Interviews

Blogger News Network Interview by Simon Barrett

Oliver Wakeman is the son of Rick Wakeman. And just like his dad he has opted for a career in the music world, and just like Rick he has become one of the pillars in the world of Prog Rock. Oliver is not the first progeny to follow in their fathers footsteps, many have tried, and most have failed. Oliver is different, Oliver has that spark. Yes there maybe some similarities between Rick and Oliver, but they are completely different composers and performers.

I have been a fan of Rick Wakeman since the very early 70's, my god I am getting old! It was through a rather convoluted route that I discovered Oliver, but discover I did.

I am a huge fan of prog rock, and Oliver is part of the re-emergence of prog rock. I guess we could call it Prog Rock 2.0. Oliver has just released a new DVD Coming To Town, and it is well worth seeking out. Even my wife Jan, who thinks that the music world begins and ends in Nashville really likes it!

I had the opportunity to talk with this gifted musician:

I really liked Coming To Town it had a great combination of old and new techniques. You have created a great band. How long have you been playing together and who are the rest of the band?

Thanks for the kind words. We have been a band for about 5 years. I had done a number of solo projects, and played lots of music, with lots of bands. I decided it was time to have a stable platform. The band is Paul Manzi on vocals, and a great job he does. Paul Brown on bass, and I have a great story about him. David Mark Pearce is on guitars, and Dave Wagstaff is the guy on the drums.

Paul and Paul were great, because they actually turned up for rehearsals.

A really funny story involves Paul the the Bass player. I had sent the song notation to him in the mail. He turns up for the try-out, and fits right in. I really liked his style. After the session I was talking to him, thanking him for being well prepared, well it turned out my letter never got to him, he did it all by ear, on the fly.

Track 3 of the DVD Is big and sweeping, it reminded me a lot of some of your fathers compositions.

Oh, you are talking about The Agent. There is a bit of a story behind that one. I had just been ripped off, and I was in a really bad mood. I started writing, just as a way to blow off steam. I had the first part done when my wife Lisa asked me when I was coming to bed. ëIn a minuteí was my answerí. I sat and wrote, the music just started to flow.

The Wakemans are a musical family, I guess its in the genes. What attracted you to the Prog rock genre?

Actually I am classically trained, and I put a lot of stock in that, to me it is very important. From an early age I used to spend hours playing on the piano at home when no one else was around. My first real playing experience was in an R&B band, I played with them for about 3 years. We played in pubs and clubs, it was a lot of fun, and I learned a great deal. here was a lot of improv in our music.

If we call it prog rock 2.0. There is a big difference with it from the 1970ís version. In 1.0 there was what I would call turf wars. This next generation seems to be much more open to collaboration. Is that the key to modern success?

Yes I guess the music scene is a little different today. It is a different world, Prog Rock doesnít get a lot of media support they it did in the 70ís and 80ís. The bands today are all good friends and we help each other. We donít have a lot of airs and graces.

Is it a blessing of a curse having Rick Wakeman for a dad?

Thatís a difficult one to answer, it is both. It is great having the name recognition, the curse part is being compared to him. My father is a wonderful musician. I go out on stage and just do the best I can.

I know your sister Jemma is in the music business, I have seen her perform on a couple of DVDís, I believe you also have a brother, is he also a musician?

Jemma has a great voice, she is still in university and only gigs occasionally, Adam is a session musician, and pretty much you can find him wherever Ossie Osbourne is. Oscar is also in university and there are a couple of other brothers floating around, my dad has been married more than once.

I was watching Coming To Town last night and I was trying to figure out the setup you use, but the camera angle was not cooperating. I know that you were playing a Korg T1 and a Roland, what are the other two keyboards?

They are a Korg 01W, and a Korg Triton Pro. The T1 in the music industry is an antique, and it is old, I think it was bought in 1996. It is also big and heavy. The problem was that I used the T1 in the studio, and when I was playing live I had to fight to get the same sound from the other keyboards. So the T1 has become part of the live act.

Coming To Town was recorded in Poland, and we shipped our gear in a van. I really wanted to take Yamaha keyboard with me, it has a great Moog sound, but I was worried about having all my eggs in one basket. I needed something to work with in England, plus the van only had so much room.

Yes were planning a tour, and I understand that you were invited to be the keyboard player, alas Jon Anderson has been sidelined with some medical issues. Was this a big disappointment?

It was a very great honor to be asked to play with Yes. Disappointed, yes I suppose I was, in someways But maybe the will be another opportunity. Jon is a great guy, and it was two weeks before we were going to start rehearsals. I understand though, my dad has had his problems with illnesses.

The cute bit about being asked to play with Yes was that I made it to the front page of the BBC and CNN web sites. I even took screen prints!

What is next for Oliver Wakeman?

Early in 2009 we are going to start work on a new album, I already have the title picked out ëCultural Vandalsí, I am also a fair way through a solo project on the piano.

Thanks for talking with us Oliver and I am sure I speak for everyone here at Blogger News in wishing you every success in your future projects.

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RevelationZ Website Interview


Band name:

The Oliver Wakeman Band

What is your name and your current position in the band?

Writer, Piano & Keyboard Player

Tell us about the history of the band. More specifically, when was the band formed, how did you meet, and have there been any particular highlights or low points in your career, any crucial events that have taken you where you are today?

I have now released 9 albums and decided that for the release of my latest album, “Mother's Ruin” I would put a band together to support the album and to work on future ones. Only two of the original members of the studio album were available for the live work (David Mark Pearce ­ Guitars + Dave Wagstaffe ­ Drums) and the other two were replaced by Paul Manzi ­ Vocals + Paul Brown ­ Bass, Both have fitted in superbly and are ideal for the music I write.

We started rehearsing as a band in late 2004 and have plans for shows throughout the coming year. The highest points so far for the band must be either the launch concert for the album or the support slot for Arjen Lucassen's Stream of Passion show which was great fun!

Was there ever a time when you wondered if your band would remain just a local outfit and never make it in the industry?

I have always had the drive to do more than just play locally and the band now plays all across the UK with ventures into Europe planned for later in the year if all goes to plan!

What is your latest album and why should people buy it?

Mother's Ruin is a collection of hard rock, keyboard & guitar driven music with a strong emphasis on melody, something I always strive for in anything I write. I have written a lot of music throughout my career and this is a further development, one of which I am very proud, and Mother's Ruin has to be the favourite album I've written so far! If well written music with great musicians is your thing then give it a go!

How would you categorize the style of the band? And did you ever consider or try playing other styles of music than the one(s) you are playing now?

A difficult one to answer really as I've always written in lots of different styles, rock, progressive, ballads, blues, classical, piano music etc but this band is primarily rock. Although I'm sure as I start writing for the band again it will develop. That's what's fun about working with a great bunch of musicians it gives you the freedom to try new things.

Can you share with us one or two of your favourite moments with the band?

They are all a really nice bunch of guys who I'm proud to call my friends as well as musicians I work with and so generally whenever we get together it's good fun. Possible the first time we all met and played through a few tracks together was particularly exciting as I could hear just how good this band was going to be!

How is the writing process in the band?

I write all the music for the band. It's something I have always done and something I really enjoy.

What brought you on the path to becoming a musician? Did you ever consider or take any other paths through life besides music?

My father is a musician and so it was in my blood from a very early age. I currently work in IT as a day job to support my wife and son of whom I'm very proud but I'd love to be in a position to do music as a full time career.

Do you have any idols? If yes, who?

I don't really have idols as such as I've worked with some great people who have become friends. I do however have immense respect for people such as Steve Howe who has been a great friend and musician to work with (he appeared on my 3 Ages of Magick album).

Do you have any regrets looking back at your career? For example any songs or even full albums that you regret recording? If so, what made you regret it?

I have always been very proud of every album I've released and often when I've been commissioned to write music I've always been very aware that I wanted to make sure the music stood up to my other work.

Are there particular songs in your catalogue that the fans love but you're not particular fond of yourself?

Not really, there are a few songs that I've played so many times that I'd quite happily drop from the set but they have to stay for the time being as people always ask for them. As to what they are ­ I'm not telling!

How important do you rate the lyrical side of your albums?

Very important, I write all the lyrics and always spend a long time making sure they say what I want them to say. I like telling short stories in my songs and hope that people enjoy the words as much as the music.

What do you think about the state of the music industry today?

It's a shame that the industry seems to be so media focussed. It's very difficult for musicians who do something slightly different to get a look in on the mainstream media channels. It makes it hard for the musicians and a shame for the public as I'm pretty sure there are lots of people who would enjoy the music I have to offer if they just got the chance to hear it. However, we'll keep going and play to as many people are prepared to come to the shows.

What do you think is the best way to fight music piracy?

I'm not really sure, it's a shame that lots of people nowadays don't see a CD as a nice object/package to own. I always loved looking through album/CD sleeves and seeing who was on this album and which studios were used etc but unfortunately that aspect of music buying seems to have become lost which is a bit of a shame. I try to make my albums visually appealing with nice covers and artwork to try and encourage people to buy the CD and have something they're pleased to own. To some people though it's just disposable.....

Do you have a life philosophy? If yes, what is it?

To leave meaningful work behind after I'm gone. It's lovely to think that my music can be entertaining someone hundreds of miles away and I'm no-where near.

Can you describe a typical day in your life?

Get up and go to the day job. Come home, spend some time with my family and then work in my studio until I get tired and have to go to bed!

What do you like to spend your time with besides music?

My wife and son. We don't get as much time together as I'd like so the time we spend together as a family is very important to me.

What's the craziest thing that has ever happened on a tour?

I remember years ago when I was at school. I joined a band that gigged heavily. I'd finish school ­ jump in the van and play in all sorts of strange places. One time we ended up in a big pub overlooking the sea. In this pub the ceilings were very high and the lights were very ornate and hung down a fair distance. The guitarist had a habit during the last number of jumping on tables and playing a solo. Unfortunately he wasn't the tallest guy in the world and mid solo decided to throw the guitar upright into a'rock' pose. The guitar neck got caught in the light and he hung on as he fell off the table ­ still soloing to his credit ­ swinging from the light whilst knocking tables and drinks over.....We were never asked back strangely enough.......

You're heading off to live on a deserted island for a couple of years with your portable entertainment system... Which albums, movies or books would you bring? (Max. 3 of each)

That's a really tough one and would probably change by tomorrow but here and now I'd say....

Books
Dark Rivers of the Heart ­ Dean Koontz
Magician ­ Raymond Feist
The Collective Short Stories of Sherlock Holmes ­ Sir Arthur Conan Doyle (I have read this book so many times that it's falling apart!)

Movies
Spinal Tap,
Star Wars
Best in Show (Spinal tap guys doing a dog show)

CD's
Who Do You Think You Are ­ Deep Purple
Images & Words ­ Dream Theatre
Eat Me in St Louis ­ It Bites

What is your favourite joke?

Too many to think of, but I am quite fond of the line I heard the other day which was ­ “Everyone in this room is so self centred ­ Am I the only one thinking about me?”.

Can you tell us about any future plans for you and your band?

To keep playing live and to work on the new album for a release next year if possible.

Thanks for answering these questions. Now you are free to write a few lines to our readers.

Thanks for listening to the music we musicians write, if it wasn't for people like you who listen to music away from the mainstream I'm pretty sure the majority of us musicians would go crazy!

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Sea of Tranquility Website Interview


To see the original click here.

You've put together a hot new band and a heavier sound for "Mother's Ruin"-can you talk a little bit about the musicians that you are playing with now and how you came to collaborate with them?

The band that I put together for the album consisted of Moon Kinnaird ­ vox, David Mark Pearce ­ Guitars, Tim Buchanan ­ bass and Dave Wagstaffe ­ Drums with myself covering Piano & Keyboards.

Moon had sung the concept albums I wrote with Clive Nolan, firstly in the choir on Jabberwocky and as the character Seldon on The Hound of the Baskervilles. He also sang with Landmarq many years ago and was well known by Dave Wagstaffe who also plays drums for them.

Dave Pearce and I met through a mutual friend. I was talking to him about needing a guitarist and he knew of Dave and so we met up and got on really well. He was the guitarist on the View from Here single which was released in 2002 and has also mixed my Purification by Sound and Enlightenment and Inspiration new age albums.

Tim Buchanan and I go back a long way. We both used to jam together at a blues club in North Devon (where I used to live) and he joined the blues band I played in (Smokestack) for a good couple of years. Tim first recorded for me on the 3 Ages of Magick album (which I recorded with Steve Howe in 2000 and released in 2001). He also performed on the View from Here and the latest album.

Dave Wagstaffe and I have known each other for a long time, I first met him during the Jabberwocky sessions and he also joined me on the 3 Ages of Magick album.

For various reasons it was decided that Moon wouldn't be involved in the live band and shortly afterwards Tim also left the band because of a variety of reasons. But it all worked out very well as they have been replaced by Paul Manzi on Vocals and Paul Brown (Janison Edge) on bass guitar and both have fitted into the band superbly and have actually been performing live with me for the last year and a half.

Serious prog rock fans are saying very positive things about the new album and its abundance of more aggressive guitar sounds and bombastic keyboards. Did you intentionally try to "up the ante" as far as the heavier approach on some of the songs, while still keeping the symphonic nature that is the essence of your style?

It's great that people are enjoying the album. I deliberately wanted to do something different. I had recorded the 3 Ages album which was very instrumental and had a variety of different styles on it and I'd recorded the 2 rock opera's with Clive. I'd also written the Celtic single and then a couple of New age albums and I felt it was time to show that I could also write strong rock tracks with a band focus. Obviously the keyboards are going to be to the forefront of the music but I love great guitar and bass and drums and so made sure that the album wasn't a keyboard album backed by other instruments but and album where all the instruments worked together as a band.

Although "Mother's Ruin" is filled with plenty of instrumental fireworks, what really strikes me is the use of catchy hooks and melodies in each song, wonderfully performed by the musicians as well as singer Moon Kinnaird. How hard is it to write a catchy song yet still retain enough complexity and use of chops to keep the prog crowd happy?

I've always been a great believer in melody and hooks and I deliberately try to not over use a hook to make people want to listen to songs again and again. I think that music is becoming a harder and harder industry and so you have to work really hard at writing. I don't like writing'filler' tracks, I try to make each piece really work and spend a great deal of time on arrangements and producing the song to give it it's best shot and appealing to as many people as possible.

Have you given any thought or been asked to take this line-up on the road for a tour or to play any festivals?

The live band has been performing for the last couple of years at various venues across the UK. We supported Arjen Lucassen earlier this year which was great fun and we've got 3 shows lined up for later this year in the UK, Sheffield, Cardiff and London. Hopefully we'll get a few more booked in before the end of the year ­ if people are interested they can check the website ­ www.oliverwakeman.co.uk for more details. I am also going on tour with Bob Catley next week which should be a good laugh as Bob and I have been good friends for years.

You can hear some possible influences of bands like Arena, Uriah Heep, Pendragon, and Saga, besides the obvious Yes connection. What bands did you grow up listening to, and what current music do you enjoy?

I grew up with the obvious stuff like Yes but I was a big fan of Deep Purple, Rush and my big love was for Styx as I thought they married the great songwriting with great musicianship. More recently things like It Bites and Dan Reed Network although I don't really listen to a great deal of more modern stuff ­ I never seem to find the time!

What type of keyboard arsenal do you use these days?

For the live show it's based around my Yamaha electric Piano, a Korg Triton, Roland XP-30 and Korg O1/W. In the studio I use all the above as well as a D50, Yamaha V50, and whatever else I can find to use in the studio!

You have done various different projects over the years with many different musicians-do you plan on moving forward and continuing on with this band format, and do you have other projects and perhaps solo instrumental ideas in the works?

I have the follow up to Mother's Ruin almost written and I want to start recording towards the end of the year ­ I also have plans for a piano album which is partly finished and a concept album of sorts. Clive and I keep threatening to write the third collaboration as well so maybe that'll happen in the near future. But a band follow up would probably be the next one.

How is your father Rick doing these days, and what is he involved with? Any plans to do something with him in the future?

Dad and I (along with my brother Adam sister Jemma) did a couple of theatre shows towards the end of last year which were really good fun and Dad joined me on stage for the launch concert of Mother's Ruin but there are no plans to do anything else at the moment but we'll have to wait and see!

Thanks Oliver!

My pleasure, Cheers. Oliver

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"ProgressiveWorld.net" Interview


Oliver Wakeman And The Case Of The Hound Of The Baskervilles
Interview by Igor Italiani of Metal-Force
To view the original, click here. Thanks to Ray Riethmeier for spotting it and letting us know!

When the label fixed the time and date of my interview concerning the new Nolan/Wakeman project, I was told that Clive Nolan was the one who would call me at home in the coming days. So I was surprised, at first, when I heard the voice of Oliver Wakeman on the other end of the phone when it finally came time to do the interview. But I immediately changed my mood,'cause Oliver (with no offense to Clive, who is a great musician as well) is one of my favorite keyboards players, as he has clearly inherited the best musical traits of his famous father, Rick. So let's start unraveling the hound...

Igor Italiani: Hi Oliver, so you are once again partner in crime with Clive...

Oliver Wakeman: Yeah! We have a lot of fun when we do albums together. Clive lives a couple of hundred miles away from where I live, so sometimes we spend a weekend together, playing something, having a couple of beers. At the end of the day we enjoy a lot working together, as we are good friends too. You know, being friends makes work a lot easier so ... we like what we write and we work along great!

II: So now, can you tell me if it was difficult to gather for the second time the huge list of guests at hand for The Hound Of The Baskervilles?

OW: Yes, the people who played on the first album did an excellent job, but we had certain rules when we recorded the second one. We decided again to call mainly members of bands in which we play or with whom we collaborate, [however] this time, for example, we called John Jowitt [IQ] instead of Ian Salmon, because now Ian plays for Arena [which is the main band of Clive Nolan - II] ... you know, a lot of people think that there are problems with people who have been in Arena, maybe concerning Clive, but there is none. We enjoy working together, so we just wanted to show that we are friends and we work well together. Obviously some people were available, some others not, and we also wanted to put in some new people as well. For example, Karl Groom engineered the first album, so we thought it would be nice to let him play on the second one. Another one is Michelle [Young], who sang backing vocals on the first album, and now has a song of her own on The Hound....

II: But is there some other artist you and Clive would like to have in the future?

OW: Mmh, yeah, probably there are lots of people that we would like to have as guests in the future... Some people that I would really like to work with are... I don't know ... I'm a big fan of Julian Lennon, I think he is excellent, even if I have lost sight of what he is doing now. You know, he shares the same thing I live, and that's being the son of a famous musician just trying to do music on his own.

II: Yeah, you could do a great duet...

OW: Yeah, we could do Lennon & Wakeman... sounds good! Well, let me see if I can recall some other ones... wow, there's hundreds...

II: I was thinking, in this precise moment, about Peter Gabriel...

OW: Oh, it would be great, fantastic. In fact one of my dreams was to work -- I don't know if you heard about it, but to do an album with Steve Howe, and I've finally made it [The 3 Ages Of Magick]. That's a dream that came true for me! Well, I've been truly lucky to actually work with some of the people I've dreamed about while I was growing up, so... I don't know, there are hundreds more, it all depends if they want to work with me, ah, ah, ah...

II: Speaking about the future, do you think you'll do another Nolan/Wakeman album soon or not?

OW: Oh yes, we will do it. I don't know how soon it would be, because Clive writes albums with Arena and I compose other solo albums as well; we are very busy and we tend to use gaps between sessions to work on other ideas. We also live away from each other, so it's not just the case of popping next door and say hello and do some work, you really have to plan your time. I know we want to do another CD, but all I can say at the moment is that hopefully it won't take three years, maybe only two!!!

II: Oliver, this time you recounted a Doyle novel, so, if you could choose now a story for your third collaboration, what would it be?

OW: Wow, that's a hard one. We don't know yet, we talked about 2 or 3 different ideas, but we haven't made any decision yet. At the moment I think that while we have already gone through 2 classical [pieces of literature], probably we will go again through another one. I don't think we will venture into some story of [a] sci-fi [nature]. But I'm not gonna tell you what we discussed for the third opus yet, we will save that for a little while longer, eh, eh...

II: OK... in the meantime can you introduce The Hound Of The Baskervilles to the audience? Maybe for someone who still hasn't listened it?

OW: Well, I have to tell them to listen it! Mmh, I suppose that if I should ask someone who isn't so sure, I suppose I would ask him if they like a good story, and good music. If they like good stories and good music, and if they want to try something little different from what people usually do, well, give a try to The Hound Of The Baskervilles, hopefully you won't be disappointed. I think that Clive and I are doing something that nobody else is doing at the moment. I really think that we are the only ones who are doing classic novels mixed with music. I mean, in the seventies there were quite a few. But today, if anybody does concepts, it tends to be their own stories.

II: You recorded and mixed the album at Thin Ice Studios. What's the best advantage in having a studio all for themselves?

OW: Well, the studio is actually rented out to other artists as well, so we couldn't use it whenever we wanted to, we had to book it in advance. In fact I had the studio booked the month before The Hound... to do the other album of mine, so I had to stop Clive from coming in sometimes, ah, ah, ah... The advantage is that it is in the same building as the record company, however both me and Clive have personal studios as well, so we can do an awful lot of work before we even enter the Thin Ice Studios. When we are in the Thin Ice Studios we work very carefully. Obviously we have a lot of fun, but we also look for everything to be used in the best way possible, because an album like The Hound... is really expensive. So we have to make sure we stay within a budget, to keep the record company happy. Another thing is that Karl is great at working in the studio, so it's excellent to have a person like him that handles a lot of stuff, too. I like Karl's work a lot.

II: But it's true that you had some problems with the recordings?

OW: Well, what happened originally was that we planned to record the album early last year, and we started, but we suddenly realized that all the people we would like to get onto the record were doing different things. Peter Banks for example was also tied up for my solo album, so the first three months of the year I had to work on that, too. Finally it came down to finding out when the other musicians were free to play on The Hound.... Personally I wanted to remain in the studio for only 6 weeks, but it wasn't possible. Nevertheless, the fact that it took a little more time gave us the opportunity to work on it a little bit longer, so in the end we had a better result, I think.

II: Do you think you'll be able to do at least some shows with The Hound...or Jabberwocky?

OW: Yeah, I really hope to do some concerts. It would be really good fun; I think it would be a very good show. The problem obviously is finding the time again to get the musicians together, but you know ... never say never. We are not planning a tour at the moment, but it would be good to see it happen. Keep the fingers crossed!

II: Talking about live shows, I think that almost always the best places to play conceptual prog albums are theaters. What's your opinion on that one?

OW: Yeah, I agree with you. I think that theaters are great, because they are set up for a show. You know, gigs are great, you can get great atmosphere in a gig, but the theater has something special. I would like to do more theater shows, I think that would be wonderful.

II: Oliver, the concept albums you play on so brilliantly are having a sort of rebirth in England, or not? I mean, do you think prog rock can return to prominence soon or not?

OW: I hope so, certainly it would make my life easier, ah, ah. You know, England has lots of talented musicians, but radio stations, magazines and TV stations are really set up for pop music, so there's not much you can do about it. It seems the situation is slowly getting better, but I think that it will be hard to see the same scene we had back in the seventies. In other countries, for example, you find great shops who still have a lot of prog music; in this country you don't, and this can be very frustrating. I probably sell more records in Germany or Holland than I do in England, which is a bit strange being English. All I can do is keep working and hoping that the situation will change someday. I think that maybe it could take only a couple of artists to make the public realize that there's more under the same bands that we see everyday on TV.

II: The beautiful sound you have is linked to the one of the 70s. Is there also something you really like of the music scene of today?

OW: Yeah, I like a lot of music styles. Nu-metal, I like some of it; and it's the same for every type of music, I always like some of it. I worked on a radio station for 3 years, and I used to play prog and rock music, and I also used to play some strange music. I used to play anything that wasn't being played anywhere else, I always chose unusual music, so I got to learn other types of music very quickly. There are always good musicians in every form... for example, I'm not a major jazz fan, but I enjoy some of it. The only music I'm not really keen on is dance and pop music. For me, as a piano player, a lot of my music comes through emotions, putting your soul into the music, and unfortunately I don't see it displayed in pop music. In my opinion, this genre is not designed to let your emotions really flow. It's OK, but I don't get the feeling in listening to that.

II: Yes, same as I. Now can you tell me something about the new Michelle Young record where Clive played and managed production? You know, I prepared this question for Clive...

OW: Oh, fine... well, Michelle is excellent. She is very, very good. I like her new album a lot. Actually I've listened to it quite a few times. The album has a lot of great songs, and I also think that she sang brilliantly in the song she did for The Hound... [“By Your Side”]. We asked her to do lead vocals but she did also the backing vocals in a wonderful way, and we couldn't ask for more!

II: Oliver, can you tell me about your beginnings as a keyboard player, because you are also the son of one of the main keyboards players of rock.

OW: Well, my dad, while I was growing up, was always away on tour. He was always very busy, so I started off just sitting at his piano, and told myself to practice hard. Over the years I also went to classical lessons, and then I went and played in the pubs, so my beginnings as a keyboardist were a sum of these three things: playing on my own, then going to lessons, and then playing in the pub when I was an early teenager. I'd like to say that I've learnt as much from myself and playing in pubs, that I did from my classical training. Classical training can teach you how to read or to move your fingers correctly, but playing piano on your own teaches you to write your music, and playing in a pub, in front of people, teaches you how to deal with the response of an audience. I think you can't learn music from just one of these aspects, you have to go through all three.

II: OK, Oliver. I have one final curiosity... is there the possibility to see you, Adam, and your father Rick playing together on the same stage?

OW: Mmh, I don't know. I mean, dad has worked with Adam an awful lot, and I don't mind doing a little show here and there with him as well, but I personally prefer to do things on my own; even if I like a lot what Adam and Rick do together. I'd like people to think that I can actually work hard as other people to try to make music... I know that some people will see that Rick is my dad, but I'd like people to think that I'm working for myself and on my own.

II: Yeah, I can understand, even if it could be a dream that you, Adam and Rick are surrounded by castles of keyboards...

OW: Ah, ah, ah...it would be good fun. You know, when I was younger one of my problems, I think, was that I hadn't done any music, and I wanted to have people recognize me as a songwriter on my own, not because I'm Rick's son. So, once I get myself more established, you know, it may happen. I think we could unleash a lot of power from all those keyboards.

II: OK, Oliver. That's enough. Thank you for the wonderful talk and I hope to see you here in Italy as soon as possible?

OW: Oh, thank you. Let me say a big hello to all the prog fans! It's great to have these fans, who are so dedicated to this kind of music; they are so genuinely interested in what you write when you compose. They really do care about everything that's around the realization of a record, like in the old days. It's very rewarding for me to get that, as a writer and as a composer, because they pay attention to everything you do, and this makes you work harder. Just thank you to all of you.

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"Wondrous Stories" Magazine Interview - February 2002

It was BOTY (Best of the Year - Classic Rock Society annual awards - ed) Award's Night and Bernard Law took time out to chat with Clive Nolan and Oliver Wakeman about their latest project The Hound Of The Baskervilles.

Between the sound check and the first act of the evening, Bernard Law took the opportunity to meet with Clive Nolan and Oliver Wakeman in a quiet corner of the dressing room to discuss the up coming release of the keyboards duo's second album 'The Hound of The Baskervilles.' But the conversation began with a light hearted warning from Clive.

"I tell lies all the time in interviews," he laughed. ''I tell everyone something different. So the stories in different magazines don't match. But yours is the first interview this time, so it will be nearer to the truth Probably!"

We'd best start with some facts then. "The album's pressed, done and ready. The promotional copies are out and the album will be released on February 4th,a Clive confirms. The duo's much admired first album 'Jabberwocky' includes lots of wonderful music and a host of featured appearances from many in the classic rock realm The new album continues in a similar vein.

"Yes, it's similar to 'Jabberwocky' in that there are loads of guests, like Bob Catley on vocals, Arjen Lucassen on guitar, John Jowitt on bass, Tony Fernandez an drums There's loads and loads of them! You'd be better look on the album sleeve for the full list,', Clive continued.

Oliver Wakeman joined in. "we didn't ask Dad (Rick) to be involved this time though. He was great on 'Jabberwocky', but this time as it's more structured - narration based - we needed someone with a more commanding voice. So we asked Robert Powell. He has that really dramatic voice.''

"Working with Rick was fun though," Clive confirmed. "He did the narration on Jabberwocky because we didn't need a third keyboard player really But it was great fun working with him."

Clive and Oliver actually met via a mutual friend, Arena's drummer Mick Pointer. "He was the point of contact, and it grew from there really," said Oliver "When we come together to produce the music we actually co-write. we come together with various bits and pieces we've worked on separately and work on them together until we're both happy But sometimes in the studio we get bored with what we're working on and play around with other stuff! Some of the music on 'Hound of the Baskervilles' was around when we were working on 'Jabberwocky' because of that.

A smiling Clive took up the story. 'We wrote sixty-seven minutes of music, but binned some material. We had five songs to begin with. It is fun to do, and a challenge, but we had something to work from."

"Things are virtually finished before we start working together in a way We have bags of ideas. we just need a strategy and tickle it along," Oliver concluded.

Many people know of the 'Hound of the Baskervilles', and indeed any Sherlock Holmes stories through the television or films. There's one very good old black and white film version featuring Basil Rathbone as Holmes, and a not so clever Hammer version too.

"This album's based on the book rather than the film," Oliver stated. "We're both massive Sherlock Holmes fans. It was a great advantage really knowing the story so well before we started on the music."

Again Clive started laughing. Unfortunately, we had to change the ending. We wanted specific voices at the close, particular people singing. Regrettably that means the ending is nearer to the Hammer film ending because of it But the main events in the book are all there."

With a concept album, it's very important that all the various facets gel. with a great cast of musicians and singers it would be disappointing not to have excellent sound production, and 'Hound of the Baskervilles' certainly has that. Clive and Oliver along with Karl Groom, whose guitar work also makes an appearance, produced the album. But quite often it's the whole package that makes successful albums, including the graphics. Many classic albums wouldn't quite have the same feel in the wrong sleeve! The artwork for 'The Hound of the Baskervilles' is quite atmospheric and sets the scene well.

"The artist Peter Pracownik did all the paintings for the album. It's all very Gothic. You might know his work from some of his other pieces. He did the sleeve for the Limp Bizkit album. We are really pleased with how it looks. But I did all the design and the layout" explained Oliver.

Clive, as you would expect, has been extremely busy with commitments to Pendragon and up coming work with the new Arena album and undoubted tour. Oliver too has his projects and design work. with such tight schedules and the need to plan sometimes a year ahead, making plans to work together can be nearly impossible.

"Well, Hound of the Baskervilles had a two year gestation period It makes it difficult because there's so much to do. We will hopefully do a third album together though. We're getting pretty used to writing together as a team. We'd probably work with fewer people but do more with them next time. We've ideas for a concept, that's not a problem. It will be a literary selection again, but we're not telling you what it is," Clive said coyly. "In fact, there are several ideas. But remember there's the budget factor too. It takes time and money to do it properly." Given the standard of the music and the wonderful capabilities of the various people involved there would be a lot of people who would enjoy seeing the album performed live. Clive shakes his head. 'We're not likely to tour with it. There would be too much messing. Everyone is busy Bob Catley will be back working with Magnum, Robert Powell wouldn't be available. "Some of the other musicians wouldn't be available. we have talked about it though, and we would love to do it. But it's got to be practical. we could possibly go out as a five piece and do selections from both albums. That is something we have discussed But even then it would be incredibly difficult with all the other commitments we all have There is the possibility of one of the Progfests, but the offer really needs to match the practicalities Even then, it would still be incredibly difficult."

Oliver took up the theme, "We'd love to do a launch party too, but again we couldn't get everyone together There's probably somewhere in London with a great atmosphere we could use - a pub or club that would have the right feel. But it won't happen because of the practicalities It's pretty much impossible".

With the changing room becoming fuller and noisier and Clive, Oliver and myself keen to catch the stage bound Damian Wilson's set, Clive had just one more thing to remind me, "The Hound of the Baskervilles' is available on Verglas, Catalogue number VGCD022'. He could even remember that! The truth is out there!"

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Interview with Lantern FM - 30th December 1998

Ian Starling from Lantern FM interviews Oliver Wakeman on the future release of the album "Jabberwocky", broadcast 30th December 1998:

Lantern: In the studio this evening we have Oliver Wakeman to discuss his new album "Jabberwocky". Good evening Oliver.
Oliver: Good evening.
Lantern: It's a change from your last album'Heaven's Isle'. As a review, tell us about'Heaven's Isle'.
Oliver: ‘Heaven's Isle' was a keyboard classical album based on Lundy Island. It's just off the North Devon coast for listeners who are listening outside of North Devon and don't know about the area. A very nice album that sold well, very piano-y, very choir-y and laid back.
Lantern: This one is a change - this'Jabberwocky'...
Oliver: Yeah, a little bit more over the top. Basically what we would term as 'a modern classic rock album', for want of a better phrase.
Lantern: We'll be listening to tracks in a moment's time. Who's on the album?
Oliver: Well we have quite a few different different people on it. We have Bob Catley singing the main vocal part. He was the singer with the band'Magnum' which many listeners may remember from the 70's, 80's and even the 90's!
Lantern: A rock element from the past.
Oliver: We wanted a combination of new musicians and classic old musicians. We have Tracy Hitchings - a well known progressive rock singer, and Peter Banks who was the original'Yes' guitarist before Steve Howe joined.
Lantern: A mention of classic musicians there - what about father Rick?
Oliver: Oh yeah - I nearly forgot. I'd better not leave him out. He does the narration. We thought it would be a good idea to get him in and not let him play any keyboards. So he just reads the poem.
Lantern: So the album is based on the poem?
Oliver: Yeah, the Lewis Carroll poem from'Through the Looking Glass', released many years ago. The poem is a nonsense poem and so we wrote a little story around it - good against evil, sort of thing...
Lantern: You mentioned earlier on that Jabberwocky was rock music, but is it just rock music on there or can it appeal to everybody?
Oliver: I think it can appeal to a lot more people than just rock fans. It kind of goes through different styles. A lot of people have likened it to a musical and are very interested to see if we can get it onto the stage somewhere. The album starts off very orchestrally, then moves to a couple of rock songs, some ballads, a 'Grecian choir' bit you might play later on, and a big orchestral finish. A bit of everything really.
Lantern: So what are the plans for the future? You've done a quiet album and a rock album. Any other albums planned?
Oliver: Yeah, a couple. Two or three in the wings which we are waiting to see about. There is going to be another one with Clive - this isn't just my own album, it's a joint album with another keyboard player, Clive Nolan, who I'd better mention or he'll get fed up! So the two of us worked on this very hard and we'll be working on another one for release in 2000. Tentatively based on Sherlock Holmes but that is to be confirmed.
Lantern: You mentioned working very hard. How long have you actually been working on it?
Oliver: About three years. The original story starts here at Lantern. I used to do the rock show with Jim Ling, as many people may remember or not remember, but he interviewed Mick Pointer who is the drummer with a band called Arena and who was the original drummer with Marillion. He came down here to do the interview and Jim asked if I would like to come along that night. I said 'yes' and got a couple of albums signed and Mick invited me up to London to meet the keyboard player from Arena, which was Clive, and it all started from there. So without that meeting it might not have happened.
Lantern: Three years in the waiting? You work locally and yet the album was recorded in Abbey Road. That must have caused you some problems...
Oliver: We did the mastering at Abbey Road, but a lot of the work was done in Virginia Water at Thin Ice Studios. A lovely place to work, but a bit of a trek for me being in North Devon. I was gigging in Devon regularly and having to travel up on the free weekends to do some recording and then drive back. We recorded the keyboards over a long period and we decided that in April we decided to get on and record it fully. That involved spending a week in the studio, driving back to Devon for gigs - then driving back to the studio solidly for that month. A bit of a nightmare, but a awful lot of fun!
Lantern: I know it's very important to you not to use your father's name and jump on the back of his career.
Oliver: I'm a big fan of whatever Dad does. I think he's a great musician and he's a very talented writer. It's a great inspiration to have someone like that to make you do something, but I've always been a big fan of doing it your own way. It's probably made life a little too difficult at times, but I can at least look at this album and think'yeah, it's all my own work.'
Lantern: Obviously we've been discussing the effect that your Dad's career has had on you and that brings back to mind that "This Is Your Life" went out recently with your Dad on there. How hard is it to keep something like that a secret?
Oliver: Well that was broadcast in November, and I knew about it the previous November! It was to happen originally in January, then it got cancelled because Dad had to do some work. Then it was moved to the middle of the year, but he fell ill over the summer. Because we knew it was going to be so important to him it wasn't really a big problem to keep it quiet.
Lantern: There were a lot of truths brought out in the program "This Is Your Life" about your Dad's history and problems with his health. How did it affect you as a child?
Oliver: I suppose that to a lot of people it doesn't seem like a normal childhood, but to me it seemed perfectly normal because it's the only childhood I'm going to get - except for this second one I'm reliving now! But really it was fine growing up. We had our ups and downs as every family does. Pretty much every family will go through some sort of major illness. In fact, Dad's had quite a few of them! My Mum and Dad split when I was quite young but I've always kept quite close with Dad and I'm very close with my mother. I'm happy with all of my family. We all get on extremely well.
Lantern: Oliver, we wish you all the best for the album and thank you for joining us.
Oliver: Thank you very much.

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