I have to quote the first sentence of Allmusic.com’s review of this album, because it’s hilarious in its hyperbole: “Mike Oldfield’s groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece.” I see where they’re coming from, for ‘pop music’ at the time (1973) it wasn’t what the paying public were used to. But it is in line with both progressive rock at the time (particularly 25-minute long instrumental tracks) and with the repetition and layering of instruments common to composers such as Terry Riley. What is striking about Tubular Bells, and for which it remains a seminal work, at least in British pop history, is that Oldfield was only 19 when it was recorded, and even younger when he composed much of it, learning to play (nearly) all of its 17 different instruments himself. The only thing he doesn’t play, other than some additional backing vocals, are the flute and drums. Famously of course it was also the first ever release on Richard Branson’s Virgin record label – Branson himself was only 22 at the time – so we have Oldfield to thank/blame for the start of that particular global empire. Music-wise, it’s not as earth-shattering as all that, but then I listen to a lot of classical and jazz music, where this level of compositional complexity is not uncommon. The opening theme, which later was used so perfectly for the film The Exorcist is utterly fantastic, however. Evocative, eerie, unforgettable. The rumbling bass theme that kicks in towards the end of Part One is equally memorable and impactful. It’s over this that Oldfield brings in his layers of instruments building up the theme to a crescendo – ably abetted by The Bonzo Dog DooDah Band’s front man Vivian Stanshall. FOR FULL REVIEW & PLAYLIST CLICK LINK IN BIO #mikeoldfield #tubularbells #virginrecords #vivianstanshall #orchestralpop #vinyl #recordcollection #nowlistening #randomrecordreview https://www.instagram.com/p/CODkhYrM51E/?igshid=axetzesdcyrt
