Interview with Robert Reed

Well, it's a hearty welcome aboard from the Antipodes to one of the most active and well-respected names in progressive rock. Welcome Robert Reed! (Or Rob if you prefer).

Thanks, Greg.

I first came across your name many decades ago when I stumbled across an album by Fyreworks from 1996 but failed to capitalise on the connection until many years later when I fell in love with Magenta. While the songs on Fyreworks paid tribute to many of the styles found on many of our heroes' albums from the 70s, it was the step-up with Magenta that really saw the band take off. Apart from the intervening album from Cyan (which I unfortunately missed until many years later), would I be correct in suggesting that Magenta was the vehicle that allowed your name to reach the stratosphere?

Magenta was the first band to do really well for me. I had been in a pop band with Magenta singer, Christina, for 10 years before and had finally given up being pop stars but decided to start a prog band instead. Prog was a swear word at the time, and nobody wanted to be called PROG then. This has changed now, because everybody wants to be part of it, as it's the last genre of music where fans will pay for music. When we started Magenta, I wanted to make it as proggy as possible. A double album, four long songs, and lyrics about proggy things. It also had a female singer, which was not acceptable at that time. So we stood out and did really well. It helped because Christina has an amazing voice, again something that is overlooked in most prog. For me and most listeners, the vocal is everything.

Can you give us some examples of the highlights you enjoyed with Magenta both in regard to the music you created and the cohesion with your fellow musicians?

Our first concert was in Mexico. I didn't plan to have a live band when I made the record. So we had to get a band together to play it. Baja Prog festival was amazing — we played four songs, each 20 minutes long, and the crowd went mad.

We've since played most of the prog festivals all over the world. We have had many changes in line up as it's hard to keep a band together. There has always been a core of me, Christina and Chris our guitarist.

I notice that almost without exception, Magenta's albums have all scored very well on RateYourMusic, so your popularity cannot be questioned. Are you familiar with that site, and do you use it for your own research purposes?

I have not seen this site. It's great to hear this. We have won many awards for the band and its recordings.

Being from Australia, prog rock is banned here (well, not really, of course, but none of our all too few music shops stock very much of it). As such, a prog rock tragic such as myself has to use the internet to discover new bands to explore or learn about any latest releases from familiar bands and artists. The last time I bothered to check out the prog rock CDs in our local music shop (a big corporate BTW), they had Dream Theatre, Porcupine Tree and a few others, so it's not as if I can march into their store expecting to find anything I want or need. Do you have any trouble ensuring enough of your music is readily available via the bricks and mortar stores, or do your fans prefer to buy online?

The whole industry has changed since I started. Prog, as I said, is thankfully a genre of music where the fans still like physical products, like vinyl and box sets. I really like to give value for money to the fans. So I will always add as many alternative mixes, promo videos and 5.1 surround mixes. I come to this as a music fan and think about what I like. Brexit has hit the UK really hard, and selling into Europe has been hard along with touring. Hopefully, our government will see sense and reverse a stupid choice.

Promo photo by Harry Reed

I know that the days of selling thousands and thousands of albums, while commonplace between the 70s - the 90s, are now well and truly over for many bands and artists. Are you happy with the numbers of albums you can sell these days, and could you give us an indication of what would represent a decent sales volume for any particular album?

The numbers vary with each album and product. These days it can be split with physical and digital sales. Most people like the physical sales. I refuse to put my music on Spotify as it has killed the industry. Why would you work on an album for a year at great cost and then give it away for free on release day on Spotify? Also, I get annoyed when people moan about the price of CDs and say music should be free. These same people will spend £12 on two coffees in Starbucks and moan about spending the same amount on your album??

I hear exactly what you're saying, Rob. People are like that all over the world. They want everything for either nothing or as cheaply as possible but would never think of discounting anything if you were buying something from them. It's human nature, sadly!
Now that you have been busy with the various Sanctuary and Ringmaster projects, how often do you get to perform live?

I've performed the Sanctuary albums live three times now, with a large band of 12 people. It's great fun, as my main instrument is piano. So playing guitar is a lot more hard work but very rewarding. It just sounds great with the big band. Though some of the pieces of music are very involved and last 25 minutes. I'm not a huge fan of traveling so don't do as many concerts as I should. We try to do a few every year with Magenta, Cyan and the Sanctuary albums.

Do you prefer performing live, or would you rather spend more time in the studio creating more masterpieces?

I love being in the studio. I'm lucky to do music 24/7. I worked very hard to be able to do that. I see it as an agreement with my fans. They are like patrons. In return for their money, I will make as good an album as I can. It will be recorded and mixed to a high standard and have as good a packing/ extras as possible.

I recently reviewed for DPRP a number of your albums in the Ringmaster and Sanctuary series and must confess to being totally blown away by the contents of all these albums. Obviously, your creative juices are flowing at the maximum rate these days, but where exactly do you find new sources of inspiration and how do you manage to create a viable structure for so many great songs to take shape and develop?

Mike Oldfield is a massive influence on me musically, although it would not be shown on my prog projects like Magenta and Cyan. I was always being asked who was my influence, and when I said Mike Oldfield, I was always asked why I didn't do a solo album in that style. I put it off for 20 years when I did my prog. Finally, one Christmas I decided I would make an album, play all the instruments and use all real instruments. This was hard work but was so enjoyable. I finished the album but didn't know what to do with it. I didn't know if it was any good. I couldn't ask Mike for his opinion, so I reached out to Tom Newman, who had produced Tubular Bells back in 1973. I sent him the album, and he replied that he was blown away by it. He said that he was getting lots of music people replaying Mike's music but that mine was the first he had heard that matched the emotional impact of Mike's music. I knew I was on to a winner.

Although I doubt this would happen very often, do you ever read a negative review about your music and how do you handle such a situation?

When I released Sanctuary 1, it really split the fans. Some thought I was ripping off and disrespecting Mike Oldfield's music. Others, the majority, loved it and were excited that there was new music in the same long form style. I try to ignore the negative comments which can be hard when they can be very personal. Thankfully, now on Sanctuary 4, most people love it and the response for the new album has been amazing.

I can certainly appreciate the positive response you are getting for the new album. Although I need to play the album a few more times to have it all sink in properly, I find it's an album that has an immediate appeal in that the songs are all catchy and very accessible. Much like the majority of your work actually!
Roughly how long do you spend in the studio composing enough material for a new album?

Each album is different. I usually do a Magenta album, and rest from that style and go and do a Cyan album, then rest and go and do a Sanctuary album or a Chimpan A album, which is my dance electronic project. I would get bored doing the same style over and over again. This way I come to each project fresh and wanting to do it. I usually start with lots of demos I would record on my phone. I may be sitting around with a guitar or piano and just come up with a simple melody. I collect these and then pick the best and work up some demos. I live with these and then start doing them together for the Sanctuary project.

Can you give an indication to the thought process about creating a new body of work and in what order do each of the components take shape?

Once I have it in demo form, I will be ruthless and just erase sections that are not great. I'm also lucky to work with Tom Newman as a co-producer. He was there and saw Mike Oldfield play the opening to Tubular Bells for the first time. Tom is great as he brings so much to the table. Every musician has to have somebody who they respect, as we all have egos. You have to have an ego to see an album through as it's hard work. You have to believe in it but you also must have somebody who can tell you that certain bits can be better and that you're being lazy. That's where Tom comes in.

I've been very lucky to be able to have Simon Phillips (Toto/Who/Mike Oldfield) to play on all of the Sanctuary and Ringmaster albums. He is such a great drummer, producer and engineer. The drums arrive, and I just bring them up in a straight line, I don't have to adjust levels, it just sounds like Simon Phillips. Amazing. Also, because he is a producer, he knows what to play. I send a rough drum part on samples, but tell him to play whatever he wants.

What is great is that even though he can play a million miles an hour, he would always play what the music wants. Though on this album, I did write a part for him, where he could do a little solo part. It's the best part of the album for me.

Les Penning played with Mike on Ommadawn and the hit Christmas singer In Dulci Jubilo. He is great and along with Tom, have such a massive knowledge of music. Les studied early music so he brings all that to the table.

Tom Newman is more punk and wild, while Les is more romantic musically. So I have the best of both worlds, to listen to their opinions of what I do.

Which three albums (from all your various band efforts and solo projects) would you say are the best you have composed?

With each album, I learn something new and try new things. You have to believe that the latest is the best. I do listen back and think I would change bits on earlier albums, but the new one, Sanctuary 4, I think is finally the most coherent and flows so well musically.

Obviously, Mike Oldfield has been a huge influence on you over the years. Can you tell us which other bands and artists you admire and whose music has driven you to excel within similar areas or directions?

Yes, Mike Oldfield is an influence, but I have so many influences. I'm a producer at heart, so will listen to every style of music I can, to collect musical tricks to bring into my music. I love Abba, ELO, Blue Nile, Tears For Fears, or anything with great melodies and great singers. I don't listen to much progressive music and never listen to Mike Oldfield when making the Sanctuary albums.

Are you familiar with the name of a Spanish multi-instrumentalist called Engel (Miguel Ángel de la Llave Jiménez)? He released a stunning album in 2002, which represents probably the only other serious ability to emulate the Mike Oldfield sound, even down to the Celtically inspired influences?

A great guy!

I'm glad someone else has heard of him then. His music must be pretty hard to locate these days as I don't think he would have sold any great volumes.

Do you ever get to tour outside of UK / Europe on a regular basis?

Not as much as I should.

So I guess a special down under performance in my backyard for myself and my fellow musician friends is out of the question?

Yep...

How about I throw in a free carton of your favourite beverage and a few garlic-marinated shrimps on the barbie?

Red wine!!

Ah, Good to see... Another Shiraz guzzler, I hope! :)

There are those pundits who have labeled some of your music as being new age, however, I feel it deserves a more descriptive genre called progressive new age, and as the title suggests, there is more oomph to the music compared to some of the soporific material by other artists that finds its way onto disc. Other seriously talented musicians in this league include David Arkenstone, Davol, Zazen, Don Harriss and countless others. In conjunction with symphonic prog, you have pretty well covered more than enough territories to satisfy plenty of avid fans. Are there any other styles or genres of music you might try in the future?

It's not new age, it's too aggressive and intense to be that. It's not background music or music to relax to. As the title says, it's a music sanctuary away from life. Stick your headphones on and forget about the world for 50 mins. It's old school.

Your music is definitely enhanced while playing through decent equipment and under a good set of headphones (as I often enjoy doing, along with a glass or 3 of my favourite Shiraz).
Who are your favourite bands and artists?

Scott Walker, Bjork, The Blue Nile, Abba, ELO, Bee Gees, Genesis, Roger Waters.

As a serious music fan who is always keen to recommend music to other like-minded musicians, do you enjoy having new or unfamiliar music recommended to you?

I don't have much time to check out music. After doing it all day, I want to rest from music.

Promo photo by Harry Reed

How many CDs / LPs / digital files do you have in your collection?

Not sure, I have all my collection ripped to my hard drive, though I am getting back into vinyl.

Your last Magenta studio album, The White Witch, was from 2022 with a live album in March 2023 called Reaching For The Moon. Can the fans expect another studio album soon and what musical style do you hope to utilise?

Yes, hopefully a new Magenta album by the end of the year. It's nearly finished, just in mix stage. It sounds great, again it's the most consistent sounding album I've made for a while. Six songs at the moment, all long.

Do you know what has been happening with Christina Booth's solo music lately?

I see her most weeks, as she is in Magenta. We have done three solo albums for her. These are great as there is very little constraint musically on them. We can do whatever we like.

Your inclusion of Angharad Brinn with your Ringmaster series was a highlight for my ears and one in which I compared her angelic voice to that of Loreena McKennitt from Canada. No doubt you are aware of Loreena's incredible music?

No, sorry. I'm a great fan of singers, as they are the most important part of the music. Angharad's voice is amazing. I'm so lucky to work with some of the best UK vocalists, like Steve Balsamo (Superstar/John Lord) on the Kompendium album, Peter Jones (Camel/Tiger Moth Tales) on my new Cyan band project and Christina with Magenta. Very lucky boy!

Agree with you 100% Rob! You have been blessed to be able to engage so many talented people on your various musical odysseys. I have also commented in one of my reviews about the brilliant result you managed to achieve with Luke Machin on guitar and Peter Jones on vocals with the latest Cyan album. That must be a great experience to work with such talented people.

It's been great to bring the music of Cyan back. The music was written back in the 1990s when I was learning so much and had very little studio equipment. Now I have an amazing studio and bring it to the music of Cyan. Having Luke and Pete has taken the music to another level. The live shows have been amazing. Looking forward to the 3rd album Creeping Vine being released early next year from Cyan. So that will be the reworking of the original three albums. Then it's down to making a NEW written album, which is exciting.

I have often suggested Magenta to other inquisitive music fans but also refer them to other similar bands such as Iona, Karnataka, Dave Bainbridge, Mostly Autumn and October Project. For the benefit of the novices, are there any other bands I have missed that you could add to the list that similar-minded fans might enjoy?

I don't really listen to similar bands, so it's hard to say. I do know that each Magenta album is very different. So there is not really a defined style. Hopefully just well-written and performed music, with a great singer.

Sanctuary 4

As promised, Rob, I'd like to turn to your latest album, which I have been enjoying over the past few weeks. My digital copy of your new album didn't include any DVD, so I can't comment on the contents. What exactly can the fans expect to find on this bonus disc?

The main album is two full-length songs running at 20 mins and a short piece at the end of the album, which sets the final tone of the album. The DVD has a full 5.1 remix and lots of music promos of tracks I've done. Also me playing five themes from the new album on piano. There is also a deluxe edition in a lovely embossed tin, which has a CD of an orchestral version of the album, alternative cover artworks and signed postcards, etc. Oh and there is the vinyl and T-shirt.

The Mike Oldfield influences are very overt on the album, almost to the point one would assume the maestro himself was responsible for the music. It must be a huge feather in your cap to be able to so professionally emulate the same sounds he has delivered over many years. It may come as no surprise, but I now find myself seeking out one of your Sanctuary titles rather than playing one of Mike's albums when I need a fix so to speak.

For me, it's about keeping the musical style alive. Mike has stopped making music, and even he has said in interviews that he was surprised that nobody had continued making music in this style, after Tubular Bells was a success. The music is not meant to compete or replace Mike's music, it's a continuation.

I'm a massive fan of Mike's music and wouldn't attempt these albums if I didn't think they would be done in the right spirit.

Just how difficult is it to compose yet another totally different section for each long song so that it all gels together well and without repeating anything?

I usually write a load of separate short tunes first and then consider them and see if they work in certain orders. For a long piece of music to work, you have to lead the listener through it. You cannot let them get bored, but you also want to make them want more, or re-play sections, that you have teased them. It means I have to listen to it as a whole and work on it as one long piece of music so that the dynamics are correct. It's all about emotion, you can create from dynamics. You have discordant sections that the listener finds hard to deal with, then, if you follow that with a section of beauty, then that section is even more powerful, because it has followed the harder section.

I really enjoy the changes in tempo, rhythm and general arrangements with each of the 3 new pieces to the point where I am feeling this has to be one of your finest bodies of work you have composed.

It's the best album of this format. It's also a musical style that is closest to my heart. It's my musical DNA. There is a hell of a lot of work that goes into the composition, to make the melodies the best I can, then I have to play it all, and finally mix it to my very big standard. I'm a massive fan of Trevor Horn, and his perfectionist mixing style.

Promo photo by Harry Reed

The phrasing with the guitar, the plaintive sounds of the softly struck keyboards and the occasional sea shanty style of segue with the album works really well and yet is still so different to everything we have heard before from either yourself or with Mike Oldfield himself. Do you feel the same?

Yes. It's my album, there are similar instruments used that Mike would use, but Mike is only one influences on over 40 years of music listening to so many artists. I take influence from so many places. That's what these albums are about. Yes there are similarities in format, a long form 20-minute track, but I do whatever I feel works.

How many more albums along similar lines do you feel still reside within that creative mind of yours?

It's hard to say, I will do them if people like what I'm doing, and more importantly, I find new things to say, and new melodies. I have a long list of projects “to do”.

Rob, my keyboard has just run out of ink and my cerebellum has run out of questions to ask you, so we might leave it there if that's OK with you. It certainly has been a pleasure and a privilege to talk with you. May I wish you untold success with your current album and having now played it over six times, I am finding so much depth and creativity with this effort and agree it has to be one of your best ever projects. I admit it is a very impressive effort once again. Please feel free to let me know when the next one is due, so I can nominate to review it with the DPRP admin people!

Thank you for taking the time and enjoying the album!