is natural that the tracks chosen for the show are predominantly taken from the recent 'Mother's Ruin' release.
The set opens with the track 'Don't Come Running' which, as I commented when I reviewed the 'Mother's Ruin' album, sets the tone nicely for the evening's entertainment.
This is a solid rock number with runs along at a fair old pace and demonstrates what the band are capable of musically. There is a definite Deep Purple vibe lurking beneath the surface here, and Olivers keyboard sound is superb. Here is a band that captures the spirit of seventies rock but at the same time manages to add a very modern edge to the sound.
Although there seems to be a slight degree of nervous tension in the opening number of the set, this quickly passes and the band move from strength to strength as the show progresses.
By the time we arrive at the last few numbers there is a real confidence among the band members, who perform so well as a team that it seems that given the chance they would happily have played all night! This spirit is really infectious and the audience reaction is very appreciative!
In addition to the material from Mother's Ruin, Oliver Wakeman fans will no doubt be delighted to note that there also four pieces from 'Jabberwocky' and one from 'Hound of the Baskervilles' included in the set, both
of these albums Oliver recorded with Clive Nolan.
These tracks help to create a very balanced setlist, while at the same time their nature helps to maintain the Rock overtones amd they fit in well with the Oliver Wakeman Band material.
Paul Manzi proves to be a real revelation throughout. Although he did not appear on the original Mother's Ruin album recording, the band did record an E.P. to showcase his abilities. He handles all OWB
songs with coomensurate ease, and when the band launch into 'Dangerous World' from Jabberwocky early on in the set he proves to be more than up to the challenge.
As ever Metal Mind have made excellent use of the various cameras around the hall, and the cuts to different shots from the stage and the auditorium certainly help to capture the atmosphere of the night and it is
very easy to imagine yourself there at the heart of the action.
As well as the concert footage, the DVD also features a 25 minute interview with Oliver in which he talks about his life in music so far, his influences, and the projects he has worked on so far. The sound
quality as far as the interviewer is concerned sadly seems a bit off, as the guy seems to mumble a little and some of the questions I struggled to catch what was being asked, but regardless of that minor quibble,
the answers themselves are clear, informative and above all interesting!
The disc comes with the usual array of biography, discography, photos and desktop images, which while fairly simplistic are nevertheless nice touches that add to the overall presentation.
All in all this is another fine DVD release from the Metal Mind stable and obe that should appeal not just to Oliver's existing fan base but also to anyone who has more than a passing interest in rock music.
Highly Recommended!
Simon - July 13th 2008
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