One record at a time: 329. Mike Oldfield - Return To Ommadawn

"Return to Ommadawn" is the final LP by Mike Oldfield and was released in 2017. Here I am playing the standard 180g black vinyl that was available across Europe.

The first I heard of this album was when an excerpt was played on the radio. For some reason the piece that was played featured a VST generated Clavioline playing a tune akin to "Telstar". Whilst this all sounded very cheesy to my ears, I was still keen to hear the finished album as it promised something of a return to Mike's roots. 

Thankfully, when the album was finally released there was no sign of the "Telstar" rip off and only a short section on the second side of the album bore any resemblance to the music I had heard on the radio. This album was actually much better than I anticipated and I have a strong memory of commuting through heavy traffic during the winter whilst listening to it and thinking, "It's good to have Mike back.". Like everyone else, I had no idea this would be the last album we would hear from the great man.

The opening of part one of "Return to Ommadawn" sees penny whistles playing a theme that is soon superseded by a whole raft of ideas and musical passages that contrast in mood. Yes, there are blank spaces and some slightly puzzling pauses, but people have been happy to forgive far worse on previous records (I'm talking about you "Zombies") so I really don't have a problem with this. I adore the theme that develops after about ten minutes, with the only sour note being the use of a reversed sample of the vocals from the original "Ommadawn" which are undoubtedly a misstep.

The reverse of the disc is just as good as the first, but it does take some time to get going. The first glimpse of a leitmotif emerges after about two minutes but it is snuffed out before being fully developed. At 7'43 the "Victory" theme that was originally teased on the radio arrives, but it is much more restrained and mercifully abandons the Clavioline sound. More passages come and go before the main theme returns and signs off with a little jig.

Inevitably people compare this album to the original "Ommadawn" or even "Hergest Ridge" and regard it as somewhat lesser. Personally I consider "Return to Ommadawn" better in many respects and enjoy it immensely. No doubt such an opinion is close to heresy for Oldfield officianodos but I don't have strong bond with those older recordings and this record just sounds good to my ears. 4/5

One record at a time: 328. Mike Oldfield - The 1984 Suite

This rather odd compilation was released in 2016 and I think I have only played it once or twice.

This record seeks to summarise Mike's creative life in the year 1984. What I can't really work out why this particular year deserves a dedicated compilation when none of the other forty nine years in which Mike was active do not.

Most of the tracks on this record are selections from the albums "Discovery" and "The Killing Fields" and were remixed from the original multitracks. One piece, "The Royal Mile" was billed as a 'rediscovered track' but it is simply an alternative version of the b-side "Afghan". Most disappointing of all is an excruciating remix of "Poisoned Arrows" which strips away Barry Palmer's original vocal and replaces it with a terrible macOS "Fred" computer speech about zombies. "It's really for kids and Halloween," Mike says in the sleeve notes. My response being, "It's really not fit for anyone."

There are more disappointments in the new mix of "To France" which focuses on the acoustic instruments and rips out the fabulous Fairlight CMI that underpins the original. On the plus side the versions of "Étude" and "The Lake" are largely faithful to the original but offer enough of a new dimension to make them interesting. Realistically this record is only of interest to Oldfield enthusiasts - but even they have to draw the line at "Zombies".  1/5

One record at a time: 327. Mike Oldfield - Man On The Rocks

We skip a few albums in Mike's back catalogue as some of them aren't available on vinyl ("Tres Lunas", "Light and Shade", "Music of the Spheres", "Tubular Bells 2003") and some I haven't bought because I don't care for them much ("The Millennium Bell", "Guitars").

When "Man on the rocks" was announced towards the end of 2013 I immediately ordered the limited edition coloured vinyl and the three CD box set from the Universal webshop. However, it seems I forgot I had done this and, as two of everything turned up on release day in 2014, I assume I must have duplicated my order at some stage (I paid twice you understand). Thus, I have two copies of the numbered double LP which is pressed on coloured vinyl and limited to 500 copies.

I am not a big fan of this album and I think I know why. I used to work with someone who wrote songs for a hobby and he would pay a company to make professional demonstration recordings from his rough sketches. Whilst most of the songs he created were fairly adequate, the execution of the session musicians rendered them completely dull and soulless. This record is essentially the same thing.

All of the songs here are all fairly standard AOR fair and demonstrate the level of competence you would expect from a seasoned songwriter. Yet, for the first time Mike chose to allow a group of session musician to play the music. Not even the brilliant production skills of Stephen Lipson could rescue these lifeless recordings and I would question just how enthusiastic Mike was about this whole project. For me it feels like there is a gap between the composer and the performers that robs the material of any zest, feeling or emotion. 

The vocalist for all of these songs is a man I had never heard of before called Luke Spiller from the band The Struts. Luke does a good job, but he was essentially a session musician and doesn't sound invested in the songs to my ears. Another element that feels at odds with the material is Luke's age. When the singer belongs to a completely different generation to the composer, it seems inevitable that lyrics lose impact.

Songs like "Moonshine" and "Sailing" are undoubtedly catchy, but they lack any kind of spark that would make you want to listen to them again. By some fluke (or exchange of cash) the song "Nuclear" made its way onto the trailer for the video game "Metal Gear Solid V", but no matter what exposure it had, this album was never going to sell well given its lacklustre realisation. The album struggled to number 12 in the charts and not even me buying it four times could get it any further. 

This album is an anomaly in Mike's back catalogue and its lack of success must have contributed to his decision to move further away from the music industry (I suspect he was already halfway out of the door when this record was made). Interestingly the CD box set features a disc of demos where Mike sings all of the songs himself. Now, by his own admission Mike is not an accomplished singer, but these version sound more earnest and credible than the contents of this LP. 1/5

One record at a time: 326. Mike Oldfield - Tubular Bells III

I originally bought this album on CD in 1998 but it wasn't made available on vinyl until this version came out ten years ago. This pressing is OK, but like all Mike's albums that were repressed in 2014, it is rather quiet and reveals background noise when played at higher volumes.

Material from "Tubular Bells III" had been teased on the compilation "XXV" in 1997 and this out-take suggested the album would be more electronic than previous efforts. To some extent this change was to be expected as Mike was living in Ibiza at the time and was known to occasionality frequent the island's nightclubs.

Yet, when a single from the album was issued the following year it sounded nothing like the dance-floor beats we heard on "XXV". In fact, "Man In the Rain" was more akin to "Moonlight Shadow" and, whilst the song was undoubtedly catchy, it harked back to the sound Mike employed fifteen years before. Clearly this album was going to be eclectic and not conform to the template employed by the other two albums in the series. Yes, there are a number of tracks that draw on the themes from the original, but Mike has done this many times before ("Crises", "Wind Chimes", "Tubular World" etc.) and didn't find the need to include the parent album in the same canon. So if I had to guess I would say that the only reason for including this album in the "Tubular Bells" series was to boost sales.

The opening track "The Source of Secrets" is a different mix of the "Tubular Bells III" excerpt from the "XXV" compilation. This piece offers a variation on the piano theme from the original "Tubular Bells" and throws a four on the floor dance beat under it. Eventually things develop into a full-on "hands in the air" crescendo replete with "Insomnia" inspired pizzicato string riffs and TR-909 snares. Phew.

We change pace for "The Watchful Eye" which features a haunting and strangely beautiful motif that will be resurrected throughout the album. Elsewhere the Flamenco of "Serpent Dream" shows the influence of Ibiza extended beyond nightclubs and dance music. "The Inner Child" finishes the first side with a chilled out vibe to accompany a Cafe Del Mar sunset.

"Man In The Rain" opens the second side of the record but it sounds strangely incongruous plonked in the middle of the album. As I have said previously, there is no doubt this is a good song, but I just don't think it fits this album. One of my favourite pieces is "Top of the Morning" which has a strong melody played out on the piano and develops into the most marvellous piece that must rank amongst Mike's best work.

As the album progresses we hear beats on "Jewel in the Crown" that are reminiscent of those created by fellow Ibiza resident Curly MC and "Secrets" is yet another stab at reinventing the "Tubular Bells" piano riff in a dance style. The final piece on the album "Far Above The Clouds" is truly the zenith where the titicular bells are finally heard alongside the familiar bassline from the first album in the series. As Mike's searing guitar solo comes to and end we are left with nothing but the sound of bird song allowing us to reflect on the thrilling, if slightly broken journey we have just been on. 4/5

One record at a time: 325. Mike Oldfield - Voyager

I bought "Voyager" on CD when it was released in 1996 but soon realised that, stylistically at least, it was not a follow up to its predecessor "Songs of Distant Earth". This record is actually more of an album of folk music executed in a vaguely Celtic style. 

Whist this description might not sound appealing to a lover of electronic music, there is just enough synth and effects being thrown around keep me interested. I must enjoy the album to some extent as I bought this LP ten years ago when it was released on vinyl for the first time - but I think I have only listened to it once.

There is a mix "traditional" and original compositions on the record with the title track and "Women of Ireland" being two of the best. Unlike many of Mike's albums, this is one you can dip in and out of and not feel like you are missing out on a wider experience. This is just as well as there a quite few songs that are prime for skipping.

"The Hero" is pretty lifeless and "Mont St. Michel" tries too hard to be atmospheric and ends up being boring. I think the fact that there is relatively little synth on this record means I don't enjoy large chunks of it. A mixed bag with slightly more disappointments than delights. 2/5

One record at a time: 324. Mike Oldfield - The Songs of Distant Earth

Having enjoyed "Tubular Bells II" in 1992, I was keen to hear Mike's next album when it was released a couple of years later. I originally bought the CD of "Songs of Distant Earth" and fell in love with it immediately. This album is, for me at least, Mike's best work and in my top ten favourite albums by any artist. 

I bought this repressing of the LP in 2014 as I couldn't resist owning one of my favourite albums on vinyl. Lots of people seem to enjoy this pressing but my copy suffers from static induced crackles and flaws in the vinyl cause loud clicks. Things get better as the record progresses, but the first fifteen minutes of each side can be hard to listen to.

The album opens quietly and slowly (well quietly from a digital source anyway) before launching into the beautiful "Let There Be Light". This track is driven along by a beat Enigma would have been proud of and sprinkled with vocal samples that augment the amazing guitar work. The music segues seamlessly into the next track "Supernova" which builds the most wonderful atmosphere. As the music flows along we reach another of my favourite moments "Only Time Will Tell" which has some amazing guitar melodies amongst the aural fireworks. 

The second side features the inevitable homage to the "Tubular Bells" theme but the music on "Tubular World" is so good I don't care if it is recycling the idea. Equally I like "Crystal Clear" so much that I don't care if it uses the ubiquitous (and slightly cliched) "When the Levee Breaks" loop. Like "Tubular Bells II" this album is best when given your full attention and heard from start to finish. This is amazing stuff and I hold this album dear - just not this particular vinyl. 5/5

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For a few years Mike seemed convinced that the future of music lay in interactive CD ROM experiences. As a first foray into this field, later pressings of this album on CD were capable of generating images to accompany the music. Unfortunately this functionality used QuickTime video and was reserved for users of the Apple Macintosh computer. As ~90% of computer users at the time (myself included) couldn't view the content, it's easy to see why this idea never took off. 

Today we may scoff at the notion of a Mac only CD ROM being the future of music, but Mike also said this back in early 1995:

"We should have a 'pay to play' entertainment system where you can download whatever you need — music, films, interactive — from a central media library over a telephone line or something similar. I don't know how the billing will work yet, but everything points to that being the system of the future."

Maybe he did know what he was talking about after all.

One record at a time: 323. Mike Oldfield - Tubular Bells II

This might not be the worst sounding record I own, but it is most definitely the quietest. I need to turn the volume on my amplifier up to about 50% to even hear what is playing on this vinyl. 

Unfortunately turning up the volume means that the crackles (few), pops (more) and rumbling noises (lots) present on this pressing are also amplified. This 2014 version was released alongside a few other albums from Mike's back catalogue and they all sound pretty disappointing - I would avoid them if I were you.

I originally bought the CD of this album in 1992 and enjoyed it immensely. In fact, it's a good job CDs don't wear out as my original copy would be on its last legs by now. 

There's something magical about the music on this album and the fairy dust added by Trevor Horn elevates it to a new level. There's a great atmosphere to this recording and the ideas are strong - there are no samples of screaming monkeys or General MIDI telephone noises used this time around. "Sentinel" and "Sunjammer" are two of my favourite sections but I have always been a little bit disappointed by the climax of the fist side titled "The Bell".

There are plenty of highlights on the second side with synth heavy "The Great Plain" and the atmospheric "Maya Gold" rising above the rest. Today I am slightly less tolerant of elements such as the bagpipes on "Tattoo" and the banjo driven bluegrass of "Moonshine", but nothing that would drive me away permanently. This isn't not an album you can dip in and out of; this is a journey you should take from start to end. An hour lost in "Tubular Bells II" is time well spent. 4/5

One record at a time: 322. Michael Oldfiled - Heaven's Open

When this album was being recorded Mike Oldfield was desperate to fulfil his contract and escape the clutches of Virgin Records. For this final outing, Oldfield returned to the tried and trusted formula of putting songs on one side of the record and a longer complex piece on the other.

However, to break the monotony, Mike attempted something new: he decided to sing. Despite not being known as a vocalist Mike's singing is reasonably accomplished and is certainly no worse than some of the guest singers on his previous albums. 

The songs themselves are all pretty good and only the faux reggae of "Gimme Back" sounds a bit clunky. Mike devotes one measly page of his autobiography to this album and the best he can say of it is that the title track "wasn't too bad". This summary is something of an understatement as "Heaven's Open" is a great song and Virgin even saw fit to release it as a single. I also like the drama of "No Dream" and the withering critique of  "Make Make" is hard to resist.

On the second side the track "Music from the Balcony" is one of the weakest pieces Oldfield ever wrote. This song sounds like he simply found a sample disc and decided to go to town with it. Terrible, terrible stuff. On the whole this isn't a bad record, but it definitely runs out of ideas after the first side. Still, once the album was delivered, Oldfield was free...2/5

One record at a time: 321. Mike Oldfield - Amorok

Having kowtowed to his record company when creating his previous album, Oldfield elected to go his own way for his next effort.

I have read that Oldfield teased Virgin Records that his new work could be "Ommadawn 2" and they became excited enough to suggest he should create the much anticipated follow up to "Tubular Bells"; but in the end his new work was neither of these. 

"Amarok" is one continuous piece that saw Oldfield go back to his prog rock roots. This move pleased his many fans but Virgin Records were less impressed and elected not to promote the album. 

Most of the sections on this album last about two minutes and, on the first side, "Fast Riff" from 18'00'' and "Fast Waltz" at 21'57'' are my favourites. There are some quite jarring stabs and effects in the music and the listener can never really relax. "Amorok" isn't always an easy ride. Whilst intended to be uninterrupted, the LP format necessitates an edit halfway through the piece and this robs it of a little momentum when compared to the compact disc.

The second side encompasses an infamous morse code message, an impression of Margaret Thatcher and "long thin metallic hanging tubes" - but it hardly sets the world on fire. To me this record has always felt a bit like Mike was just going through the motions to fulfil his recording contract. Yes, he still cared about the end product and the artistry that went into it, but this lacks heart and I find it hard to understand why it is so popular with his fanbase. 2/5

One record at a time: 320. Mike Oldfield - Earth Moving

The first I heard of this record was when the video for the title track was reviewed on a TV programme I was watching. The general consensus on the show was that Nikki Bentley had a good voice but the song was nothing special. As a teenage record buyer of the time I agreed and spent my money on S'Express or Pet Shop Boys singles instead. Yet, only a couple of years later, I did buy this album and I found plenty in it to interest me.

Having spent years badgering Mike Oldfield to record a follow up to "Tubular Bells", Virgin Records eventually switched track when the success of "Moonlight Shadow" proved he was more than a one trick pony. "Earth Moving" was released in 1989 in response to a demand for hit singles and, as a result, it features ten pop songs with no concession to the long form pieces traditionally associated with Oldfield.

Songs such as "Holy", "Far Country" and "Bridge to Paradise" have good melodies and even "Innocent" has its charms if you can forgive its slightly hokey lyrics. Elsewhere, songs such as "Hostage" and "Runaway Son" smack of a particular brand of clichéd rock that the melodies can't shake. Maggie Reilly is wasted on the lacklustre "Blue Night" and why the last two songs are listed as if they are part of the same composition is a complete mystery.

I was always a little fascinated by this record as it is one of few instances in which I can clearly hear presets from the Roland D-10. As I have mentioned on this blog before, the D-10 was one of the first 'real' synths I ever played and to hear the same kit being used by someone like Mike Oldfield was quite a revelation. Unsurprisingly there is also a fair few D-50 presets on here and there is also a splattering of Korg M1 - but I can't really discern much Fairlight. Anyway, the production was a little old fashioned for 1989 and despite some good songs, this album doesn't really impress too much. 3/5

One record at a time: 319. Mike Oldfield - Islands

From what I have read, there was some expectation that "Islands" would sell rather well when it was released in 1987. As a prelude to this success the title track was released as a single, but unexpectedly, it sank without a trace.

Given Mike's track record, I can see why people at Virgin Records would be confident of success. Yet, as we have seen with other artists, they just didn't read the bellwether. 

As "Islands" was released almost 15 years after Mike's debut, his core audience was clearly getting older and had potentially reached a stage in life where music represented an investment in time and money they could ill afford. Lots of people drift away from music as life becomes more complicated and this lead single was not likely to draw them back. 

As for new listeners, this record was released at a time when a generational change was occurring. The charts of the era were full of Stock, Aitken and Waterman and artists such as Steve 'Silk' Hurley and MARRS were signalling the emergence of dance music as a commercial force. This new pop audience were never, ever, going to buy a ponderous ballad sung by someone as 'uncool' as Bonnie Tyler (I know because I was part of this new generation). "Islands" was doomed on both fronts.

If we put the God awful title track to one side, there are some highlights to be found on this record. Side one is occupied by "Wind Chimes" Part 1 and Part 2 which have flashes of real genius amongst their many phases and ideas. To some extent "Part 2" is a big tease as it plays with a few of the motifs from "Tubular Bells" in a way that suggests the much anticipated "Tubular Bells II" was within reach. This must have pleased and frustrated Richard Branson in equal measure.

The b-side of the record has 5 pop songs which feature various singers. Anita Hegerland's vocals are a pretty close match to those of Maggie Reilly except for the strange pronunciation of certain words such as "north" which is off putting. Kevin Ayers' larynx are stretched to breaking point and beyond by the verses of the otherwise catchy "Flying Start" but the faux heavy rock of "Magic Touch" is a car crash in denim and poodle hair. This is a strange album with one side I enjoy and another that I really do not. 2/5

One record at a time: 318. Mike Oldfield - The Complete

As with most of Mike Oldfield's back catalogue, I first bought this album on CD in the early nineties. This double LP came into my possession about nine years ago and it is in very good condition. Despite its condition, the sound reproduction from these records isn't very good as the bass is muddy and seems to almost disappear at times - it's quite an odd experience listening to it.

Unlike the "Impressions" compilation I wrote about previously, this one was released by parent label Virgin Records in 1985 and offers a more comprehensive (but not complete) view of Mike's career up to that point. The first record centres material included on single releases with instrumentals on side a and songs on the other. Most of these tracks are the versions heard on their parent album but "Shadow On The Wall" is presented as the 12" version for some unknown reason.

One of things this record does is collect together a series of "non-album" singles such as "Mistake", "In Dulci Jubilo", "Portsmouth" and "Guilty". Of all the material on this first disc I am most taken with the seemingly discarded b-side "Jungle Gardenia" which is an amazing piece that oozes atmosphere.

On the second LP we have excerpts from longer form pieces such as "Ommadawn", "Hergest Ridge" and inevitably, "Tubular Bells". These edits and early fades tend to truncate each piece down to a four minute "highlight" that offers a less than satisfying experience. 

The most remarkable part of this compilation is the fourth side which features previously unheard live recordings. I find it interesting that the sleeve notes point out that these versions are "real live-recordings without further synchronisation or other repair- work" (sic). Why would Virgin find it necessary to point to the authenticity of these recordings on the sleeve? Assertions such as this make me more convinced that some skulduggery occurred when "Exposed" was mixed (as I hinted at in my post for that album).

So whilst this compilation pulls together some disparate threads, today there are other albums that offer a better précis of Oldfield's work. This value of this album is purely in its exclusive live recordings. 3/5

One record at a time: 317. Mike Oldfield - The Killing Fields (Original Film Soundtrack)

I bought this record quite cheaply from eBay in 2015 and it is in good condition. If you are a fan of Mike Oldfield or the movie "The Killing Fields" then this record will be of interest. If you don't fall into either of these camps then you are never likely to purchase this album.

This LP is a mix of orchestral pieces and cues written using the Fairlight CMI; there's surprisingly little guitar on here really.

One track that does feature Mike's guitar more prominently is "Étude" which is also one of the better known pieces from the record. Whilst not successful when released as a single, this song was used on a commercial in the early nineties and became a little more prominent as a result. It also seems to feature on most "Best of" compilations that have been released.

"Evacuation" was realised on the Fairlight and probably sounds better when heard alongside the visuals. There are some fine melodic elements, but the hard edged samples can be jarring at times. The delicate melody of "Pran's Theme" is very impressive and there are some fine arrangements by David Bedford on pieces such as "Requiem for a City".

The cues on this record are highly accomplished and I suspect the only reason Mike didn't score for more films was that he was simply too busy. However, soundtrack albums tend to be less entertaining when isolated from the visuals and this one is no exception. 2/5

One record at a time: 316. Mike Oldfield - Discovery

Having fallen in love with the album "Crises", I was keen on hearing the follow up "Discovery" from 1984. Yet when I did finally buy this album I was left rather disappointed. My copy of the LP is a fairly ordinary European pressing from the time of release that I bought from eBay in 2014.

I seem to remember reading in Mike's autobiography that he came under pressure from the record company to write more pop songs after the success of "Moonlight Shadow" so we end up with an album that consists of seven pop songs and one extended instrumental. 

Of these songs, "To France" is probably the highlight with its Fairlight bass, tremolo mandolin and Maggie Reilly's familiar focal delivery. I like "Crystal Gazing" as it has some amazing drumming from co-producer Simon Phillips and a great vocal from Reilly once again.

Most of the other songs are sung by Barry Palmer and - how can I put this politely? - his delivery is not to my taste. "Poison Arrows", "Saved by a Bell" and the title track were never going to set the charts on fire but when you add Palmer's strained vocal they end up sounding very messy indeed. The single "Tricks of the Light" can be entertaining if I am in the right mood, but it still wears Palmer's vocal like a hair shirt.

"The Lake" turns into Status Quo mixed with The Shadows and even seems to imitate the 'magic break' from "In The Air Tonight" at one stage. There are some nice passages within this piece but it isn't anywhere close to Oldfield's best. 2/5

One record at a time: 315. Mike Oldfield - Crises

I originally bought the CD of "Crises" in 1992. As well as the CD, I also own a copy of the original UK LP and a repressing from 2013. The newer version sounds so bad I can't bring myself to mention it any further.

When it was released in 1983 this album sold by the hatful because it features the massive hit single "Moonlight Shadow". However I regard the twenty minute title track that opens this album as the highlight. As we drop the needle we hear brooding Solina strings, Fairlight bells and an Oberheim OB-Xa tinkling away. The Solina soon takes centre stage and the whole piece seems to go off like a firework. 

My favourite part of this track is the "Watcher in the Tower" vocal section and the superb drumming that features on the final three or four minutes. There's so much to hear on this track I consider it the equal of any of Oldfield's long form pieces. Sadly I can only fantasise about a version of the album that has a "Part Two" on the flip side.

The second side of the record is taken up by four pop songs and a fantastic instrumental. The afore mentioned "Moonlight Shadow" was a massive hit across Europe in 1983 and helped propel this album up the charts. However, this success was a double edged sword as, once Virgin Records realised Oldfield could write monster hit singles, the pressure was on to do it again. There are some other good songs here and "Foreign Affair" is a standout - but the title track is the jewel I can't help coming back to time and time again. 4/5

One record at a time: 314. Mike Oldfield - Five Miles Out

"Five Miles Out" is a fine illustration of how diverse Mike Oldfield's talent really was. This album contains virtuoso guitar performances, catchy pop songs, complex instrumentals and synth wizardry of the highest order.

Unsurprisingly I enjoy this album because of the widespread use of electronic instruments and the sound of the Fairlight CMI is a particular highlight. I have written posts on here before about my mild obsession with the Fairlight and records like this have contributed to this fascination over the years.

The first half of this record is occupied by the monumental "Taurus II" which, despite the title, only features occasional references to the theme from "Taurus I" on "QE2". The Fairlight CMI is heard immediately on the opening track with the slide whistle sample "SWANEE" and growling strings featured heavily. 

As the theme develops we hear the familiar vocals of Maggie Reilly alongside vocoder and a Linn LM-1 drum machine. There's a curious fade of the volume at 4'51'' that I always thought was a mistake, but I now realise it is to allow emphasis on the section that follows. Things move along almost effortlessly and it is only when you find yourself listening to the sound of Uilleann Pipes and Morris dancing that you realise the track has developed somewhat from the opening. There's a disco influenced section at about eighteen minutes before we return to the main theme and the conclusion of the fist side of the record.

The second side features the brilliant pop song "Family Man" which is probably better known as the Hall & Oats cover version. Whilst this original rendition is far superior musically, it didn't have a glitzy video to push it into American living rooms so wasn't as commercially successful as a result. 

"Orabidoo" is a weird extended lullaby that is closest to a disappointment on the album. "Mount Teidi" is a nice tune but Carl Palmer's drumming dominates a bit too much for me. The title track takes the theme from "Taurus II" and develops it into a pop song about a real life experience of flying through a storm in a light aircraft. Interestingly "Five Miles Out" also features Mike on lead vocals alongside Maggie Reilly.

You'll notice the difference in the colour of the sleeves for these two records. This is because one is the original pressing from 1981 and the other a 180g repressing from 2013. As usual, the modern version is a poorer quality image than the original and the vinyl isn't much better. If you like this album I would always encourage you to pick up a copy of the original LP as it has a fascinating gatefold sleeve that reveals the studio tracklist for "Taurus II" on the inside. 4/5

One record at a time: 313. Mike Oldfield - QE2

I always wondered why Oldfield called this album "QE2" as there was nothing special about the ship in my eyes. It turns out that Oldfield decided to name the album after an ocean liner because he used a sound akin to a ship's horn on one of the tracks (heard on the title track). His first idea was to name the album "Titanic" but soon realised this wouldn't be a good idea and plumped for "QE2" instead. 

My copy of this record is a first pressing which can be distinguished by the die cut pothole on the front of the sleeve. This doesn't mean this version is worth more money - but it is a nice touch that isn't present on later editions. I bought this record from eBay eight years ago and it is in very good condition; it plays flawlessly.

This album comes in for a bit of stick from some Oldfield fans and I must admit, when I first heard it twenty years ago I wasn't too impressed. Critics point to the absence of any long form instrumentals and the inclusion of cover versions as detracting from this album's integrity. 

There are also more electronic instruments featured on this record and the very first sound we hear is from a Roland CR-78 drum machine. As "Taurus I" rumbles along we hear the trusty Roland SH-2000 clarinet alongside Polymoog and Solina strings, but my favourite sounds has to be the Moog Taurus bass pedals that chime in from about 8'30''. The final section of this song is one of my favourites pieces on the album but it seems to fade out without reaching a satisfying crescendo.

The second track "Sheba" marks the first appearance of vocalist Maggie Reilley - albeit through a Barth Musicoder Vocoder. The drums on both of these first two tracks are by Phil Collins but, aside from a short section in "Sheba," they are kept relatively low in the mix and don't sound exceptional.

Despite not having much love for ABBA, I do like Mike's version of "Arrival" (I have never heard the original I hasten to add) and his cover version of "Wonderful Land" is also very good. The title track is another highlight of the album but it too seems to just fade away rather than building to a satisfying conclusion. 3/5

One record at a time: 312. Mike Oldfield - Impressions

"Impressions" is a compilation album from 1980. This record was released by Tellydisc who were a mail order record company advertising 'budget' compilation albums on television. 

Even though I have been buying Mike's music since 1989 I wasn't aware of this album's existence until about four years ago when I came across it in a shop. 

Unfortunately the shop I found this record in has a tenancy to grade everything as "excellent" - but the reality is often far short of that. I really should stop buying from them. As my first copy was badly scratched, I took a roll of the dice on eBay a few months ago and managed to source a copy in much better condition.

This double album features "Tubular Bells Part One (Live)" from "Exposed" on the first disc and the excellent "Ommadawn (Part One)" on the flip. Side three presents a good chunk of his latest (at the time) album "Platinum" and includes a unique mix of the track "I've Got Rhythm". It is not clear if this version was included by accident or by design, but its presence means this album is quite sought after. The final side is an eclectic collection of singles and b-sides that leaves the albums "Incantations" and "Hergest Ridge" completely ignored. 3/5

Mike Oldfield CD releases

Whilst writing a recent post about "Platinum" - I began to wonder when Mike Oldfield's back catalogue was first released on compact disc in the UK. Unfortunately I couldn't find an answer on the internet - so decided to see if I could find out myself. 

As I began this work I started to make lots of notes and tried to edit them into some sort of post for this blog. Unfortunately the text read like a stream of consciousness and it was boring for me to read, let alone anyone else. 

Instead of a long post about my Mike Oldfield research I have decided to simply present the results. If you can fill in the blanks then do let me know. I've tried to work from contemporary sources and cross reference where I can.

Sources:

Dark Star https://www.mikeoldfield.org/ Fan site that led me up a few cul-de-sacs but also helped get some of the chronology right

Official Charts https://www.officialcharts.com/charts/ Authoritative but not too much depth of information. Helped corroborate probable release dates

Music Week archive at Worldradiohistory.com An absolute mine of information - shame all records for 1983 are missing. My go to resource.

Discogs Like any community led site, the data is subject to the vagaries of those that contribute, but is generally very useful for images

"Mike Oldfield Every Album, every song" (2020) Ryan Yard Highly recommend book written by someone who knows the subject matter intimately and understands music theory. Also manages to not be patronising.

One record at a time: 311. Mike Oldfield - Platinum

I own a rather battered copy of the second pressing of "Platinum" from 1979. The fact that this is the second pressing is significant because on this version the sleeve and labels list a song called "Sally" - but the record actually plays another track called "Into Wonderland".

The story goes that "Sally" was initially included on the album but Richard Branson didn't like it and had it replaced. However, this change was made whilst the record was still being pressed and initial copies (thought to be around 30,000) containing "Sally" had already been distributed. 

A new master with the revised running order was finally cut, but the pressing plant continued to use the labels and sleeves from the first batch. This is how we end up with a record that doesn't play what is listed on the artwork. There is also a third pressing (presumably created when all of the incorrect sleeves and labels had been used up) that fixes the issue.

This album was first released on CD in 1985 and for some bizarre reason the errors on the second pressing of the LP were repeated on the CD sleeve. In fact, the correct tracklisting wasn't included on CD artwork until 2011.

The music on this record is generally lighter than previous efforts and you can even hear some disco influences lurking here and there. I had never really considered what a departure this record was until I began listening to Mike's back catalogue in the order they were released. To some degree this new style is attributable to changes in Mike's personal life, but the use of session musicians from New York must also have been a significant factor.

The first side of the record features the title track which is split into four parts. "Charleston" is one of the most immediate pieces, but the dated backing vocals and disco bassline detract from the sound somewhat. The final section of "Platinum" is one of the best tracks on the record and it builds to a very satisfying crescendo. "Finale" is listed as a co-write as the choir section towards the end is taken from a piece called "North Star" by Philip Glass.

Another change on this album is the break away from long form compositions and the inclusion of shorter pieces. The second side of this record is occupied by two instrumentals and two songs - "Woodhenge" is my favourite. You can hear the excised "Sally" on YouTube and I have to say, I quite like it. Yes it is a little light hearted and disposable, but I wouldn't say "Into Wonderland" is any better. 3.5/5