One record at a time: 309. Mike Oldfield - Incantations

By 1978 the British music press considered Mike Oldfield passée and unfashionable. If you believed some, punk was now king and progressive rock was finished. This shift in attitude was mirrored in the boardroom of Virgin records and as a result, Oldfield lost confidence and found it difficult to complete his new project "Incantations". Yet the music on this album is some of the best Oldfield ever produced and its beauty belies the struggle that led to its creation.

I own an original pressing and the double "ultra clear" vinyl released for Record Store Day in 2021. The newer copy carries a remastered version of the album but, contrary to what the promo sticker might suggest, this is not a new mix. Oldfield geeks might also like to know that the clear vinyl doesn't feature the glitches in Part 4 that were present on the first batches of the remastered CD and vinyl from 2011.

The haunting vocal chord that opens "Part One" makes for a stunning start and the complex flute melody immediately grabs the listener and doesn't seem to let go. For the first time synths feature prominently in Mike's music and their sound perfectly balanced against the strings, African drums and guitar. The "Diana" section in the middle of Part One is hypnotic and I find it strangely moving.

Some people are critical of the repetitive nature of the music on this record and accuse Oldfield of dwelling on ideas for too long. In his autobiography Mike points out that "Tubular Bells" works in a similar way to trance music in that it goes "on and on" and builds an atmosphere that pulls on a spiritual element of some sort. I think this is actually more applicable to "Incantations" and the repetitive nature of the music can be quite magical in places.

On side two we are immediately confronted with the sound of a Roland SH-2000 clarinet preset and bubbling arpeggios from an ARP 2600 sequenced via an EMS Synthi 256. We eventually hear the "Diana" theme resurrected before suddenly cutting to African drums and the haunting marimba that introduces the "Hiawatha" section. Maddy Prior provides a vocal that is as pure as the driven snow with occasional passages of acoustic guitar or Solina string ensemble breaking the monotony. It's only when this piece ends that I realise how captivated I am by it and find myself thinking, "Why did it have to end?"

The second disc opens with a completely different style of music that is much more bombastic before settling into an extended guitar solo underpinned by marimbas. There's some complex time signatures thrown in here and there but this is my least favourite section of the album. The final part on side four is driven along by a vibraphone and guitar before the "Hiawatha" theme bring things to a close. This album isn't perfect, but for me it is in the top three of those by Oldfield. 4/5

One record at a time: 308. Mike Oldfield - Ommadawn

I own an original pressing of "Ommadawn" along with the remixed version from the "Boxed" box set. The "Boxed" version is the one that has traditionally released on CD, but I prefer the original 1975 mix.

Having scored a worldwide hit with "Tubular Bells" in 1973, Mike Oldfield struggled to create a follow up and "Hergest Ridge" was considered a disappointment by some (even if it did get to number one in the charts and sell over 100,000 copies). 

With "Ommadawn", Oldfield was trying create a more worthy successor to his magnum opus and prove his artistic credibility wasn't just a flash in the pan. Happily, he succeeded and if "Hergest Ridge" was a washed out watercolour, then "Ommadawn" is painted in rich oils. 

For me this album is also interesting as it marks the first use of synthesizers in Mike's music with ARP 2600 and a Solina string ensemble featured - all be it sparingly - throughout both sides of the record. 

Most of the action here is on the first side of the record as the fist movement bristles with ideas and Oldfiled throws the aural kitchen sink at us with marimbas, vocals, African drums and his distinctive guitar solos. This is great stuff and, for me, it is even slightly better than the mighty "Tubular Bells". Part two is also brimming with ideas and sounds especially good when Mike kicks into a major scale and dons his guitar. Twelve minutes into side two we can clearly hear the ARP 2600 as, to my ears, it sounds far more majestic than the acoustic instruments that surround it. 

As the music progresses I find the "Northumbrian Bagpipes" become a little grating but this is a small gripe. Things finish with the whimsical "Horse Song" (it wasn't christened "On Horseback" until much later) but I find it a little awkward and it doesn't sit well when held up against the brilliance that has gone before. 4/5

One record at a time: 307. Mike Oldfield - Hergest Ridge

Here I am playing Mike Oldfield's second album "Hergest Ridge". My 1974 pressing was bought from eBay six years ago and is in pretty rough shape. I know someone called Stan used to own this album as he has written his name on the front cover. 

I'm guessing Stan wrote on his records because he lent them to friends and was keen that they be returned (I hope his friends weren't making illegal cassette recordings - although home taping wasn't killing music just yet). The concept of keeping ephemera such as records in pristine condition wasn't really around fifty years ago.

I also own the remixed version of this album included in the 1976 box set "Boxed". This record is generally in better condition but a previous owner (not Stan) has written the title on the inner sleeve in ball point pen. Thankfully it is now illegal to write on records.

I can't really discern much difference between the different mixes on these records (or even the 2010 mix Oldfield made when the album was re-released on CD) but then this is probably because I don't play them very often.

Like many of Oldfield's early albums, "Hergest Ridge" is split into two parts that shift between different movements and various styles. The music on this record is much less "rock" than its illustrious predecessor and the use of strings, woodwind and vocals point to an ambition to move in a new direction. Alas the ideas presented here aren't strong enough and the ambition isn't really realised. It's no secret that Oldfield struggled for inspiration after creating his magnum opus and this album lacks focus as a result. Everything here just washes over you: it's neither offensive nor exciting - it's just there. I imagine it's the kind of thing people would put on as background music for an early seventies dinner party. 2/5

One record at a time: 306. Mike Oldfield - Tubular Bells

I've been counting down to listening to the Mike Oldfield section of my collection for a while now. Since Mike has retired it has made me reevaluate his music and I realise I have underappreciated him over the years. I guess we always miss something more when it's gone.

In my youth I would spend ages poring over the LP of "Tubular Bells" in record shops and wonder what it sounded like. It wasn't until I acquired the album on CD back in 1989 that I actually got to hear it. 

This vinyl was released in 2009 and seems to play the original 1973 mix rather than the remixed version Oldfield produced in the same year. I say "it seems to play" as this pressing is so bad it is almost impossible to discern what is going on. The crackles, pops and surface noise are so bad you could consider it as unfit for purpose. Condition isn't an issue as the disc is spotlessly clean and, due to its poor performance, it has only been played a handful of times: it is just a terrible pressing. If I want to listen to this album I invariably play digital files or spin the version included in the "Boxed" box set - anything other than this GZ Media monstrosity. 

The music on this record is familiar to millions, but if you aren't aware of it I recommend you play it a few times on streaming services. Whilst "Tubular Bells" might not sound groundbreaking to twenty first century ears, records like this were seldom heard fifty years ago. When you then consider the fact that Mike played all of the instruments himself, this becomes a seriously impressive piece of work.

Having said that, the first time I heard "Tubular Bells" I was rather disappointed at how acoustic and 'rock' it was. I was a massive Jean Michel Jarre fan at the time and I naively assumed that this might be similar in style. Despite not really fitting with my taste, this record did eventually grow on me and kickstarted a long relationship with Mike's music. As I dug further into Mike's back catalogue I realised his music had become increasingly electronic during the eighties but retained enough of his virtuoso guitar skills to set him apart. I'm looking forward to listening to those records again. The music on this record gets a 4/5 but the pressing receives 0/5.

One record at a time: 305. Gary Numan - Intruder

At long last we reach the end of my Gary Numan collection with his most recent album "Intruder".

I ordered my copy of this record directly from Numan's webshop so it came signed by the great man himself. "Oh that's impressive," you say - but in truth finding one that isn't signed is probably the more impressive feat. By 2021 Numan had a good idea of how to boost sales and signing as many copies as you possibly can helps no end. 

Like "Savage" before it, this album peaked at number 2 in the charts and offered confirmation that Numan had finally recovered from his early eighties career suicide. Unfortunately the rather tired post apocalyptic 'theme' seems to get another run-out, but thankfully most of the songs still allow the listener to apply their own interpretation. 

I get a definite sense of a clash between the old and the new on this record. The familiar industrial guitars and Arabic harmonic scales Numan now employs are here, but the old Roland CR-78 drum sounds and even Numan's own voice hark back to albums like "Dance" and "Warriors".

The songs are pretty good with "I am Screaming" offering a glimpse of what I imagine Depeche Mode would sound like if they were still any good. The title track is entertaining enough but it goes in for a bit of the old, "You can whisper your Lord's prayer, and pretend that it matters" vitriol that is truly tiresome at this stage. Big chunks of this record are simply a rehash of the previous album "Savage" - but when these records meet with such success, why change? 3/5

One record at a time: 304. Gary Numan - Savage (Songs from a broken world)

Having won over the doubters with his "Splinter" album in 2013, Numan returned with "Savage" four years later.

I backed the creation of this record via a Pledge Music campaign and received the signed deluxe CD along with paraphernalia such as a coaster, postcard and badge. I have no recollection of buying the vinyl but as it isn't signed I am guessing I bought it separately from the Pledge campaign.

The pseudo-Arabic styling of the sleeve and the terrible font have always been a little troubling for me. It's not just the cultural appropriation that feels uncomfortable but the size and spacing of the text is plain wrong. It seemed Numan has forgotten that this sort of thing is best left to the professionals and if he continues designing his own sleeves we run the risk of seeing a repeat of "The Fury" or "Machine + Soul".

The Arabic influence is carried over into the music with various elements in eastern harmonic scales weaved amongst the industrial noise we have come to expect from Numan. I am not sure if this is a concept album or not, but much of the material seems to be based on the idea of people living in a post apocalyptic world. Whilst ecology is important, it doesn't really affect me in the same way as the tales of love and death we heard on Numan's previous album. As you might expect there's a bit of God bashing scattered amongst the lyrics, and whilst I don't find this offensive, I do find it boring to hear the same sentiment album in, album out.

This album reached number 2 in the charts but it isn't quite as successful artistically as it was commercially. There are some great tracks with "My Name Is Ruin", "The End of Things" and "It Began With You" amongst my favourites - but there are also some recycled sounds and old ideas getting a retread. On the plus side the music is expertly produced and the mix blends the constituent parts to perfection. There are lots of reasons to like this record, but it just doesn't speak to me in the way "Splinter" did. 3.5/5

One record at a time: 303. Gary Numan - Splinter (Songs from a broken mind)

Back in August 2013 I wrote a rather dismissive post about the build up to the release of "Splinter" that can be summarised as: "It had better be as good as he says it is". 

Unfortunately, I don't seem to have followed this up with an apologetic post that said: "Yes it is as good as he says it is!". So I'm going to put that right today.

When it was released I bought this album on CD and I liked it so much I acquired the vinyl a few months later. I'm rather glad I did pick up this record as not only do I enjoy it, but it is now quite collectible and seems to sell for over £100.

The dark industrial sound of this record has been used by Numan since 1994 and he has always known how to write a tune - but there was some magic happening this time around. These songs touch on love, the fragility of relationships, inner doubt and ultimately, death. Whilst he does go on his usual "I don't believe in God" rants occasionally, Numan seems to be channelling something that is profound and affecting into many of these songs.

There isn't a bad track on here but "The Calling", "Love Hurt Bleed" and "I am Dust" stand out immediately as being superior. The raucous "Who are you" and the deeply personal "Lost" would definitely be on my "Best Of Gary Numan" mix-tape too. It's a testament to Gary's skills that songs like "My Last Day" can be a hard listen as they are so affecting. This is the first Numan album where I realised I was listening to what he was saying rather than simply hearing a song. This album feels personal, it feels deep, it feels like Numan. Welcome back Gary, we missed you. 5/5

One record at a time: 302. Gary Numan - Hybrid

With the release of "Sacrifice" in 1994, Gary Numan's music took on an aggressive and darker tone. The irony here is that the sound Numan adopted was originally pioneered by Depeche Mode, Nine Inch Nails and other artists he had inspired himself. Essentially Numan began eating his own young. 

Whilst "Sacrifice" sold as poorly as his other efforts in the late eighties and early nineties, its favourable notices acted as a lightbulb moment for Numan and he never attempted to pander to the radio again. The days of ill advised Prince covers, endless saxophone solos and domineering female backing vocals were at an end.

By the time this remix album was released in 2002 to mark his 25th year in the business, Numan was beginning to realise that his work was revered by lots of contemporary artists and people like Andy Gray, Flood and Steve Orborne were keen to be involved in this project. The liner notes hint at Numan's surprise at his new found credibility when he says of the record, "I had no idea it would turn out to be this cool. Thanks everyone."

I bought a box set of this album that included two CDs and a DVD housed in a numbered sleeve soon after it was released. To be honest I have no idea why I bought this album as I hadn't moved beyond a "best of" compilation I had bought ten years previously at the time. But buy it I did, and when I heard "Crazier" I knew I was about to buy even more of Numan's back catalogue. This coloured vinyl version was a re-issue from 2020.

Thankfully most of the tracks on this album are "re-interpenetrations" of Numan's material and not simply dance remixes that bear no relationship to the source material. The various artists and producers involved include Flood, Andy Gray, Curve and Alan Moulder. Not all of the versions presented succeed, but tracks like Numan's own mix of "M.E." and Mark Gemini Thwaite's version of "This Wreckage" add a new perspective on the classic originals. A worthy purchase for those already familiar with the source material. 3/5

One record at a time: 301. Gary Numan - Machine + Soul

If insanity is defined as doing the same thing over and over again and expecting different results, then Numan had clearly lost the plot by 1992. At this stage in his career Numan desperately needed to produce an album that would improve his finances and recapture some credibility (chiefly the former). This album failed on both counts as it simply continued to plough the same furrow Numan had been failing with since the mid eighties.

When this album does make tentative efforts to innovate or move things forward, Numan gets things spectacularly wrong. Exhibit A: the sleeve. Exhibit B: a toe curling cover of Prince's "U Got The Look".

There's a quote from Numan about this album on the internet that sums things up well, "I put out a really shit album in 1992 called Machine + Soul which I’ll regret for the rest of my life." 

On this record Numan and producer Kipper act like musical magpies stealing from the nest of Jam and Lewis and throwing in various ideas lifted from the chart hits they were trying to emulate. "I Wonder" features the ubiquitous funky drummer loop and then moves into a programmed pattern that reminds me of "Shout" by Tears for Fears. "Cry" resembles something Price would have left on the cutting room floor and "Poison" sounds like the bastard child of Cameo and Yello.

Having savaged the album I'll now begin to make a case that it is marginally better than its predecessor "Outland". Songs like "Generator" and the title track are pretty well produced and despite the dominance of electric guitar and backing vocals, they sound pretty good. The single "Emotion" was totally out of step with anything on the radio in 1992 but it isn't devoid of charm. So whilst this could never be regarded as a 'good' album, it isn't as awful as some (including the artist) might have you believe. 2/5