Category: Mike Oldfield

After an extremely acrimonious split with Virgin Records in the early 1990s, multi-instrumentalist Mike Oldfield was already venturing out of Tubular Bells territory throughout the 1980s, dabbling in pop songs (a cover of one of his tunes, “Family Man”, became a hit for Hall & Oates) and mixing music of wildly differing styles and ethnic origins. Virgin mogul Richard Branson was reportedly demanding a Tubular Bells II from Oldfield, who refused to do any such thing, and then released precisely that after switching to Warner Bros. just to give Branson the finger, but a funny thing happened while Oldfield and Branson were battling it out. Other acts started to claim for themselves the instrumental ground which Oldfield had pioneered: Enigma, to name just one example, came to prominence in the early ’90s, and by the time Oldfield got around to releasing this album – which is indeed based on the novel of the same name by the late Arthur C. Clarke – he was having to push his way through a now-crowded musical field.

Inspired by Clarke’s mention of a musical celebration at the end of “The Songs Of Distant Earth”, Oldfield added “spacey” synths and production textures to his usual structure. Despite boasting a track list which divides things up into shorter, discrete tracks, The Songs Of Distant Earth is classic Oldfield, with lengthy development of a central theme introduced early on, and the introduction and development of secondary themes coming later in the album. It may not sound like Hergest Ridge or Ommadawn, but in fact, Songs shares a very similar structure. Like those albums/pieces (in Oldfield’s case, he composes long pieces with minimal breaks, so these terms are almost interchangeable), there’s almost no interruption from one portion of the music to the next, and Oldfield’s soaring guitar work is an obvious sonic trademark. Now, as someone who climbed onto the Oldfield train by way of his early ’70s work, I’m a little disappointed to hear that his guitar takes a back seat, at times, to synths, various kinds of percussion, ethnic vocals and so on, but one can’t stick to the same formula forever. By that same token, there are spoken word samples of everything from a man counting down, to chants, to the crew of Apollo 8 reading from the book of Genesis, woven into the music; interestingly, depending on what mood I’m in, I’ve found these soundbytes either interesting and relaxing or irritating.

Songs Of Distant Earth is an interesting experiment in linking music to literature, sort of a soundtrack that bypasses the hurdle of a movie deciding what everything should look/sound like, and it signals a major reinvention on Oldfield’s part. There’s a part of me that loves his older, guitar-heavy work, and finds Songs lacking, but to a more mainstream audience this isn’t a bad place to get your first Oldfield exposure.

1. In The Beginning (1:24)
2. Let There Be Light (4:57)
3. Supernova (3:23)
4. Magellan (4:40)
5. First Landing (1:16)
6. Oceania (3:19)
7. Only Time Will Tell (4:26)
8. Prayer For The Earth (2:09)
9. Lament For Atlantis (2:43)
10. The Chamber (1:48)
11. Hibernaculum (3:32)
12. Tubular World (3:22)
13. The Shining Ones (2:59)
14. Crystal Clear (5:42)
15. The Sunken Forest (2:37)
16. Ascension (5:49)
17. A New Beginning (1:37)

Released by: Reprise
Release date: 1994
Total running time: 55:43

His first album after the seminal Tubular Bells, Mike Oldfield’s Hergest Ridge dips into decidedly Celtic waters. The best thing about this epic two-part composition is that it really does take one on a journey – the main themes and motifs are developed, come to a climax, and then put on the back burner while other themes come to the fore, and everything reappears toward the end for a surprisingly laid-back summation. Despite the classical structure, it’s very much a modern work. Oldfield’s guitar work is nothing short of phenomenal, ranging from bucolic, Celtic-style strumming to full-blast heavy metal, and there are several thematic previews of his next album, Ommadawn, to be heard. (In fact, if you’ve got the hour or so to burn, I strongly suggest listening to Hergest Ridge and Ommadawn back to back.) There is also an abundance of orchestral instrumentation here, as well as a full choral version of one theme.

There really aren’t any drawbacks; this kind of longform composition has fallen into disuse these days, so those looking for convenient places to take a break may be a little put off by the length of the tracks. To them, I can only say that it’s worth it to sit and listen to this one (and indeed, to any of Oldfield’s longform works). Very highly recommended for those who want to hear an ambient instrumental piece that isn’t steeped in electronica, and lasts longer than five or six minutes.

1. Part One (21:28)
2. Part Two (18:45)

Released by: Caroline
Release date: 1974
Total running time: 40:13

This is another album I was introduced to in my radio days, and I still like it; it’s quite unusual sounding, to say the least. Some have described Oldfield as new age, but I don’t think that pigeonhole is one into which this album can be stuffed. The material is too experimental and avant-garde for new age, and is really in a class by itself. The intricate multilayered guitar and synth work is wonderful in itself, but that it can be stretched into a thirty-minute concerto with few boring interludes is a marvel. The silly little “Horse Song” which occupies its own track at the end of the album is a nice diversion from the epic “Ommadawn”, but it’s that long stretch of the music that is the most attention-catching for me.

1. One (19:19)
2. Two (13:55)
3. The Horse Song (3:26)

Released by: Caroline
Release date: 1975
Total running time: 36:40