Hi Doug ... I was lucky enough to hear the quadraphonic version of Tubular bells. My friend had a copy on quad Vinyl (I am that old ;)) and a quad system. He was a bit of an early adopter and quad didn't really catch on. Anyhoo the hornpipe at the end in quad actually sounded like the music was dancing around the room and it was an amazing demo of the quadrophonic sound... I think the hornpipe at the end was a tagged on extra. Loving your analysis, I watch your channel for musical analysis and The Charismatic Voice for vocal analysis and a few other channels of course, but I particularly look out for yours and Elizabeth's vlogs. Keep up the interesting work .... ;)
@@rockape1954 AIUI, the original ending was intended to be the sound of a radio-controlled plane circling between the 'speakers which would then be expanded for quad release,, but for whatever reason, it was thought that wouldn't work as an ending. The next idea was a recording of a very drunk Viv Stanshall walking around the Manor at 3am pretending to present an arts documentary with an equally drunk Mike and (producer) Tom Newman, playing the Hornpipe on acoustic guitars as Viv walked around from room to room. Funnily enough, that was also rejected, and so the ending we know was used. When it was remixed for "Boxed", they reinstated the Viv Stanshall ending with the trio moving from 'speaker to speaker.
@@wardka Actually Clodagh Simonds is most responsible for the vocal elements in Ommadawn, Sally was there in support but like Lisa Gerrade in Gladiator, I feel she should almost get a credit en.wikipedia.org/wiki/Clodagh_Simonds
The sailor's hornpipe section was originally recorded live by Mike after a long night in the pub with Viv Stanshall. Mike was recorded as he stomped around with a mandolin, while Viv - obviously hammered - blathered away like a museum guide. It's hilarious!
Hey, after the Piltdown-Man silliness (and I mean that with great affection), well, why the hell not have a hornpipe too? RUclips has the Viv Stanshall version of course. Absolutely laugh-out-loud hilarious! And to @Doug Helvering's point, it manages to simultaneously fit even less well with what's gone before than the instrumental version does, but also be off-the-wall enough to explain why they included *any* version of the hornpipe, even if they chicke-- umm, thought better of using the Stanshall version for the initial release.
It was originally released on Mike Oldfield Boxed; which was the a rerelease of the first 3 albums, TB, Hergest Ridge and ommadawn , plus a forth album of mixed songs. I think the TB version had the Viv Stanshall ending.
@@keithparker6520 You are correct, the original recording is in the Mike Oldfield Boxed release. From the accompanying notes: "At the time, the result [of the recording of the drunken stomping around the Manor House] was considered a little too bizarre to place on an album by a complete unknown, so it was replaced by an instrumental version."
I bought "Boxed" in 1977, so I've known the drunken version for a long time! There's another joke track, too : "Speak (tho you only say farewell)" There's also a rather beautiful version of another sea song, "Going Home".
This was an extraordinary piece of music especially as Mike played most instruments on the album, and recorded it himself, at the tender age of 19, also credit needed to go to Richard Branson who had the courage to release the album as the first for his new Virgin record label, this would never happen today. Viv Stanshall was an incredible musician ,song writer, wit and raconteur, he was a founder member of The Bonzo Dog Doo-Dah Band, Who were beautifully bonkers.
As far as I know, Richard Branson knew nothing of music and was just looking for something to bring out on his new label. This was just pure luck for Branson.
I recommend his album Songs Of Distant Earth. It is inspired by an Authur C. Clark novel of the same name. I played it one day when I was younger and very sick with a high fever. It helped me get through the haze and day as I focused on the music. Beyond anything I listened to that day, that album stood out as some of the most beautiful music. Also along these line of music, I like to hear you do some King Crimson or Moody Blues.
Your next Oldfield experience should be one of the two albums that followed this- "Hergest Ridge" and "Ommadawn". They are very different from each other, yet still clearly of the similar musical construction to "Tubular Bells". I have my preference, just be advised the Oldfield fans have been arguing back and forth between the two since, well, the 1970's! ;-)
What ^ said! Hergest Ridge is my all time favourite Oldfield album, my go to album, that's not a "somewhat guilty" pleasure, like Crises, or "not guilty, Your Honor" Tubular Bells III. But you should really listen to Ommadawn, because there's no experience like that anywhere else.
Doug could do any of Mike's longform songs and have a good time. Amarok would be a good time. I really want to see him to Incantations though, I think Doug will really appreciate an entire double album of circle of fifths. But he's also got to do Moonlight Shadow for the hell of it!
Loved your reaction to the "Piltdown Man" segment - Mike Oldfield surely gave us a merry ride on this side of his debut recording. IMHO, Tubular Bells should be in every rock or prog enthusiast's collection. An absolute classic piece. It still amazes me that this was written and performed (mostly, at least) by a 19-year old. Just astounding!
Your confusion at the closing folk line was both hilarous and righteous.. two reasons: Mike was a big folk music fan (which also showed very clear all over the album) and Brit musicians have this thing where they need to 'lighten up' and show that they are not taking themselves too seriously when they were taking a huge and serious work like this..
The hornpipe is part of the Fantasia on British Sea Songs which is always part of the British 'Last Night of the Proms' concert in the Royal Albert Hall. ruclips.net/video/9cZyNtZtSqE/видео.html
This side is always my ‘go-to’ when suffering from insomnia. As you mentioned, the hypnotic quality of this. The mixed time signature helps immensely. Plus, it’s gorgeous! I can’t believe I bought this LP almost 50 years ago and it’s still in heavy rotation on my turntable.
Tubular Bells 2 is also good for helping me sleep, when I've been watching screens far too late into the night. The CD is permanently in my bedroom player. I put it on a 30 minute timer and it works every time, I've never heard it switch off. 😴
It's strange that you said, I feel your pain Mike. Mike was suffering from mental anguish during the making of this album. With The Sailors Hornpipe, Mike used to play in a band called Kevin Ayers and the Whole World and they used to end their shows with this tune. So it's a nod to that.
I love how you just moved into that second last section (called Ambient Guitars) right along with Mike. He wanted a section where he could just improvise and play whatever he was feeling and you followed right with him. As for Hornpipe, it's fitting that you said "and now for something completely different" because Mike tends to have a very quirky and eccentric sense of humour and he looks at Tubular Bells as kind of more of a chaotic comedy routine than a truly serious piece of music. Finishing on the Sailor's Hornpipe was almost like his punchline to the joke of the album. It was also a great encore and live concert finisher. Also, when he rerecorded this album completely for the 30th anniversary in 2003 he got John Cleese to be the master of ceremonies introducing the instruments at the end of Part 1. He was also considering Rowan Atkinson. He definitely looks at the whole piece as very playful and silly almost in spite of the masterful production and composition. He always likes to make it clear that he never takes anything too seriously. So your reaction is exactly what he was shooting for lol. Loved your examination and reaction. I'm looking forward to seeing your takes on the rest of his discography!
The hornpipe is the equivalent of ELP adding songs like "Are You Ready Eddie?" to Tarkus, or using a vulgar stinger to end a serious epic. It's just something that happens on a lot of these prog albums, that tries to dilute any criticisms that the artist is taking themselves too seriously. Even in 1973 -- the apex of prog's heyday -- that was a charge musicians had to deal with. I agree, just sticking a hornpipe on the end doesn't somehow explain away the preceding 15 minutes of music. But hey, it was the 70s.
Please follow this with Hergest Ridge. It is achingly beautiful, and really shows Mike on his journey and struggles with fame and recognition. TB is a masterpiece, by Hergest Ridge just goes far beyond for me - probably one of my most emotional listens
10/10 ! Ommadawn and Amarok next. And doug, we don't want to wait a year for that. As far as an ending goes, after all the dark deep trippy stuff bringing a tune that is nothing other than happy and funny is a great twist, personally i love it.
The 2nd side is arguably even better than the first one , so much creativity Oldfield had in this time of his life. The "Harmonics" section opening up this side is one of my favorite musical moments , I suggest also to take a listen to the 2003 "remake" , it has much better production and playing (and I generally prefer original prints) , original TB sounds more experimental compared to it.
I am glad you got to finish this groundbreaking album, an astounding feat for a 19 year old, it started Mike on an incredible career with some of the most beautiful music you will ever hear, his guitar playing is sublime and totally unique, please continue with his albums in order you will not be disappointed, his greatest achievement is Amarok from 1990 one instrumental covering the whole album which is 60 minutes long, don't rush to that album though, savour his early work first.
When Mike played Tubular Bells 2 (which is a new composition following the exact same structure) live, they finished indeed with a 'true' encore of the jubiliant main melody after the finale. So basically what you expected here
Tubular Bells 2 is basically a re-run of the same schema with different but sounding similar musical ideas. Tubular Bells 3 however is a true updating of the work taking its cue from Ibizan dance music. Brilliant re-think. "Incantations" is where the rock meets classical side of things comes into its own. Its also (for a foursider) very tight as pretty much everything derives from an opening step wise figuration.
There's also The Millenium Bell, a kinda spin-off album the,Ed around the start of a new millennium and the history of humanity, and Tubular Bells 2003 which is a note for note remake. And Mike's been teasing a 4th album for a bit
I never listened to Tubular Bells in whole but now thanks to this series I finally did. I hear so much of Metallica stuff in here that is just amazing! It's like discovering Holst after you listened to John Williams for years. :D
Something also notable about this album is that it launched Virgin Records from nowhere into the big leagues. Richard Branson took a massive gamble and it paid off.
Thanx Doug! As always, great to see you listening and responding. Of course you gotta start with TB when reviewing Oldfield, his most famous work, though his works after this debut are musically more interesting, I guess, especially Ommadawn, part one is sublime. And a personal favorite is the double album four part Incantations… Hypnotic yeah!
I do vibe with the ending, after the rollecoaster of emotions we have gotten throughout the album it basically says "Don't take life too serious guys!"
From what I have learned - the Sailors Hornpipe section was something that came about after numerous lengthy drinking sessions at the local pub. The version on Tubular Bells from the Boxed album version has Vivian Stanshall narrating the piece walking around the Manor completely pissed. All and all it's just English humour I think 😄 Cheers Doug
Thank you for this Doug. It’s been years since I’ve listened to side 2. Your reaction to the “hypnotic” effect makes me want to recommend Manuel Gottsching’s “E2:E4” for your next long listen.
Oooh, yeah. I've just been getting into him recently, so don't know any particular albums well enough to recommend them, but he's definitely worth checking out. And now that we're talking about Krautrock, Kraftwerk's "Autobahn" could fit either for a Weird Wednesday (though maybe a bit long) or a Masterpiece Friday.
Ommadawn, side 1 is my favorite Mike Oldfield experience. Well, I *think* it's side one that has the Sally Oldfield chant at the end. It gives me goosebumps every time.
Congratulations, Doug, thanks for your message and interpretation about that masterpiece. Mike Oldfield deserves it, he was a teenager when conceived "Tubular Bells".
Dude l can't believe it's taken you over 6 months to listen to side 2 of Tubular Bells after listening to the first side. In that time I've probably listened to the full album a dozen times lol. Mike Oldfield has done so many more masterpieces too.
Vivian Stanshall was the announcer for side 1. He was with the Bonzo Dog Band (AKA Bonzo Dog Doo-Dah Band), a comic, psychedelic, and avant-garde band that was active in the late 1960s (Bonzo Dog Band member Neil Innes was responsible for many collaborations with the Monty Python troupe.)
One of your more enjoyable and insightful reactions. I love the comment about the dual solo near the end where you talk about it not taking you somewhere, but defining an emotional state of being.
Fun fact: I play TB every year on New Year‘s Eve when the daylight fades like I did the day I bought the record on 31.12.1983. I just have to. I think of the past year, the good and the bad, and somehow the year ends for me with the organ notes dwindling away on the last part of side 2, before Sailor‘s Hornpipe. And on Sailor‘s Hornpipe I shake off all that weird thoughts and go back to the now and here. It’s a feeling of easing off that heavy stuff with a good laugh and a fresh mind. In that way it makes sense to me as the end of TB, even if comes a bit like a slap in the face then.
As a 13 year old Brit in '73 Tubular Bells almost literally blew my mind, its been on heavy rotation for nearly 50 years now, but watching you listen to side 2 takes me back to the 1st time I heard it, you blew my mind all over again. Typing through tears of joy, thank you Doug....Thank You.
OMMADAWN OMMADAWN OMMADAWN OMMADAWN OMMADAWN OMMADAWN next, please!!!!! You won't be disappointed--he was just 21 and created a work which rests with Bach, Mozart and the rest.
I forgot about "Sides" of an album, funnily enough. I was wondering when you were going to get to the "demon voices" in the first video. Anyway, very glad you did this one! I used to hear this on the record player a lot when I was younger.
regarding the hornpipe, I would say that here in the UK it isn't so much linked to Popeye, as to the annual "last night of the proms" concert which is shown on TV every year. Within that they have Henry Wood's Fantasia on British Sea Songs which finishes with the hornpipe, usually ending up as a race between the orchestra and the promenaders as to who can finish it first (if you haven't seen any of the last night before, it's worth checking out). In the 60's and 70's with only a couple of TV channels to choose between, I would think almost everyone would have seen that at least once
New headphones what a fantastic choice especially for listening to complicated music. Grados have that capability of opening and separating each instrument to where they belong in the mix and there made locally to you give or take a few hundred miles.
While many comments are encouraging you to go to the next two albums chronologically, I would urge you to listen to the long, four-part album Incantations (1978) to really hear how Mike progressed as a composer and arranger. It's less a suite of pretty-much unrelated compositions (like Bells), but more cohesive, thematically. Circle of fifths! Two vibraphones! Trumpet solos! Ben Jonson! Hiawatha! ...get stuck in!
Personally, I've always loved the sailor's hornpipe ending. It is, indeed, so out of "left field" with the rest of the piece, but it's just so happy-sounding!
It's fascinating to get your expert analysis on this, Doug. This is my favourite album of all time from when I first heard it as a teenager back in 1975. Your observations on Mike's choices only confirms what I felt all along - that this is a work of genius. I like your observation that he likes repetition of double measures. I think that he combines a classical sensibility with a pop/rock sensibility. What you demonstrate is how many parts he has, the change in instruments at each stage, the unusual chord and key modulations and the number of tempo and sound variations. It's just staggereing when you actually break it down. Although your analysis confirms it, I have always felt it is the best thing I have ever heard. Never have I heard 48 contimuous minutes of such sheer innovation and musical accomplishment.
With the "Sailor's Hornpipe" ending, it brings to mind a Monty Python transition between pieces, essentially going "And now, for something completely different..."
I got this album back in 1975, it's been a long time since I last listened to it but I enjoy Doug's insights, my favourite album though by Mike is Ommadawn.
Glad you are having a crack at this one...probably not as complecated as we think once broken down but still the feel for a teenager in 1973 takes some beating
The similarity to Yes is pronounced in more than one place - that's what led me to buy the album back in probably, early 74, based on just hearing a bit on the radio.
Finally. Thanks for getting back to this 🙂 It's the eccentricities that make Oldfield's music what it is; I like the goofy moments as much as the beautiful ones. As a kid 'Sailor's Hornpipe' was the highlight for me. Everything else is just a huge build-up to get there 😄
".....and now we're getting to listen in on a Klingon conversation". 😂😂 Mike Oldfield was a playful composer to be sure. You must listen to Hergest Ridge next followed by Ommadawn. Both albums are beautiful.
The opening theme on side one tricks the brain as the time signature varies. It moves from 4/4 to 15/8 (that's a joke son). Count the beats. It's actually 4/4; 3/4; 4/4. That's why it works. If you listen really closely, you'll hear the main theme moving entirely throughout side one, either stretched, as a diminished chord, within the chord changes themselves. Then the bass playing the modified melody at 10:05 and hearing it transfer to the speed guitar one octave up and then another octave up until it climbs beyond human hearing. A haunting glockenspiel playing the opening sequence hiding behind the blues guitars three octaves up, and then changing from a minor melody to a major melody over the climatic sequence to the last chords played on the acoustic guitar, but with the same rhythmic figure as the opening. Brilliant. Side two is a departure. The opening composition is actually called "Peace".
Thanks for this and the A side review. This is my musical awakening as a kid and I still tend to come back to it every now and then. Lovely to see your reaction to both and would love to see you continue on both Ommadawn as an early piece of Mike as well as on Amarok which represents his coming back to the long form after his 80s commercial success (and being driven by Virgin to continue on this rathole). Would be interesting how you would describe this later jarring piece, too.
Such a soothing experience. I love your variety of reactions to different genres. if you haven’t heard of Dimash Kudaibergen doing S.O.S. at the Chinese “Singer” competition, you need to hear him. He will absolutely blow you away with every song he does. He’s only about age 27 now but good God what a talent and quickly becoming known world wide.
I enjoyed your back and forth banter with his growling sounds, 'I feel your pain' brought a laugh out loud. Your inclusion of you playing the piano at spots certainly gave validity to your knowledge of music. Don't mean that to sound bad but I do not know anything about the musical scale and to hear you add the piano along with all the verbal music note information was a nice pairing. Thank you!
Amarok hit me so hard that I spent an hour wandering my neighborhood at night laughing to myself after my first listen. Lucky I wasn't spotted by some concerned citizen thinking I was an escaped mental patient.
Have you ever watched the piano player Gus Fogle's live version of Amarok (with a bass player) ? He could barely stand up from the piano bench when it was over. It should be here on RUclips. Edit: The bass player's name is Jason Miller.
A true genius of our times and of my country 🇬🇧 I saw him live in concert when I was a teenager in the late 70s, Tubular Bells and I was only teenager when I was at school and always thought it was a masterpiece
Re: the ending - Hey, Doug, it was the '70s. That was a humorous effect for comic relief. If you were stoned or tripping, it probably made sense... and you probably laughed. "Time to wake up, little Johnny!" Tee Hee.
I might have listen to this album too many time because I am totally immersed in the instant of the music and at the same time I am anticipating the next movement!
My late uncle introduced me to this when I was about 13 (and some Vangelis too), so it's always stuck with me. Enjoyed your reaction, it's nice watching you play along, too.
Oldfield also wrote the song "Family Man", covered by Hall and Oates, among others. "Leave me alone / I'm a family man / and my bark is much worse than my bite / leave me alone / I'm a family man / if you push me too hard I just might."
I was lucky to rescue the "boxed"-vinyl-box from a garbage can. I owned already the tubular bells cd, but I liked to record the vinyl digitally again with all the little scratches and dust .❤
...loved your way of journeying and commenting of the b-side, Doug, and when you started this dialogue with Mike in the middle part of his wailing ('I feel your pain, Mike') I just couldn't stop laughing - it was so funny!! :) There's another story about that part, that you didn't mention, so maybe you haven't heard it yet: Mike was nagged by his record manager to bring vocals onto the record, which made Mike furious (how dare he interfering with my musical compositions), and he thought: 'I'll give you some vocals - see what you get' - and then recorded those humms and screams.. :) PS. the next 4 albums are for me as brilliant: 'Hergest Ridge', 'Ommadawn', 'Incantations' and 'Platinum' - fabulous stuff to this very day!!
Tubular Bells have been on my favourite listens list since I was a kid,and way back when(at about age 8 or 9 I think) my brother in law, who owned the album, told me that for the caveman section of the album, they had a trained gorilla that did the vocals. So that was an established fact for me until I got access to the internet and got the real story behind it. Thanks to Doug for presenting the facts, and not leading people astray.🤣
To understand the Sailor's Hornpipe's place in the British psyche, you have to experience the Last Night of the Proms - there are numerous RUclips videos - check one out searching for Last Night at the Proms Sailor's Hornpipe. It's fun!
I’ve been listening to this album for decades and ending with the Sailors Hornpipe has never sat well with me but here’s the thing, we listen to this album as a success story from the past but we have to consider that when it was being recorded, Mike probably never really thought it would get heard so he was probably like, “what the hell, I’m putting this quirky tune on.”
I just finished watching side 1 and 2 back to back, and this was outstanding. I've been a massive fan of Tubular Bells ever since I first saw The Exorcist in the mid 80s, well before I was 18. I can read simple sheet music (but I'm absolute crap at sight reading), so it was very cool to see you going through the score in Part 1. This whole review gave me a new appreciation for an absolutely timeless piece of music, thanks!
The advantage of youth: as a 14 year old, I revered this album from the time of its release as a whole composition. While the Piltdown Man and the Hornpipe sections amused me immensely (as well as featuring some pretty good instrumental chops), no part of me was about to quibble with Oldfield's vision and choices.
When I first heard this aged 12 in 1972 I instinctively knew it was a masterpiece. Thanks for adding the musical explanation as to why :-) I am in no way musical but music such as some pieces by Kate Bush, Bjork, Pink Floyd, Henryk Górecki, Arvo Part, Thomas Tallis and Sigur Ros stand out for similar reasons :-)
The opening theme on side one tricks the brain as the time signature varies. It moves from 4/4 to 15/8 (that's a joke son). Count the beats. It's actually 4/4; 3/4; 4/4. That's why it works. If you listen really closely, you'll hear the main theme moving entirely throughout side one, either stretched, as a diminished chord, within the chord changes themselves. Then the bass playing the modified melody at 10:05 and hearing it transfer to the speed guitar one octave up and then another octave up until it climbs beyond human hearing. A haunting glockenspiel playing the opening sequence hiding behind the blues guitars three octaves up, and then changing from a minor melody to a major melody over the climatic sequence to the last chords played on the acoustic guitar, but with the same rhythmic figure as the opening. Brilliant. Side two is a departure. The opening composition is actually called "Peace".
This album changed my life and influenced me musically to the nth degree. Part 2 especially just blows me away. I bought Tubular Bells in 1973, after seeing The Exorcist and being entranced with that 1 or minute snippet of Tubular Bells that Jack Nitzsche used in the soundtrack. When I heard the breadth and depth of TB I was changed musically. To the point that I years later worked out the whole album on guitar and recorded a 4 guitar version of it on a 4 track cassette. But Doug I wanted to say that I read that the reason Oldfield did the piltdown man part was that Virgin, the record company, insisted that the album have some singing, because they were afraid that an all instrumental album would not sell. This pissed off Mike Oldfield so he did the piltdown man bit to appease the record execs but also saying "piss off" to them. Yes I agree the sailor's hornpipe is a strange choice and kinda disrupts the epic construction of the piece, but what the hell, it is still an awesome accomplishment for young Oldfield, and a beautiful listen. As always I dug your reaction and analysis- it's good to hear a fellow musician and composer react to Mike. If I may be so bold I would say that you should react to his next two albums at some point, namely Hergest Ridge and Ommadawn. He evolves into more mature and cohesive greatness on those albums. In fact I have always thought that Hergest Ridge is the perfect music for Tolkien's The Lord of the Rings. I used to read Lord of the Rings while listening to Hergest Ridge, and I was so disappointed that Peter Jackson did not hire Oldfield to score his excellent adaptation of those books. Cheers!
From Mike Oldfield, i would also recommend: ALBUMS: - HERGEST RIDGE (1974): The next to Tubular Bells, it's also filled with beautiful acoustic music, more on the countryside mood (it could work as The Shire's theme). It's my favourite album from his. - OMMADAWN (1975): Same style with some more variations and a little more dramatic tone. The closure to this kind of spiritual-debut trilogy, and the favourite of most Oldfield's fans. - INCANTATIONS (1978): A double album with a very mystical and hypnotical sound, with excerps of Henry Longfellow and Ben Jonson's poems. - PLATINUM (1979): A turning point in his discography, falling more into Pop / Pop Rock, and with a new recurrent structure: one long piece at the intro, followed up by some shorter ones. Very catchy. - AMAROK (1990): His uncommercional rebellion against the record label. 1 full hour track filled with changing music and all kinds of sounds and volumes. After Tubular Bells, probably his most breaking piece. MUST HEAR. - TUBULAR BELLS II (1992): A kind of self-ripp off from the first Tubular Bells, section by section. Kind of familiar, but new. - THE SONGS OF DISTANT EARTH (1994): His most New-Age/atmospheric album, based on the science-fiction novel by Arthur C. Clarke. Beatiful. Should be used in films and trailers. - TUBULAR BELLS III (1998): Electronic music, with its own electronic Tubular Bells' intro version (song "The Source of Secrets", "Secrets" and "Far Above the Clouds"). Also recommend the songs "The Watchful Eye" and "Serpent Dream". - TUBULAR BELLS 2003 (2003): Mike's remake of the first album, re-recording everything, section by section, and fixing a lot of issues with which he was uncomfortable, like mistakes from the original rushed record. Most people probably prefer the original 1973 version, but i really prefer and recommend this 2003 version, which feels more polished and with more detail in each instrument. - MUSIC OF THE SPHERES (2008): Classical/Orchestral album, based on the concept of a celestial Musica universalis, consisting on two long pieces, like in his first albums. It sounds like a dramatic and epic soundtrack. I would say, his last great work. - RETURN TO OMMADAWN (2017): A sequel to Ommadawn and a comeback to his original more acoustic style, consisting in two long pieces again. While it has some beautiful and catchy moments, i wouldn't say it reaches the same level as his first original works, but it's good nonetheless. Till today, 2022, his last album. LOOSE SONGS FROM OTHER ALBUMS: - From QE2 (1980): "Taurus I" (long one); "Sheba"; and "QE2". - From FIVE MILES OUT (1982): "Taurus II" (long one). - From CRISES (1983): "Crises" (long one); "Moonlight Shadow" (his most famous Pop hit); "Taurus 3" (this time short). - From THE MILLENIUM BELL (1999): "The Doge's Palace"; "The Millenium Bell". - From TR3S LUNAS (2002): "Turtle Island", "To Be Free" or "To Be Free (Radio Edit)", and "Daydream" (beautiful short piano piece). - From LIGHT + SHADE (2005): "Rocky" (short piano piece).
As Ray Bishop says, listen to the original version of The Sailor's Hornpipe with the wonderfully pissed Viv Stanshall commenting on various artworks and small pieces of eggshell. It's only available on the Boxed compilation as it was considered too eccentric to be included on the actual album release.
I've always thought the idea of finishing with "The Sailor's Hornpipe" was a way of saying "I've taken you on this journey through places strange and beautiful, but the ship must return to port and take you back to your daily life, so celebrate the things we've seen together!" A suggestion for a much shorter (only 5:22) musical excursion to places strange and wonderful - Toto's 2019 live performance of "Dune (Desert Theme)" from their score to David Lynch's 1984 version of the classic sci-fi story! Toto is, of course, most known for their radio-friendly hits "Rosanna" and "Africa", but they were capable of much deeper music - the "Dune" score is an excellent demonstration of that, and "Desert Theme" is possibly the pinnacle of that work!
Mike was apparently told he had to add more vocals to the second side of the Album and was so annoyed he got drunk and screamed those vocals onto that track !
Back when this was selling truckloads,everyone had a copy but very few actually played it. I was one of those who played it regularly,but for me,Ommadawn is an inventive classic and Mikes best imo.
Since the release of this album and therefore still today, each time I listen to it I come to the same questioning conclusion: Mike Oldfield has composed an exceptional album... but why did he screw up the all by such a grotesque closure ("cartoon soundtrack")? Thank you, Master Helvering.
Here are a couple of tidbits about the album. First an admonition to the purchaser of the album printed in the lower left corner on the back cover of the original 1973 vinyl LP. It is also on the original CD booklet back cover greatly reduced (to near illegibility). “This stereo record cannot be played on old tin boxes no matter what they are fitted with. If you are in possession (sic) of such equipment please hand it into (sic) the nearest police station.” Second, you asked, “Why a Sailors Hornpipe?” This explanation was printed in the companion booklet of the 1075 release, Mike Oldfield Boxed. “When not engaged in wrestling contests on the Manor lawn, Oldfield and Newman would deflate the tension of hours in the studio on their own by drinking themselves daft at a nearby pub. In the course of such an evening, they decided to enlist a 'master of ceremonies', Vivian Stan shall, to announce the entrance of each instrument at the end of Side One. When this had been accomplished the helplessly intoxicated trio, hatching schemes of ever-increasing surrealism, decided to combine the recording of "The Sailor's Hornpipe" with an early-morning stagger around the Manor House. Microphones were placed in various rooms and corridors, the tape machine set in motion and off they went. Stanshall wandered around inspecting the various items of interest within his focusing capacity like Lord Clark after a night on the tiles, while Oldfield and Newman - by then convinced that the whole world loved a sailor - trudged after him strumming with scotch-sodden conviction. At the time, the result was considered a little too bizarre to place on an album by a complete unknown, so it was replaced by an instrumental version. Now seems as opportune a moment as any to take the antimacassar off the original, which can be heard in all its magnificent foolishness at the end of Side Two.” If anything I hope this was entertaining and insightful. Love the Show!
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Extraordinary, and humbling, that Mike Oldfield was 19 years old when he recorded this album. Quite an achievement for such a young man.
And only 17 when he started to compose it and record the demos. :-)
Hi Doug ... I was lucky enough to hear the quadraphonic version of Tubular bells. My friend had a copy on quad Vinyl (I am that old ;)) and a quad system. He was a bit of an early adopter and quad didn't really catch on.
Anyhoo the hornpipe at the end in quad actually sounded like the music was dancing around the room and it was an amazing demo of the quadrophonic sound... I think the hornpipe at the end was a tagged on extra.
Loving your analysis, I watch your channel for musical analysis and The Charismatic Voice for vocal analysis and a few other channels of course, but I particularly look out for yours and Elizabeth's vlogs.
Keep up the interesting work .... ;)
@@rockape1954 AIUI, the original ending was intended to be the sound of a radio-controlled plane circling between the 'speakers which would then be expanded for quad release,, but for whatever reason, it was thought that wouldn't work as an ending. The next idea was a recording of a very drunk Viv Stanshall walking around the Manor at 3am pretending to present an arts documentary with an equally drunk Mike and (producer) Tom Newman, playing the Hornpipe on acoustic guitars as Viv walked around from room to room. Funnily enough, that was also rejected, and so the ending we know was used. When it was remixed for "Boxed", they reinstated the Viv Stanshall ending with the trio moving from 'speaker to speaker.
I was 12 and remember my parent's parties "baking out" to this.
Loved it ever since. (2 albums, at least 3 cassettes, and several CDs)
At 16, he was playing bass in the band/orchestra for the Live show 'Hair'.
You need to hear Ommadawn next. It’s even more successful with the ancient/modern juxtaposition.
That Sally Oldfield chant in Ommadawn just kills me every time. It's so primal.
@@wardka Actually Clodagh Simonds is most responsible for the vocal elements in Ommadawn, Sally was there in support but like Lisa Gerrade in Gladiator, I feel she should almost get a credit en.wikipedia.org/wiki/Clodagh_Simonds
It's my all time favorite. Can't help listening this record every month since I am 12.
Agreed, Ommadawn is a great album.
I concur!
Your face when the caveman section came on - priceless!
I was waiting for that moment..
That wasn't the cavemen it was a demon.
The sailor's hornpipe section was originally recorded live by Mike after a long night in the pub with Viv Stanshall. Mike was recorded as he stomped around with a mandolin, while Viv - obviously hammered - blathered away like a museum guide. It's hilarious!
I have that version on one of my CD's.
Hey, after the Piltdown-Man silliness (and I mean that with great affection), well, why the hell not have a hornpipe too?
RUclips has the Viv Stanshall version of course. Absolutely laugh-out-loud hilarious! And to @Doug Helvering's point, it manages to simultaneously fit even less well with what's gone before than the instrumental version does, but also be off-the-wall enough to explain why they included *any* version of the hornpipe, even if they chicke-- umm, thought better of using the Stanshall version for the initial release.
It was originally released on Mike Oldfield Boxed; which was the a rerelease of the first 3 albums, TB, Hergest Ridge and ommadawn , plus a forth album of mixed songs. I think the TB version had the Viv Stanshall ending.
@@keithparker6520 You are correct, the original recording is in the Mike Oldfield Boxed release.
From the accompanying notes: "At the time, the result [of the recording of the drunken stomping around the Manor House] was considered a little too bizarre to place on an album by a complete unknown, so it was replaced by an instrumental version."
I bought "Boxed" in 1977, so I've known the drunken version for a long time! There's another joke track, too : "Speak (tho you only say farewell)" There's also a rather beautiful version of another sea song, "Going Home".
The sailor's hornpipe is just classical British. Completely unexpected and done for fun.
Mike could relate to silly fun
I always lift the needle before this starts.
This was an extraordinary piece of music especially as Mike played most instruments on the album, and recorded it himself, at the tender age of 19, also credit needed to go to Richard Branson who had the courage to release the album as the first for his new Virgin record label, this would never happen today. Viv Stanshall was an incredible musician ,song writer, wit and raconteur, he was a founder member of The Bonzo Dog Doo-Dah Band, Who were beautifully bonkers.
As far as I know, Richard Branson knew nothing of music and was just looking for something to bring out on his new label. This was just pure luck for Branson.
I recommend his album Songs Of Distant Earth. It is inspired by an Authur C. Clark novel of the same name.
I played it one day when I was younger and very sick with a high fever. It helped me get through the haze and day as I focused on the music. Beyond anything I listened to that day, that album stood out as some of the most beautiful music.
Also along these line of music, I like to hear you do some King Crimson or Moody Blues.
Your next Oldfield experience should be one of the two albums that followed this- "Hergest Ridge" and "Ommadawn". They are very different from each other, yet still clearly of the similar musical construction to "Tubular Bells". I have my preference, just be advised the Oldfield fans have been arguing back and forth between the two since, well, the 1970's! ;-)
What ^ said!
Hergest Ridge is my all time favourite Oldfield album, my go to album, that's not a "somewhat guilty" pleasure, like Crises, or "not guilty, Your Honor" Tubular Bells III. But you should really listen to Ommadawn, because there's no experience like that anywhere else.
I'm a fan of Amarok and Tubular Bells II :)
Ommadawn!! Yes, please!
Doug could do any of Mike's longform songs and have a good time. Amarok would be a good time. I really want to see him to Incantations though, I think Doug will really appreciate an entire double album of circle of fifths. But he's also got to do Moonlight Shadow for the hell of it!
Yeah, Ommadawn for sure. I think it's his best album.
Loved your reaction to the "Piltdown Man" segment - Mike Oldfield surely gave us a merry ride on this side of his debut recording. IMHO, Tubular Bells should be in every rock or prog enthusiast's collection. An absolute classic piece. It still amazes me that this was written and performed (mostly, at least) by a 19-year old. Just astounding!
Your confusion at the closing folk line was both hilarous and righteous.. two reasons: Mike was a big folk music fan (which also showed very clear all over the album) and Brit musicians have this thing where they need to 'lighten up' and show that they are not taking themselves too seriously when they were taking a huge and serious work like this..
It's like an encore in a concert :)
@@Silber7 while you get the nearest restroom after an epic concert.
The hornpipe is part of the Fantasia on British Sea Songs which is always part of the British 'Last Night of the Proms' concert in the Royal Albert Hall. ruclips.net/video/9cZyNtZtSqE/видео.html
If the Sailor's Hornpipe threw him off guard, heaven alone knows what he'll make of "On Horseback" 😆
@@martinohyt Or "Guilty". ;o)
This side is always my ‘go-to’ when suffering from insomnia. As you mentioned, the hypnotic quality of this. The mixed time signature helps immensely. Plus, it’s gorgeous! I can’t believe I bought this LP almost 50 years ago and it’s still in heavy rotation on my turntable.
Tubular Bells 2 is also good for helping me sleep, when I've been watching screens far too late into the night. The CD is permanently in my bedroom player. I put it on a 30 minute timer and it works every time, I've never heard it switch off. 😴
It's strange that you said, I feel your pain Mike. Mike was suffering from mental anguish during the making of this album. With The Sailors Hornpipe, Mike used to play in a band called Kevin Ayers and the Whole World and they used to end their shows with this tune. So it's a nod to that.
Tubular Bells 2 was written and recorded when Mike was in a happier place. Saw it live. Still prefer the original Tubular Bells album, though.
I love how you just moved into that second last section (called Ambient Guitars) right along with Mike. He wanted a section where he could just improvise and play whatever he was feeling and you followed right with him.
As for Hornpipe, it's fitting that you said "and now for something completely different" because Mike tends to have a very quirky and eccentric sense of humour and he looks at Tubular Bells as kind of more of a chaotic comedy routine than a truly serious piece of music. Finishing on the Sailor's Hornpipe was almost like his punchline to the joke of the album. It was also a great encore and live concert finisher. Also, when he rerecorded this album completely for the 30th anniversary in 2003 he got John Cleese to be the master of ceremonies introducing the instruments at the end of Part 1. He was also considering Rowan Atkinson. He definitely looks at the whole piece as very playful and silly almost in spite of the masterful production and composition. He always likes to make it clear that he never takes anything too seriously. So your reaction is exactly what he was shooting for lol.
Loved your examination and reaction. I'm looking forward to seeing your takes on the rest of his discography!
The hornpipe is the equivalent of ELP adding songs like "Are You Ready Eddie?" to Tarkus, or using a vulgar stinger to end a serious epic. It's just something that happens on a lot of these prog albums, that tries to dilute any criticisms that the artist is taking themselves too seriously. Even in 1973 -- the apex of prog's heyday -- that was a charge musicians had to deal with. I agree, just sticking a hornpipe on the end doesn't somehow explain away the preceding 15 minutes of music. But hey, it was the 70s.
You've got to listen to Hergest Ridge & Ommadawn as well ! .... Ommadawn is a must !
Please follow this with Hergest Ridge. It is achingly beautiful, and really shows Mike on his journey and struggles with fame and recognition. TB is a masterpiece, by Hergest Ridge just goes far beyond for me - probably one of my most emotional listens
10/10 ! Ommadawn and Amarok next. And doug, we don't want to wait a year for that.
As far as an ending goes, after all the dark deep trippy stuff bringing a tune that is nothing other than happy and funny is a great twist, personally i love it.
Yes, Amarok please! A 1 hour long magnificent piece of music!
Did someone say Amarok! My all time favourite next to Incantations!
Side 1 of the "Five Miles Out" album is worth a listen for something more heavy - called Taurus II - and has a proper Coda.
Yeah, Five Miles Out, Ommadawn and Crises are gold
The 2nd side is arguably even better than the first one , so much creativity Oldfield had in this time of his life. The "Harmonics" section opening up this side is one of my favorite musical moments , I suggest also to take a listen to the 2003 "remake" , it has much better production and playing (and I generally prefer original prints) , original TB sounds more experimental compared to it.
I am glad you got to finish this groundbreaking album, an astounding feat for a 19 year old, it started Mike on an incredible career with some of the most beautiful music you will ever hear, his guitar playing is sublime and totally unique, please continue with his albums in order you will not be disappointed, his greatest achievement is Amarok from 1990 one instrumental covering the whole album which is 60 minutes long, don't rush to that album though, savour his early work first.
Mike Oldfield is a genius!!!
When Mike played Tubular Bells 2 (which is a new composition following the exact same structure) live, they finished indeed with a 'true' encore of the jubiliant main melody after the finale. So basically what you expected here
Tubular Bells 2 is basically a re-run of the same schema with different but sounding similar musical ideas. Tubular Bells 3 however is a true updating of the work taking its cue from Ibizan dance music. Brilliant re-think. "Incantations" is where the rock meets classical side of things comes into its own. Its also (for a foursider) very tight as pretty much everything derives from an opening step wise figuration.
There's also The Millenium Bell, a kinda spin-off album the,Ed around the start of a new millennium and the history of humanity, and Tubular Bells 2003 which is a note for note remake. And Mike's been teasing a 4th album for a bit
I'm an Incantations man forever. It has accompanied me through thick and thin for 40+ years.
I never listened to Tubular Bells in whole but now thanks to this series I finally did.
I hear so much of Metallica stuff in here that is just amazing!
It's like discovering Holst after you listened to John Williams for years. :D
Something also notable about this album is that it launched Virgin Records from nowhere into the big leagues. Richard Branson took a massive gamble and it paid off.
Yes. Made Mike a millionaire and Sir Richard a billionaire
Thanx Doug! As always, great to see you listening and responding. Of course you gotta start with TB when reviewing Oldfield, his most famous work, though his works after this debut are musically more interesting, I guess, especially Ommadawn, part one is sublime. And a personal favorite is the double album four part Incantations… Hypnotic yeah!
If he ever gets to Amarok we'll know he's hooked.
And it's the same guy that did Moonlight Shadow and To France...
I do vibe with the ending, after the rollecoaster of emotions we have gotten throughout the album it basically says "Don't take life too serious guys!"
From Mike, for a possible 'next time', go for Ommadawn
Yes. Ommadawn was described at the time as something like "bringing on more climaxes in a row than the best 'ladies of the night'". Fabulous album.
I second the motion.
You can hear his tubular bell 2 or his album songs of distant earth. They are both instrumental.
From what I have learned - the Sailors Hornpipe section was something that came about after numerous lengthy drinking sessions at the local pub. The version on Tubular Bells from the Boxed album version has Vivian Stanshall narrating the piece walking around the Manor completely pissed. All and all it's just English humour I think 😄 Cheers Doug
Wow, you just made my day!! First time I listen to side 2 in one go, amazing music from another time... Thank you, and SHOMPA!!!!
I`ve seen Mike live 11 times in mi life and it is soooo special and brilliant!
Thank you for this Doug. It’s been years since I’ve listened to side 2. Your reaction to the “hypnotic” effect makes me want to recommend Manuel Gottsching’s “E2:E4” for your next long listen.
Oooh, yeah. I've just been getting into him recently, so don't know any particular albums well enough to recommend them, but he's definitely worth checking out.
And now that we're talking about Krautrock, Kraftwerk's "Autobahn" could fit either for a Weird Wednesday (though maybe a bit long) or a Masterpiece Friday.
Ommadawn, side 1 is my favorite Mike Oldfield experience. Well, I *think* it's side one that has the Sally Oldfield chant at the end. It gives me goosebumps every time.
Ommadawn side 1 is his masterpiece. Such a furiously complex piece of music.
Congratulations, Doug, thanks for your message and interpretation about that masterpiece. Mike Oldfield deserves it, he was a teenager when conceived "Tubular Bells".
Thanks for the 'cleanly mixed - three dimensional nature . . . It was a difficult one!
You should listen to his album "Ommadawn"...I think it's my favorite Oldfield recording.
Dude l can't believe it's taken you over 6 months to listen to side 2 of Tubular Bells after listening to the first side. In that time I've probably listened to the full album a dozen times lol. Mike Oldfield has done so many more masterpieces too.
Vivian Stanshall was the announcer for side 1. He was with the Bonzo Dog Band (AKA Bonzo Dog Doo-Dah Band), a comic, psychedelic, and avant-garde band that was active in the late 1960s (Bonzo Dog Band member Neil Innes was responsible for many collaborations with the Monty Python troupe.)
One of your more enjoyable and insightful reactions. I love the comment about the dual solo near the end where you talk about it not taking you somewhere, but defining an emotional state of being.
11:42 Lol if you think he does a lot of pentatonic shifting now wait until you get to his fourth album Incantations. 😁
Fun fact: I play TB every year on New Year‘s Eve when the daylight fades like I did the day I bought the record on 31.12.1983. I just have to. I think of the past year, the good and the bad, and somehow the year ends for me with the organ notes dwindling away on the last part of side 2, before Sailor‘s Hornpipe. And on Sailor‘s Hornpipe I shake off all that weird thoughts and go back to the now and here. It’s a feeling of easing off that heavy stuff with a good laugh and a fresh mind. In that way it makes sense to me as the end of TB, even if comes a bit like a slap in the face then.
Loved your reaction to this Doug! One of my favourite albums, pure genius. Thank you for the awesome video! :)
As a 13 year old Brit in '73 Tubular Bells almost literally blew my mind, its been on heavy rotation for nearly 50 years now, but watching you listen to side 2 takes me back to the 1st time I heard it, you blew my mind all over again. Typing through tears of joy, thank you Doug....Thank You.
OMMADAWN OMMADAWN OMMADAWN OMMADAWN OMMADAWN OMMADAWN next, please!!!!! You won't be disappointed--he was just 21 and created a work which rests with Bach, Mozart and the rest.
HEAR...HEAR..
I forgot about "Sides" of an album, funnily enough. I was wondering when you were going to get to the "demon voices" in the first video. Anyway, very glad you did this one! I used to hear this on the record player a lot when I was younger.
regarding the hornpipe, I would say that here in the UK it isn't so much linked to Popeye, as to the annual "last night of the proms" concert which is shown on TV every year. Within that they have Henry Wood's Fantasia on British Sea Songs which finishes with the hornpipe, usually ending up as a race between the orchestra and the promenaders as to who can finish it first (if you haven't seen any of the last night before, it's worth checking out). In the 60's and 70's with only a couple of TV channels to choose between, I would think almost everyone would have seen that at least once
There is always humour in his music.....
New headphones what a fantastic choice especially for listening to complicated music. Grados have that capability of opening and separating each instrument to where they belong in the mix and there made locally to you give or take a few hundred miles.
AMAROK would be an excellent album for you to analyse, something new every listen.
Or Ommadawn
Happy
While many comments are encouraging you to go to the next two albums chronologically, I would urge you to listen to the long, four-part album Incantations (1978) to really hear how Mike progressed as a composer and arranger. It's less a suite of pretty-much unrelated compositions (like Bells), but more cohesive, thematically. Circle of fifths! Two vibraphones! Trumpet solos! Ben Jonson! Hiawatha! ...get stuck in!
Going forward chronologically would be the best choice! Hergest Ridge and then my favourite, his masterpiece Ommadawn!
Amarok, then Tubular Bells I and II were the most significant influences on my young musical mind. Thank you for these tasty, tasty memberberries.
Personally, I've always loved the sailor's hornpipe ending. It is, indeed, so out of "left field" with the rest of the piece, but it's just so happy-sounding!
It's fascinating to get your expert analysis on this, Doug. This is my favourite album of all time from when I first heard it as a teenager back in 1975. Your observations on Mike's choices only confirms what I felt all along - that this is a work of genius. I like your observation that he likes repetition of double measures. I think that he combines a classical sensibility with a pop/rock sensibility. What you demonstrate is how many parts he has, the change in instruments at each stage, the unusual chord and key modulations and the number of tempo and sound variations. It's just staggereing when you actually break it down. Although your analysis confirms it, I have always felt it is the best thing I have ever heard. Never have I heard 48 contimuous minutes of such sheer innovation and musical accomplishment.
The dueling guitars section also really reminds me of Vini Reilly/Durutti Column. You should check them out as well.
With the "Sailor's Hornpipe" ending, it brings to mind a Monty Python transition between pieces, essentially going "And now, for something completely different..."
I got this album back in 1975, it's been a long time since I last listened to it but I enjoy Doug's insights, my favourite album though by Mike is Ommadawn.
Check out "Return to Ommadawn" from 2016 - A nice sequel.
Glad you are having a crack at this one...probably not as complecated as we think once broken down but still the feel for a teenager in 1973 takes some beating
The similarity to Yes is pronounced in more than one place - that's what led me to buy the album back in probably, early 74, based on just hearing a bit on the radio.
Please react to Music of the spheres. Perhaps the most beautiful album composed by the great Mike Oldfield
Finally. Thanks for getting back to this 🙂
It's the eccentricities that make Oldfield's music what it is; I like the goofy moments as much as the beautiful ones. As a kid 'Sailor's Hornpipe' was the highlight for me. Everything else is just a huge build-up to get there 😄
".....and now we're getting to listen in on a Klingon conversation". 😂😂
Mike Oldfield was a playful composer to be sure. You must listen to Hergest Ridge next followed by Ommadawn. Both albums are beautiful.
The opening theme on side one tricks the brain as the time signature varies. It moves from 4/4 to 15/8 (that's a joke son). Count the beats. It's actually 4/4; 3/4; 4/4. That's why it works. If you listen really closely, you'll hear the main theme moving entirely throughout side one, either stretched, as a diminished chord, within the chord changes themselves. Then the bass playing the modified melody at 10:05 and hearing it transfer to the speed guitar one octave up and then another octave up until it climbs beyond human hearing. A haunting glockenspiel playing the opening sequence hiding behind the blues guitars three octaves up, and then changing from a minor melody to a major melody over the climatic sequence to the last chords played on the acoustic guitar, but with the same rhythmic figure as the opening. Brilliant. Side two is a departure. The opening composition is actually called "Peace".
The piltdown man section was only written after it was suggested that the piece needed some singing
Thanks for this and the A side review. This is my musical awakening as a kid and I still tend to come back to it every now and then. Lovely to see your reaction to both and would love to see you continue on both Ommadawn as an early piece of Mike as well as on Amarok which represents his coming back to the long form after his 80s commercial success (and being driven by Virgin to continue on this rathole). Would be interesting how you would describe this later jarring piece, too.
Such a soothing experience. I love your variety of reactions to different genres. if you haven’t heard of Dimash Kudaibergen doing S.O.S. at the Chinese “Singer” competition, you need to hear him. He will absolutely blow you away with every song he does. He’s only about age 27 now but good God what a talent and quickly becoming known world wide.
I enjoyed your back and forth banter with his growling sounds, 'I feel your pain' brought a laugh out loud. Your inclusion of you playing the piano at spots certainly gave validity to your knowledge of music. Don't mean that to sound bad but I do not know anything about the musical scale and to hear you add the piano along with all the verbal music note information was a nice pairing. Thank you!
If you think this Album is nuts, you should listem to Mike's Amorak Album, It's nuts but it's good, including a tap dancing Margaret Thatcher :)
Oddly enough its one of my favourite albums. Recorded in 1990.
Good idea for a handle
Amarok hit me so hard that I spent an hour wandering my neighborhood at night laughing to myself after my first listen. Lucky I wasn't spotted by some concerned citizen thinking I was an escaped mental patient.
@@MBighk
Or even a cloth eared nincompoop!
Have you ever watched the piano player Gus Fogle's live version of Amarok (with a bass player) ? He could barely stand up from the piano bench when it was over. It should be here on RUclips.
Edit: The bass player's name is Jason Miller.
@@sneakyfox4651
I certainly have
A true genius of our times and of my country 🇬🇧 I saw him live in concert when I was a teenager in the late 70s, Tubular Bells and I was only teenager when I was at school and always thought it was a masterpiece
Re: the ending - Hey, Doug, it was the '70s. That was a humorous effect for comic relief. If you were stoned or tripping, it probably made sense... and you probably laughed. "Time to wake up, little Johnny!" Tee Hee.
Tubular Bells is a timeless classic
I might have listen to this album too many time because I am totally immersed in the instant of the music and at the same time I am anticipating the next movement!
I would like also see a reaction for Ommadawn, but also for his newest album Return to Ommadawn, which is amazingly enjoyable too
My late uncle introduced me to this when I was about 13 (and some Vangelis too), so it's always stuck with me. Enjoyed your reaction, it's nice watching you play along, too.
Oldfield also wrote the song "Family Man", covered by Hall and Oates, among others. "Leave me alone / I'm a family man / and my bark is much worse than my bite / leave me alone / I'm a family man / if you push me too hard I just might."
Nice headphones Doug, got to love the Grado reference series, very nice indeed, no wonder you are loving this through those beauties.
I was lucky to rescue the "boxed"-vinyl-box from a garbage can. I owned already the tubular bells cd, but I liked to record the vinyl digitally again with all the little scratches and dust .❤
...loved your way of journeying and commenting of the b-side, Doug, and when you started this dialogue with Mike in the middle part of his wailing ('I feel your pain, Mike') I just couldn't stop laughing - it was so funny!! :) There's another story about that part, that you didn't mention, so maybe you haven't heard it yet: Mike was nagged by his record manager to bring vocals onto the record, which made Mike furious (how dare he interfering with my musical compositions), and he thought: 'I'll give you some vocals - see what you get' - and then recorded those humms and screams.. :) PS. the next 4 albums are for me as brilliant: 'Hergest Ridge', 'Ommadawn', 'Incantations' and 'Platinum' - fabulous stuff to this very day!!
Tubular Bells have been on my favourite listens list since I was a kid,and way back when(at about age 8 or 9 I think) my brother in law, who owned the album, told me that for the caveman section of the album, they had a trained gorilla that did the vocals. So that was an established fact for me until I got access to the internet and got the real story behind it. Thanks to Doug for presenting the facts, and not leading people astray.🤣
Also good is his Tubular Bells 2 live at Edinborugh Castle.
I was at that live concert great.night.
To understand the Sailor's Hornpipe's place in the British psyche, you have to experience the Last Night of the Proms - there are numerous RUclips videos - check one out searching for Last Night at the Proms Sailor's Hornpipe. It's fun!
Love the portion that sounds like Klingon opera
I’ve been listening to this album for decades and ending with the Sailors Hornpipe has never sat well with me but here’s the thing, we listen to this album as a success story from the past but we have to consider that when it was being recorded, Mike probably never really thought it would get heard so he was probably like, “what the hell, I’m putting this quirky tune on.”
I just finished watching side 1 and 2 back to back, and this was outstanding. I've been a massive fan of Tubular Bells ever since I first saw The Exorcist in the mid 80s, well before I was 18.
I can read simple sheet music (but I'm absolute crap at sight reading), so it was very cool to see you going through the score in Part 1.
This whole review gave me a new appreciation for an absolutely timeless piece of music, thanks!
The advantage of youth: as a 14 year old, I revered this album from the time of its release as a whole composition. While the Piltdown Man and the Hornpipe sections amused me immensely (as well as featuring some pretty good instrumental chops), no part of me was about to quibble with Oldfield's vision and choices.
When I first heard this aged 12 in 1972 I instinctively knew it was a masterpiece. Thanks for adding the musical explanation as to why :-)
I am in no way musical but music such as some pieces by Kate Bush, Bjork, Pink Floyd, Henryk Górecki, Arvo Part, Thomas Tallis and Sigur Ros stand out for similar reasons :-)
I’d love to hear Doug’s commentary on all the artists you mentioned. Especially Sígor Rós.
The opening theme on side one tricks the brain as the time signature varies. It moves from 4/4 to 15/8 (that's a joke son). Count the beats. It's actually 4/4; 3/4; 4/4. That's why it works. If you listen really closely, you'll hear the main theme moving entirely throughout side one, either stretched, as a diminished chord, within the chord changes themselves. Then the bass playing the modified melody at 10:05 and hearing it transfer to the speed guitar one octave up and then another octave up until it climbs beyond human hearing. A haunting glockenspiel playing the opening sequence hiding behind the blues guitars three octaves up, and then changing from a minor melody to a major melody over the climatic sequence to the last chords played on the acoustic guitar, but with the same rhythmic figure as the opening. Brilliant. Side two is a departure. The opening composition is actually called "Peace".
You must’ve been suffering from false memory syndrome when listening to this in 1972, the album was released in 1973.
@@securityrobot, indeed. A slip of the digit
This album changed my life and influenced me musically to the nth degree. Part 2 especially just blows me away. I bought Tubular Bells in 1973, after seeing The Exorcist and being entranced with that 1 or minute snippet of Tubular Bells that Jack Nitzsche used in the soundtrack. When I heard the breadth and depth of TB I was changed musically. To the point that I years later worked out the whole album on guitar and recorded a 4 guitar version of it on a 4 track cassette. But Doug I wanted to say that I read that the reason Oldfield did the piltdown man part was that Virgin, the record company, insisted that the album have some singing, because they were afraid that an all instrumental album would not sell. This pissed off Mike Oldfield so he did the piltdown man bit to appease the record execs but also saying "piss off" to them. Yes I agree the sailor's hornpipe is a strange choice and kinda disrupts the epic construction of the piece, but what the hell, it is still an awesome accomplishment for young Oldfield, and a beautiful listen.
As always I dug your reaction and analysis- it's good to hear a fellow musician and composer react to Mike. If I may be so bold I would say that you should react to his next two albums at some point, namely Hergest Ridge and Ommadawn. He evolves into more mature and cohesive greatness on those albums. In fact I have always thought that Hergest Ridge is the perfect music for Tolkien's The Lord of the Rings. I used to read Lord of the Rings while listening to Hergest Ridge, and I was so disappointed that Peter Jackson did not hire Oldfield to score his excellent adaptation of those books. Cheers!
Great improvisation for your part on the keyboards, Doug! The remix should include you as a session player!!
thank you, I had forgotten how the whole record was such a masterpiece
From Mike Oldfield, i would also recommend:
ALBUMS:
- HERGEST RIDGE (1974): The next to Tubular Bells, it's also filled with beautiful acoustic music, more on the countryside mood (it could work as The Shire's theme). It's my favourite album from his.
- OMMADAWN (1975): Same style with some more variations and a little more dramatic tone. The closure to this kind of spiritual-debut trilogy, and the favourite of most Oldfield's fans.
- INCANTATIONS (1978): A double album with a very mystical and hypnotical sound, with excerps of Henry Longfellow and Ben Jonson's poems.
- PLATINUM (1979): A turning point in his discography, falling more into Pop / Pop Rock, and with a new recurrent structure: one long piece at the intro, followed up by some shorter ones. Very catchy.
- AMAROK (1990): His uncommercional rebellion against the record label. 1 full hour track filled with changing music and all kinds of sounds and volumes. After Tubular Bells, probably his most breaking piece. MUST HEAR.
- TUBULAR BELLS II (1992): A kind of self-ripp off from the first Tubular Bells, section by section. Kind of familiar, but new.
- THE SONGS OF DISTANT EARTH (1994): His most New-Age/atmospheric album, based on the science-fiction novel by Arthur C. Clarke. Beatiful. Should be used in films and trailers.
- TUBULAR BELLS III (1998): Electronic music, with its own electronic Tubular Bells' intro version (song "The Source of Secrets", "Secrets" and "Far Above the Clouds"). Also recommend the songs "The Watchful Eye" and "Serpent Dream".
- TUBULAR BELLS 2003 (2003): Mike's remake of the first album, re-recording everything, section by section, and fixing a lot of issues with which he was uncomfortable, like mistakes from the original rushed record. Most people probably prefer the original 1973 version, but i really prefer and recommend this 2003 version, which feels more polished and with more detail in each instrument.
- MUSIC OF THE SPHERES (2008): Classical/Orchestral album, based on the concept of a celestial Musica universalis, consisting on two long pieces, like in his first albums. It sounds like a dramatic and epic soundtrack. I would say, his last great work.
- RETURN TO OMMADAWN (2017): A sequel to Ommadawn and a comeback to his original more acoustic style, consisting in two long pieces again. While it has some beautiful and catchy moments, i wouldn't say it reaches the same level as his first original works, but it's good nonetheless. Till today, 2022, his last album.
LOOSE SONGS FROM OTHER ALBUMS:
- From QE2 (1980): "Taurus I" (long one); "Sheba"; and "QE2".
- From FIVE MILES OUT (1982): "Taurus II" (long one).
- From CRISES (1983): "Crises" (long one); "Moonlight Shadow" (his most famous Pop hit); "Taurus 3" (this time short).
- From THE MILLENIUM BELL (1999): "The Doge's Palace"; "The Millenium Bell".
- From TR3S LUNAS (2002): "Turtle Island", "To Be Free" or "To Be Free (Radio Edit)", and "Daydream" (beautiful short piano piece).
- From LIGHT + SHADE (2005): "Rocky" (short piano piece).
As Ray Bishop says, listen to the original version of The Sailor's Hornpipe with the wonderfully pissed Viv Stanshall commenting on various artworks and small pieces of eggshell. It's only available on the Boxed compilation as it was considered too eccentric to be included on the actual album release.
I've always thought the idea of finishing with "The Sailor's Hornpipe" was a way of saying "I've taken you on this journey through places strange and beautiful, but the ship must return to port and take you back to your daily life, so celebrate the things we've seen together!"
A suggestion for a much shorter (only 5:22) musical excursion to places strange and wonderful - Toto's 2019 live performance of "Dune (Desert Theme)" from their score to David Lynch's 1984 version of the classic sci-fi story! Toto is, of course, most known for their radio-friendly hits "Rosanna" and "Africa", but they were capable of much deeper music - the "Dune" score is an excellent demonstration of that, and "Desert Theme" is possibly the pinnacle of that work!
Mike was apparently told he had to add more vocals to the second side of the Album and was so annoyed he got drunk and screamed those vocals onto that track !
I like your use of the keyboard in this video. Cool to see you jam out a bit. 🙂
Back when this was selling truckloads,everyone had a copy but very few actually played it.
I was one of those who played it regularly,but for me,Ommadawn is an inventive classic and Mikes best imo.
Since the release of this album and therefore still today, each time I listen to it I come to the same questioning conclusion: Mike Oldfield has composed an exceptional album... but why did he screw up the all by such a grotesque closure ("cartoon soundtrack")? Thank you, Master Helvering.
Here are a couple of tidbits about the album.
First an admonition to the purchaser of the album printed in the lower left corner on the back cover of the original 1973 vinyl LP. It is also on the original CD booklet back cover greatly reduced (to near illegibility).
“This stereo record cannot be played on old tin boxes no matter what they are fitted with. If you are in possession (sic) of such equipment please hand it into (sic) the nearest police station.”
Second, you asked, “Why a Sailors Hornpipe?”
This explanation was printed in the companion booklet of the 1075 release, Mike Oldfield Boxed.
“When not engaged in wrestling contests on the Manor lawn, Oldfield and Newman would deflate the tension of hours in the studio on their own by drinking themselves daft at a nearby pub. In the course of such an evening, they decided to enlist a 'master of ceremonies', Vivian Stan shall, to announce the entrance of each instrument at the end of Side One. When this had been accomplished the helplessly intoxicated trio, hatching schemes of ever-increasing surrealism, decided to combine the recording of "The Sailor's Hornpipe" with an early-morning stagger around the Manor House. Microphones were placed in various rooms and corridors, the tape machine set in motion and off they went. Stanshall wandered around inspecting the various items of interest within his focusing capacity like Lord Clark after a night on the tiles, while Oldfield and Newman - by then convinced that the whole world loved a sailor - trudged after him strumming with scotch-sodden conviction. At the time, the result was considered a little too bizarre to place on an album by a complete unknown, so it was replaced by an instrumental version. Now seems as opportune a moment as any to take the antimacassar off the original, which can be heard in all its magnificent foolishness at the end of Side Two.”
If anything I hope this was entertaining and insightful.
Love the Show!
I've always thought the "Sailor's Hornpipe" ending to be a breath of relief to lighten up after some serious stuff. I wouldn't want it any other way.