This solo album without vocals was a daring move which opened the door to some wonderful music. Musically if not historically! Saulo Silva on 15th November [Other reviews]. The first true Rick's solo album is pure devotion to music. The piano play is great and the synthesizers are very mature Jane Seymour is a true painting, you can almost see it when listening to the beautifully played organs.
Catherine Parr is Rick's best song to me, so I'm not commenting on this one, just see for yourself. Catherine of Aragon has a very cool piano intro and very good Moog basses. It's a pity it's a short album around 35 minsbut you will be pleased to listen to it. All the tracks are played with great emotion and passion.
Foster Cullen on 25th October [Other reviews]. I loved every inch of this 12 inches of vinyl when I bought the original LP back in ' I cannot understand why it was not well received at the time. This is an awesome classic and for me is still Rick's finest hour. It is timeless and for me listening to it a few times again recently it still sounds every bit as interesting and exciting as when I first heard it 30 years ago.
Some of Rick's 80's music sounds dated now but not this. If divorce and marriage inspire him like this maybe Rick should consider an "Elizabeth Taylor" project. This album is a mix of a classical, jazz and fusion with a rock twist. If you are deeply into instrumnetal music, this is the album for you. Great compositions all the way around with what I think is a genius concept. I have always regarded Rick as one of the big three players, the other two being Keith Emerson and Chick Corea.
I saw all of them play at their peak energy level around 72' to 75' and they were awesome!! On the Wives album I have always loved Cathrine Parr and I learned the riff and used it for many years to impress my friends. Thank you Rick you are a true original and an immortal. I'm not surprised that your guests to this site voted this Wakeman's best.
I bought the album when it was released and was quite moved by it as I am to this day. What may be surprising is given the number of albums by Wakeman, his first is his best. There is great individual expression found on this album, thankfully the record label allowed that freedom. It was released around the time of the greatest progressive rock work ever, "Tales from Topographic Oceans. Tim Boudewijn van der Wart on 30th March [Other reviews]. Pure virtuosity from the keyboard master on his debut album!
Fast stunning and harmonic pieces of music that have quality written all over them. Anne Boleyn has got beautiful bits of piano and Catherine Howard has such a lovely melody that it can make you cry. Anne of Cleves is one to get used to; you will probably not like it the first time you hear it, but the more you listen the more you love it.
A key album that forms the foundation to every Wakeman or even prog rock collection! A near perfect fusion of rock and classical music. The use of both synthesiser and piano is something which Rick Wakeman does better than any other artist I have listened to. The album goes from medieval rock to contempory classic in a way that is almost impossible to describe to someone who has not heard Wakeman before but suffice to say that the piano has never sounded better.
Ah well, I have tried, go listen for yourself and you will hear what I mean. A masterpiece! Fabrizio Motta on 29th December [Other reviews].
My first album of "Wakey". It's simply a perhaps the best masterwork. I'm a keyboard player and I can feel everything of all the passion and the genius of Rick. I can't never stop playing "Catherine Of Aragone". Rick Wakeman will be a part of my heart, life and existenze Thanks Wakey. Tony Elvers on 25th November [Other reviews]. The wonderous mix of musical themes in this album opened my eyes to music in general and to Rick in particular. Because of this album I bought a Korg DV synthseiser and began!
Suha Onder on 23rd November [Other reviews]. Well this is the only Wakeman album I own but it must be the best cos I can't stand a better one. The conceptual feel and strange Wakeman photo in the booklet adds a degree of quality to this work. Highly recommended to all YES and in fact to all prog fans. Nic Neufeld on 20th November [Other reviews].
This was my introduction to Ricks solo career I bought it because of the Six Wives medley on the Yessongs video, Album). Catherine of Aragorn starts off the album with the perfect blend of classical and rock; complex and powerful, yet beautiful. Ann of Cleves lacks a bit I'd say given its inclusion on such a inimitably great album, but still is excellent nonetheless. I cant remember the next two very well. Anyway, the final piece, Catherine Parr, is an absolute gem. It jams.
Rick tears up a Hammond organ with lightning speed, and flies through chord changes without slowing down his insanely out of!
I want to learn how to play the organ now! Anyway, this is an excellent piece, and if you dont own it already, I wonder how you managed to find this site. Christian Loebenstein on 13th November [Other reviews]. This is RW's first major album as a solo artist. The album stands out as one of the prime examples of classic progressive Rock in the seventies and is a must-have for every collector.
For further listening check out the excerpts on "Yessongs" and especially the "Jane Seymour" segment, which includes the best mellotron playing I have ever heard. Dave Eaton on 31st October [Other reviews]. Rick's first solo release, and the fact that nearly thirty years after it's initial release, it still sounds fresh and exciting is testiment to the sheer quality of the composition and performance that Rick achieved. In all honesty, it must be said that Six Wives was the record that got me into Rick's music, and then Yes in the first place.
Simply remarkable. Reniet Ramirez on 12th April [Other reviews]. Definitelly NOT boring at all. This LP is full of energy with all kinds of instruments. A MUST! This album is very good, overall Voyage contains the 4 best tracks of this album, not Catherine Parr though One very interesting sections is the electric Banjo solo played by David Cousins on "Catherine Howard" which provides a delightful change of course for the music, for a short period of time.
The two songs that stand out the most to me are "Ann of Cleaves" and "Catherine Howard", both of which are very proggy in sound and characterize Rick Wakeman's classic prog style tremendously well. You should also be aware that there are no worded lyrics on "The Six Wives of Henry VII", though there are some background droning vocals on tracks 1 and 5.
The keyboard work on the album isn't always domineering and not the entire album is about synthesizers, as I have already mentioned. The guitar work is kept mainly to rhythm here, and it doesn't usually stand out amid the other instruments. There are a few occasions when the synthesizers can get little weird but it isn't anything any real prog listener would take any heed of.
The front cover of "The Six Wives of Henry VII" is an interesting one; it is like Rick took a casual step back in time and appeared in a photo or painting. Being Rick Wakeman, he is able to do such things on a whim.
There is some fantastic keyboard work on the album which would interest the keyboard-orientated prog fan. He is certainly one of the most controversial figures in prog, and his solo albums are often mentioned as painful examples of bad taste. It's one of the freshest-sounding products of s prog.
Such a trick may have seemed brave inbut to my modern ears it sounds cheap. The main theme of 'Catherine Howard' must be one of Wakeman's most appealing tunes, but Rick's piano embellishments here seem tacky - he sounds like a forerunner of Richard Clayderman.
However, 'Catherine Howard' also makes clear what's so special about this album: in at least three of the compositions 'Catherine of Aragon', 'Anne Boleyn' and 'Catherine Howard' itself the main themes are played on grand piano, after which Rick inserts Moog 'outbursts' or solos on other instruments organs, mellotrons, honky-tonk-like harpsichords and in different meters.
These solos are usually surprising, sometimes humorous e. To my taste, however, the most enjoyable tracks on the album are the ones where the noble Hammond organ predominates. On this piece the bass player does a great job and Alan White is having the time of his life - in my view, his drumming surpasses the things he went on to do on RELAYER.
The 'panic-signal' opening of 'Catherine Parr' is disconcerting, but the tune soon develops into a vibrant Hammond organ and moog showpiece. I've heard Rick play 'CP' live and was astonished by the speed of his rendition.
So in spite of its relative shortness, I Album) feel we can call this album 'a masterpiece of prog'. But let's briefly return to my initial question. It never fails to amaze me, when I listen to master pianists such as Keith Jarrett or Bobo Stenson, that they played only piano thirty years ago, are still doing the same thing nowadays, and most of the music they record is incredibly inspired.
Rick Wakeman's career, on the other hand, looks rather different. When Wakeman started releasing piano-only albums in the s, it turned out they contained nothing but mediocre New Age-stuff. On Prog Archives you'll find dozens of reviews by disappointed listeners. Is it possible that the simple honesty of the grand piano is 'beyond' Mr Wakeman?
Perhaps the main problem is Catherine Howard - Rick Wakeman - The Six Wives Of Henry VIII (CD true improvisation is not Rick's forte? His work is quite groundbreaking, his technique is absolute fabulous and the songwriting is superb. He might be a little forgotten for some time, he may have released too many not so interesting albums, but this is one of those CDs anyone should hear if he is even lightly interested in prog music. In early's he joins The Strawbs for a couple of years,before beginning a long career with YES,where his keyboard playing was one of the band's trademarks.
No unnecessary solos or over the top virtuosic music. A variety of keys is used in here,from lush mellotrons, classical pianos and harpsichord, dominant organ and spacey moog synths,but every moment creating a different soundscape and atmosphere.
About half of the compositions have a classical edge created by the beatiful piano,thrilling mellotron and great harsichord work of WAKEMAN with a strong rhythm section backing him in a series of tight performances.
These classical-oriented arrangements are often supported by the distinctive choruses,making this an operatic and theatrical experience.
The other half of the album is actually very complex at times with massive organ attacks,obscure synths and frenetic interplays,not unlike the complicated music created by E.
What WAKEMAN actually achieved is to mix succesfully classical music's melody with progressive rock's complexity and the result is claimed as fully satisfying. Most of them are certainly of limited prog interest,but if you're looking for one of his most qualitive prog performances,this is a one to get. Strongly recommended, especially to freaks of keyboard-based prog! The appeal of this release can be summarized in on simple sentence: the album has no vocal sections!
Vocals have often completely ruined some of Wakeman's later releases by making the albums sound dated and unappealing to me. This doesn't happen on his debut and apart from a few choir section the music here is almost of classical nature. It sounds as if it could have been release during any decade, not counting the minor sound recording limitations of the early '70s. Every single one of these performances are spectacular but my personal favorite is the forth piece titled after Henry VIII third wife Jane Seymour makes sense doesn't it?
This composition is a Wakeman tour-de-force. The only section that I could have done without was the addition of the Alan White's drum fills since they are completely unnecessary here. This is a great album, well worth both your time and money! Simply put, this music is showmanship without substance, a bewildering variety of keyboard sounds slapped together with no appreciation for the feel of a piece or the subject matter supposedly being considered.
How do any of these pieces express the tragedy and farce of that historical period? The nearest I can come to this mystery is the general baroque feel of WAKEMAN's over-elaborate playing, so baroque he needed to find a title from the period. So let's forget any association with the title, any evocation of a particular place, time or person. Let's accept the album contains six instrumental pieces.
How good are they? Not very good, in my view. Don't get me wrong, the playing is flawless, but there's little compositional value in them. No distinct themes, therefore no progression from simple to complex. The only track that even hints of good songwriting is the last, but it's hard to tell under all the unnecessary frills. And, let me tell you, this is the best of his hundred or so solo albums.
Not that I've listened to them all - I'll bet I could count the number of people who have on the fingers of one foot. But it staggers me that he could construct something as egregiously flamboyant as this and then criticise YES for 'Tales From Topographic Oceans'.
Compared to this, that album is a model of restraint. It comes down to this. If I want to listen to virtuosity, I'll put on a Beethoven concerto and listen to a true master play wonderful compositions.
Remember, this is a dissenting opinion, and most '70s proggers rate this album highly. I don't. I hated it when I first heard it in - played to me by a keyboardist friend of mine - and I still dislike it intensely.
Maybe I'm the only one. The main problem with this album, for me, is that, at times, it feels like a long, extended solo to showcase Rick Wakeman's obvious keyboard abilities. And it's not that varied at that. Most of the time one's dazzled with endless downward-upward scales that appear to try to reach for the infinite. In the end, the melodic and thematic work seems to have been pushed aside in favor of a sheer display of skills.
Call it pretentiousness if it's necessary for better understanding. The thing is that at times it is difficult to think of a memorable theme, tune or passage in the record that is not related to Wakeman's mighty fingers. It would've been great if we could've marveled more often about Wakeman's compositional skillstoo. Another little issue that I have with this album, although a very minor one, is that the music doesn't seem to match the characters of the six wives of Henry VIII at all. I know, this is an extra-musical matter but it would've enhanced the album if it would have had a more "programmatic" feel to it.
Wakeman himself recognizes in the liner notes that his vision of each queen is related to the sound of the keyboards more than to the music itself, but it's weird that the most, say audacious of the wives have the more relaxed music.
I think it would've served the work as a whole to have more connection between music and imagery. But, of course, there are plenty of redeeming features in this record. For one, the splendid playing by Wakeman, who confirms he's one of the best keyboardists around.
All in all, a very good album that should be in every progressive-rock fan's collection, as a piece of great historical significance, as well as like an album of fantastic music. It's not perfect and it gets 3. The bass guitar groans in the beginning. The piano sections are especially well-written, and I like how he jumps from one keyboard instrument to another such as from piano to a Hammond C The music is interrupted to allow a brief mini-Moog interlude, and the amazing choir adds a grand touch to the deep piano in the middle.
Near the end, the piece leaps into a major key, perhaps in light of the title woman's sustaining piety and a relative happy ending.
Soon after, the musicians lock into a straightforward groove. Just before the two minute mark, there is a melody played on the organ that, had it been used as a recurring theme, would have made the piece even stronger. Even as I listen to it now, I still expect it to pop in again some time. Wakeman's organ doesn't choke the sound; in fact the funky bass rings out loud and clear throughout.
Over some heavy drum soloing, Wakeman uses a tone that sounds like a dentist's drill, which I really find unappealing. The church organ from the analogue tape upon which it was recorded suffers from severe wow and flutter, which can make it very difficult to listen to. When the band ceases to play, Wakeman uses several piano flourishes in a row, just as some expressive guitar playing enters.
Fortunately, Wakeman gets back to business with further lovely piano and synthesizer work, and soon returns to the main theme, this time with the backing of a handsome Mellotron. There is also the ebb and sudden dissipation of mini-Moog. The piece moves between the piano and blasts from the mini-Moog. That awesome choir from the first track makes another appearance.
As with "Catherine Howard," there are some jaunty sections that don't exactly fit. The synthesizer solo really makes me think of Keith Emerson's work.
In the end, Wakeman plays a lovely piano rendition of the hymn mentioned in the title. The sound makes me think of a cross between the organ solos on "Close to the Edge" and "Roundabout. Dual lead synthesizers play the main theme. Wakeman drives the remainder of the album with inspiring piano and a happy organ section just before the synthesizers return to play the main theme. The very end is as grandiose as Wakeman's spangled capes. After many listens, after long time with this album, it still feels good to listen it.
Many Classical music composers probably would want to sound like complex arrangements on this record of course, they didn't have needed equipment. Atmosphere reminds Renaissance very well, faithfully. There are no mistakes or weaker parts, everything is enjoyable.
It's like Prog utopia. So don't expect guitars nor your usual Prog Rock album. While the musicianship is top-notch however the songs as compositions are, while musically virtuosic, mainly aimless which is the only, though big, weak factor. The Six Wives of Henry VIII should be for Prog keyboard players their 'holy grail', this album is repleted of stunning solos from all the already mentioned variety of keys, as well as featuring very demanding piano pieces.
However for the common Prog listener, while the music may sound Symphonic and sometimes similar to that from Yes, it's by no means an easy ride since the songs are lacking direction and in almost all they end nowhere, despite having been amazed by the playing, that alone does not make much of a great album.
Anyone looking for an album full of outstanding keyboard playing, this album should be the one. This album and one from ELP, should be fighting in the 1 position of most innovating keyboard playing and virtuosism of the instrument, however in respect with the already mentioned song-writing, this album is also pretty much like an ELP album, in which the band in this case the artist decides that musicianship goes first, then composition in last place.
As for musicianship: 5 stars. As for songwriting: 2 stars Average: 3. I am in full agreement with Bryan and russelk on this one - this is an inconsistent album, full of highly decorated, very simple ideas with no compositional substrata to hold it all together or produce any kind of dynamic ebb and flow.
It's also highly derivative, and the bedrock of the music is simple chord progressions underlying repetitive groove-rock jams, with many, many moments of self-indulgent noodling and some flashy bluff based on one or two motivic ideas taken from classical music - certain pieces standing out shamelessly.
That said, it is not an altogether unpleasant listen - easily the best solo album inverted commas! Mind you, the only other one I've heard is the follow-up to this, which is quite dreadful.
There are moments when the music is engaging, and other moments where the music is proggy in style and good fun, and this is quite evenly balanced with moments of cheesey sounds and meandering nonsense, working out at a 3 star rating overall - mainly due to the strong Prog connections rather than any sense of progressiveness in the music.
However, after reviewing, I realised that 3 stars was just being too generous - I cannot bring myself to say that this is a good album. It has a few good moments and that is all. PiIing in straight away with something that sounds a little ELP light, with a large helping Album) Mike Oldfield thrown in for good measure - and hints of Bach's famous Toccata in D minor, the music insinutates that it will drop us into something really heavy, then spectacularly fails to deliver - wimping out instead.
Catherine of Aragon continues with this Bach theme, overlaid with Oldfield type sounds and underpinned by Chris Squier's unmistakable bass sound, but does not develop it, instead, it dives off onto a completely different tack, with a nasty squelchy Moog underneath some more pleasant sounds - then abandons this completely for a gospel piano driven section, quite strongly reminiscent of The Great Gig in the Sky. This in turn is abandoned for some reasonable piano bluff, then back to what I shall call the Toccata theme before ending lamely.
Anne of Cleves begins with something that could have come from a Hawkwind track - it's much darker than the earlier music, and the Hammond adds a nice texture.
This all collapses into some dischordant nastiness before moving on to an ELP styled repetitive riff. Watch out for the guitar solo, which has to be the most horrible one I've ever heard - and, surprisingly, Steve Howe has put his name to it.
And I'm not exaggerating. Catherine Howard begins with a theme I've heard very recently on Clouds ' album, Scrapbook - and it dawns on me that this entire album seems to be a kind of dumbed-down interpretation of what Clouds were doing years before!
A couple of arpeggiated piano ideas are presented, and these are picked up by what sounds like a guitar, but could be an electric banjo for all I know.
The dreaded squelchy Moog returns - and I guess that this sound is a matter of taste, but I despise both it, and the repetitive themes. Again, we are hit with tangential idea after tangential idea, even going into a kind of wacky hoedown kind of thing, which has me glancing longingly at the Skip button. Some semi-interesting ideas and some horribly dischordant ideas follow this, before the 1st Clouds idea returns - although this is a highly simplified almost nursery-rhyme version of this melody.
The underlying harmony is far simpler, and shifts syrupilly over a bass pedal, before the SAME melody is represented on the flute. This repetition only serves to make me wish it would go away, or at least develop read Progress a bit. Jane Seymour returns to Bach's Toccata in D minor, taking phrase fragments from that great work and reducing them to something altogether more horrible. The organ picks up, then the harpsichord, throwing phrase fragments backwards and forwards - with some quite impressive speed in the runs, but again, no sense of underlying harmonic rhythm and phrasing, just a sense of what comes across as dramatic in a showy and blustery way.
The constant return to the suspension, obvious bluff and careless modulations indicate a complete lack of craft in a manner whose audacity suprises me - people actually paid good money for this?
Anne Boleyn is more of the same but different really - the precise and fast runs are technically impressive, but the composition is annoyingly cat-on-a-hot-tin-roof, with idea after idea being tossed about in what seems to be an attempt to hide any overall grasp of the basics of composition by flummoxing the audience with lots of different ideas and sounds.
Catherine Parr seems like a continuation of Anne Boleyn with added Hammond, using a similar falling chord progression to open, then going off at a massive and quite unpleasant tangent into a 2 chord noodle-fest. Grieg's Peer Gynt is occasionally dipped into - you know, the one famous theme that everyone knows, but apart from that and a few changes with frilly bits, another vacuous composition to end the album with.
When I first heard this album, I quite liked bits of it. Having sat down and listened really hard in order to evaulate its qualities in terms of Progressive Rock, I find it very lacking - but it's not as bad as the follow-up; The Knights of the Round Tablebecause the awful bits really are not quite as awful here.
If you're a fan of Rick's music, then it's an obvious one to have, as it's the highest rated by fans. If you're a fan of Progressive music, then I would advise a single hearing only. The payback on repeated hearings simply isn't worth it - this is not quality music.
Frankly, the esteem with which this album is more widely held is quite astonishing to me. Viva la difference! Members of his first group Strawbs are rounded up for the best and most melodic track, "Catherine Howard", which has more than a whiff of the Strawbs eerie folk circa Witchwood thanks to Dave Cousins' banjo playing and some of Rick's own honky tonk piano work.
The use of YES brethren also provide continuity, especially in Bill Bruford's masterful drumming, but Alan White's work on the album closer "Catherine Parr", is perhaps the strongest of all. Everywhere are unmasked clips from his long-buried heroes, that serve to endear more than incriminate.
Acoustic piano in healthy doses helps to rein in the electronic excesses that occasionally step over the line, but even these can be forgiven. The church organ solo of "Jane Seymour" is yet another highlight, as sweet a marriage of classical finesse and rock potency as you'll find, and some 7 years before SKY. The combined sense of both reverence and fun are brought into focus here and elsewhere.
While Wakeman has produced other strong solo works, "Six Wives" remains the most likely to appeal to a broad segment of the progressive audience. It comes from a time before keyboard players thought they could approximate every needed sound behind the curtain, a la "Dream Weaver", and is indeed worth losing your head over.
That general remark aside, this album has some enjoyable moments. I couldn't tell you what any of these songs has got to do with the wives depicted, but judging from the pompous nature of the music they must sure have suffered from serious overweight.
Catherina of Aragon is a bit cheesy but still listenable. To my big surprise, Alan White manages to raise the bar on Anne Of Clevesspectacular drumming here, I always thought it was Bruford, never checked the credits properly.
Wakeman adds some brooding organs and teapot sunth noises. I would have liked to find a similar drive on all tracks here, alas, Catherine Howard mixes an elevator prog muzak main theme with equally annoying uptempo bits. Jane Seymour is an impressive piece for organ. I like the moog that sits in the middle of it, it's awkward and out of place but somehow it adds a nice twist to it.
Anna Boleyn is another prime example of dated prog, but that is understandable for album from Catherine Parr is possibly worse, the ending part saves it from going under.
I agree with all fans here. This is Wakeman's best solo effort. Or is that just because no one dared to listen to the other 85 solo album entries for Wakeman? But rating it is more difficult then stating it is his best. I wouldn't recommend this to anyone but to the most ardent classic prog fans, but those already own this album anyway.
But "Six Wives" is a Wakeman album I can be proud to own. This is iconic prog keyboarding at its highest, sounding exceptionally refined, focused, and exciting; this is the pioneering Wakeman of legend which we hear about or rememberperforming a monstrously arranged set of songs with style. While not quite as creative as some of ELP's experimental songs or as lush as Yes' "Topographic Oceans", "Six Wives" is fautless for Album) sheer enjoyability and demonstration of talent. An essentual album for any fan of classic Yes, of which "Six Wives" sounds very a kin to, as well as for fans of classic prog in general.
Fooled again. Artist images 42 more. Rick Wakemanlisteners Related Tags progressive rock instrumental classic rock Richard Christopher Wakeman born 18 May in Perivale, London is an English keyboard player best known as the keyboardist for progressive rock group Yes.
Originally a classically trained pianist, he was a pioneer in the use of electronic keyboards and in the use of a rock band in combination with orchestra and choir.
He purchased his first electronic keyboard, a Minimoog, from the actor Jack Wild. Wakeman was able to buy it for half the regular selling price because Wild thought it did not work as it only played one note at a time.
He hosts a regular radio show on Planet Rock. Richard Christopher Wakeman born 18 May in Perivale, London is an English keyboard player best known as the keyboardist for progressive rock group Yes. Originally a classically train… read more. Originally a classically trained pianist, he was a pioneer in the use of ele… read more. Similar Artists Play all. Trending Tracks 1. Features Exploring the local sounds and scenes at Noise Pop Fest.
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