By his late teens, he was an established session man, playing on records by such diverse acts as Black Sabbath, Brotherhood of Man, and Edison Lighthouse. At the end of the 1960s, his name also began appearing on the credits of albums by such artists as Al Stewart and David Bowie, and one set of sessions with a folk-rock band called The Strawbs led to his joining the group in 1970. After two albums with The Strawbs, Wakeman joined Yes, a post-psychedelic hard rock band that had attracted considerable attention with their first three albums. Wakeman played a key role in the final shape of the group's fourth record, Fragile, creating a fierce, swirling sound on an array of synthesizers, Mellotrons, electric and acoustic pianos. Fragile was a hit, driven by the chart success of the single "Roundabout," and Wakeman was suddenly elevated to star status.
Yes' next album, Close to the Edge, expanded his audience and his appeal, for his instruments were heard almost continually on the record. During the making of Close to the Edge in 1972, Wakeman also recorded his first solo album, an instrumental work entitled The Six Wives of Henry VIII, which consisted of his musical interpretations of the lives and personalities of the said six royal spouses. Released early in 1973 on A&M Records, it performed respectably on the charts. Public reception of Yes' 1974 album, Tales from Topographic Oceans, was mixed, and the critics were merciless in their attacks upon the record. Wakeman exited the group before the album's supporting tour. His new solo album, Journey to the Center of the Earth, adapted from the writings of Jules Verne, and featuring a rock band, narrator (David Hemmings), and full orchestral and choral accompaniment, was released to tremendous public response in both America and England, where it topped the charts. In 1975, his next album, The Myths and Legends of King Arthur and the Knights of the Round Table, was given a grand-scale premiere at Wembley's Empire Pool, although it also cost Wakeman a fortune to stage the event on ice. During this same period, Wakeman began working on film scores with the music for Ken Russell's Lisztomania, which was a modest hit.
In 1977, Wakeman returned to Yes, with which he has continued recording and touring. His solo career continued on A&M into the end of the 1970's, with Criminal Record and Rhapsodies, which were modestly successful. Wakeman's biggest media splash during this period, however, came through his alleged role in getting The Sex Pistols dropped by A&M Records soon after being signed. None of this bothered his fans, which rapidly expanded to encompass those he picked up through his work with lyricist Tim Rice on a musical adaptation of George Orwell's 1984, and his burgeoning film work, which included the music to movies about the 1976 Winter Olympics and the 1982 soccer World Cup competition. Additionally, he became a regular on Britain's Channel 4. Wakeman's audience and reputation survived the 1980's better than almost any progressive rock star of his era, as he continued releasing albums on his own label. He was also remained associated with Yes into the '90s. ~ Bruce Eder, All Music Guide