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