THE MYTHS AND LEGENDS OF KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE

Some albums have achieved legendary status. "The Myths And Legends Of King Arthur And The Knights Of The Round Table," the bombastic solo album from 1975 by the then ex-Yes keyboardist Rick Wakeman, is such a pinnacle for many. I also have incredibly fond memories of it. This is, of course, due to the overwhelming impact the album had on me as a prog teenager in the late 70s. Wakeman's impressive keyboard virtuosity, the rich sounds he extracts from the Moog synth, the imposing choir, the pompous orchestra, but also the usual elements like vocals, guitar, bass guitar, and drums not only shaped my taste but also justified the bombastic side of the prog genre for me.

In the mid-80s, I happened to listen to the radio by chance. It was unforgettable. I caught a glimpse of the news, and then my transistor radio emitted the sounds of the theme that revolves around Arthur, the opening track of the aforementioned album. It turned out to be the leader of the program 'Het Weeshuis van de hits' (The Orphanage of Hits). What a great choice. From then on, I tuned in every Sunday afternoon to the program presented by Peter van Bruggen and the little Morrison. I was slightly addicted to that tune.

The album opens with the iconic line: 'whose pulleth out this sword from this stone and anvil, is the true-born King of all Britain.' It sounds cinematic, and you are immediately immersed in it. The orchestra kicks in with the theme where the trombones delightfully soar. No one disappoints here, and that applies to the entire track. The vocals are fantastic, and the drums sizzle. Wakeman himself is the master behind his keyboards. He must be delighted with his creation, as Arthur features on many of his live albums.

The composition continues with Lady Of The Lake, a short dark piece with a male choir. It perfectly sets the story taking place in the early Middle Ages in the right light. The contrast with the subsequent Guinevere is enormous, and this tingling ballad needs that contrast. The song is nothing more or less than a love declaration from King Arthur to his wife. Wakeman and company make it a musical delight again. While the piano play forms the backbone of this captivating song, synthesizer and a short guitar solo tastefully complement this ballad, along with the vocals and the choir.

Even with tracks like Sir Lancelot And The Black Knight, Sir Galahad, and the closing The Last Battle, the keyboard wizard manages to captivate to the core. For me, this album is a gathering point for everything I appreciate about the man. He uses his virtuosity for flashy play draped in beautiful compositions full of strong melodies.

The most remarkable track here is Merlin The Magician, where Wakeman, in a Comedy Capers-like Boogie Woogie, tries to be faster than his shadow. The closing The Last Battle is typical of such a concept finisher. It is a beautifully carried piece with a comprehensive variation on the theme of Arthur. A narrator comes along to increase its drama. In the end, the choir and orchestra, in full regalia, bring the Arthur tune for the last time.

I was already completely enamored with the album at the time, and still am. That won't change in the future. I am quite conditioned. As soon as I hear the tune, I am so happy that I spontaneously start to beam.

Originally posted on www.progenrock.com