Mike Oldfield Tubular Bells Mike Oldfield: Tubular Bells (180g)
Tubular Bells ist das Debütalbum des britischen Musikers Mike Oldfield. Das im Jahr veröffentlichte Album gilt als stilprägendes Werk des Progressive Rock. Es besteht aus zwei Teilen, welche jeweils eine LP-Seite ausfüllen. Der damals. Tubular Bells ist das Debütalbum des britischen Musikers Mike Oldfield. Das im Jahr veröffentlichte Album gilt als stilprägendes Werk des Progressive. Im Mai feierte Mike Oldfield seinen Geburtstag, den Jahrestag der Veröffentlichung von Tubular Bells und heiratete. Es sind genau 35 Jahre vergangen seit die Eröffnungspassage seines legendärem Albums Tubular Bells im Kultfilm Der Exorzist verwendet wurde und diesen. juniorhandling.eu: Mike Oldfield – Tubular bells jetzt kaufen. Bewertung, Tubular bells. Die CD Mike Oldfield: Tubular Bells jetzt probehören und für 7,99 Euro kaufen. Mehr von Mike Oldfield gibt es im Shop. Die LP Mike Oldfield: Tubular Bells jetzt probehören und für 17,99 Euro kaufen. Mehr von Mike Oldfield gibt es im Shop.
Instruments included his guitars, an electric organ and his mother's hoover, which Mike used in an attempt to get a bagpipe drone sound.
Mike then took his demo tape to various record companies, in an attempt to gain a record deal. He didn't have much success at first, with everyone telling him that it wasn't marketable.
Newman was instantly hooked, and eventually persuaded Richard Branson, Virgin boss, to let Mike have some studio time to record the album.
He eventually agreed, and most of part one was recorded within the space of about a week. The rest was recorded whenever the studio wasn't being used - often late at night.
Branson tried to sell Tubular Bells to other record companies. When it was clear that nobody would take it, the decision was made for Virgin to release it themselves.
It was the first record released on the label, hence the catalogue number V with the 1 being the important bit. Used throughout the 70s and into the 80s, when he acquired the Mike Vanden F4-style mandolin.
It appears in the videos for Portsmouth and William Tell Overture. Also used in Hergest Ridge , Ommadawn.
Hired for recording Tubular Bells, but seemingly not used on the album. Hired from Maurice Placquet for recording Tubular Bells.
The usual story is that Mike saw them being taken out from a John Cale session and asked if he could keep them for his own session.
In search of a better sound, Mike used a coal hammer and bent them. This guitar used to be owned by Marc Bolan. Mike added an extra pickup - made by Bill Lawrence - to it, with the help of his dad in their garden shed.
Mike later took all the finish off the guitar, leaving it as bare wood. All attempts failed due to low bids and the guitar was withdrawn.
Bought by Mike from a shop on Denmark Street in the late s. Maple back and sides, spruce top. Mike strung it with silk and steel strings for a super-light action.
Whether it was used on Tubular Bells at all is unknown. Sold by Terry in Considering he'd found the hired Martin difficult to play, and the Knight was reportedly extremely comfortable to play, it would seem strange that he carried on with the unplayable Martin.
There's no actual evidence that he used it on the album, though. Mike later complained that the guitar had an almost impossibly high action, saying that him struggling to play it was the reason you can hear him breathing heavily during some of the acoustic guitar sections!
A type of custom effects unit, which Mike probably got from David Bedford. Exactly what it did is slightly shrouded in mystery, though it's known that Mike used it to make the 'bagpipe' sound on Tubular Bells.
Tom Newman, writing on Facebook, said "It was made of plywood and had about five or six mm faders and about four knobs, about ten inches by eight inches with a sloping top like a mixer, and a hole with a 9volt battery that fell out if you picked it up".
This was hired from Maurice Placquet for Tubular Bells. A lot of the electric guitar sounds on the album seem to have been recorded by plugging the guitar directly into the mixer, so it's diffcult to tell exactly where on the album the amp might have been used.
Return To Ommadawn used a Farfisa sotware emulation. A Farfisa organ was hired from Maurice Placquet, but it broke down.
It's not clear whether the only Farfisa on the album is the broken hired organ or whether another was borrowed for example, the Farfisa Mike had borrowed for the demos.
As this doesn't appear to have been hired from Maurice Placquet it at least doesn't appear on the hire receipt , it would seem that this was either owned by The Manor or belonged to one of the bands who were recording there at the time.
The model isn't known, but it was quite possibly a B3, certainly with a Leslie speaker. It's used towards the end of Part Two. We have no information on what cabinets they were in.
That "Tubular Bells" supplanted "Hergest Ridge" from this first spot? That the high ratings on PA are fully deserved?
That four stars is my judgment? There is little need to go deep into a detailed and technical description of this work. Other reviewers did this far much better as I could.
I have listened to this album many times and can't really get bored with it even if I spin more the first part, obviously.
IMHHO, it is a very fine piece of music. Influential, maybe self- indulgent but very well crafted and enjoyable.
It sold over fifteen million copies worldwide probably a record for an all instrumental work, but I have no confirmation of this.
Thanks Mike. This is what you call essential music, to me it's the same sort of milestone as Oxygene by Jean Michel Jarre was. A breath of fresh air, highly original and something that was never done before.
It's sheer nostalgia, I know, but it's the kind of experience you never forget. And still this whole song of praise for this piece of art doesn't have really something to do with the way I feel about it objectively.
Because despite my nostalgic feelings I don't consider it a masterpiece musicwise, that is where my personal taste for prog music is concerned.
All things considered it's just a notch less and so I will give it 4 stars. A few words about Tubular Bells part II: I think this is the wrong title because there are no tubular bells in this epic and it hardly resembles part I.
So I do'n't know why Mike Oldfield decided to this. Well, what can I say. He is the master and composer, so he will be right.
But it will never have the same impact on me as part I because of my personal history with that part.
So in the end it's the ever applying conclusion about music and art in general: it's a matter of taste and that's the only truth.
Soon this well-crafted work topped the UK charts and part of it was used as a soundtrack for the horror-movie ''The Excorcist''.
The two compositions contain extended orchestrated sessions,a variety of used instrumentation,up- and down-beat grooves,spacey keyboards and a lot of changing atmospheres.
From its pure rockin' moments and the symphonic hints to the new age feeling and the experimental mood,this work was a ground-breaking release back in and marked MIKE OLDFIELD as one of the most famous modern music composers ever.
However,and despite its undenieable majesty,I found this work to be too ''electronic'' and ''mechanic'' to my ears My appropriate rating is 3.
The first part is the better work, and the second part feels a bit drawn-out and pointlessly long at times. But, filler aside the album as a whole is very solid and beautiful.
I have yet to hear anything else from the man, so I must be in for a treat, because I keep hearing that he has done better work than this, and this is already pretty damn good.
The fact that he composed it all himself is equally impressive, then again I'm always a sucker for multi-talented musicians and composers Steve Wilson, Peter Gabriel, and others, now including Mr.
This review is shorter than most that I have written, because honestly there isn't a very good way to describe part for part what this record does to me as I listen to it.
I recommend to listen to it and decide for yourself if all the hype is well-deserved. I think it is. After all, just because something is commercially successfull doesn't automatically make it not good.
It just means a prog artist in this case has managed to equally captivate prog-heads and lay people alike. That in itself is an impressive feat.
Is it essential? Probably not, but you sorely will be missing out if you never even give it a try. Happy Listening.
Tubular Bells remains one of the best debuts for an artist in music history - a man had a dream and pursued it vigorously and Oldfield's almost obssessive attention to detail on this album is staggering.
It begins with the trademark theme that was later used as atmosphere for the chilling Exorcist movie. Then the guitars kick in and the awesome bass lines, all played by the great man himself.
The track gets into weird territory about 16 minutes in and transports the listener to another realm. The sound is incredible and even though it is bombastic, it is so endearing and intelligently crafted it hits the listener right between the eyes.
It seems to mesmirize with every listen with hypnotic effect encapsulating all that is great about prog rock - the wierd off kilter time signatures, the lengthy sections of overture, the use of a variety of instruments, and the melody that haunts with every listen.
One of my favourite sections is when Oldfield introduces each new instrument - it has the potential to be mocked of course, and indeed has been, however it is quite compelling to listen to each instrument chiming in including Mandolin, glockenspiel, up to the Tubular Bells sound itself.
So familiar has this theme become it brings with it instant recognition par excellence. I would give if 5 stars except track 2 is not quite as endearing as the rest of this effort.
The hornpipe section is OK but strangely annoying, with its foreign worldy sound, I prefer the space rock futuristic style personally. Oldfield triumphs on this album and it has been sequelled numerous times, but this is the quintessential CD for instrumental music.
Beautiful, haunting, compelling and played with musical virtuosity. Interestingly enough, my CD version has only 1 track not the 2 parts , so I'll keep it as one track.
Tubular Bells Parts 1 and 2 - Oldfield is an amazing multi-instrumentalist and it shows here. Considering his inexperience, this really is a great release.
The musicianship is great, the production is good for its time, and the ideas are interesting and fresh. Hearing the vast amount of instruments that Oldfield is proficient with and composes on the album is impressive.
The songwriting, however, is good but not fantastic. This is where the piece does not warrant its place upon Oldfield's 5-star masterpieces.
The parts really have an overall disjointed feel to them and some parts are not as interesting as others. The segment where Oldfield introduces each instrument and then plays the themes is actually pretty intriguing and enjoyable, but is representative of how the whole track feels.
SO close to being a complete piece but tending to feel like a bunch of good songs put together that sometimes connect pretty well but other times not as well.
Nonetheless, I can't be too critical of this song because it really is good. It's just not perfect. Additionally, this is definitely an excellent addition to any progressive rock collection!
However, it is not a masterpiece. If you want Oldfield's most glorious masterpieces, check out Ommadawn and Amarok.
Not too bad of a starting point though and the music is great. Seeing as the views regarding album is pretty much divided between those who consider it excellent and fascinating and those who think it's not when you don't take the qualities mentioned above into consideration , it's really tough to tell where a potential new listener will end up.
First things first. As such it's not an album that challenges by being new and exciting, but rather more as being something that's well-executed and pleasing.
Count on drawn-out atmospheric pieces with pulsing and flowing sound being what you really remember after playing it without really focusing on breaking the sound apart.
It's never really far from the ill-defined ethnic, folk symph-electronics that fall within the umbrella term of new-age music. Upon second or third listening you'll really appreciate the often humble and sweet at times even dreamy melodies and applaud the sprinkling, clear and sparkly keys and percussion that permeates much of the sound.
Perhaps your interest is piqued by the non-intrusive but nicely complementary guitar work. Altogether it's a lightweight, somewhat shallow due to both the instrumentation and structure - I often miss more textural and rhythmic backing but still strangely rich piece of music.
But then there's the ugly word, yes , when spinning it for the fourth or fifth time, and finally can start to digest it as a whole, some ugly truths could start becoming apparent.
Many of the segments are stretched really thin, with a minimum of overlaying changes to cover up this fact. Given the conceptual nature of the album, it's understandable that there is a certain amount of recycling of themes going on, but it really becomes rather grating after a while, when the initial excitement vanishes.
The best example of this is perhaps the outdrawn segment where the tubular bells themselves are given a triumphant countdown via a number of different instruments playing the same motif over the same basic underlying pattern - time after time after time.
There are a number of equally questionable parts and segues scattered through the album, two of them being the times when Oldfield in the name of dynamics shatter the atmosphere by rocking out with some badass riffs; the first time plagued by the horrible distorted guitar sound of this album, the second made even worse via nonsense semi-growls.
But now in a reconciling manner I still like it more than dislike by the end of the day. When it's successful it's really successful, and it masks its structural straightforwardness, familiar melodies and even a good number of hooks under a delightfully applied layer of musical make-up.
Tubular Bells was Mike Oldfield's first release on his own and he was very young at the time. To probably everyone's surprise, this somewhat immature work became a giant commercial success.
Nobody quite knows why this struck a chord with the public, but it did. The idea, or concept, behind Tubular Bells seems to have been to fit every musical instrument and almost every style of music known to man intro a single piece of music.
The result is, not surprisingly, more than a bit disjointed. There are some very good and memorable passages, but also quite a few false starts and silly ideas.
I fail to see any overall structure of the piece; rather, it goes from one theme to the other without really connecting them together in some intelligible way.
I think it is fair to say that Mike's success was a bit premature and, even if this was his commercial peak, he had yet to reach his musical peak.
The worst parts are the silly spoken introductions of the instruments and the "growling" vocals. These parts are really ridiculous!
Yet, with all these flaws, Tubular Bells is still a classic and it remains a reasonably enjoyable listen from time to time.
I hesitate to assimilate this with progressive Rock though. Mike did better later on. Approaching such an influential work with fresh ears might have been difficult, but here's a shameful confession: until recently I never actually heard the entire album, start to finish the ubiquitous popularity of the thing was reason enough for a teenaged Prog Snob like me to shun it back in the '70s.
So what's my belated first impression? There's a lot to admire here, but the album strikes me as nothing more than a novelty item: a one-man studio band of only loosely related themes and ideas, designed and organized for no other reason except to showcase the multi-instrumental prowess of the composer.
This becomes more or less explicit in the climactic passage of Part One, where each of Oldfield's instruments is introduced in sequence.
Every addition to the short, repeated motif is identified by 'master of ceremonies' Vivian Stanshell, building in gradual layers to an ecstatic apotheosis of sound with the final appearance of the percussion named in the album's title.
It's a dramatic finale, to be sure, but it properly belongs at the end of Part Two, where it might have provided a more fitting resolution to the album than the tongue-in-cheek "Sailor's Hornpipe".
Part Two the original album did not employ sectional sub-titles has to then re-engage the listener's interest from scratch, an easier proposition on a vinyl LP needing to be flipped over.
This latter half flows together in a calmer, less thematically disjointed fashion, despite the comic relief caveman grunts a comment by Oldfield on Neanderthal rock 'n' roll manners in the s?
And then there's the unexpected nautical non-sequitur of an ending, recalling the soundtrack to an old AAP cartoon.
One thing is certain: record buyers must have been more adventurous back in the '70s. But in the long run the overwhelming success of the album might have done Oldfield more harm than good: he's been dragging it around like a gold-plated ball and chain for over three decades now.
Still, it remains an essential artifact for better or worse of the era. And I can now accurately say no self-respecting Proghead should miss it, if only for historical perspective.
Better late, so forth. There are two side-long tracks on the album called Tubular Bells part 1 and 2. The music is slow building and a bit repetitive to my ears.
Ambient but not in the respect that nothing happens because there are plenty of layers in the music. Piano, guitars, bass and synths play seperate complimenting melodies most of the time.
Mike Oldfield is clearly a skilled composer and musician he plays almost everything on the album and some of the sections in the songs are very cleverly build.
To my ears and I know others feel differently about it the songs seem too fragmented though and I miss the feeling that this is two cohesive songs that are composed to be songs.
To me this sounds like a lot of small melodic sections put together. The production is enjoyable but the sound on the distorted guitar sounds horrible to my ears.
A 3 star rating is fair IMO but I fully understand those who love this album to death. It is a unique piece of art. Just not really to my taste.
Nonetheless, this is not a perfect work by any stretch, and I am quick to point out parts that have not aged all so well. I also don't simply award 5 stars to a work for pioneer status.
Imitators can improve upon innovators, and Mike Oldfield is a case in point. While many of his musical ideas began here, he explored each more deeply in subsequent albums.
But to understand this, one must go to the source, a splayed sweeping amalgamation of musical ideas, many of which I covered above, but including every manner of guitar style from sweetly plucked acoustic to raunchy leads, repetitive loops of melodies that interweave in a courtly dance.
Just when you think you've got it down, something comes at you from the side and keeps it all interesting. True, the introduction of dozens of instruments as band members is not a keeper, but the ambient organ sounds prior to "Sailor's Hornpipe" are the essence of profound new age reflections, before it got all too glossy and superficial over a decade later.
Ultimately, TB is a hard album to rate because, while it is an undeniable masterpiece, it casts its net just a bit too wide, almost as if Mr Oldfield feared that he might not get another chance.
In the case of these bells, I've lost track of and interest in all the versions. Start here. It really amazes me that such an important album to progressive rock in general like Tubular Bells have so many negative reviews.
This album was not only Mike Oldfield's biggest commercial hit, but also the album that made Virgin Records possible, since it sold so many copies, specially in England, and an undeniable cultural reference for the decade, specially because Tubular Bells part 1 was in The Exorcist soundtrack against Oldfield's wishes, but that is another story.
A possible reason for this album being so ill-fated and have so many mixed opinions amongst reviewers is that it has some kind of complex simlicity that cannot be easily percieved by all.
Let me explain that: unlike other great prog bands, like ELP, Yes and Genesis, who delivered beautiful and yet incredibly hard-to-be-played music, Mike Oldfield was able to make great music that was actually simple.
He just used simple melodic lines and played with them using some variations and many different instruments , at least in part 1.
However, since he added many different variations of a simple melodic line, the music, in the end, became complex as a whole. In part 2 Mike is a bit more experimental than in part 1, becuase he mix a bigger amount of different music genres and instruments together.
Despite that, the song is not hard or difficult to listen nor it is very complex, pretty much like part 1. Another reason why Tubular Bells has so many mixed opinions about it is the lack of the rock factor in the album.
Indeed, it is hard to understand why this album, and many other Mike Oldfield albums, are listed as belonging to the rock genre if they don't have that rock feeling.
Anyway, instead of doing rock music, mister Oldfield decided to create a pleasant landscape of sounds could this be a sonicscape?
Yet another reason for the low grade is that this albums is Oldfield's most well-known album and, because of it, it is obvious that a larger amount of people that don't like his work will listen Tubular Bells and consequently will give it a low grade.
Grade and Final Thoughts Why an amazing album that is a milestone of progressive rock has such a low grade i will probably never know, but one thing is clear to me: Tubular Bells is a masterpiece.
This is one album that you can enjoy at any time you play it, showing how brilliant Mike Oldfiled was in his early days.
One of the easiest 5 stars ratings I ever gave. There is very much to be said about this album. It's the beginning of one significant career in the world of multi-instrumentalist musicians.
Tubular Bells remains the most well-known album by Mike Oldfield, but it's quite far from his best works. I'd grown up with its successor - Tubular Bells II and it is one of my all-time favourite albums and the best of Mike Oldfield.
So I've decided to hear it's famous predecessor and I'm truely not impressed. These two albums are very similar in terms of songwriting as the names show, but the biggest difference come when we speak about the musicianship and the production of the album.
It is not so surprising for a debut album of musician - debutant, who want to play all the instruments on the record.
This album contains the biggest variation between songwriting and musicianship in favour of songwriting I've ever heard. So, it's time for my main thesis of this review - if this album was preformed by a band for example - Supertramp it would be just unique Mike Oldfield probably came to this conclusion only two years later and materialize this obligatory project with The Orchestral Tubular Bells.
Recommended for crossover prog fans, but I advise you - just try the orchestral version and you won't regret. For now 3 stars. Sales of this album were valuable income sources for Virgin Records of just establishment.
And, the creation of music for Mike Oldfield to listen in this album might already be exactly a set of the sound that should be called the top.
And, it is guessed that done consistent theme and meaning are the appearance of the environment, the situation, and the creation where Mike Oldfield is placed in this album.
As for various elements projected to this album, a lot of memories of him and the parts based on the environment might be included.
Mike Oldfield paired Folk Duo with the elder sister at year-old time and acted. However, the range in the place of the activity of music is gradually expanded by the confrontation and the dissension and it moves.
And, the situation connected with the base of this album for Mike Oldfield visits. The invitation and participation in The Whole World by which Kevin Ayers was on the register will have been preparations to a surely new creation.
It is said that Mike Oldfield absorbed the element of minimal from David Bedford by this situation. And, the element of Folk and Rock that Mike Oldfield originally has is woven and the original music character is constructed gradually.
Competing and the situation with Kevin Ayes might have exactly run to the prototype of this album. And, Mike Oldfield begins the production of the demo tape of about 50 minutes at this time.
The reaction of label to the sales promotion of this demo tape was not so good. However, Richard Branson that tries the offer of music along with the establishment of Virgin Records contacts receipt Mike Oldfield this tape.
And, Mike Oldfield begins the production of a new work along with the contract of Virgin Records.
This album was produced with the studio for the recording that Virgin records had owned. Mike Oldfield has introduced various musical instruments for the recording of this album.
And, it played a musical instrument voluntarily. It is said that the work for coming in succession and the composition of the sound reaches about times.
The recording and the work said that it started in June, are done very deliberately. And, this album is announced through the work of the recording and the edit in May, There is an opinion made that the theme that Mike Oldfield should express it in this album is music based on his put environment, nature, and experience, too.
He calls the content of this album and is making remarks, "Feelings entered too much". And, it is said that mental directionality was reflected in the album as an expression of the music character since this album.
However, opening the music that he had done in this album will have been exactly establishment of music by opening the self-consciousness. The level that was this album might already have been established to his music character.
The music expressed in this album might be appearance of the involved consideration of height and Mike Oldfield of the perfection.
The repetition of seven rhythms and eight rhythms is complete. Melody of guitar in close relation to flow with transparent feeling. Construction of grand sound with piano and glockenspiel.
Development that flows intensely. The composition with expression of feelings might be splendid.
Feelings are opened. Sound of organ in close relation to acoustic part. The scene might be described well.
Shift to part of stroke with guitar and repeated melody. The construction of the melody that calls coming in succession and the impression of musical instruments used might succeed as a challenge to an exactly grand theme.
As for "Tubular Bells Part 2", the music character that Mike Oldfield exactly has might be remarkably reflected.
And, uniting the melody with the keyboard might be one result of his attainment exactly and establishment. Construction and development with beautiful guitar and piano.
A pastoral flow continues. Coming in succession of the melody and the sound in which nature was felt might have been considerably calculated.
The part of Folk where it gets on a steady rhythm and the contribution of the keyboard are progressive. Part of introduction of progress of good Chord and effective voice.
Development and the flow with fast and slow are splendid. This album might certainly have contributed to respect of sales. However, it might have had zeal and the creativity that Mike Oldfield had poured into this album in the place where listener's category had already been exceeded.
Oldfield's musical roots can be traced back to the Canterbury scene, where he co-operated with Kevin Ayers's solo project the Whole World.
Oldfield's debut somehow continues the typical warm and smooth sound and the lightly jazzy atmosphere. Especially the extended guitar noodling at the start and in the second half of part 2 have that soft texture and also remind me of Camel's later instrumental album The Snow Goose.
The piece has a humorous or at least intentionally humurous bit in the middle and at the end that breaks the mood for me.
This first part is more consistent then the second but suffers from the shrill electric guitar sound.
The intro has reached world fame as it was used in the well-known horror picture The Exorcist and the ending crescendo is another well known classic.
Because of its status and historical importance, 3 stars is a bit disrespectful, but there are too much ill-fitting experiments with both sound and song development to be a 4 star album.
If you would not own any Oldfield album yet, I certainly wouldn't recommend Tubular Bells as a starting point. Better take one of the ensuing albums instead.
I've always liked this album, but could never LOVE it as much as some people do, mainly because I just don't know where it's going.
Fair enough, it's a debut, but given the number of songs and the length of each of these, you would expect there to be some sort of theme or concept upon which this suite was constructed.
There isn't. It's just music. Which is a good thing in terms of reviewing the sound, but a bad thing in terms of focus and direction.
I, like most prog-heads, could happily sit through the minute suites of Yes, Pink Floyd, King Crimson, etc.
Those songs have at least one thing to say. And even the lengthy epics without lyrics, have relevant musical divisions and some sort of conceptual goal.
And it can't even be forgiven in a classical or compositional sense, as none of the musical themes in part 1 and 2 are even similar, and nothing is repeated even within each side.
It's very linear, which given the lack of a unifying theme, suggests that Oldfield literally "made it up as he went along". I believe such a method of creation no matter how original or innovative is sloppy and prevents a lot of potential enjoyment that could be had from an album with predominantly GOOD music.
The music is good, often very emotive, but each theme passes by never to return again, and nothing has a point to it. I like listening to this album in a passive, "background" kind of way, but I could never enjoy it in the same way as anything else of similar quality, because it has no completeness.
It's like watching a film where each scene is very rewarding and of high-quality, but none of the scenes make sense in the presence of each other and the whole movie has no narrative.
That would be a good, but limiting experience. Such is true of 'Tubular Bells'. And whilst I can appreciate the fact that Oldfield plays all the instruments himself, I think that hiring some musicians would have helped turn this linear experiment into an actual album, a concept one or otherwise.
If you thought the cover artwork was random, expect the same from the music Do you wonder what would happen if you had the band room to yourself in middle school?
I think this is what happened with Mike Oldfield. Hey, listen to the cool sound I can make with this wood block! Listen to this to this little tune I just came up with!
Isn't that great?! How about this soundit's called a tubular bell! The irony for me is that Richard Branson encouraged this and somehow made the resulting album a cult classic.
I attribute this more to marketing than musical quality. Imaging sampling these bits together into one "song" and calling it an album.
That's honestly what Tubular Bells sounds like to me. Of course, I'm over-simplifying. Oldfield could play decent guitar, and he was young, which meant there was plenty of potential to make meaningful contributions, which I think he has to progressive rock.
However, that doesn't turn his early cutting room floor droppings into great music, even if there were indeed some diamonds in the rough in those cuttings.
The notoriety of this album brings home 2 major points for me: 1. I'm not trying to tear this album apart, because it sparked some good things to happen after.
I should also note that I'm not a fan of ambient music, so that could bias my rating. That said, this is one of very few prog albums that I simply would not buy again if I could do it over.
It is eerie and unsettling. The gradual layers of sound build until the piece becomes more fanciful than haunting, like seeing horrific eyes in the darkness, but as the sun rises, discovering that they are only cute, whimsical forest creatures.
Bringing the main theme into a major key has this very effect. One of my criticisms of early Oldfield is his electric guitar tone.
It is the worst tone I think I've ever heard. Speaking of which, the piece becomes eccentrically cabaret midway through- just gaudy in every respect and flaunting that horrible tone.
The music practically fades out in a sleepy manner after this, bringing in an equally drowsy acoustic guitar passage. A new theme abruptly follows- this is the beginning of a repetitive yet climactic ending whereupon master of ceremonies Vivian Stranshall names each new instrument.
The classical guitar revises the opening theme. Lovely acoustic guitar and keyboard weave a majestic musical affair. Even when the shoddy electric guitar comes in, the piece still exudes magnificence.
However, it abruptly becomes prehistoric- and appropriately so. Allegedly Oldfield became angry about Richard Branson wanting a segment with lyrics to release as a single, and the musician stormed away, got drunk, and recorded the nonsense growling, grunting, shrieking and wailing during the "Piltdown Man" passage.
Even if that's the case, rebellious drunkenness does not always serve as a brilliant muse, and the entire album suffers greatly because of that of one passage- it's like creating a lovely painting only to cut it multiple times with a serrated knife.
Fortunately, what follows is a return to the gentleness that came before, this time exploring in psychedelic fashion with organ and multiple beautiful guitars.
And then, to ruin things not once but twice, there's the "Sailor's Hornpipe" bit, which became a staple of Oldfield's live performances as he could reach incredible tempos with it.
But I'll be damned if it isn't goofy. The first time I ever heard this album mentioned was back in or Our Geography class was going down to Toronto for a "field trip" and at some point in the afternoon we all had 2 to 3 hours to do whatever we wanted.
Most students went to check out a movie while my friend and I hit the record shops. As we went back to board the bus the teacher asked what I bought so I showed him.
He really didn't react much at all except for barely a polite smile and gave them back. The girl behind me had bought Oldfield's "Tubular Bells" and the teacher went on and on about how amazing it was.
And yes I still feel tha way. I always remembered this album because of that incident though and it feels really good to finally spend some time with it.
It does feel more stitched together than the two that follow but it doesn't bother me at all because it's all so well done. In fact this is a pleasure to sit down and listen to.
Easily 4 stars. This album is enjoyable but Mike would do better. I never liked how Part 1 ended. Such a letdown after what came before.
Part 2 starts off better but it's not as interesting as the beginning of Part 1. The "Sailor's Hornpipe" section at the end of the album is a nice touch.
It makes the album end on a high note. I don't mind the introduction of the instruments part. Dated maybe, but it's a nice addition.
If you were even slightly curious as to what a "slightly distorted guitar" sounded like, you need to hear this part.
My favourite part of the whole album is the "caveman" part. Many hate it but I think it's brilliant. It's the only part of the album where you hear Mike rock out.
The oddball grunted vocals are the icing on the cake. I love in the middle of this part where Mike plays some Canterbury-style fuzz-bass. It's mostly guitars and drums, but there is some good piano and organ in this section as well.
Some parts are more interesting than others. Usually the parts where the acoustic guitar is the main instrument are the least interesting.
Tubular Bells has the least vocals of any of his '70s albums. What else can I say? This album is like, totally Tubular, dude.
I don't think Mike made enough versions of this album, he needs at least three more. One of them should have the introduction part go: " A debut album spanning nearly 50 minutes of material by a young artist that got picked up by Richard Branson's Virgin Records is a story that I'm sure that most of you are well familiar with.
The result is a massively successful record that not only coined both Oldfield and Virgin Records but, most importantly, proved that instrumental music could still find its way to the mainstream audience.
There's also no denying that the horror movie classic The Exorcist played a huge part in the album's success but I also believe that there was a more broader spirit of the time that made Tubular Bells the classic it is today.
Just like most of Mike Oldfield's career, this is a highly accessible album that should make the listener realize pretty early on whether he or she might become involved with Oldfield's work in the future.
My first experience was a mixed one. Even though I enjoyed the style that Oldfield incorporated into his performance, I soon discovered that there was a definite formula to his musicianship which became even more apparent with Hergest Ridge and Ommadawn.
At the same time, once Mike Oldfield did try to move away from this original style, a whole new set of limitations became prominent in his commercial aspirations in the '80s and '90s.
As for the music featured on Tubular Bells , I definitely think that it deserves to be experienced but make sure to listen to a version that sounds like the original album version since Oldfield does sometimes come off like the George Lucas of music industry where he remixes and re-records most of his original performances every now and then.
Not only did Tubular Bells have two sequels that, to me, sounded nothing like the original but there has been over a dozen different versions of the original released over the years.
Tubular Bells is an album that is definitely worth experiencing especially if your reaction will be different to that of mine.
If you enjoy this album then Ommadawn is definitely the next release that is well worth checking out. If you, on the other hand, didn't like Oldfield's style, then you've at least given it a fair try with Tubular Bells!
The piano intro, the one which was made famous by "The Exorcist". I have recently listened to a Japanese band that has copied it totally including the "accents", but I don't remember the name.
It means that this music is still actual and it's demonstrated by the several follow-ups and versions that Mike Oldfield released during the years.
The first five minutes are occupied by the initial theme then the sequence of sudden changes starts. This is the limit but also a characteristic of Oldfield's suites.
More than an organic long piece is a patchwork of several parts tied together with no solution of continuity.
If I remember well, a remastered or re-recorded edition was published in On that version each piece has its own title.
It can be of help for a reviewer, but not for his pocket. However this album doesn't have weak parts. The music is good and well played and all the parts have their disctinctive traits.
After 37 years and I don't know how many versions,re- releases and follow-ups I don't think there's much to discover left, but this is one of the most important and seminal albums in the history of prog and of music in general.
Today I would hesitate in calling it masterpiece, but for its originality in it was surely one. Some of what we listen to today wouldn't have been the same without it.
The opening few minutes are some of the best in a symphonic-titled record. That main piano theme has become all too well-known in the annals of prog rock, yet the way this riff builds upon itself is immensely enjoyable.
The maritime theme that comes in sometime through the second part the guitars try to emulate bagpipes is equally beautiful and could send you in a trance.
The diverse instrumentation offers a wide variety of sounds, and to his credit, Oldfield doesn't vomit themes all over the place and changes them every 1.
The problem is that half of the ideas are just boring, and the fact that they last for ten minutes usually without drums hurts.
The punk-country attempt at the end is nice for about a minute, but it gets too old too fast. Sometimes great spots in an album are ruined by the only vocal attempts on the album.
Go to the end of part one and there will be a man announcing each instrument as it comes in; this effect is laughable at best. It's cheesiness is topped by the grunts on Part 2.
It's very free, not in the sense of without structure there's plenty of it , but in the flow of the album.
Get your popcorn ready. As a child I was very fond of the Dutch children-series of clown Bassie and acrobat Adrian. The soundtrack of this crime-fighting television circus-duo is the reason why most Dutch people of my age are familiar with the opening section of Tubular Bells, though some would rather refer to it as the soundtrack of The Exorcist.
Still it's just the beginning of this big experimental and inventive piece called Tubular Bells part I. Mike Oldfield wrote many themes on many instruments in many odd time-signatures and combined them into this big piece.
In it, he goes from world-music with distinctive atmospheric melodies to rock with strangely distorted guitars to classical inspired instrumental music.
Some passages are gentle, some are adventerious, some are serious the opening section is even perceived as 'frighting' by some and some are really bombastic.
The ending section stands out as a great melodic theme in which we are introduced to many different instruments playing the melody.
The ending with choral arrangements is great. Tubular Bells part II is less rewarding. It has a long quiet opening section that doesn't impress me to much followed by a bag-pipe simulation with electric guitars and some percussions.
After this we get to listen to an almost hard-rock section with strange, growling vocals that can't be explained in any way. The ending section has some gentle organ chords and experimental guitar solo's.
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Tubular Bells The Mike Oldfield Story - Full Version Jun 6, - Tubular Bells (Limited 2LP Deluxe Edition) [Vinyl LP] - Mike Oldfield. Mike Oldfield - Tubular Bells (Grey Vinyl) - (Vinyl) im Onlineshop von Saturn kaufen. Jetzt bequem online bestellen. Mike Oldfield - Tubular Bells ( Remastered) - (CD) im Onlineshop von MediaMarkt kaufen. Jetzt bequem online bestellen. mike oldfield - tubular bells (part one).Mike Oldfield Tubular Bells Navigation menu Video
Mike Oldfield - Tubular bells II (Live in Edinburgh castle) 1992 
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Später sagte er, seine Stimme gehöre nicht auf seine Platten. Das einstündige Werk enthält ständig wechselnde Themen. Januar erschien sein neuestes Album Return to Ommadawn , das sich auf das Album Ommadawn bezieht. DE 29 5 Wo. AT Teufelsbraten Stream 2 Mt. CH 19 8 Wo. Januar an. Vorschläge, ein neues Instrumentalalbum zwecks besserer Vermarktung Tubular Bells II zu nennen, lehnte er wiederholt ab. US 3 Gold 45 Zeitgeist 2014. CH 4 Gold [11] David Safier Wo. Das Album QE2 setzte diesen Trend fort.
Heather Sossaman Albums RPM []. Retrieved 5 June There are many different live recordings; a Eberhofer Krimi Stream Kostenlos one can be found on the double live album Exposed from It is not unusual for him to collaborate with diverse singers and to hold auditions before deciding the most Ostseebad Rerik for a particular song or album. Guardians Of The Galaxy Hdfilme things considered it's just a notch less and so I will give it 4 stars. By earlyOldfield S.To secured Clive Banks as his new manager and had several record label owners listen to his demo of Tubular Bells II at his house. There's also no denying that the horror movie classic The Exorcist played a huge part in the album's success but I also believe that there was a more broader spirit of the time that made Tubular Bells the classic it is today. One of them should have the introduction part go: " You are not logged, please complete authentication before Desi Boyz Full Movie use Muffi Schlumpf credentials. Its opening was used in the horror film The Exorcist and the album went on to Hurra Die Schule Brennt over 2. I have always said, if I would have to listen pop music, what better that Anneliese Michel Haus MO period. It is one of the most eclectic and original pieces Totenbeschwörer music I've ever heard. Archived from the original on 19 January And, it played a musical instrument voluntarily. CH 94 2 Wo. Januar erschien sein neuestes Album Return to Ommadawn Ps Ich Liebe Dich Online, das sich Heartland Staffel 8 Deutsch Online Schauen das Album Ommadawn bezieht. Flipper Online 8 11 Wo. Tubular Bells II. UK 4 Gold 23 Wo. Auch bemerkenswert ist die Vorstellung der einzelnen Instrumente am Ende des ersten Teils, bei denen Oldfield darauf eine variierte Melodie spielt, wobei die Instrumente von Vivian Stanshall als Master of Ceremonies einzeln angesagt werden. CH 76 October Sky Wo. Ab erschienen Oldfields frühe Alben in neu abgemischten Versionen bei seiner neuen Wir Sehen Uns Mercury. Das einstündige Werk enthält ständig wechselnde Themen. UK 24 Gold 9 Wo. AT 16 7 Wo. Gleichzeitig veröffentlichte er ein Computerspiel mit gleichem Namen, Emotion Film jedoch keinen kommerziellen Erfolg hatte. DE 1 Gold 23 Wo. Die Olsenbande Und Ihr Großer Coup Stream Tubular Bells II. Mike Oldfield Tubular Bells Buy MIKE OLDFIELD Tubular Bells Music Video
Mike Oldfield Tubular Bells III Live @ Horse Guards Parade London 1998Mike Oldfield Tubular Bells Möchten Sie sich anmelden?
UK 49 2 Wo. Das Album QE2 setzte diesen Trend fort. Filme Horor im Alter von 33 Jahren. The Songs of Distant Earth. UK 14 Platin 18 Wo. UK 1 Gold 17 Wo. Der Nachfolger Ommadawn enthielt viele folkloristische Elemente und stellt ein Haruki Murakami Beispiel für Weltmusik dar.
