replies from Rick to a series of questions put to him during April 2000
whilst on tour in the UK.
Hinchliffe in the UK
Inspired him to do the album or how did it come about.
does he think of the album in retrospect.
did he choose the musicians
Rick tend to incorporate new sounds with each batch of recording?
as I'd love to, I just haven't the time to go through my entire
catalogue, you're welcome to pick out a few specific examples
if you like.
had the WwW gimmick all over it. He doesn't normally go for Gimmick
understand what is meant by the WwW gimmick?
influence did Adam have on him?
be honest , Adam has not had any influence on what I have
done or what we have done together.
influence did Rick have on Adam (Adam's solo stuff is very different
except on Vignette. I wonder why?).
don't think I have had much influence over Adam either.
inspired such a shift to a rock album for a change.
are driven by what you have most recently written stylewise
and also what is fiscally available!
makes him use Chrissie on a song?
love Chrissie's voice and subconsciously I suppose songs
that have a female slant I tend to write with her in mind.
does she almost never appear on a full album?
suppose the reason that Chrissie has not appeared on a full
album is simply because I have never written an entire album
with her in mind.
Rick write in a particular style for her.
I do write specifically with her in mind , but I always
do that regardless of whoever the singer is.
era, but on Phantom Power why did he use vocalist on a silent
brief with Phantom Power was to produce a brand new sound
track for the original film. I therefore took the three
main characters from the film and had each part "played"
in the sound track by Ramon Remedios, Chrissie Hammond and
how did he choose who to use?
wanted three totally different styles , hence a female vocalist
, a male rock vocalist and an operatic tenor.
a pleased with the results. It is one of my favourites and watching
the Video is like being at a concert for me. It seems a very
strange still for general public though.
happier with the film than I am with the soundtrack CD.
I think the film works really really well. The album turned
out too bitty for my liking but however hard I tried I couldn't
cure this to my satisfaction.
Rick's sounds in general change with the keyboards? e. g. it is
interesting comparing the sounds on the Italian albums.
understand this question
tour he seems to learn a new lesson in finances, does he think he
will ever manage to get things to work? Or is the industry too cut
question. Quite simply , the industry is cut-throat and the
"artist" is always the one expected to take all the risks and
be the last to get paid after everybody else has , and providing
there is anything left over. This is unlikely to change , unless
my fortunes take a massive sudden upsurge !
he get frustrated at his lack of money?
I have some dream projects that I would love to get my teeth
into , but I am like most other people and have mortgages ,
bills and wages to pay which means I don't have the financial
back-up to take months off here and there in order to produce
all the things I would really like to, before it is too late.
Rick feel each of the Trilogies still has their own style?
of. they are all written to a formula that we know works as
regards relaxation and meditative moods and so there will always
be a similarity with them.
he still write with a mental image in mind?
I write has a picture. Some are "stills" , others are almost
does he cope with Lyrics?
love doing lyrics. If however I find I can't make it work
the way I would like , I get a lyricist on board , normally
one I really like such as Tim Rice.
he always considering lyrics or is it something he has to force
himself to do?
am always working on the lyrics whilst recording and sometimes
whilst writing the song.
comes first the music or the Lyric?
the music comes first although more often than not I have
the chorus line lyric or a major line in the song from the
he prefer song format or music if he listens to something?
if the truth be known.
does he prefer to write?
although occasionally I come up with some lines that I really
like or complete songs that I feel have a really good balance
of music and lyrics. "Return" is a good example of this.
do follow up's rarely have the same feel to them?
really understand this question.
does he think of Oliver's albums.
am very proud of Oliver and what he has achieved. He is
brilliant at persuading people to work on his projects for
little or nothing ! Good for him. I wish I had had the same
fiscal tenacity when I started out, and even today! I liked
a lot of Jabberwocky. I also like his piano playing and
think he should do another album in that style at some time.
has he never worked with him? (Except to narrate Jabberwocky)
a suitable project ever arose it would not be out of the
question. The same goes for Oscar (drummer) and Jemma (vocals
were the Merlin lyrics written and why?
Merlin lyrics were written after a dream. I was putting a show
together and often go to sleep still thinking about the set
which invariably turns into a dream. Ashley sang Merlin in the
dream. I remembered most of the lyrics when I awoke and wrote
them down immediately. Ashley sang Merlin on the tour that followed.
you ever tried to get the 1987 BBC Gala concert released on CD?
don't know which concert this is. Any clues ?
I am criticising other bands set lists you tend to be the standard
I am criticising them by. Not only do you tend to change the set,
you even change the arrangements a lot. (A friend asked me to put
all the released Merlins on one CD-R and amazingly it is a good
listen!). I still have complaints about your sets though. It is
very rare you play current songs in a set. When you do add something
for the fans it is nearly always from the 70's. Would you like to
be able to include songs from the 80's or 90's? Do you feel you
have to have things like Eleanor and Bowie tracks in the set in
order to appeal to the large public audience that only know you
as "a funny bloke from TV".
question this. I always change arrangements of pieces in order
to keep them fresh for all concerned. I do always try and put
in at least one track from whatever is the current album. Big
problem when there's 90 odd albums to choose from though! I
can honestly say I don't put any piece in that I don't want
to play or enjoy playing. Certainly playing Bowie stuff and
Eleanor does help the show as regards new friends in the audience
who don't know any of my music. I really don't mind this as
I am able to arrange the pieces in my own style.
did Rick find Chrissie? I think you first used her on African Bach
but again this is before my detailed level on knowledge on Rick.
was recommended by Ashley Holt when I was looking for a female
singer for Phantom Power.
original version of Hymn has quite a long start with little going
on. Rick solos on it on later versions and that really makes it
for me. I wonder if Rick decided the same and what his original
pretty much hit the nail on the head here. The Battle Hymn or
Hymn of Hope as it is sometimes called , has certainly developed
over the years. When I heard the original version , mixed and
pressed , I really liked it but always felt it could have been
more powerful as regards the backing for the vocal and so when
the opportunity arose I added mini moog and choir and additional
guitar, and was very pleased with the final result.
we might as well ask Rick - I wonder if anyone here ever saw the
performance of Softsword at the Dickens 1991 Festival at Rochester?
If so I would like to hear any memories. What was it etc. ?
I missed it. Friends who were there said it was chaotic , with thousands
, or seemingly thousands , of men dressed up in various uniforms
firing various things off at each other whilst the music struggled
to be heard !
hope you will do whatever you have to too keep touring it is great
being a British Rick Wakeman fan!
do enjoy touring but it is becoming physically more and more
demanding and after the last tour I now own up that I am not
the man I physically once was.
we have a list of what the pieces on the Private Collection are.
i. e. their reason for writing, era, and reason for inclusion etc.
Basically the notes that should have been put on the album in the
actually don't have a copy of the album ! I'll get a track list
and I'll answer the question!
soundtrack of "Bullet to Beijing" and "Midnight in
Moscow" belongs to Rick? Is there any chance of it being released
are currently trying to find out who actually owns these soundtracks.
there is the possibility of one album being made up from the
music of the two films , but ownership has to be sorted out
first, a very difficult subject this.
- Why does Rick Manage himself? Or does he?
do to a certain extent because every manager I have had in the
past fifteen - twenty years has just collected their percentage
and brought in no new areas of musical work. I use agents where
necessary and pay them their percentages accordingly , but I
feel "why should I pay 15% to a management company when I get
the work directly and do everything necessary to obtain it".
If a manager came along who was willing to collect a percentage
of the work he actually obtained , then that would be a different
matter , but that is unlikely. I don't like managing myself
, it is unsatisfactory in almost every department.
Rick think that he would better to concentrate on the music composition
only and leave other professionals to do the work like mixing, saying
what should or shouldn't appear on this or that album, to sign contracts,
distributors, etc. . .
do leave the professionals to do all the mixing. I use lawyers
for contracts, but as regards what appears on albums. If that
decision isn't left to me then I might as well not be involved
at all ! If my name's on the cover then I stand or fall by what
music is on the CD.
- Don't he think that he should keep to the Epic or Symphonic style,
which most people know him for (like he did with King John!) even
not having an Orchestra and Choir available, meaning that he could
use keyboards and have layers and layers of instruments producing
this kind of music we were used to hearing in the past?
would certainly like to do more "epic" work , but everything
is fiscal driven. Big epic works take time and cost money. If
the budget is not there then they don't happen. You have to
tailor your suit according to what cloth you have.
does he think of Liquid Tension Experiment?
heard of it. Sounds like a description of a bladder complaint.
he ever consider a project like it?
I don't know what it is I can't really answer the question at
the moment I'm afraid. I'm intrigued now !
he consider adopting a "Virgil Fox" sort of role in bringing classical
music into the lives of today's musically narrow-minded youth? By
that, I mean one-man touring concerts with fancy lights, lasers,
effects, and classical music. Some variations rocked up, some traditional.
, not with classical music anyway. I like the idea of an over the
top one man production show though !
Rick any plans, or considered, issuing sheet music for his piano
work (Airs, Preludes, Heritage Suite, etc. ), or maybe doing some
sort of tutorial book or video for keyboardists?
would love to have the stuff available on sheet music. The problem
lies with the publishers. They claim it is not an earner for
them. Anything before 1994 I'm not allowed to do anyway. This
means anything published by Rondor Music is a non-starter. Both
publishers who have dealt with my music since then have expressed
a minor / moderate interest but want me to produce all the music
on manuscript for nothing. There is about two months worth of
solid work to produce a good quality music book with say 30
titles in it and I just can't afford to do it either time wise
or financially. It is a very frustrating area.
developments in the plans for a Wakeman/Emerson tour?
is moving ahead. the music for the album is written and Keith
and I are very happy. Touring plans are moving very slowly though.
Rick tell us of any conceptual themes he might be saving for future
have any , if the truth be known. have to say , I doubt whether
I would let the cat out of the bag if there were though !
Rick ever considered putting together an instructional video (or
multimedia presentation) keyboard tutorial?
have been asked to do this many times and turned them all down.
Once I have offloaded my "secrets" then I lose my individuality.
Heaven knows the business is difficult enough without having
to compete with other musicians who know exactly how I work!
If "lottery" money were offered though , I would have to seriously
reconsider this view !
keyboard and recording hardware would Rick recommend for an beginning
musician/composer or hobbyist?
one this. It's like trying to tell someone what car they should
have. I always suggest they visit a large keyboard store and
try everything and pick the one that suits them personally the
isn't Rick invited to do more soundtracks? It seems such a missed
opportunity for filmmakers.
are a couple on the table at the moment, I do get offered quite
a few, but of course the deals have to be right.
hasn't 2000 AD Into the Future been more highly promoted this year?
The music is fantastic and is obviously relevant.
point. Can't give you a decent answer. I believe President Records
have it , so maybe the question should be redirected to them.
is your current opinion regarding the Internet, and its use as a
marketing tool for your work? Wayne Smith is hosting some great
sound samples at www. rwcc. com and it is a wonderful method of
promoting your latest release!!
think that the Internet will be crucial to people like me. It
already is in so many ways. I can see it's role growing even
more over the coming years.
you have any plans to release something with Oliver? With the whole
family? - You, Adam, Oliver, Nina (marvellous speaking voice!! )
for the realms of self-indulgency here ! One for the hard core
supporters for sure , but a sure fire loser with the rest of
the world. I am planning some tracks with Jemma though who has
one hell of a voice.
you ever be able to own the rights again to any of your earlier
works?? ( the A & M years) It seems a shame that your hands
are tied in regards to doing anything with these treasures, which
many people seem to be so interested in.
own not even 1% or earn one penny from anything pre-1995. No
chance of getting any of it back either. I appreciate how important
all this music is to me as it is what has enabled me to keep
working , but I have to try and look ahead as I have overdrafts
and mortgages and wages to pay just like the next man and so
it is product after 1995 that I am looking at in order to keep
my family fed and watered !
a minute to mention some of the charities that you are involved
in. . . I have noticed SPARKS mentioned at RWCC. . .
Clatterbridge Hospital, Sight Savers, Roy Castle Foundation,
Variety Club, Grand Order Of Water Rats. The first two are my
would you like to be best remembered for?
be amazed if anyone remembered me within a month of my (hopefully)
meeting my Maker.
the years, many amazing Yes rarities that you composed and played
on have been heard about, but not released. Are there any plans
for a Yes archive release, that might cover some of the many studio
and live pieces, as yet not officially available on any album or
the YesYears box set ?
think it's sadly highly unlikely. YES is fuelled by individual
greed as regards pieces that appear on all YES product. I think
it is highly unlikely that any of my "lost" YES stuff will ever
see the light of day. I have even heard that certain members
of the band who will remain nameless have actually had some
stuff erased. Certainly that is the case with Keys 2.
past interviews, you have expressed an interest in returning to
the material created during the aborted Golden Age sessions. Have
the original master tapes reappeared yet, and might such a return
be a band or solo effort ?
knows where the tapes are and even if they're still in a usable
condition. I would like to finish the Paris tapes of with Jon
for sure , but Heaven only knows where they are.
your time with Yes, there were thousands of concerts performed,
but only a handful of live releases. Are there any plans for more
live album(s) from the years you were with the band ?
of my life this band ! There are loads of footage about , including
the UNION tour. Some is fantastic. Problem is , nobody can agree
in the band as to who owns what. It's all rather pathetic. I
never seem to see any money from any compilations that appear
recent years, especially since the creation of cdrs, there has been
a growing interest in bootlegs. What is your opinion of unofficial
recordings, that bear your name but are not endorsed being available
one this. If the record company's won't release the stuff and
the fans want it , then you can't blame them for buying bootlegs.
The answer's obvious. Get the stuff out officially.
was reported that you were unhappy with the versions of the studio
songs on Keys To Ascension 2, and that one recording had been omitted
from the final release. Are there any plans for the release of the
original versions with the missing piece ?
that I know of. I was very unhappy with the way that keys 2
finished up , but if you're not in the band , you don't have
to the pre-release postings about your recent album, Preludes to
a Century, it was to be called Preludes to a Millennium. Why did
you change such an apt name ?
was President's idea, and I think a good one. People may well
tend to think of this year as being the only one associated
with the Millennium and so would "date" the recording. I have
left the title track as Prelude to a Millennium though.
you are recording albums, how do you choose when to make the releases
1CD, when to make them 2CD, or even 3CD ?
simply , it depends on the amount of music that I have.
the years, you have composed hundreds of different songs. How do
you successfully compose so many unique songs when there must be
thousands of tunes by other people inside your head ? Under what
circumstances do you find you can compose the easiest, and how do
you arrive at such magnificent pieces of music ?
idea. You have inspiring moments and days , sometimes weeks
when no inspiration comes. I don't look for it , question when
and why it appears and never try to analyse how I write. That
is searching for the x factor and the x factor cannot be found
have been some releases where you have re-recorded Yes music, solo
music and other artists, such as Greatest Hits, The Classic Tracks
and Tribute. How do you decide which tracks to re-record, and have
you received any comments by the members of Yes or the Beatles on
the music that you have covered ?There
has been a belief among fans (including myself until recently) that
your first solo album was The Six Wives of Henry VIII, but looking
at your discography, Piano Vibrations is listed as your first album.
Why is this album not mentioned much and are there any plans to
make it more available since many fans find it difficult to obtain
a copy ?
simply pick what appeals to me. I have never had any comments
back from either the Beatles or Yes as regards my arrangements
of their compositions. Piano Vibrations was not my first album
, the 6 wives was. Piano Vibrations was a session where I played
piano on an album that was meant to be for a male vocalist ,
who's name I can't remember. When I started doing quite well
with Strawbs , PYE records took his voice off , bumped up the
piano part in the mix , which was mainly accompaniment anyway
and put it out with my name (in very small letters on t he back).
A&M sued them and it was eventually withdrawn. For the record
, I was paid £9.
the Guitar Legends concert at Expo, there was talk of a album being
made by the performers, how far did these plans get and might the
concert become available in the future ?
thought an album did appear ? Obviously not. I know there were
a load of contractual difficulties.
enjoyed the performance of "Noah" and was hoping it would
one day be recorded and released. Rick has expressed a similar desire
in the RWCC newsletters and also mentioned another couple of choral
there any realistic prospect of a recording?
loved Noah too. there are two other pieces waiting to be
finished with choir etc. in order to complete the album.
It will be done one day, when finances allow !
the other pieces been written or were they just concepts?
ECC seemed to enjoy the performance of "Noah". To
me this was probably because it gave the entire choir lots to
do instead of playing second fiddle to a few soloists. Have
they performed it much? Has anyone else performed it?
believe the choir have performed it two or three times since
with a back track that I prepared especially for them.
the performance I was talking to Happy Holden and he was saying
that the concert was originally pencilled in for the Barbican
and Rick was working on another piece with a more secular theme
(something to do with Circus perhaps?) that didn't seem so appropriate
in a cathedral. It also featured more keyboards which was why
Adam was initially listed as appearing. Is that a completed
correct. The circus piece was never completed and it doesn't
look likely that it ever will.
other choral works in the pipeline?
those to complete for the Noah album
have thought the a "Christmas album" by yourself would
be a welcome addition to your catalogue. The idea is not a new one
I accept but few actually carry it off successfully I am sure you
could. Keith Emerson has recently done something along these lines.
Maybe a "festive" collaboration ?
purely for financial reasons that the Christmas Album has never
been completed. Keith and I are unlikely to do a festive collaboration.
He has already done one , and when I've done mine, that will
you ever thought of doing ". . an audience with. . " type
TV show. With your friends in the entertainment world it could be
a great show. Maybe a celebrity band !!!
to! The offer has to come from a TV network though.
have often spoken of your wish to play with Trevor Rabin again.
Would you ever consider participating in a "special" YES
concert/festival including numerous current and ex-YES musicians,
or are all bridges burnt?
say never ! If Trevor were involved I would have to say I would
certainly think about it. I'm not sure that Trevor would be
keen though as I think there weren't just bridges burnt - more
blown up with terminal destruction the order of the day!
the creation of your music do you use sounds (digital/analogue)
as part of the creative process itself? Could you mention any tracks
that have been "sonically" inspired by a particular sound
Everything is written on the piano and then I consider the sounds
to use once in the studio.
Rick think that his church organ solo in the "Judas Iscariot" piece
from his "Criminal Record" album (Summer 1977) influenced Andrew
Lloyd Webber in the composition of his "Phantom of the Opera" done
10 years later and on stage for the first time in October 9, 1986?
Sounds soooooo alike that makes me wonder if fragments of Judas
were not later incorporated in that famous opera.
very good point. It has been mentioned before. The publishers
at the time looked long and hard at it but apparently there
was not quite enough plagiarised in order to make a definitive
case. having said that , I have often thought that the power
wielded by the Really Useful Company certainly played a part.
As it happens I wouldn't have received a penny anyway as I don't
get any royalties pre 1995 for anything I wrote.
the piano intro on Awaken recorded in real-time?
was Morning Has Broken recorded in D flat Is that your favourite
certainly wasn't ! It was recorded in C. Must be a problem with
the CD somewhere !
what extent did Trevor Rabin contribute ( if any) to the composition
of "Never is a Long, Long Time"? He's quite a genius.
had nothing to do with the composition of the piece. Obviously
the guitar solos are all his own ideas. I also think he has
a touch of genius about his playing.
I've lost the cover to Yessongs, I'd love to know what gear you
used for your "Six Wives'" excerpt.
a clue ! certainly there was a mellotron or two and the mini
moogs were linked to a very early sequential circuits sequencer.
A crumar electric piano would have been around along with a
Hammond C3 and a Yamaha Grand Piano, which is now in my house.
There would also have been at least thirty beer bottles on top
of the equipment.
was the extent of Rick's involvement with the BBC "Classic
albums" show. Did he:
select the albums?
write the programs?
he simply "voice over" the program?
another series planned?
Rick any interest / plans to write a purely orchestral or orchestra/piano
, but it will take time and would need commissioning. There
is a trickle of interest out there so it may happen. I am currently
in conversation with the powers to be at the Royal Liverpool
Philharmonic and their orchestra.
Rick any plans to do a piano album with or without an orchestra
of classic pieces? Items such as "Pachebel (Cannon in D major)"
, "Claire de Lune", "The Day Though Gavest Lord,
Hath Ended " from the current tour spring to mind but there
must be many others.
has also been suggested by a few other people recently and is
certainly worth looking into.
you signed with EMI Classics was it just a 1 album deal or are there
any possibilities of any more releases through them?
a one album deal. I would imagine that until EMI have recouped
the cost of RETURN that there would be no possibility of any
more releases by them. I thoroughly enjoyed working with them
and they were fabulous people throughout.
you know anything about the American releases of the central TV
gig & The Classical Connection on DVD & if so are they legit
? (or is it a "Classic Tracks" style rip-off?)
release is legit. I have no control over it.
will the DVD of the Marlborough concert be released? & will
it contain all the "banter" hope so :-)!!!
June. There will be at least four versions , some will certainly
include the banter.
happened to the proposed collaboration with Fish (Half man half
never happened I'm afraid. It was on the cards whilst we shared
the same management. Always a possibility I suppose for the
future. I love his voice.
you think that it would be worthwhile organising a petition either
through the RWCC or the website to push for Charisma/Virgin Records
to release The Cost Of Living, Gole, The Burning & 1984 on CD
in the UK? (I'd be happy to help arrange it, if it's worthwhile
hassling Mr. Branson's empire)
really to be honest. I might have a try though and see if they'll
license the stuff back to me. Not a bad thought that - Watch
this space !
By Moonlight" beautifully catches the mood of this city by
night. Where does the inspiration for this piece come from?
literally from the title. I have been lucky enough to have been
there in beautiful moonlit situations and so the piece was literally
written with my eyes shut whilst the memories formed pictures
in my head.
or Drum-Computers? A musical or an economical decision?
I like to use a combination of both on recordings as I did with
RETURN. On stage , no competition - live every time.
- Does Rick still have a Mellotron and/or use it (like it?)
have any mellotrons anymore. The company that makes mellotrons
now very kindly have offered to sell me one. I have very
kindly told them that if I use one which will enhance their
sales , then I'm not paying for one !. Therefore I don't
have one !!!!
technical progress and its possibilities - why not record an
Album using good old Hammed Organs, Clavinets, Mellotrons, etc.
(the Mini Moog reintroduced was a good beginning!)
mentioned above. I don't have any.
Hughes to appear with Emerson/Wakeman ? Emerson to appear with Wakeman?
Rumour or truth? Anything already decided?
Emerson / Wakeman CD will be instrumental, but there will be
a bonus CD given away with the recording that will contain stuff
from Keith and myself that we are perhaps well known for , We
will be appearing on each others stuff on this give-away CD
as well and because a lot of this will require vocals , Glen
Hughes certainly seems to be the front runner having already
recorded a version of Tarkus with Keith.
have obviously enjoyed many of your compositions incorporating some
of the most beautiful sounding church, or cathedral, organs in Europe.
When you introduced Jane Seymour during your 50 years, or Half-Century
tour last year (I saw you in Luton and enjoyed it immensely - perfect
timing that I was in the UK then), you commented about the sampling
of the organ to allow you to play it for the tour. While it's necessary
for your performances, I noticed a lot of controversy, while in
the UK, about an organ going electronic in Oxford at that time.
How do you feel about the "electrification" of so many
cathedral organs? Aren't we losing a sound that can't be produced
anywhere else? I understand the expenses involved in maintaining
such fine instruments is considerable. But I think part of the sound
of the organ is the environment it is located within. Do you favor
the trend to make convert them to an electronic instrument?
I hear about £500,000 being needed to restore church organs
I have to admit I raise my eyebrows. If the organ is of historical
significance and importance then perhaps it should be saved.
Most churches are fiscally driven these days and so to go electronic
does seem to be the answer.
exercises do you do to get your fingers loose?
I'm not on tour I simply play the piano for about 2-3 hours
daily. I suffer from rheumatism badly so I have to keep them
as supple as possible and regular practise is the only way.
has Lisztomania (which I picked up on vinyl a few weeks ago, in
perfect condition I might add) never been released on CD (except
in Japan)? And will it get a general re-release someday?
records own it , and as A&M no longer exist it's unlikely that
they will release it. I was actually unaware that it had had
a CD release in Japan. Thanks for that info !
music on the LP was also in a class of it's own (mainly the synth
and keyboard pieces) and I'm wondering if Rick thinks whether the
music on Lisztomania would have a bigger impact today (if it was
re-recorded), as it did when it was first released in 1975.
it certainly could be improved upon with today's keyboards.
It would not be financially worth it though as I don't have
any publishing rights and the film was not successful enough
to warrant the re-recording.
finally, why did the movie soundtrack lack the raw energy that the
soundtrack album displayed (especially in the keyboard & synthesiser
pieces which were absent in the movie)?
suggest you ask the music editor on the film that !!!! (good
point though) !
the appearance with Bill Bailey on 'Never Mind the Buzzcocks'. I
think it could go down a storm on the comedy/cabaret circuit if
developed a little. Any aspirations in this direction?
for live purposes , but would love to see it developed for television,
but how many times have I said that !