Oliver Wakeman Reveals “Anam Cara” | Progressive Rock Central.com

Keyboard virtuoso Oliver Wakeman released his new album Anam Cara on May 17, on Spirit of Unicorn Music. I have been a fan of his father’s keyboard and synthesizer playing with Yes, for decades. I haven’t had the opportunity to review any of Rick Wakeman’s solo albums, but when a notice about Oliver’s upcoming solo album came out, I jumped at the opportunity.

Anam Cara is a magnificent Celtic adventure of a solo album. If you are heading into Celtic lands, there are no better musicians to take with you than, Hayley Griffiths, one of the best Celtic singers on the islands, and Troy Donockley, one of the best pipes and whistles players in the United Kingdom.

Oliver Wakeman, plays keyboards, piano, and guitars. Oliver Day, plays acoustic guitars, lute, and mandolin. Scott Higham, plays drums and percussion. David Mark Pearce, plays electric guitar. Robert McClung, plays violin. Steve Amadeo, plays bass guitar. And Mick Allport, plays saxophone and clarinet.

Award-winning Oliver, is the eldest son of the legendary Rick Wakeman. He has appeared on over 60 albums and has performed in just about every corner of the globe! He was a member of prog rock veterans YES and has also toured and recorded with The Strawbs, as well as being responsible for a number of well-received collaborations with the likes of Steve Howe, Gordon Giltrap and Clive Nolan – to name but a few.

Wakeman says that Anam Cara, refers to the Celtic concept of having a ‘Soul Friend’.” Wakeman continues, “The idea of a ‘Soul Friend’ – a guide, companion, teacher, compassionate presence – seemed to ﬁt so perfectly with the songs I have written. As for the incredible musicians who have helped me to record this album, they have all truly become Soul Friends. The songs I’ve written for this album are all short stories. They have allowed my imagination to run riot. It was also the perfect excuse to call upon some of the ﬁnest musicians around who have helped me make this record exceed my expectations.”

The album has been mixed by Karl Groom (Threshold) and recorded by John Mitchell (It Bites, Frost*, Lonely Robot). Album artwork is by world renowned artist Anne Sudworth.

“The View From Here”, opens warmly with soft pipes and keys, before Hayley Griffiths enters the stage to sing. She sings, “Here I sit with my heart on my sleeve. Wondering if you will arrive. Waiting and yearning to see you again. Feelings I cannot disguise. I wish that you like me, could see the view from here”. Like a fairytale opening to a story this album is off to a romantic and wonderful start. The electric guitar solos are fantastic and Scott’s drumming is perfectly placed, just like I remember, with Pendragon. The regal piano playing at the end is the perfect way to close the opener.

“The Queen’s Lament”, sounds like a wonderful mix of Loreena Mc Kennitt and Ritchie Blackmore’s, Blackmore’s Night, solo projects. It opens with, warm, fireside like acoustic guitar. Hayley sings, “Well here I lie waiting, for my love to come. My heart is beating, my soul already won. My husband is an old man, he doesn’t have my needs. This life excites me, and caters for my greeds. But what would he do, if he saw him at my side. His majesty, would overrule his pride. But what he does not know, can surely do no harm. He loves me come what may, I will feel no more alarm”. However, the story does not end there…or happily for the Queen. Troy Donockley’s pipes and whistles, along with the celebrity filled choir, help take you back to the Medieval era depicted, so authentically.

“Here In My Heart”, opens with the sounds of flowing water and wonderful acoustic guitar and soft keyboards, building a soundscape of ethereal imagination. The pipes and whistles join in to take you back in time. Hayley sings, “I’m waiting alone here for the world to define me. For the world to align me. Here in my heart”. You can imagine her sitting next to a stream thinking these thoughts and enjoying the natural surroundings. She continues, “But here in my soul, I’m waiting a stranger. And I’m starting to change her. Here in my heart”. Violin playing joins the soundscape to truly make this ethereal dream so real. Hayley sings, “There in the distance, you will see me. As fast as you run you will never get near me. Chasing the line. But never in time to see. You’ve got love in your head, as you felt our hands meet. Love in your soul as you felt my heart beat. Love in your heart as it tore you apart from me. Can’t you feel me calling”. A song of longing. Wakeman’s keyboard solo reminds me of so many, by his genius father. Just excellent!

Autumn is my birth season, and it is also remains my favorite season of the year. So, I already had a sense of intrigue about this song titled, “1000 Autumns”. It opens with beautiful piano and soft acoustic guitar. Hayley sings, “I can’t believe you’re not here. I thought after all this time. I’ve been planning this night for a thousand years in my mind. I didn’t know what to think. When your heart walked out of the door. I’ve been planning this dream for a thousand autumns or more”. Another song of longing. And Autumn is one of those times when you need someone with you to appreciate all of the beauty. One of my favorite songs on the album. Wakeman’s synthesizer solo is epic. The solo electric guitar playing is also amazing.

“Marble Arch”, opens with soft acoustic guitar and piano. Hayley sings, “He stands under the marble arch, wondering if she knows why? He hasn’t seen the dawn for days, and he looks up to the sky. He thinks that she’s a business woman from an up-town firm he knows. Ignorant of her secret life, it’s the one she never posed. If he finds out it could break his heart, be the end of him. But scientists aren’t supposed to feel, it’s the way it’s always been and he says. “Oh darling, don’t you want to see me now? I’ve been waiting here for such a long time now”. They get a little jazzy with this one, adding saxophone and clarinet. A short spy thriller, with kick ass guitar solos added for enthusiasm.

“In The Moonlight”, has a beautiful acoustic guitar opening. Hayley sings, “In the moonlight. You could hold my soul. In the moonlight. You could lose control. In the moonlight. You could have my lonely heart. In the moonlight. You could hear my mind? In the moonlight. Could you still be kind? And if my soul came to take your soul. Would you fly away? Don’t leave me here, don’t leave me now and in the morning, we can fly away…” A powerful, reaching out, love song. Almost like hearing Kathy singing, from outside the window in Wuthering Heights; or Kate Bush’s famous rendition. The keyboards, electric guitar, pipes and orchestration weave a ghostly and ethereal realm, more than worth experiencing.

“Miss You Now”, opens with a Scott Higham drum salute, before Oliver’s synthesizers take over. Electric guitars and bass are added. Hayley sings, “So you live miles away from me. Doesn’t mean I don’t miss you now”. Another wonderful love song, full of Hayley’s beautiful vocals. A ripping cool electric guitar solo fills this one with power. As Oliver completes the song with another excellent synthesizer solo.

“Instead Of My Fear”, opens with a country-like acoustic guitar start. Hayley sings, “Well you say that you’ve got a new reason. Well the last one you gave was pretty poor. To be honest you’re that close to treason. You’re the only one you really adore”. At times she reminds me of Neko Case here, (who I have been listening to a lot lately). Hayley continues, “It was the night times I always found hardest. Not knowing if you were you coming home again. Holding her close to your heart whilst I’m the one who’s farthest. From thoughts of your old life, friends and your old wife”. The story almost sounds like something Neko Case would conceptualize, as well. Though, these artists have probably never heard of Neko. And Neko does not have any keyboard wizards like Oliver on her albums. A very nice bluesy, feel to the end, of this one. Thanks.

“Lonely”, is a vocal showcase for Hayley Griffiths. Hayley sings, “I can’t believe you didn’t show. I thought that we had a deal. It was ten years ago to the day. We both agreed this was for real. I said “I’ll meet you at table four. In the restaurant by the market place. You wear your suit and your tie. I’ll arrive fashionably late”. There’s nowhere to run. There’s nowhere to hide. It’s something that you and I just can’t deny. There’s nowhere to turn. There’s nothing to learn. It’s a feeling that hits you and then starts to burn. And I don’t want to be lonely any more. I just need you here by my side. And I don’t want to feel lonely any more. It’s burning me up. It’s burning me up inside”. A powerful song of longing full of impressive acoustic guitar and some of Oliver’s best keyboard solos on the album. The acoustic guitar and Troy Donockley’s pipes and whistles remind you from whence this music originates.

“Golden Sun In Grey”, opens with epic soundscape orchestrations and synthesizers. Then you hear Troy Donockley’s pipes and whistles. Scott Higham’s drum salutes, immediately took me back to Fugazi era Marillion. (Been listening to that a lot lately, as well). Then, after some wonderful acoustic guitar, Hayley sings, “My heart is to the ocean. As my soul is to the sea. My love’s everlasting. Will bring you back to me. My body is an island. Awaiting you to land. My eyes are like a tide pool. That reach towards your hand. Stay, stay, as your heart moves further away. Pray, please pray for the love we have to stay. My breath like the clouds. Drift high above my pride. My thoughts like a sea breeze. Searching for your side. My arms are the currents. That help bring you to shore. My feelings ever deeper. Wishing you for more. But as I lie dreaming. Golden sun in grey!” The piano playing is out of this world. Classic and regal, simultaneously! The acoustic guitar playing took me back to Al Stewart’s Year of the Cat, (if anyone still remembers that classic). A song, full of love for the sea; yes, this is by far my favorite song on the album.

Wow! Absolutely stunning! Oliver Wakeman, with Anam Cara, has created something grander than The Six Wives of Henry VIII; one of his father’s famous albums, (which I have also been listening to recently). This album has everything you could possibly want. It has influences from some of the greatest sounds from the UK. Sounds of Yes, Loreena Mc Kennitt, Blackmore’s Night, Marillion, Kate Bush, and Al Stewart. It is grand in design and creation. Every moment is a pleasure to appreciate and experience. How often do you say that about an album?

Hayley Griffiths was the perfect choice for this album! Her voice is both elegant and emotive. She is the star Oliver picked to give this album its distinctive sound. However, without Troy Donockley’s pipes and whistles, this may have been made on the Moon. His added touch here, is there to remind you, from whence this music emanated. Every moment of this album is an experience worth having, and cherishing throughout the year. Please give Anam Cara your time and listening pleasure. One of the best UK albums I have heard this year and should be on my list of the best albums of 2024.

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