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Artist: Rick Wakeman
Title: A Unique Journey
Date: June 30th 2001
Venue: Le Theatre Du Parc Champlain, Trois-Rivires, Qubec, Canada
TRACKLIST:
Disc One
01. Introduction 03:30
02. A Vision 02:28
03. The Return Overture 02:37
04. Mother Earth 03:56
05. Buried Alive 06:19
06. The Enigma 01:41
07. Is Anybody There? 06:51
08. The Ravine 01:02
09. The Dance Of A Thousand Lights 06:08
10. The Shepherd 02:28
11. Mr. Slow 04:19
12. Bridge Of Time 01:19
13. Never Is A Long, Long Time 05:39
14. Tales From The Lidenbrook Sea 03:15
15. The Kill 05:42
16. Timeless History 01:27
17. Still Waters Run Deep 05:42
18. Time Within Time 02:45
19. Ride Of Your Life 06:30
Disc Two
01. Floating Globes Of Fire 01:43
02. Floodflames 03:54
03. The Valocano 02:23
04. The End Of The Return 06:45
The Encores
05. Buried Alive II 06:48
06. Ride Of Your Life II 06:44
07. The Volcano II 02:21
08. The End Of The Return II 05:52
Trois-Rivières FM Material
09. Radio Concert Promo 01:00
10. Rick Wakeman Interview 10:58
Personnel
Rick Wakeman Keyboards
With
The English Rock Ensemble:
Adam Wakeman Keyboards
Tony Fernandez Drums
Ant Glynne Guitars
Lee Pomeroy Bass Guitars
and
Luck Mervil Male Lead Vocalist
Fabiola Toupin Female Lead Vocalist
accompanied by
The Trois-Rivières Symphony Orchestra under the direction of Stéphane Laforest
And the Vocalys Ensemble under the direction of Raymond Perrin
Narration Bernard Fortin
French Translation Marie-Andrée Denis
Liner Notes:
1. Beginnings
In 1997, Rick Wakeman stunned the music world by announcing that he was currently working on a sequel to his classic 1974 album Journey To The Centre Of The Earth. This would by no means be a carbon copy of its predecessor. Rather it would be an entirely new piece of work, still based on Jules Verne’s classic novel, but with a whole new approach to the story. Instead of returning to the original tale, Wakeman imagined a very daring scenario in which contemporary explorers decide to emulate the incredible journey of Professor Lidenbrook and his nephew Axel, some 200 years previously. It would not be an easy journey for Rick, however, as an incredible amount of work and time had to be invested in bringing this dream to fruition. In the end, he was exhausted and his health was in jeopardy, but his new creation was a stunning epic, a real masterpiece.
2. Playing The Return Live
In 1999, when EMI released the new album, fittingly entitled Return To The Centre Of The Earth, to unanimous critical acclaim, there was no doubt in Rick’s mind that he would bring this new epic to the stage, perhaps even to tour with it. But the complexity of the music and the huge number of musicians required to reproduce the work on stage deterred even the most daring promoters. Wakeman received a few offers for trimmed down versions but he rejected them all. While he desperately wanted to bring Return to the stage, he wanted to do it right, without having to make compromises. As a result, the project would remain on the shelf until 2000 when Rick received a most unexpected offer from an even more unexpected corner of the world.
3. Trois-Rivières
For Rick Wakeman, the Province of Quebec in Canada brought back countless memories of very pleasant visits while playing with Yes and ABWH, but the small town of Trois-Rivières and its annual summer music festival were both unknown to him. Yet from this small town came the offer that Rick had been wishing for. The Trois-Rivières Symphony Orchestra had hoped to stage the whole of Return as the centrepiece for the 2001 edition of ‘L’International de l’Art Vocal’ (the International Vocal Arts festival), and its organizers contacted Wakeman to see if he would be interested in working with them. Rick was stunned, and he showered the organizers with countless questions concerning their plans. This was no joke, Rick later said, They really had thought of everything and their view on how to stage the album were on par with mine !. The only major concern was the narration. Since Quebec is a predominantly French speaking province, the organizers wanted to stage the show with a French narrator. Taken aback by this new twist of events, Rick gave it much thought. Jules Verne’s original novel had been written in French; therefore it would only be fitting that the narration be done in the same language. Wakeman accepted the challenge and the official announcement was made. Rick Wakeman and his English Rock Ensemble would join the Trois-Rivières Symphony Orchestra and the Vocalys Vocal Ensemble, along with local lead singers Luck Mervil and Fabiola Toupin, in bringing his dream to life. Return To The Centre Of The Earth would finally be brought to the stage, two years after the studio album’s release.
4. Final Rehearsal – June 30th, 2001
Being a huge fan of Rick Wakeman, and living in Trois-Rivières, the announcement of his appearance in my home town came as a total shock to me. The album Return To The Centre Of The Earth was one of my favourites of Rick’s and this was indeed going to be a very special occasion. Armed with my ticket, a copy of The Six Wives Of Henry VIII(which I hoped Rick might sign for me if the opportunity arose), a camera and a good dose of patience, I arrived at the entrance of Champlain Park around 4:30 pm, accompanied by my lady and my best friend. It was a good thing we arrived so early because it gave us a chance to hear the final full rehearsal only a few minutes after we got there. With everyone on stage, most of Return was performed for the last time before the grand premiere. The sound was great and the music heavenly. We just couldn’t wait for the gates to open so we could find our seats and witness this historic event. Despite the impending threat of rain, the sky miraculously cleared, just 15 minutes before the show was scheduled to begin. Stage hands rushed to remove the plastic covers protecting both sound equipment and musical instruments and the show was ready to begin. After only a few more minutes of waiting, local TV announcer Claudine Prévost walked on stage and made the final introduction : Ladies and Gentlemen, Mr. Rick Wakeman !. The amazing journey was about to begin under the stars !!!
5. The Show – June 30th, 2001 – 9:00 pm.
While waiting at the gates, we had met people from all over the world. Many had come from the US and Great Britain but there were also people from South America, Alaska, and even Korea, which made us realise that this really was an international affair. Despite the presence of these visitors from abroad, the narration would be spoken in French. I’m quite sure that many of you who are reading this do not speak or understand the French language fluently, if at all. That is why I’ve decided to offer you an abridged translation of the narrative. The best way would be for the listener to follow the story via the original English text in the official CD booklet, but for those of you who do not own a copy yet, I will do my best to guide you through the story. Here goes !
1. Claudine Prévost’s introduction.
2. A Vision – Narration.
Quebec-born actor Bernard Fortin, standing in a boom lift nacelle some 30 feet above the ground begins the story by reading the original text written on the old parchment discovered by Professor Otto Lidenbrook and his nephew Axel. Then the story moves forward two centuries to the point where three geological explorers set up to emulate the journey that had been undertaken by their forefathers some 200 years previously.
3. The Return Overture.
With a full blast of sound and light, band, choir and orchestra launch into the first chapter, and quite an opening it is. The sound is crystal clear, a rare occurrence for an open-air concert. From left to right : Tony Fernandez sitting behind his drum kit, Rick Wakeman standing behind his usual array of keyboards, Adam Wakeman also on keyboards, bass player Lee Pomeroy and guitarist Ant Glynne. Behind them on a slightly elevated step, the Trois-Rivières Symphony Orchestra and the Vocalys vocal ensemble. Centre stage – a lone microphone, deserted for the moment.
4. Mother Earth – Narration.
The story moves to Iceland where the modern age travellers boldly intend to follow the path taken by Prof. Lidenbrook. Much to their surprise, the indications given by sun and shadow show that fate has chosen a different route for them. After descending into this unexplored passage and having passed through almost endless rock corridors, finally reaching a vast mineral forest, they meet with an almost perfect natural staircase which leads them further underground. At the end of this new descent, however, slight tremors soon reach terrifying proportions, indicating the approach of a major and quite unwelcome earthquake.
5. Buried Alive.
This song marks the first appearance of Montreal-born singer Luck Mervil and the rise of a heavier sound carried by Rick and his rock band. Mervil had felt indisposed with a sore throat all week long, but it isn’t evident on this performance. He comes through with flying colours.
6. The Enigma – Narration.
Buried alive in their own private chamber, our explorers discover hieroglyphic signs on the walls depicting the history of an ancient underground race. Knowing that Pr. Lidenbrook had encountered such a creature on his own journey, they try to decipher the enigma drawn in rock before their eyes, wondering what kind of welcome they might receive should they encounter such a being.
7. Is Anybody There ?
Trois-Rivières region born Fabiola Toupin sings this number originally performed by Bonnie Tyler. This is Fabiola’s first grasp at international stardom, and she makes the most of it. Her rendition of this very emotional number is just superb and the audience reaction lets her know it.
8. The Ravine – Narration.
Continuing their journey through the galleried cave, the explorers find themselves faced with a huge ravine that stretches as far as the eye can see. Gazing down below, the sight of thousands of tiny fireflies awakened by the intrusion of waterfalls trickling from the walls gives the impression of a living city at night.
9. The Dance Of A Thousand Lights
One of Rick’s finest piano compositions ever is rendered here in all its power and magnificence. Rick is in fine form and appears to be very much at ease with the piece; definitely a high point of the entire performance.
10. The Shepherd – Narration.
As they had feared, the explorers now face a herd of gigantic mastodons of the Tertiary and Duaternary periods, marshalled by a human proteus that stands over 12 feet tall. But as the giant shepherd comes within a few meters of their position, they realise that the fearsome humanoid is blind.
11. Mr, Slow.
Luck Mervil’s second appearance of the evening, this time on a very slow and lugubrious number. Mervil doesn’t seem to be as much at ease with this song as he was with his first number, but he nevertheless succeeds in conveying the very special atmosphere of the song.
12. Bridge Of Time – Narration.
Having reached a small tunnel in which they are forced to proceed on their hands and knees, the explorers are suddenly swept downwards by the force of an enormous flow of water.
13. Never Is A Long, Long Time.
Luck Mervil is back for the third time, for a fast-paced rock and roll ride. Soon all eyes are riveted on lead guitarist Ant Glynne as he delivers a flaming solo, very much on par with the one provided by Trevor Rabin on the studio album. Stellar !!!
14. Tales From The Lidenbrook Sea – Narration.
Having been expelled from the tunnel at demon speed, the explorers find themselves hanging on to driftwood and discover that they have reached the Lidenbrook Sea. And, like their forefathers, they are about to witness a combat for survival between two gigantic creatures from ages past.
15. The Kill.
This time, choir and orchestra get a real workout. As we sit and listen, it becomes quite hard to believe that band, choir and orchestra can achieve such synchronicity after only four days of rehearsals together.
16. Timeless History – Narration
In order to connect with the documented original route, our intrepid explorers know that they have to cross the Lidenbrook Sea. Having constructed a raft as their predecessors did, they abandon themselves to the drifting currents. As one, they close their eyes and pray.
17. Still Waters Run Deep.
If ever a singer had a tough road ahead of him, it’s Luck Mervil tonight. We really have to tip our hats to the man as, in turns, he has to fill in for Ozzie Osbourne, Tony Mitchell, Trevor Rabin and Justin Hayward, each with a very distinctive and quite different type of voice.
18. Time Within Time – Narration.
Having reached a small island, and realising that they are only a short way from the subterranean mainland, they fall to the ground exhausted and sleep. They are awakened by the noise of an electrical storm and now face their greatest challenge so far. Seeking shelter inside giant turtle shells found on the beach, they are swept along by the swift current leading to the mainland, pursued by enormous globes of fire born from the storm.
19. Ride Of Your Life.
Truly one of the album’s greatest songs, Ride Of Your Life provides Fabiola Toupin with an opportunity to show us what she can do. Her vocal and physical performance on this song are second to none and, if you will pardon the cliché, she literally steals the show. She’s having the time of her life out there, and it shows.
20. Floating Globes Of Fire – Narration.
Having reached the end of the dark tunnel into which the raging torrent has carried them, they find themselves floating at the bottom of an enormous shaft. But the light emanating from the tunnel warns them that the globes of fire have not given up yet. Entering the shaft as if shot from a cannon, the globes start to circle above their heads only to explode into millions of small particles of light moments later.
21. Floodflames.
At this point, Rick launches into a hellish keyboard solo bearing the Wakeman hallmarks. It’s kind of hard to believe that the whole thing is not totally improvised from beginning to end, but we know better. Rick is quite capable of repeating the whole thing without missing a note, and everyone knows it.
22. The Volcano – Narration.
As with Professor Lidenbrook and his expedition, our three bold travellers find themselves being propelled upwards through the shaft of a volcano by an increasing flow of boiling water and lava. They finally reach the surface, only to find out that they too have been returned to their world through the raging shaft of Mount Etna. So ends the Return To The Centre Of The Earth.
23. The End Of The Return.
As with the opening of the opus, band, choir and orchestra join forces to offer us the riveting conclusion of this amazing journey. No-one who witnesses this incredible performance will ever forget this majestic grand finale and the roar of applause that ensued. The audience is then treated to reprises of four of the album’s highlights as encores. Final bow !
6. The Aftermath
Since this glorious night, numerous rumours of a Return To The Centre Of The Earth tour have made the rounds but it has failed to materialise. Sadly, the audience recording which we now bring you in remastered form may forever remain the sole live version of this glorious epic. I’m glad that I was there ! And for those of you who are wondering, we did get to meet with Rick Wakeman backstage, and he did gladly sign my CD copy of The Six Wives Of Henry VIII !!!
RH, Trois-Rivières, 2005
Notes from the Re-Master
This show came to us as a digital clone of the master. The recording is very good. Clearly, a high quality recorder and microphone were used. The only minor flaw with the equipment is that the microphone was mono. This is a mono recording. The taper was in a very good location within the venue. Ambience is detectable but all components of the music are crisp and clear, producing almost soundboard quality. The mixing board operator also did a good job for this performance as all the vocals and instrumentation seems well balanced.
There were only a couple real problems with this recording. First, there were many high volume claps during the performance. It sounds like the taper himself is the one clapping. Since these claps were so intrusive, they were manually removed. The rest of the audience applause was also attenuated.
The tonality was the other major flaw. The bass components needed quite a bit of adjustment. The sub-bass was often too high and over powered the other bass frequencies. Track gaps were found from miss-tracking. These caused a buzz or click that needed to be removed. The dynamics of the show were accentuated to make the music more dramatic and the tonality of the dialogue was adjusted to heighten clarity. Individual clicks were manually removed when found.
The audio of the interview section was quite poor. The source we obtained sounded like it had previously been noise reduced. Noise reduction artifact was present throughout. This was minimized as much as possible. There was also some peak distortion artifact in the interview that could not be corrected. The balance was quite off in this section and was corrected as was the volume, to bring it in line with the volume of the performance.
PRRP Staff
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