Rick Wakeman Reflects on Iconic Performances and Myths

Renowned musician Rick Wakeman recently shared insights into his illustrious career while discussing his famed rock symphony, The Six Wives of Henry VIII. This remarkable performance, held at Hampton Court Palace in 2009, celebrated the 500th anniversary of King Henry VIII’s ascension to the throne. In a candid interview, Wakeman dispelled several myths surrounding his career and reflected on his ambitious projects.

Wakeman’s vision for the Hampton Court show was grand. He explained, “Even though some of the Henry pieces have been played at shows over the years, the thought of doing them as a standalone concert hadn’t really occurred to me.” The idea came to him after a conversation with Trevor Dunsford at Hampton Court, who encouraged him to put on the performance. Wakeman enthusiastically shared, “I first put in a request in 1973. I’ve had some late replies to things – but this takes some beating!”

The scale of the show was impressive, featuring a stage at least 50 metres wide, a 70-piece orchestra, a 40-piece choir, and a seven-piece band. It also included actors, narrators, and additional elements like jugglers. “I left the meeting walking on air,” he said, expressing his excitement for what was to come.

Reflecting on past performances, Wakeman recalled his ambitious project, The Myths and Legends of King Arthur on Ice, which took place at Wembley. He noted, “I sold out three nights at Wembley but it cost me a fortune.” Despite the financial loss, he regarded the performance as a valuable advertising opportunity. “It always gets voted the biggest spectacular – and also the biggest folly. I take that as a compliment,” he added.

The musician also touched upon his work from the late 1990s, specifically Return to the Centre of the Earth, which followed his 1974 album. Wakeman acknowledged that its timing was unfortunate. “I call it the ‘anniversary effect.’ If the timing’s right then it can be great – if it’s not, forget it,” he explained.

Among the myths he addressed was the origin of his first keyboard. Contrary to popular belief, it was not given to him by actor Jack Wild, but rather he acquired a MiniMoog from him. Wakeman recounted, “I wanted one when I joined Yes, but they cost a fortune. Jack wanted to play two notes at a time, but it was a monophonic instrument.”

Wakeman was also associated with the iconic punk band, the Sex Pistols, through a misunderstanding with A&M Records. He clarified, “It was a publicity thing dreamed up by A&M in London as an excuse for getting them off the label.” He expressed frustration over being implicated in the situation, noting that artists had no control over label decisions.

In discussing the album cover for Tormato, released in 1979, Wakeman shared a humorous anecdote. The artwork, which was not well received by the band, led to a creative decision involving a tomato. “I picked one up and slung it at it. They said: ‘That’s the actual artwork!’” he recalled, highlighting the unconventional and spontaneous nature of the band’s creative process.

Through these reflections, Rick Wakeman continues to demonstrate his passion for music and performance. His career, marked by both ambitious projects and challenges, remains a testament to his enduring influence in the music industry.