Album Review: Rick Wakeman — The Official Broadcast Collection

The casual progressive rock fan – if such a creature doth exist, m’lord – likely thinks only of the A&M era when considering the solo output of keyboard virtuoso and raconteur Rick Wakeman. Between 1972 and 1979, Wakeman released six albums for the label; his debut, The Six Wives of King Henry VIII is widely considered his best, and it’s certainly the most well-known. (My recent in-depth conversation with Wakeman about that album forms the basis of a chapter in my new book, What’s the Big Idea: 30 Great Concept Albums, available this month from HoZac Books. You should buy it.) But in fact Wakeman has and continues to be staggeringly prolific: his catalog features literally hundreds of albums: soundtracks, ambient, classical and more. That doesn’t even count his work with Yes and his substantial session work for and with other artists.

Against that backdrop, then, perhaps it should not come as a complete surprise that one of the latest additions to Rick Wakeman’s body of work is a boxed set titled The Official Broadcast Collection. Contained within this shiny little black box are fifteen silver discs: ten compact discs and five DVDs. Bringing together television (and a bit of radio) broadcasts dating back to 1980 (and as recent as 2014) this is – whatever else one might say or think about it – a whole lotta Wakeman.

As a rule, I avoid bullet points in reviews. But this case merits an exception, so here – in chronological order – is a summary of what’s on offer within The Official Broadcast Collection:

• Sweden 1980: 1 CD + 1 DVD
• London 1987: 2 CD
• Swansea, Wales 1989: 1 CD + 1 DVD
• Nottingham 1990: 2 CD + 1 DVD
• Brazil 2001: 2 CD + 1 DVD
• Argentina 2014: 2 CD + 1 DVD

As one might well guess, the contents of the DVDs generally line up with the audio on the compact discs. Those familiar with Wakeman’s work will also surmise correctly that vocalist Ashley Holt is on board for nearly all of the performances; for those who might, shall we say, be interested in checking out the non-Holt selections, I’d direct their attention to the Brazil set from 2001 (featuring singer Damian Wilson). Those seeking a completely instrumental performance are advised to look and listen elsewhere.

Instrumentally, Wakeman reliably employs players who are up to a high standard. Lee Pomeroy is on some sets; later-day Wakeman fans may know Pomeroy from his time in ARW (aka Yes Featuring ARW, if you like). David Paton is on some of the earlier shows; Paton was in Pilot and Alan Parsons Project. Adam Wakeman is the second keyboardist on the Brazil and Nottingham discs.

When I received the set, I went straight for the London show, with its focus on then-new and recent material. The sound is fine (if a bit tinny, as does tend to be the case with broadcast audio from back then). And the performances are first-rate, with the pomp, pageantry, grandeur and humor one would rightly expect from Rick Wakeman concert documents.

Certainly this set is not for Wakeman novitiates. One would have to be the hardest of hardcore Wakeman fans to even consider purchasing a set such as this (with a retail price upwards of $100). But for the converted, it’s simply lovely. Some documentation – a booklet, or even the briefest of liner notes – would not have gone amiss (especially with that price tag), but none is included. Alas and ultimately, the thing is the music, and well, here it is, in spades.