In nearly 50 years of listening to progressive music this is the one track that I continually return to in order to meditate or calm myself. It’s definitely an eyes closed headphones on and floating off song. In my view it’s better than Tubular Bells and as usual he plays all the instruments on this. In short Mike was ahead of his time and has produced innovative and unique music. Blessed to have seen him perform live, the last time at the Olympic opening ceremony in London. Thanks for reviewing this and keep going.
I love that you listened to this! Ommadawn is so good, you can go back to it a thousand times and enjoy and find new things, and this is the case for most of his stuff. Mike Oldfield is my all-time favourite composer (he usually plays all the instruments too and also sings sometimes), his songs are such journeys with all the instruments, moods and little melodies and sections all contributing to the special and so-so characteristic feeling of his songs. Unique and cohesive for sure. It just all flows so well, exciting and interesting. Lots of folk, lots of prog, lots of imagery. Even when he went (or had to go) pop, or went a bit electronic, it was there, and he did looots of type of music during the years. You gotta check out 'Amarok' at some point just for yourself, although it would be nice to see your reactions! It's an hour-long epic chaos he wrote to spite his label :D It's really my all time favourite from him. But apart from that, 'Tubular Bells' of course is a classic, although 'Tubular Bells II' for me was always a bigger hit. 'The Songs of Distant Earth' is more new-age-y, maybe, but so good. 'Guitars' is... well, guitars... 'Voyager' is Celtic stuff, 'Music of the Spheres' is classical, 'Light+Shade' is electronic... the man has done everything! Can't say he never missed but still x) He even did a sequel to this, 'Return to Ommadawn' in 2016 and it's so nice! Loved your analysis as always. Weird to hear something that's so part of my life being analysed!
Thanks for advocating for a reaction to Amarok! Amarok is also my favorite by Mike and one of my favorite pieces of music in general. I bug Bryan occasionally about wanting album reactions so we can get a reaction to it and how I'd pay a lot of money to see it happen haha. I really wanted Bryan to check out some of Mike's music though so this was the best option currently available in my opinion. I'm hopeful that one day we'll get a reaction to Amarok though.
3 года назад+1
@@thewhorocks515 I'm just afraid it would be like a nightmare to him, having to pay attention and analyze this long monster since he said long songs are tricky to listen and react to (and it's true I suppose!) :D although the track is anything but boring so that could help! It could be like an experiment though, like the album itself, a chill, more reaction- and less analysis-heavy video. That would be nice!
@ You're right, it would be too difficult for the way he does all of his current reactions. I would be in favor of a more typical reaction with less analysis. I do know Bryan said he has plans for album reactions too that differ from his normal videos. So maybe that would involve things like researching the artist and album, listening to it multiple times, having a video for the reaction and then a video for the analysis, etc. I have to admit I haven't checked out anything besides Tubular Bells -> Incantations, Amarok, and Return to Ommadawn but your initial comment makes me want to check out more. Any suggestions on what to check out next?
The two most definitive Oldfield album to my childhood musical taste development was Ommadawn and Crises! So I can wholeheartedly recommend the latter. And for another tipical long score with a journeylike musical meandering is The lake from Discovery (not the whole album is a favourite of mine but there are also some nice pieces on that too).
Thanks for a lovely analysis and reaction - Ommadawn is an absolute masterpiece. It only gets better with every single listen, I promise you. Mike played and overdubbed most of the track as he did on his previous records "Tubular Bells" and "Hergest Ridge" but also brought in a larger number of guests this time, playing things like the African drums, the trumpet, marimbas and the flute. Paddy Moloney of the Chieftains plays the Uillean Pipes beautifully on side two as well. Do more Mike Oldfield!
I always think of this as a Christmas album, as I can distinctly remember buying it on a cold Glasgow evening after work, mid December 1975. The second side, (part 2), has a section featuring the uilleann pipes played by Paddy Moloney which is just so so beautiful. There is also some really nice acoustic guitar work on part 2, and who can't resist singing along to the final song ''On Horseback''? Absolutely bonkers but, Hey and away we go, through the grass cross the snow.................
Masterpiece! The intensity, the melody, the armony, the rithms changes, the orchestration, the chorus in gaelic, the patterns of timbristics jewels, the power of mindblow for years and years, the guitar fuses, the "neonatal section", the awesome number of organics instrumentation, (most plays for he in self), the editing, the dinamic, recording, etc. IMO, the top of the prog rock, and modern music. Mike is a genius. Greetings from 🗿Chile🇨🇱
Ommadawn is a singular masterpiece that still beguiles and captures me. I first heard it when it came out in 1975 - ish. I have yet to hear any instrumental equal to its complexity, beauty and brilliant, unsettling sections that give way to utter gorgeousness. I doubt it will ever be equalled.
A ear Ommadawn since 1976. Thousands of times. Never tired. Always surprised with new notes, new tones, new details, new sensations. The very best of Mike. Mike the very best of eternal music.
First time visiting the channel (got promoted because I'm an Oldfield fan) and it's great to hear such a detailed reaction to one of Oldfield's seminal works. This was his 3rd solo album - and he was only 22! and yes he is the sole composer and he plays most of the instruments. His background is folk music but growing up in the 60's meant being influenced by all the rock n roll so his melding of the two pretty much set the benchmark for this kind of epic folk rock fantasy sound. 2 years prior no-one - least of all Oldfield himself - expected his debut album "Tubular Bells" to be the monster hit it became. The closest music to that was probably Pink Floyd but Oldfields folk sensibilities slanted his music much more melodically and the breadth of instrumentation was staggering. This was at the birth of 16 track recording and even that wasn't enough. It's interesting hearing you say how some of the sections of Ommadawn almost out stay their welcome - Tubular Bells is much more episodic (it was really Mike's first chance to just splurge all the musical ideas down for the first time in a proper recording studio as he didn't know when he would be given the chance to do it again) so the amount of ideas in each of it's 2 parts is huge which some find disconcerting - others love how it changes so quickly from one idea to the next. The 2nd album Hergest Ridge was inevitably done in a hurry and Mike was never satisfied with it. Mike at that time was in a bad place mentally with family issues and being very shy and introverted. Music was his release. The success of Tubular Bells meant the pressure was on for the sequel and it's only recently that it has been re-evaluated and is becoming much more respected for what it is - actually a very grown up piece of work. More pastoral in nature, less rock orientated than Bells. The Original Mix is by far the best however Mike re-mixed it 2 years later and decided that should be the one on the records so the original didn't re-surface until 2010 along with a less than satisfactory new version (along with Ommadawn which you have just listened to). Ommadawn Part 1 is probably the apotheosis of this period of Oldfield's music - it's unfortunate that you heard the 2010 mix first as despite the clarity of the instruments it lacks the power and melding of the original and indeed the "Boxed" remix (the surround mix that was done a week after the original). The climax of Part one is basically an allegory of sexual intercourse - the pinnacle of which in the original mix is the main theme being stated on of all things a glockenspiel! (and it works!) the drums at the end are the post coital heartbeats after the climax. HIs next album "Incantations" was a double album - so 4 sides of music. If you found some of Ommadawn repetitive you would probably find this album challenging as he takes repetition to another level experimenting with rounds and full octave progressions - but with just enough variation to not be too minimalist and boring...but it proved a bit too much for some of his fan base. That album fits perfectly what you were saying about background music - you can dip in and out with each transition but concentrate on what it is you are doing. Oldfield is a musical chameleon, you never know what he is going to do next - his long career has many peaks and troughs, some of the music is the most inspiring, spiritual and influential music I have heard in my near 50 years on this planet - but he has also released some disappointing highly derivative material - but he is not afraid to make fun of everything and he has released many jokey and bizarre tracks but all meticulously created and played making a little gem. His guitar work is seriously underrated but unmistakable when heard - he really makes guitars sing. It goes without saying that to get the most out of his music you have to invest in the time to actually listen - preferably in a darkened room with good headphones! If you are at all intrigued I'd say start at the beginning -Tubular Bells Part 1 - and work your way chronologically and ride the peaks and troughs that all his fans endured over the decades. Oh and Always listen to the Original Mixes first ;-)
it's the type of song that you can listen 25 years later and still discovering things and amaze youself like the day one. Finally Mike Oldfield in the channel.... His 70's work it's remarcable for me: Tubullar bells, Omnmadawen, Hergest Ridge and Incantations are the holy grial. And Amarok of 1990 of course.
Amarok is my #1 dream reaction. If album reactions are ever a thing I'd pay an arm and a leg to have it reacted to! l also love love love that string of 4 albums you mentioned though.
@@thewhorocks515 I'm also hoping somebody does an Amarok 1st listen reaction, not because I think they would like it (after a pair of decades I'm not even sure whether I love or hate it), but because I want to see what my face looked like on my first listen.
You can't really rate Oldfield material if you haven't listened to it a bunch of times. Over the hundreds of times I've listened to tubular bells hergest ridge and ommadawn I've changed my opinion on them multiple times. Learning to appreciate it differently every listen. It's a unique experience.
I'm totally with you on this one Bryan. I really enjoy this and his other epics whenever I listen. I rarely get the urge to return to them though. He was only 17 when he composed his classic debute Tubular Bells (also the soundtrack to the movie The Exorcist) and as others have mentioned he played most instruments himself. This was recorded only two years later. Pretty impressive!
Shortly after Oldfield started to record, his mother died. He later recalled that working on his new music provided the only source of comfort for him at the time.
Mike Oldfield's music gives me the feeling of travelling through an ancient landscape and then occasionally encountering a glimpse of "stoneage" civilization. I think I prefer Tubular Bells to Ommadawn but this was still a nice piece. PS. I think Mike composed "on the fly" to give that layered texture. It's very English music in my opinion.
I can't stop weeping!😊 I remember first hearing this in a friend's flat in Jesmond when it first came out. I had started my first job in Newcastle Upon Tyne. She thought it was great - said you MUST listen to the guitar solo. Since then I got married and have been exhorted by Christian wife and church friends to basically leave those things behind, either because they are worldly or of teenage interest. Even now, as I listen, my wife has said, well that's ugly isn't it. But your analysis and also that of other so-called serious music people is confirmation to me after 50 years that I truly didn't need to "grow up or grow out of it". And I am a Christian too. The presenter says that there is strong tension and danger in the piece. Well that's no sort of temptation for me. I see this dangerous world coming to a point of no return and the music tells me to hold on for the revealing of the God- man, Jesus who will take to Himself in Glory those that He knows.
Huge Mike Oldfield han here. Ommadawn is considered by many his masterpiece (but some of us think Amarok is the one who takes the cake). Anyway, not only Oldfield composed all of it with minimal knowledge of music sheet reading or writing, but he plays 90% of the instruments himself (search online for a picture of him with all the instruments around him). The darkenss you hear in the piece is becasue around that time Mike's mother, Maureen, died, and he has a very big moarn for her, barely coping with life. Clodagh Simonds, the singer, told that at times the recording studio was filled with cigar smoke, alcohol and XXX magazines. Anyway, not only Ommadawn is a ride, the whole work of Oldfield is a ride.
This is a masterpiece, but unfortunately this 2010 mix is too clean, without the soul of the original. Sometimes gives an amateurish feeling to the work, and the climax less effective as it was.
it's probably just because I listened to the original LP less than 2 weeks ago, but I am really not a fan of the 2010 remix. I'm sure it would be incredible if I didn't have the LP version so fresh in my mind. Still, thanks for being willing react to this piece. Mike's first 3 albums are some of my favorite prog. Just picked up a used copy of Hergest Ridge at a Record Fair last weekend. Tomorrow will be my first time listening to the album in over 20 years. Should be a real treat.
Great analysis... Mike Oldfield is awesome and one of my all time favourite musicians. He's hugely underatted unfortunately after his first 3 albums. But he's done so many great albums after them covering many different genres. Please do some more reactions on Mike Oldfield.
To me this song is simply a big adventure in music. Moments of high and lows, discovery, fear, joy, eagerness, etc. Close your eyes and go on a diferent journey everytime!
Mike Oldfield honed his compositional skills and musicianship on Tubular Bells, and Hergest Ridge - enabling him to realize his full potential and create this masterpiece. Artificial substances are redundant when submerging oneself in this, the greatest and the most fully realized evocation of the British countryside - nirvana is assured. The original 1975 mix is superior. Mike Oldfield does not have a great track record of remixing his own material. The original Hergest Ridge recording from 1974, which was abandoned latterly, has far more subtlety and colour than his preferred mix; and his subsequent remix. Ironically, when he re-recorded Tubular Bells in a desire to eradicate faults and blemishes, it sanitized the piece, and amusingly, introduced a blemish in the finale of side one, where John Cleese replaces Viv Stanshall as Master of Ceremony. Mike Oldfield is a unique and hugely gifted guitarist, but unfortunately does not receive the recognition that his talent and rich catalogue deserves. He has a unique ability to generate joyous, uplifting, climactic electric guitar passages, in particular on Ommadawn, Incantations, Platinum, QE2, Five Miles Out, Amarok, and Discovery.
Thank you to everyone for providing insight on Mike and the track for Bryan! And thank you Bryan for the 25 minute thoughtful, critical analysis. As a bonus I'm glad you seemed to really enjoy it! It's high praise for you to elevate this above other similar rides/journeys. Have to add my obligatory comment that I keep bringing up about wanting a reaction to his 60 minute song/album Amarok lol.
I dont know if this is not the original mix or if its just the sound on this video, but the mix doesn't sound like the original, to me, and quite a lot of the power of the buildup seems drowned out in this. I have listened to this many times and this really sounds 'thinner' somehow. I have a feeling it's a digital remaster with new reverbs and I prefer the analogue original.
I have to agree on that. I don't know quite what it is, but some of the sounds (no idea what the instrument is) sound much harsher than I remember them from the original mix (which I think I know quite well), and some of the phrases have changed in speed, or even changed melody completely. But then I also prefer the original Hergest Ridge vinyl to the later one, which is supposed to be the version M.O. had originally wanted. (I guess I am just being over-sensitive - I also prefer André Previn's recording of Prokofiev's Romeo and Juliet (London Symph. Orch., 1973?) to others I have heard, probably because it was the first version I heard.)
Thanks for this one. One of my favourite pieces of lead guitar,by anyone at anytime is on the back end of side two. Worth a listen if you get the chance. Whenever you are feeling adventurous give Amarok a go but read the backstory first to give you context. Its eclectic genius.
A genuine masterpiece transcending all genres- bravo Mike. Mike really understands the balance between essential predictability and unpredictably in music.
No. In Tubular Bells, the 1st and precedent albun, yes, Mike played all instruments. In this composition, Ommadawn, the 2nd albun, no! He has a lot of musicians (and a chorus) that have participated largely in all sections. Of course Mike is always a genious... playing or not alone...
If you flip immediatly onto part 2 you are thrown into a massive primal scream which put that final section into context. The cut away to drums at the end make more sense in that context. The album was recorded around the time Oldfield's mother died and I think that has a significant impact on the work.
Yes, Mike Oldfield was the composer and instrumentalist, though he did have a few guest musicians on this album (for the wood drums at the end and something else in Pt. 2)
To me, the complex works that you tend to react to, my appreciation always grows over time. In fact, many of my favorite pieces start out being from "meh" to "ick" but something compels me to come back. MO stuff usually starts great and just gets better. Amarok took some getting used to, because the parts can be jarring. But, after becoming more familiar, the anticipation of the changes adds greatly to the enjoyment. *Knowing* the contrasts enhances the piece. Bands like Yes, are more often WTF (W being what or why)!? Songs like "Heart of the Sunrise" and "Gates of Delirium" in particular were almost "bad" and are now faves.
There is a short documentary on here showing how he recorded the piece. Just search Mike Oldfield Ommadawn. It was precisely because he was putting together these pretty much solo multitracked albums at the age of 17 that he became a name.
This is the first time pretty much hearing of Mike Oldfield and certainly first time listening to this song but I wonder if the Lord of the rings or high fantasy was any kind of inspiration to this piece because I am getting a strong fantastical vibe from this
@@MarcusL1995 Anf Lord of the Rings is from the 50's..... There's actually quite a few prog bands who took inspiration for music, lyrics, titles or even band names (e.g. Marillion 😊) There was a Swedish composer/musician named Bo Hansson who did a great album in the 70's called Music inspired by Lord of the Rings. Highly recommended! ruclips.net/video/IfHLvDBxj_k/видео.html
I always like to listen to this one with the lights off & let my imagination run-I always imagine being in a giant garden with running streams, trees & ponds & lilypads. It is hugely relaxing, but with a huge air of menace at the beginning. Tubular Bells was his first album & is a quite remarkable work-especially as he wrote it in his teenage years.
On the compositional level you should check out "Incantations", the vast majority of which is based on a single stepwise chord building progression stated at the opening. I'm told its simply a cycle of 4ths,
Les Penning on the Recorder (Flute) and he is a genius in his own rite. It was amazing to hear Mike and Les collaborate at Penrhos on this album. If you enjoyed this as much as you appeared to have, you should also find Mike's "Return to Ommadawn" album and Rob Reed's collab with Les Penning "Return to Penrhos" which was sort of a dig at Mike for not including Les in the return album. Amazing work from all parties. But I am biased because I've always enjoyed Mike's creativity.
Che dire di un genio come MIKE che da 50 anni compone musica favolosa e che con incantations ha realizzato l' Everest musicale e dato emozioni a tutti i suoi fan.saluti da Bologna Italia ciaoooo
Esta canción es altamente adictiva, y no solamente a las personas que gustan del rock progresivo, sino que hasta a mi mamá le gusta y me dice que la coloque cuando salimos en mi auto.
When you are used to the original mix, the changes are quite jarring and, to my ears, detrimental. If you react to Hergest Ridge, for pity's sake, DON'T listen to a remixed version. I've heard one and it ruins it. Subtle elements are wiped out and others are brought into unnecessarily sharp relief. Basically, unless the artist has expressed dissatisfaction with their original mix, don't mess with it!
Personally I also like the original mix a lot more. With Hergest Ridge I'm a bit more torn, there are things I like a lot more in the new mix, like the beginning of Part 1, or that guitar at 7:30 that I don't understand why he put it so in the back in the original, but then he did some things in the new mix that I find completely baffling... The perfect mix for my personal ears would be pieces of both. With Hergest Ridge, though, he was clearly dissatisfied either with the original mix or with the composition itself, since he did it with quite a bit of pressure and didn't have many ideas, which I'd say is probably why the 2010 mix has so many changes, and why there are actually 3 mixes (not counting the orchestral version).
This 2010 remix is an abomination, an insult to the original 1975 masterpiece. The same applies to Hergest Ridge. I don't know if Mike Oldfield was needing some cash badly or just went plain insane when he committed these criminal acts against his own legacy.. And it gets worse. While the 2-CD Deluxe Edition released in 2010 included a CD with the original 1975 mix, the single CD re-releases only contained the 2010 remixed monstrosity without a single mention that it was a remix - people hearing the album for the first time were led to believe that that was the original version. The same thing still happens today on streaming services - the "default" version is the 2010 cancer, and first-time listeners will think that's the original version.
Terry Oldfield play the flute and Jabular is the African percussion group who pretty much make the p1 and Sally on Vocals. Incantation have similar sections.
The most classical of all the prog rock exponents except perhaps David Bedford. The first three albums were so fresh and new compared with anything that was around at the time. And by the way there was not even space invaders when this was created…… Mike your song sounds like a video game soundtrack …….Mike Oldfield …..What’s a video game….?
Eh, I don't find Oldfield very classical TBH. I actually think one of the interesting things about him is that he doesn't fit very well into any genre. To me, he's most similar to the more versatile soundtrack composers out there. Yoko Kanno strikes me as a modern version of Mike Oldfield. Of those prog rock bands I actually think King Crimson and (at times) Van der Graaf Generator were the most classical, though they were drawing more on modern/contemporary classical rather than older classical. For older classical I think Gentle Giant probably took the most and most direct inspiration (especially with their emphasis on polyphony and use of distinctly classical instruments at times).
I only know of Mike Oldfield from Tubular Bells, which is a fantastic album and was actually a surprise "hit" (both critically and commercially) in the early 70s that now has something of a cult status. It's one of those albums that feels strangely outside time. It gets labeled as "progressive rock" but it's really more "soundtrack to a non-existent film" than anything traditionally rock or prog. Given how great Tubular Bells is I really should've checked out more of his music by now. This is definitely a good piece as well, but on an initial listen it doesn't seem as catchy or as complex as Tubular Bells. This also feels slightly more... traditional? Like, it definitely sounds more like 70s prog, with certain sections being very reminiscent of Yes and Genesis especially. That's not a bad thing by any means, and I don't want to compare everything I hear from Oldfield to Tubular Bells, but it's hard not to with an album/track that iconoclastic. Perhaps the best thing about this piece is that it's extremely listenable. That almost sounds like damning with faint praise, but given that it's a 20-minute instrumental that's no mean feat. This seems like it would be a lovely piece to put on while lounging outside on a windy, cloudy day while getting nice and high.
If you want more of this style of Mike Oldfield check out Part 2 of this or his album Hergest Ridge. His album Incantations is almost like a mix between the style of Tubular Bells and the other 2 albums I just mentioned. But if you like complex, and what I'd recommend the most is checking out his album Amarok. It's Mike Oldfield letting loose his creativity and doing whatever he fuck he wants. It's one 60 minute song so you need to have the time to listen to it at all once, but I promise you will not be bored. Progarchives has the song split up into 45 parts with different names so you know it won't get repetitive. Can't say it's entirely cohesive though when there's 45 parts and a 60 minute song lol, but there are themes revisited throughout and it's personally a top 5 favorite piece of music.
@@thewhorocks515 Thanks for the recs. If I do get around to listening to him I'll probably just do a discog run, which is what I do with most bands/artists I want to explore these days.
i have to say that unfortunately the recomendation to listen to the 2010 remix was a bad choice, the 75 mix is so much more atmospheric and dramatic. Oldfield did these remixes to all the first three albums and in my opinion lost the original feel...all that you're suggesting that would be better in the mix strangely enough exist in the 75 mix...
Great song to react to. A composer's playground this tune is. Too bad the requester has questionable taste in choosing which mix to listen to. The original mix from 1975 is MUCH better. Mike Oldfield himself mixed the original and made infinitely better choices regarding instrument placement and relative volumes of instruments. It affects so much the transitions between sections. The transitions are smoother and are more epic where required. Do yourself a favor and listen to the 1975 mix immediately. With your musical mind Bryan you will hear the vast improvements and really be able to appreciate Oldfield's genius. The final section sounds weak in this 2010 mix. In the original it becomes HUGE, and the whole song has a dynamic action, a musical drama, that is so much more apparent than it is in this mix. The ending "wood sticks" that you say seem inappropriate to you are a clear example of the horrible mix decisions made in this 2010 mix. It is supposed to fade out with just the African drums pounding out their hypnotic groove. That is how Oldfield did it in '75 and it is the most awesome fade out. Oldfield always puts the composition first. The song itself is most important, not the player, and certainly not the engineer! Video game music composers wish they could write stuff as good as this. Cheers!
Yes, I don't really see the point of remixing Oldfield-as he was a total perfectionist in the studio, driving engineers, producers etc mad by calling them out at night to redo parts they had just done hours earlier.
I bought this when first came out in the mid 70's. I took it to my brother's place & played the whole album, even though my brother & other family were sipping beer. They never told me to take it off. They seemed to like the vibe. ~ Fyi Mike played the majority of the instruments himself. Mike did a lot of over-dubbing/layering so much so that he ruined the tape & had to do over again.
Hi i am alex i am from Romania and if i can request some folk metal Romanian the band its called E-AN-NA and you can check any of their songs if you will like
Gonna be frank: Glad you did the 2010 mix. I don't know if I'm in the minority, but I believe it's way better. And now for some fun facts: - The ending is meant to represent a birth, and the pain, intensity and exhaustion that comes with it, and the guitar solo was recorded during a rainy stormy night. Not making any of this up. - The African drums used in Ommadawn were sampled and reused for the track _"Far Above the Clouds"_ that closes out the album *Tubular Bells III* from 1998.
I must have listened to Ommadawn over 2000 times since the 70s. It's too incredible for
words.
Every note of Ommadawn is pure gold.
In nearly 50 years of listening to progressive music this is the one track that I continually return to in order to meditate or calm myself. It’s definitely an eyes closed headphones on and floating off song. In my view it’s better than Tubular Bells and as usual he plays all the instruments on this. In short Mike was ahead of his time and has produced innovative and unique music. Blessed to have seen him perform live, the last time at the Olympic opening ceremony in London. Thanks for reviewing this and keep going.
Until that final section, where the hairs on my neck and arms stand up and I almost stop breathing.
Seen Mike Playing Live four times! Platinum at Stafford Bingley Hall 1980/81 was the First one! Brilliant!😊
Álbum sublime!!!!!!
I love that you listened to this! Ommadawn is so good, you can go back to it a thousand times and enjoy and find new things, and this is the case for most of his stuff. Mike Oldfield is my all-time favourite composer (he usually plays all the instruments too and also sings sometimes), his songs are such journeys with all the instruments, moods and little melodies and sections all contributing to the special and so-so characteristic feeling of his songs. Unique and cohesive for sure. It just all flows so well, exciting and interesting. Lots of folk, lots of prog, lots of imagery. Even when he went (or had to go) pop, or went a bit electronic, it was there, and he did looots of type of music during the years.
You gotta check out 'Amarok' at some point just for yourself, although it would be nice to see your reactions! It's an hour-long epic chaos he wrote to spite his label :D It's really my all time favourite from him. But apart from that, 'Tubular Bells' of course is a classic, although 'Tubular Bells II' for me was always a bigger hit. 'The Songs of Distant Earth' is more new-age-y, maybe, but so good. 'Guitars' is... well, guitars... 'Voyager' is Celtic stuff, 'Music of the Spheres' is classical, 'Light+Shade' is electronic... the man has done everything! Can't say he never missed but still x) He even did a sequel to this, 'Return to Ommadawn' in 2016 and it's so nice!
Loved your analysis as always. Weird to hear something that's so part of my life being analysed!
Thanks for advocating for a reaction to Amarok! Amarok is also my favorite by Mike and one of my favorite pieces of music in general. I bug Bryan occasionally about wanting album reactions so we can get a reaction to it and how I'd pay a lot of money to see it happen haha. I really wanted Bryan to check out some of Mike's music though so this was the best option currently available in my opinion. I'm hopeful that one day we'll get a reaction to Amarok though.
@@thewhorocks515 I'm just afraid it would be like a nightmare to him, having to pay attention and analyze this long monster since he said long songs are tricky to listen and react to (and it's true I suppose!) :D although the track is anything but boring so that could help! It could be like an experiment though, like the album itself, a chill, more reaction- and less analysis-heavy video. That would be nice!
@
You're right, it would be too difficult for the way he does all of his current reactions. I would be in favor of a more typical reaction with less analysis. I do know Bryan said he has plans for album reactions too that differ from his normal videos. So maybe that would involve things like researching the artist and album, listening to it multiple times, having a video for the reaction and then a video for the analysis, etc.
I have to admit I haven't checked out anything besides Tubular Bells -> Incantations, Amarok, and Return to Ommadawn but your initial comment makes me want to check out more. Any suggestions on what to check out next?
@@thewhorocks515 Herbert Ridge, Tubular Bells ll, and Platinum are really great
The two most definitive Oldfield album to my childhood musical taste development was Ommadawn and Crises!
So I can wholeheartedly recommend the latter.
And for another tipical long score with a journeylike musical meandering is The lake from Discovery (not the whole album is a favourite of mine but there are also some nice pieces on that too).
Thanks for a lovely analysis and reaction - Ommadawn is an absolute masterpiece. It only gets better with every single listen, I promise you. Mike played and overdubbed most of the track as he did on his previous records "Tubular Bells" and "Hergest Ridge" but also brought in a larger number of guests this time, playing things like the African drums, the trumpet, marimbas and the flute. Paddy Moloney of the Chieftains plays the Uillean Pipes beautifully on side two as well. Do more Mike Oldfield!
I always think of this as a Christmas album, as I can distinctly remember buying it on a cold Glasgow evening after work, mid December 1975. The second side, (part 2), has a section featuring the uilleann pipes played by Paddy Moloney which is just so so beautiful. There is also some really nice acoustic guitar work on part 2, and who can't resist singing along to the final song ''On Horseback''? Absolutely bonkers but, Hey and away we go, through the grass cross the snow.................
Masterpiece! The intensity, the melody, the armony, the rithms changes, the orchestration, the chorus in gaelic, the patterns of timbristics jewels, the power of mindblow for years and years, the guitar fuses, the "neonatal section", the awesome number of organics instrumentation, (most plays for he in self), the editing, the dinamic, recording, etc. IMO, the top of the prog rock, and modern music. Mike is a genius.
Greetings from 🗿Chile🇨🇱
Ommadawn is a singular masterpiece that still beguiles and captures me. I first heard it when it came out in 1975 - ish. I have yet to hear any instrumental equal to its complexity, beauty and brilliant, unsettling sections that give way to utter gorgeousness. I doubt it will ever be equalled.
A ear Ommadawn since 1976. Thousands of times. Never tired. Always surprised with new notes, new tones, new details, new sensations.
The very best of Mike.
Mike the very best of eternal music.
First time visiting the channel (got promoted because I'm an Oldfield fan) and it's great to hear such a detailed reaction to one of Oldfield's seminal works.
This was his 3rd solo album - and he was only 22! and yes he is the sole composer and he plays most of the instruments.
His background is folk music but growing up in the 60's meant being influenced by all the rock n roll so his melding of the two pretty much set the benchmark for this kind of epic folk rock fantasy sound.
2 years prior no-one - least of all Oldfield himself - expected his debut album "Tubular Bells" to be the monster hit it became. The closest music to that was probably Pink Floyd but Oldfields folk sensibilities slanted his music much more melodically and the breadth of instrumentation was staggering. This was at the birth of 16 track recording and even that wasn't enough.
It's interesting hearing you say how some of the sections of Ommadawn almost out stay their welcome - Tubular Bells is much more episodic (it was really Mike's first chance to just splurge all the musical ideas down for the first time in a proper recording studio as he didn't know when he would be given the chance to do it again) so the amount of ideas in each of it's 2 parts is huge which some find disconcerting - others love how it changes so quickly from one idea to the next.
The 2nd album Hergest Ridge was inevitably done in a hurry and Mike was never satisfied with it. Mike at that time was in a bad place mentally with family issues and being very shy and introverted. Music was his release. The success of Tubular Bells meant the pressure was on for the sequel and it's only recently that it has been re-evaluated and is becoming much more respected for what it is - actually a very grown up piece of work. More pastoral in nature, less rock orientated than Bells. The Original Mix is by far the best however Mike re-mixed it 2 years later and decided that should be the one on the records so the original didn't re-surface until 2010 along with a less than satisfactory new version (along with Ommadawn which you have just listened to).
Ommadawn Part 1 is probably the apotheosis of this period of Oldfield's music - it's unfortunate that you heard the 2010 mix first as despite the clarity of the instruments it lacks the power and melding of the original and indeed the "Boxed" remix (the surround mix that was done a week after the original). The climax of Part one is basically an allegory of sexual intercourse - the pinnacle of which in the original mix is the main theme being stated on of all things a glockenspiel! (and it works!) the drums at the end are the post coital heartbeats after the climax.
HIs next album "Incantations" was a double album - so 4 sides of music. If you found some of Ommadawn repetitive you would probably find this album challenging as he takes repetition to another level experimenting with rounds and full octave progressions - but with just enough variation to not be too minimalist and boring...but it proved a bit too much for some of his fan base. That album fits perfectly what you were saying about background music - you can dip in and out with each transition but concentrate on what it is you are doing.
Oldfield is a musical chameleon, you never know what he is going to do next - his long career has many peaks and troughs, some of the music is the most inspiring, spiritual and influential music I have heard in my near 50 years on this planet - but he has also released some disappointing highly derivative material - but he is not afraid to make fun of everything and he has released many jokey and bizarre tracks but all meticulously created and played making a little gem. His guitar work is seriously underrated but unmistakable when heard - he really makes guitars sing. It goes without saying that to get the most out of his music you have to invest in the time to actually listen - preferably in a darkened room with good headphones!
If you are at all intrigued I'd say start at the beginning -Tubular Bells Part 1 - and work your way chronologically and ride the peaks and troughs that all his fans endured over the decades. Oh and Always listen to the Original Mixes first ;-)
Excelente explanação!!!❤
it's the type of song that you can listen 25 years later and still discovering things and amaze youself like the day one. Finally Mike Oldfield in the channel.... His 70's work it's remarcable for me: Tubullar bells, Omnmadawen, Hergest Ridge and Incantations are the holy grial. And Amarok of 1990 of course.
Amarok is my #1 dream reaction. If album reactions are ever a thing I'd pay an arm and a leg to have it reacted to!
l also love love love that string of 4 albums you mentioned though.
@@thewhorocks515 I'm also hoping somebody does an Amarok 1st listen reaction, not because I think they would like it (after a pair of decades I'm not even sure whether I love or hate it), but because I want to see what my face looked like on my first listen.
@@trisibo Too many funny noises on Amarok for me, but MO's first four albums were marvelous.
He composed/recorded this album when he was 21-22 years old.
You can't really rate Oldfield material if you haven't listened to it a bunch of times. Over the hundreds of times I've listened to tubular bells hergest ridge and ommadawn I've changed my opinion on them multiple times. Learning to appreciate it differently every listen. It's a unique experience.
Me encanta lo que dices!
I'm totally with you on this one Bryan. I really enjoy this and his other epics whenever I listen. I rarely get the urge to return to them though. He was only 17 when he composed his classic debute Tubular Bells (also the soundtrack to the movie The Exorcist) and as others have mentioned he played most instruments himself. This was recorded only two years later. Pretty impressive!
Shortly after Oldfield started to record, his mother died. He later recalled that working on his new music provided the only source of comfort for him at the time.
Mike plays over 20 instruments and multitracks.
Mike Oldfield's music gives me the feeling of travelling through an ancient landscape and then occasionally encountering a glimpse of "stoneage" civilization. I think I prefer Tubular Bells to Ommadawn but this was still a nice piece. PS. I think Mike composed "on the fly" to give that layered texture. It's very English music in my opinion.
There is no word's to describe this masterpiece. You listen OMMADAWN WHEN THE WHEEL DISCOVERED....
I can't stop weeping!😊 I remember first hearing this in a friend's flat in Jesmond when it first came out. I had started my first job in Newcastle Upon Tyne. She thought it was great - said you MUST listen to the guitar solo.
Since then I got married and have been exhorted by Christian wife and church friends to basically leave those things behind, either because they are worldly or of teenage interest.
Even now, as I listen, my wife has said, well that's ugly isn't it.
But your analysis and also that of other so-called serious music people is confirmation to me after 50 years that I truly didn't need to "grow up or grow out of it".
And I am a Christian too. The presenter says that there is strong tension and danger in the piece. Well that's no sort of temptation for me. I see this dangerous world coming to a point of no return and the music tells me to hold on for the revealing of the God- man, Jesus who will take to Himself in Glory those that He knows.
Huge Mike Oldfield han here. Ommadawn is considered by many his masterpiece (but some of us think Amarok is the one who takes the cake). Anyway, not only Oldfield composed all of it with minimal knowledge of music sheet reading or writing, but he plays 90% of the instruments himself (search online for a picture of him with all the instruments around him). The darkenss you hear in the piece is becasue around that time Mike's mother, Maureen, died, and he has a very big moarn for her, barely coping with life. Clodagh Simonds, the singer, told that at times the recording studio was filled with cigar smoke, alcohol and XXX magazines. Anyway, not only Ommadawn is a ride, the whole work of Oldfield is a ride.
This is a masterpiece, but unfortunately this 2010 mix is too clean, without the soul of the original. Sometimes gives an amateurish feeling to the work, and the climax less effective as it was.
When I'm fed up with this insane world this music is my spaceship, at the end I come back energized and happy, ready for a new battle.
it's probably just because I listened to the original LP less than 2 weeks ago, but I am really not a fan of the 2010 remix. I'm sure it would be incredible if I didn't have the LP version so fresh in my mind. Still, thanks for being willing react to this piece. Mike's first 3 albums are some of my favorite prog. Just picked up a used copy of Hergest Ridge at a Record Fair last weekend. Tomorrow will be my first time listening to the album in over 20 years. Should be a real treat.
Great analysis... Mike Oldfield is awesome and one of my all time favourite musicians. He's hugely underatted unfortunately after his first 3 albums. But he's done so many great albums after them covering many different genres. Please do some more reactions on Mike Oldfield.
To me this song is simply a big adventure in music. Moments of high and lows, discovery, fear, joy, eagerness, etc. Close your eyes and go on a diferent journey everytime!
My no.1 Album of all time :-)
Amazing.
I loved every second of it!
Mike Oldfield honed his compositional skills and musicianship on Tubular Bells, and Hergest Ridge - enabling him to realize his full potential and create this masterpiece. Artificial substances are redundant when submerging oneself in this, the greatest and the most fully realized evocation of the British countryside - nirvana is assured. The original 1975 mix is superior. Mike Oldfield does not have a great track record of remixing his own material. The original Hergest Ridge recording from 1974, which was abandoned latterly, has far more subtlety and colour than his preferred mix; and his subsequent remix. Ironically, when he re-recorded Tubular Bells in a desire to eradicate faults and blemishes, it sanitized the piece, and amusingly, introduced a blemish in the finale of side one, where John Cleese replaces Viv Stanshall as Master of Ceremony. Mike Oldfield is a unique and hugely gifted guitarist, but unfortunately does not receive the recognition that his talent and rich catalogue deserves. He has a unique ability to generate joyous, uplifting, climactic electric guitar passages, in particular on Ommadawn, Incantations, Platinum, QE2, Five Miles Out, Amarok, and Discovery.
Great song, great album. Mike Oldfield is one of my favorite composers. A Genius. Thanks for this reaction.
Mike Oldfield is not only the composer, but most instruments player, producer, etc.
Mike’s first 4 albums were something else. I wonder what would have happened if he’d been allowed to keep developing music like this
Love this =)! been a fan since I was born in 1989.. even got a tattoo of tubular bells on my back =)
Thank you to everyone for providing insight on Mike and the track for Bryan! And thank you Bryan for the 25 minute thoughtful, critical analysis. As a bonus I'm glad you seemed to really enjoy it! It's high praise for you to elevate this above other similar rides/journeys.
Have to add my obligatory comment that I keep bringing up about wanting a reaction to his 60 minute song/album Amarok lol.
Me too
I dont know if this is not the original mix or if its just the sound on this video, but the mix doesn't sound like the original, to me, and quite a lot of the power of the buildup seems drowned out in this. I have listened to this many times and this really sounds 'thinner' somehow. I have a feeling it's a digital remaster with new reverbs and I prefer the analogue original.
The original mix, IMO, is better. The next Oldfield you should listen is Hergest Ridge 1974 mix.
1975 mix all the way
I have to agree on that. I don't know quite what it is, but some of the sounds (no idea what the instrument is) sound much harsher than I remember them from the original mix (which I think I know quite well), and some of the phrases have changed in speed, or even changed melody completely. But then I also prefer the original Hergest Ridge vinyl to the later one, which is supposed to be the version M.O. had originally wanted. (I guess I am just being over-sensitive - I also prefer André Previn's recording of Prokofiev's Romeo and Juliet (London Symph. Orch., 1973?) to others I have heard, probably because it was the first version I heard.)
Thanks for this one. One of my favourite pieces of lead guitar,by anyone at anytime is on the back end of side two. Worth a listen if you get the chance.
Whenever you are feeling adventurous give Amarok a go but read the backstory first to give you context. Its eclectic genius.
Another great display for his guitar is part three of “Incantations.”
To me, this is the greatest piece of music ever written
This was Mike's 3rd album and he was 21 when it was recorded and 22 when it was released
A genuine masterpiece transcending all genres- bravo Mike. Mike really understands the balance between essential predictability and unpredictably in music.
Mike oldfield is the composer and plays all the instruments
The percussions under the choir towards the finale are by South African group Jabula. :) It also guests on "Incantations".
Leslie Penning on recorders and plenty other credited musicians/singers.
He played all the instruments on Tubular Bells, but not on Ommadawn
@@sylvainmilcent3740 oh, my mistake
No. In Tubular Bells, the 1st and precedent albun, yes, Mike played all instruments. In this composition, Ommadawn, the 2nd albun, no! He has a lot of musicians (and a chorus) that have participated largely in all sections.
Of course Mike is always a genious... playing or not alone...
"They" on a Oldfield-album is usually only himself.. ;) Please do some more Oldfields!
Simply one of my favourite pieces of music.
If you flip immediatly onto part 2 you are thrown into a massive primal scream which put that final section into context. The cut away to drums at the end make more sense in that context. The album was recorded around the time Oldfield's mother died and I think that has a significant impact on the work.
What a song! A complete universe in this song.
Just come right out and say it, it’s one one the most amazing things you’ve ever heard..
Yes, Mike Oldfield was the composer and instrumentalist, though he did have a few guest musicians on this album (for the wood drums at the end and something else in Pt. 2)
To me, the complex works that you tend to react to, my appreciation always grows over time. In fact, many of my favorite pieces start out being from "meh" to "ick" but something compels me to come back. MO stuff usually starts great and just gets better. Amarok took some getting used to, because the parts can be jarring. But, after becoming more familiar, the anticipation of the changes adds greatly to the enjoyment. *Knowing* the contrasts enhances the piece.
Bands like Yes, are more often WTF (W being what or why)!? Songs like "Heart of the Sunrise" and "Gates of Delirium" in particular were almost "bad" and are now faves.
There is a short documentary on here showing how he recorded the piece. Just search Mike Oldfield Ommadawn. It was precisely because he was putting together these pretty much solo multitracked albums at the age of 17 that he became a name.
This is the first time pretty much hearing of Mike Oldfield and certainly first time listening to this song but I wonder if the Lord of the rings or high fantasy was any kind of inspiration to this piece because I am getting a strong fantastical vibe from this
I would doubt it, this came out in the mid 70’s
@@MarcusL1995 Anf Lord of the Rings is from the 50's..... There's actually quite a few prog bands who took inspiration for music, lyrics, titles or even band names (e.g. Marillion 😊)
There was a Swedish composer/musician named Bo Hansson who did a great album in the 70's called Music inspired by Lord of the Rings. Highly recommended!
ruclips.net/video/IfHLvDBxj_k/видео.html
This was an absolute treat to watch!
I always like to listen to this one with the lights off & let my imagination run-I always imagine being in a giant garden with running streams, trees & ponds & lilypads. It is hugely relaxing, but with a huge air of menace at the beginning. Tubular Bells was his first album & is a quite remarkable work-especially as he wrote it in his teenage years.
Yessssssss
On the compositional level you should check out "Incantations", the vast majority of which is based on a single stepwise chord building progression stated at the opening. I'm told its simply a cycle of 4ths,
Incatations its the best!!!
The end was African drums played by Jubala
Jabula.
There are no passages in Ommadawn that are ''too long''. The whole thing is as close to perfection as has ever been achieved.
Les Penning on the Recorder (Flute) and he is a genius in his own rite. It was amazing to hear Mike and Les collaborate at Penrhos on this album. If you enjoyed this as much as you appeared to have, you should also find Mike's "Return to Ommadawn" album and Rob Reed's collab with Les Penning "Return to Penrhos" which was sort of a dig at Mike for not including Les in the return album. Amazing work from all parties. But I am biased because I've always enjoyed Mike's creativity.
This music feels kind of perfect as we reach Midsummer's Day here in the UK........beautiful
The "Boxed" mix is the best one. Great album, very much a journey.
Che dire di un genio come MIKE che da 50 anni compone musica favolosa e che con incantations ha realizzato l' Everest musicale e dato emozioni a tutti i suoi fan.saluti da Bologna Italia ciaoooo
Never thought I wouldn’t hate a slide-whistle.
I think it’s a recorder but I feel the same way
Did you ever listen to the rest of the album?
Looking forward to this.
First time watcher.
Please don't be a pauser, otherwise I am GONE
Yes! mate. You got yourself a subscriber! x
Ommadawn is the opposite of background music.
Completamente d e acuerdo
True genius of music.
Um álbum sublime!!!!❤
Esta canción es altamente adictiva, y no solamente a las personas que gustan del rock progresivo, sino que hasta a mi mamá le gusta y me dice que la coloque cuando salimos en mi auto.
When you are used to the original mix, the changes are quite jarring and, to my ears, detrimental. If you react to Hergest Ridge, for pity's sake, DON'T listen to a remixed version. I've heard one and it ruins it. Subtle elements are wiped out and others are brought into unnecessarily sharp relief. Basically, unless the artist has expressed dissatisfaction with their original mix, don't mess with it!
Personally I also like the original mix a lot more. With Hergest Ridge I'm a bit more torn, there are things I like a lot more in the new mix, like the beginning of Part 1, or that guitar at 7:30 that I don't understand why he put it so in the back in the original, but then he did some things in the new mix that I find completely baffling... The perfect mix for my personal ears would be pieces of both.
With Hergest Ridge, though, he was clearly dissatisfied either with the original mix or with the composition itself, since he did it with quite a bit of pressure and didn't have many ideas, which I'd say is probably why the 2010 mix has so many changes, and why there are actually 3 mixes (not counting the orchestral version).
This 2010 remix is an abomination, an insult to the original 1975 masterpiece. The same applies to Hergest Ridge. I don't know if Mike Oldfield was needing some cash badly or just went plain insane when he committed these criminal acts against his own legacy.. And it gets worse. While the 2-CD Deluxe Edition released in 2010 included a CD with the original 1975 mix, the single CD re-releases only contained the 2010 remixed monstrosity without a single mention that it was a remix - people hearing the album for the first time were led to believe that that was the original version. The same thing still happens today on streaming services - the "default" version is the 2010 cancer, and first-time listeners will think that's the original version.
Terry Oldfield play the flute and Jabular is the African percussion group who pretty much make the p1 and Sally on Vocals. Incantation have similar sections.
oldfield for ever
Ah! 'Composer'. That must mean YOU and Oldfield are, like, the same thing, right?
Tension built right from the start.
Our Music teacher said house started with the drums at part one. I guess he was right .
Best album ever.
2 and 3 also Oldfields.
It's just how it is.
Best stringplayer to....
Mike is scary.
Hold me.....
The most classical of all the prog rock exponents except perhaps David Bedford. The first three albums were so fresh and new compared with anything that was around at the time. And by the way there was not even space invaders when this was created…… Mike your song sounds like a video game soundtrack …….Mike Oldfield …..What’s a video game….?
Eh, I don't find Oldfield very classical TBH. I actually think one of the interesting things about him is that he doesn't fit very well into any genre. To me, he's most similar to the more versatile soundtrack composers out there. Yoko Kanno strikes me as a modern version of Mike Oldfield. Of those prog rock bands I actually think King Crimson and (at times) Van der Graaf Generator were the most classical, though they were drawing more on modern/contemporary classical rather than older classical. For older classical I think Gentle Giant probably took the most and most direct inspiration (especially with their emphasis on polyphony and use of distinctly classical instruments at times).
Amarok next??
It’s a new day at the Ren-Faire and all things are possible… except LARPing… no LARPing.
Why am I crying?
Love all his albums .should be Sir mike
I only know of Mike Oldfield from Tubular Bells, which is a fantastic album and was actually a surprise "hit" (both critically and commercially) in the early 70s that now has something of a cult status. It's one of those albums that feels strangely outside time. It gets labeled as "progressive rock" but it's really more "soundtrack to a non-existent film" than anything traditionally rock or prog. Given how great Tubular Bells is I really should've checked out more of his music by now. This is definitely a good piece as well, but on an initial listen it doesn't seem as catchy or as complex as Tubular Bells. This also feels slightly more... traditional? Like, it definitely sounds more like 70s prog, with certain sections being very reminiscent of Yes and Genesis especially. That's not a bad thing by any means, and I don't want to compare everything I hear from Oldfield to Tubular Bells, but it's hard not to with an album/track that iconoclastic. Perhaps the best thing about this piece is that it's extremely listenable. That almost sounds like damning with faint praise, but given that it's a 20-minute instrumental that's no mean feat. This seems like it would be a lovely piece to put on while lounging outside on a windy, cloudy day while getting nice and high.
If you want more of this style of Mike Oldfield check out Part 2 of this or his album Hergest Ridge. His album Incantations is almost like a mix between the style of Tubular Bells and the other 2 albums I just mentioned.
But if you like complex, and what I'd recommend the most is checking out his album Amarok. It's Mike Oldfield letting loose his creativity and doing whatever he fuck he wants. It's one 60 minute song so you need to have the time to listen to it at all once, but I promise you will not be bored. Progarchives has the song split up into 45 parts with different names so you know it won't get repetitive. Can't say it's entirely cohesive though when there's 45 parts and a 60 minute song lol, but there are themes revisited throughout and it's personally a top 5 favorite piece of music.
@@thewhorocks515 Thanks for the recs. If I do get around to listening to him I'll probably just do a discog run, which is what I do with most bands/artists I want to explore these days.
You should go and explore his music. Every one album is unique and with a different tone.
y pensar que hizo esto como con 22 años
Oldfield is God!🙏🏻
I listen to return to ommadawn constantly
Extra props for the Cesar Romero 'Joker" t-shirt!
What can I say, I'm a bigger fan of the goofy side of Joker who actually does jokes. 😅
l'oeuvre d'un génie musical en fait !
Like u will discover if u complete the researche Oldfield plays ALL the instruments on this (exept recorders I think).
i have to say that unfortunately the recomendation to listen to the 2010 remix was a bad choice, the 75 mix is so much more atmospheric and dramatic. Oldfield did these remixes to all the first three albums and in my opinion lost the original feel...all that you're suggesting that would be better in the mix strangely enough exist in the 75 mix...
Please listen to the original. Far more superior.
Great song to react to. A composer's playground this tune is. Too bad the requester has questionable taste in choosing which mix to listen to. The original mix from 1975 is MUCH better. Mike Oldfield himself mixed the original and made infinitely better choices regarding instrument placement and relative volumes of instruments. It affects so much the transitions between sections. The transitions are smoother and are more epic where required. Do yourself a favor and listen to the 1975 mix immediately. With your musical mind Bryan you will hear the vast improvements and really be able to appreciate Oldfield's genius. The final section sounds weak in this 2010 mix. In the original it becomes HUGE, and the whole song has a dynamic action, a musical drama, that is so much more apparent than it is in this mix. The ending "wood sticks" that you say seem inappropriate to you are a clear example of the horrible mix decisions made in this 2010 mix. It is supposed to fade out with just the African drums pounding out their hypnotic groove. That is how Oldfield did it in '75 and it is the most awesome fade out. Oldfield always puts the composition first. The song itself is most important, not the player, and certainly not the engineer! Video game music composers wish they could write stuff as good as this. Cheers!
As much as I like ommadawn, I definitely wouldn't underestimate many video game music composers. Completely agree about the original mix.
Yes, I don't really see the point of remixing Oldfield-as he was a total perfectionist in the studio, driving engineers, producers etc mad by calling them out at night to redo parts they had just done hours earlier.
Without doubt his masterpiece is tubular bells, but for me crises and five miles out and songs from distant earth are oldfields best works....
Do "Return to Ommadawn" as well.
The drums are JABBULA
Imagine your alone in a space craft in the middle of a battle. Ommadawn is far more fluid than Tubular Bells both are equal in quality.
I bought this when first came out in the mid 70's. I took it to my brother's place & played the whole album, even though my brother & other family were sipping beer. They never told me to take it off. They seemed to like the vibe. ~ Fyi Mike played the majority of the instruments himself. Mike did a lot of over-dubbing/layering so much so that he ruined the tape & had to do over again.
I kinda like the original better, because the sound is more raw or authentic.
Hi i am alex i am from Romania and if i can request some folk metal Romanian the band its called E-AN-NA and you can check any of their songs if you will like
I have actually looked at E-AN-NA just recently, actually. ruclips.net/video/OmWrdYELNG0/видео.html
@@CriticalReactions you can do more if you like
Gonna be frank: Glad you did the 2010 mix. I don't know if I'm in the minority, but I believe it's way better. And now for some fun facts:
- The ending is meant to represent a birth, and the pain, intensity and exhaustion that comes with it, and the guitar solo was recorded during a rainy stormy night. Not making any of this up.
- The African drums used in Ommadawn were sampled and reused for the track _"Far Above the Clouds"_ that closes out the album *Tubular Bells III* from 1998.
I think, Crises would do for you!
"That trumpet is crisp". It's an electric guitar.
He's referring to the trumpet *under* the guitar.
LSD required