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BOB

THIS RECORD COMES FROM THE TIME I WAS THE MUSIC & PROMOTIONS COORDINATOR FOR A MAJOR NATIONAL RADIO NETWORK BASED IN THE L.A. AREA. WHEN I STARTED WORKING THERE THEY WERE IN THE PROCESS OF GETTING RID OF THEIR RECORDS FOR CD'S. I ALSO HAVE SOME THAT WERE GIFTED TO ME BY AN EMPLOYEE OF THE NETWORK THAT WAS RELOCATING BACK EAST AND DIDNT WANT TO KEEP HAULING THEIR RECORDS ALL OVER THE COUNTRY. ALSO A FEW MAY BE THRIFT STORE FINDS. I AM CURRENTLY DOWNSIZING.THIS LP IS OPENED BUT UNPLAYED. VISUALLY GRADED.

THE PHOTO'S MAY BE A LITTLE BLURRY (SORRY ABOUT THAT), BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON. THANKS FOR LOOKING. THIS ITEM IS PLAY GRADED ALSO.

ARTIST- RICK WAKEMAN & CAST

TITLE- “RETURN TO THE CENTRE OF THE EARTH”

TRACK LISTING-SEE PHOTO & BELOW

A1A Vision 2:33 A2The Return Overture 2:40 Mother Earth 3:48A3.aThe Shadow Of June A3.bThe Gallery A3.cThe Avenue Of Prismed Light A3.dThe Earthquake - A4Buried Alive Vocals – 6:01 A5The Enigma 1:18 A6Is Anybody There? Vocals – 6:35 B1The Ravine 0:50 B2The Dance Of A Thousand Lights 5:41 B3The Shepherd 2:01 B4Mr Slow 3:47 B5Bridge Of Time 1:12 B6Never Is A Long, Long Time Vocals, Guitar – 5:19 Tales From The Lidenbrook Sea 2:57C1.aRiver Of Hope C1.bHunter And Hunter C1.cFight For Life - C2The Kill 5:23 C3Timeless History 1:11 C4Still Waters Run Deep Vocals – 5:21 Time Within Time 2:39D1.aThe Ebbing Tide D1.bThe Electric Storm - D2Ride Of Your Life Vocals – 6:02 Floating 1:59D3.aGlobes Of Fire D3.bCascades Of Fear - D4Floodflames 2:00 The Volcano 2:10D5.aTongues Of Fire D5.bThe Blue Mountains - D6The End Of The Return 5:24 Credits Artwork By [Booklet Design] – Martyn Dean Artwork By [Painting, Drawings & Lettering] – Roger Dean Bass – Choir – * Conductor [English Chamber Choir, The] – Conductor [London Symphony Orchestra, The] – Drums – Executive Producer – Frank Rodgers Guitar – Keyboards, Composed By, Lyrics By, Producer, Orchestrated By – Narrator – Orchestra – Photography – Simon Fowler Vocals –

Notes All titles © 1999 PXM Publishing GmbH.

Total timing: 76:31

This work is a sequel to "Journey to the Centre of the Earth"
The Story is inspired by Jules Verne.

YEAR OF RELEASE- 1999

LABEL- EMI CLASSIC RECORDS UK

CAT.#- 7243 5 56763 1 3

RECORD CONDITION- STILL SEALED IN ORIGINAL SHRINK WRAP, NEVER OPENED, NEVER PLAYED.

JACKET CONDITION- STILL SEALED IN ORIGINAL SHRINK WRAP, NEVER OPENED, NEVER PLAYED.

MORE INFO- THIS RECORD IS CURRENTLY OUT OF PRINT. COMES WITH ALL INSERTS. ALL STAR CAST.

MORE INFO ON THE ARTIST & RELEASE-

Richard Christopher "Rick" Wakeman (born 18 May 1949) is an English keyboardist, songwriter, television and radio presenter, and author. He is best known for being in the band across five tenures between 1971 and 2004 and for his solo albums released in the 1970s. He is a current member of .

Born and raised in , Wakeman intended to be a concert pianist but quit his studies at the in 1969 to become a full-time . His early sessions included playing on "", among others, for and songs by , , , and . Wakeman became a member of in 1970 before joining Yes a year later, playing on some of their most successful albums across two stints until 1980. Wakeman began his solo career in 1973; his most successful albums are his first three: (1973), (1974), and (1975), all . He formed his rock band, The , in 1974, with which he continues to perform, and scored his first film, (1975).

Wakeman pursued solo projects in the 1980s that varied in levels of success; his most successful album was , released in 1981, which was followed by his minor pop hit single, "Glory Boys", from (1985). He hosted the television show , and recorded his first of several , , and albums with (1986) and The Gospels (1987), respectively. From 1988 to 1990, he was a member of which led to his third Yes stint until 1992. He returned twice more between 1995 and 2004, during which he completed several more solo projects and tours, including his most significant of the decade, (1999). Wakeman continues to record albums and perform concerts worldwide in various capacities; his most recent album is (2017).

Wakeman's includes over 90 solo albums that range from several musical styles. He has made many television and radio appearances; in recent years he became known for his contributions to the BBC comedy series , and his radio show on that aired from 2005 to 2010. Wakeman has written three books; an autobiography and two memoirs. In 2017, Wakeman was inducted into the as a member of Yes.

Return to the Centre of the Earth is a by the English keyboardist , released on 15 March 1999 on . The album is a sequel to his 1974 , itself based on the same-titled by . Wakeman wrote a new story of three unnamed travellers who attempt to follow the original journey two hundred years later, including the music which features guest performances from , , , , , and . The story is narrated by . Recording was delayed after Wakeman was hospitalised with a life threatening case of double and , and needed time to recover.

Upon release, the album reached number 34 on the .

Background[]

In 1974, Wakeman released his second solo album , a based on the same-titled by . It tells the story of Professor Lidenbrook, his nephew Axel, and their guide Hans who follow a passage to the Earth's centre originally discovered by Arne Saknussemm, an Icelandic . The idea to produce a sequel album first came to Wakeman in 1991 during a solo tour of Italy, when a journalist suggested to record a new and extended version of Journey with new technology. Several weeks later, during the Union Tour with , Wakeman set up the tentative plan of re-recording the album live in concert with added music in time for its twentieth anniversary in 1994. During the tour's stop in New York City, Wakeman visited the office of and spoke about the idea to an acquaintance, but it was turned down. Wakeman recalled, "He said ... you recorded and wrote [Journey] with what you knew existed with instruments and recording techniques, so you pushed as far you could go. Now if you do it again, is different because you would not be pushing anything". Wakeman was advised to put the idea on hold and think about a new "epic" album with a new story and music, of which he'll "know when the right time is".

After the meeting at Arista, Wakeman went on to pursue other projects and forgot about the idea until it was revisited in 1996, when he received telephone calls from four record companies within a period of two months, willing to fund and release a new "epic" album from him. "By the time of the first call I thought: 'Perhaps this is what my friend [at Arista] meant, because it appears to be a good time'". After working about a possible budget for a new album, one of the record companies dropped out but interest from the remaining three had remained. Wakeman began the search for its story which started with Verne's other famous novel , and proceeded to write music for it. He scrapped the idea soon after, partly due to 's to circumnavigate the Earth by hot air balloon and thinking people will relate his music to the event. Soon after, Wakeman came across a newspaper article by , "who was talking about have sequels for making films, how you have a story and you spin up from the story for a whole new story, but you have a relationship, which is very comfortable for the people who listen a whole new story, new characters, but there's still a relationship." This prompted the thought in Wakeman's mind, after revisiting the original book of Journey, a new story, set two hundred years later, around three travellers who followed the original route but descend from a different entrance so they could experience a new journey. Wakeman purposefully unassigned names or genders for the travellers, "because they could be the person listening".

Wakeman's new idea was well received by the three record companies, and was asked to produce a of some songs, narration, and orchestral parts. However, a problem arose when Wakeman was asked about his backing band as he wished for them or the orchestra not to be restricted to one style, and in his mind saw each group perform a variety of styles, playing "rock things, heavy metal ... I want the band playing a classical thing". Despite being told to continue with the demo regardless, Wakeman expressed some concern about whether his idea was understood properly by the labels; his two eldest sons, and , advised him not to do the album if it could not be produced to his liking. Wakeman came close to shelving the entire project until Nic Caciappo, an editor of the Yes information service and magazine in California, told his friend Dwight Dereiter of at a dinner about Wakeman's problem. A synopsis of the album was sent to Dereiter, who liked it and forwarded it to the European office of , the label's classical music division, as he thought they would understand it better. With further assistance from Frank Rodgers of the music publisher The Product Exchange who soon took over as management for the project, the idea arrived at label president Richard Lyttelton, who invited Wakeman to lunch to discuss the album further in February 1998. Lyttleton supported Wakeman's idea and offered of a recording contract, agreeing to put a further £100,000 into the budget and release the album, to which Wakeman accepted.

Recording[]

Recording began in March 1998 and took place in six different locations, including Wakeman's home studio named Bajonor on the . In its original form the album had a running time of 126 minutes, leaving Wakeman having to cut it down to under 80 minutes in order to fit it on a single compact disc. The result, Wakeman said, resulted in a more "direct" album. He purposefully kept the music a secret from his family, which Oliver thought was strange as he usually plays his work to them. Adam assisted in the choir arrangements.

Lyttelton wanted Wakeman to record the album with a group of musicians that he had never worked with before in order to push Wakeman and the album to "new limits". The idea was strange to Wakeman at first as he already had his rock band the English Rock Ensemble, but said Lyttelton was "100% right" in his suggestion when the album was finished. To perform his music, Wakeman recruited guitarist , bassist Phil Williams, and drummer . Lyttelton gave Wakeman the freedom of choosing the singers for the album, suggesting to use "the right singer for the right song" Wakeman chose singers of a variety of backgrounds and styles to perform guest lead vocals on six tracks; "Buried Alive" is sung by , "Is Anybody There?" by , "Mr. Slow" by , "Never is a Long, Long Time" by , "Still Waters Run Deep" by , and "Ride of Your Life" by .

A narrator was not decided upon until shortly before Wakeman signed his contract with EMI when Gilbert Heatherwick, the head of EMI in the United States, asked who would take the role and suggested English actor . Wakeman was aware of the higher cost of booking Stewart, but Lyttelton liked the suggestion and agreed. Stewart's parts were recorded in August 1998 at POP Sound Studios in , California at a session that was originally booked for two hours. However, Stewart enjoyed the experience so much he allowed the session to continue for the entire day at no extra cost, cancelling the other arrangements he had scheduled.

Recording was disrupted midway through the recording process by Wakeman's failing health. For three months, he worked 22-hour days on the album which took a toll on him mentally and physically. In August 1998, shortly after his arrival from recording Stewart's narration tracks in Los Angeles, Wakeman was hospitalised after he collapsed on a golf course with a life threatening case of double and , and showed signs of . At one point, his doctors gave him just 48 hours to live. Wakeman's illness led to the initial dates for recording the orchestra to be cancelled and rearranged for December 1998.

For the orchestra, Wakeman originally suggested to use a symphony orchestra and choir from with an unknown narrator in order to keep the album's budget at a minimum, but Lyttelton felt happy to use a more well known one and was later glad he "resisted the temptation" to go with Wakeman's idea as he wanted to make the album "to the fullest". The two agreed to use the and the that alone added £122,000 to the budget. When it came to recording their parts at Studio 1 at CTS Studios in , London, Wakeman recalled the experience as the most nerve wrecking experience of his music career. Shortly before the orchestra played, he recalled: "I will hear for the very first time whether at all the arrangements I have done will work, will sound perfect or whether it'll sound terrible, as if the LSO was a third rate brass band. I asked myself what these EMI directors would've done if it had sounded terrible. ... Those final twenty seconds have been the most silent twenty seconds of my life. As if in slow motion I saw the baton going up and even when I only heard a rough mix in the control room it was as if thick clouds were making way for the sun to emerge. That moment all stress left my body as I turned around and only saw laughing faces. If I still had doubts, they all left that same instance."

When recording for the album was finished in December 1998, almost 300 people were involved with the making of the album, which cost £2 million to produce, a considerable amount of money in comparison to Wakeman's earlier albums which were produced on much lower budgets. Wakeman heard the album in its entirety for the first time on 17 December 1998, and received a CD of it in mid-January 1999

Top customer reviews November 11, 2014 Format: MP3 Music|Verified Purchase I only recently discovered this work and this recording, and find it to be magnificent -- perhaps not as bracing as live performances of the original Wakeman JOURNEY TO THE CENTER OF THE EARTH, but also grand and compelling in ways that the earlier piece only hinted at in spots. Wakeman's vision and music have become far more sophisticated in the decades since the first piece. Indeed, comparing the two is rather like putting early Beethoven up against late-era Beethoven, or the Wagner of age 20 against the work of the man who gave us PARSIFAL. As to the realization of the the music, the mix of voice and instruments -- and chorus -- is achieved with far more subtlety and effectiveness than it was for the original JOURNEY TO THE CENTER OF THE EARTH. And Patrick Stewart's voice . . . . he could narrate every section of this piece and it would be a pleasure to hear. And it's all from EMI Classics, of all labels, which has done the whole piece justice in sound and packaging. Byon November 26, 2002 This CD is a welcome addition to the very short list of narrated story albums. As an album, it is good. As a sequel, it is fantastic.
This CD is a sequel to the 1974 album, "Journey to the Centre of the Earth". However, while the 1974 album was recorded live, and was limited to one album of about 40 minutes, this CD was a studio production and runs for a phenomenal 76 minutes. What a great 76 minutes it is. There are keyboards (duh - it's Rick Wakeman), guitars, drums, a full orchestra, a choir, songs by Yes compatriot Trevor Rabin, fellow prog rocker Justin Hayward of the Moody Blues, Katrina Leskanich of Katrina and the Waves, Bonnie Tyler ("It's A Heartache"), Tony Mitchell and the one and only Oz-man, Ozzy Osbourne, and a great narration by Patrick (Captain Picard) Stewart. At this point you know you need to read no more, this is a good album.
If you subtract the vocal performances, you find this album is reminiscent of the original. However, the production is substantially better, and you have a feeling that the concept is more fully realized compared to the original. When you add back the vocals, this album becomes fully realized plus.
All the vocals are good, but some stand out above the others. I think the best is probably Ozzy Osbourne's "Buried Alive". I would like to pick which I think is second best, but it's just too darn hard. I like the rest as well. The range of vocals runs from mellow to Ozzy's rocking "Buried Alive" and Katrina's "Ride of Your Life".
Are there any downsides to this album? I'm going to scrunch myself down really small when I say this. The choir gets just a bit annoying in a place or two. The choir is fantastic. Their vocals are great. However, you can have too much of a good thing. Near the end I probably would have cut their vocals back just a touch to finish off the album a little more quickly. A small thing really. It is possible that other listeners may enjoy the choir and wish there had been more of them.
One more teeny little complaint: Rick Wakeman should get a little help on his lyrics. As a composer, he is awesome, as a lyricist, well, let's say that he's a very good composer.
The story here is complete from the beginning to the end, thus putting this album into the same class as Jeff Wayne's "War of the Worlds". I've always enjoyed stories on albums, and have a complete story set to an appropriate musical background, including a variety of rock songs, makes this album one of the best in class. This album certainly ranks with "War of the Worlds" in concept and execution.
If you liked the original "Journey to the Centre of the Earth", or Jeff Wayne's "War of the Worlds", or any of Rick Wakeman's other albums, then this album is an absolute must have. In the story album genre, this one gets 5 stars plus. Byon August 19, 2005 I may be biased because Rick Wakeman is my all-time favorite musician, but I've heard one or two bores among his MANY solo albums. By Rick's own confession,  was a work he wanted to revisit and give it the treatment it deserves.

So he gathers an all star team of performers (I love most of them - it was as if I had half the votes :-) and writes broadly connected compositions with each performer in mind. For example, he wrote a beautiful song for Justin Heyward and a heavy metal song for Ozzy Osbourne. It's safe to say that those two could not have reversed roles. The same went for Trevor Rabin, Bonnie Tyler and Katrina Leskanich (from Katrina & the Waves.) I had not heard of Tony Mitchell before, but I was not impressed by his song.

Bookending and included throughout the album was a good rock band, The London Symphony Orchestra and The English Chamber Choir. The latter two appeared in the original Journey.... Of course, Patrick Stewart was an excellent choice for narration (again, I am biased as a Trekkie.) The first, last and four other tracks were just Rick, rock band, orchestra, choir.

I thought the pacing and flow throughout the album was excellent. The story is pretty good for a keyboardist trying to be Jules Vern - don't go in with lofty expectations of a tremendous plotline. The focus is on the music for a reason. The rock band held their own, but the choir and orchestra turned in a command performance that moved me emotionally. Couple that with the best keyboardist of our time, and you've got a masterpiece. The first track was a great setup musically and the last track was the most dramatic finish you can have without sounding bombastic.

I normally don't recommend albums like this for outside of Yes fans or Progressive Rock fans. But this album is a unique musical experience that most music fans will appreciate.

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