This is a newly remastered version of a Rick Wakeman live album. The disc was great to start with. I think this remastered version sounds even better, though. I’ve reviewed the original disc previously at Music Street Journal and I’ll include that original review here for the sake of consistency. Let’s just say that this version is superior to that one, and that one was pretty great. This is highly recommended. Please note that the reference to the sound doesn’t really apply here now. This sounds great. So, here’s that original review:

This live album from the most recent incarnation of Wakeman’s band – The New English Rock Ensemble is a killer. While the sound might possibly be just below that of Almost Live in Europe – and that’s iffy – I’d have to say that I like the setlist here better. We get a nearly complete “Journey to the Centre of the Earth” followed up by “Buried Alive” from the sequel disc. A killer “Jane Seymour” is included, as is “Catherine Parr.” This disc showcases Wakeman’s solo music at its best in a live performance. It’s definitely one of a couple of his best live showings on CD. I’d recommend it to all Wakeman fans.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2014  Volume 4 at lulu.com/strangesound.

This track was on the sequel to Journey…, Return to the Centre of the Earth. As presented here it’s a hard rocking cut that has a bit of Uriah Heep texture to it. The studio version of this has vocals by Ozzy Osbourne. Needless to say that makes for a heck of a difference here. This works through a number of changes turning more towards traditional prog at times, but overall this thing really scorches.

The keys that open this up here call to mind “The Phantom of the Opera.” It quickly launches into the brilliant neo-classical intro we’ve come to know and love. This grows as it carries forward. Performed purely on keyboards, this is quite faithful to the original and just plain awesome.

Essentially a medley of music from the No Earthly Connection album, this opens with a powerhouse instrumental excursion. After this works through it drops down to mellower and more stripped down music for the vocals. As they power it out later it takes on a motif that actually feels a bit like modern epic metal – mind you with less of a guitar presence. This is extremely powerful and works through a couple changes in its course before Wakeman steers the ship through more instrumental work. It gives way to another verse section that moves the story forward. It drops down to a balladic motif for the dramatic and evocative “The Prisoner” section. This is wonderful. After a time it powers out through the “you shall hang” portion of the track. Wakeman solos and they come back into this harder rocking motif. Then an instrumental section pulls it back down the more ballad-like structures. They work back up to a reprise of the “you shall hang” section. The connecting segment from last time comes back. This time it’s a lot more intense and stays around longer. When it does end we get a drop down even further for the next set of vocals. Then they power back out into another inspired instrumental section. More vocals come after this. The cut is continued by revisiting the various movements. This is extremely powerful.

Bounding in with a melodic, powerful progressive rock arrangement, they work through for a time like this. Then it crescendos and gives way to a new journey. This one holds the piece for a while. Then they drop it back to a new segment over which Wakeman solos. This solo changes gear here and there and creates a number of different directions and textures. However, it never fails to captivate. Eventually this gives way to a more complete group arrangement with a triumphant soaring sort of sound. Then they take this through several variations. The guitar takes a tasty and extended solo later. It returns to earlier motifs after a while bringing it all back around in nice fashion. Taking it through in an intensified fashion this really scorches.

While not listed in the title, they actually lead this off with the introduction to “Heart of the Sunrise.” As it winds down you really expect Yes to launch into the rest of the track. Instead Wakeman and company set off on another Yes course – “Starship Trooper.” After running through a good chunk of the track they launch out into an instrumental journey that, while seeming to touch at times on the “…Trooper” music, feels far different. This gives way to a reprise of the chorus. It should be noted that while the vocals on this performance are far different than Jon Anderson’s the work really well. They stay closer to the original composition from here, making their way through the various sections. At around the five minute mark, though, a screaming guitar solo takes it, leading into the “loneliness…” section. The journey continues through the next portions of the song. The “Wurm” segment comes in with suitable power and drama. They definitely bring a modern tone to this portion of the piece. As one would expect we get some killer soloing through here. As opposed to the version on Fields of Green, this one is not nearly as keyboard heavy. It has more of a life of its own and, in fact, blows that one (good as it is) out of the water. That’s because this monstrous beast is incredibly powerful. After it runs its course they close the disc in fine fashion with this, leaving you ready to hit “play” and start it all over again.